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Doctoral study on the interfaces of symbolic culture

2014, Proceedings of the 9th Conference of the International Committee for Design History and Design Studies

theme 3 strand 1 identity design process and practice Blucher Design Proceedings Dezembro de 2014, Número 5, Volume 1 www.proceedings.blucher.com.br/evento/icdhs2014 author(s) Helena Ladeiro Rui Roda Faculdade de Arquitectura da Universidade de Lisboa abstract The symbology of Portuguese national identity results from an evolutionary process founded in a long-term historical development of autonomy. It is a source of images that, in connection with the Design process, produces an elastic interpretation of identity. We seek to emphasize its importance as a raw material for the creative process, basing our research work on the production of interfaces to access this knowledge on the telematic network in which the creative process develops itself. keywords design process, portuguese national identity, symbolics imagery, visual design. Ladeiro, Helena; Roda, Rui; "Doctoral study on the interfaces of symbolic culture", p. 44-45 . In: Tradition, Transition, Tragectories: major or minor influences? [=ICDHS 2014 - 9th Conference of the International Committee for Design History and Design Studies]. São Paulo: Blucher, 2014. ISSN 2318-6968, DOI 10.5151/despro-icdhs2014-0122 Doctoral study on the interfaces of symbolic culture. From the Portuguese visual heritage to Design process. ntroduction requires combining, on the one hand, a (globalized) myths and symbols has in the collective unconscious of contemporary nature and, on the other, a national the Portuguese nation. evolutionary driving force of national identity. It is a new challenge that involves the concepts of time and space The micro-entrepreneurs who are focused on the world symbology that is contaminated by the multifaceted of design, meeting the competitiveness required by the culture of different nations. market and the demands for innovation, defy a sort of A design project that integrates a given national identity time and space management schizophrenia, which enables implies a subtle and intelligent dilution of the national According to Smith (1997), national identity provides We aim to provide a fluid access to the world of the manufacture of products and services, but becomes symbols during the creation process, which requires the “civic” model for the nation (nation-state): a Portuguese national symbols by indexing information that restrictive when applied to the research work that is specific information about the different national territory or homeland, common myths and memories, is useful for the project and challenges associated with the necessary to carry out in order to generate a valid dialogue symbols, including the Portuguese national flag; the a common public mass culture, common legal rights web. With the anticipated limita- tions and boundaries of between “technique and culture”. meaning of the green-red binomial; the mysterious five and obligations and a common economy that ensures a Ph.D. process, this research work is intended to be the This affects the performance of the designers who, by “quinas” (shape and content) from the coat of arms, and territorial mobility for all. These assumptions reveal start a long path to open a field of analysis and, during its interacting with the creative process, complicate both the the curious and meaningful clichés that have become the complex and abstract nature of national identity journey, to fill a lack of transdisciplinary knowledge that is research work and the validation of knowledge, which are commonplaces, such as the Barcelos Cock or the that, for Smith, is multidimensional and can neither be essential to Design as a process. intrinsic and essential to the culture of De Sign as a segno Carnations of the April Revolution. Therefore, learning reduced to a single element or nationalist factions, nor nobili. the origin and the secrets of the various Portuguese be artificially induced into people. National identities *Supervisor: Professor Fernando Moreira da Silva and We intend to analyse the environment in which the national identity symbols is essential to allow designers, are formed and transformed through representation, Co-Supervisor: Professor Rui Roda designer operates, defining opportunities for Design illustrators, architects, artists, amongst others, to create turning a nation into a “political entity” and producing research channels that might promote the access to something unique. meaning – a “system of cultural representation” (Hall, knowledge throughout the design concept stage and the We have a tangible example of the use of imagery 2001). According to Hall, when national cultures produce challenge of a cultured dialogue between “technique and that shows a complex integration of national identity meanings