The following article describes the ongoing interior design project that accommodates a guesthous... more The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restorat...
The world-wide phenomenon of the disappearance of bees with the consequential imbalance of ecosys... more The world-wide phenomenon of the disappearance of bees with the consequential imbalance of ecosystems is a problem that needs to be addressed in order to guarantee a sustainable future. Beekeeping is an activity, generally associated to agriculture, that allows small farmers to generate more food and income, this reality has had a shift in recent years with the number of small beekeepers decreasing, and big corporations gaining control over the industry. Regulations and the Colony Collapse Disorder, among other factors, may have a major role in these phenomena. With the intent to contribute to a more sustainable beekeeping practice, this research is being conducted to better understand this reality, looking for design driven opportunities. The challenge is to gain a deeper understanding of the beekeepers, a practice that is understudied by designers, particularly considering in-depth research methods. This paper discusses an experimental design study in the Turkish Aegean region tha...
Consumers as co-producers or co-designers are frequently presented as the solution for mass-custo... more Consumers as co-producers or co-designers are frequently presented as the solution for mass-customization, but the success of these systems as enhancing emotional bonds between user and object seems to be questionable. Making choices may not be enough to generate a bigger connection between people and their things. Artifacts produced using biological systems with generative potential, where nature’s randomness and physiological processes have an important role in the definition of form, may have the capacity to foster the emotional connections that are missing, arising from nurturing and from an understanding of their morphogenesis, from the proximity and time required for their growth and development.
Cuadernos del Centro de Estudios de Diseño y Comunicación, 2021
La naturaleza ha estado inevitablemente presente en la evolución humana, definiendo límites, capa... more La naturaleza ha estado inevitablemente presente en la evolución humana, definiendo límites, capacidades e imaginación, o en otras palabras, determinando cómo y por qué diseñamos. En este artículo, intentamos ver la naturaleza en sí misma como una narrativa cultural preestablecida (o conjunto de narrativas) y reflexionar sobre cómo estas narrativas influyen en el diseño en dos aspectos muy distintos. La primera mirada es a las narrativas de la naturaleza relacionadas con la poiesis y su potencial para generar referencias emocionales. Mientras que el segundo, se centra en las narrativas de la naturaleza asociadas a su praxis, junto con su referencia procedimental para el diseño, como conclusión buscamos puntos comunes y divergentes entre estos enfoques también con la intención de contribuir a una mejor comprensión de cómo la idea de Naturaleza influye en el diseño.
How do we relate to unconventional artifacts? Designing with biological generative systems aimed ... more How do we relate to unconventional artifacts? Designing with biological generative systems aimed at customization. With the production of artifacts in biological genera- tive systems, or in biological systems with generative potential, where nature’s randomness and physiolog- ical aspects have an important role in the definition of form, we understand that artifacts do not only at- tend to the needs and desires of their users, but also have the capacity to foster emotional connections that arise from their nurturing and from the under- standing of their morphogenesis, from the proximity and time required for their growth. These artifacts will only develop into a final product if the system is understood and nourished by its user. The end result is singular and unique, with aesthetic qualities that arise from the understanding of the artifacts growth constraints and the bond that is cre- ated with it. The traditional quality canons of mass produced goods are challenged, seen that the result- ing artifacts will not get a final shape that is polished and free of imperfections, but one that is inconstant, gnarly and sinuous. Other aspects, as production time and the dedication that the system requires are motive to question the connections that will arise between users and these artifacts. We intend to contribute to the discussion about new production models that may be alternatives in spe- cific uses to mass production. With these systems we seek to catalyze greater empathy between objects and their users, to understand which aesthetic quali- ties emerge and how are their specific characteristics interpreted. Geometrically simple experimental models with ants, bees and mycelia (the vegetative part of a fungus, consisting of a network of fine white filaments), have been developed to better understand the conjectural elements of these systems. In these systems the ma- trix and the system are designed but the final results are reliant on the choices of those who manipulate them and by the variables of the biological actuators. We intend to make our findings available, allowing others to replicate our experiments in order to obtain a broader scoop of reactions on the interaction with the systems and the perceived quality of the final artifacts. To better understand how individuals respond to this typology of objects, small series of artifacts in an embryonic stage, made with Eryngii mushroom in oak shavings are being developed to be distributed; each user will be asked to nurture his artifact into a final object, where all options will be of his/her choice, from the sunlight exposure to its growth interruption. Each user will be asked to register the daily evolu- tion of his/her artifact and to describe their feelings towards it.
Proceedings of the 2011 Conference on Designing Pleasurable Products and Interfaces, 2011
This article brings to the forefront the possibility for cross-referencing between the investigat... more This article brings to the forefront the possibility for cross-referencing between the investigation in design at service of creative industries and the world-wide phenomenon of the disappearance of bees with the consequential imbalance of eco systems and in particular of the farming economy. Potential can found in the honeycomb making process within which we have given the name of 'natural extrusion' in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax's value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.
The following article describes the ongoing interior design project that accommodates a guesthous... more The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restorat...
