Attendance certificates will be provided upon request.
The opening of the exhibition and
the launch of the SAMIZDAT publication are both admission-free events.
Faculdade de Belas Artes da Universidade de Lisboa
Federica del Faco
Facoltà di Architettura Sapienza Università di Rome
Universidade de Barcelona
Universidade de Aveiro
Inês Secca Ruivo
Universidade de Évora
Fernando Moreira da Silva
Faculdade de Arquitectura da Universidade Técnica de Lisboa
Esart - Instituto Politécnico de Castelo Branco
Coordenação: Raul Cunca
Victor M Almeida
Victor M Almeida
Ana Lia Santos
Marco Sousa Santos
Ana Lia Santos
Tiago Girão André Gouveia
Webdesign furtherhance: Miguel Cardoso
Graphic Production furtherhance: Isabel Castro
FBAUL Faculty of Fine Arts, University of Lisbon
CIEBA-SdD Secção de Design do Centro de Investigação e
Estudos em Belas Artes
FCT Fundação para a Ciência e a Tecnologia
Largo da Academia Nacional de Belas Artes
1249-058 Lisboa Portugal
Telefone +351 213 252 100
Fax + 351 213 471 689
Head of department Man & Activity, The Design Academy Eindhoven
Senior Creative Director, Philips Design Lighting
> Biographic note
Challenges of the industry and inspiration from the Design Academy Eindhoven
Design needs to be optimistic. This is what design is all about. It looks at the future and imagines better possibilities for all of us. It’s about imagining ´what is technologically possible with what is humanly preferable´. The future doesn’t fall from the sky and we as designers need to decide either to be participants or spectators. I want to be a participant and I ask the same to my students.
Today in the western world the role of design is no longer at the end of the cycle, as the cherry on the cake. Designers need to be involved form the very beginning, writing the brief with the company, giving form to company ideals and strategies.
Using creativity and innovation to translate the values of the company or the business you are working for. Design is a strategic tool at Philips. We are the translators of the brand into tangible products services and experiences. We bring ideas to life, sending them out to be experienced by people.
In the Design Academy Eindhoven, especially in my department of Man and Activity we don’t teach design, we believe design is something that you must learn as Josef Albers beautifully expressed.
Finally, we want our students to consider the cultural meaning, the social relevance and economic value in all their work. We need in our business and in our education to connect to the world through knowledge and awareness, and through collaboration with others in other fields and others cultures.
The importance of designer capacities in the contemporary context. The journey of an activity – from the profession’s consolidation to the development of scientific research.
MIGUEL ARRUDA, FBAUL
> Biographic note
SMALL, MEDIUM; LARGE
VASCO BRANCO, UA
> Biographic note
Design: skills and research
Moderator: Raul Cunca, FBAUL
11h55 Discussion / Q & A
Designers reflect on the practice of design through critical essays published in magazines, in books, and above all in online platforms. Similarly, others react from university research centres employing available institutional resources to disseminate knowledge. Who is this reflection aimed at, and how does it influence practice?
MÁRIO MOURA, FBAUP
> Biographic note
AURELINDO JAIME CEIA, ISEC
> Biographic note
Design for Change
In contemporary thought on the current issues over the so-called "sustainability", design plays an important part, both as a diagnosis and as way towards a solution. Design must thus incorporate a political dimension that goes far beyond mere formal circumstance and posits design thinking and practice as a critique and as an insurrection against the standardization of creative thinking led by economic/financial ideology. Design as a weapon and not as a backdrop.
Designers think about their profession as a way of producing better alternatives for issues emerging from daily life, either in terms of the quality of organisation and of its material structure, or in terms of the cultural value intrinsic to the interaction between people and the artificial world. This panel intends on reflecting over the various dimensions that characterise this manner of interpreting design’s own space of intervention, and proposes:
- to localize in History and in contemporaneity moments of design’s association to surmounting contexts of need;
- to understand the value of local identity as a strategic economic resource;
- to emphasise the importance of a systemic view which, associated to a designer’s positioning as an interpreter, seeks to survey a part of the systems in which design is subsumed, aiming at identifying new, yet unexplored opportunities for action.
