Advances in Design, Music and Arts II

City branding is a governance strategy that, based on the identity of a city, aims to generate attractiveness for external public (visitors, investors, talents) and quality of life for internal public (citizens). Its process involves several steps and multidisciplinary teams, which interact with residents and other stakeholders from the political, economic, and social spheres. It is an activity with a transforming capacity of people and places, the same way as design. From this convergence, this study aims to understand the role of designers in a city branding process. We followed an explanatory multiple case study, mapping and decoding the development of the brands of Mississauga (Canada), Eindhoven (Netherlands), Cascais (Portugal) and Porto Alegre (Brazil), as well as the interventions of designers throughout the processes. As a result, it was possible to develop a conceptual model, describing three essential designer’s roles in city branding: articulator, strategist, and activator, delivering relationships, strategy, artefacts, communication, and services.

The identity of a territory comprises a complex and dynamic inexhaustible network. This article aims to understand the intersection between this complexity and the process of creating a graphic brand. This study reports on an exploratory project conducted based on a Case Study Research Methodology. As a case study we bring the creation of a new brand identity for Portalegre, a Portuguese city in the Alentejo region of Portugal. We tried to bring to light the visual and conceptual inspiration of the creative process, as well as the justification for the creation of the brand design and the graphic system created around it. As we describe, design plays an enlightening role in the definition of the territory’s identity, resulting in a graphic brand that can be adapted to different contexts and experiences. Which, like the territory itself, can be transformed and enriched over time.

The present research focuses on the analysis of student evolution based on design methods. The investigation took place during the past semester at Design for Sustainability (D4S) Master’s Course at the Faculty of Fine Arts, University of Lisbon (FBAUL). During this time, the student’s knowledge and skills were documented from the start. The process was planned, the learning path recorded, and the key moments were reflected. Step by step, students performed a set of theoretical-practical exercises. A protocol to register the process that was created, allowing the students to navigate through the design development more consciously and autonomously. With this methodology, it was possible to observe the students shift from an early stage of reserve and uncertainty to another thinking structure developed as a positive change. All this process was experimental research where our teaching performance was justified by ‘Learning by Design’ concepts and theory.

The present article arises from the objective of allowing the understanding of a set of problems diagnosed in higher education practice, in order to reflect on practices and methodologies adopted in the context of design teaching, more specifically on the importance of visual thinking, through the use of semantic map, as a tool to boost the generation of ideas.As a research methodology we adopted the case study as it is a research method that allows us to collect data from real contexts to explain, explore or describe actions embedded in a real context. With these in mind, we introduced a workshop developed in the context of the ERASMUS+ programme on the design diploma of the School of Architecture of the University of Navarra.In the end a tool adopted proved to be indispensable for the rapid unlocking of ideas, effectively helping students in the process of synthesizing information and constituting an engine for the creative mechanism of design ideas.

The advertising industry has relied heavily on sex appeal for decades. However, its reputation for sexualizing women and stereotyping gender has captivated researchers who aim to identify what influence it might have on consumer behaviour. Studies tend to focus almost exclusively on either “adults” or “minors” but ignore the fact that there is an age group in between that is important to pay attention to. In legal terms, 18-year-olds are considered adults, but they do not have the same level of maturity as those much older and are not quite young enough to classify as minors. The purpose of this study is to explore how the use of genres, such as comedy, romance, and suspense, in sexualised advertising affects this small demographic of young adults. Specifically, how it influences their self-perceptions which will affect how they see themselves as they grow into adulthood. Frame-by-frame analysis will be conducted to examine the elements of formalist film theory and specifically how camera composition is applied. Results of the study indicate that participants’ self-worth decreased as they considered this to be determined by their appearance. The results indicated that across all three genres, narrative aids both the interpretation of the advertisement and the understanding of their self-perception positively.

Museums [1] represent a collection of ancient and modern knowledge that needs to be protected, disseminated and passed on in the best possible way. The development of digital technologies in recent years is providing an answer to this need, with the transformation of research and restoration sections of museums into veritable FabLabs. The outputs generated by these specialised laboratories range from faithful physical/virtual reproductions of historical artefacts to digital libraries that can be used by experts and others. The museum framework is ideal for testing the quality and flexibility of these new technologies aimed at preserving and at the same time disseminating cultural heritage [2]. The global spread of this practice and the sharing of research data is progressively giving rise to new application scenarios within the community, with the aim of generating cultural networks and inclusion. The macro-scenario of “museum digitisation” triggers a series of micro-scenarios with scientific and public implications, generating social value. The methodology applied involves a preliminary analysis of the current museum context, taking into account the possibilities provided by technological innovation. Subsequently, through the research of case studies, the importance that these technologies, linked to a conscious use, can assume in the museum context was consolidated. The last phase sets out how design approaches can strategically guide museum realities towards the generation of innovative and accessible experiences and modes of use. The aim of the paper is to investigate, through the use of case studies, how design can catalyse the potential of digital fabrication and digital technologies. All this can lead to new kinds of scientific and public fruition, reaching an increasingly wide audience.

Due to the implementation of new technologies, the healthcare sector now produces more data than ever before. This data is of high importance to patients but in many cases it is inaccessible. To counteract this effect, many mobile apps have been developed to aid patients in the management of their personal health data.In this article we will present an analysis and comparison of several apps of this sort, selected from those available within the Portuguese market. The goal of this analysis is to create a design framework for a new personal health management app to be developed.It was concluded that despite an ample offer, there is still opportunity to produce a differentiated application for this market, by including innovative features and methods of displaying information, such as 3D models.

Given the specific characteristics of seniors in terms of their digital literacy and the difficulties introduced by memory and learning skills’ deterioration, it is expected that seniors present greater difficulties than young people in the interpretation of the meaning of a visual icon. Therefore, this paper starts by presenting a brief literature review about icon design for elderly people, mainly focusing in the icons’ iconicity variable regarding the target audience. This is then followed by the description of the results of a circumscribed iconography study which main goal was to assess, with a sample of the senior public, the degree of iconicity of a set of icons designed for the interactive menus of an iTV (Interactive Television) application. To do so, 21 icons with different combinations of visual attributes such as figuration, abstraction and the use of cultural conventions, were individually shown to each participant of the study, which were later asked to describe a meaning for each shown icon. From the collected data, attribute combinations were identified that seem to facilitate the correct interpretation of an icon’s meaning for a senior. As a main result, this study found that the best strategy to adopt, in order to assure that icons are totally and globally accessible for seniors, is the combined use of the written meaning of the icon along with a pictorial and visual representation of the concept or object to which the icon relates to.

