This paper critically examines the contemporary relationship between design and decolonization, with a focus on reevaluating our expectations of design as a profession and exploring potential pathways forward. The discussion centers on the stagnant state of design discourse, and the intricate power dynamics within design practices. It underscores the significance of recognizing that designers do not uniformly occupy identical positions, highlighting the asymmetrical power dynamics inherent in design nearshoring and the prioritization of Northern interests. Furthermore, it questions the reliance on exclusive designerly methods for systemic change, the pursuit of the common good, and the realization of the pluriverse. We claim that design, in its current form, often reinforces capitalist and colonial structures rather than dismantling them. The paper criticizes design’s complicity in perpetuating colonial differences while claiming to address them, recognizing the fundamental role of design for the realization of the modern project and as a key enabler of capitalist modes of production and consumption. Through an interdisciplinary lens, this paper scrutinizes the dissonance between design’s self-professed ethical values and the pursuit of capitalistic gains.
Dos Punts, un estudio de diseño gráfico y comunicación fundado por Neus Seguí y Anna Brullas. El color, la ilustración y una comunicación propia, directa y cercana son el sello de identidad en todos nuestros proyectos. Trabajamos de la mano con el cliente y colaboradores externos para llegar a soluciones gráficas a la medida de lasnecesidades de cada encargo.
In recent years, architecture has undergone a significant transformation with the introduction of digital tools and techniques. Three prominent techniques in this context are drawing, scripting, and prompting, offering architects novel approaches to the design process. Drawing remains a vital tool for idea exploration and design development. Conversely, scripting and prompting are digital methods that enable a more algorithmic and data-driven design approach. This paper explores the intersection of these techniques and their potential to enhance the design process. By using them together, architects can foster creativity, efficiency, and innovation while allowing more time for conceptual development. The paper analyzes the framework posed by these techniques, including the impact of new digital technologies like generative and algorithmic design, and artificial intelligence. The potential of scripting to automate graphic tasks, such as parametric design and generative drawing, is addressed. Furthermore, the paper delves into the new frontier of prompting and its application in architectural graphics, outlining the competencies architects need to effectively utilize this technology. In conclusion, this paper critically evaluates the current state of architectural graphics, exploring the fusion of traditional and digital methods, and how new technologies can transform the design process.
Actualmente es imposible imaginar un mundo sin marcas, por lo que es de vital importancia dotarnos de claves para entenderlas. Las marcas han evolucionado enormemente a lo largo de las últimas décadas, pero es posible encontrar una continuidad entre lo que eran, lo que son y lo que serán. El objetivo de este artículo es determinar, definir e ilustrar nueve grandes ideas que han influido en el diseño de marcas gráficas. Algunas de estas se sitúan directamente entre principios y mediados del siglo XX; y otras se concibieron a finales del siglo XX y principios del XXI.
Cross-disciplinary understanding of strategies for stimulating transitional change is critical, in the face of the escalating climate crisis (Newell et al., 2022). If we are to meaningfully stimulate and accelerate transitions toward more sustainable practices, we must foster community and connectivity within and across disciplines. This article presents the findings of a literature review on physical and digital community organization and connectivity strategies, articulating the potential of participation and knowledge sharing within communities to stimulate meaningful change. Eight physical, community-based strategies are reviewed and analysed, alongside four digital strategies. The selection of physical strategies conveys a range of tried-and-tested methods of stimulating change, while the review of digital strategies explores how traditional methods have been adapted into the digital age. The physical strategies reviewed include: community of practice, social entrepreneurship, community of interest, community capacity building, game changers, disruptors, intersectional activism and mass mobilization. The digital strategies reviewed include: digital mobilization, virtual community of practice, digital storytelling and digital artefacts. Middle-out approaches to change are particularly focussed upon, as they are most effective for individual actors within disciplines wishing to stimulate change (Janda & Parag, 2011; Simpson et al., 2020). By bringing together into one place an analysis of a range of existing approaches, this review takes an initial step toward establishing a cross-disciplinary library of community organizing and connectivity strategies. The aspiration is that this will support the collective benefit of all disciplines seeking to accelerate sustainable, transitional change.
Social sciences (General), Drawing. Design. Illustration
This article explores the role of drawing in relation to design, not so much as a specific creative act, capable of informing and representing design ideas, or as a ‘manifestation of the idea’ per se, but rather as a dense and sedimented knowledge that is increasingly relevant for interaction design – and extensively in any design project.
Looking at examples such as video game interfaces and other everyday use artifacts, as well as theoretical reference models for the interaction design community (from Donald Norman’s to Paul Dourish’s, from Anthony Dunne and Fiona Raby’s to Branden Hookway’s, etc.), it is possible to bring out and discuss the centrality of the role of drawing in rethinking strategies of the interaction project, while considering the interface as a specific ‘place’ where not only the mediation between user and designed content takes place, but also that between drawing and design is activated. If windows, mirrors, and lenses can be considered as mediation devices of the visible, interfaces of digital devices can synthesize, make coexist and multiply their functioning and consequences, for example when they are meant to relate collections of data with their possible representations. Furthermore, recent discoveries in other fields, such as chemistry and biology, lead us to rethink together both drawing and design, starting from new epistemological models which extensively rely on the notion of interface.
