O certo é que todos nós nos recusamos a ver o que é cada vez mais óbvio...
A partir de hoje, dia 23 de Setembro, estamos em dívida para com o planeta Terra...
Até ao fim do ano a população mundial passa a viver com recursos que o planeta não consegue regenerar...
Isto significa que em 2008 seriam precisos perto de 1,4 planetas para satisfazer os estilos de vida que temos hoje em dia... E assim anda o mundo...
terça-feira, setembro 23, 2008
O certo é que todos nós nos recusamos a ver o que é cada vez mais óbvio...
quinta-feira, setembro 18, 2008
domingo, junho 29, 2008
sexta-feira, junho 06, 2008
Podem aceder ao relatório aqui
sábado, maio 31, 2008
"The industrial age is over, really is over, it once made sense, but it doesn’t make sense now. We just have to look around us. Many of the positive creations of the industrial era are now less and less relevant and no longer fit for purpose: our schools and education system, our hospitals and health system, our production and consumption system and our very lifestyles. Where does this leave Design? Is Design, also primarily an industrial construct, less and less fit for purpose?
There is a risk that in the industrial sunset design becomes a parody of itself or becomes increasingly commoditized, as it is taken ever more for granted by its industrial masters. There are risks, but if the industrial era is over, there are also great opportunities. This is a time when we have to re-invent just about everything and such times urgently need the specific thinking, skills and capabilities of design. But society needs a different design, not industrial but social, a design that is part of the solution and not part of the problem. If this is so, then it interesting to ask the questions: what is holding us back and what is pushing us forwards?
So what holds us back? In part the impression that the 21st century still feels very much like the 20th. We still live by an economic ideology that believes growth is based on ever more productivity and consumption and so we still buy lots and we still consume lots. At the same time we are all children of the 20th century. We have 20th century mindsets and 20th century training and perhaps this is why, even if the industrial age has had its day, we keep on looking backwards and all too often doing what we have always done? And anyway real change isn’t easy. There is no rule book, no instructions of use for the next age. What is easier is to pull the future back to the past. This means that instead of systemic structural change, change that facilitates the new socio-techno-economic conditions to flourish and take us to a new era of prosperity and wellbeing, we co-opt the future back to the past. We colonize the future driven by habit, interests and fear.
So what pushes us forward? In short, the desire to grow, to explore, to create and need. In a change of age we face many social challenges whereby society, both in the developed and developing world, needs to invent or re-invent just about everything for an ecological age, including health, education, mobility, etc. Such a re-invention and re-design of systems, however, is about social innovation rather than market innovation. It places the emphasis away from the consumer and his/her needs towards the society and its needs. It gives attention less to the individual and more to the collective, less to a need and more to the activity and the context, , less to the product and more to an ecosystem of information, service and experience. If this is what society needs and where society is going then companies will surely follow, as the big industrial corporations also have to re-invent themselves. And this is the necessity and an opportunity for Design to free itself from becoming a commodity to becoming a strategic differentiator. Who better to help design new social systems than Design? If Design does this, and as the social industries supersede the industrial industries, then Design could certainly be to the 21st century what Marketing was to the 20th.
What does this mean for Design? A large part of the answer must lie in the increasingly strategic role of Design Research. Design research is the instrument at the service of Design, exploring and building Design’s role and contribution in the field of social innovation and re-design of critical social areas. Addressing social innovation as a set of design challenges is the means. What are the challenges? What new competencies must we grow in social research, social design, systems design, context design, and service design? Which approaches, methods and tools do we need to develop? How do we facilitate the participatory networks and co-creative practices? How do we imagine new value for a new age?"
sexta-feira, maio 23, 2008
Exposição dos resultados do projecto "Design Cork" que teve por objectivo a utilização da cortiça como factor de inovação ao nível do design (novo desenvolvimento de produto) e sua relação com a industria, investigação e sustentabilidade.
Os 37 protótipos de novos produtos em cortiça, desenvolvidos por designers Portugueses e Holandeses, estão expostos no Museu Berardo, até ao próximo Domingo, 25 de Maio.
quarta-feira, abril 30, 2008
"The evolution of civilization is under way. The people of this planet are opening to change. Most of us now know that the disastrous consequences of our lifestyles are accelerating. Green buildings have captured the imagination of many in the mainstream, but for green professionals the time has come to stop designing for mere energy efficiency and start designing to regenerate and restore. And that means taking responsibility for what people do in buildings and communities after they are built.”
1. Communities are people, not buildings.
2. Communities will change when the people living in them change.
3. At least half of human impact on the planet comes from our lifestyles - the choices we make every day. Where, and how, we travel. What we eat. What we wear. The stuff we buy, and how we get rid of that stuff when we're done with it.
4. These lifestyle choices are not made in a vacuum. They are made in communities, and are influenced by community design and buildings.
5. The way we've designed our cities and buildings in the past has created a template for living that most people follow without much thought, and that template makes it inconvenient to live sustainably.
6. Those of us who plan, design, finance, insure, build, sell, lease, manage and maintain the places we live in have tremendous influence to change this template, and to make it easier for people to change their lifestyles.
7. Some of us have been pre-occupied with making buildings, streets, and infrastructure that use building materials, water, and energy in smarter ways. We call ourselves "green professionals". We call our movement the "green building movement." But we now recognize that the biggest problems are fundamentally social ones.
