Pedro Gentil-Homem

Universidade Lusiada de Lisboa, CITAD- Research Center, Faculty Member

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Born in Lisbon, Portugal (1966)
Lives and works in Lisbon
Designer (Portuguese Designers Association member nº 292) and Assistant Professor at the Faculty of Architecture and Arts, Lusíada University of Lisbon (FAA/ULL), Integrated Researcher of the Research Centre in Territory, Architecture and Design (CITAD-ULL). Main teaching subjects: Design, Drawing, Design Management. Main research themes: Design History and Criticism, Drawing and Scientific Ilustration. Collaborates with the Research Centre in Architecture, Urban Planning and Design, (CIAUD-FA/UL).
Concluded postgraduate studies in drawing at the Faculty of Fine Arts, University of Lisbon (FBAUL) and PhD in Design at the Faculty of Architecture, University of Lisbon (FA/UL).
Invited Assistant Professor at the Faculty of Fine Arts University of Lisbon (FBA / UL), teaching Introdution to Design.
Scientific Commissioner of the exhibition TAP Portugal: Imagem of a People - Identity and Design of the National Airline at the Museum of Design and fashion MUDE in Lisbon (2015).
Senior Designer at Certame (1993-1999) having designed and built some 80 stands for national and international fairs, exhibitions and events.
Lighting design (co-authorship) selected by the jury of "Spazio Design 1991: Projetto Lampada" contest and exhibited at "Circulo della Stampa" in Venice, ADI - Associazione per il Disegno Industriale Milan and ICSID (1992).
Simplastic prize at the "Young Designer 91" contest ESBAL / ICEP with a set of prototypes for thermos flasks, exhibited in Portugal's stand "ICEP Junge Designer aus Portugal '92 " at "Ambiente 92 - Messe Frankfurt" , "Ceramex 92 - FIL" and "Goethe Institut Lisbon".Designer and researcher PhD

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Yann Araújo

Anabela Ferreira

Reinaldo Silva Canado

Cláudia Ribeiro de Almeida

Universidade do Algarve

Fernando Leiliane

Sergio Palma Brito

Ana Isabel Xavier

ISCTE - University Institute of Lisbon (ISCTE-IUL)

Hugo Filipe

Helena Alexandra Mantas

Bart Vanspauwen

Universidade Nova de Lisboa

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Papers by Pedro Gentil-Homem

"DIFÍCIL É SENTÁ-LOS": DESIGN PARA O PASSAGEIRO INFANTIL E JUVENIL DA TAP PORTUGAL (DÉCADAS DE 60 A 80

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DESTINATION PORTUGAL": DUAS VISÕES DE "GRINGO" SOBRE UM PAÍS, UM REGIME E UMAS FÉRIAS BEM PASSADAS (1967 -1972

Destination Portugal

The flag carrier airline TAP consolidated the portuguese imagination for a long time a certain id... more The flag carrier airline TAP consolidated the portuguese imagination for a long time a certain idea of an evolved country, and so closer to the European democracies emer-ging from the Second World War. This im-age was constructed by the (factual) idea of safety and technological advance, that worked as an antidote to the atavism that reigned among the small country of Por-tugal - a small reason for national pride. The company, in existence for almost eighty years, has crossed many socio-cultural con-texts, his image navigating at times with the wind of the regime and others not so. This article follows a line of investition by the author that deals with the relation between Design Culture and National Identity. We present two strategic design case studies from two of the largest advertising agen-cies in New York at the time, showing a contrast between two different images of Portugal. A “gringo” version “just for show”. Simultaneously, the events took place in an important period of the Portuguese 20th century history: the “Marcelist Spring”, a propagandistic utopia that anticipated the “death knell” of the regime.
KEYWORDS
Design History, Design Criticism, Design Culture, Aviation, TAP

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Chá, Café ou Laranjada?

Convergences - Journal of Research and Arts Education

Diversas áreas específicas do design tentam superar a artificialidade da vida a bordo de um avião... more Diversas áreas específicas do design tentam superar a artificialidade da vida a bordo de um avião, mimetizando facetas do quotidiano ao nível do solo. A recepção (e despedida) dos passageiros, coreografada à porta da cabina, ou os objectos que a povoam são exemplos dessa tentativa de humanização de um espaço culturalmente impessoal e asséptico. A refeição é um dos momentos que ultrapassa a mera necessidade alimentar constituindo um momento simultaneamente lúdico e disciplinador. O serviço e os objectos que dela fazem parte revestem-se de características técnicas, funcionais e simbólicas que permitem diferencia-los. Observamos como esta encenação passou de uma realidade fechada e incipiente no decurso das décadas de quarenta e cinquenta para uma maturidade discursiva do design português na década de oitenta.

