Habitus, Tacit Knowledge and Design Practice: The context of the Illustrator as Designer (original) (raw)
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Discussing the design through drawing. Transitional desire and procedural trajectories
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.
“Illustrators embody their experiences. The personification of experience is a fundamental device in the way illustrative imagery and visual communication perpetuates ideologies, metaphors, mythologies, and in particular the anthropomorphisation of the human condition. Illustrators translate experiences, and the perceptual synthesis (Merleau- Ponty 2013) of those experiences into the illustration and design of fictitious narratives, worlds, characters, and environments. Drawing becomes a crucial part of articulating the world and capturing perception of experience and reality. Audiences can relate to the experiences of designed characters through observed similarities with their own experience. If we take the understanding that individuals tacitly negotiate the world, and their interactions with other people, through interpretation of aesthetics, physiology, psychology, socio-economic class and culture- then the design of characters that exhibit a range of these factors can help define a reflexive relationship between the illustrator, the character, and the audience. This paper will examine the implicit role an illustrator’s habitus (Bourdieu 1977) has in the development of their characters, and provide conceptual tools that outline this unique relationship. Habitus is a unifying concept that generates tastes and dispositions based on an individual’s physiology, psychology and sociology.”
Drawing: the active desire of design. A case of designing architecture
CROSSING THE LINE CONFERENCE, 2014
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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Abstract This article considers the concept of artistic research as an approach to knowledge generation and understanding. It begins with a brief consideration of the historical development of artistic inquiry and its relationship with research processes and artefacts. It then discusses a specific artistic PhD research project, “Magical realities – A creative consideration of the narrative and illustrative potentials of realismo maravilhoso”, as a form of a ‘creative-production’. The thesis project, which is formatted as a printed storybook, explores the potentials of polyvocal narration and syncretic illustration when aspects of a narrative can be digitally expanded. In actioning the iterative development of the research, a methodological framework is used that integrates heuristic inquiry and reflexive practice. Enabled through this are three interrelated methods: designer’s journals, iterative assembly, overviewing and testing, and the strategic use of feedback.
Regarding Design as a Constituting Practice Matters
This paper explores how the two concepts of representing and constituting are used in relation to design practice. The terms representing and representation are often used to describe the relation a model or prototype has to the end result. In this exploratory paper we investigate the potential impact of a change in terms, from represent to constitute. One inspiration is the writing of John Stewart on the post-semiotic approach to communication. The examples used in the paper are from practice rooted in both traditional industrial design and co-design. I argue that it is important to see design work as a constituting practice rather than a representative one. Supporting this standpoint are both the fact that the future does not yet exist and therefore is difficult to represent, and the strong argument that knowledge is created in dialogue and constituted in action. Thus, when we stop interpreting design matter as representations, design can matter to the world.