For the 2019, diid in its three issues, wants to pay homage to the discipline of Design opening a space to know and understand its perspectives, visions and opportunities.
In 2019 marks the centenary of the foundation of the Bauhaus where the fundamentals were laid for the disciplinary construction of Design. A construction that immediately placed Design at the convergence of other knowledge, those of the arts and techniques, according to a transdisciplinary nature.
In the century that separates us from those beginnings, Design has gradually built its own paradigms, its methods, its own approaches and even its own boundaries, without ever giving up an exploratory capacity that has characterized it as a “young discipline” in the great Olympus of knowledge.
The themes launched with the three issues of 2019 open a space for study and debate about the current boundaries of Design as discipline, discovering and telling its relations, interferences and “pollution” with other branches of knowledge.
“Design & Technologies”, “Design & Arts”, “Design & Science” are for researchers, experts and professionals which want to study, learn and share experiences and reflections on the transdisciplinary nature of Design in the near future.
diid #67 Design & Technologies | Deadline Full-Paper 25 febbraio 2019
Mechanization Takes Command: from the famous title of Siegfried Giedion, it is possible to see that there is a “machinic” universe that during the modernity is compared to man in a strict and dialectic way, and that is historically connected to the culture of industrial design. It is equally true that Design is also an autonomous field to elaborate the overall picture connected to technology.
Post-human thinking has had a strong influence in stimulating research towards a conjugation between man and machine, where the contamination between the two dimensions is no longer seen as a threat but as a chance for co-existence.
As André Leroi-Gourhan suggests, the scythe extends its hand like a sort of cultural nail, the printing extends the view, the radio the ear … the idea is an ever open “human building-site” that transforms and grows hybridizing with technology.
The culture of design has always been reworking the world of technical artifacts, that were profoundly changing in relation to the evolution of technologies, the integration of computer technologies and digital electronics.
The issue 67 of Diid solicits reflections on the contemporary relationships between Design and Technology. It questions the role of the designer as “creator” of technical objects and as “configurator” of innovative machinery for production, engaged in unprecedented processes and human-machine interactions for an intuitive and fluid “dialogue”. In this context the machine is related to design according to a couple of meanings: machine as “technical object” resulting from the designer’s creativity; and as a tool to produce artifacts through physical and digital processes.
The designers plan “fertile contexts” to anticipate their personalized applications, to identify and respond to the needs of users, orienting them towards new behavioural forms of collaboration and interaction.
With the confluence of mechanics, biology, and electronics, nowadays the world of robotics come to be particularly attractive to design. Robotics faces new limits through the development of complex devices capable of a wide range of tactile, visual, sound, olfactory sensibilities, endowed with cognitive and decision-making skills. The sensory-motor processes allow a fluid communication between man and machine, so that the robot’s behaviour is always more intuitive and comprehensible.
The collaboration between man and machine comes to be integrated and amplified by “human sensibilities” and perhaps it is the “natural” premise for technological innovation that will have a greater influence on the future identity of design and its creative processes.
diid #68 Design & Art | Deadline Full-Paper 25 maggio 2019
This issue proposes a reflection on the overcoming of two reference assumptions that until today have mainly constituted the relationship between the Design and Art.
The first assumption refers to overcoming the similarities and/or differences between these two scenarios.
«First difference between Artist and Designer: the artist has subjective ideas and works according to his own taste for himself and for an elite; the designer has a rational and logical objective, works in a group and for the whole society and to improve the production both aesthetically and practically. “(Munari, B., (1971), Artista e Designer, IT: Laterza)
The second one refers critically to the influence of their mutual relations in terms of exchange, interference and contamination between these two scenarios.
«The relationship between art and design is thus continuously evolving and it is difficult to describe with a label: the same differentiation between the two areas now belongs to the past. In fact, the world of art and the world of design have shared information, working methods and stimuli, but they are both made up of different cases and it is impossible to generalize them into a single law» (Branzi, A., (2007), il Design è una forma d’arte, in www.ilgiornale.it del 12/06/2007)
Notwithstanding the fact that these two visions can still be references for the investigation and critical-historical analysis, there is the possibility of identifying new territories, barely visible, poorly cultivated, but potentially fertile. These new territories can arise from a synthesis of the different and distinct methodological approach of the two disciplines, as well as from the different types of relationships or from other reference plans: such as the aspects related to the social value and the market value of the objects, the involvement of other actors and productive and economic sectors, the different theoretical approach in the disciplinary training, the experimentation with new forms of products, the events where it is increasingly difficult to distinguish the disciplinary roots.
