Designing is an innate ability to humans, and in hands-on professions like farming, this activity... more Designing is an innate ability to humans, and in hands-on professions like farming, this activity is even more evident and in some cases essential: from customized tooling to pruning, from crop selection to adapting and repurposing practices; in some way or another we can observe some kind of " design-by-doing " activities. One may argue that when the farmer generates new artifacts or adapts existing ones, this cannot be considered a design practice, at least in most cases it certainly is not done with the methodological approach that is employed by a professional designer. The objective of the design approach is to research through methods that differentiates in actions, tools and strategies applied to investigate and develop strategic design approaches to everyday problems. Understanding artifacts and solutions developed by non-designers requires careful analysis in understanding its experimental behavior and their peculiar ability to design. In this paper we intend to present a case study of a Turkish Beekeeper from the Aegean region with an engineering background that has been " designing " a new polystyrene beehive for more than 25 years, mostly in a trial-error exercise that resulted into a large number of functional prototypes. Although the beehive in question has been perfected constantly over time and presents itself as an alternative with many advantages to the traditional wood hives, it seems to be having difficulty in penetrating the local market in a convincing way. Difficulties in promotion and convincing beekeepers to shift to this new technology and the inability to meet the specific legislation may be some factors contributing to this fact. The goal is to, with field research and interviews, map the beekeeper's design activities and analyze his methodological approach to discover the factors that motivated the need for constant change. In a second phase we aim to cross these findings with the problem solving approach of professional designers and their methodological way of doing. The objective is not only to see the problem/opportunity merely from the technology transfer perspective but to get a broader understanding of the metasystem of beekeeping and look to ideate designerly solutions that fit the market's needs, based on a broad understanding and not one a focused one. Our approach and method is to support eco-innovation in beekeeping with co-designing approach. We believe that co-designing approach that crosses the beekeepers empirical knowledge with the Designerly Ways of problem solving will produce a more strategic and systematic approach to the challenges beekeeping is facing, looking to contribute to a more sustainable reality.
The worldwide phenomenon of the disappearance of bees with the consequential imbalance of ecosyst... more The worldwide phenomenon of the disappearance of bees with the consequential imbalance of ecosystems is a problem that needs to be addressed in order to guarantee a sustainable future. Beekeeping is an activity, generally associated to agriculture, that allows small farmers to generate more food and income, this reality has had a shift in recent years with the number of small beekeepers decreasing, and big corporations gaining control over the industry. Regulations and the Colony Collapse Disorder, among other factors, may have a major role in these phenomena. With the intent to contribute to a more sustainable beekeeping practice in a local context, this research is being conducted to better understand this reality, looking for design driven opportunities. The challenge is to gain a deeper understanding of the beekeepers, a practice that is understudied by designers, particularly considering in-depth research methods. This
Consumers as co-producers or co-designers are frequently presented as the solution for mass-custo... more Consumers as co-producers or co-designers are frequently presented as the solution for mass-customization, but the success of these systems as enhancing emotional bonds between user and object seems to be questionable. Making choices may not be enough to generate a bigger connection between people and their things. Artifacts produced using biological systems with generative potential, where nature’s randomness and physiological processes have an important role in the definition of form, may have the capacity to foster the emotional connections that are missing, arising from nurturing and from an understanding of their morphogenesis, from the proximity and time required for their growth and development.
With the production of artifacts with biological systems with generative potential, where nature’... more With the production of artifacts with biological systems with generative potential, where nature’s randomness and physiological processes have an important role in the definition of form, we understand that artifacts do not only need to attend to the needs and desires of their users, but also have the capacity to foster emotional connections that arise from their nurturing and from an understanding of their morphogenesis, from the proximity and time required for their growth and development. These artifacts will only develop into final products if the system is understood and nourished by their users. Their end results are singular and unique, with aesthetic qualities that arise from the understanding of the artifacts’ growth constraints and the bonds that are created with them. The traditional quality canons of mass produced goods are challenged, as the resulting artifacts will not get final shapes that are both polished and free of imperfections, but that are inconstant, gnarly and sinuous. Other aspects, such as production time and the dedication that the systems require from their user are motive to question the connections that will arise between users and these artifacts. We intend to contribute to the discussion about new production models that may be alternatives to mass production in specific uses. With these systems we seek to catalyze greater empathy between objects and their users, to understand which aesthetic qualities emerge and how their specific characteristics are interpreted. Geometrically simple experimental models with ants, bees and mycelia (the vegetative part of a fungus, consisting of a network of fine white filaments), have been developed to better understand the conjectural elements of these systems. In these, the matrices and the system are designed but the final results are reliant on the choices of those who manipulate them and by the variables of the biological actuators. We intend to make our findings available, allowing others to replicate our experiments in order to obtain a broader understanding of reactions on the interaction with the systems and the perceived quality of the final artifacts. To better understand how individuals respond to this type of objects, we are developing small series of artifacts, made with mycelia, in an embryonic stage. These will be distributed to users that will be asked to nurture them into final objects; in this process each user will be asked to nurture his artifact into a final object, where all options will be of their choice, from the sunlight exposure to the interruption of growth. Each user will be asked to register the daily evolution of their artifact and to describe their feelings towards it.
