The Meaning of Things: Domestic Symbols and the Self
... By arranging furniture and bringing in their own things, pieces of furniture, bedding, books, posters, but also smells and sounds, the student creates their own unique space from the initially empty, unknown space, from a room that is similar to other student rooms, i.e. a place that says something about them, with which they are connected and which has a certain meaning for them. This example confirms that the spatial arrangement, furnishing and decoration of the domestic space, as well as the surrounding public space (Cieraad 1999: 2), are a means by which people symbolically expresses themselves, and that objects in the domestic space have not only a utilitarian but also an identity and a symbolic function (Appadurai 1986;Cieraad 1999: 6;Csikszentmihalyi and Rochberg-Halton 1981). They can make the home "more comfortable, intimate, individual" (Muraj 1989: 7). ...
... Rather than a utilitarian role, objects have an identity and a symbolic role (cf. Appadurai 1986;Cieraad 1999: 6;Csikszentmihalyi and Rochberg-Halton 1981). ...
Based on the research conducted in 2023, the paper addresses the issue of the housing of Zagreb students from an ethnological and cultural-anthropological perspective. The aim is to contribute to the understanding of students’ housing through a focused, in-depth and qualitative view of the material aspects of housing (selection, design/equipping/changing of domestic spaces, material objectsand furnishings of domestic spaces, etc.), everyday life, behaviour, practices and interactions linked with domestic spaces, and feelings and imaginations linked with the house and home. The research findings show that domestic space with its characteristics causes, limits or accentuates certain behaviours, interactions with roommates, feelings and moods. The examples discussed speak of the limitations and disadvantages of domestic spaces resulting from their often-inadequate size and furnishings, as well as about practices, often small interventions and furnishings, with which tenants try to overcome limitations, create a practical and pleasant space and achieve a pleasant coexistence withtheir roommates. Building a connection with the domestic space, creating intimacy and a sense of home are recorded in the actions of furnishing the space with their own objects, smells, sounds, and established activities and interactions with people and pets. The idea of future (and ideal) domestic spaces is associated with the idea of temporality (current housing), and the current and future place of residence is perceived as a space of becoming independent and independence. The aim of the paper is to pave the way for future extensive ethnological and cultural-anthropological research on housing.
... mjesto koje nešto govori o njemu, s kojim je povezan i koje za njega ima određeno značenje. Ovaj primjer potvrđuje kako su prostorni raspored, oprema i dekoracija stambenog prostora, ali i okolnog javnog prostora (Cieraad 1999: 2), sredstvo kojim se čovjek simbolički izražava te kako predmeti u stambenom prostoru nemaju samo uporabnu, već i identitetsku i simboličku funkciju (Appadurai 1986;Cieraad 1999: 6;Csikszentmihalyi i Rochberg-Halton 1981). Oni mogu dom činiti "udobnijim, prisnijim, individualnijim" (Muraj 1989: 7). ...
... Prije nego utilitarnu, predmeti tu imaju identitetsku i simboličku ulogu (usp. Appadurai 1986;Cieraad 1999: 6;Csikszentmihalyi i Rochberg-Halton 1981). ...
Na temelju istraživanja provedenog 2023. godine, u radu se iz etnološke i kulturnoantropološke perspektive razmatra stanovanje zagrebačkih studenata. Cilj je doprinijeti razumijevanju stanovanja studenata kroz usmjereni, dubinski i kvalitativni pogled na materijalne aspekte stanovanja (odabir, oblikovanje/opremanje/mijenjanje prostora stanovanja, materijalne predmete i opremu stambenih prostora i dr.), svakodnevni život, ponašanje, prakse i interakcije vezane za prostore stanovanja te osjećaje i imaginacije vezane uz kuću i dom. Rezultati istraživanja pokazuju kako stambeni prostor svojim karakteristikama uzrokuje, ograničava ili pak potencira određena ponašanja, interakcije sa sustanarima, osjećaje i raspoloženja. Obrađeni primjeri govore o ograničenjima i nedostatcima stambenih prostora koji proizlaze iz njihove često neodgovarajuće veličine i opremljenosti, te o praksama, nerijetko malim intervencijama i opremanju, kojima stanari nastoje prevladati ograničenja, stvoriti praktičan i ugodan prostor i ostvariti ugodan suživot sa sustanarima.Gradnja povezanosti s prostorom stanovanja, stvaranje intime i osjećaja doma zabilježeni su u radnjama opremanja prostora vlastitim predmetima, mirisima, zvukovima te ustaljenim aktivnostima i interakcijama s ljudima i kućnim ljubimcima. Zamišljanje budućih (i idealnih) stambenih prostora povezuje se s idejom o privremenosti (trenutnog stanovanja), a sadašnje i buduće mjesto stanovanja doživljava se kao prostor osamostaljivanja i samostalnosti.Radom se žele trasirati putovi za buduća opsežnija etnološka i kulturnoantropološka istraživanja stanovanja.