The world-wide phenomenon of the disappearance of bees with the consequential imbalance of ecosys... more The world-wide phenomenon of the disappearance of bees with the consequential imbalance of ecosystems is a problem that needs to be addressed in order to guarantee a sustainable future. Beekeeping is an activity, generally associated to agriculture, that allows small farmers to generate more food and income, this reality has had a shift in recent years with the number of small beekeepers decreasing, and big corporations gaining control over the industry. Regulations and the Colony Collapse Disorder, among other factors, may have a major role in these phenomena. With the intent to contribute to a more sustainable beekeeping practice, this research is being conducted to better understand this reality, looking for design driven opportunities. The challenge is to gain a deeper understanding of the beekeepers, a practice that is understudied by designers, particularly considering in-depth research methods. This paper discusses an experimental design study in the Turkish Aegean region tha...
Consumers as co-producers or co-designers are frequently presented as the solution for mass-custo... more Consumers as co-producers or co-designers are frequently presented as the solution for mass-customization, but the success of these systems as enhancing emotional bonds between user and object seems to be questionable. Making choices may not be enough to generate a bigger connection between people and their things. Artifacts produced using biological systems with generative potential, where nature’s randomness and physiological processes have an important role in the definition of form, may have the capacity to foster the emotional connections that are missing, arising from nurturing and from an understanding of their morphogenesis, from the proximity and time required for their growth and development.
Cuadernos del Centro de Estudios de Diseño y Comunicación, 2021
La naturaleza ha estado inevitablemente presente en la evolución humana, definiendo límites, capa... more La naturaleza ha estado inevitablemente presente en la evolución humana, definiendo límites, capacidades e imaginación, o en otras palabras, determinando cómo y por qué diseñamos. En este artículo, intentamos ver la naturaleza en sí misma como una narrativa cultural preestablecida (o conjunto de narrativas) y reflexionar sobre cómo estas narrativas influyen en el diseño en dos aspectos muy distintos. La primera mirada es a las narrativas de la naturaleza relacionadas con la poiesis y su potencial para generar referencias emocionales. Mientras que el segundo, se centra en las narrativas de la naturaleza asociadas a su praxis, junto con su referencia procedimental para el diseño, como conclusión buscamos puntos comunes y divergentes entre estos enfoques también con la intención de contribuir a una mejor comprensión de cómo la idea de Naturaleza influye en el diseño.
How do we relate to unconventional artifacts? Designing with biological generative systems aimed ... more How do we relate to unconventional artifacts? Designing with biological generative systems aimed at customization. With the production of artifacts in biological genera- tive systems, or in biological systems with generative potential, where nature’s randomness and physiolog- ical aspects have an important role in the definition of form, we understand that artifacts do not only at- tend to the needs and desires of their users, but also have the capacity to foster emotional connections that arise from their nurturing and from the under- standing of their morphogenesis, from the proximity and time required for their growth. These artifacts will only develop into a final product if the system is understood and nourished by its user. The end result is singular and unique, with aesthetic qualities that arise from the understanding of the artifacts growth constraints and the bond that is cre- ated with it. The traditional quality canons of mass produced goods are challenged, seen that the result- ing artifacts will not get a final shape that is polished and free of imperfections, but one that is inconstant, gnarly and sinuous. Other aspects, as production time and the dedication that the system requires are motive to question the connections that will arise between users and these artifacts. We intend to contribute to the discussion about new production models that may be alternatives in spe- cific uses to mass production. With these systems we seek to catalyze greater empathy between objects and their users, to understand which aesthetic quali- ties emerge and how are their specific characteristics interpreted. Geometrically simple experimental models with ants, bees and mycelia (the vegetative part of a fungus, consisting of a network of fine white filaments), have been developed to better understand the conjectural elements of these systems. In these systems the ma- trix and the system are designed but the final results are reliant on the choices of those who manipulate them and by the variables of the biological actuators. We intend to make our findings available, allowing others to replicate our experiments in order to obtain a broader scoop of reactions on the interaction with the systems and the perceived quality of the final artifacts. To better understand how individuals respond to this typology of objects, small series of artifacts in an embryonic stage, made with Eryngii mushroom in oak shavings are being developed to be distributed; each user will be asked to nurture his artifact into a final object, where all options will be of his/her choice, from the sunlight exposure to its growth interruption. Each user will be asked to register the daily evolu- tion of his/her artifact and to describe their feelings towards it.
Proceedings of the 2011 Conference on Designing Pleasurable Products and Interfaces, 2011
This article brings to the forefront the possibility for cross-referencing between the investigat... more This article brings to the forefront the possibility for cross-referencing between the investigation in design at service of creative industries and the world-wide phenomenon of the disappearance of bees with the consequential imbalance of eco systems and in particular of the farming economy. Potential can found in the honeycomb making process within which we have given the name of 'natural extrusion' in this project. Hives are seen as natural factories not only in the production of honey but also of various other products which have been under-valued until now and which we intend to explore, such as bee wax for instance. To give a greater sense of awareness concerning the disappearance of this species and to emphasize bee wax's value, this project proposes the control of the matrix of the honeycombs construction. Through this control, and without a significant investment and specialized schooling, this natural technology will enable the materialization of complex three-dimensional forms, which in this case, may act as molds. These three-dimensional molds facilitate the detection of concepts and ideas, therefore being able to transit from a model in bee wax to the final object in other materials such as brass, silver, latex or caramel.
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Papers by Raul Pinto