Este projecto pretende desenvolver modelos para a produção de artefactos em sistemas biológicos c... more Este projecto pretende desenvolver modelos para a produção de artefactos em sistemas biológicos com potencial generativo, onde a aleatoriedade dos actuadores no preenchimento das suas necessidades fisiológicas, tem uma forte contribuição na definição da forma. Para entender os elementos conjunturais destes sistemas, temos vindo a desenvolver modelos para análise e crítica utilizando abelhas, cogumelos e formigas, onde as matrizes e sistemas são projectados, mas os resultados finais estão dependentes das variáveis dos actuadores biológicos e das opções de quem os manipula. Ao definirmos as matrizes e os processos produtivos, pretendemos disponibilizar para o público em geral sistemas que reproduzam artefactos similares e replicáveis, porém singulares, em consequência da intervenção dos actuadores biológicos. Sendo estes artefactos o resultado da proximidade entre os vários intervenientes: o designer que concebe os sistemas, o utilizador que nutre e cultiva o sistema, e dos actuadores que o executam, a necessidade de difundir os achados por forma a atrair pessoas que com eles queiram desenvolver as suas experiencias pessoais é da máxima importância. Ao não obteremos à partida formas finais polidas e livres de imperfeições, mas sim formas inconstantes, sinuosas e rudes, optamos por ensaios com geometria simples numa primeira fase no intuito de simplificar a sua compreensão. Pretende-se com um conhecimento mais aprofundado desenvolver ferramentas que permitam gradualmente ir aumentando a sua complexidade. Estes artefactos procuram reforçar as relações emocionais entre utilizador e objecto, procuramos que os elos emocionais surjam da empatia criada pela compreensão da sua génese e do seu processo de produção, mas também pelo acompanhamento do seu desenvolvimento da fase embrionária à interrupção do seu crescimento. A criação de uma plataforma digital que servirá para difundir os conhecimentos, terá que igualmente suportar a publicação dos resultados feitos por terceiros assim como o seu registo relacional com os sistemas e a sua avaliação qualitativa.
European Academy of Design 2013 - crafting the Future, Gothenburg
We intend to design and study systems that produce artifacts with biological generative systems, ... more We intend to design and study systems that produce artifacts with biological generative systems, where nature’s randomness and physiological needs have an important role in defining form. To understand these systems we will develop, analyze and criticize experimental models with ants, bees and mushrooms. In these models the matrices of construction and the system are defined, but the outcomes will be uncertain due to their dependence on biological variables.
Our goal is the development of artifacts in an embryonic stage as well as of the constraints for their development. By defining the matrix and some guidelines, we aim to make available to the general public systems that reproduce artifacts that are similar in their genesis, but which become unique due to their biological actuators. Among other factors, these artifacts seek to enhance an emotional bond between users and object; this bond happens due to the empathy that is generated by the proximity and the time that is required for their growth, and by the better comprehension of their morphogenesis and process. This nurturing is essential for the evolution of the matrix into the desired product.
The final products are unique and unrepeatable, and the end result arises from the close relation between the cooperators: the designer that develops the system, the person that uses it and the actuators that execute it. We believe the deeper understanding of the artifacts geneses and the bond that is created with it may result in new aesthetic qualities.
A peça ANT-32-CLAY-08 é o trigésimo segundo ensaio com formigas e o oitavo tendo faiança como mat... more A peça ANT-32-CLAY-08 é o trigésimo segundo ensaio com formigas e o oitavo tendo faiança como material de suporte. Este teste faz parte dos modelos experimentais desenvolvidos no âmbito da Investigação: Sistemas Generativos Biológicos: ferramentas de produção para a personalização, do programa doutoral em design da universidade de Aveiro.(Pinto et al., 2012)
UD´12 Encontro Nacional Doutoramentos em Design, Aveiro
Procura-se estudar e propor sistemas biológicos de produção de artefactos, onde os factores aleat... more Procura-se estudar e propor sistemas biológicos de produção de artefactos, onde os factores aleatórios e fisiológicos da natureza têm um papel definidor da forma. Para uma melhor compreensão, análise e crítica destes sistemas, são propostos modelos experimentais com formigas, abelhas e cogumelos, onde a matriz e o sistema são definidos, mas o resultado está em aberto e fica dependente das variáveis biológicas.
O principal objectivo é a concepção de artefactos numa fase embrionária assim como os constrangimentos para o seu desenvolvimento. Ao definirmos as matrizes e os processos produtivos, pretendemos disponibilizar para o público em geral sistemas que reproduzam artefactos similares e replicáveis, porém singulares, consequências da intervenção dos actuadores biológicos.
Estes artefactos procuram reforçar as relações emocionais entre utilizador e objecto: os elos emocionais surgem da empatia criada pela compreensão da sua génese e do seu processo de produção, mas também pelo acompanhamento do seu desenvolvimento, desde a fase embrionária ate à interrupção do seu crescimento. Sendo o produto final o resultado de um processo generativo condicionado por actuadores biológicos no preenchimento das suas necessidades fisiológicas, não obteremos à partida uma forma final polida e livre de imperfeições, mas sim uma forma inconstante, sinuosa e rude.
Os artefactos serão o resultado da proximidade entre os vários intervenientes: o designer que concebe os sistemas, o utilizador que nutre e cultiva o sistema, e os actuadores que o executam. Esta compreensão aprofundada do artefacto e das relações que com ele são geradas pode resultar em novas qualidades estéticas.
Conference on Designing Pleasurable Products and Interfaces, 2011
This article brings to the forefront the possibility for cross-referencing between the investigat... more This article brings to the forefront the possibility for cross-referencing between the investigation in design at service of creative industries and the world-wide phenomenon of the disappearance of bees with the consequential imbalance of eco systems and in particular of the farming economy. Potential can found in the honeycomb making process within which we have given the name of 'natural extrusion' in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax's value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.