This investigation aims to contribute to the subject of study − magazine design − through the analysis of the process of transmutation from digital to print media. Thus, it is intended to answer: How can a printed editorial object contribute to an online magazine?Starting from the online contemporary art magazine Wrong Wrong, the main objective is the design of a printed, collectible editorial object, which contributes to enhance and strengthen its recognition in the targeted audience.The methodologies adopted in this research emerged according to the requirements of each phase necessary to fulfill the proposed aim. This study is organized in two distinct moments − the theoretical framework and the project. For the theoretical framework, a literature review was carried out on the themes adjacent to the central theme − printed object −, the publication and the grids. Additionally, case studies are analyzed, and a semi-structured interview was carried out with the director of the Wrong Wrong magazine.For the design of the printed editorial object − Project −, a methodology informed by design is used, revealing all the processes, challenges and decisions taken, which led to the materialization of a prototype.The results of this study reveal that the choices made in the design of the printed editorial object strategically contribute to expand meanings, enhancing visual communication.

Vogue covers reflect the contemporary events, emphasizing the happenings around the globe. The leader of the fashion magazine shows dynamic and diverse patterns of graphic culture and art. We can sense the ensuing prospect of eye catching visuals over the cover pages. Even during this pandemic, Vogue covers have never failed to impress us they are an outburst of cognitive creativity. The text and illustrations are a fresh ray of light to the viewers. The covers are a key element to drag the attention towards the magazine. They have evolved through this pandemic giving rise to a varied range of font styles and art. The impact of the pandemic is reflected through the composition, colour and typography.This paper aims to study and analyse Vogue cover design using the semiotics framework. The paper is studied in terms of relationship with the genre of the cover, the structural parameter and the analysis is done on the production technique and context of use.

Established in 1956 by Arnaldo Trindade, a businessman from Porto, the record label Orfeu (1956–1983) stood out in the phonographic panorama in Portugal for four decades. The diversity of the phonographic repertoire released, and the visual identity it conveyed, are reflected by different expressions and artistic values, as well as cultural commercial and political, prior to, and following the democratic revolution of April 1974. Placing the phonogram at a crossroads where different axes meet — making; editing; commercialisation; reception and filing —, in this article design and visual culture values are assessed which are associated with the Orfeu label. This article, which is an analysis and interpretation, will develop a research methodology based on the analysis of primary sources (basically made up of Orfeu’s catalogue and all related documentation), as well as secondary (in this case, oral storytelling was valued as a means of overcoming the shortage of work published in the area) and tertiary ones (mainly to do with methodology in interdisciplinary research), placing them in context. This article will contribute to fill a gap in the history of Portuguese design, as far as vinyl record covers are concerned, along with its designers, photographers and, in a broader sense, intersemiotic translations between expressive culture and visual culture in Portugal over the second half of the 20th century.

In this paper we will be looking at how our understanding of time has changed from the classic period to today. We will see how memory and presence have transformed our understanding and experience of time. From there we see how the incorporation of presence into media was developed through montage. This will lead to a discussion of how presence brings us into relation with otherness through the montage aesthetic. Finally, we conclude discussing montage as an aesthetic has developed as a leading artist practice which either engage with presence and otherness.

The growing interest in letterpress demonstrates that there is still unknown or lost information. Regarding modular sets of type, little is known about their origins, characteristics, and methods of use.This study aims to design a modular set of type and, additionally, to validate the developed project through a workshop.Methodologically, this article was divided into two main phases. Firstly, through case study analyses, modular sets of type were analysed and evaluated. Secondly, a prototype of a modular set of type was built and evaluated, using mixed methodologies to provide a better understanding of the research study object.To evaluate the final prototype, a workshop and a survey were developed, validating the perception and attitudes towards the developed modular set. The sample consisted of six design students from the School of Media Arts and Design, Polythecnic Institute of Porto, in Portugal. Data analysis was performed using descriptive and inferential statistics.The results reveal that the modular design applied to traditional typography stimulates the handling of type. It was found that the prototype developed allows expanding and consolidating knowledge around letterpress and modularity, as well as processes and uses. These results contribute not only to the evolution of graphic design education and the profession, but also to increase the knowledge and recognition of modular type design, as well as letterpress by specialists and the general public.

This article explores the theoretical and practical aspects of a new algorithmic approach in the creation of digital typographic drawing. Generative design enabled an application based on a set of rules (algorithms) in a computer, generating unique and random creations. That set of rules is defined by the designer for the computer to execute. In the theoretical scope, generative design explores mathematical programming. Designers thus withdraw from the forefront of creation, determining the rules for creation, but with no control over result. The impact of the project includes the discussion of the concepts of art and generative design, the process and generation of visual elements through code instruction and execution, and the autonomy of software. It also questions the concept of digital typography. Typography has progressed thanks to new technologies and is nowadays more about choices than about limitations. The digital media provide all the resources, following the return of the analogic, complementing them. This project contributes to that wider range of possibilities.

This article discusses the role of the University and the importance of transdisciplinary schooling in the education of Fashion Design. Its approach is based on the seven complex lessons proposed by the French anthropologist and sociologist Edgar Morin, which suggests the existence of seven fundamental problems in this century’s education system at all levels. By understanding the need of a more direct and effective approach to sustainability on Fashion Design education and focusing on the training of designers capable of dealing with the challenges of fashion industry and society, we aim, with this article, to show how sustainability could be presented in a transdisciplinary way on education of Fashion Design and following the seven complex lessons proposed by Morin. This seven complex lessons focus on detecting error and illusion, the principles of pertinent knowledge, teaching the human condition, earth identity, confronting uncertainties, understanding each other and ethics for the human genre, taking to this discussion about Fashion education, therefore this article was written using references and examples from Fashion Design.

This paper aims to frame the concept of Technology Epiphany (Verganti 2011) by relating it to the connections found in the recent literature concerning the field of Knitwear Design (Affinito, Conti, and Motta 2017). Furthermore, starting from an interpretative vision of Peirce’s semiotic triangle, as applied to the contemporary design context (Zingale 2020), this article aims to propose a critical analysis of some aspects of the concept of Technology Epiphany, envisaging a practical application in the field of knitwear design.

This study is part of research in design and aims to reflect on the scenery of higher education in textile design in Portugal and the challenges of the sector. The textile industry is facing new challenges with increasingly complex problems, to which are added the dimensions of sustainability, circular economy, digitalization, and the need for decarbonization. Given this scenario, new ways of working are required from textile designers, and it is important that higher education in textile design follows these changes to prepare them for these new challenges. A literature review and data collection were carried out, interconnecting and crossing the different research topics, to stimulate reflection and bring new perspectives on the object of study and understand what key skills the textile designer needs to practice his profession. It aims to reflect on the importance of the relationships between the different actors in the value chain and how they can coexist. The study concludes that there are key skills for the textile designer to respond to these challenges. The offer of higher education in textile design in Portugal is limited and should be complemented by a specialized offer in textile design to prepare these professionals, in a close relationship between industry and academia, to become active members of a circular economy weaving a textile economy of the future.

