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Design for the Real World: Human Ecology and Social Change
... Aunque de alguna manera, se podría decir que el diseño por naturaleza es social debido al acercamiento y atención que brinda a la población, para detectar sus necesidades a través de un proceso coordinado (ICSID, 2009). Pero no todo diseño está hecho para el beneficio de la sociedad (Papanek, 1984). ...
... Por otro lado, está la definición de Papanek (1984) proveniente del Instituto Tecnológico de Massachusetts, plantea que diseño, es todo actividad humana, pero que tiene por principal objetivo transformar el ambiente y los utensilios del hombre, y por extensión al hombre mismo (pp. 36). ...
... En 1953 la marginalidad, migración, pobreza y violencia en personas con un mínimo de posesiones permitió que el diseñador se concibiera, según Meggs y Purvis (2000), como "una actividad humana valiosa que podría contribuir en la mejora de la comunicación y la condición humana" (p. 352), por lo que el diseño se transformó en una actividad relevante con una utilidad social, que rechazaba las expresiones personales en el proceso de diseño, adoptando un enfoque mayormente universal y científico, surgiendo de esta forma otra postura del diseño con una mirada socialmente responsable, transformando así el diseño en el mediador entre las necesidades humanas, la cultura y el bienestar social a través de ideas, herramientas innovadoras y creativas que respondían verdaderamente a las necesidades de un entorno (Papanek, 1984) tal ideal del diseño influyó en las siguientes dos décadas. Para 1970 el diseñador fue relacionado como un contribuyente de la sociedad, en donde se buscó recibir necesidades de los grupos vulnerables, con una consigna de igualdad y equidad (Valtonen, 2012, pp. ...
Al hablar de métodos de diseño, surge una variedad de estos, cada uno con objetivos y estrategias únicas para acercarse a los usuarios y resolver las necesidades que puedan emerger. Si bien, aunque el diseño se relaciona comúnmente con el campo empresarial, sus estrategias tienen la posibilidad de empatizar con los usuarios e involucrarse activamente en su entorno, para detectar las carencias que experimentan como resultado de alguna problemática.
No obstante, el diseño enfoca su atención en el desarrollo de productos, sin reflexionar o hacer una introspección sobre la relación que tiene sus servicios y artefactos en los entornos socioculturales.. En parte esto se podría deber a la preparación metodológica que se le ha otorgado, a través de la literatura o dentro de la propia preparación disciplinar, así mismo como a la falta de responsabilidad social por parte del diseñador. Por ello, se enfatiza la importancia del desarrollo de métodos adaptados a los entornos sociales, para generar propuestas significativas para los grupos vulnerables.
... Dalam menciptakan karya fungsional, Barata juga memiliki prinsip-prinsip yang dijadikan dasar dalam penciptaan karya. Prinsip-prinsip tersebut akan dianalisis dengan berpedoman pada teori fungsi yang terdiri dari enam tata kelola desain dari Victor Papanek (Papanek, 1973). ...
... Berdasarkan pengertian dari Papanek, asosiasi adalah kemampuan menghubungkan antara gagasan dengan kemampuan panca indera dengan menggunakan gambar, bagan, tulisan, dan sebagainya. Asosiasi ini dapat juga dirumuskan sebagai latar belakang seniman dalam menciptakan sebuah karya yang awalnya berbentuk abstrak menjadi bentuk karya yang nyata (Papanek, 1973 ...
... Arti need dalam teori ini adalah kebutuhan manusia yang rasanya lebih sulit tercukupi karena kehendak manusia yang didasarkan pada kepuasan yang tidak dapat dimanipulasi (Papanek, 1973 (Harto, 2014). ...
This research aims to (1) understand the creation of Barata Sena's art furniture through the lens of Victor Papanek's Function Theory, and (2) explore the artistic values of Barata Sena's art furniture. This study is a qualitative descriptive research. The data sources for this study include the informant (Barata Sena), events (the process of creating art furniture), and documents (articles on Barata Sena’s art furniture and photographs of the furniture pieces). Data collection was conducted through interviews, observations, and document analysis. The results of this research reveal that Barata Sena is a creative figure, and his creative process aligns with Victor Papanek's Function Theory. The ideas and concepts behind his art furniture, such as the floating table concept and the scarf bench, are inspired by elements from the artist’s surroundings. Both pieces are produced for the upper-middle-class market, particularly art gallery owners both domestically and internationally. Both works incorporate three elements of visual art: color, space, and texture, as well as the principles of visual art, including unity, balance, simplicity, and center of interest. Additionally, both works carry specific meanings relevant to human life.
... In the milestone text Design for the Real World: Human Ecology and Social Change (Papanek [1971(Papanek [ ] 1985, Victor Papanek describes the power imbalance present between two perspectives. The first approaches design practice as integrated in its ecological and relational environment, while the other, mainstream one, utilizes design as a tool for consumerism. ...
... In the milestone text Design for the Real World: Human Ecology and Social Change (Papanek [1971(Papanek [ ] 1985, Victor Papanek describes the power imbalance present between two perspectives. The first approaches design practice as integrated in its ecological and relational environment, while the other, mainstream one, utilizes design as a tool for consumerism. ...
... Being a forerunner of ecological sensitivity in design, food takes up a great portion of Papanek's reflection, who strongly critiques design subjugation to capital even in agriculture and food-related environments, denouncing the fact that "food production and the development of new food sources have been of no interest to the design profession at all", while also claiming food importance as "designers are involved, like it or not, as human being" (Papanek [1971(Papanek [ ] 1985). Since then, the reading of Papanek's work in design universities has highly influenced an approach to biological systems design that relates the practice of making to its sociological, psychological, cityscape surroundings through ecology and ethology. ...