that actually belong to the “nation” with which territory” (Faldini, 2004). symbols: “The Euro in Portugal” by Vitor Santos, (figure they can identify themselves, they are building identities. Time and space are currently entangled with the web 1 - A symbolic universe: synthesis map (2013), author’s These meanings are contained in history; they are culture. It’s appropriate to refer the impact of this dissertation.). memories from the past that connect us to it. dimension on the makers, including the designers who The national project for the eight Portuguese Euro For Anderson (2005), the modern nation is an “imagined establish relationships with the network itself. For Chris coins was designed by the sculptor Vitor Santos who political community” and our ability to imagine it only Anderson (2012), they are actors who represent a new chose, as a central theme, the symbols of the first king became possible in 19th-century Europe. For Gellner order. These Simbiontes (Longo, 2003) are creative of Portugal. The author considered that was essential (1998), the concept of nation is a cognitive construction network forces that exist in a new geography – the to create an “unequivocal and strong presence of the meant to establish connections between different social internet – and, in the near future, will dominate the national identity”, because it was a European coin with contexts. productive processes of their projects. a Portuguese origin. So, he used three national identity It was necessary for the development and support of a These are the sources for the dissertation “Graphic symbols: the symbol of Portugal that was used in 12th- process of social homogenization that occurred during Design: a key for reading the Portuguese identity. From the century royal documents by Afonso Henriques, which the advent of the industrial society for which cultural Portuguese visual and cultural heritage to graphic design”*, was placed in the middle of the coin; the castles, and systems are essential. in which design and the need to synthesize the knowledge the “quinas” of the Portuguese coat of arms, which Thiesse (2001) referred the need to make a national that is diluted in the country’s cultural history become were redistributed along the periphery of the circle, in heritage inventory and, currently, we are able to fluid access tools to the world of the Portuguese national a dialogue with the twelve EU stars. By analysing his identify the symbolic elements and materials that a identity symbols. creative process, we may see that the author tried, on modern nation should have: national heroes, a language, the one hand, to recall the traditional Portuguese coin monuments, typical landscapes, folklore, sacred places, (Escudo), thus creating a sensory link with an ancient gastronomy, distinctive animals, official representations symbol of national sovereignty. On the other hand, by and a specific way of thinking. Symbols, National Identity and Design as a process within the web, a reality that demands the use of new National Identity tools to access information, which are useful to carry out research works in the Design area and for Design itself. The symbols of the Portuguese national identity result using Afonso Henriques’s graphic symbols, he brings from a process of synthesis and assimilation. This is a back to the collective memory an essential moment in reservoir with an artistic potential that has been facing Portuguese history - the foundation of the kingdom. different interpretations over time, in different identity Only by having a deep knowledge about their meaning The role of the designer becomes evident in the stages. and implications it is possible to interact and explore interaction and manipulation of national identity symbols Any visual design project based on a given national identity the symbolic power that the association between these throughout the creative process which, in turn, is also an References Anderson, B. (2005) Comunidades Imaginadas: Reflexões Sobre a Origem e a Expansão do Nacionalismo, Lisboa: Edições 70. Anderson, C. (2012) Il ritorno dei produttori, Milano: Rizzoli. Fadini, U. (2004) ‘Técnica e território’, in Bertoldini, M. (ed.) La Cultura Politecnica, Milano: Bruno Mondadori Ricerca Gellner, E. (1988) Naciones y nacionalismo, Madrid: Alianza editorial. Hall, S. (2001) A identidade cultural na pós-modernidade, Rio de Janeiro: DP&A. Hobsbawm, J. (1991) Nações e Nacionalismo desde 1780, São Paulo: Paz e Terra. Longo, G. (2003) Il Simbionte. Prove di umanità futura, Roma: Meltami Smith, A. (1997) A Identidade Nacional, Lisboa: Gradiva Publicações, Lda. Thiesse, A. (2001) La creazione delle identità nazionali in Europa, Bologna: Società Editrice il Mulino Aknowledgements This work is funded by national funds through the Foundation for Science and Technology — FCT — in the scope of project PEst-OE/EAT/UI4057/2014. Research Opportunities 45