contents

Session A
Design & Pedagogy........................................ 5
Session B
Design Studio......................................................23
Session C
Visual Design Representations.....33
Session D
Research in Design........................................41
Session E
Design Thinking................................................55
Session F
Beyond the Classroom............................63
Session G
Design & Society..............................................71
Session H
Community-based Research.......... 81
Session A1 & A2
Design & Pedagogy
Facilitating complex knowledge Design is a practice-based discipline, which
is reflected in its education methodology. In
in design education through this context, consuming complex knowledge
design tools. might prove challenging, since designers
think and work in a predominantly visual way.
Mafalda Casais However, being able to master precise sub-
University of Lisbon, Portugal
jects offers a unique advantage in design in
contrast with a dispersed and superficial ap-
proach to knowledge. In this paper, we argue
that design education can benefit from using
keywords: Design Tools, Design Education, design tools as a didactic way of conveying
Knowledge Facilitation. complex knowledge and of making it action-
able. To illustrate our proposition, we analysed
14 theory-focused design tools, showing how
these convey knowledge and make it us-
able. In addition, we compared design tools
with their respective sources of knowledge
to showcase the contrast, proposing a three-
part model of knowledge accessibility. Lastly,
we describe anecdotal experiences: teaching
design classes with and without design tools.
The ideas discussed in this paper represent
opportunities for further academic inquiry.
6 7
Teaching Interaction Design: Education in interaction design is growing and
gaining importance. Given the diversified ori-
A Theoretical Framework. gins of the area, courses which have emerged
in higher education have different approaches.
In this article, we present a theoretical frame-
Marco Neves work for a curricular unit of introduction to In-
University of Lisbon, Portugal
teraction Design Project, at master’s level, at
the Lisbon School of Architecture, University
of Lisbon. For this purpose and this specific
context, we will assume the nature of inter-
keywords: Interaction Design, Teaching, Process. action is multidisciplinary and that training at
this level should refer to designers’ abilities
to think and act in different circumstances. In
establishing this framework, we isolated four
items that such teaching-learning system
should assure: fundamentals, process, media
and tools. Together they form a context upon
which a syllabus can be developed for teach-
ing interaction design practice.

8 9
Pastiche Plus; Styles, This paper describes the Pastiche+ learning
method for design skills on a master education
Philosophies and Advanced level. By using philosophies and stylistic ele-
Design Skills. ments of art and design movements the meth-
od tries to extend ones skill and knowledge
Nathan Middelham & Wouter Eggink about design tools, principles and processes
University of Twente, The Netherlands
in an elaborate way. The paper describes the
purpose and context of the method in the intro-
duction and method section. Pastiche+ is then
put to the test in a case study around graphic
keywords: Advanced Design Skills, Graphic Design, design and communication. This resulted in a
Visual Communication, Design Movements, Design profound set of posters, advocating using the
Philosophy.
train. After an extensive reflection and evalu-
ation of the process and results we conclude
that the method can be considered effective
as a high level individual skills developer. The
research results about communication are in-
herently subjective, however the insights from
the personal reflection can be valuable in in-
forming the design process of every designer
who has a message to tell.

10 11
A Process Which Captures Insight Design education, design research design
practice are vitalized by embracing tools
and Nature’s Silent Design through which people take lessons in na-
Lessons. ture. We use a case study to illustrate this
point. Two phenomena have come together
Awoniyi Stephen to compel case for expanded scope of de-
Texas State University, usa
sign research as part of design problem solv-
ing and education: (1) multi-facetedness and
complexity of the world we inhabit and (2) hot
new role design has gained recently as a way
keywords: Design Research/Education, Human of cross-disciplinary/cross-professional prob-
Behavior, Diffusion, Process, Public/Social Space. lem solving--as can be seen all over media as
multiple disciplines begin to advocate design.
What all this means is (1) designers should be
trained about and (2) learn to use tools which
enable probing into how phenomena are con-
stituted/constructed. This is particularly use-
ful for phenomena that occur silently, organi-
cally, but, if we have interrogated them, give
informed perspectives about how interde-
pendent phenomena occur or might be pre-
dicted. Good designing involves recognizing
(through probing and discovery) interdepend-
12 encies. 13
A Framework for Introducing This paper presents a framework for introduc-
ing emerging technologies into design stu-
Emerging Technologies in Design dio classes. After an overview of motivations,
Studio Classes. three projects are described including their
structures, typical outcomes, successes, and
Matthew Lewis challenges. The first project exposes students
Ohio State University, usa
to different conceptions of emerging technol-
ogies as well as a generative design process.
Visualizations of possibility spaces are created
that communicate students’ overlapping re-
keywords: Emerging Technology, Prototyping, search interests. The second project challeng-
Possibility Spaces, Permission to fail. es students to engage with unfamiliar tech-
nologies of their choosing. Student attention
is directed toward their learning process and
hurdles encountered, more than toward what
they are able to design. A final project presents
both strategies for prototyping emerging tech-
nology systems as well as the use of emerg-
ing technologies for prototyping. Permission
to take risks and document failures is strongly
emphasized. The paper concludes with gen-
eral observations and plans for improvement.