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Entropia do Sistema

Convergences - Journal of Research and Arts Education

Perante uma leitura contextual da sociedade contemporânea e dos seus acontecimentos estruturantes... more Perante uma leitura contextual da sociedade contemporânea e dos seus acontecimentos estruturantes, o ensino do design necessita de contributos reflexivos e especulativos (consequentemente livres), que se adequem ao “novo mundo do real”. A situação compele-nos ousar a transgressão e apelar ao papel da reflexão pura, ao ascendente conceptual para a construção de um novo quadro pedagógico do ensino do design. Um que permita obter resultados não imediatos (muito menos imediatistas), ou seja, de um modo consolidado, sustentado e numa atitude realmente crítica à la longue. Pensar, pensar, pensar para fazer. Apelamos ao ensaio e comprovação de novas estratégias pedagógicas para o ensino do design que recuperem a investigação pura, não engajada com “os mercados”, nem com a espuma do tempo, cada vez mais voláteis, desenvolvendo valências holísticas para a formação do novo “Hermeneuta do Design”.

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Brace Brace Instrucoes De Seguranca Mais Um Contributo Do Design Para Uma Outra Cultura Visual

Instituto Politecnico de Castelo Branco, Nov 30, 2020

As instruções de segurança obrigatoriamente presentes nas bolsas dos assentos de todos os aviões ... more As instruções de segurança obrigatoriamente presentes nas bolsas dos assentos de todos os aviões comerciais, pelo seu caracter gráfico, assumiram um estatuto icónico associado à viagem aérea. Desenvolvemos a hipótese de que as suas ilustrações, espectavelmente instrutivas e precisas, construíram um discurso visual que extravasou a mera cultura aeronáutica tomando um lugar na Cultura do Design e na Cultura Popular. Desenvolveu-se uma investigação que permanecera tangencial no âmbito da nossa tese de doutoramento na qual visitámos estas (e outras) áreas muito específicas do Design para a companhia nacional TAP Air Portugal. Analisa-se agora esse espólio e reflecte-se sobre ele como um fenómeno transversal e abrangente

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A Design Laboratory Above the Clouds: Black & White and Color Stories of Portugal's Airline (1945–1979)

Design Issues, 2015

Take-Off Design has always been present in airlines as a way of giving them personality and trans... more Take-Off Design has always been present in airlines as a way of giving them personality and transforming them. However, scientific studies on the relationship between aviation and design and its different elements—criticism, historiography, and culture—have been scarce around the world, and non-existent in Portugal.1 The study we have carried out allowed us to clarify the nature of the relationship between the profile of a company that represented the country (and helped to spread an image of modernity) and the different areas of design. The pronounced ideological conditioning, which is present visually in design projects produced for Transportes Aereos Portugueses (TAP), from the first years of its existence, emerged as the result of its status as flag carrier. The logos, the crew’s uniforms, the different types of communication media, and the planes’ interior design created a country that only existed “in the air.” In the real country, obliged to remain underdeveloped, poor, and rural, the “one way” ideology did not create job opportunities for designers outside the confines of what the regime understood to be official taste and expression—that is, following the historicist and grandiloquent Portuguese way.2 The political closure of the 1950s—a time which, metaphorically speaking, we paint in black & white—made way for a slow and progressive opening. The transition to the next decade saw the image shown in color, foreshadowing the “Marcelist Spring”3 in 1968 and the “Carnation Revolution” in 1974,4 which brought freedom to the country. In 1976, TAP kept the floral theme, with an image campaign called Spring Service. The close links between the rhetoric of the regime for external use and the TAP corporate image make for an unrivalled case study in the historiography of design in Portugal. 1 See Alexander von Vegesack and Jochen Eisenbrand, Airworld: Design and Architecture for Air Travel, 2 ed. ((Weil am Rhein: Vitra Design Museum, 2006), 6. 2 This is a reference to Jose-Augusto Franca’s strategy to characterize some of the key figures in modern Portuguese art, whose work, to some extent, establishes a dialogue with tradition or modernity. See Almada, o portugues sem mestre [Almada, the Masterless Portuguese Man] (Lisbon: Estudios Cor, 1974); We can also see a seminal study on the promiscuous relationship between art and the political regime by Jose-Augusto Franca, A Arte em Portugal no seculo XX [Art in Portugal in the 20th Century] (Lisbon: Bertrand,1974). 3 On September 27,1968, Marcelo Caetano (1906–1980) was appointed by the President of the Republic to replace Antonio de Oliveira Salazar (1889–1970). Recognizing the complex political and military situation in Portugal and the Overseas Provinces, Caetano attempted to reform and “open up” the regime. The period between September 27,1968 and January 21, 1971 raised hopes of a political renewal and was named the “Marcelist Spring.” 4 The carnation has become a symbol of the military coup on April 25, 1974, which ousted the Estado Novo. The name emerged because of a florist in Lisbon, who shared her joy at the end of the regime by giving her flowers to those around her, and to the soldiers, who placed them in the barrels of their rifles.

"DIFÍCIL É SENTÁ-LOS": DESIGN PARA O PASSAGEIRO INFANTIL E JUVENIL DA TAP PORTUGAL (DÉCADAS DE 60 A 80

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DESTINATION PORTUGAL": DUAS VISÕES DE "GRINGO" SOBRE UM PAÍS, UM REGIME E UMAS FÉRIAS BEM PASSADAS (1967 -1972

Destination Portugal

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Chá, Café ou Laranjada?

Convergences - Journal of Research and Arts Education

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Entropia do Sistema

Convergences - Journal of Research and Arts Education

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Brace Brace Instrucoes De Seguranca Mais Um Contributo Do Design Para Uma Outra Cultura Visual