Proceedings of the 2011 Conference on Designing Pleasurable Products and Interfaces - DPPI '11, 2011
This article brings to the forefront the possibility for cross-referencing between the investigat... more This article brings to the forefront the possibility for cross-referencing between the investigation in design at service of creative industries and the world-wide phenomenon of the disappearance of bees with the consequential imbalance of eco systems and in particular of the farming economy. Potential can found in the honeycomb making process within which we have given the name of 'natural extrusion' in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax's value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.
Designing Pleasurable Products and Interfaces, Milano 2012
This article brings to the forefront the possibility for cross-referencing between the investigat... more This article brings to the forefront the possibility for cross-referencing between the investigation in design at service of creative industries and the world-wide phenomenon of the disappearance of bees with the consequential imbalance of eco systems and in particular of the farming economy.
Potential can found in the honeycomb making process within which we have given the name of ‘natural extrusion’ in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax’s value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.
This paper aims to describe the ongoing implementation process of the Design Factory Aveiro (DFA)... more This paper aims to describe the ongoing implementation process of the Design Factory Aveiro (DFA) integrated in the Creative Science Park Aveiro Region in Aveiro, Portugal. The DFA is a place for the convergence of diverse subjects and entities to foster innovative and creative projects, acting as an interface that translates the efforts of academia to meet the needs and constraints of the existing socioeconomic, industrial and cultural local reality. The main goal is that, by crossing an experimental platform which promotes research through cultural mediation, based on co-creation and collaboration, will instigate the generation of innovative products and services that might have immediate applicability in the market. Above all, the innovative methodologies that will arise from this interaction, will create a place for radical and disruptive innovation.
We intend to design and study systems that produce artifacts with biological generative systems, ... more We intend to design and study systems that produce artifacts with biological generative systems, where nature's randomness and physiological needs have an important role in defining form. To understand these systems we will develop, analyze and criticize experimental models with ants, bees and mushrooms. In these models the matrices of construction and the system are defined, but the outcomes will be uncertain due to their dependence on biological variables. Our goal is the development of artifacts in an embryonic stage as well as of the constraints for their development. By defining the matrix and some guidelines, we aim to make available to the general public systems that reproduce artifacts that are similar in their genesis, but which become unique due to their biological actuators. Among other factors, these artifacts seek to enhance an emotional bond between users and object; this bond happens due to the empathy that is generated by the proximity and the time that is requi...
The following article describes the ongoing interior design project that accommodates a guesthous... more The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restorat...
We intend to design and study systems that produce artifacts with biological generative systems, ... more We intend to design and study systems that produce artifacts with biological generative systems, where nature's randomness and physiological needs have an important role in defining form. To understand these systems we will develop, analyze and criticize experimental models with ants, bees and mushrooms. In these models the matrices of construction and the system are defined, but the outcomes will be uncertain due to their dependence on biological variables. Our goal is the development of artifacts in an embryonic stage as well as of the constraints for their development. By defining the matrix and some guidelines, we aim to make available to the general public systems that reproduce artifacts that are similar in their genesis, but which become unique due to their biological actuators. Among other factors, these artifacts seek to enhance an emotional bond between users and object; this bond happens due to the empathy that is generated by the proximity and the time that is requi...
The following article describes the ongoing interior design project that accommodates a guesthous... more The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restorat...
Designing is an innate ability to humans, and in hands-on professions like farming, this activity... more Designing is an innate ability to humans, and in hands-on professions like farming, this activity is even more evident and in some cases essential: from customized tooling to pruning, from crop selection to adapting and repurposing practices; in some way or another we can observe some kind of " design-by-doing " activities. One may argue that when the farmer generates new artifacts or adapts existing ones, this cannot be considered a design practice, at least in most cases it certainly is not done with the methodological approach that is employed by a professional designer. The objective of the design approach is to research through methods that differentiates in actions, tools and strategies applied to investigate and develop strategic design approaches to everyday problems. Understanding artifacts and solutions developed by non-designers requires careful analysis in understanding its experimental behavior and their peculiar ability to design. In this paper we intend to present a case study of a Turkish Beekeeper from the Aegean region with an engineering background that has been " designing " a new polystyrene beehive for more than 25 years, mostly in a trial-error exercise that resulted into a large number of functional prototypes. Although the beehive in question has been perfected constantly over time and presents itself as an alternative with many advantages to the traditional wood hives, it seems to be having difficulty in penetrating the local market in a convincing way. Difficulties in promotion and convincing beekeepers to shift to this new technology and the inability to meet the specific legislation may be some factors contributing to this fact. The goal is to, with field research and interviews, map the beekeeper's design activities and analyze his methodological approach to discover the factors that motivated the need for constant change. In a second phase we aim to cross these findings with the problem solving approach of professional designers and their methodological way of doing. The objective is not only to see the problem/opportunity merely from the technology transfer perspective but to get a broader understanding of the metasystem of beekeeping and look to ideate designerly solutions that fit the market's needs, based on a broad understanding and not one a focused one. Our approach and method is to support eco-innovation in beekeeping with co-designing approach. We believe that co-designing approach that crosses the beekeepers empirical knowledge with the Designerly Ways of problem solving will produce a more strategic and systematic approach to the challenges beekeeping is facing, looking to contribute to a more sustainable reality.