FEDERICA DAL FALCO, Facoltà La Sapienza Università di Roma
> Biographic note
The importance of local resources in times of economic hardship
The core concept in the lecture is that there is an analogy between biological evolution and the evolution of materials and objects. The investigation of 1930s Italian design and material culture embraces this idea and expands on the following points:
- The importance of exploiting local resources and innovating with products in times of economic hardship.
- The analogy between the ‘green economy’ and the ‘economic autarky’ in Italy from the early 1930s onwards.
- The cyclical process in which types of objects that stand the test of time are continually given fresh, contemporary shapes thanks to the use of innovative materials. The period of autarky in Italy is a topical case study, and this is demonstrated with examples of architecture, design and the many inventions that were born out of necessity. As a result of the economic sanctions imposed by the League of Nations in 1935 in response to the war in Ethiopia, fossil fuels were scarce in Italy and the situation was extremely critical. Due to the circumstances and the influence of highly objectionable ideological outlooks, some radical economic policies were introduced. In the firm conviction that autarky would revitalize and strengthen the country, new and substitute materials were produced to cater to the requirements of the modern era, using natural resources and recycling.
CATARINA PORTAS, Journalist and Entrepreneur
> Biographic note
How to launch a business: my own handbook
In 2004 I was a freelance journalist trying to be a documentary maker, which means I was virtually unemployed. While unoccupied and in need of a vanishing point, in that year an idea came to me and I started a business, despite not having the faintest clue about the subject. Seven years have passed and today, between three companies, I employ 40 people. Over these seven years, both experience and inexperience have taught me a lot. Perhaps what I learned can be of use to those who, in a moment like this, with the country in crisis and unemployment rising, consider changing their lives and becoming their own bosses, while contributing to a livelier community and a more interesting country. So here’s this guerrilla, but also philosophy, handbook.
LUÍS FERREIRA RODRIGUES, Urban Planner
> Biographic note
Urban Design: from Spectacle to Necessity
This talk intends to address the negative implications that spectacle as a conceptual process criterion has inflicted on the market for public Equipment Design commissions especially on those related to urban space. In much of the production commissioned, paid for and enjoyed by the public or the entities that represent it (municipalities, state agencies, public foundations, etc.), ethical, aesthetic, functional, economic and environmental questions immediately arise that relate to the processes leading to that commission, which raise doubts as to their benefit and public interest. After analyzing some of these issues, new proposals and paradigmatic alternatives are suggested, which aim to frame and support the conceptual processes of urban design in a more parsimonious economic context. We intend to demonstrate that the high quality standards by which public works should be guided are not only not necessarily dependent on the availability of vast financial or material resources, but can become even more evident in the lack (or even in the absence) of such resources. To this end, we must change not only the designers perspective in relation to his or her product, but change mainly his or her perspective on the bureaucratic processes that go beyond the creative dimension and permeate both the political and administrative fields.
MIGUEL ESTIMA, researcher
> Biographic note
The flexibility of iron: the Metalúrgica Alba case
Presentation of a particular case-study in material production developed during the period framed by Portugal's Estado Novo policies. In a proto-design atmosphere, Metalúrgica Alba perfected an empirical approach based on exploring the flexibility allowed by the company's own manufacturing and sales structure. A tale of everyday objects that eventually made up a landscape of national memory.
PEDRO REISINHO, researcher
> Biographic note
The concept of absence in equipment design
Design’s spectacular superficiality as stated by Gerrit Terstiege, projects a set of phenomena that gain meaning for a reflection on contemporaneity. This reflection takes as its starting point the exhibition Super Normal, by Naoto Fukasawa and Jasper Morrison, as an element that unveils the absence concept, which is employed as a problematizing element of this very superficiality. The concept of absence attempts to define itself as an element that encompasses issues inherent to the problem of Being and its repercussions on the relation with objects. It is thus a platform that seeks to respond to an estrangement heir to the hyper-reality where shattered signs have converged in a loss of Self. More than an answer, the concept of absence seeks to provide new avenues for conceptual development and relationship to the object, proposing it as more than just matter and allowing its mutation and adaptation to an inalienable plan.
