Foreword 6

In this first regular number of The Radical Designist in 2016 (remember that after its re-ignition we had two special issues) Cameron Tonkinwise paper “DESIGNING IN AN ERA OF XENOPHOBIA” assumes a central role regarding what was ThRAD initial editorial proposition. The article requires special attention and reading since it evolves from a key-note speech pamphletary and difficult.

Rather than focusing on Xenophobia, Tonkinwise’s paper explores the idea of Anthropocene and, in consequence, ends up by facing Xenophobia as other symptoms of our age such as un-sustainability, ecology, migration, cosmopolitanism, and… design.

It is hard to read any phenomena that integrates more than three living things escaping a Darwinist, post Darwinist or anti-Darwinist positions. Reading this text under the notions of variety and variability is indispensable.

Quite contiguous to CT’s paper is Asli Yorulmazel and Gorkem Erdogan’s paper  “ESTABLISHING DESIGN IDENTITY IN DEVELOPING COUNTRIES: THE TURKISH CASE”. The dispersion of Design(ed) goods reproduced from local traditions, idiosyncrasies would, to some  extent, create an even distribution forms and uses able to create multiple centres of interest, a true global cosmopolitanism, able to, at least, soften the idea of migration. Multiple design identities would refrain exodus and compensate occasional displacements by attracting others in a perpetual global movement  generated by the wish of good living in a material (designed) world. 

In a surprisingly related text, “EPHEMERAL CONSTRUCTIONS IN THE BAROQUE PERIOD FESTIVITIES: AESTHETIC OF ENCHANTMENT DESIGN” Anabela Couto gives us an account of the decorative apparatus of Joyeux Entrées of the Philippine Spanish/Portuguese sovereigns in the early 1600’s. Looking back to the Baroque world, to the excess, strive for diversity, lure for intricate nature’s forms, we can sense the serpents egg of what CT’s paper talks about. Also persists in our mind a flavor of ancient-regime when uniqueness, diversity and finally, ecology is tackled.

Finally, Sandra Antunes and Helena Souto’s paper, “ON ARCHITECTURE AS PROJECT-ORIENTED METHOD: TOJAL, MOREIRA AND ROXO A CASE STUDY”, unveils a post-modern Portuguese architectural studio, for foreigners, somewhat related with Carlo Scarpa’s style that reveals a methodological curiosity about the nature of (designed) beauty, unconsciously (or not) grasping Baroque’s aesthetics.

In conclusion, this might be considered a Baroque issue.


Editor In-Chief
Eduardo Côrte-Real



School of Design, Carnegie Mellon University, Pittsburgh, USA

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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.

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

Issue 6 | June 2016 Edition | 01/04



Anadolu Isuzu A.Ş. Sekerpinari, Izmit

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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. [...]

Issue 6 | June 2016 Edition | 02/04



UNIDCOM, IADE – Creative University, Lisbon, Portugal

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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.

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

Issue 6 | June 2016 Edition | 03/04


Sandra Sofia P. ANTUNES, Maria Helena SOUTO

UNIDCOM, IADE — Creative University, Lisbon, Portugal

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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.

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

Issue 6 | June 2016 Edition | 04/04