The worldwide phenomenon of the disappearance of bees with the consequential imbalance of ecosyst... more The worldwide phenomenon of the disappearance of bees with the consequential imbalance of ecosystems is a problem that needs to be addressed in order to guarantee a sustainable future. Beekeeping is an activity, generally associated to agriculture, that allows small farmers to generate more food and income, this reality has had a shift in recent years with the number of small beekeepers decreasing, and big corporations gaining control over the industry. Regulations and the Colony Collapse Disorder, among other factors, may have a major role in these phenomena. With the intent to contribute to a more sustainable beekeeping practice in a local context, this research is being conducted to better understand this reality, looking for design driven opportunities. The challenge is to gain a deeper understanding of the beekeepers, a practice that is understudied by designers, particularly considering in-depth research methods. This
Consumers as co-producers or co-designers are frequently presented as the solution for mass-custo... more Consumers as co-producers or co-designers are frequently presented as the solution for mass-customization, but the success of these systems as enhancing emotional bonds between user and object seems to be questionable. Making choices may not be enough to generate a bigger connection between people and their things. Artifacts produced using biological systems with generative potential, where nature’s randomness and physiological processes have an important role in the definition of form, may have the capacity to foster the emotional connections that are missing, arising from nurturing and from an understanding of their morphogenesis, from the proximity and time required for their growth and development.
With the production of artifacts with biological systems with generative potential, where nature’... more With the production of artifacts with biological systems with generative potential, where nature’s randomness and physiological processes have an important role in the definition of form, we understand that artifacts do not only need to attend to the needs and desires of their users, but also have the capacity to foster emotional connections that arise from their nurturing and from an understanding of their morphogenesis, from the proximity and time required for their growth and development. These artifacts will only develop into final products if the system is understood and nourished by their users. Their end results are singular and unique, with aesthetic qualities that arise from the understanding of the artifacts’ growth constraints and the bonds that are created with them. The traditional quality canons of mass produced goods are challenged, as the resulting artifacts will not get final shapes that are both polished and free of imperfections, but that are inconstant, gnarly and sinuous. Other aspects, such as production time and the dedication that the systems require from their user are motive to question the connections that will arise between users and these artifacts. We intend to contribute to the discussion about new production models that may be alternatives to mass production in specific uses. With these systems we seek to catalyze greater empathy between objects and their users, to understand which aesthetic qualities emerge and how their specific characteristics are interpreted. Geometrically simple experimental models with ants, bees and mycelia (the vegetative part of a fungus, consisting of a network of fine white filaments), have been developed to better understand the conjectural elements of these systems. In these, the matrices and the system are designed but the final results are reliant on the choices of those who manipulate them and by the variables of the biological actuators. We intend to make our findings available, allowing others to replicate our experiments in order to obtain a broader understanding of reactions on the interaction with the systems and the perceived quality of the final artifacts. To better understand how individuals respond to this type of objects, we are developing small series of artifacts, made with mycelia, in an embryonic stage. These will be distributed to users that will be asked to nurture them into final objects; in this process each user will be asked to nurture his artifact into a final object, where all options will be of their choice, from the sunlight exposure to the interruption of growth. Each user will be asked to register the daily evolution of their artifact and to describe their feelings towards it.
Este projecto pretende desenvolver modelos para a produção de artefactos em sistemas biológicos c... more Este projecto pretende desenvolver modelos para a produção de artefactos em sistemas biológicos com potencial generativo, onde a aleatoriedade dos actuadores no preenchimento das suas necessidades fisiológicas, tem uma forte contribuição na definição da forma. Para entender os elementos conjunturais destes sistemas, temos vindo a desenvolver modelos para análise e crítica utilizando abelhas, cogumelos e formigas, onde as matrizes e sistemas são projectados, mas os resultados finais estão dependentes das variáveis dos actuadores biológicos e das opções de quem os manipula. Ao definirmos as matrizes e os processos produtivos, pretendemos disponibilizar para o público em geral sistemas que reproduzam artefactos similares e replicáveis, porém singulares, em consequência da intervenção dos actuadores biológicos. Sendo estes artefactos o resultado da proximidade entre os vários intervenientes: o designer que concebe os sistemas, o utilizador que nutre e cultiva o sistema, e dos actuadores que o executam, a necessidade de difundir os achados por forma a atrair pessoas que com eles queiram desenvolver as suas experiencias pessoais é da máxima importância. Ao não obteremos à partida formas finais polidas e livres de imperfeições, mas sim formas inconstantes, sinuosas e rudes, optamos por ensaios com geometria simples numa primeira fase no intuito de simplificar a sua compreensão. Pretende-se com um conhecimento mais aprofundado desenvolver ferramentas que permitam gradualmente ir aumentando a sua complexidade. Estes artefactos procuram reforçar as relações emocionais entre utilizador e objecto, procuramos que os elos emocionais surjam da empatia criada pela compreensão da sua génese e do seu processo de produção, mas também pelo acompanhamento do seu desenvolvimento da fase embrionária à interrupção do seu crescimento. A criação de uma plataforma digital que servirá para difundir os conhecimentos, terá que igualmente suportar a publicação dos resultados feitos por terceiros assim como o seu registo relacional com os sistemas e a sua avaliação qualitativa.
