Design Education – The Case Study Daciano da Costa

D2B2: Tsinghua International Design Management Symposium, Beijing , 2009 'Innovation, Design, Management across Cultures' , 2009

We question the creativity in design through the experience of drawing. The drawing ensuring the creativity and innovation of the design as a productive activity in connection with action and social thought. We start from some following questions: How can the process of drawing be able to represent the creativity of the subject in design? How can drawing presents the symbolic affirmation in the social dimension? It must be the recognition of belonging... and consequently the ability to act in accordance with ... Design has always a mode of desire of perpetuation of the artefact, as an artificial reality that exists to perpetuate the effectiveness of the natural one. Since the time of its Greek origins drawing claimed the idea of foundation, a way of sustention as representation of the world. In this sense drawing has symbolically been the sign of perpetuation through the parts that wish the harmony of the whole. Drawing represents the commitment of the artificial - the representation of the world - with the natural reality. Design makes use of drawing and con-fused to it as a symbolic sustenance beyond a determination of the project, it reveals itself internally to express itself external through technique. The research seeks to consider scientific analysis of design ontologically with case studies. We propose theoretically the experience of drawing, particularly in relation with the project. The creativity in design is possible through the drawing operating, technically, as a territory of procedural experience and, symbolically, through its content of truth. The design used drawing to project the idea and carry out the work, symbolically, to a specific cultural identity. Not only as representation of the idea but mostly as a process that performing creativity and innovation into the object. We interpret the object of design through the management of creativity, using drawing as strategy of innovation. We start from the different perspective of the concepts ‘innovation’ and ‘creativity’ (diagram 1) to approach a strategy of innovation in the project of design (diagram 2). We will base our argumentation on the interpretation of examples of project drawings by Portuguese designers developed at the end of the century XX and XXI. The choice interprets the representativeness of their work and pratice.

Design History Society - Annual Conference, 2009

In this paper, we discuss the usefulness of creating an archive of the design project drawings. It will be the creation of a digital archive of drawings made by Portuguese designers in the XX and XXI century. The project drawings are normally intended to be lost, by their ephemeral and transitory nature, even if they participate clearly in the projectual understanding, namely both of the process and of the proposed answer/solution. In this case, the digital images’ recording of the designer's drawings adds to the perpetual knowledge of the design product. The issue relates the importance of understanding drawing in the project of design. That is, how can be used the project drawings’ archive by the discipline of design? Therefore, the archive serves 3 perspectives: the historical, the didactic and the epistemological (theory and criticism of design). We arose the problem by finding the deficit in the critical interpretation of the design’s object through the design processual practice. We consider the hypothesis that the interpretation and categorization of design can be done through drawing as matter of the design project, i.e., by the importance of drawing in the act of designing the object. The methodology is the direct source (material provided by the authors) and voluntary participation. Interviews are foreseen. The research is based on inductive method and focused on the process. A comparative method is applied. Sampling is a sort of comprehensive type (in network): based on the criterion set for the initial group it intends to be successively extended. Our main goal is the interpretation of the object (drawing) - theoretical and practical - related to the practice of design. Looking at the use (or not) of drawing in the project, we intend to contribute to characterize and categorize the project of design as well as to contribute to a critical reasoning of the epistemological nature of design.

2021

We identify as the nature of thinking in Design, the critical and creative predisposition of the designer for constant questioning, motivated by his restlessness and curiosity that, through the drawing, discovers solutions to pre-existing problems, but also the new, thus imagining the future and validating Design practice, as a laboratory of innovating (knowledge production). This reflection proposes drawing as a manifestation of thinking and an instrument of design language. Starting from the verification of the importance of drawing in the curricular plan of the Degree in Design at the University of Aveiro, we reinforce this positioning by summoning authors with a reflection about the theme and with responsibility in training students, designers, and architects whose drawing practice is the root of thinking and the manifestation of authorship and, events that reveal the drawing to the general public, or that invite the public to draw, imagine, think.

CROSSING THE LINE CONFERENCE, 2014

We aim to discuss that which generally refers to the contribution of drawing in the understanding of the design project, and particularly in relation to architecture. From a heuristic perspective, it is accepted that drawing recreates 'ways of seeing' which facilitate the project. Throughout the project, drawing contributes in supporting and stimulating the idea's development in accordance with the stratified process of design. We present a case study of the project drawings by considering the work of the architect Bernardo Rodrigues (Ponta Delgada, Azores, Portugal, 1972). He got a degree in Architecture from FAUP, Oporto University, 1996. Their architectural projects are spread across USA, China, Japan, Dubai, and of course Portugal. His work, focused on sensory perception and matter, has been the subject of national and internationally thoughts. According to Bernardo Rodrigues architecture discipline must returns closely back to nature, therefore, supports the idea of sustainability through ethics projected in architectural shape through the material building and its environment. "The twenty-first century should be the return to the classic and timeless categories of social planning and then urban", the architect said. The experimental nature of the projects leads to its fair recognition that is according to the original essence of architecture while thought about the human being on earth. The Bernardo Rodrigues work stands out through sustainability using materials that replying the energy yield but also to poetic dwelling the world. Thus, drawing is more than the heuristic representation of the project of architecture. The character of representation is contaminated by all that is marginal to design project is disseminated through it ethically and materially, joining opposites and differences through a poetic desire expressed on the drawing. The architectural images of Bernardo Rodrigues design results from a multiple methodological contemporary process which derives an architecture freed from traditional instrumental constraints and thus becomes an object that questions whether the world and their representations. Thus, the subject of representation goes beyond the functional consideration of the design, because the different instrumental drawings influences the perception of the subject and the author. The analysis seeks to contribute to a critical and multidisciplinary discussion between drawing and architecture through the drawing practice and designing in order to stimulate the interdisciplinary understanding in generating ideas and solutions that the architectural design should provide.