This paper investigates the narratives involved in the becoming public of an ecological, relational, and culinary culture through artistic mediums. Specifically, the question posed is this: how do food and cooking feature in some selected design and architecture exhibitions? The argument is developed through a series of thematic case studies that aim to affirm the presence in contemporary design, architecture, and exhibition-making of an ecological paradigm. The examples blur the lines of food and art by being proposed as processes of collective authorship happening in atmospheres of conviviality and hospitality. I bring forth the argument that developing exhibitions through the lines of hospitality can improve the quality of public engagement, and amplify a relational model which calls for the collective and entangled nature of all things. Alongside the potential of the arts of sparking a cognitive restructuring and shift in perspective, some risks associated with the mainstream model of society are considered. The final aim is to affirm the importance of relationships to oppose the neoliberal geopolitics of power which foster object-oriented perspectives.
... Millman enfatiza que las decisiones compositivas deben ser culturalmente relevantes para garantizar que las histo-rias visuales sean inclusivas y significativas. Papanek (1985), complementa esta idea, señalando que el diseño tiene la responsabilidad de reflejar y respetar los valores culturales de las comunidades a las que sirve, lo que subraya la importancia de un enfoque ético y culturalmente sensible. Esta perspectiva se manifiesta claramente en sistemas de identidad visual diseñados para audiencias multiculturales, en los que se integran elementos simbólicos y estilísticos que reflejan la diversidad cultural. ...
... El diseñador gráfico actúa como un mediador entre los sistemas semíoticos y las audiencias, traduciendo conceptos abstractos en imágenes y composiciones que resulten comprensibles y significativas. Papanek (1985), subraya que el diseño no es una actividad neutral; al contrario, es una forma de comunicación que siempre conlleva intenciones y está sujeta a interpretaciones. Esta perspectiva refuerza la importancia de que los diseñadores comprendan los sistemas semíoticos dentro de los diferentes contextos culturales y sociales en los que trabajan, garantizando que sus mensajes visuales sean tanto efectivos como éticos. ...
... En el activismo social, la narrativa gráfica tiene la capacidad de amplificar mensajes y movilizar audiencias, actuando como un catalizador para el cambio social. Papanek (1985), sostiene que el diseño debe ser una herramienta para influir en percepciones y comportamientos, destacando su potencial transformador. En este ámbito, las narrativas gráficas combinan imágenes simbólicas y textos provocativos para generar un impacto emocional y fomentar la reflexión. ...
Este libro analiza cómo la convergencia entre forma, función y tecnología redefine el diseño gráfico contemporáneo, configurándolo como una disciplina estratégica en un mundo en constante cambio. La forma se presenta como núcleo visual, esencial para construir mensajes culturales y emocionalmente resonantes. Explora cómo la tipografía, el color y la composición articulan narrativas visuales que conectan tanto a nivel local como global. La función actúa como puente entre estética y comunicación, demostrando su capacidad para movilizar comunidades y redefinir marcas; el diseño gráfico trasciende lo decorativo para convertirse en un agente de transformación social y cultural. La tecnología amplifica la creatividad del diseño gráfico mediante herramientas como inteligencia artificial, diseño generativo y experiencias inmersivas. Estas innovaciones facilitan la adaptabilidad, sostenibilidad y personalización, respondiendo a desafíos globales y éticos. Con ejemplos prácticos y reflexiones teóricas, esta obra invita a repensar el diseño gráfico como una práctica integradora que responde a demandas culturales, sociales y tecnológicas, trazando un camino hacia un futuro inclusivo, ético e innovador.
... In onda sporadicamente su WNED-TV Channel 17 dal 1959 al 1962, non solo tenta di educare il pubblico sulla cultura del design industriale, ma, suscitando sorpresa negli spettatori e, forse, disappunto in alcuni, stimola una riflessione sui valori consumistici e sulle contraddizioni sociali dell'epoca. (Papanek, 1971 (Miller, 1945, p. 17). ...
... Egli promuove un'educazione multi-comprensiva, che integri aspetti umanistici, e una visione del design come sistema integrato di uomo, ambiente e pensiero. Il suo modello educativo incoraggia allora la progettazione integrale, formando progettisti capaci di lavorare in gruppi interdisciplinari per risolvere problemi complessi (Papanek, 1971). La televisione, nella sua visione, assume quindi un duplice ruolo: da un lato, è strumento di diffusione capace di raggiungere un vasto pubblico democratizzando la conoscenza, e, dall'altro, un medium intrinsecamente ambivalente, potenzialmente incisivo nell'uso propagandistico, come riconosciuto da sostenitori e critici del sistema capitalistico. ...
... A questo punto, la corsa alla qualità dell'immagine diventa per Papanek un elemento imprescindibile per il processo cognitivo e non una mera questione tecnica finalizzata all'estetica. Un televisore per l'Africa, completamente nuovo, dedicato esclusivamente a scopi didattici, avrebbe dovuto di fatto garantire, a suo parere, un alto grado di definizione per assicurare un apprendimento fluido e privo di ostacoli, come pure orientarsi verso soluzioni a bassa tecnologia nel rispetto del complesso funzionale, chiarendo i legami tra il valore estetico e la funzione dell'oggetto, mettendo in relazione necessità funzionali primarie di metodo, uso, esigenze reali, estetica, aspetti associativi e concetto telesico, al fine di ricomprendere la complessità nella semplicità (Papanek, 1971). ...