14 15
Research as a link between the While it has been widely recognized that the
fashion industry has many negative impacts
What and the How in Fashion on our planet and communities, fashion de-
Design Education. sign practice and education hasn’t changed
enough to reverse the situation. Sustainable
Ana Neto1 & Ana Cristina Broega2 fashion practices are more important than
University of Lisbon, Portugal
1

University of Minho, Portugal

2 ever and we need fashion graduates to be
prepared for that task. This paper compares
the barriers for the integration of sustainability
in the textile and apparel education identified
in a study conducted in 2014 with the ones of
keywords: Fashion Design Education, Fashion
the present day, recognizing that there isn’t
Sustainability, Research for Design.
much difference in this 5-year period. We con-
clude by suggesting that Research for Design
can mitigate the difficulties faced by educa-
tors when teaching the skills and competen-
cies required for students to design fashion in
a challenging world.

16 17
Ecoliteracy: Shaping the Design Multiple literacies have emerged in the 21st
Century broadening the meaning of literacy.
Process from a Systems-Based These literacies describe the professional
Perspective. skills required to meet the challenges of con-
temporary and future society. This paper fo-
Ricardo Lopez-Leon & Ana Encino-Muñoz cuses on Ecoliteracy as a skill to understand
Autonomous University of Aguascalientes, Mexico the organizational principles of ecological
communities in order to be able to apply
these principles to the improvement of human
communities. Design as a discipline plays a
keywords: Ecoliteracy, Design-process, Systems- fundamental role in the development of such
based. communities, and so, this paper presents a
systems-based design process developed
from Ecoliteracy perspective, reflecting upon
how ecoliteracy could nurture the design pro-
cess and aid in developing educational strate-
gies to train eco-aware professionals.

18 19
Exploring Question Asking This study investigates question asking prac-
tices in a design pre-jury, mainly focusing on its
Practices in a Design Pre-jury. facilitative function in students’ development.
It aims at providing an initial understanding of
question asking practices in design juries and
Elif Sen Himaki students’ understanding and interpretation of
Bahcesehir University, Turkey the questions posed by jurors. To this end, an
empirical study was conducted in a project-
based design course of first year Industrial
Product Design students that consists of two
stages: observation and recording of design
keywords: Question Asking, Design Education, pre-jury reviews, and interviews conducted
Design Review, Design Pre-Jury
with students. Building on observations in the
pre-jury, frequencies of particular question
categories and interviews conducted with stu-
dents, initial inferences about the factors lead
to particular types of question asking patters
were provided. By interpreting each student’s
case separately, the tailored nature of the re-
views was explored; unique patterns of ques-
tioning were revealed, and an initial under-
standing of students’ perspective on question
asking practice in design pre-jury reviews was
obtained.
20 21
Session B
Design Studio
Immersive Behaviour Setting Immersive Virtual Environments are acknowl-
edged to support fundamental values of the
in Architectural Education. Architectural Studio course. However, little is
known about the way these environments are
experienced by their users. This shortcoming
Hadas Sopher & Dafna Fisher-Gewirtzman creates difficulties in evaluating their educa-
Israel Institute of Technology tional sufficiency for different learners’ needs.
Immersive virtual environments are often ex-
pensive and require adequate staff and may
create curricular changes, which emphasize
the need to discerningly integrate the setting
keywords: Studio culture, Behaviour setting, into future syllabi. This paper uses the theory
Immersive virtual environments, Place.
of “Place” to identify the emerging relationship
within immersive environments. We conduct-
ed observations and interviews upon a Studio
course that used a traditional studio classroom
and an immersive setting. The results provide
significant insights on how the different edu-
cational settings are experienced and used.
Students spend a significant amount of time in
the studio. As such, Studio pedagogy ought to
address learners’ needs, actions and experi-
ences, in order to promote learning processes.