The fashion industry has a long chain of activities and processes, with complex issues related to environmental, social, economic, and cultural impacts. Faced with the importance of color in products in contrast to the environmental impact of coloration processes, this study addresses the importance of the relationships between the field of design education and textile processes. Design education represents a way to shape and prepare professional designers and students to meet the challenges of sustainable development. This study is part of the review of a doctoral project that aims to contribute to broaden perspectives on the development of interdisciplinary approaches in the teaching of fashion and textile design for the dissemination of knowledge about ecological coloration processes. In addition, it reinforces that the introduction of practical activities, such as workshops, is part of the solution to develop skills and critical thinking about the impact of the textile process.

This research is about cultural identity and fashion, study and understand if the symbolic character present in a culture has a functional dimension without losing its meaning. The question of identity, central to the construction of society, it seems not to concern the national fashion designers. The older generations of fashion designers are more interested in having some portuguese culture identity in their brands, such as traditional techniques or local iconography, than the youngest generation, the ones that started their brands on the second decade of this century, and have more school education, do not consider important to work or to include in their brands portuguese culture identity. The study is carried out with a mixed methodology, interventionist and non-interventionist. On one hand, it is developed a research based on bibliographical collection, on the other hand, in a second phase, the interventionist methodology is developed in a case study, specifically, the work of the designer Nuno Gama.

This article aims to perform a semiotic analysis of the film The Matrix Resurrections (2021), through costumes. The analysis will address the narratives of the metaverse and how this virtual scenario is impacting the image today. The research is exploratory and investigative and is based on bibliographic and filmographic references. To structure the analysis, the three main characters were selected: Neo, Trinity and Morpheus. Each character symbolizes the narrative construction about the metaverse through their costumes. The article will also address the relevance and futuristic readings that the feature film exposed today and how the new film explores the next steps of technology and people’s digital behavior. The analysis approaches Pierce’s semiotic studies, which contemplate the different signs of language. In this way, the research results in a broad reading of the costumes and their creative choices to convey the message and evolution of the characters selected for the article.

The design is, by nature, interdisciplinary and collaborative and being so, the contribution of other disciplines is essential to locating the design’s knowledge. Considering the widely interdisciplinary field of fashion and clothing studies, a mixture of methodologies is required. According to Kaiser and Green (2016), the triangulation method makes sense as a methodological approach in fashion studies.In genderless clothing context and by studying genderless fashion, using the triangulation method makes sense in this interdisciplinary fashion research. This paper aims to describe the research methodology and methodological structure of a study that was applied in a fashion doctoral thesis. The methods used in this research to study genderless fashion design are clothes images analysis, a survey, and a proposal of a capsule collection.This interdisciplinarity study, the main issues approached come from different scientific fields, such as gender issues (from the Sociological field), consumer behaviour regarding genderless clothing (from the Marketing field), and genderless fashion design (from the Fashion Design field). This fashion research approach shows that the applied research methodologies converge in new knowledge by building theory through design.

This paper aims to identify what reasons and incentives are more important for consumers of fashion products on co-creation. Also, if they see an added value in co-created fashion products and if this is related to the fact that the consumer already has co-created fashion products. This data will serve as a basis for better routing the current co-creation concept. It will also enable the future development of a consumer, brand and supply chain co-creation streamlined framework.A structured questionnaire with closed questions was created based on a literature review, study question, and hypotheses.The findings show that most consumers still have not co-created fashion products, but almost all consider that these types of products have added value. It was also found that the most important reasons or incentives to co-create are related to the product itself and the co-creation process.This paper will help clarify the main reasons and incentives for the consumer to co-create and for which demographics.

Trend Studies are still going through their consolidation process as an academic approach. In contrast, trend research as a professional area is more consolidated and represents an essential link in the fashion chain, as they are helpful for the strategic planning of companies in the sector. The researcher's professional practice is constantly changing, as is the phenomenon of fashion, and follows changes in the technological, social, artistic, and cultural spheres that impact societies. Therefore, this paper is part of an exploratory research, with a qualitative approach, developed during an ongoing doctorate in fashion design. Through the methodologies of literature review and in-depth interviews, we present an overview of themes/subjects that have contributed to the redirection of the practices in trend analysis (especially those directed to the fashion sector) developed by the trend researcher as a professional.

The paper aims to investigate a sustainable strategy for reducing the environmental impact of the fashion industry and at some time for leading to think on the human behaviors. A new vision of an eco-oriented project is expressed by the “FASHION OUT OF WASTE” manifesto dress and by a capsule collection titled “Plantable rain-coat” and realized with biodegradable material.The aim is to promote is an approach to the design of “CRADLE to CRADLE” systems which consists of adapting industry models to nature, or converting production processes by assimilating the materials used to natural elements, which must therefore regenerate, in contrast to the current “CRADLE to GRAVE” design system, literally from the cradle to the grave. The principle is that industry must preserve and enhance the ecosystems and biological cycles of nature while maintaining production cycles in a holistic view of the fashion system. Through the selection of cases of interest, the contribution highlights the current sustainable scenarios of the fashion system supporting by eco-oriented strategies on processes, innovative materials, products and services.

According to the Ellen MacArthur Foundation, a circular system is a model of industrial economy that is regenerative and restorative in principle, designed to circularly recover the product of its activities. This model was born with the need to transform the prevalent system - which is mainly linear - where raw materials are extracted from nature, transformed into products that are then discarded at the end of their life cycles. This study was devised to develop mixed knitted fabrics - 50% shredded polyester/50% recycled polyester and 50% shredded polyester/50% BCI cotton - using polyester fibers from woven, knit and nonwoven fabric scraps and fillers discarded by clothing manufacturers in the city of Ibitinga (São Paulo, Brazil), combined with virgin BCI cotton fibers and recycled polyester from PET bottles. Defibration was the chosen recycling method for this purpose. The selected fibers were transformed into yarns by the conventional ring spinning process. Knitted fabrics were produced on a small diameter circular machine. The study made evident that there is feasibility in the production of fabrics using the selected resources as raw materials.