Negli anni Cinquanta e Sessanta, un periodo dominato dalla comunicazione audiovisiva, la televisione si diffonde rapidamente, mediatizzando le dinamiche relazionali. Eppure, negli Stati Uniti, il suo impiego si orienta verso una civilizzazione nazionalista e di educazione alla cultura del consumo, sostenuta da un design mirato alla commercializzazione massiva. In questo scenario, in contrapposizione a tale tendenza, e in linea con le contemporanee riflessioni sul medium televisivo come veicolo di educazione alternativa e socializzazione, la televisione — intesa sia come palinsesto, sia come dispositivo fisico — diventa, nelle mani di Victor Papanek, strumento di critica sociale. Mediante una rilettura storiografica degli studi classici sui media e del design, interrelati nel lavoro di Papanek, il contributo analizza il programma televisivo educativo Design Dimensions (1959-1962), e il progetto Ujamah, televisore per l’Africa, come occasioni per promuovere una cultura del progetto finalizzata al miglioramento sociale, risemantizzando così il concetto di una better television.
... The need to put society -in conjunction with the environment as well as culture -at the core of design practices perhaps links to a call to action -not only specifically to architects, but to design professionals at large -that started as far back as the 1970s -if not earlier -with seminal works like that of Papanek's -Design for the Real World: Human Ecology and Social Change. A call which urges for a shift in consciousness and towards a responsible design approach that is just for both humans and non-humans (Papanek, 2011). ...
... A persistent call for a revaluation of design practices and for the way we make things as also echoed in various recent works including that of McDonough & Braungart's -Cradle to Cradle: Remaking the Way We Make Things -which, yet again, stresses the need for a change in approach that is just for society and the environment whilst being appropriate for the here-and-now as well as for the future (McDonough & Braungart, 2009;Papanek, 2011). But what prompted the need for this call? ...
... *** What prompted the call for a shift in consciousness and practice in design fields is the belief thatinextricably linked to hegemonic rhetoric of unlimited economic growth, development and as an embodiment of modernity -process and products of design practices have contributed to exploitative extraction, unethical consumption and unsustainable practices. A process that instigated and is now associated with multiple adverse impacts which have had their bearings both on society and the environment (Dethier, 1982 p.24;Escobar, 2018;McDonough & Braungart, 2009;Papanek, 2011). ...
... A mudança climática, intensificada desde a revolução industrial, é um desafio crítico, pois ameaça o meio ambiente e compromete futuras gerações (Lima, 2021). O IPCC (2022) Victor Papanek (1972), em seu livro Design for the Real World, destacou a responsabilidade social e ambiental do Design, sublinhando que os designers deveriam priorizar soluções que fossem benéficas à sociedade e ao meio ambiente. Thackara (2005) complementa essa ideia ao ressaltar a importância do Design na criação de sistemas mais resilientes e adaptáveis, capazes de enfrentar os desafios ambientais e sociais contemporâneos. ...
... Para alcançar essa consciência ecopolítica, é essencial contar com o papel transformador do Design, que deve cumprir a sua função social e ambiental ao promover consciência ecológica e cidadã, sendo a força positiva para a mudança (Papanek, 1972). O Design ajuda a enfrentar os desafios ambientais e sociais contemporâneos por meio de soluções inovadoras com a participação da sociedade (Manzini, 2015). ...
Este estudo tem por objetivo compreender como o Design contribui para a proposição de soluções inovadoras destinadas à Educomunicação ambiental. Esta pesquisa foi apoiada no método Design Science Research e o processo envolveu revisão de literatura; reuniões com gestores dos sistemas de Gestão de Resíduos Sólidos (GRS); visitas de campo com aplicação de questionários a usuários e comerciantes; e mapeamento de experiências. Os resultados forneceram uma visão detalhada das possibilidades de atuação. A utilização do mapeamento de experiências demonstrou ser eficaz na identificação e proposição de soluções inovadoras e alinhadas às necessidades da comunidade local. Os resultados foram transferidos e têm sido adotados pelo governo local, demonstrando que o Design desempenha um papel crucial nesse cenário.
... The product design process should be considered as a whole from the beginning to the end regarding its environmental, social and economical impacts throughout the entire lifespan of a product (Papanek, 1985). Thus, the development of design solutions taking into account both the use and post-use phases (i.e. ...
... However, this study concentrates on the modern conception of sustainable design in the industrialised world which might be almost understood as a re-invention of this concept after a time of highly unsustainable development. The renewed interest in this concept had been encouraged by design theorists such as Buckminster Fuller (1963) and Papanek (1971). ...
... There is an important view in design research (Papanek, 1984) which reduces design to a fundamental human activity level and consequently calls it as a group of daily routine actions. Accordingly; activities like buying clothes, cleaning the house, organizing the desktop and cooking all have simple mechanisms of decision making, hence can together be referred as the lowest level in the path of acquiring competence. ...
... Many of these are familiar in the world of design and are becoming familiar within the world of informatics, especially in the now accepted confluence of HCI and design. Victor Margolin and Victor Papanek have written extensively about values in design (Papanek, 1985;Margolin, 1989;Margolin & Margolin, 2003). Batya Friedman (1997) ...
... The role of design in helping the poor was recognized early in the seventies. Designer and educator Victor Papanek (1971) called for a new design culture based on social responsibility for the environment and the people living in it by making good design. Awareness of design for social change has gained momentum over the past decade when designers and researchers started addressing the needs of unprivileged groups. ...
... It is interesting to note that Victor Papanek (whose book Design for the Real World was published the same year as Haug's first German edition of Critique of Commodity Aesthetics) echoed his sentiments of the diminished value of a commodity forced into senility. Papanek (1971) believed that objects designed to be discarded soon after production led to a "Kleenex culture," which would expand the notion of disposability to human values. The critical notion of value, economic as well as social, therefore, surfaces in the discussion of obsolescence. ...