8. Since buildings and technology represent only half of the problem and half of the solution, clearly the present green building movement doesn't go far enough
9. All across our cities, entrepreneurs and environmental groups are emerging with solutions to specific challenges of our unsustainable lifestyles - car-sharing companies, local food advocates, re-use innovators. But most of these green lifestyle initiatives are not joined up with the green building movement, or each other.
10. We urgently need an umbrella movement that will bring us all together to create and operate truly sustainable communities with intent. The time has come to apply the vast ingenuity of the green building movement to making green lifestyles just as convenient as "grey lifestyles". The time has come to broaden our design teams, to bring green lifestyle experts to the table.
11. We cannot wait for someone else to bring us all together. We are the ones we have been waiting for.
terça-feira, abril 22, 2008
A Hipótese de Gaia, também denominada como Teoria de Gaia, é uma tese que sustenta que o planeta Terra funciona como um ser vivo, como um gigantesco ecossistema. A hipótese foi apresentada em 1969 pelo investigador britânico James E. Lovelock, e afirma que a biosfera do planeta é capaz de gerar, manter e regular as suas próprias condições do meio-ambiente.
Apesar das dificuldades de definição do que é a vida no mundo científico, esta teoria é uma forma de entender o meio onde estamos inseridos. A Terra é uma interacção entre o vivo e o não-vivo.
O nome Gaia é uma homenagem à deusa grega Gaia, da Terra. Vista com descrédito pela comunidade científica internacional durante muito tempo, a Teoria de Gaia encontra simpatizantes entre grupos ecológicos, místicos e alguns investigadores e cientistas.
No entanto com o fenómeno do aquecimento global e a crise climática no mundo, a hipótese tem ganho, cada vez mais, credibilidade entre cientistas de todo o mundo.
Em de 2006. Lovelock afirmou no "The Independent" que "o mundo já ultrapassou o ponto de não retorno quanto às mudanças climáticas e a civilização como a conhecemos dificilmente irá sobreviver".
segunda-feira, abril 21, 2008
segunda-feira, abril 14, 2008
Design as we know it - “industrial” design - is a relatively young discipline, little more than two hundred years old. The industrial process of design developed to cope with the social and technological changes of the Industrial Revolution. Design as we know it is a corollary of industrial society, industrial technology and the industrial production system.
The question we face is how design can be transformed as society and technology transform from industrial to post-industrial forms.
There have been different interpretations of the concept of post-industrialism. The differences have tended to polarise between the “info-tech” vision and the “eco-tech” vision. In the former, post-industrialism means a form of hyper-industrial technology, based on the information revolution, automation and highly advanced technology. In the latter, it means a more small-scale, resource-conserving, “convivial” technology. In the former, technology is regarded as an autonomous, science-driven force; in the latter, technology is brought under the influence and control of people and communities.
The products and processes of a technology are linked with each other. Pre-industrial technology had its own particular types of products and processes, just as industrial technology can now be seen to have had its own particular types of products and processes. In turn, post-industrial technology will have its particularities which will affect its design processes and the products that stem from it. Perhaps a new paradigm of technology can emerge. Some features of the new technology will be continuations of the old; some will create discontinuities. Some features will be generated by the possibilities of technological development itself, whereas others will be responses to the problems created by that same technological development.
Design as it might be - “post-industrial” design - is an issue for design research. Design research is an incredibly young discipline, only about forty years old, but nevertheless having significant influence on design practice and process and having great potential. Design research has a fundamental commitment to interdisciplinarity that will be essential to post-industrial design, and it is establishing a world-wide, international basis of cooperation that will be equally essential.
Design research is built around design thinking. Fundamental to design thinking is imagination: the abilities to imagine and to image.
sexta-feira, abril 11, 2008
"Any economy that intends to maintain its sustainability in time needs to explore, on a continuous base, scenarios and hypotheses for constant improvements and advance.
All stakeholders of an economic system need to devote attention and resources to innovate and create the conditions for their sustainable profitability while creating recurrent improvement of the quality of life.
This challenge is common to all type of economies in all geographical location. Micro and macro economies, all together concur to form an interdependent global economic system always in search of balance and sustainability.
In this environment “innovation” is an imperative, and all the stakeholders in the economic system are in search and in demand of innovation.
The challenge is the one to qualify innovation and rank it on a model that indicate it social nature and its social economic impact. This new model is relevant to redefine long term strategies and frame short term investment roadmaps.
To support the strategic process of testing options that optimize the balance and the coherent fit between short term innovative solutions and long term vision and direction it is relevant to develop and adopt new methods of research for innovation that fast, effective and economic.
Design research methods represents to day one of the new answers to this need. Influential Business magazines such as Fortune, Time, Business Week, Fast Company devote more attention to it disseminating the experiences and promoting its adoption.
Philips Design has pioneered in this field during the last two decades and has demonstrated , with the support of business consulting companies such as Mc Kinsey and Kaiser, how Design Research provide speed and focused effectiveness.
Design has it foundation in a techno-humanistic culture and performs its creativity interfacing connecting and integrating society, end user, technology and economy.
Autonomous fields of research such as societal foresight, Business spaces, Industry development and technology development and innovation are taken therefore in an accelerated integration by Design Research maximizing time and investments effectiveness. But even more important than this, Design Research builds on the core competence of the Design Culture providing tangible options for solutions and innovation that maximize end user, societal and customer centric effectiveness and are easier to be validated because of their articulated, visual and understandable representation."