24 25
On the Notion of Power in This paper aims to explore the notion of power
in educational discourse and apply its theories
Education and Its Presence in to literature of design pedagogy, particularly
Design Studio. on design studio. In the first section, it is in-
troduced how design studio in this paper is
Süleyman Enes himaki karabulut taken as a living environment where theories
İstanbul Şehir University, Turkey
of social sciences are applicable. Then the tra-
ditional and critical theories of pedagogy are
explored and possible contributions of transi-
tional pedagogy is discussed. In the following
keywords: Design Pedagogy, Design Studio, Power, section, practices in the design studio are at-
Knowledge, Social Relations. tempted to be examined with the gaining from
the reading of educational theories. Corre-
sponding weaknesses are tried to be pointed
out. Lastly, it is discussed how power should
be treated in order to generate a more inclu-
sive design pedagogy.

26 27
In the Midst of Things: The role of the material space of the studio is
underarticulated in design pedagogy, despite
A Spatial Account of Teaching in the studio being distinctive and central to de-
the Design Studio. sign education. This underarticulation repre-
sents challenges when defending space and
James Corazzo its occupation, designing new studio spaces
Sheffield Hallam University, uk
and for those interested in ways in which the
material space of the studio can enhance
learning experiences. In this paper, I argue
that spatial accounts of learning and teach-
keywords: Studio; Design Education; Space; ing can begin to address this underarticulated
Sociomaterial; Design Pedagogy; and under-researched area of design educa-
tion. Specifically, this paper develops spatial
accounts by focusing on design tutors’ experi-
ences and practices of teaching in the studio.
Using ethnographic mapping and interviews
with design tutors to show embodied and
spatial accounts of teaching in the design stu-
dio offer new lenses with which to understand
design education teaching practices.

28 29
Integrating Immersive The Immersive Virtual Environment (ive) Visu-
alization Laboratory (VisLab), at the Faculty of
Visualization Laboratory into
Architecture and Town Planning at the Techn-
a Design Studio. ion-Israel, facilitates immersion in a virtual, dig-
ital, three-dimensional space – a new working
Orit Nezer & Dafna Fisher-Gewirtzman environment and tool. The Visualization Labo-
Israel Institute of Technology
ratory was presented in a design studio to a
group of third- and fourth-year Architecture
students. This was the first time that they had
been exposed to the new environment and
keywords: Design Education, Design Tools, tool of the Visualization Laboratory. The main
Virtual Learning Environment, Visualization, purpose of the research was to assess and
Architectural Studio describe the comprehension and evaluation
of the students regarding their design process
with the integration of the Visualization Lab-
oratory into the design studio course, and in
comparison to the other design tools they use.
The research presents the reader with the in-
terpretation, the experience and the meaning
that evolved in the observed setting, as de-
scribed by the students and using a qualitative
research approach.

30 31
Session C
Visual Design Representations
Mental Imagery as a Tool in Designers are required to produce 2-dimen-
sional representations of objects in both design
Visualization: A Participant and production phases. To create right 2-di-
Observation Study. mensional representations, designers mostly
relies on their ability to create visual mental
Tuğçe Ecem Tüfek images of these objects. Constructing a right
Istanbul Bilgi University, Turkey
visual mental image is important for visualiza-
tion process, as designers can work on these
images and reason visual transformations. The
ability of generating accurate mental images
keywords: Visual Imagery, Visualization, Design is not strong in design students as they lack of
Communication, Tacit Knowledge necessary knowledge and experience. In visu-
alization courses, students are exposed to the
employment of this ability by their instructors.
This paper discusses the tacit characteristics
of the utilization process of visual mental im-
agery in a visualization course. The tactics that
experienced designers and educators use
for demonstrating students the ways of con-
structing detailed and accurate visual mental
images are also explored through the study.

