Cameron TONKINWISE

School of Design, Carnegie Mellon University, Pittsburgh, USA

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Abstract
The Anthropocene acknowledges that the volume of designed things is now harming the sustainability of the ecosystems on which current ways of living depend. As a result, there is an urgent need for us to do things differently. But how differently? The history of the idea of ecology has involved putting limits on tolerable diversity. For this reason, ecological politics can be compatible with anti-immigration politics. This article argues instead for a critical diversity, one that can counter the current Proactionary Imperative, which extols high risk but potentially high return, radical technological responses to our societies’ unsustainability. That critical diversity would embrace designing for migration between connected slow, local, communities.

Keywords
Sustainable Design, Anthropocene, Resilience, Proactionary, Precautionary, Cosmopolitanism

Asli YORULMAZEL, Gorkem ERDOGAN

Anadolu Isuzu A.Ş. Sekerpinari, Izmit

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Summary
For over a decade, Turkish designers are drawing a rising success rate in many fields of design disciplines from visual art to fashion, graphic design to product design. Despite of the quantity of many rip-roaring designs they succeeded and the quality of designer awards they were awarded, the fact that world giants like Mercedes and Ford entrusting the management of product design and designer groups to designers of Turkish origin, is the most important indicator that Turkish designers have proven themselves in the industrial design field. However, the success gained individually by Turkish designers is unfortunately not enough to establish a Turkish design identity. Examining the Turkish Designer’s work, it can be seen that these works do not meet at a common philosophy. Despite the individual success of Turkish designers, it is a paradox that it is not possible to create a Turkish designer identity when looking at the occurring work that is created, and creates polyphony, and this complex situation is a challenge for companies making production in Turkey during the branding transition. The aim of this study is to examine the points related to work that was done until today and the issues in terms for establishing a designer identity, and to offer exit points to lead Turkish manufacturers in the branding process or those which did not enter this process yet as well as designers working for these manufacturers. [...]

Anabela GALHARDO COUTO

UNIDCOM, IADE – Creative University, Lisbon, Portugal

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Abstract
This paper focus on ephemeral architecture and design constructions associated to the urban celebrations in Portugal, in the Baroque period. This is a field of knowledge where there are still many gaps. The paper seeks to contribute to deeper understanding of the Portuguese cultural heritage. From the research and collection of documents, some unpublished, we proceeded to its interpretation in the light of Baroque culture. We seek to trace the typology of these events and summarise the main characteristics of the major shows-parties of that period. Special attention is granted to triumphal arches and pyrotechnic machines and fireworks displays, which embellished the streets and squares of Lisbon to celebrate special occasions, such as the weddings of members of the royal family. The paper analyses some of such artifacts, reflecting on their aesthetic, conceptual and ideological sense. Bringing together ephemeral architecture, engineering, pyrotechnics with narrative fiction, dramatic performance, literature and mythological characters, symbols, and images, triumphal arches and fireworks apparatus draw over the city a fantastic geography where dream and wonder rule, configuring an aesthetic of enchantment scoped within the principles of the Baroque culture.

Keywords
Portuguese cultural heritage; Baroque period; ephemeral design; triumphal arches;
fireworks displays

Sandra Sofia P. ANTUNES, Maria Helena SOUTO

UNIDCOM, IADE — Creative University, Lisbon, Portugal

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Abstract
Focussing on the statements of a group of architects from Lisbon’s School of Fine Arts, founders of the Multiplano atelier, this lecture offers an insight into the development of a project-oriented-culture within those circles. Their quest, which involved abandoning all dogmatic form, standing against geniality and individual inspiration, contributed to the implementation of processes, imagistic ideologies and activity relating to what by the late 50s, quite silently given its inherent socialist connotations, was being inaugurated in Portugal under the aegis of the term Design. This study uses historiographical and applied research methodology, based on the discovery of Multiplano’s archives and a subsequent inventory of their work and collaborators. The discovery of a particular document by Carlos Roxo brought to the discussion specific concepts like Useful, Scientific Aesthetic, Architecture as Visual Art and the Organic Materialist Method. Stimulating interaction between art, science, emotion, technology and the common Man; claiming the architect to be an artist, whose metier is a form of arts-based research (which by means of Scientific Aesthetics instigates debate on architecture’s syntax, semantics, method and utility), our protagonists provide an ideological and professional testimony on the growing awareness of a science of design in Portugal.

Keywords
Portuguese Design History; Synthesis of the Arts; Project Methodology; Material Culture;
Design Studies