1,720,961 research outputs found
E pluribus unum. Il ruolo del pattern geometrico nella storia dell'arte siciliana
No full textThe harmony of forms seems to be regulated by its own laws compatible with the cognitive processes that regulate their perception. From the mimesis of nature, artistic forms investigate the geometric relationships between the parts and define systems of representation that exploit the optical phenomenon of the tessellation to obtain complex configurations from simple polygonal modules were born. The simplest tessellation finds its first application in the mosaic whose origin as a practice is very ancient, evolving up to the Greco-Roman world enriching and differentiating itself in two essential styles, one pictorial and one abstract, both beautifully represented within the Villa Romana del Casale in Piazza Armerina, where medallions and decorative orders representing deities and ordinary people complements abstract and geometric compositions. From a process of simplifying the complex practice of mosaic, the concept of tiling was born in the Arab and Hispanic world, where it turned into the use of "polished and enamelled stones" to cover entire surfaces with ornamental motifs.
The Arab-Spanish dominations in Sicily imported the art of majolica that here finds fertile ground for the definition of a complex paradigm displayed in the Casa Museo delle Maioliche of the association Stanze al Genio of Palermo. The intent to conquer the surface through graphic patterns belongs now to contemporary street artists who widen even more the canvas of reference and cover, this time, the city with shapes and colours
La poltrona di Proust. Evoluzione ed epistemologia di una relazione di prossimità tra design e artigianato.
No full textThe proximity between craft and design has been identified as one of the many reasons for the success of what has been the Made in Italy phenomenon, and now the contemporary design scenario shows a strong tendency to contamination of skills from one discipline to the other. This paper offers a critical analysis of the evolution of this relationship to identify new cognitive tools to interpret and categorise the instances of hybrid design in the era of design when everybody designs
Design e Artigianato in Sicilia. Scambio e contaminazione tra forme diverse della progettualità.
No full textWhile travelling on the fast tracks of the digital world, our age has long understood the importance of promoting cultural heritage. In this context, the intangible heritage that is made up of the baggage of knowledge related to artisanal know-how represents the foundation of the determination of territorial identities. The School of Design of the University of Palermo was among the first to embrace the idea of using design as a tool to safeguard and evolve the skills of craftsmanship: in the words of Anna Maria Fundarò, founder in 1981 of the Industrial Design Institute of Palermo, the identity of Sicilian design is engraved in the DNA of a discipline whose meaning "is linked to our local dimension, to our "condition of architects and designers in Sicily" in the belief that there is an urgent need for the reconstruction of "our contemporary material culture, starting from the little things of everyday life and from "customs and behaviours". (Fundarò, A. M.,1980, 92-93). It is Anna Maria Fundarò who later promoted the series of conferences "Design for development" in which she puts the fruits of a process of research and formalization of the idea of a Sicilian design that springs from the union between the historical artisanal tradition and a design technical experimentation. A similar approach has also been adopted by many of the great masters of Italian design of the twentieth century, such as Ugo La Pietra, who applied it to the paradigms of Caltagirone’s ceramics. Today, we discover a design that wants to help "territories to exalt the differences, without cultivating nostalgia" (La Pietra U., 2020), defining hybrids professional profiles that increasingly shorten the distance between design and crafts, with excellent results that go to redefine the very concept of transitive design. Among others, we have the work carried out by Vittorio Venezia together with the artisans of via Calderai in Palermo, whose results led to OfficineCalderai, a project presented at the salonesatellite 2015; or the one carried out, the following year, with the artisans of Caltagirone and culminated in the project Rocca dei Vasi. This article offers a review of a history of the exchange and contamination between design and craft, mapping key actors and moments, methodologies and results, looking at recent history but with an eye projected to a lesson in sustainability for the future
Design for a Better World: Meaningful, Sustainable, Humanity Centered
No full textThe new book by Donald Norman, commonly referred to as one of the fathers of Human Centric Design [Norman, Verganti, 2014], builds on the idea of Human-centred design to expand to a humanity-centred design level. It suggests that, in order for designers to have a more comprehensive understanding of their responsibility to the people they design for, they should embrace the need for a transition that moves away from user/people/ human-centred design to welcome an eco-systemic approach to humanity. Solving the needs of a single group of people does in fact damage the rest of the ecosystem, but history has shown us that the designers are rarely aware of this: this is due to a series of corrupting factors, such as our western-influenced mono-cultures, our economic and geopolitical systems, as well as the Internet itself which are all sources of distortion of reality [Costanza-Chock, 2018]. Humanity-centred design could be an effective strategy to overcome the status quo and save the planet: Norman states that the pure principle of sustainability is no longer enough, as to sustain means to preserve the current state of the planet which is in fact endangered and needs to be improved [Bin Ahsan, 2023]. Norman starts from the already well-known principles of the human-centred approach [Norman, 2005], but he adds a fifth pillar to the methodology: its focus on the full ecosystem of people, all other living things, and the natural environment that can bring about genuine change and provide real solutions to major issues harming our planet and the survival of our species. In this context, rather than forcing answers on the community, professional designers should act as facilitator, designing with the communities and not for them
