This is a text for students. "Why do many students do not sketch?". From this central p... more This is a text for students. "Why do many students do not sketch?". From this central problem is made a cartography of creating conditions in the design; from the inner creation of conditions to the sketch to the external conditions with which the sketch should be combined. Neste ensaio faz-se uma análise e uma apologia da vida social da criação no design. Usamos o esquisso como exemplo, pelo seu papel mediador na construção dessa vida social.
What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthet... more What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthetics, that is what mode of feeling, perceiving and thinking, are expressed in those possible images of slow violence? What politics, what mode of action, could it produce or convoke?
How does drawing increase the capacity to understand, imagine and validate a design?
To answer i... more How does drawing increase the capacity to understand, imagine and validate a design? To answer it, we will consider only design drawings, excluding other types of drawing such as presentation drawings. We will also consider only architectural drawings, although this study applies to drawing for most areas of design (such as product design). We have identified three aspects of drawing practice that exercise our sentient faculties in three sufficiently distinct ways: 1. ‘The object in the drawing’: The problems and solutions explored by drawing as circumscribed by the scope of representation. 2. ‘The drawing in the object’: The problems and solutions explored by drawing as circumscribed by drawing languages, or more accurately, by drawing styles and drawing crafts.www.drawingmatter.org 3. ‘The drawing-object’: The problems and solutions of a design project as internalised and explored by a process of experimentation through drawing
"O desenho tem duas raízes" é o título deste texto, e uma forma de aludir à presença nestes desen... more "O desenho tem duas raízes" é o título deste texto, e uma forma de aludir à presença nestes desenhos de reciprocidades entre a matéria do desenhar e a ideia/concepção; entre a observação das árvores e as referências de desenhos de àrvores; entre o desejo de chegar à "árvore" e a espessura do fazer do desenho, e da história do desenho de árvores.
If we do not want to reduce A.M.’s ironic fantasizing to pure images, we may ask: what does it te... more If we do not want to reduce A.M.’s ironic fantasizing to pure images, we may ask: what does it teaches one to see? And, what exercise does AM perform through it?
What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthetics, tha... more What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthetics, that is what mode of feeling, perceiving and thinking, are expressed in those possible images of slow violence? What politics, what mode of action, could it produce or convoke?
This is a text for students. "Why do many students do not sketch?". From this central p... more This is a text for students. "Why do many students do not sketch?". From this central problem is made a cartography of creating conditions in the design; from the inner creation of conditions to the sketch to the external conditions with which the sketch should be combined. Neste ensaio faz-se uma análise e uma apologia da vida social da criação no design. Usamos o esquisso como exemplo, pelo seu papel mediador na construção dessa vida social.
What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthet... more What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthetics, that is what mode of feeling, perceiving and thinking, are expressed in those possible images of slow violence? What politics, what mode of action, could it produce or convoke?
How does drawing increase the capacity to understand, imagine and validate a design?
To answer i... more How does drawing increase the capacity to understand, imagine and validate a design? To answer it, we will consider only design drawings, excluding other types of drawing such as presentation drawings. We will also consider only architectural drawings, although this study applies to drawing for most areas of design (such as product design). We have identified three aspects of drawing practice that exercise our sentient faculties in three sufficiently distinct ways: 1. ‘The object in the drawing’: The problems and solutions explored by drawing as circumscribed by the scope of representation. 2. ‘The drawing in the object’: The problems and solutions explored by drawing as circumscribed by drawing languages, or more accurately, by drawing styles and drawing crafts.www.drawingmatter.org 3. ‘The drawing-object’: The problems and solutions of a design project as internalised and explored by a process of experimentation through drawing
"O desenho tem duas raízes" é o título deste texto, e uma forma de aludir à presença nestes desen... more "O desenho tem duas raízes" é o título deste texto, e uma forma de aludir à presença nestes desenhos de reciprocidades entre a matéria do desenhar e a ideia/concepção; entre a observação das árvores e as referências de desenhos de àrvores; entre o desejo de chegar à "árvore" e a espessura do fazer do desenho, e da história do desenho de árvores.
If we do not want to reduce A.M.’s ironic fantasizing to pure images, we may ask: what does it te... more If we do not want to reduce A.M.’s ironic fantasizing to pure images, we may ask: what does it teaches one to see? And, what exercise does AM perform through it?
What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthetics, tha... more What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthetics, that is what mode of feeling, perceiving and thinking, are expressed in those possible images of slow violence? What politics, what mode of action, could it produce or convoke?
Pequeno ensaio para uma publicação sobre performance organizada por Teresa Luzio. (Aguarda public... more Pequeno ensaio para uma publicação sobre performance organizada por Teresa Luzio. (Aguarda publicação)
Como é que o design pode auxiliar a criar valor (económico) para a empresa? Para responder a esta... more Como é que o design pode auxiliar a criar valor (económico) para a empresa? Para responder a esta questão procurámos sistematizar a multiplicidade de problemas (e oportunidades) de criação de valor que o design pode solucionar. Esta sistematização dos problemas será apresentada numa grelha, designada “regiões do problema do design”, (RPD). (A publicar na revista PAR.)
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To answer it, we will consider only design drawings, excluding other types of drawing such as presentation drawings. We will also consider only architectural drawings, although this study applies to drawing for most areas of design (such as product design).
We have identified three aspects of drawing practice that exercise our
sentient faculties in three sufficiently distinct ways:
1. ‘The object in the drawing’: The problems and solutions explored by
drawing as circumscribed by the scope of representation.
2. ‘The drawing in the object’: The problems and solutions explored by
drawing as circumscribed by drawing languages, or more accurately,
by drawing styles and drawing crafts.www.drawingmatter.org
3. ‘The drawing-object’: The problems and solutions of a design project
as internalised and explored by a process of experimentation through
drawing
To answer it, we will consider only design drawings, excluding other types of drawing such as presentation drawings. We will also consider only architectural drawings, although this study applies to drawing for most areas of design (such as product design).
We have identified three aspects of drawing practice that exercise our
sentient faculties in three sufficiently distinct ways:
1. ‘The object in the drawing’: The problems and solutions explored by
drawing as circumscribed by the scope of representation.
2. ‘The drawing in the object’: The problems and solutions explored by
drawing as circumscribed by drawing languages, or more accurately,
by drawing styles and drawing crafts.www.drawingmatter.org
3. ‘The drawing-object’: The problems and solutions of a design project
as internalised and explored by a process of experimentation through
drawing