DRAWING AS CREATIVITY PROPOSAL FOR DESIGN PROJECT THROUGH PORTUGUESE CASE STUDIES (original) (raw)
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Design History Society - Annual Conference, 2009
In this paper, we discuss the usefulness of creating an archive of the design project drawings. It will be the creation of a digital archive of drawings made by Portuguese designers in the XX and XXI century. The project drawings are normally intended to be lost, by their ephemeral and transitory nature, even if they participate clearly in the projectual understanding, namely both of the process and of the proposed answer/solution. In this case, the digital images’ recording of the designer's drawings adds to the perpetual knowledge of the design product. The issue relates the importance of understanding drawing in the project of design. That is, how can be used the project drawings’ archive by the discipline of design? Therefore, the archive serves 3 perspectives: the historical, the didactic and the epistemological (theory and criticism of design). We arose the problem by finding the deficit in the critical interpretation of the design’s object through the design processual practice. We consider the hypothesis that the interpretation and categorization of design can be done through drawing as matter of the design project, i.e., by the importance of drawing in the act of designing the object. The methodology is the direct source (material provided by the authors) and voluntary participation. Interviews are foreseen. The research is based on inductive method and focused on the process. A comparative method is applied. Sampling is a sort of comprehensive type (in network): based on the criterion set for the initial group it intends to be successively extended. Our main goal is the interpretation of the object (drawing) - theoretical and practical - related to the practice of design. Looking at the use (or not) of drawing in the project, we intend to contribute to characterize and categorize the project of design as well as to contribute to a critical reasoning of the epistemological nature of design.
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We aim to discuss that which generally refers to the contribution of drawing in the understanding of the design project, and particularly in relation to architecture. From a heuristic perspective, it is accepted that drawing recreates 'ways of seeing' which facilitate the project. Throughout the project, drawing contributes in supporting and stimulating the idea's development in accordance with the stratified process of design. We present a case study of the project drawings by considering the work of the architect Bernardo Rodrigues (Ponta Delgada, Azores, Portugal, 1972). He got a degree in Architecture from FAUP, Oporto University, 1996. Their architectural projects are spread across USA, China, Japan, Dubai, and of course Portugal. His work, focused on sensory perception and matter, has been the subject of national and internationally thoughts. According to Bernardo Rodrigues architecture discipline must returns closely back to nature, therefore, supports the idea of sustainability through ethics projected in architectural shape through the material building and its environment. "The twenty-first century should be the return to the classic and timeless categories of social planning and then urban", the architect said. The experimental nature of the projects leads to its fair recognition that is according to the original essence of architecture while thought about the human being on earth. The Bernardo Rodrigues work stands out through sustainability using materials that replying the energy yield but also to poetic dwelling the world. Thus, drawing is more than the heuristic representation of the project of architecture. The character of representation is contaminated by all that is marginal to design project is disseminated through it ethically and materially, joining opposites and differences through a poetic desire expressed on the drawing. The architectural images of Bernardo Rodrigues design results from a multiple methodological contemporary process which derives an architecture freed from traditional instrumental constraints and thus becomes an object that questions whether the world and their representations. Thus, the subject of representation goes beyond the functional consideration of the design, because the different instrumental drawings influences the perception of the subject and the author. The analysis seeks to contribute to a critical and multidisciplinary discussion between drawing and architecture through the drawing practice and designing in order to stimulate the interdisciplinary understanding in generating ideas and solutions that the architectural design should provide.