... As design is related to the object, the tangible, in the last two decades research has been carried out on the relationship between it and the person, which involves beyond a physical connection, even connections that can be emotional and affective, which gives this link a value of transcendence in the journey of human life, in addition to connecting us with others and with our environment. The results of these investigations have allowed us to understand this relationship and build studies on the subject (Csikszentmihalyi, 1981;Desmet & Hekkert, 2007;Richins, 1994) that are detected more specifically from psychology, marketing and, particularly, in neurosciences. ...
Resumen Palabras clave: diseño gráfico, diseño sensorial, modelo educa-tivo, multisensorialidad The text presents research that addresses the paradigm shift in designer training, moving from the traditional focus on graphic design towards sensory design and creative direction. It highlights the need to adapt to technological advances, user demands , and the skills required in the current work environment. The Universidad Iberoamericana in Mexico City leads this transition by proposing a new degree that integrates graphic design into a broader approach. An innovative educational model is introduced where students work on projects guided by various academics. The methodology used is based on qualitative techniques with faculty to gather information about the implementation process. Preliminary results show proposals that incorporate sensory and technological elements, especially in the first semester of the degree. However, it is necessary to wait for the graduation of the first generation to evaluate the professional success of this approach. El texto presenta una investigación que aborda el cambio de paradig-ma en la formación de diseñadores, pasando del enfoque tradicional en diseño gráfico hacia el diseño sensorial y la dirección creativa. Se destaca la necesidad de adaptarse a los avances tecnológicos, las demandas de los usuarios y las competencias requeridas en el ám-bito laboral actual. La Universidad Iberoamericana de la Ciudad de México lidera esta transición al proponer una nueva licenciatura que integra el diseño gráfico en un enfoque más amplio. Se introduce un modelo educativo innovador donde los estudiantes trabajan en pro-yectos guiados por diversos académicos. La metodología utilizada se basa en técnicas cualitativas con el profesorado para recopilar infor-mación sobre el proceso de implementación. Los resultados prelimi-nares muestran propuestas que incorporan elementos sensoriales y tecnológicos, especialmente en el primer semestre de la licenciatura. Sin embargo, es necesario esperar a la graduación de la primera ge-neración para evaluar el éxito profesional de este enfoque. A new approach in the training of designers: from graphic design to sensory design and creative direction 1* Un nuevo abordaje en la formación de diseñadores: del diseño gráfico al diseño sensorial y a la dirección creativa
... Phase 1 entailed gathering initial insights into participants' ideas in relation to physical and digital objects as distinct categories with 35 DMs and 30 DNs. The survey questions were drawn from literature specifically for items related to digital objects (Afshar, 2014) and for frequency of objects and association with them (Csikszentmihalyi & Rochberg-Halton, 1981). The survey items focused on gathering ideas from participants related to physical and digital objects, specifically prompting participants to share definitions of these objects. ...
The objects that humans produce and own serve as a primary framework for defining their lives. The nature of these objects has changed over time, as has the interaction between humans and objects. Recently, the digital age has transformed the nature of things, and now, physical and non-physical (digital) possessions coexist. The current study, therefore, attempted to understand what physical and digital objects entail as categories of things and also the engagement of people with these objects. Data was collected from digital natives (18–27 years old) and digital immigrants (28–45 years old) as defined by Prensky (On the Horizon, 9(6), 1–6, 2001), who were residing in Delhi/NCR, India. It was collected in two phases. Phase 1 involved a qualitative survey to explore ideas related to different objects from 35 digital immigrants and 30 digital natives. Phase 2 involved an in-depth exploration of the findings from the earlier phase through semi-structured interviews conducted with 3 digital immigrants and 3 digital natives. Haase’s adaptation of Colaizzi’s method of analysis (ANS Advances in Nursing Science, 9(2), 64–80, 1987) was employed for analysis. The results revealed two theme clusters – perception of physical objects (physical occupancy, exclusive ownership, relative permanence) and perception of digital objects (internet connectivity, contrasting states of omnipresence and transience, and tangible dependency). As with physical objects, more and more objects connect to the Internet and the Internet of Things has become a reality. This study offers timely insights into the evolving relationship between people and objects.