34 35
Pinpointing Fragility Through Fragility is evident yet uncharted in architec-
tural design. To fathom the term and develop
the Act of Drawing as a ways of understanding it, we explore the po-
Moment of Embodiment. tential of drawing. Through making drawings,
and reflecting on their outcome, we probe
Louise De Brabander, Thierry Lagrange a more effective implementation of fragility
& Johan Van Den Berghe
in architectural design processes. Lagrange
ku Leuven University, Belgium
(2016) previously argued that fragility is a sub-
jective phenomenon that resides in both the
material and mental space.
keywords: Fragility, Drawing, Moment of To fathom fragility, we address the follow-
embodiment, Empathy. ing threefold: material space (the drawing as
an object), the moment of embodiment (the
body: the drawing hand) and mental space
(the mind). This paper elaborates on how the
central moment of embodiment, installed as a
mediator between material and mental space,
might facilitate ways of understanding fragility
by demonstrating how empathy can be acti-
vated through specific ways of drawing. We
do so by explaining two research cases: a Bel-
gian dune landscape and the investigation of
the first author’s drawing archive.
36 37
Integrating Visual and Narrative Reflection, an old concept, is relevant to now-
adays higher education undergraduates and
Reflective Components in graduates, architecture and design students
Architecture Pedagogy. among them. While reflection is considered as
a powerful learning tool that enables students
Keren Shoham, Efrat Eizenberg & Iris Aravot to use personal resources, the definitions
Israel Institute of Technology and concepts associated with it are diverse
and sometimes even contradictory. This pa-
per briefly reviews the roots of reflection and
the leading theories connecting reflection to
keywords: Reflection, Architecture, Architecture learning, pedagogy and architecture. The pa-
pedagogy, Schön, Kolb. per also presents insights regarding the verbal
and non-verbal expressions of the reflective
design process, based on a case study of an
architecture course. In conclusion we suggest
a new reading of the different dimensions in
Schön and Kolb reflection theories, through
the lens of our research findings.

38 39
Session D
Research in Design
Mapping the Territories around Despite great progress in the last five dec-
ades, Design Research still reveals fragilities
Design Research: A Four-Layer in comparison with other academic fields. To
Analysis. avoid stagnation and lack of impact, it needs
to strengthen its theoretical and methodo-
Violeta Clemente, Katja Tschimmel logical foundations. Following previous work
& Fátima Pombo
aiming to contribute to Design Research con-
University of Aveiro, Portugal
solidation, we propose in this paper a Map
where four categories of Design Research are
positioned in relation to territories of Design
keywords: Design Research, Design Practice, Design Research, Education and Practice. The Map
Theory, Design Research Methodologies. also supports the examination of those four
Design Research categories based on a four-
layer analysis resulting from the conference
title keywords: Processes, Philosophy, People
and Products. The Map intends to help design
researchers, especially inexperienced ones,
like PhD students, to visualise where their own
research is located within the Design universe
and, by that, understand the ontological, epis-
temological and methodological implications.

42 43
A Framework to Analyse PhD This paper presents the analytical framework
used to conduct a survey of PhD theses in
Theses in Design. Design completed between 2010 and 2019
(106) at the Lisbon School of Architecture. The
framework is described in how it relates to the
Rita Almendra & João Ferreira broader research project started in the redes
University of Lisbon, Portugal
research group. Each PhD thesis is detailed
according to four main levels of analysis: re-
search identification, territory, processes, and
results. The framework produces detailed
keywords: : PhD in Design, Analytical Framework, results concerning the research reported in
Research Methods, Design Research Methodology. each thesis manuscript and the aggregate of
the individual analysis allows the production
of meta-data about the research conducted in
the PhD course.

44 45
Tools, Methods or Theories in The use of terms in design research is not
clear. A significant number of papers discuss
Design Research? how to design with reference to “tools for”
without making clear what constitutes a tool
(or method). This paper reviews work on the
Richard Herriott & Canan Akoglu concept of tools, it examines the use of terms
Design School Kolding, Denmark
in selected papers and reviews three pos-
sible ways to define and categorise tools. It
recommends the term “tool” be used as little
as possible and only with reference to tangi-
keywords: Tools, Methods, Theory, Philosophy ble objects. This can help distinguish between
of Design methods as ways to carry out an action and
tools as the physical means to do so.

46 47
A Roadmap for a Hot Air Balloon Looking over the Design theses from the Lis-
bon School of Architecture’s Ph.D. in Design
Journey? A Grounded Design course we noticed that the research design
Research Approach. diagrams were similar regardless of the in-
vestigations were theoretical or practiced-
Inês Veiga, Pedro Cortesão Monteiro based. The common template prescribes a
& João Ferreira
University of Lisbon, Portugal sequence of steps that places the research
process along a predetermined path in which
the design project takes a secondary role.
This observation raises questions concerning
keywords: Research Methodology, Grounded the research through design paradigm. Using
Design Research, Research Through Design a roadmap is a contradiction to the kinds of
research that unfold through the practice of
design, which are open-ended and explorato-
ry in nature. The implications of having a tem-
plate for all kinds of design research needs
examination. In this paper, we build on this
analysis and explore an alternative we termed
Grounded Research Design.