... Indirectly, these echoed EDI. For example, cultural intersections between design, human ecology, and social change are proposed by Victor Papanek (1971) when he challenges that conventional design practices need to foster responsible approaches and impacts into society; Victor Margolin (2005) argues on how an effective design culture can trigger strategic forces needed to produce an opening toward the ethical sides, as a reaction to consumerism and exclusivity; in terms of enabling scenarios, Ezio Manzini (2016) discusses the concept of 'emerging design' as a design-led cultural reaction that leads toward responsive designs; finally, an approach for "doing design otherwise" is offered by Carl DiSalvo (2022) who recommends that designers must supply novel contributions to local democracy by drawing together theories and practices. ...
The need to align teaching and learning practices to concepts that are conformed to the evolution of contemporary society, so that students can gain higher confidence in addressing the instances of future markets, requires Design universities to review their curricula. Equipping future designers with updated cultural and design frameworks is an imperative and strategic mission. Among innovative concepts that can advance Design Education and the development of so skills in learners, ‘Equality, Diversity, and Inclusion’ (EDI) is today considered as paramount to reorienting teaching and learning practices toward holistic educational patterns. This would allow students to gain more confidence in designing enabling products and services for all consumers, including vulnerable ones. However, EDI is an evolving and complex concept, sometimes hard to grasp. Moreover, potentially biased contents could limit its correct adoption. This work explores the concept of EDI in Design Education; it provides an overview of principal concepts and shows promising trajectories for Design studies. It follows a four-step process comprising literature review, case study analysis, data synthesis and classification, and the discussion on promising research trajectories.
... A Figura 2 apresenta a planta baixa do abrigo na qual pode-se observar que será possível utilizar dois beliches para abrigar 4 pessoas. O design para circunstâncias emergenciais pode ser definido como parte do conceito de design social, assim unido diretamente às necessidades humanas; o objetivo é se apropriar das ferramentas de projeto arquitetônico como instrumento criativo para suprir problemas sociais e ambientais, antes de quaisquer questões mercadológicas (Papanek, 1984). (2019) ...
Os desastres naturais aumentaram em frequência e gravidade nos últimos anos; as inundações e deslizamentos de terra são as tragédias mais recorrentes no Rio de Janeiro. Este estudo propõe se apropriar do conhecimento técnico de arquitetos para contribuir com soluções adequadas, rápidas e mais econômicas para acomodar os afetados. O presente artigo parte de uma revisão bibliográfica, fundamental para a escolha adequada de materiais a serem utilizados em um abrigo de caráter temporário, emergencial e sustentável. Como fruto do estudo tem-se a concepção de um pré-projeto de abrigo para a cidade de Petrópolis, o qual se espera exequível. A proposta é a substituição de materiais convencionais por materiais mais limpos e econômicos, com a utilização do bambu, caixas de plástico (engradados), placas de OSB e lonas de poliestireno, todos com boas características físicas, que proporcionam agilidade na construção e menor custo.
... Subsequently, the focus shifted to design for profit in the 1970s and ethical concerns such as green consumerism and corporate social responsibility with the 1980s and 1990s. These approaches were researched in ecology (Papanek, 1971), product planning, and economics (Cramer and Stevels, 2006;Crul et al., 2009). In the late 1990s, D4S approach gained importance as a key area of research that integrated ecological and social responsibilities and profitability (Bhamra and Lofthouse, 2016;Crul and Diehl, 2006) (Figure 1). ...
Design for sustainability (D4S) has been developed to help companies enhance their product life cycle processes, starting from the materials used in their products, while considering environmental and social aspects. The Material and Resources criteria of LEED share a similar focus with D4S. This alignment allows for exploring the practical application of D4S principles in the built environment. This study investigates the material selection preferences within LEED-certified buildings in Türkiye, specifically focusing on Gold, Platinum, Silver, and Certified-rated New Construction buildings under LEED V4 and LEED 2009 certifications. Through statistical analyses, the study examines how sub-criteria impact certification levels and how impacted sub-criteria are affected by project characteristic critically and discusses these findings in the context of D4S criteria. The results highlight (1) distinctions among certifications, particularly in relation to regional materials, certified wood, sourcing of raw materials and construction and demolition waste management criteria, and (2) project characteristics have varying impacts on the LEED certification criteria that have impact on variation in certification types. These results are interpreted from a D4S perspective, underscoring the importance of prioritizing reuse, renewable energy, waste reduction, and considering user impacts. In conclusion, this study underscores areas that require improvement in building material selection practices when viewed through the D4S principles.
... The concept of inter-subjectivity can expand the knowledge aboutand contribute to the creation of -new design approaches that are necessary in order to design new sustainable solutions. Inter-subjectivity as a facet of a design process can therefore be seen as an extension of the ideas of the design researcher Papanek who aimed for a more ethically, socially responsible and sustainable role of the designer-values that could be further conveyed into industry by the designers practice (Papanek 1971). Many product design educations aim to link commercial aspects and experience value to sustainable and social concerns in their curriculum. ...
... Since the early 20th century, Victor Papanek has criticized design as a "harmful profession," emphasizing that when all boundaries are removed and anything becomes possible, design risks devolving into an endless pursuit of novelty. In such cases, "newness for the sake of newness" may become the sole standard, leaving designers increasingly disconnected from functional complexity and societal needs (Papanek, 1991). This critique underscores the need for designers and educators to shift their focus from merely creating objects to becoming solution providers who guide future generations toward sustainable practices. ...