Identifying or studying these “common territories” will mean to highlight, in a new and original way, the possible relationships created from the theoretical and experimental experiences, respecting the transformations of meaning to which Design and Art are continually subjected.
diid #69 Design & Science | Deadline Full-Paper 15 settembre 2019
In a post of 2011, Tim Brown wrote that, in his opinion, the 20th century had seen a progressive and inexorable separation between Science and Design, marked by the development of technological disciplines. It prefigured the need to reopen a direct dialogue, no longer filtered by the engineers, with the belief that the 21st century would be the scene of important scientific developments capable of radically changing of our human experience.
In 2008, at the MoMA the exhibition “Design and Elastic Mind” has been presented. This exhibition had the merit to change the way of conceiving “doing Design”. The two curators, Paola Antonelli and Hugh Aldersey-Williams, wanted to demonstrate how the ability of Design to see beyond things, in a “probe” condition, could be the starting point of scientific research and not just the final moment when only the most “superficial” part of innovation arrives to the consumer as goods.
Today, the dialogue prefigurated by Brown seems to have found spaces for action and interaction, and on several sides, we speak of Design and Science as a new sphere of alternative knowledge in between the two most consolidated in which we distinguished the knowledge of the 20th century, humanistic culture and scientific culture.
These “spaces” are experimental laboratories where the “white lab-coats” of teh scientists come into contact with the “work suits” of the designers. A Design that is in turn change their nature, moving from “abstract thinkers” to “homo faber”, manipulating material, nature, technologies and living organisms.
In these laboratories the fertile fusion between Design and Science takes place, where both grow, and where the results of one are the beginning of the other.
The “mediatic” Neri Oxman calls this the “Age of Entanglement”, listening to the most authoritative insights of R. Gold in his “The Plenitude” and of John Maeda in his “Bermuda Quadrilateral” to show that the relationship between Design and Science is no longer antithetical but germinative.
With these premises, the issues of DIID “Design& Science” opens a space for reflection on this new fields of knowledge and development, where Design exits from its consolidated areas, without however distorting and losing its disciplinary skills, and deciding to invest in a dialogue with Science, no longer the reductionist one of the Technologies, but the germinating one of the Biology, of the Chemistry, of the Medicine …
According with the editorial structure of diid, the Full-Papers have to be submitted for one of the two section MAKE and FOCUS, respecting these approaches:
MAKE is the section for sharing research, projects and products to experimentally display processes, approaches and visions.
FOCUS is the section for collecting critical contributions on the topic being investigated in the specific issue, by building original scientific and cultural connections.
The proposals will be evaluated according to a blind double peer review process with the following steps.
The Full Paper must be blind (any references to the authors or their affiliations, also in the references, is forbidden).
The Full Paper must include:
The Full Paper must be sent as .doc .docx o .rtf file and named with the Title of the Paper (ex. Title.rtf)
Final-Paper (Open only to the accepted Full Papers)
The Final Paper is not blind and may include all references to the authors even within the text and in the Notes and References.
The Final Paper follows the same structure of the Full Paper:
The Final Paper must be sent as .rtf file and named as the Full Paper.
The Final Paper can include at least 3 pictures. These pictures must be sent as separated files at the print resolution (TIFF or JPG, 300dpi minimum 15cm) with captions (name, author, year). These pictures will not necessarily be published.
The evaluation criteria are:
At the end of the double-blind peer-review, the reviewers will express a judgment according to the following parameters:
A maximum of 5 Final Papers will be accepted for each section (MAKE and FOCUS); in total 10 Final-Papers will be accepted.
The Final Papers with a double Accepted will be taken into consideration; if there are still free positions, the Final-Papers with Accepted and Accepted with Revision will be taken into consideration.
Each author, also as a co-author, can present only one Final-Paper per year.
The presented Final Paper must be an original contribution not previously published (both in Italian and in English).
Final papers will not be published if, despite having passed the revision criteria, is not respect the editorial standards indicated below.
For each accepted Final-Paper a contribution of 100 € (VAT excluded) must be paid according to the procedures that will be sent to the authors by email.
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diid disegno industriale | industrial design Book Series analyzes the evolution and the results of research and both theoretical and planning experimentation in the field of design. Each issue developes a theme that is representative of the debate which crosses the phenomenology of the product system in a technical and cultural extension. Researchers, scholars and professionals of the national and international scene are called to compose a multi-voice tale, with different points of view. They compose the diid Study Center. The selection of articles provides for review and evaluation by a Committee of Referee (double blind peer-review). Proposed contributions should be original and relevant in relation to the themes traced.