48 49
On the Brink of Dissipation: The This paper introduces two ongoing research
projects based at id+, Research Institute for
Reactivation of Narrative Heritage Design, Media and Culture / Unexpected Me-
and Material Craftsmanship dia Lab (lume), namely, Anti-Amnesia; and
Wisdom Transfer.
Through Design Research.
The common ground for the argument sus-
Heitor Alvelos, Susana Barreto, Abhishek taining both projects pertains to the preserva-
Chatterjee, Eliana Penedos-Santiago tion of specialised knowledge on the brink of
University of Porto, Portugal
disappearance:
Anti-Amnesia focuses on the recovery and
documentation of human, social, and material
narratives surrounding four dissipating tradi-
keywords: Silver Generation, Design for recovery,
tional industrial contexts in Portugal;
Brand Archaeology, Immaterial Legacy..
Wisdom Transfer aims to establish the ground-
work for acknowledging, communicating, and
activating the contributions to knowledge,
culture, and the social fabric made by retired
Portuguese art and design academics.
Both approaches are ostensibly human-cen-
tric, relying primarily on ethnographic prac-
tices to gather the essence of the respective
realms — foremost from the point of view of
the original masters and makers — to arrive
at a position from where it is possible to truly
understand the involved historical and cultural
legacies.
50 51
redes – A Research Group on This paper presents REDes, a research group
on Research & Education in Design that inte-
Research & Education in Design – grates ciaud – the research centre of Architec-
a Vision. ture, Urbanism and Design – from the Lisbon
School of Architecture – University of Lisbon.
Rita Almendra & João Ferreira The vision, the process and planning of activi-
University of Lisbon, Portugal
ties of this research group are here explained
as well as its relationship with the ongoing dis-
cussion on design research and education. By
detailing the genesis and ethos of REDes we
keywords: Research Group In Design, Design aim to discuss how design research and edu-
Research Aims, Understanding Design Education cation can look inward, reflect, and ultimately
and Research. uncover paths to advance.

52 53
Session E
Design Thinking
Design at Stanford: “Design thinking” has emerged as one the of
the discipline’s key movements, and is typical-
the D.school’s Daddy. ly associated with having roots at the d.school
at Stanford University. It’s founder, and also
the creative force behind global design com-
Steven Mccarthy pany IDEO, is alumnus David Kelley, who has
University of Minnesota, usa
achieved legendary status. Prior to formation
of the Hasso Plattner Institute of Design (the
d.school’s formal name), however, since the
1950s design education at Stanford consisted
keywords: Stanford University, D.School, Design of many lesser known, but still influential, fac-
Thinking, Design Education, David Kelley ulty members and an innovative curriculum
combining engineering and art. This paper
exposes the “founding fathers” of design edu-
cation at Stanford (many of whom were David
Kelley’s professors), and reveals two curricular
proposals that preceded the D.school.

56 57
In Quest of a Successful It is hard to uncover design studio courses be-
cause it includes complex, intricate and rich
Design Studio Course: learning experiences. Therefore, it needs a
A Course Evaluation Template. special attention in terms of both instructional
strategies and academic studies. This paper
Koray Gelmez addresses developing a qualitative way of
Istanbul Technical University, Turkey
evaluating a design studio course. This is an
attempt to shed a light into this complex issue
together with the students. To achieve this,
senior industrial design students participated
keywords: Design Pedagogy, Design Studio, a two-part session to generate a design studio
Course Evaluation, Reflective Writing. course evaluation template. Based on the re-
views and suggestions from the students, the
evaluation template was developed including
these three main dimensions, which are com-
munication, content and process, and overall.

