I’m a designer, design researcher and lecturer. My work focuses on collaborating with diverse places and people, crossing graphic design with activism, local and social causes.
Currently an assistant professor at the Faculty of Architecture, University of Lisbon (FAUL), and at the Faculty of Architecture and Arts, Lusíada University, as well as art teacher at an Elementary School. Researcher at the Centre for Research in Architecture, Urbanism and Design (CIAUD) member of the research group REDES - Research & Education in Design.
2020: PhD in Design from the FAUL entitled "Indiscipline: social design principles and practices; how designers work in this realm".
2016: ERASMUS+ visiting scholar at CODE - 'Center for Codesign Research' at the Royal Danish Academy of Fine Arts, School of Design, Copenhagen.
2010: '!mpact Design for Social Change' course at the School of Visual Arts (SVA), New York.
2008: Degree in Communication Design from the Faculty of Fine Arts University of Lisbon (FBAUL).
2008-2013 Work experience as freelance graphic designer at thisislove studio in Lisbon.
http://inesveigadesign.tumblr.com
Supervisors: Professor Rita Almendra, Faculty of Architecture, University of Libon and Professor Thomas Binder, Design School Kolding
Address: Lisboa, Portugal
Currently an assistant professor at the Faculty of Architecture, University of Lisbon (FAUL), and at the Faculty of Architecture and Arts, Lusíada University, as well as art teacher at an Elementary School. Researcher at the Centre for Research in Architecture, Urbanism and Design (CIAUD) member of the research group REDES - Research & Education in Design.
2020: PhD in Design from the FAUL entitled "Indiscipline: social design principles and practices; how designers work in this realm".
2016: ERASMUS+ visiting scholar at CODE - 'Center for Codesign Research' at the Royal Danish Academy of Fine Arts, School of Design, Copenhagen.
2010: '!mpact Design for Social Change' course at the School of Visual Arts (SVA), New York.
2008: Degree in Communication Design from the Faculty of Fine Arts University of Lisbon (FBAUL).
2008-2013 Work experience as freelance graphic designer at thisislove studio in Lisbon.
http://inesveigadesign.tumblr.com
Supervisors: Professor Rita Almendra, Faculty of Architecture, University of Libon and Professor Thomas Binder, Design School Kolding
Address: Lisboa, Portugal
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Papers by Inês Veiga
Coming from a background in graphic design, taking steps to become a social designer, we experienced how difficult it is to do away with the discipline. Specific gestures, actions and products in our social engagements that destabilized the visual communication design process also revealed visual communication design practiced in unknown or unexpected ways. Shifting the perspective to consider, beyond destabilization, it is indiscipline that happens to design in the encounter with others we articulated the question: what if choosing to become social is not to lose the discipline? This matter is worth to research because while social design became known for its risky participatory moves, some authors point to shifts in the politics of designing that have not yet been clarified. Through a mixed methodology based on action research and grounded theory we devised case studies to better describe, explain and explore, from a performative perspective and deeper anthropological stance, all that happens in co-design beyond exclusive attention to the design expert. While disclosing different social form-acts of social interaction within design, four images of indiscipline emerged. 1) IT’S ABOUT THE HOW, 2) DESIGN IS THE SITUATION, 3) BEGININGS NOT ENDS, and 4) DESIGN IS A LIVING THING, all point to different sides of the performative and politics turn that happens to design when it becomes social.
Addressing the lack of discourse that does not treat the social as a irreducible complexity, this thesis develops a theory of design that reclaims the encounter with others as the space and possibility to grow the discipline in ways that even unexpected may also be radically social. The main conclusion is that indiscipline is not anti-design but an expansion of design possibilities in the encounter with others, which not yet seen or made visible can potentially represent moves from conventional practices towards critical socially engaged designing. Recommendations for future research are to expand the inventive and pedagogic potentials of indiscipline as a concept to understand the social turn and to practice becoming socially engaged in ways that are deemed better for others and ourselves. Another opening is to understand how indiscipline may be articulated in design education how and when students may be ready for design practice to become a more living thing.
