Strand 1 . Design Process and Practice
This strand seeks to explore the processes that lead to the construction of cultural identities in the field of design, through trajectories that incorporate traditional approaches, transitions between tradition and modernity, or that exemplify the tensions between the two. We welcome the study and analysis of the impact on systems of production, on the material culture of design and on the structure and practice of design, of processes that favour the confrontation or cohabitation of tradition and modernity: geopolitical influences such as colonial and postcolonial contexts, processes of hybridisation and acculturation, the impact of globalisation and delocalisation, specific instances of transition between political systems or the impact of grassroots activism and social movements. From the point of view of examples of practice, and drawing from both traditional craft and design processes, we also look for the analysis of processes and projects employing traditional cultural values and which retrieve and/or emphasize craft techniques in the type of contexts mentioned above, and propose new solutions through innovative practices, either for self-production or mass production. We hope researchers and designers will analyse these processes by exploring the most diverse areas of design, allowing the end result to offer an overview of how traditional values can serve as a baseline to rethink a project, and the relationship between understandings of tradition and modernity can give rise to new products, while maintaining or redefining a local identity as the basis for new opportunities.
President of ADI-FAD, the Industrial Design Association of Barcelona, Spain
Faculty of Fine Arts, University of Lisbon, Portugal
Strand 2 . Localities / Globalities
Addressing identity issues in design, which is a complex task, is a challenge for researchers in the area. Identity is never complete, never accomplished, and is an on going process that needs constant reflection, confronting local versus global, past and present and the present and a possible future, inside a transitional world. Through this specific research field we are interested in discussing how tradition, transition and trajectories can affect identity and therefore design in a confrontation of scales and links between localities and globalities. When we create the right kind of identity, we are able to communicate with others and contribute to a better way of life. Contributions addressing different manifestations in design identity, innovation, technology and creativity as part of development processes and the evolution of traditional culture, related with design are welcomed. This strand wants to incentive reflection, underlining the importance of design identity within design strategies, enhancing the different micro and macro project scales. So, we invite researchers to present theoretical and/or empirical works addressing its influences within the context of localities and globalities in design.
National University of Mexico, Mexico
Fernando Moreira da Silva
Faculty of Architecture, University of Lisbon, Portugal
Strand 3 . Authorship and Anonymous Design
This strand will explore a tension between the identity of things and the identity of authors, or designers. Making is a key mode of expressing identity. Design is popularly understood as the product of an individual, and design teaching emphasises individual creativity and authorship. Yet, the majority of design is a group effort, and the output of practitioners working anonymously, rather than noted named designers, and many objects are best described as type forms. New technologies and techniques such as the use of algorithms mean that those working in design studies and design history alike need rethink their methods for explicating anonymous design. We welcome papers by historian-detectives revealing the truthful authorship of well-known or less well known objects. We are, however, especially interested in the collective construction of an idea of design by social groups that act as authors, such as nations, regions or “schools”, determining an underlying authorship through taste or Alois Riegl’s ‘worldview’. This panel invites delegates to consider: How can we best understand the work of anonymous designers? Is the drive to identification essential? Does an emphasis on authorship obscure the achievements of anonymous designers? What can theories and methods centred upon authorship lend to the analysis of anonymous design?
Eduardo Corte Real
Institute of Art, Design and Enterprise – University (IADE-U), Portugal
University of Hertfordshire, United Kingdom