58 59
Industrial Designers Problem- This paper presents results from an experi-
ment to determine brain activation differences
Solving and Designing: An eeg between problem-solving and designing of in-
Study dustrial designers. The study adopted and ex-
tended the tasks described in a fmri study of
design cognition and measured brain activation
Sonia Vieira1, John Gero2, Jessica Delmoral1,
Valentin Gattol3, Carlos Fernandes4, Marco Parente5 using electroencephalography (eeg). By taking
& António Fernandes5 advantage of eeg’s temporal resolution we fo-
1
inegi-feup, Portugal cus on time-related neural responses during
2
uncc,nc, usa problem-solving compared to design tasks. The
3
ait, Austria
4
Saint John Hospital, Porto, Portugal experiment consists of multiple tasks: problem-
5
feup, Portugal solving, basic design and open design using
keywords: Design, Problem-Solving, Industrial a tangible interface. The tasks are preceded
Designers, Design Neurocognition. by a familiarizing pre-task and then extended
to a fourth open design task using free-hand
sketching. The results indicate design cognition
differences in the brain measurements of task-
related power and temporal analysis of trans-
formed power between the problem-solving
task and the design tasks. Statistical analyses
indicate increased brain activation when de-
signing compared to problem-solving. Results
of time-related neural responses connected to
Brodmann’ areas cognitive functions, contribute
to a better understanding of industrial design-
ers’ cognition.
60 61
Session F
Beyond the Classroom
Integration of Novice Designers It is accepted that “essential aspects of Design
are better understood in its own terms”. With
into Interdisciplinary Teams. this in mind, we attempt to understand the
challenges of novice designers when they en-
ter interdisciplinary collaborative design pro-
Mithra Zahedi jects and try to tackle complex and ill-defined
University of Montreal, Canada
problems. We present a way of inquiry to col-
lect data from novice designers themselves
and their collaborators. By using the Design-
erly Activity Theory model, we examine how
keywords: Design Education, Novice Designers, novices mobilize and apply their theoretical
Collaborative Design, Designerly Activity Theory and practical design knowledge in the real
practices of collaborative design. In this per-
spective, it becomes possible to assess the
alignment of design education in relation to
the aptitude of working with others and to-
wards professional dynamics of collaboration.
Identifying the gap will allow us to create train-
ing strategies and tools that would improve
novice designers’ integration into teams.

64 65
Design Education for the 21st Preparing designers for the 21st century work-
ing environments involves providing them
Century: The Multiple Faces with skills to quickly adapt to a world of con-
of Disciplinarity. tinuous change, to face a time where flexibility
is a must and where uncertainty is the most
Sara Antunes & Rita Almendra assured reality.
University of Lisbon, Portugal Societies and economies are now knowl-
edge-based, due to globalization and tech-
nology; knowledge is then the key to succeed;
in a knowledge-based word, professionals
with different disciplinary backgrounds need
keywords: Design Education; Working Environment; to join efforts in teams where they interact
Collaboration; Disciplinarity.
and share their expertise to achieve common
goals; collaboration, communication and criti-
cal thinking are some of the crucial skills they
should possess and their education pathway
should include opportunities to acquire those
skills. The education process should then in-
clude experiences that mimic those environ-
ments, that some classify as multidisciplinary,
while others prefer interdisciplinary, or even
transdisciplinary. This paper contributes to
clarify these terms and to assert which the
correct level of disciplinarity might be
66 67
Parergon in K Magazine. Under the fields of design theory and practice,
we propose a critical comment on K maga-
zine (1990-1993), under Derrida definition of
parergon to understand the publication de-
sign solutions. The survey is the result of two
Patrícia Cativo Viegas crossing methodologies: the empirical analy-
University of Lisbon, Portugal
sis of the magazine issues and the critical re-
view of its theoretical frame, were the device
parergon is rescued to grasp the magazine’s
graphic design strategies, providing us a close
keywords: Parergon, Graphic Design, Theory, reading of K visual layout through postmod-
Processes ern graphic design scope. The essay will iden-
tify and analyse 4 case studies of parergon in
the magazine layout to demonstrate the sig-
nificant role of graphic design in the text in-
terpretation, as a postmodern graphic design
feature. The pertinence of the study concerns
the ability of design to become a subjectiva-
tion device in communication process.

68 69
Session G
Design & Society
Design & Entrepreneurship This paper discusses the relationship between
design and entrepreneurship in the theses of
– A Reflection on the PhD Program in Design of Lisbon University
Approximation of areas. (ULisboa). We analyzed 72 theses that were
defended between the years 2010 and 2017
Bruna Ruschel Moreira, Ana Cristina Dias, and the results have indicated that there is a
Natália Plentz & Rita Almendra
little relation between the areas. So, we dis-
University of Lisbon, Portugal
cuss the harmful effects that this context can
produce in the design competences and Por-
tuguese economy. Moreover, we discuss how
keywords: Entrepreneurship, Design Education, design can benefit from entrepreneurial skills
Creative Economy, Design Competences. and present some scenarios that propose
ways to approach each other in the design
teaching.

72 73
Teaching of Design for Social The paper discusses the teaching of de-
sign geared towards social innovation pro-
Innovation in Portugal: cesses, identifying competencies required
Perspectives for its Improvement. to work with this type of project. To arrive in
these competencies, specialists were inter-
Natália Plentz, Caio Miolo & Rita Almendra viewed, crossing their answers with literature.
University of Lisbon, Portugal
To evaluate whether these competencies are
being adequately taught, students from a so-
cial innovation based course in a Portuguese
graphic and product design undergraduate
keywords: Social innovation, Design Education, program were interviewed. The paper con-
Competencies. cludes the students find difficulties in working
with projects of this nature, mainly for due to
the fact that they spend most of the program
working with a design process focused on re-
sults. We propose the competencies identified
here should be worked on from the beginning
of the program, stimulating earlier on practic-
es like the interaction with communities and
the problem identification process.