Latin Design Process, 2010

We intend to analyze design as a cross-fertilization of visual language. For such purpose, we will consider art as exemplary practice of such language. The communication will focus transition from modern to contemporary. That is, modern reflecting the artistic as symbolic derivation and contemporary art as symptom expression. We will interpret the process of design project through drawing, regarded both as project’s instrumental utility (technology) and condition for disciplinary reflection (art), addressing the issue of the significance of understanding drawing in design project practice. In this scope, at the level of artistic production, there are two cornerstone conditions implied: 1. the inclusion of the receiver within the work, "despising" the productive meaning in favor of the process; 2. the critical (semantical) valuing of the work to the detriment of its material execution (practice). Considering design project as: 1. practice whose language is (is able to be) mostly visual and 2. based on a Latin framework of analysis and specifically Portuguese, whose tradition derives from School practice (fine arts, including architecture), we intend to analyze to what extent is art, in its visual language status, an influence, or even an intrusion in design project procedural practice. For such, we regard drawing as discipline and subject serving the objectivity of the present communication proposal. We propose as object for analysis project drawings from contemporary Portuguese designers whose merit is national and internationally recognized. Objects collection is performed through their authors and in the scope of an ongoing research regarding the relationship between drawing and project practice in design. We aim to understand design object, as exchange of project’s full communication, through the following question: how can drawing, as a mediator of the practice of project design, induces the creation of the object and hence its existence as language in design? We intend to answer this question considering that drawing, as language materializing the project, is mediator for representation (through technical expression), classifying function (through program) and interpretative mark of imagination (through authorship). Understanding to what extent drawing language contamination influences the process of design project raises the issue of the relevance of drawing, through graphics, to assure the transformation of the object into symbolic added value to the project’s space-time frame.

Ergodesign & HCI

Educação em Design, em Portugal; Design Básico; Realidade Virtual Enquadrado numa investigação que incide no mapeamento do Design Básico no Ensino Superior português, este estudo procura a sua presença e linha evolutiva, num instituto pioneiro do ensino do Design em Portugal, o IADE. Apesar das diferentes expressões e formatos que adquire ao longo de meio século de existência do Instituto, o Design Básico persiste, disponibilizando-se à inovação, nomeadamente, por via do potencial contributo das ferramentas pedagógicas baseadas na Realidade Virtual.

Revista Contrapontos

O tema central do presente artigo versa sobre o desenvolvimento da capacidade criativa no âmbito da educação por meio do Design. Tem por objetivo apresentar um panorama histórico da utilização de abordagens provenientes da área de Design em Educação. A metodologia utilizada foi de cunho qualitativo, tipo descritivo, com revisão de literatura e os resultados se mostraram satisfatórios ao ponto que foi possível estabelecer um cenário global acerca das principais iniciativas encontradas, tanto na literatura quanto na rede mundial de computadores. Para melhor compreender a contribuição da educação em Design, por meio do conceito de Letramento Criativo, foi necessário entender as principais correntes relacionadas ao Design e à Educação a partir de uma revisão de literatura fundamentada em ambas as áreas. Os resultados registram o Design enquanto terceira área do conhecimento, ou seja, uma linha de raciocínio baseada em uma visão de aprendizagem humana, que sugere que há mais do que as du...

ICDHS 9th International Design History and Design Studies. Tradition, transition, trajectories: major or minor influences? , 2014

Design represents the commitment of the artificial with nature-the artifact as symbolic cultural representation. Herein, drawing is the skill activity of the designer as renewed desire it transforming the world. Therefore, drawing is the material of design as medium of the representation, such as technical and interpretive expression of the author's imagination from an external program (brief). Hence, we propose drawing as a path performed by author's desire that symbolically reveals the subject of design in a specific level. The artifact as primordial income for the conceptual design process comes out of the drawing tools as practice that elevates the cultural representation. The pattern of drawing can be, symmetrical or asymmetrical, the link that joins two levels of the artifact, instrumental and critical, it becoming the basis for design's narrative. In this case, drawing skills convey and supporting the cultural expression showing design as a particular and symbolic cultural artifact. As context we refer the analysis of representative designers in the Portuguese geographic and cultural environment. We hypothesized that cultural and symbolic features result according to the artifact's identity. We seek the goal of the analysis according to the significance of drawing in the discipline of design. This research intends to scientifically integrate the ontological analysis of drawing in relation to design through the presented Portuguese examples.

2018

The teaching of drawing in BA Graphic Design courses in Brazil is frequently associated with paradigms mainly based on the development of technical skills. However, studies into drawing reveal it to be more than a simple representation, it is an important way of thinking for designers, connecting fields of knowledge and exploring creativity. Therefore, this study aimed to establish a proposal for teaching drawing linked to the foundations of the design process, exploring the diverse roles of drawing and ways of stimulating creativity. In order to achieve that, the study included a literature review and an Action Research exploring experiences of teaching drawing. The data was categorised and analysed through the Model of Activity System, establishing the foundation for the development of the proposal.

Considering the lack of importance of the discipline in the Portuguese and international context, this paper aims to present and discuss a museological and museographic project that’s in its early stage and started to be developed concerned with Portuguese design history and design studies. The focus on the theme Portuguese design is justified by the extent of the heritage of communication artefacts, equipment and environment, presently dispersed about the country and at risk of disappearing into oblivion. The paper present’s an approach based in a new hermeneutical dimension which methodology will be centered on the study of the artefacts based on the ‘inverse design’ and it will be focused on the morphogenetic study, related with their importance next to the public sphere. Considering the specificity of Portuguese design history the paper refers’ some notes on this subject, giving some examples that can be considered as some starting references to proceed with the project. The res...