La comunicazione visiva per il “sistema vino”: il caso Donnafugata
No full textIl marchio Donnafugata è oggi sinonimo di eccellenza siciliana nel wine landscape globale. Al di là delle indiscusse specifiche di qualità del prodotto imbottigliato, uno dei motivi della fortuna del marchio Donnafugata è da ricercare nella decisione operata da Gabriella Anca Rallo, co-fondatrice del marchio e pioniera della viticoltura al femminile in Sicilia, che volle immaginare per la prima volta le proprie etichette come veri e propri oggetti narrativi. Grazie alla sinergia con l’illustratore Stefano Vitale che negli anni darà vita a un vero e proprio abaco visivo dell’immaginario fiabesco e letterario siciliano, guidato dalla mente visionaria di Gabriella Anca Rallo il marchio Donnafugata diviene emblematico di un’idea di rappresentazione eroica del femminile. Avvolti da atmosfere mitiche e gattopardesche, i vini del marchio assumono in sé gli spiriti di sirene, principesse, nobili resilienti, espressione di quell’idea di forza femminile che permette perfino agli sbuffi e ai fumi dell’Etna di trasformarsi in voluttuosi capelli di donna. Il contributo ripercorre le tappe della nascita del marchio Donnafugata e ricerca gli stilemi del linguaggio visivo costruito per la sua immagine coordinata, attraverso un parallelismo tra la simbologia delle etichette e il repertorio mitico della letteratura siciliana che qui prende vita
Deceptive design e disinformazione. Il ruolo delle tecnologie persuasive nella diffusione delle fake news.
No full textDal 2016, la letteratura scientifica ha registrato una drastica crescita dell’interesse per il tema
delle fake news e ha dimostrato la responsabilità dei progettisti nel supportare fenomeni di
polarizzazione.
L’applicazione malevola di principi di psicologia cognitiva alla progettazione delle interfacce
digitali, detta deceptive design, persegue la manipolazione dell’utente e gioca un ruolo chiave
nella diffusione delle fake news: questo contributo offre un insieme di strumenti utili
all’identificazione di notizie false, testati in fase di popolazione del database di news per
l’addestramento di un algoritmo di verifica nell’ambito del progetto Fake News
Design for emergencies. A set of guidelines developed at the University of Palermo.
No full textOver the last few years, the undergraduate course in Industrial Design at the University of Palermo has developed a research project on Design for Emergencies. This conversation started from an exchange of experiences/considerations/thoughts with institutions and associations on the importance of designing a visual communication that could transmit, in a clear and accessible way, information pertaining to the prevention of risks and the management of emergencies. The research has involved the students, who have developed this topic in their dissertations, starting from the study of those environmental crises that could lead to an emergency situation, such as earthquakes, volcanic eruptions, floods, tsunamis, and landslides. The goal is to find effective solutions that might improve the positive outcome of emergency management strategies. The outcome of this research has been the definition of a design process and a set of guidelines that can be adapted to different backgrounds and applied to the design of strategies for risk prevention and emergency management
Design as a mediator of languages and activator of virtuous processes.
No full textGlobalisation's homogenising pressures have put local craft traditions and regional identities
in jeopardy worldwide. Amidst these critical scenarios, new design paradigms have arisen
as mediators of knowledge and processes. These new design approaches are able to
bridge traditional knowledge and technological innovation, past and future, local identities and
global developments. The evolution we observe in the epistemology of the design
practice is the direct consequence of a paradigm shift in the contemporary global
ecosystem marked by increased interconnection between peripheries and their
cultures and in a global-scale process of decolonisation of cultures and identities.
This study starts from the need to examine and clarify the complexity deriving from the
decolonization of design practices and the emphasization of culturally varied and locally
relevant solutions that results in new hybrid approaches to design and product
development. As such, the term "new craft" refers to a hybrid approach in which designers
and craftspeople actively conduct ongoing research on sustainability and apply its
principles to the creation of new materials, processes, and products.
This multidisciplinary dialogue serves as the foundation of the virtuous activation and
empowerment of local communities whose agency is restored by design (Franzato et al.,
2013). This research maps out instances of hybrid design on a European scale to systemically
curate an abacus of new models and processes. It suggests the need for a
redefinition of design as a mediator of cultural languages able to optimise processes that -
through the empowerment of local communities - promote the creation of more
just and sustainable futures. The core tenets of this cultural mediation are the
decolonisation of design methods and languages, the rejection of the imposition of
Western industrial models, and the promotion of locally relevant, culturally diverse solutions
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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