Fashion is a waste industry, but it is in a phase of change and transition to sustainability, including consciousness around the excessive use of natural resources to produce inputs for clothing and accessories. In this article, we focus on the problem of waste and sustainable innovations for the fashion industry, adopting ethical and linear solutions to the principles of a circular economy that abandons the current production process of extraction, production and disposal, consuming finite resources already in Imminent risk of raw materials, a fact that came to light during the Covid-19 pandemic. The circular economy is the process that may assist in this transition, the method consists of the circularity of the products, the reuse and proper management of waste generated during each stage of development of a product. The buttons are essential items for clothing, an ancient invention that maintains its function and form to this day. The only change in the production of this accessory was the material employed in production, if in the early days the materials were natural; Currently plastic is the main raw material. Its impact on the environment is ignored, despite the amount existing in relation to each piece of clothing that is discarded incorrectly in urban waste containers. In this article, the problem was addressed around current materials and proposed the development of biodegradable buttons from eating waste. The study was based on the foundations of the circular economy and the design thinking methodology for new product development, rapid prototyping was used as a means of materializing research, resulting in an experimental product.

The research of the Textile Design laboratory, TexLab, of the Department of Architecture and Industrial Design (Unicampania) is aimed to the integration of local production chains for the valorisation of vegetable biomass for the developing of innovative bio-based yarns. The project From Farm to Clothes aims to focus attention on new forms of production and consumption by interpreting the recommendations of the United Nations SDG’s goal number 12 “Responsible consumption and Production”.The project, therefore, defines a proposal for the development of bio-based textiles from agricultural and forest biomass, by creating a territorial network based on the building capacity of innovative processes and projects for local development. The TexLAB is part of the Textile & Clothing Business Labs (TCBL) community, partner of the European project Herewear within the Work package 7 (Stakeholder community building & servicing); it interacts on the dissemination of results and exchange of models among which, the Lifecycle map for bio-based materials developed by UAL’s Centre for Circular Design, fits the project From Farm to Clothes.

Globally diffused but very locally specialized, the fashion industry represents great opportunities for territories and enterprises, while making them deal with a high level of complexity in managing common practices and differences. In such a complexity, designers become crucial figures with the role of experts that can imagine and investigate new meanings for products and processes through a deep exploration of multiple cultures, values, signs, traditions, customs, and their translation into innovative solutions. With these premises it is not uncommon for research in fashion design to become an intercultural experience that involves international designers together with a local reality. Here, the duty of designers that operate on a territory –different from the one where they come from– is to deeply understand its most specific aspects and the way-of-doing things, to value the product and the existing design methodologies while bringing innovation on the process. They act within the concept of cross-fertilization as the interchange between different cultures or different ways of thinking that is mutually productive and beneficial, but also in its more recent definition of a mutual exchange that generates new knowledge and innovation.The paper reports the activities, the methodologies and the results of an action-research made with the aim to foster this methodological cross-fertilization between designers’ know-how and the specific features of the local production for fashion enterprises in the specific Mexican territory of Yucatàn. The process of knowledge exchange applied the methodological framework previously elaborated by the authors and made of three main moments of comprehension, action, and consolidation.

This paper takes the thought of Tomas Maldonado to present an academic project that refers to the gastronomic culture of a place. Namely, procedures which ingredients, utensils and processes signifies stories, scenarios, people and equipment that define the design of a regional dish. Today’s reality is so complex and contradictory that inevitably leads to described culture that goes far beyond the gastronomic sector. Thus, in this article, design takes the word cooking as an experimental workshop that can be replicated in other design context such as furniture, fashion or toys. Methodologically, the project is developed by almost 30 design students. The authors chose transversal thinking as an approach to achieve cooperative and inclusive actions. With this new philosophy in mind, the authors want to prove that designers can use people's empathy and understanding to design experiences, creating opportunities in order to involve society in a transversal and mutual participation.

The current article is dedicated to the Interior Design subject, within the scope of commercial physical space environments. The prominence of this study reinforces, in addition to presenting a consistent literature review on the subject, favoring, through examples, a movement of approximation with the professional practice of the interior designer who works in this segment, so that, in the future, it can be subsidized reflections and researches that contributes to the most appropriate training/improvement of this professional, so his/her projects result in stimulate consumption. The following topics will be dealt within different sections of the content: fundamental concepts of Design, Decoration and Interior Design; commercial physical space and its historical aspects; the interrelationships of the subject, the product and the consumption in the physical commercial space in Interior Design and, finally, the relationship of ambiance in the theory of perception in Interior Design. As final considerations, it stands out as fundamental in Interior Design, the adequacy of the planning of commercial physical space environments and its consequent importance in the role of the specialized professional - interior designer - in all phases of planning: creation, construction and organization, so that the subject's enchantment is satisfactorily developed, guaranteeing the stimulus to consumption.

The content of this article stems from the involvement in kitchen equipment design projects under the master’s degree in Interior design and Furniture (ESART-IPCB, 2018/2019), namely the process of rationalization in the design of kitchens. The kitchen is the housing space that has suffered the most changes in its composition over time, due to the need to improve hygiene, personal comfort, and the performance of housework, but mainly because it is a space of complex functions, compared with other housing spaces, and of course to ensure its progressive dignification. This article describes and analyzes case studies that have been highlighted as relevant to the evolution of kitchen design history, namely the projects of Catherine Beecher in 1864, Christine Frederick in 1923, Margarete Schütte-Lihotzky in 1926, and Joe Colombo's mini-kitchen designed in 1963. With this research, we intend to analyze and convey important aspects mentioned throughout the history of kitchen design, which should be used today when designing a kitchen, because they aim to make the cooking process easier.

This position paper aims to raise the discussion around the future of the workplace environment. The way we live is intrinsically connected with our survival, and the contemporaneous model of work is locally as globally unsustainable. The pandemic context of Covid-19 and the need to physical distance introduce, in practice, a new way of living and working with Telework. Supported by ICT, telework, as the work performed from home, was perceived as a positive experience validated by the number of individuals who expects to have a hybrid form of work in a post-pandemic context. This new reality, with a new form of work and the need to mitigate the spread of the virus, questions the future of the workplace. The relationship between ICT and Telework evidences the idea of smart workplace. A smart workplace is a sustainable and inclusive environment where the work on-site blends with the remote one, providing security, health, comfort, and wellbeing to users along with encouraging human interactions despite their nature.The paradigm shift that we experience is an opportunity and a challenge to the creative cluster, since from the model of work to the attributes of the workplace, all need to be re-imagined and re-designed to guarantee a positive experience to the user.This is a position paper supporting the need to reimagine the workplace after a positive experience granted by technology during the pandemic context. At the end, the purpose of this article is above all to stimulate the discussion around the topic and the identified keywords, rather than provide solutions.The disruption of the last 2 years ought to be a time of challenge, reflection, and change otherwise it was just a pandemic disruption.