European Academy of Design 2013 - crafting the Future, Gothenburg
We intend to design and study systems that produce artifacts with biological generative systems, ... more We intend to design and study systems that produce artifacts with biological generative systems, where nature’s randomness and physiological needs have an important role in defining form. To understand these systems we will develop, analyze and criticize experimental models with ants, bees and mushrooms. In these models the matrices of construction and the system are defined, but the outcomes will be uncertain due to their dependence on biological variables.
Our goal is the development of artifacts in an embryonic stage as well as of the constraints for their development. By defining the matrix and some guidelines, we aim to make available to the general public systems that reproduce artifacts that are similar in their genesis, but which become unique due to their biological actuators. Among other factors, these artifacts seek to enhance an emotional bond between users and object; this bond happens due to the empathy that is generated by the proximity and the time that is required for their growth, and by the better comprehension of their morphogenesis and process. This nurturing is essential for the evolution of the matrix into the desired product.
The final products are unique and unrepeatable, and the end result arises from the close relation between the cooperators: the designer that develops the system, the person that uses it and the actuators that execute it. We believe the deeper understanding of the artifacts geneses and the bond that is created with it may result in new aesthetic qualities.
A peça ANT-32-CLAY-08 é o trigésimo segundo ensaio com formigas e o oitavo tendo faiança como mat... more A peça ANT-32-CLAY-08 é o trigésimo segundo ensaio com formigas e o oitavo tendo faiança como material de suporte. Este teste faz parte dos modelos experimentais desenvolvidos no âmbito da Investigação: Sistemas Generativos Biológicos: ferramentas de produção para a personalização, do programa doutoral em design da universidade de Aveiro.(Pinto et al., 2012)
UD´12 Encontro Nacional Doutoramentos em Design, Aveiro
Procura-se estudar e propor sistemas biológicos de produção de artefactos, onde os factores aleat... more Procura-se estudar e propor sistemas biológicos de produção de artefactos, onde os factores aleatórios e fisiológicos da natureza têm um papel definidor da forma. Para uma melhor compreensão, análise e crítica destes sistemas, são propostos modelos experimentais com formigas, abelhas e cogumelos, onde a matriz e o sistema são definidos, mas o resultado está em aberto e fica dependente das variáveis biológicas.
O principal objectivo é a concepção de artefactos numa fase embrionária assim como os constrangimentos para o seu desenvolvimento. Ao definirmos as matrizes e os processos produtivos, pretendemos disponibilizar para o público em geral sistemas que reproduzam artefactos similares e replicáveis, porém singulares, consequências da intervenção dos actuadores biológicos.
Estes artefactos procuram reforçar as relações emocionais entre utilizador e objecto: os elos emocionais surgem da empatia criada pela compreensão da sua génese e do seu processo de produção, mas também pelo acompanhamento do seu desenvolvimento, desde a fase embrionária ate à interrupção do seu crescimento. Sendo o produto final o resultado de um processo generativo condicionado por actuadores biológicos no preenchimento das suas necessidades fisiológicas, não obteremos à partida uma forma final polida e livre de imperfeições, mas sim uma forma inconstante, sinuosa e rude.
Os artefactos serão o resultado da proximidade entre os vários intervenientes: o designer que concebe os sistemas, o utilizador que nutre e cultiva o sistema, e os actuadores que o executam. Esta compreensão aprofundada do artefacto e das relações que com ele são geradas pode resultar em novas qualidades estéticas.
Conference on Designing Pleasurable Products and Interfaces, 2011
This article brings to the forefront the possibility for cross-referencing between the investigat... more This article brings to the forefront the possibility for cross-referencing between the investigation in design at service of creative industries and the world-wide phenomenon of the disappearance of bees with the consequential imbalance of eco systems and in particular of the farming economy. Potential can found in the honeycomb making process within which we have given the name of 'natural extrusion' in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax's value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.
Proceedings of the 2011 Conference on Designing Pleasurable Products and Interfaces - DPPI '11, 2011
This article brings to the forefront the possibility for cross-referencing between the investigat... more This article brings to the forefront the possibility for cross-referencing between the investigation in design at service of creative industries and the world-wide phenomenon of the disappearance of bees with the consequential imbalance of eco systems and in particular of the farming economy. Potential can found in the honeycomb making process within which we have given the name of 'natural extrusion' in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax's value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.
Designing Pleasurable Products and Interfaces, Milano 2012
This article brings to the forefront the possibility for cross-referencing between the investigat... more This article brings to the forefront the possibility for cross-referencing between the investigation in design at service of creative industries and the world-wide phenomenon of the disappearance of bees with the consequential imbalance of eco systems and in particular of the farming economy.
Potential can found in the honeycomb making process within which we have given the name of ‘natural extrusion’ in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax’s value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.
This paper aims to describe the ongoing implementation process of the Design Factory Aveiro (DFA)... more This paper aims to describe the ongoing implementation process of the Design Factory Aveiro (DFA) integrated in the Creative Science Park Aveiro Region in Aveiro, Portugal. The DFA is a place for the convergence of diverse subjects and entities to foster innovative and creative projects, acting as an interface that translates the efforts of academia to meet the needs and constraints of the existing socioeconomic, industrial and cultural local reality. The main goal is that, by crossing an experimental platform which promotes research through cultural mediation, based on co-creation and collaboration, will instigate the generation of innovative products and services that might have immediate applicability in the market. Above all, the innovative methodologies that will arise from this interaction, will create a place for radical and disruptive innovation.