This research is to understand the students’ perception on reusing salvaged materials and to propose a sustainable approach for Higher Education Institution. The main thrust of this study is the amount of wastage from students work which are often left over after every assignment, that contributed to serious problems such as space issue, safety concerns, and visually unpleasing. The lack of understanding that each material, which has a significant value and the potential of reusing by integrating it as educational resource as a sustainable solution. This study is conducted to 853 students from the School of Architecture and Built Environment (SABE) at UCSI University, Malaysia. Hence, the main objective of this research is to identify what are the suitable recovering programs that could provide a potential sustainable solution towards the campus. A quantitative method approach using questionnaire survey as primary data to achieve the research objective. The finding of this research can contribute to better understanding on revaluing materials, prolonging its usage and the potential of implementing a circular material resource centre.
... The skills we teach are too often related to processes and working methods of an age that has ended." (Papanek, V. J. -1971). ...
This article presents findings from the 2023 survey titled "Study Futures for Product Design," conducted by three faculty members from ESAD College of Art and Design. The survey aimed to gather and analyse insights from one hundred undergraduate and postgraduate students regarding their experiences and expectations within their product design education. This research was motivated by ongoing observations within ESAD’s Master's program in Product Design, as well as contemporary studies on design education for the 21st century by scholars such as Michael Meyer and Don Norman. The findings underscore the evolving nature of design education, particularly the need for curricular adjustments that align more closely with the demands of the modern professional landscape. By emphasising student feedback, this article advocates for a reevaluation of current pedagogical approaches, aiming to better prepare students for the diverse and dynamic challenges of the design industry. The study calls for a shift in focus towards teaching content that enhances relevance to professional applications and optimises employment opportunities in the field of product design and related industrial specialisations.
... Uno de los aspectos más críticos identificados en el estudio es la baja participación de la comunidad en los procesos de diseño. A pesar de que el diseño gráfico es ampliamente reconocido por su impacto positivo (Papanek, 1985), la falta de inclusión activa de los ciudadanos en la toma de decisiones ha generado una brecha significativa entre las estrategias visuales implementadas y las necesidades reales de la comunidad. Esta falta de participación directa no solo ha debilitado la pertinencia de algunos proyectos, sino que también ha limitado la apropiación de los diseños por parte de la población. ...
El Diseño Gráfico ha sido históricamente asociado a la comunicación visual y a la persuasión en contextos comerciales, pero su papel en la transformación social sigue siendo un campo en constante exploración. Este artículo analiza el impacto del diseño gráfico en proyectos de vinculación social a partir de la experiencia de diseñadores que han liderado iniciativas orientadas a la solución de problemáticas comunitarias. El estudio tiene como objetivo evaluar los cambios tangibles generados por el diseño gráfico en diversas comunidades y examinar en qué medida este campo logra fomentar la participación ciudadana mediante procesos colaborativos. Para ello, se ha empleado una metodología mixta basada en entrevistas semiestructuradas con diseñadores y encuestas dirigidas a ciudadanos involucrados en proyectos de diseño social. Los resultados evidencian que el diseño gráfico no solo aporta en términos estéticos y comunicacionales, sino que también facilita procesos de construcción identitaria, cohesión social y empoderamiento comunitario. Asimismo, se identifican los principales desafíos que enfrentan los diseñadores en este ámbito, como la falta de reconocimiento institucional y la necesidad de metodologías participativas más estructuradas. Se concluye que el diseño gráfico, cuando se articula con estrategias de participación social, tiene el potencial de generar cambios significativos en las comunidades, aunque su efectividad depende de la integración con otras disciplinas y del compromiso activo de los actores involucrados.
... By blending lifecycle assessment tools into the design process, designers can evaluate the environmental impact of their creations from conception to disposal. Additionally, generative design algorithms optimize material usage and structural efficiency, reducing waste and promoting eco-friendly practices (Papanek, 1985). The proliferation of digital tools has also transformed design education and skill development. ...
In the rapidly evolving landscape of industrial design, the interplay between functionality and aesthetics is gaining unprecedented importance. This paper explores emerging paradigms that harmonize these dual aspects, emphasizing their role in creating products that are both practical and emotionally resonant. By analysing case studies and incorporating interdisciplinary approaches, highlighted how advanced technologies, sustainable practices, and user-centred design philosophies are transforming industrial design. The findings underscore the necessity of balancing utility with aesthetic appeal, demonstrating how this equilibrium fosters innovation, enhances user experience, and drives market differentiation. Ultimately, this study positions the integration of functionality and aesthetics as a fundamental of successful industrial design in a consumer-driven, technology-enabled era.
... In nature, the concept of waste doesn't exist; everything is a resource [3]. Designers must adopt this principle in their product development, by being a "designer-planner", as they are responsible for nearly all the products and tools we use in everyday life, as well as most environmental mistakes [11]. In this model, the role of designers extends beyond merely shaping artifacts; they embrace new social roles, serving as communicators, educators, facilitators, activists, and entrepreneurs [12]. ...
The growing awareness, particularly concerning environmental issues within the fashion industry, highlights the crucial role of education in promoting the adoption of circular practices and fostering sustainability principles within fashion design education. This article investigates the integration of circular economy (CE) and sustainability in fashion design education, with a specific fo-cus on the Fashion Design Technician course (FDTC) at the secondary education level. The primary objective is to explore the importance of these concepts in FDTC, as perceived by educators. The study employs a methodological approach that combines qualitative and quantitative analysis, including documentary source study and a questionnaire survey administered to forty FDTC teachers during the academic year 2023/24. The findings reveal that FDTC teachers place considerable emphasis on sustainability and CE matters, recognizing their im-portance not only in preparing secondary school students but specifically in shap-ing future fashion designers. This recognition persists despite the absence of ex-plicit mentions of these principles in the curriculum documents across the various course subjects. Moreover, the study observes that teachers actively integrate many of these principles into their teaching strategies, showcasing a wide array of resources incorporated within the classroom environment. This research un-derscores the significance of aligning educational systems with the evolving dy-namics of the fashion industry to foster positive change and contribute to a more sustainable future.