What new aesthetic and world-perceiving ways are emerging in this pandemic period? And how do they impact design practice? We propose a brief and open reflection on the changes that have occurred in product design. We reviewed some initiative in which the production was already related to a place and a surrounding landscape. Aiming at developing this reflection, we share some thoughts and questions. Therefore, this essay is a theoretical discussion from this time of movement restriction. Methods include literature review in the fields of social sciences, geography, and design. We carried out a narrative review and we also share case studies, based on documentation and analysis of recent design products. Through the case studies, we can identify paths in the production related to the changes that occurred due to new work dynamics, with special focus on authorial design. We introduce the concept of “intra-territory” and propose to consider meanings of contemporary design praxis.

The digital nomadism that stimulates the mobility and flexibility of everyday life is also reflected in the ways of working. Before covid-19, the tendencies were already that the future of work lies in a hybrid model between remote and presential work. The covid-19, and the consequent exponential increase of the remote working, hygiene and safety care, accelerated the change to new, more hybrid and flexible work models. Therefore, the workplace is becoming for the users a space for socializing and developing collaborative activities. In that sense, the workplace should be more flexible to facilitate the moments of interaction, sharing and networking, giving priority to collective wellbeing and comfort. Furniture design plays an important role in this process and consequently it needs to approach the new demands of current lifestyle, by looking for versatility and modularity features in order to create environments suitable to this work paradigm. The fundamental goal of this research is to arouse interest to the impact of furniture design in the improvement of atmospheres and scenarios compatible with new forms of collaborative work.

The COVID-19 pandemic has brought about profound changes in the daily life of society. In this scenario of uncertainties, the house gained prominence as a space of refuge and defense to face the virus. As people were protected at home, their attention turned to the television’s entertainment programs as an escape gate from the terrible news and the stress set by lockdowns and home office. This article aims to understand how the mitigation strategies imposed by the government influenced the design of television scenarios during the COVID-19 pandemic. Two Brazilians television infotainment programs were analyzed as case studies. A qualitative analysis was made by the empirical study of pictures and videos of the programs. The measurements were defined by anthropometry, the dimension of the human body. As a result, it’s possible to understand the design strategies and the adaptations set by the design team to respond to each phase of the pandemic. The scenarios studied show how the pandemic affected several levels of the human habitat, even the spaces that the viewers aren’t physically present.

This paper analyze an opportunity for the business world and the performing arts sector to transform themselves. In the light of new developments, the introduction of creative processes between design, the business sphere and the performing arts sector world has proved to be an answer to the effective transformation of the produced shows and business competitiveness. The primary purpose is to identify and analyze the stage lighting design as a system that completes and balances all components of a presentation. The introduction of new creative processes involving design, teaching, crafts, industry, music and theatre intended to improve the entertainment world, focusing on the environment and society as a whole. The territorial network system was consisted of design teachers and researchers, a lighting company, a raw materials company, a city hall and entities related to the entertainment sector. The study contributed to the constant analysis of designing lighting products with high efficiency and low environmental impact. On the other hand, the research demonstrated that the cooperation process between different areas is a choice that create innovation, respects and values the project partners and assumes a social commitment.

The backpack is the main object that children use to transport school supplies. Through literature, we verify that the transport of school backpacks causes a high number of injuries to the children’s spine, due to the transported backpack. The existing solutions start from a bag, where the transported objects are piled up at the bottom, causing above all to increase the depth of the backpack. As a result, the center of mass of the carried load moves away from the spine, increasing the moment arm. In addition to this aspect, the asymmetry of the loads at the bottom of the backpack due to their movement causes pathological problems in the spine. Literature shows that the moment arm augmentation is responsible for a significant increase in flexor moments at the level of the spine, which results in deterioration of the intervertebral discs and the possible occurrence of herniated discs. Also, the asymmetry of loads causes muscle contraction in the spine to compensate for posture and, over time, the occurrence of functional scoliosis. It was possible to understand through benchmarking that there are negative points, or missing ones, whose solution could in fact help to further elevate these products, corresponding to a greater demand on the part of the user. The paper presents an ongoing project under development for a modular backpack, which reduces the arm now while being as close as possible to the spine, through a structure to support the spine beyond the compartments, where it will be possible to fix them for transporting the loads, thus eliminating the asymmetries caused by the loads at the bottom of the backpack, reducing the effect on the spine. Through the personalization of the compartments, the modularity of the backpack will allow to streamline it according to the load daily carried and provide a better interaction between children and the backpack. The use of the HARSim software is relevant for a better understanding of how weight distribution affects the human body and how to study different variations in its positioning. In addition to this, the methodology used in the design project also uses literature review, user centered design and ergo design.

This paper presents a comparative analysis between the woods generally used for the manufacture of xylophone bars and those normally sold and native to Maranhão, in which the physical and mechanical properties were presented. Thus, 23 native woods were selected to verify their properties in comparison with the 16 traditional species, selected with the help of 5 graphs focused on the shrinkage coefficient, modulus of rupture and Janka hardness, for comparison and based on Wegst and other authors. 12 native woods suitable for the manufacture of the xylophone, 5 of which were selected for the professional modality of the instrument, which are: Sucupira, Jatobá, Cumaru, Maçaranduba and Pau-d'arco, and 8 for the educational modality, namely: Bacuri, Goiabão, Maracatiara, Piqui, Piquiá, Copaíba, Cerejeira and Louro-rosa. The other woods were considered unsuitable for this purpose due to their properties below the observed spectra.

Oriented strand board (OSB) due to its physical and mechanical characteristics represent the evolution of the plywood laminates and correspond to the higher growth in the production of wood panels in recent years. This study makes possible the production of panels of type Oriented Strand Board using bamboo particles classified as thin flakes, called “flakes”, with natural finish, dyed before pressing the panel with the Bixa Orellana plant, popularly known in Brazil as annatto, and dyed blue textile dye, stabilized in an air-conditioned greenhouse with the addition of the castor oil resin in the panel composition. The panel structure was divided into five layers with smaller particles randomly distributed on the two surfaces, and the three layers pellets with larger particles distributed longitudinally, transversely, longitudinally. The result of the conformation and pressing of the panel was due to the selection of particles in vibrating sieve, resin-mixing drum, forming mattress and hydraulic press. The production of oriented particleboard has been increasing in recent years due to the mechanical characteristics similar to the compensated panels, however, there are few studies for a sustainable production using renewable natural materials and with the minimum of manufacturing processes. The study proposes the sustainable production, with rapidity in the processing and obtaining of the raw material, pressing of the panels of the type OSB of Bamboo with treatment and previous dyeing of the particles with equivalent physical or mechanical performance manufactured by the companies of the sector of wood.