... Al estar relacionado el diseño con el objeto, lo tangible, en las últimas dos décadas se han realizado pesquisas sobre la relación entre éste y la persona, la cual ve involucrada más allá de una conexión física, incluso conexiones que pueden ser emocionales y afectivas, lo que otorga a este vínculo un valor de trascendencia en el recorrido de la vida del ser humano, además de conectarnos con el otro y con nuestro entorno. Los resultados de estas investigaciones han permitido ir entendiendo esta relación y construyendo estudios sobre el tema (Csikszentmihalyi, 1981;Desmet y Hekkert, 2007;Richins, 1994) que se detectan de manera más puntual desde la psicología, la mercadotecnia y, de manera particular, en las neurociencias. ...
El texto presenta una investigación que aborda el cambio de paradigma en la formación de diseñadores, pasando del enfoque tradicional en diseño gráfico hacia el diseño sensorial y la dirección creativa. Se destaca la necesidad de adaptarse a los avances tecnológicos, las demandas de los usuarios y las competencias requeridas en el ámbito laboral actual. La Universidad Iberoamericana de la Ciudad de México lidera esta transición al proponer una nueva licenciatura que integra el diseño gráfico en un enfoque más amplio. Se introduce un modelo educativo innovador donde los estudiantes trabajan en proyectos guiados por diversos académicos. La metodología utilizada se basa en técnicas cualitativas con el profesorado para recopilar información sobre el proceso de implementación. Los resultados preliminares muestran propuestas que incorporan elementos sensoriales y tecnológicos, especialmente en el primer semestre de la licenciatura. Sin embargo, es necesario esperar a la graduación de la primera generación para evaluar el éxito profesional de este enfoque.
... Al estar relacionado el diseño con el objeto, lo tangible, en las últimas dos décadas se han realizado pesquisas sobre la relación entre éste y la persona, la cual ve involucrada más allá de una conexión física, incluso conexiones que pueden ser emocionales y afectivas, lo que otorga a este vínculo un valor de trascendencia en el recorrido de la vida del ser humano, además de conectarnos con el otro y con nuestro entorno. Los resultados de estas investigaciones han permitido ir entendiendo esta relación y construyendo estudios sobre el tema (Csikszentmihalyi, 1981;Desmet y Hekkert, 2007;Richins, 1994) que se detectan de manera más puntual desde la psicología, la mercadotecnia y, de manera particular, en las neurociencias. ...
El texto presenta una investigación que aborda el cambio de paradigma en la formación de diseñadores, pasando del enfoque tradicional en diseño gráfico hacia el diseño sensorial y la dirección creativa. Se destaca la necesidad de adaptarse a los avances tecnológicos, las demandas de los usuarios y las competencias requeridas en el ámbito laboral actual. La Universidad Iberoamericana de la Ciudad de México lidera esta transición al proponer una nueva licenciatura que integra el diseño gráfico en un enfoque más amplio. Se introduce un modelo educativo innovador donde los estudiantes trabajan en proyectos guiados por diversos académicos. La metodología utilizada se basa en técnicas cualitativas con el profesorado para recopilar información sobre el proceso de implementación. Los resultados preliminares muestran propuestas que incorporan elementos sensoriales y tecnológicos, especialmente en el primer semestre de la licenciatura. Sin embargo, es necesario esperar a la graduación de la primera generación para evaluar el éxito profesional de este enfoque.
Housing design inherently reflects cultural perspectives, yet modern, homogeneous apartment complexes often overlook the distinct local identities embedded in traditional residences. This study employs a semiotic analysis to compare key cultural symbols expressed in Iran's introverted courtyard houses with those in contemporary outward-facing apartments, aiming to uncover meanings and assess continuity amid architectural shifts. The ornate 18th-century Abbasian house and the modernist 1977 Ekbatan complex serve as case studies, representing the contrasting eras of traditional introversion and contemporary extroversion through their morphology, ornamentation, and hosting rituals, all of which hold deep cultural significance. The analysis applies Peirce’s semiotic theory to classify architectural meanings as icons, indexes, or symbols. The findings reveal significant shifts from sheltering, climate-responsive, and community-oriented courtyard houses to exposed, technology-driven apartments designed for external visibility and aligned with global lifestyles, thereby diminishing localised distinctions. While contemporary housing forms offer upgraded amenities, the discontinuity in embedded socio-cultural associations risks weakening inhabitants’ sense of identity and affiliation. The study highlights strategies for balancing cultural continuity with the necessary evolution of housing, advocating for policy changes, community participation, and a re-engagement with vernacular traditions. By tracing the fading cultural codes, semiotic frameworks provide crucial insights into reconciling heritage with modern progress in the ongoing transformation of housing design.