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Latin Design Process, 2010
We intend to analyze design as a cross-fertilization of visual language. For such purpose, we will consider art as exemplary practice of such language. The communication will focus transition from modern to contemporary. That is, modern reflecting the artistic as symbolic derivation and contemporary art as symptom expression. We will interpret the process of design project through drawing, regarded both as project’s instrumental utility (technology) and condition for disciplinary reflection (art), addressing the issue of the significance of understanding drawing in design project practice. In this scope, at the level of artistic production, there are two cornerstone conditions implied: 1. the inclusion of the receiver within the work, "despising" the productive meaning in favor of the process; 2. the critical (semantical) valuing of the work to the detriment of its material execution (practice). Considering design project as: 1. practice whose language is (is able to be) mostly visual and 2. based on a Latin framework of analysis and specifically Portuguese, whose tradition derives from School practice (fine arts, including architecture), we intend to analyze to what extent is art, in its visual language status, an influence, or even an intrusion in design project procedural practice. For such, we regard drawing as discipline and subject serving the objectivity of the present communication proposal. We propose as object for analysis project drawings from contemporary Portuguese designers whose merit is national and internationally recognized. Objects collection is performed through their authors and in the scope of an ongoing research regarding the relationship between drawing and project practice in design. We aim to understand design object, as exchange of project’s full communication, through the following question: how can drawing, as a mediator of the practice of project design, induces the creation of the object and hence its existence as language in design? We intend to answer this question considering that drawing, as language materializing the project, is mediator for representation (through technical expression), classifying function (through program) and interpretative mark of imagination (through authorship). Understanding to what extent drawing language contamination influences the process of design project raises the issue of the relevance of drawing, through graphics, to assure the transformation of the object into symbolic added value to the project’s space-time frame.
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ICDHS 9th International Design History and Design Studies. Tradition, transition, trajectories: major or minor influences? , 2014
Design represents the commitment of the artificial with nature-the artifact as symbolic cultural representation. Herein, drawing is the skill activity of the designer as renewed desire it transforming the world. Therefore, drawing is the material of design as medium of the representation, such as technical and interpretive expression of the author's imagination from an external program (brief). Hence, we propose drawing as a path performed by author's desire that symbolically reveals the subject of design in a specific level. The artifact as primordial income for the conceptual design process comes out of the drawing tools as practice that elevates the cultural representation. The pattern of drawing can be, symmetrical or asymmetrical, the link that joins two levels of the artifact, instrumental and critical, it becoming the basis for design's narrative. In this case, drawing skills convey and supporting the cultural expression showing design as a particular and symbolic cultural artifact. As context we refer the analysis of representative designers in the Portuguese geographic and cultural environment. We hypothesized that cultural and symbolic features result according to the artifact's identity. We seek the goal of the analysis according to the significance of drawing in the discipline of design. This research intends to scientifically integrate the ontological analysis of drawing in relation to design through the presented Portuguese examples.
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In this paper, the object’s evocation and experience is considered by examining drawing as project’s disciplinarian function. We depart from the argument that drawing is the visual language that imagines, examines and makes the project’s materiality visible. Drawing as function to materialize the project, in the condition of existing towards... is, in this case, mediator for representation (technical expression), the act of classification that discriminates and influences the project (program) and interpretative mark of imagination (authorship). The theme we intend to develop considers drawing as a set of images that as a language configures projectual reality. We will address the issue of knowledge through drawing by means of its practice in the project. In this case, drawing is an instrument that carries and interprets a particular cultural expression, transferring it onto the project causing it to acquire a specific symbolic register. We depart from the hypothesis that drawing practices in the scope of design project differentiate the projectual result, conferring the object its singular identity. We seek to justify the hypothesis through the importance of drawing as visual language deriving from the artistic field, within the contingent Western interpretation. That is, awarding drawing the ability to be the project’s critical interpreter. Our interpretation context addresses the practice of Portuguese designers whose work is institutionally recognized in Portugal and abroad. The analyzed material - drawings - results from the ongoing doctoral research on the proximity and influence of drawing on Design Project practice. The purpose is to verify the terms of use of drawing through authorship, aiming at contributing towards design knowledge through three vectors: 1. the imagetic and authorship approach, 2. technology and classification approach, 3. representative and programmatic approach. To conclude, we propose drawing as language for multiple perceptions, possibly fragmented, fissured, disjointed, and possibly trans-figured into project’s metalanguage. Keywords: Drawing, Design, Project, Representation
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