Django Reinhardt was a virtuoso guitarist and composer of Manouche (Gypsy) origin who lived between 1910 and 1953, achieving stardom in the 1930s. Being mostly associated with the jazz of his time, one may argue that his Gypsy origin was embedded into his music. After Django’s death, his music has been reappropriated by the Manouches and gradually became a community practice as well as a musical genre, nowadays known as Gypsy jazz or jazz Manouche. In this paper, we explore the existence and relevance of cultural markers associated with this musical genre, and attempt to relate musical and cultural features present in Manouche communities. The present work is based on questionnaires and interviews with both Manouche and Gadjé (non-Gypsy) musicians, includes listening tests proposed to musicians and instrument makers and accounts personal experiences of one of the authors (L.B.) as a Gadjo guitar apprentice. Our results confirm the importance of some cultural features for sound recognition that include the role of the music pedagogy within the Manouche community as well as the relevance of the guitar accompaniment.

The relationship between musicians and recording engineers is fundamental to the success or failure of a recording project. Several anecdotal examples from well recognized to emergent musicians can be found in the history of the recording music industry, suggesting that an artistic project can hugely affect poor relationship between these two parts. Despite its importance, this topic has been scarcely debated in the literature. Particularly, the negotiation of the recording process involving musicians and recording engineers is almost nonexistent. In this paper we mapped the phenomenology of negotiation in recording sessions through a longitudinal observational study focused on the process of recording the first album of Atma Kirtana. A qualitative data analysis revealed four aspects that shape this negotiation, namely: content, parts involved, typology and dimensions. Based on these four aspects we propose a theoretical model for analysis of the negotiation in recording sessions.

The context of the following work arises from an exploratory interest around sound and forms, in order to be able to structure fictional architectural envelopes of an audio-reactive nature, whose materialization is achieved through digital visualization techniques, and generative software of art and design. This research implies an interdisciplinary development, between different categories of knowledge, through which unconventional processes are built, where sound is activated as an element that generates random values of information, and that have a direct impact on the configuration and changing behavior of the form and environment. Today, the boundaries that define creative territories are increasingly flexible and adaptive, which allows establishing knowledge networks that expand the ranges of action of design activities.

In the second half of the 18th century, travels to Portugal increased significantly, partly due to the military movements provoked by the peninsular wars, partly because of the curiosity that the Lisbon earthquake of 1755 and subsequent reconstruction of the city had aroused, partly because of scientific expeditions, and partly due to the emerging popularization of travelling and tourism among the middle class. The thus resulting travelogues contain precious elements which help us better understand and characterize the musical and cultural practices of the time. However, their use requires a careful contextualization, as well as the identification of several typical filters and meta-discourses that, quite often, might have little to do with the observed reality. In this article, we will consider a group of German travelogues – which have traditionally been, by far, the least studied by Portuguese musicology – to examine, using a three-layer-analysis methodological approach (extra-discursive, intra-discursive and identity/alterity), how Portuguese music, and particularly the one related to majestic representation and public State ceremonies, was apprehended by German travellers.

Located in the historic area of ​​Covilhã (Portugal), the Church of Santa Maria Maior has its origins in the Medieval era and was rebuilt in the 16th century. It underwent changes over time, and was, by the end of the 19th century, subjected to profound works that changed its typology. In the following century, more precisely in 1942, it was again profoundly restored. In 1943, its roof collapsed. Following its repair, a set of commissioned ceiling paintings were carried out by Professor António Esteves Lopes - also known as “Lopes da Covilhã” - a painter and promoter of multiple artistic areas in the Portuguese Beira Baixa region. The paintings comprise, to this date, ten different scenes with musical iconography, depicting musician angels, who play various instruments (chordophones and aerophones). Despite the epoch in which they were made - the 20th century -, these images try to recreate environments from the Middle Ages and the Renaissance. It is the goal of this chapter, to describe, analyze, and ichnographically/iconologically study these paintings, applying a historical and organological framing. The painter's aesthetic options and the medievalist and renaissance influence present in this artwork will also be addressed.

Saint Cecilia is the patron saint of musicians and music, according to a debatable biographical account, which tells us that Cecilia heard the sound of divine music during her wedding feast. The national research on musical iconography in Portuguese paintings that has been carried out in recent years has revealed a considerable number of examples with this hagiographic representation. The Saint appears in hagiological Baroque depictions strategically placed on coffered ceilings of coenobiums, churches and public and private chapels, in the sight of all Christian believers. Starting from the presentation of the image in seven predominant representations in painting: martyrdom; ecstasy; sitting alone or standing, playing a musical instrument such as the harpsichord, the positive organ, the harp or singing by a music book with epigraphic and pseudo-epigraphic characters; seated or standing, accompanied by an angel; in a celestial court with marian, christological or eschatological themes; or in a sacred allegory portraying a virtuous woman of great musical talent. We will list aspects related to her devotion, the sources and models used in painting workshops, as well as uses and functions of the image of Saint Cecilia in Portugal during the Baroque period (ca. 1600-ca. 1750). This is one of the first incursions into the research and study of the image of Saint Cecilia, a naturally incomplete contribution, but which aims to open new paths in the field of studies of musical iconography in Portugal.

History (from Greek ἱστορία, historia) meaning “inquiry; knowledge acquired by investigation” (Joseph J. 2008: 163) is one of many possible definitions of an academic discipline. It is an umbrella term comprising past events as well as the memory, discovery, collection, organization, presentation, and interpretation of these events. Historians seek knowledge of the past using historical sources such as written documents, oral accounts, material artifacts, ecological markers and, of course, visual sources (iconography). Herodotus, a 5th-century BC Greek historian, and geographer is often considered the “father of history” in the Western tradition (a title conferred on him by the ancient Roman orator Cicero) although he has also been criticized as the “father of lies” (Vives 1913). The point in here is that every type of source or historical record may be seen as, at best, an approximation of a real historical fact and/or action, and strongly conditioned by a personal vision, a patron, religion, politics, etc. In the present, we still do not now the veracity or forgery of some historical documents (including visual sources in musical iconography). Music iconography and history are closely related, as shown by the huge number of images already documented in articles, books, databases, this just considering the academic milieu. Nevertheless, Portuguese History and History of Music was never seen and presented this way. This article intents to be the genesis of a future History of Portugal through images. The visual sources here presented are depictions of events, figures, episodes where music as a major role to play. Despite the discrepancy of sources here studied (ceramic tiles, sculpture, painting, street art) and the giant time boundary, it is the more significant – in this case – to offer, precisely, diversity.