We intend to design and study systems that produce artifacts with biological generative systems, ... more We intend to design and study systems that produce artifacts with biological generative systems, where nature's randomness and physiological needs have an important role in defining form. To understand these systems we will develop, analyze and criticize experimental models with ants, bees and mushrooms. In these models the matrices of construction and the system are defined, but the outcomes will be uncertain due to their dependence on biological variables. Our goal is the development of artifacts in an embryonic stage as well as of the constraints for their development. By defining the matrix and some guidelines, we aim to make available to the general public systems that reproduce artifacts that are similar in their genesis, but which become unique due to their biological actuators. Among other factors, these artifacts seek to enhance an emotional bond between users and object; this bond happens due to the empathy that is generated by the proximity and the time that is requi...
The following article describes the ongoing interior design project that accommodates a guesthous... more The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restorat...
We intend to design and study systems that produce artifacts with biological generative systems, ... more We intend to design and study systems that produce artifacts with biological generative systems, where nature's randomness and physiological needs have an important role in defining form. To understand these systems we will develop, analyze and criticize experimental models with ants, bees and mushrooms. In these models the matrices of construction and the system are defined, but the outcomes will be uncertain due to their dependence on biological variables. Our goal is the development of artifacts in an embryonic stage as well as of the constraints for their development. By defining the matrix and some guidelines, we aim to make available to the general public systems that reproduce artifacts that are similar in their genesis, but which become unique due to their biological actuators. Among other factors, these artifacts seek to enhance an emotional bond between users and object; this bond happens due to the empathy that is generated by the proximity and the time that is requi...
The following article describes the ongoing interior design project that accommodates a guesthous... more The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restorat...
How do we relate to unconventional artifacts? Designing with biological generative systems aimed ... more How do we relate to unconventional artifacts? Designing with biological generative systems aimed at customization. With the production of artifacts in biological genera- tive systems, or in biological systems with generative potential, where nature’s randomness and physiolog- ical aspects have an important role in the definition of form, we understand that artifacts do not only at- tend to the needs and desires of their users, but also have the capacity to foster emotional connections that arise from their nurturing and from the under- standing of their morphogenesis, from the proximity and time required for their growth. These artifacts will only develop into a final product if the system is understood and nourished by its user. The end result is singular and unique, with aesthetic qualities that arise from the understanding of the artifacts growth constraints and the bond that is cre- ated with it. The traditional quality canons of mass produced goods are challenged, seen that the result- ing artifacts will not get a final shape that is polished and free of imperfections, but one that is inconstant, gnarly and sinuous. Other aspects, as production time and the dedication that the system requires are motive to question the connections that will arise between users and these artifacts. We intend to contribute to the discussion about new production models that may be alternatives in spe- cific uses to mass production. With these systems we seek to catalyze greater empathy between objects and their users, to understand which aesthetic quali- ties emerge and how are their specific characteristics interpreted. Geometrically simple experimental models with ants, bees and mycelia (the vegetative part of a fungus, consisting of a network of fine white filaments), have been developed to better understand the conjectural elements of these systems. In these systems the ma- trix and the system are designed but the final results are reliant on the choices of those who manipulate them and by the variables of the biological actuators. We intend to make our findings available, allowing others to replicate our experiments in order to obtain a broader scoop of reactions on the interaction with the systems and the perceived quality of the final artifacts. To better understand how individuals respond to this typology of objects, small series of artifacts in an embryonic stage, made with Eryngii mushroom in oak shavings are being developed to be distributed; each user will be asked to nurture his artifact into a final object, where all options will be of his/her choice, from the sunlight exposure to its growth interruption. Each user will be asked to register the daily evolu- tion of his/her artifact and to describe their feelings towards it.
The world-wide phenomenon of the disappearance of bees with the consequential imbalance of ecosys... more The world-wide phenomenon of the disappearance of bees with the consequential imbalance of ecosystems is a problem that needs to be addressed in order to guarantee a sustainable future. Beekeeping is an activity, generally associated to agriculture, that allows small farmers to generate more food and income, this reality has had a shift in recent years with the number of small beekeepers decreasing, and big corporations gaining control over the industry. Regulations and the Colony Collapse Disorder, among other factors, may have a major role in these phenomena. With the intent to contribute to a more sustainable beekeeping practice, this research is being conducted to better understand this reality, looking for design driven opportunities. The challenge is to gain a deeper understanding of the beekeepers, a practice that is understudied by designers, particularly considering in-depth research methods. This paper discusses an experimental design study in the Turkish Aegean region tha...
Consumers as co-producers or co-designers are frequently presented as the solution for mass-custo... more Consumers as co-producers or co-designers are frequently presented as the solution for mass-customization, but the success of these systems as enhancing emotional bonds between user and object seems to be questionable. Making choices may not be enough to generate a bigger connection between people and their things. Artifacts produced using biological systems with generative potential, where nature’s randomness and physiological processes have an important role in the definition of form, may have the capacity to foster the emotional connections that are missing, arising from nurturing and from an understanding of their morphogenesis, from the proximity and time required for their growth and development.
Cuadernos del Centro de Estudios de Diseño y Comunicación
La naturaleza ha estado inevitablemente presente en la evolución humana, definiendo límites, capa... more La naturaleza ha estado inevitablemente presente en la evolución humana, definiendo límites, capacidades e imaginación, o en otras palabras, determinando cómo y por qué diseñamos. En este artículo, intentamos ver la naturaleza en sí misma como una narrativa cultural preestablecida (o conjunto de narrativas) y reflexionar sobre cómo estas narrativas influyen en el diseño en dos aspectos muy distintos. La primera mirada es a las narrativas de la naturaleza relacionadas con la poiesis y su potencial para generar referencias emocionales. Mientras que el segundo, se centra en las narrativas de la naturaleza asociadas a su praxis, junto con su referencia procedimental para el diseño, como conclusión buscamos puntos comunes y divergentes entre estos enfoques también con la intención de contribuir a una mejor comprensión de cómo la idea de Naturaleza influye en el diseño.
