Design

De nombreux débats entourant l’implantation des lignes de transport d’énergie ont révélé l’importance des préoccupations esthétiques comme facteur d’acceptation sociale des projets. Ces préoccupations s’expriment principalement à travers une dépréciation du paysage. Ainsi, l’appréciation esthétique des équipements s’articule autour d’un enjeu de paysage, frein majeur au développement des nouveaux projets. Sur un plan théorique, la démarche de recherche s’enracine dans la notion d’expérience esthétique du paysage par ses manifestations quotidiennes. La thèse propose deux perspectives sur la compréhension du phénomène : la logique de confrontation et la logique du moins pire. Ces perspectives sur le phénomène démontrent la nécessité et la pertinence d’une esthétique du quotidien pour mieux cerner l'apport du design (au sens large) dans ce contexte de projets et intervenir adéquatement pour contribuer à la construction sociale du paysage.

Les auteurs proposent d'explorer comment la recherche en design s'approprie l'instrumentation de collecte des méthodes qualitatives. L'article fait état des particularités des instruments utilisés dans le cadre de deux projets d'étude portant sur l'expérience que font les individus de leur univers matériel et sur le sens qu'ils leur donnent. L'un interroge l'expérience de l'objet dans l'environnement : le pylône électrique, l'autre, celle de l'objet dans l'espace domestique : les objets de table. Ces projets sont mis à contribution dans la proposition d'une esquisse de catégorisation des instruments suivant une typologie des modes d'utilisation des données visuelles et des documents visuels dont on reconnaît de plus en plus la pertinence dans la méthodologie du design.

Design is about making our world a better place. Design education is a key factor in improving the quality of life and we have to teach our future designers to be better listeners, observers, storytellers and creators. A toolbox to help aspiring designers to seek insight through the aesthetic experience of others is essential to develop their empathic abilities and to learn how to think outside the box. However, it is surprising to realize that only a few design schools offer courses, let alone approaches, to engage in such methodology. This kind of toolbox was created in a pedagogical integration project conducted at the University of Montreal School of Industrial Design and was the result of five years of workshop teaching. Thus, this paper proposes a critical reflection on pedagogical challenges met in teaching empathic design practices. The observations collected in the workshops allowed three types of findings: the a prioris, the learning experience, and the limits of the creative integration of data. As a way to integrate research based-tools to support and defend design strategies, the approach presented in this paper allows the use of more refined methods to teach empathic design.

Design is about making our world a better place. Design education is a key factor in improving the quality of life and we have to teach our future designers to be better listeners, observers, storytellers and creators. A toolbox to help aspiring designers to seek insight through the aesthetic experience of others is essential to develop their empathic abilities and to learn how to think outside the box. However, it is surprising to realize that only a few design schools offer courses, let alone approaches, to engage in such methodology. This kind of toolbox was created in a pedagogical integration project conducted at the University of Montreal School of Industrial Design and was the result of five years of workshop teaching. Thus, this paper proposes a critical reflection on pedagogical challenges met in teaching empathic design practices. The observations collected in the workshops allowed three types of findings: the a prioris, the learning experience, and the limits of the creat...

This article explores the complexities and challenges of illustrating a hybrid culture such as that of Costa Rica. To address this problem, my poietic reflection is conceptualised within the framework named
hybrid culture, a phenomenon theorised by the Latin American anthropologist Néstor García Canclini. From this theoretical perspective alongside a qualitative approach, this article starts with a non-
chronological sample of art and literature works from the twentieth century relevant to my project. The artists reviewed are selected because they have directly contributed to the creation and critique of the imaginary visual identity in Costa Rica. The qualitative approach sets the basis to offer a reflection on the illustration of a hybrid culture. The second part of the article discusses the process and choices made to illustrate this hybrid identity from my personal interpretation and in my capacity as an illustrator.