Keywords: Circular Economy · Sustainability · Education · Fashion Design
... He promoted a new design philosophy and struggled with a meaningless, frivolous, useless product, providing a blueprint for "conscious" design for a real world that lacks resources. Design is the process and result of artistic-projecting activities to meet the utilitarian, social and aesthetic needs of consumers (Papanek, 2005). ...
The study is devoted to expanding and deepening the methodology of project thinking in order to introduce theoretical and methodological foundations in design practice and design education. Professional terminology is an urgent problem today, since in addition to higher education, there are many short-term courses, websites of design studios and blogs, where information is often presented incorrectly or subjectively. Based on the works of famous historians, theorists and design practitioners, the main purpose of the article is to concretize basic design terms. Taking into account the interdisciplinarity and social essence of design activity, its impact on the scale, process and result of design objects functioning, the author applied historico-comparative, system-structural, sociocultural, synergistic, semiotic, and praxeological research methods. The discussion included the analysis of design as a product of art-project culture, as well as outlining the general prospects for its development, taking into account the latest technologies. Interconnections of functionality, technology and aesthetics of form-creative means in design process are emphasized. Particular attention is paid to specifics of design thinking and corresponding interpretations of various authors. Conclusions present the results of theoretical generalization of terminology field in design industry. A number of research tasks have been completed: research methods have been substantiated, the essence of professional design terms at language levels has been compared by analysing and correlating English and Ukrainian scientific and educational sources; terminology for modern design education has been specified. This work has three levels of importance: conceptual-predictive, problem-theoretical, and the disciplinary level.
... In the early 1970s, however, critical design researchers raised their voices, praising the responsibility that comes with designing and using resources, for that matter (Papanek, 1971). ...
Design Research 20234 folgt als Fortsetzung dem ersten Band Design Research 2020, der erneut als eigenständiger Sammelband mit acht Beiträgen Einblicke in aktuelle Promotionsvorhaben der Professur für Technisches Design der TU Dresden bietet. Dabei scheinen die inzwischen gestärkten Verknüpfung weiterhin technologieorientierter Designforschungsthemen mit übergreifenden Nachhaltigkeitserfordernissen (Sustainability) und dafür notwendigerweise zu gestaltenden Übergangsprozessen (Transition) nun deutlicher auf.
Bu kitap, meslek etiğinin gerekliliğini ve grafik tasarım alanında etik ilkelerin uygulanabilirliğini çok yönlü bir perspektifle ele alan sıkıştırılmış bir çalışmadır. Anadolu Üniversitesi Güzel Sanatlar Enstitüsü’nde tamamlanan sanatta yeterlik tezine dayanan eser, kuramsal tartışmalardan ziyade, etik ilkelerin gündelik yaşam ve profesyonel tasarım pratiğindeki yansımalarına odaklanmaktadır. Özellikle grafik tasarımcılar, sanat ve tasarım öğrencileri ile bu alanda çalışan araştırmacılar ve akademisyenler için önemli, kolay anlaşılabilir bir başvuru kaynağı niteliğindedir. Kitap, evrensel etik değerlerin birey ve toplum düzeyinde benimsenmesiyle meslek etiği arasındaki ilişkiyi kurarken; etik dışı davranışların grafik tasarım alanındaki somut etkilerini örneklerle açıklamaktadır. Telif hakkı ihlalleri, yanıltıcı görsel iletişim, manipülatif tasarım ve mesleki sorumluluk gibi konular hem teorik bir çerçeveyle hem de pratik durum senaryolarıyla desteklenmektedir. Akman, etik ilkelerin sadece yazılı kurallar olarak değil, içselleştirilmesi gereken yaşamsal rehberler olduğunu vurgularken; meslek etiğinin sürdürülebilirliği için güçlü denetim, otokontrol ve eğitim mekanizmalarının önemine dikkat çekmektedir. Kitap, normatif, uygulamalı ve meslek etik türlerini ayırarak okuyucuya çok yönlü bir anlayış sunmaktadır. Aynı zamanda grafik tasarım mesleğinde sorumluluk, özgünlük ve şeffaflık gibi değerlerin nasıl hayata geçirilebileceğini… Bu kitap, hem bireysel etik farkındalığın gelişimine katkı sunmak hem de meslek pratiğinde daha adil, sorumlu ve özgün bir üretim anlayışına zemin hazırlamak amacıyla kaleme alınmıştır.
The second chapter starts with a review of the strategic roles and implications of design in business organisations, with a particular emphasis on presenting the contributions of design thinking for business innovation and organisational changes. The research in strategic design and design thinking has achieved significant outcomes to expand the scope of design application to more strategic domains, including innovation processes, organisational development, behaviours, culture, and systemic paradigms. Additionally, explores the strategic role of design beyond the business sector, emphasizing its impact in complex social contexts where environmental, social, and cultural considerations are vital. The current applications of design thinking face limitations in fully leveraging strategic values to foster transformative solutions to complex societal challenges.
The Chronology of a woman determines numerous transitions across her lifespan. Menopause is a transition that begins with subtle changes that may not be noticeable several years prior to menopause; yet, it impacts the ageing experience. Design and participatory approaches have demonstrated how we can collaborate to define and determine pathways that offer innovative solutions across social, work, and health settings. ‘Design Your Menopause Life’ encourages autonomy, curiosity, and support as a woman documents, diaries, and expresses her experience with an awareness of support and empowerment through peers, technologies, and professionals. This chapter will discuss the rationale for instigating, designing, developing, and delivering three concepts aimed at encouraging a call to women to create their journey as they navigate perimenopause and menopause with an awareness of peer and professional support through innovative digital and analog tools and events. These solutions are conceived to offset and alleviate some chronic or age-related conditions, enhancing quality of life and informing policy in work and social settings.