El objetivo de esta investigación fue identificar las emociones positivas que expe-rimenta un grupo de personas mayores mexi-canas con sus objetos favoritos y los temas de valoración que explican las causas que las evo-can. Para cumplir dicha meta se realizó un estu-dio de carácter cualitativo en el que se realiza-ron 18 entrevistas a profundidad a personas mayores mexicanas de 60 a 75 años de edad. Las personas eligieron sus objetos favoritos a partir de cinco categorías asignadas: a) cal-zado, b) ropa, c) objeto tecnológico, d) objeto personal y e) objeto relacionado con una acti-vidad que les gusta realizar. La información fue analizada generando códigos y categorías que reflejan los temas de valoración. Los hallazgos indican que las personas participantes de este estudio experimentan de manera recurrente las emociones: confianza, satisfacción, cariño, ale-gría y relajación a partir de sus objetos favori-tos. Las características que las personas mayores valoran en sus objetos favoritos son: la comodi-dad, el poder realizar actividades y tareas signi-ficativas, relevantes y placenteras, la seguridad, el reforzamiento de su autoestima y el que los objetos sean un medio para mantener contacto y compartir con personas cercanas, entre otras. Estas características pueden informar el diseño para personas adultas mayores. Palabras clave: afectividad, diseño emocional, diseño para la vejez, gerontodiseño. ABSTRACT. The goal of this research was to identify the positive emotions experienced by a group of older Mexican adults with their favorite objects and the appraisal themes that explain the reasons that evoke them. To accomplish our research goal a qualitative study involved in-depth interviews with 18 Mexican older adults aged 60 to 75 years. Participants selected their favorite objects from five assigned categories: a) footwear, b) clothing, c) technological object, d) personal object, and e) object related to an activity they enjoy. The information was analyzed by generating codes and categories that reflect the appraisal themes. Findings indicate that participants of this study frequently experience emotions such as confidence, satisfaction, fondness, joy, and relaxation with their favorite objects. The characteristics that older adults value in their favorite objects include: comfort, the ability to engage in meaningful, relevant, and enjoyable activities and tasks, safety, reinforcement of their self-esteem, and the objects serving as a means to be in touch with close people, among others. These characteristics can inform the design for old people.
Introducción: En el contexto contemporáneo, la interacción entre emociones y consumo ha adquirido una importancia creciente. La propensión de productos y servicios a atender demandas emocionales es un fenómeno notable, especialmente entre los jóvenes, que suelen encontrarse en una posición de mayor susceptibilidad. La investigación se llevó a cabo utilizando una metodología mixta, con datos cualitativos obtenidos de grupos de discusión y entrevistas, y datos cuantitativos recogidos a través de un cuestionario. Metodología: Se utilizó un paradigma mixto, recogiendo datos cualitativos a través de grupos de discusión y entrevistas, y cuantitativos a través de un cuestionario. Resultados: Los resultados muestran qué productos generan emociones positivas y negativas en los jóvenes y sus hábitos de consumo. Discusión: se destaca que la búsqueda de satisfacción emocional a través del consumo puede hacer a los jóvenes más vulnerables, aunque también se observan efectos positivos, como la creación de comunidades en torno a ciertos consumos y un interés creciente por el consumo sostenible, aunque con algunas contradicciones. Conclusiones: Emociones y consumo están intrínsecamente relacionados en la vida de los jóvenes. Este trabajo se convierte en un punto de partida para diseñar estrategias de intervención y alfabetización emocional dirigidas a los jóvenes.
This paper presents our vision of TeleAbsence, extending the concept of telepresence to the past and the afterlife to address the vast emotional and temporal distance caused by the memory of loved ones who drifted apart and faded away. Instead of explicit and literal representations of loved ones, TeleAbsence describes poetic encounters with digital and physical traces left by the absence of others. TeleAbsence fosters illusory communications to conjure the feeling of being there with those no longer with us without using synthetic or generative representations and utterances. Our vision is deeply inspired by the Portuguese concept “Saudade” - the ‘desire for the beloved thing, people, place, and moment, made painful by its absence.’ We present our vision through five design principles: presence of absence, illusory communication, the materiality of memory, traces of reflection, and remote time, grounded in historical and cultural contexts. We present exploratory narratives to illustrate these principles and the concept of ambient co-presence using poetry, phone, piano and pen as mediums. We discuss challenges and opportunities for future work, including representational strategies to depict lost loved ones, ethical issues, and the possible extension of TeleAbsence to historical public figures.
ResearchGate has not been able to resolve any references for this publication.