It’s an exercise on learning to see all those relations between vision, envision, design attending to various kinds of indisciplines — speci c movements, modalities and gestures through which communication, interaction — and representation more broadly — is attempted by and with di erent kinds of beings.
It does not (yet) o er any new reconceptualizations of graphic design. But I hope the concrete actions can be a starting point for rethinking your own graphic design practices.
Multiple terms come forward to identify it and because there isn't a unifying language among its practitioners, questions have been raised about whether they refer to a general area in design or to single design practices. This “social” vocabulary, caused so far enormous controversy and dispersion of this area in design that wants – and today it needs – to assert itself practically and theoretically.
In this paper, we propose to clarify some of these questions. By searching in written records we intend to analyse how “social” design practitioners identify and describe their work and approach, while aiming to better understand this area and discipline the existing multiplicity.
Moreover, the aim of this paper is to verify the possibility of encompassing all expressions – and practices, if demonstrated – into a single umbrella term that can include all the disparity between them and simultaneously reinforce their similarities. This will lead to a more concise and precise identification and recognition of this area and its practitioners, helping to build a stronger case for its assertion.
Coming from a background in graphic design, taking steps to become a social designer, we experienced how difficult it is to do away with the discipline. Specific gestures, actions and products in our social engagements that destabilized the visual communication design process also revealed visual communication design practiced in unknown or unexpected ways. Shifting the perspective to consider, beyond destabilization, it is indiscipline that happens to design in the encounter with others we articulated the question: what if choosing to become social is not to lose the discipline? This matter is worth to research because while social design became known for its risky participatory moves, some authors point to shifts in the politics of designing that have not yet been clarified. Through a mixed methodology based on action research and grounded theory we devised case studies to better describe, explain and explore, from a performative perspective and deeper anthropological stance, all that happens in co-design beyond exclusive attention to the design expert. While disclosing different social form-acts of social interaction within design, four images of indiscipline emerged. 1) IT’S ABOUT THE HOW, 2) DESIGN IS THE SITUATION, 3) BEGININGS NOT ENDS, and 4) DESIGN IS A LIVING THING, all point to different sides of the performative and politics turn that happens to design when it becomes social.
Addressing the lack of discourse that does not treat the social as a irreducible complexity, this thesis develops a theory of design that reclaims the encounter with others as the space and possibility to grow the discipline in ways that even unexpected may also be radically social. The main conclusion is that indiscipline is not anti-design but an expansion of design possibilities in the encounter with others, which not yet seen or made visible can potentially represent moves from conventional practices towards critical socially engaged designing. Recommendations for future research are to expand the inventive and pedagogic potentials of indiscipline as a concept to understand the social turn and to practice becoming socially engaged in ways that are deemed better for others and ourselves. Another opening is to understand how indiscipline may be articulated in design education how and when students may be ready for design practice to become a more living thing.
It’s an exercise on learning to see all those relations between vision, envision, design attending to various kinds of indisciplines — speci c movements, modalities and gestures through which communication, interaction — and representation more broadly — is attempted by and with di erent kinds of beings.
It does not (yet) o er any new reconceptualizations of graphic design. But I hope the concrete actions can be a starting point for rethinking your own graphic design practices.
Multiple terms come forward to identify it and because there isn't a unifying language among its practitioners, questions have been raised about whether they refer to a general area in design or to single design practices. This “social” vocabulary, caused so far enormous controversy and dispersion of this area in design that wants – and today it needs – to assert itself practically and theoretically.
In this paper, we propose to clarify some of these questions. By searching in written records we intend to analyse how “social” design practitioners identify and describe their work and approach, while aiming to better understand this area and discipline the existing multiplicity.
Moreover, the aim of this paper is to verify the possibility of encompassing all expressions – and practices, if demonstrated – into a single umbrella term that can include all the disparity between them and simultaneously reinforce their similarities. This will lead to a more concise and precise identification and recognition of this area and its practitioners, helping to build a stronger case for its assertion.