This contribution moves from the convergence of the systemic approach of Advanced Design (AD) with the principles of Responsible Innovation (RI), with the aim of promoting more collaborative and ethical practices in complex scenarios. Responsible Innovation originates from the broadening of the scope of the so-called ‘Responsible Research and Innovation’ (RRI), established by the European Community. From the overlaps and integrations between the principles of RI and the tools and practices of AD, a new approach to change and re-generation emerges, particularly to address current crises, which we have called Responsible Advanced Design (R-AD). We may relate R-AD deeply to the concept of the so-called Regenerative Sustainability, which takes more account of the particularities of different contexts and brings sustainability to a more holistic view. To include both the three dimensions of Sustainable Development—environmental quality, economic prosperity, and social equity—and key concepts such as People, Planet, Prosperity, Peace, and Partnership, as promoted by the SDGs, circularity and its 9Rs strategies were then considered to be integrated into the R-AD approach. This has led to an extension of the R-AD approach that, therefore, can guide anticipatory, cooperative, and transformative design, which is essential to address current crises from a local and global perspective and to promote regenerative processes in particularly challenging sectors. This revisited approach was thus applied to the analysis of a selection of case studies, both from the Mediterranean region (Italy) and Latin America (Chile), choosing as an exemplary field of study the so-called Packaging System, which is a multidisciplinary and cross-sectoral system involving different actors and interchange relationships for the development of a complex artifact such as packaging.
Collaborative project practices between industrial design education and industry provide a multi-layered basis for students to gain realistic experiences. However, there is still a significant gap between design education and industry in Turkey. For this reason, design education needs new opportunities and applications to be extended beyond university boundaries. This study presents a project of being a guest in the manufacturer’s house as an alternative practice in design education. In this project, a design studio course is conducted in a factory setting outside the university, combining academic knowledge with real-world production experience for students in design education, with an on-site learning approach. In this context, the aim of the study is to evaluate the impact of an industry-focused design studio course, structured through a collaborative approach, on students' learning motivation and contribution. The importance of the research findings in the study, which was structured as a case study within the scope of the qualitative research method, is based on its ability to bring a new perspective to the "on-site learning" process in the design studio course and to create a new application field within the context of university-industry collaboration.
This study explores integrating design-based making within Positive Youth Development (PYD) frameworks to expand design’s role beyond established educational contexts. While PYD programs have traditionally utilized arts- and sciences-based making, this research introduces design-based making as an approach that aligns with core PYD goals of fostering competence, confidence, connection, character, caring, and contribution (6Cs). The research details a six-week pilot program, Improve Our Club!, where 26 youths engaged in design-based making activities such as problem identification, sketching, and prototyping. Thematic analysis of youth design artifacts and presentations reveals that design-based making promotes expressions of the 6Cs and fosters self-efficacies connected to the activity of design. Using a novel network emergence mapping technique, the study illustrates how design-based making facilitated an emergent network of contributions among participants. Findings highlight how design-based making afforded youth opportunities to express contribution, providing evidence that the current 6Cs model does not account for the nature of design-based making, which essentially differs from arts-based and science-based making. This research shows how integrating design practices into youth development programs expands the relevancy of design as it fosters personal growth and social engagement and empowers youth to actively shape their own worlds beyond traditional educational contexts.
Az ember által létrehozott mesterséges környezet - legyen az fizikai vagy virtuális - folyamatos fejlesztést igényel, humánus értékeink tükrében. A társadalmi, gazdasági és szociális változásokat egy metamodern korban éljük meg, amelyet a multikulturalizmus és a posztmodern utáni korszaknak tekinthetünk. A fenntarthatóság elérésének kihívása a verseny és a kooperáció dinamikájában rejlik, ahol a túltervezés és túltermelés problematikája különösen hangsúlyos. Az út a fenntartható fejlődés felé az ökológiai szempontok, a gyorsaság, a kreatív alkotóképesség, a hatékonyság és az esztétika közötti egyensúly megteremtésében rejlik. A részvényesek, cégvezetők, tervezők, gyártók, forgalmazók és fogyasztók igényeinek és vágyainak láncolatában könnyen elveszhetnek a közös célok, azonban egy transzdiszciplináris megközelítés megoldókulcsává válhat égető kérdéseink megválaszolásának.
The transition from print to digital media holds significant potential for reducing environmental impact. Traditional print media requires substantial natural resources and generates significant waste and greenhouse gas emissions. Digital media offers environmental benefits by eliminating the need for paper, ink, and physical printing processes, increasing energy efficiency, and reducing physical waste. Digital visual communication design can deliver dynamic and interactive messages, enhancing engagement and reaching a global audience quickly and cost-effectively. Challenges such as dependency on digital technology and data privacy issues must be addressed for a successful transition.
This research aims to work on the development of Slow Design and how it relates to other design concepts within Art History, such as: Arts & Crafts, Design for Sustainability, Eco Design and Design for the real world. As a sustainable design, we will observe similarities between all concepts, but also differences which will provide a new vision of what sustainable design is. A methodology of bibliographic analysis was adopted, reviewing the issue based on authors who have studied the subject. Thus, it was concluded that the role of Slow Design has been changing the way of producing new objects.
