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Design conceptual na era pós-industrial. "A forma segue o conceito"
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Resumo(s)
Ao longo das últimas duas décadas tem-se registado um acréscimo significativo no número de designers envolvidos numa prática que se aproxima da arte conceptual. A pertinência desta abordagem observa-se na discussão sobre o afastamento do design de produto da cultura de consumo, aproximando-se como referido inicialmente, de uma intenção artística, inclusive no jogo (intelectual) entre conceitos e práticas. O presente estudo pretende definir o conceito de design conceptual, dotando-o de uma base teórica de suporte à prática. É, portanto, a nossa intenção principal, clarificar o conceito de design conceptual, mapeando a originalidade desta abordagem, o que, por sua vez, permitirá elencar um conjunto de premissas orientadoras do processo criativo, distanciando-o do processo "clássico" de design e enfantizando a sua ligação à intencionalaidade artística. A metodologia de investigação adoptada permitiu construir o estado da arte, cruzando a crítica literária com entrevistas a designers portugueses e com a observação empírica de alguns projectos dos designers entrevistados. Os resultados do nosso estudo confirmaram a nossa hipótese e preencheram os objectivos inicialmente traçados. Ao verificarmos a aplicação do conceito na prática profissional de alguns designers, extraindo as suas características fundamentais a partir da observação directa dessa prática, devidamente cruzada com as narrativas que lhe correspondem, sendo este o contributo do nosso estudo para o campo disciplinar no qual se enquadra.
Over the past decades there has been a significant increase in the number of designers involved in a practice wich is closed to conceptual art. The relevance of this approach is seen in the discussion about the distance taken from product design to consumer culture, approaching, as mentioned initially, an artistic intention, even described in the (intelectual) game between concepts and practices. The present study aims to define the concept of conceptual design, giving it theoretical basis to support the practice. It is therefore our main intention, to clarify the concept of conceptual design, mapping the originality of this approach, wich, in turn, will allow listing a set assumptions that guide the creative process away from the "classic" design process by emphasizing it is connection to artistic intent. The research methodology adopted allowed to build the state of the art, by intersecting literary criticism with the interviews of portuguese designers and with the empirical observation of some projects from the same designers. The results of our study confirmed our hypothesis and met the objectives outlined. By verifying the use of the concept in the professional practice of some designers, we defined its substance and main characteristics from the direct observation of practice, with the inclusion of the corresponding narratives, this being the contribution of our study to the discipline in wich it is framed.
Over the past decades there has been a significant increase in the number of designers involved in a practice wich is closed to conceptual art. The relevance of this approach is seen in the discussion about the distance taken from product design to consumer culture, approaching, as mentioned initially, an artistic intention, even described in the (intelectual) game between concepts and practices. The present study aims to define the concept of conceptual design, giving it theoretical basis to support the practice. It is therefore our main intention, to clarify the concept of conceptual design, mapping the originality of this approach, wich, in turn, will allow listing a set assumptions that guide the creative process away from the "classic" design process by emphasizing it is connection to artistic intent. The research methodology adopted allowed to build the state of the art, by intersecting literary criticism with the interviews of portuguese designers and with the empirical observation of some projects from the same designers. The results of our study confirmed our hypothesis and met the objectives outlined. By verifying the use of the concept in the professional practice of some designers, we defined its substance and main characteristics from the direct observation of practice, with the inclusion of the corresponding narratives, this being the contribution of our study to the discipline in wich it is framed.
Descrição
Tese de Mestrado em Design de Produto
Palavras-chave
Design de produto Critica de design Design conceiptual Arte conceiptual Fernando Brizio (n.1968) Product design Design cristicism Conceptual design Conceptual art
Contexto Educativo
Citação
FERREIRA, Patricia Colaço Santos - Design conceptual na era pós-industrial. "A forma segue o conceito". Lisboa : FAUTL, 2010. Tese de Mestrado
Editora
Universidade Técnica de Lisboa. Faculdade de Arquitectura