Bodily movement is at the heart of high-quality performance and deserves proper attention in instrumental education curricula. This study presents an analysis of the bodily behavior of professional and university-level saxophone players (N = 20) conducted with the aim of developing pedagogical cues on embodied communication and expression during music performance. Participants performed five excerpts of the classical saxophone standard repertoire while motion capture, audio, and video data were recorded. A systematic observational procedure was carried out to analyze the relationship between movement and music, including gesture codification and score annotation of each of the 100 performance recordings, and further comparison between participants was made. Five gestural trends were extracted, related to expressive communication, pitch contour influence, rhythm and pulse influence, technique facilitation strategies, and full-body behaviors. Findings suggest saxophone players use gestures and postures as a resource for expressing significant musical locations, aiding perception of musical elements, and facilitating technical challenges. These insights contribute to the development of an embodied approach to instrumental teaching and learning, promoting body awareness, communicative and facilitative skills through movement education.

Music Performance Anxiety (MPA) is a recurring issue for some musicians in the process of accomplishing the demanding coordination of physical and psychological tasks that music performance requires. Several studies have reported a correlation between higher levels of perfectionism in musicians and greater likelihood of experiencing music performance anxiety (Kenny 2011; Patston and Osborne 2016). Although multiple factors have been identified as contributing to the development of MPA among Chinese piano students, especially among undergraduate and postgraduate learners majoring in music at universities, no current study has offered a comprehensive analysis of its root causes (Yang 2006) and this paper will contribute towards it. In the context of China’s Confucian socio-cultural norms, education and personal performance have been highly valued. The following four-words idiom and Confucian saying from the Analects vividly describes the attitude Confucius pursues in learning: “Have an insatiable desire to learn” ( ); “Being curious and fond of learning and not ashamed to learn from one’s inferiors.” ( ). However, the ultimate pursuit of perfectionism in personal performance and the perception of discrepancy between higher perfectionist criteria and performance would lead to considerably higher level of anxiety (Mor et al. 1995; Flett et al. 1998). Therefore, this current study investigates the roles of different forms of perfectionism on MPA amongst Chinese university students majoring in piano. An online survey of 195 students from five universities in China was carried out in 2021. The researcher conducted both correlational and multiple regression analyses on different sub-scales of perfectionism and dimensions of MPA. Regarding perfectionism and MPA, students who demonstrated more socially prescribed perfectionism traits were more likely to experience negative cognition and fear of other’s scrutiny as featured in MPA. Further analyses showed that both Self-oriented and Socially prescribed perfectionism are positive predictors of MPA. The findings of this study presented here may provide new clues to analyse the roles of perfectionism in MPA in the Chinese context.

This research focuses on the application of Musical Theatre in the subject of Music Theory, in specialized Music Education.The issue to be explored is related to the development of new creative approaches in Music Theory Education, showing how Musical Theatre, through song, movement and performance, can contribute, as a pedagogic resource, to the implementation of strategies to promote musical, conceptual, attitudinal and motivation skills in musical learning.The methodology applied was action research, taking a first-grade Music Theory class as the target population with five students, aged between ten and twelve years, at the Castelo Branco Regional Conservatory (CRCB), Proença-a-Nova branch, during the 2019/2020 school year, and lasted 10 sessions. Surveys through questionnaires (applied at the beginning and end of the research), reflective summaries of classes and observation grids were used as research instruments.According to the evidence presented in the course of the study, the strategies adopted reveal a significant improvement in students’ musical skills and knowledge, despite the limitations caused by Covid-19, positively contributing to their motivation and interest in the exploitation of musical content. In this sense, we conclude that the results obtained throughout the study reveal that the practical application of Musical Theatre in Music Theory classes can be a very significant pedagogical resource, substantially improving knowledge acquisition, interest and motivation for musical learning.

The motivation behind the development of the research project “Emotional Intelligence and Self-regulation in the teaching and learning process of Music Ensemble with singing” was the academic and professional background of one of the authors who, throughout her experience in the field of music, became aware of the decisive role that Emotional Intelligence and Self-regulation play in performance - in classes, in individual/group study and in the performative context. The context of the curricular stage of the Master in Music Teaching – Singing and Music Ensemble, in the academic year 2020/2021, created the opportunity to design and implement the research project with a chamber music group composed of three singing students and one piano student.Music and Emotional Intelligence go “hand in hand” in the teaching and learning process, as one stimulates the other. The Teaching of Music could, therefore, be an opportunity for students to raise awareness of the emotions associated with music, understand their role in the creative and artistic dimension of musical performance, developing, in parallel, their cognitive and metacognitive skills, associating with “know how to do”.The main objectives of the research were: to understand the role of Emotional Intelligence and Self-regulation in learning processes; to promote Emotional Intelligence skills in the music teaching-learning process; design and implement strategies that promote self-regulation skills in learning; and evaluate the results through the monitoring and follow-up of the project, with a view to its reorientation.According to the context and objectives of the research, we organized the investigative process following the methodology of an action-research of a qualitative nature, making use of storytelling, focus group, questionnaires, interview and field notes for data collection. The analysis of results was supported by content analysis and data triangulation.As the most significant results, we highlight the fact that, through the chosen repertoire, a Performative Story was developed, inserting texts chosen or created by the students, movements (staging) and music, from a context and characters created by them. Through these elements and from the emotions that the students felt as interpreters and as a “character” of the poems, the songs and the story, the emotions were worked on, in the sense of the defined objectives. All Emotional and Musical Intelligence development tasks had a self-regulating basis, promoting self-reflection and self-analysis. The Performative Story was presented by the students in a public performance.

The study aims to understand the different perceptions between teachers and students regarding the class of Music Theory and contribute to improving the teaching and learning processes of music in terms of the different profiles of teachers and students. The research developed was supported by a methodology of a mixed nature. This methodology is based on the analysis of the results from questionnaire surveys carried out with teachers and students of Music Theory. The questionnaire was built based on previous interviews and on the preformed literature review for the subject under analysis. The fact that we chose to listen and question simultaneously 70 students and 21 teachers, allowed us to compare the opinion of these two different types of participants. Additionally, the study allowed a comparative analysis that proved to be helpful for a reflection on relevant aspects related to the teaching of the subject. It was possible to identify similarities, but also divergences, namely the perception of motivation for learning, the musical repertoire used in classes and finally the importance of using improvisation in this process. The results obtained can raise ways of thinking and organizing the teaching of the subject under analysis.

This article provides an overview of the initiation violin methods, which are currently used in Italy, in public and private music schools. For the purpose of achieving this objective, mixed methods are applied by means of a survey in which 79 teachers participated. The results obtained show the diversity of violin methods that are used for beginners. Most teachers prefer more than one method, as they feel that each method has its own peculiarities; therefore, so they combine several at once. These teachers use a total of twenty-three different methods. The most used method is Tecnica Fondamentale del violino by Alberto Curci either as a single method or together with others. The findings of the study highlight the importance of deepening teachers’ interest of teachers in the advances of instrumental didactics.