This research comprises the experimental and genuine thinking processes of art and design information in terms of workplace scenarios regarding the topic ‘Creativity’ which is present in the learning output of PiCoDe education method; it covers this analysis within the context of its dimensions. In this regard, it aims to address and answer the following questions: ‘What is creativity?’, ‘Who is the creator?’, ‘How does creativity come into existence?’, ‘What are the specific characteristics of crea-tive individuals?’, ‘Why does the business world place impor-tance on creativity?’, ‘What are the dynamics of creativity?’, ‘What kinds of techniques and methods exist to enhance crea-tivity?’ The answers to these questions are addressed under the topics demand for creativity, thinking with a question and searching for a muse.
This research also aims to explore the definition of crea-tivity within creative design problem solving methods. In this context, the search focuses on a design workshop titled “From Sound to Image’ which took place at an Erasmus+ international week in Escuela Superior de Diseño de La Rioja, showing emergence and the development of instant crea-tive works. Studies show that creativity is the result of intelligence, accumulation of knowledge, sensitivity to prob-lems, need to succeed, risk-taking, demographic features,conditional factors and organisational factors in the business world. Environmental awareness and level of consciousness in creative individuals perceiving by using all their senses and learning by trial-and-error method is high. However, person-ality features of the individual have a significant effect on utilising the potential and development of creativity. Among the dynamics of creativity, inner enthusiasm, extensive curi-osity and constant question-asking are included. Creativity is associated with an active personality, being imaginative, innovative, finding new paths, trying the unaccomplished and discovering new methods.
In this chapter, we explore the emergent practices of strategic and systemic design within and across a landscape usually dominated by technology-led design and development traditions. Describing the shifting relationships within and around these technology-oriented design practices, and the systemic challenges they are embedded within, we explore how their relatively narrow perspectives might be enriched and expanded by recognising the social, cultural and environmental contexts of technology. In particular, we draw on questions of urban technology and design for living environments. We use ‘the city’ and its interconnected systems, and requirements for civic common good outcomes, to open up and extend the idea of ‘human-technology interaction’ (HTI), via a new systemic design concept of ‘Place Layers’. We consider the interplay between public, private and third sector actors in shaping the trajectory of technological progress, as well as the corollary: the impact of technologies on governance, organisation, policies and practices. This broader context of HTI moves the field beyond reductive understandings of ‘human’, ‘technology’ and ‘interaction’: an expanded practice of HTI must include the more-than-human, a diversified reading of what technology is, and systemic relationships rather than merely individual interactions. We argue that strategic design is one example of such an extended practice in its ambit and ambition, helping to navigate the complex, interconnected relationships between evolving technologies, infrastructures and living environments, and our shared societal and environmental systemic challenges, and that this offers a pivotal and necessary set of emerging relationships with human-technology interaction accordingly.
El diseño gráfico desempeña un papel esencial en la comunicación visual, especialmente en la creación de marcas. Sin embargo, la subjetividad y la falta de criterios unificados dificultan la evaluación objetiva del diseño, impactando en la calidad y el rendimiento de las marcas. Este artículo tiene como objetivo establecer principios de buen diseño aplicables a la creación de identidades visuales. La metodología empleada adopta un enfoque cualitativo y exploratorio, llevando a cabo un focus group con expertos en diseño gráfico e identidad visual corporativa. En el grupo de discusión se identificaron tres dimensiones claves del buen diseño: ética, estética y funcionalidad, desglosadas en criterios específicos como originalidad, accesibilidad, durabilidad o simplicidad, entre otros.
A gestão inadequada de resíduos sólidos ameaça a biodiversidade e o meio em que vivemos. A indústria da moda contribui expressivamente para a poluição da água, emissão de gases de efeito estufa e geração de resíduos sólidos. Este artigo visa analisar a estética da moda sustentável, explorando como os princípios da sustentabilidade estão sendo incorporados no design e na produção de vestuário. A metodologia empregada inclui estudos bibliográficos para discussão dos temas gerais, coleta documental para o recorte escolhido (Upcycling em vestuário e acessórios de marcas brasileiras), seguido de uma análise qualitativa dos dados fotográficos coletados em sites e redes sociais oficiais. Os resultados revelam que a estratégia sustentável analisada não só colabora para a redução de resíduos têxteis, mas também desafia a mentalidade do consumo instantâneo ao promover um ciclo de produção que valoriza a estética, a transformação, a durabilidade e a criatividade.
Del software libre a instrumentos científicos, máquinas, herramientas y semillas, la innovación abierta y la co-creación están ganando espacio e interés como formas eficientes de producir conocimiento, artefactos y formas de organización.
La fragmentación de los campos de conocimiento y los oficios induce a enfren-
tar discusiones epistemológicas acerca de los bordes, los límites y los significados de la
artesanía y el diseño. Los significados que se van imponiendo a estos campos distinguen
en lo teórico, sin embargo, se encubren en lo práctico. Es aquí, en la práctica de los pro-
cesos proyectuales, donde las fronteras simbólicas del significado son atravesadas por el
resultado objetual de co-creación.
La co-creación supone la integración de perspectivas disciplinares propias de cada campo
u oficio, y la integración es una construcción que no surge de actos naturales, sino que,
requiere de un escenario que facilite aquellos procesos de colaboración entre la artesanía y
el diseño. En otras palabras, las trayectorias creativas de estos distintos campos convergen
en el acto productor y comparten el resultado objetual de una metodología que se en-
cuentra en un constante resignificación. Por lo tanto, la convergencia de los campos en el
objeto creado, evidencia los desplazamientos de los significados de los oficios y los campos
de conocimiento involucrados en el acto de co-creación. En suma, estos escritos indagan
acerca de las tensiones, límites y bordes de los campos que no facilitan colaboraciones
significativas entre la artesanía y el diseño en el escenario proyectual: el territorio.
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