74 75
Design Education for Theatre This paper discusses the collaboration be-
tween design education and theatre. Cur-
Regarding Craft-design Alliance. rently, due to financial and social issues, some
theatre companies are forced to eliminate dif-
ferent topics from the creative process, such
Liliana Soares1, Rita Almendra2, Ermanno as the culture of drawing, sketching and craft-
Aparo1 & Fernando Moreira da Silva2 work. On one side, this situation contributes to
Polytechnic Institute of Viana do Castelo, Portugal
1
the stagnation of answers for theatre shows,
University of Lisbon, Portugal
2

devoid of a process, unconnected with the

culture of project. On the other hand, manu-
facturing world loses an occasion to reinvent
keywords: Design education, Craft-Design Alliance, itself, building new business areas for a sec-
Design and theatre, Designerly ways of knowing,
tor, also, with problems. Methodologically, the
Innovation
authors present three case studies that cross-
es those fields. With this paper the authors
demonstrate that a craft-design collaboration
contributes to the improvement of theatre au-
diences, design education and local entrepre-
neurs. The paper highlights the importance of
connecting design and enterprise as a com-
mon learning system. Thus, design-business
networks can reinvent local contexts and cre-
ate opportunities for entities, design educa-
tion and human beings.
76 77
Gender and Territories of Design This paper aims to map and discuss the re-
lationship between researcher genders and
Research: A Reflection about the their chosen research territories, using the
Relationship between the researcher PhD program in Design at the Lisbon School
Profile and the Chosen Territory. of Architecture as a case study. Based on the
Ana Cristina Dias, Bruna Ruschel Moreira PhD thesis database and using the redes’
& Natália Plentz methodology for analysis, we identified some
University of Lisbon, Portugal
search tendencies on specific areas and some
preferences for specific research processes,
respectively by women or men. Thus, we re-
keywords: Design Research; Design Process, flected about how gender can influence the
Gender; Research territories. choice of research territories of a PhD student
in Design.

78 79
Session H
Community-based Research
Care for Veterans and their In design research needs identification should
be investigated based on different communi-
Healthcare Providers. ties. For this matter, proper and sufficient en-
gagement of these communities is an undeni-
able core for design researchers. Healthcare
Elham Morshedzadeh1, Christopher Arena2, Brad in design education hasn’t been fully explored
Hendershot345, John Robertson2, Andre Muelenaer2, because of its sensitive nature. This paper is
Elias Lianos6 & Pamela Vandevord2 a study in progress that creates a unique op-
1
Department of Industrial Design, Virginia Tech, usa
2
Department of Biomedical Engineering and Mechanics, Virginia portunity for Industrial Design and Biomedi-
Tech, usa cal students through an immersive course to
3
DoD-VA Extremity Trauma and Amputation Center of “Excellence”
usa experience the professional environment in
4
Research and Development Section, Department of healthcare. Considering the important role of
Rehabilitation, Walter Reed National Military Medical Center, usa
5
Department of Rehabilitation Medicine, Uniformed Services the communities in user’s need identification
University of the Health Sciences usa
6
Research and Development Service, Salem VA Medical Center,
we chose veterans as target group because
usa of their special conditions. This exceptional
target group and their healthcare providers
keywords: Healthcare, Design, Biomedical, will bring another layer of emphasis on defi-
Community-based Research. nition of needs in relation to the communi-
ties involved. This program will give any de-
sign educator an extraordinary experience in
Community-Based Research and Design in
Healthcare. This proposal has been granted
by the National Institutes of Health starting
from Spring 2020.
82 83
Designing Integrated Solutions Poverty is characterized by many different
constraints at individual, institutional, econom-
for Resource-limited Societies.
ic, and technological levels. To satisfy unmet
or underserved needs of people living in pov-
erty, it is essential to address all the relevant
Santosh Jagtap & Tobias Larsson constraints in the target context through the
Blekinge Institute of Technology, Sweden
design of integrated solutions. Although pre-
vious studies in this field have indicated that
designing such solutions requires involve-
ment of many stakeholders, there is a lack of
keywords: Resource-Limited Societies, Integrated related research in this field. To address this,
Design, Stakeholders, Design Inputs, Base of the using a case study methodology, we analysed
Pyramid (Bop)
two design projects that have successfully re-
sponded to all the pertinent constraints in the
resource-limited societies, supporting social
and human development of the marginalised
people. Based on the findings of these de-
sign case studies, we developed a framework
of stakeholder inputs, representing a diverse
range of stakeholders, embedded within or
outside the context of poverty and contribut-
ing towards the design of integrated solutions.