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randomness and physiological processes have an important role in the definition of form, we understand that
artifacts do not only need to attend to the needs and desires of their users, but also have the capacity to foster
emotional connections that arise from their nurturing and from an understanding of their morphogenesis,
from the proximity and time required for their growth and development.
These artifacts will only develop into final products if the system is understood and nourished by
their users. Their end results are singular and unique, with aesthetic qualities that arise from the understanding
of the artifacts’ growth constraints and the bonds that are created with them. The traditional quality canons
of mass produced goods are challenged, as the resulting artifacts will not get final shapes that are both
polished and free of imperfections, but that are inconstant, gnarly and sinuous. Other aspects, such as
production time and the dedication that the systems require from their user are motive to question the
connections that will arise between users and these artifacts.
We intend to contribute to the discussion about new production models that may be alternatives to
mass production in specific uses. With these systems we seek to catalyze greater empathy between objects
and their users, to understand which aesthetic qualities emerge and how their specific characteristics are
interpreted.
Geometrically simple experimental models with ants, bees and mycelia (the vegetative part of a
fungus, consisting of a network of fine white filaments), have been developed to better understand the
conjectural elements of these systems. In these, the matrices and the system are designed but the final results
are reliant on the choices of those who manipulate them and by the variables of the biological actuators. We
intend to make our findings available, allowing others to replicate our experiments in order to obtain a
broader understanding of reactions on the interaction with the systems and the perceived quality of the final
artifacts.
To better understand how individuals respond to this type of objects, we are developing small series of
artifacts, made with mycelia, in an embryonic stage. These will be distributed to users that will be asked to
nurture them into final objects; in this process each user will be asked to nurture his artifact into a final object,
where all options will be of their choice, from the sunlight exposure to the interruption of growth. Each user
will be asked to register the daily evolution of their artifact and to describe their feelings towards it.
Ao definirmos as matrizes e os processos produtivos, pretendemos disponibilizar para o público em geral sistemas que reproduzam artefactos similares e replicáveis, porém singulares, em consequência da intervenção dos actuadores biológicos. Sendo estes artefactos o resultado da proximidade entre os vários intervenientes: o designer que concebe os sistemas, o utilizador que nutre e cultiva o sistema, e dos actuadores que o executam, a necessidade de difundir os achados por forma a atrair pessoas que com eles queiram desenvolver as suas experiencias pessoais é da máxima importância.
Ao não obteremos à partida formas finais polidas e livres de imperfeições, mas sim formas inconstantes, sinuosas e rudes, optamos por ensaios com geometria simples numa primeira fase no intuito de simplificar a sua compreensão. Pretende-se com um conhecimento mais aprofundado desenvolver ferramentas que permitam gradualmente ir aumentando a sua complexidade.
Estes artefactos procuram reforçar as relações emocionais entre utilizador e objecto, procuramos que os elos emocionais surjam da empatia criada pela compreensão da sua génese e do seu processo de produção, mas também pelo acompanhamento do seu desenvolvimento da fase embrionária à interrupção do seu crescimento. A criação de uma plataforma digital que servirá para difundir os conhecimentos, terá que igualmente suportar a publicação dos resultados feitos por terceiros assim como o seu registo relacional com os sistemas e a sua avaliação qualitativa.
Our goal is the development of artifacts in an embryonic stage as well as of the constraints for their development. By defining the matrix and some guidelines, we aim to make available to the general public systems that reproduce artifacts that are similar in their genesis, but which become unique due to their biological actuators. Among other factors, these artifacts seek to enhance an emotional bond between users and object; this bond happens due to the empathy that is generated by the proximity and the time that is required for their growth, and by the better comprehension of their morphogenesis and process. This nurturing is essential for the evolution of the matrix into the desired product.
The final products are unique and unrepeatable, and the end result arises from the close relation between the cooperators: the designer that develops the system, the person that uses it and the actuators that execute it. We believe the deeper understanding of the artifacts geneses and the bond that is created with it may result in new aesthetic qualities.
O principal objectivo é a concepção de artefactos numa fase embrionária assim como os constrangimentos para o seu desenvolvimento. Ao definirmos as matrizes e os processos produtivos, pretendemos disponibilizar para o público em geral sistemas que reproduzam artefactos similares e replicáveis, porém singulares, consequências da intervenção dos actuadores biológicos.
Estes artefactos procuram reforçar as relações emocionais entre utilizador e objecto: os elos emocionais surgem da empatia criada pela compreensão da sua génese e do seu processo de produção, mas também pelo acompanhamento do seu desenvolvimento, desde a fase embrionária ate à interrupção do seu crescimento. Sendo o produto final o resultado de um processo generativo condicionado por actuadores biológicos no preenchimento das suas necessidades fisiológicas, não obteremos à partida uma forma final polida e livre de imperfeições, mas sim uma forma inconstante, sinuosa e rude.
Os artefactos serão o resultado da proximidade entre os vários intervenientes: o designer que concebe os sistemas, o utilizador que nutre e cultiva o sistema, e os actuadores que o executam. Esta compreensão aprofundada do artefacto e das relações que com ele são geradas pode resultar em novas qualidades estéticas.