Introduction
It was with some hesitation that I initially accepted the invitation extended to me by my friend and colleague Francesca Fatta to reflect on the theme of Drawing: distances, languages, technologies during the opening of the Study Day organized by UID (Italian Union for Drawing) and held online on September 18, 2020. The three (actually four) terms evoked in the title of the Seminar correspond to the same number of existential and experiential categories that, never as in these months of pandemic, have taken on ambiguous and contradictory meanings, previously unimaginable. The physical (but not social) distancing has forced us to reflect on how important proximity is for the human race and how by now this can/should be expressed not only through in-person contact, but also mediated by other communicative structures, all focused on the visual, but unable to solicit in us a satisfactory overall response of mirror neurons, and to act in the synesthetic field on all our senses ... [read more]
El siguiente artículo busca analizar dos proyectos artísticos Latinoamericanos que proponen pensar lo identitario a partir de la fotografía. El caso uruguayo Rostros Mixtos trabaja con retratos de migrantes y no migrantes de la ciudad de Montevideo que, con la técnica de collage, componen nuevos rostros (mixtos) que permiten (re)pensar la cuestión migratoria y cultural. El caso brasilero Humanae crea un catálogo de “colores de piel” guiada por la escala Pantone® a partir de retratos frontales de personas de múltiples nacionalidades y edades; el resultado será un diverso mosaico cultural que problematiza la cuestión de la “raza” en Brasil. Este articulo reflexionará sobre la dimensión identitaria producida, en estos proyectos, a partir de la relación compositiva que existe entre la “foto carnet” (retrato) y el gesto de collage o mosaico final. Es decir, cómo cada parte constituye, de forma relacional, un todo a la vez.
Una de las problemáticas poco abordadas que enfrenta el patrimonio edificado del Ecuador, es la carencia de políticas y lineamientos de gestión de riesgos. En base, a estas premisas, la presente investigación propone una metodología basada en el entendimiento de la conceptualización general de la gestión de riesgos y de la gestión propia del patrimonio cultural edificado; los resultados obtenidos dan cuenta de las ventajas de la asociación de ambos acercamientos a favor de la conservación y protección de estos bienes. El estudio se enfocó en la evaluación de metodologías internacionalmente aceptadas, en base a las cuales se estableció una propuesta de un sistema de gestión de riesgos ajustada para los bienes patrimoniales edificados del Ecuador. Esta metodología aspira ser una guía para la aplicación ordenada de acciones de gestión de riesgos y emergencias, fomentando la construcción de un diagnóstico holístico en referencia no solo a los aspectos de riesgo y patrimonio, sino que incluya su gestión. La validación de la metodología planteada fue inicialmente aplicada a uno de los Conjuntos Conventuales más representativos de la ciudad de Quito, el Conjunto Conventual San Francisco; sin embargo, la metodología planteada se ajusta hacia otros tipos de patrimonio edificado, en este caso al patrimonio moderno. La desaparición de esta producción implica una pérdida irreparable no sólo de un bien material sino de una forma de concebir y hacer arquitectura que marcaron una importante época en nuestro país.
AbstractHow important is the sketch and the hand drawing to the identity of the architect two decades into the 21st century? London‐based architect and architectural tutor Gabor Gallov argues it is still as crucial as it always was in conveying ideas, but equally as a vehicle for exploring the subtleties of individual architectural language away from the ubiquitous computer and rendering.
La revista Ñawi: arte diseño comunicación en su edición “Monográfico: Ecuador Audiovisual” fue seleccionada en la categoría Mejor Diseño Editorial de Diario o Revista de los premios Clap, organizado por Foroalfa y Veredictas, con sede en Barcelona. Este gran reconocimiento es un premio a la excelencia grá ca y conceptual a nivel iberoamericano. El jurado de los premios está formado por delegados de organizaciones de varios países como España, Brasil, Ecuador, Colombia, México y Uruguay, entre otros países.
Drawing. Design. Illustration, Communication. Mass media
This special issue of Diseña seeks to articulate and describe interdisciplinary examples of design-led research, posing questions such as: in what ways are such projects addressing matters of concern, what are the defining traits of such projects, and what has design brought that other disciplines could not? What legitimates the designer as a leader? What authority, expertise, or qualifications must a designer possess to lead? What is the tradeoff between a specific ability to form knowledge and an ability to assemble discrete pieces into a unified whole? What are the design methods or strategies used in research? And, are these methods succinctly defined at the commencing of a project or developed as the research unfolds?
Este artigo apresenta sistema de catalogação e indexação de materiais orientado a projetos de design desenvolvido para o Materialize, acervo de materiais para o design e arquitetura da FAU USP. O Sistema de Catalogação de Amostras de Materiais por Cofiguração (SCAMC)1 foi estruturado para permitir maior possibilidade de comparação entre diversas amostras presentes numa materioteca durante o ensino e prática de projetos de design e arquitetura. Considera os aspectos formais e sensoriais como fundamentais para a seleção de materiais e privilegia a justaposição de amostras com con gurações semelhantes. Utiliza o Sistema Decimal de Classi cação de Materiais (DEL CURTO, 2000) e sua classficação formal das amostras. O sistema prevê indexação com número de chamada baseado na Tabela Cutter-Sanborn, utilizada em biblioteconomia para notação de autores.
Después de haber explorado, en el primer monográfico, las posibilidades intrínsecas de la materia y de los objetos, Inmaterial desplaza su interés hacia las implicaciones sociales, culturales y políticas del trabajo del diseñador poniendo el foco, en este segundo número, en la tensión entre lo que se sitúa dentro y fuera de lo que podrá definirse hegemonía en diseño.