84 85
Fostering Empathy Through Children from a fourth-grade class at a prima-
ry school in Trinidad and Tobago participated
Design Thinking Among Children in a three-week summer camp with a design
in Rural Trinidad. thinking- based curriculum. The study aimed
to examine how children developed and prac-
Lesley-Ann Noel1, Tsai Lu Liu2 & Traci Rose Rider2 ticed empathy during the design class. Quali-
Tulane University, usa
1

North Carolina State University, usa

2
tative data were collected from the children
and the instructors, providing thick descrip-
tions of the children’s experiences during the
camp. As anticipated, the findings showed
keywords: Design Thinking, Empathy, Rural that the children practiced empathy at several
Education, Critical Utopian Action Research. stages during the design process, where they
had to learn to take the perspective of the tar-
get user of their designs. However, the less
anticipated result was that the findings also
demonstrated that the children had more op-
portunities to practice empathy during group-
work and critiques, where they empathized
with the angst of their colleagues. These find-
ings demonstrate how design education can
be used to enhance the social development
of children by providing varied opportunities
for them to empathize with others.
86 87
Empowering Design Innovation The paper has as objective to define what is
Innovation in design in the context like Albania.
In Albania: Methodologies Throughout this paper, the authors examine
and Approaches in “Design” the educational tools of how universities and
Curriculum. academia, in this case, polis in Albania fos-
Joana Dhiamandi, Valerio Perna, Sonia Jojic & Erida ter innovation through research and “design”
Curraj
polis University, Albania curriculum. The concept of innovation in this
context of crisis is examined as a matter of re-
search methodology, education vs. industry
product development, and customization of
keywords: Innovation, Product Development, polis, social needs. This challenging process of the
Research and Education. continuous collaboration between universities
and business lead to new definitions of inno-
vation, using research methodologies such
as “Design Thinking”, “User-Centered Design”,
creating a bottom-up process toward product
design.

88 89
conference chair Inês Veiga University of Lisbon
Rita Almendra (faul) Janet McDonnell University of the Arts London
João Ferreira University of Lisbon
organising committee João Vasco Neves Polytechnic Institute of Castelo
Alexandra Luís (faul–ciaud) Branco
Ana Cristina Dias (faul) José Silveira Dias University of Lisbon
Bruna Ruschel (faul) Kalevi Ekman Aalto University
Fernando Moreira da Silva (faul–ciaud) Letícia Schiehll Lutheran University of Brazil
Filipa Nogueira Pires (faul–ciaud) Livia Rezende University of New South Wales
Francisco Ramos (faul) Marco Neves University of Lisbon
Inês Veiga (faul) Marieke Sonneveld TU Delft
João Ferreira (faul) Mário Matos Ribeiro University of Lisbon
Luís Ginja (faul) Michele Santos University of Lisbon
Mafalda Casais (faul–ciaud) Milene Gonçalves TU Delft
Marco Neves (faul) Natália Plentz University of Lisbon
Maria Inês Casaca (faul) Pedro Cortesão Monteiro University of Lisbon
Natália Plentz (faul) Pekka Korvenmaa Aalto University
Pedro Cortesão Monteiro (faul) Rita Almendra University of Lisbon
Rita Almendra (faul) Safi Hefetz Bezalel Academy of Arts and
Design
scientific committee Shilppa Das National Institute of Design
Aline Souza Federal University of Uberlândia Sónia Vieira University of Porto
Ana Cristina Dias University of Lisbon Thomas Binder The Royal Danish Academy of
Ana Moreira da Silva University of Lisbon Fine Arts
Bruna Ruschel University of Lisbon Ulrich Lehmann Parsons School of Design
Carlo Franzato Unisinos Zoy Anastassakis State University of Rio de Janeiro
Cees de Bont Loughborough University
Daniel Raposo Polytechnic Institute of Castelo
Branco
Eduardo Gonçalves European University of Lisbon
Elisabete Rolo University of Lisbon
Fernando Moreira da Silva University of Lisbon
Gabriel Patrocinio State University of Rio de Janeiro
Henri Christiaans University of Lisbon
Inês Simões University of Lisbon

90 91