Potential can found in the honeycomb making process within which we have given the name of ‘natural extrusion’ in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax’s value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.
randomness and physiological processes have an important role in the definition of form, we understand that
artifacts do not only need to attend to the needs and desires of their users, but also have the capacity to foster
emotional connections that arise from their nurturing and from an understanding of their morphogenesis,
from the proximity and time required for their growth and development.
These artifacts will only develop into final products if the system is understood and nourished by
their users. Their end results are singular and unique, with aesthetic qualities that arise from the understanding
of the artifacts’ growth constraints and the bonds that are created with them. The traditional quality canons
of mass produced goods are challenged, as the resulting artifacts will not get final shapes that are both
polished and free of imperfections, but that are inconstant, gnarly and sinuous. Other aspects, such as
production time and the dedication that the systems require from their user are motive to question the
connections that will arise between users and these artifacts.
We intend to contribute to the discussion about new production models that may be alternatives to
mass production in specific uses. With these systems we seek to catalyze greater empathy between objects
and their users, to understand which aesthetic qualities emerge and how their specific characteristics are
interpreted.
Geometrically simple experimental models with ants, bees and mycelia (the vegetative part of a
fungus, consisting of a network of fine white filaments), have been developed to better understand the
conjectural elements of these systems. In these, the matrices and the system are designed but the final results
are reliant on the choices of those who manipulate them and by the variables of the biological actuators. We
intend to make our findings available, allowing others to replicate our experiments in order to obtain a
broader understanding of reactions on the interaction with the systems and the perceived quality of the final
artifacts.
To better understand how individuals respond to this type of objects, we are developing small series of
artifacts, made with mycelia, in an embryonic stage. These will be distributed to users that will be asked to
nurture them into final objects; in this process each user will be asked to nurture his artifact into a final object,
where all options will be of their choice, from the sunlight exposure to the interruption of growth. Each user
will be asked to register the daily evolution of their artifact and to describe their feelings towards it.
Ao definirmos as matrizes e os processos produtivos, pretendemos disponibilizar para o público em geral sistemas que reproduzam artefactos similares e replicáveis, porém singulares, em consequência da intervenção dos actuadores biológicos. Sendo estes artefactos o resultado da proximidade entre os vários intervenientes: o designer que concebe os sistemas, o utilizador que nutre e cultiva o sistema, e dos actuadores que o executam, a necessidade de difundir os achados por forma a atrair pessoas que com eles queiram desenvolver as suas experiencias pessoais é da máxima importância.
Ao não obteremos à partida formas finais polidas e livres de imperfeições, mas sim formas inconstantes, sinuosas e rudes, optamos por ensaios com geometria simples numa primeira fase no intuito de simplificar a sua compreensão. Pretende-se com um conhecimento mais aprofundado desenvolver ferramentas que permitam gradualmente ir aumentando a sua complexidade.
Estes artefactos procuram reforçar as relações emocionais entre utilizador e objecto, procuramos que os elos emocionais surjam da empatia criada pela compreensão da sua génese e do seu processo de produção, mas também pelo acompanhamento do seu desenvolvimento da fase embrionária à interrupção do seu crescimento. A criação de uma plataforma digital que servirá para difundir os conhecimentos, terá que igualmente suportar a publicação dos resultados feitos por terceiros assim como o seu registo relacional com os sistemas e a sua avaliação qualitativa.
Our goal is the development of artifacts in an embryonic stage as well as of the constraints for their development. By defining the matrix and some guidelines, we aim to make available to the general public systems that reproduce artifacts that are similar in their genesis, but which become unique due to their biological actuators. Among other factors, these artifacts seek to enhance an emotional bond between users and object; this bond happens due to the empathy that is generated by the proximity and the time that is required for their growth, and by the better comprehension of their morphogenesis and process. This nurturing is essential for the evolution of the matrix into the desired product.
The final products are unique and unrepeatable, and the end result arises from the close relation between the cooperators: the designer that develops the system, the person that uses it and the actuators that execute it. We believe the deeper understanding of the artifacts geneses and the bond that is created with it may result in new aesthetic qualities.
O principal objectivo é a concepção de artefactos numa fase embrionária assim como os constrangimentos para o seu desenvolvimento. Ao definirmos as matrizes e os processos produtivos, pretendemos disponibilizar para o público em geral sistemas que reproduzam artefactos similares e replicáveis, porém singulares, consequências da intervenção dos actuadores biológicos.
Estes artefactos procuram reforçar as relações emocionais entre utilizador e objecto: os elos emocionais surgem da empatia criada pela compreensão da sua génese e do seu processo de produção, mas também pelo acompanhamento do seu desenvolvimento, desde a fase embrionária ate à interrupção do seu crescimento. Sendo o produto final o resultado de um processo generativo condicionado por actuadores biológicos no preenchimento das suas necessidades fisiológicas, não obteremos à partida uma forma final polida e livre de imperfeições, mas sim uma forma inconstante, sinuosa e rude.
Os artefactos serão o resultado da proximidade entre os vários intervenientes: o designer que concebe os sistemas, o utilizador que nutre e cultiva o sistema, e os actuadores que o executam. Esta compreensão aprofundada do artefacto e das relações que com ele são geradas pode resultar em novas qualidades estéticas.
Potential can found in the honeycomb making process within which we have given the name of ‘natural extrusion’ in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax’s value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.