This article is based on a study entitled Selection of the repertoire as a means of technical and interpretative development of the student of Viola. For this, two types of methodology was used. The first one was to search, know, analyze and understand the evaluation criteria and/or programs of the discipline of this instrument, from four different schools (conservatories), and which contain suggestions of repertoire. This was intended to determine which works can be applied and to what degrees these applications should be carried out. Other methodology used was an action investigation. An action investigation was followed with a 6th grade viola student, corresponding to the 10th year of normal schooling, where the selected repertoire was applied for further analysis of the effectiveness in its progress. The results obtained show that the repertoire that was applied positively influenced the progress of the student, resulting in better performance, interest and dedication.

This work hypothesizes that !there are several intersections, in various aspects, between art, crafts, design and they contribute to the conceptual evolution of each of the sectors and, at the same time, to the interaction between them”. The scope this study starts from the concern with the concepts related to art, craft and design, their ambiguities, interrelations, connections, in their respective updates during different times, involving actions, technical terms and materials, from social transformations and contextualizations. The methodology used a synthesis and adaptation of the authors: Löbach, Munari and Baxter, in addition to Dijon De Moraes. It is also considered that the concept of design, which has its origins in the Industrial Revolution, already appears in conflict with the artists of that time, which has since provoked discussions, based on the praxis between the roles that would be the artist’s, of the artisan and the designer from that time on. In this study aims to develop some reflections on the concepts related to art, crafts and design and their contexts are presented. As main results, the image, as a visual communication, has different values, depending on the context in which they are inserted, and offer different information. It is worth, in reality, what is “informed” is the larger or smaller set of ideas and these are recognized in larger or smaller ranges. In the same way, they will remain with greater or lesser intensity (condensing or diluting), for a greater or lesser time in people’s image repertoire.

Although not always considered the absolute masterpiece by Le Corbusier, even scornfully received by a journalistic critique such as “a serious plane crash”, the Philips Pavilion (1958) is instead a very complex and significant work, because of the pivotal role it plays, not only along Le Corbusier’s production, but also as the fulcrum of several relevant issues.The paper, basing upon archive sources, does not reconstruct the events of the pavilion, already published and faced by extensive bibliography, but it focuses on the disciplinary approach that the protagonists of this story gradually adopt in the phases of the project.Methodologically, the paper aims to place the existing documentation on the Pavilion, which tends to be focused on “how it is done”, in relation to its production and location context, that is, “what it represents”.Following some considerations on the general sense of Architecture, especially in the context of the Brussels Expo, many other issues arise from the confluence of different technical and artistic involved disciplines: graphics, technical-scientific disciplines, music and visual arts.The different role played by the protagonists can be strictly related to the consequent methodological solutions: a multidisciplinary approach, advanced by the client, Philips, reference industry in the advance of the post-war world progress; the interdisciplinary approach, of which the composer and architect Iannis Xenakis takes on the pivotal role; and finally, Le Corbusier’s transdisciplinary expansion, able to extend the mere functional data to much more open outcomes.Starting from a transversal reading of the Philips Pavilion, the paper tends to show how this work can be considered a forerunner of some design trends, current even nowadays, able to offer a prophetic vision of its role in the future of architecture.

In the present article we intend to describe the development of a methodology and approach adopted in an implementation strategy, in which we propose to contribute to the promotion of innovation and safeguarding of a craftsmanship technique, which constitutes as intangible cultural heritage, Nisa’s quartz inlaid pottery. The purpose of the research was to achieve a significant.impact at local and community level, privileging the interaction between artisans, local community, and academia, through a methodological action, specifically through practice-led research, by running local workshops, between design students, designers and craftsmen, guided by the practice of design.The expected fruits of the methodology approached, aim above all, to find a model of action and collaboration that is not only possible to be replicated, but can create its own autonomy and rhythm, that is, that will give rise to the creation of collaborative spaces that nurture the safeguarding of knowledge, through its transmission, as well as enable the production of new products, services or experiences for the contemporary market.

The purpose of this article is to present an investigation into the potential of teacher-generated drawings as a strategy in theory instruction. Drawing in the classroom as a knowledge transfer strategy in theory instruction has not yet been explored in the literature. In both the applied and empirical literature, we found only two documented cases that specifically refer to teacher-generated drawing as a strategy. It is argued that teacher involvement in strategy through practice creates a stimulating environment for instruction by practicing collaborative drawing between teachers and learners. Involving both through joint and simultaneous drawing allows for a more inclusive classroom environment by allowing for interpretation and visual communication of theoretical content during oral presentation. We experienced the strategy in 3 different classes at an external higher education institution to explore teaching practice. In order not to bias the results, we used students completely unknown to the researcher. The outlined method approaches a theoretical content by creating representative drawings during class. At the end of each experience session, the evaluation of the impact of the strategy was collected from the students through a questionnaire survey that intersected with the empirical qualitative survey conducted by the session's follow-up researcher. It was concluded that the teacher-generated drawing strategy works by enabling playful learning through its differentiating approach and challenging students in theoretical lessons with something they do not expect, thus optimizing motivation and understanding of the content. It provides feedback to the teacher so that he can clear or clarify any doubts.

Contemporary cities are privileged spaces for commercial and cultural exchanges, where more than half the world’s population prefers to live, concentrating in themselves all that is best and worst in society. The design determines, in part, how we understand and live in the cities, very marked by factors associated with consumption, such as branding and promotional campaigns for commercial and cultural products. Nevertheless, spaces of concentration of Cultural Heritage need to be preserved and made known as a structuring element of cultural diversity. The issues of accessibility, both physical and cognitive, imply information processes where the experience and the way we enjoy the space are increasingly valued. The designer acts as a cultural mediator, identifying and activating disclosure tools to promote access to heritage, including its intangible dimension. In this article, we present a cultural route about Miguel Torga’s places of memory in Coimbra, connecting city and literature, based on the book “The creation of the world” in which we identify a set of excerpts to integrate the route. We also list a set of means, developed by communication design, to promote the author and the city in its tangible and intangible dimensions.

This article discusses visual resistance to the 2014 coup d’état in Thailand. Faced with severely curtailed freedoms of association and speech, state censorship and repression, Thai activists were forced to appropriate, domesticate and create a range of symbolic modes of resistance in both the off- and on-line realms. This study was based on Descriptive Case Study Research Methodology and direct observation. I discuss three broad approaches to graphic protest: performance and the use of the body as a semiotic resource; on-line political satire; and street art interventions. I suggest that these served two important roles in the ongoing struggle for democracy: 1) keeping spaces of opposition and dissent open whilst spatial and electoral politics were prohibited; and, 2) challenging the particular visual logic of Thai power on its own terrain – the realm of appearances. The article addresses the period between the 2014 coup d’état until the reemergence of mass popular protests in 2020.