15h30 Discussion / Q & A
Ways of seeing design in contemporary society:
Social responsibility and a crisis of confidence in design
In an event that bases its program on the presentation and discussion of ways of seeing the practice of design in a period of generalized crisis, a reflection on this reality suggests the existence of a crisis of confidence among professionals, which inevitably has an impact on design’s social credibility.
A reflection on the practice of design is conducted by designers, who through critical essays published in magazines, in books, and above all in online platforms. Similarly, others react from university research centres employing available institutional resources to disseminate knowledge. The reflection on action is conducted by professionals so to position themselves unequivocally before the acknowledgement and recognition of their design process. A reflection on reaction is carried out primarily in universities, published by professional researchers in the form of academic essays, dissertations or articles in journals. This activity extends also to publications and conferences in a wider sense.
At the Lisbon Design Meetings, an action-reaction cycle will bring together knowledge generated both by research professionals and design practitioners, placing them on the same level of social responsibility.
> Biographic note
Data visualization and the ethical aspiration of promoting understanding
Information visualization (or data visualization) is a steadily expanding area of design, which is committed to making understandable anything that due to its complexity lacks a graphic rendition. In this session, we seek to discuss the foundations of information visualization in the contemporary context, namely the ethical aspiration of promoting understanding through graphic means.
> Biographic notes
Project EVA / Bairro 6 de Maio
We were artists in residency in the 6 de Maio district during the months of June and July 2010. This residency (part of the EVA, of Added-Value Exclusion, project) had art intervention in and with and the district/local community as its main goal.
Developed since the mid-70s by (mainly) immigrants from Cape Verde who arrived in Portugal to work in construction, the 6 de Maio district is a place where survival architecture prevails and where deeply precarious conditions include an absence of any water and sewage distribution and collection, or any street lighting. Built with the community, our project began by giving a new face to the district: by trying to give it the dignity and color it never had, but that is still present in memories of Cape Verde.'
> Biographic Notes
Food & design: drawing flavours and designing memories
The act of eating is recognized as a cultural asset that succeeds in reflecting the spirit and lifestyle of a society. The current relationship between design and foodstuffs comes from that awareness and develops from the interest expressed by designers in countless aspects connected to food culture. Souvenir, a project by Catarina Carreiras and Marta Villar (presented at EXD'11) is a visual installation "that feeds on the useful pleasure of creating and that takes shape in the useless pleasure of bringing with us a whole range of flavours." It serves as a starting point for reflecting on the juxtapositions of design and gastronomy.
Publishing: between crisis and critique
Stemming from the origin of the word "critique" as an action that places in crisis, this session frames publishing practices as one of its agents – between politics and ideology, essay and fiction, counter-current and current account, main text, note and meta-note. Given the crisis, we position ourselves between the possibilities of self-publishing and financially assisted publishing; the authority of the author and of the State, between the book that was never made (Joubert’s “Pensées”, Mallarmé’s “Le Livre”, Pessoa’s "The Book of Disquiet, among other) and books that might never have been made. Lastly, we will examine the collapse of boundaries between image and text, visual arts and literature as the Page’s own "state of grace".
The Samizdat workshop (January/April 2010), lead by Marco Balesteros and Sofia Goncalves, proposed the creation of a space for critique and practice in the context of self-publishing. Its central guidelines were the blurring of roles involved in editing/publishing, the designer as author/editor/producer, an understanding of the workshop as a pedagogical model parallel to academia and as a catalyst for critical experimentation and content generation. This meta-design exploration was consolidated in a statement of intent, centered around 7 themes (ideology(ies), art/publishing, editing/contents, print culture/digital culture, meta-media, production, distribution/audience/reader). In turn, these issues led to a series of individual publications (authorial monologues) and collective contributions (panel discussions). The SAMIZDAT publication serves as a record of the workshop as well as an aggregator and an informal compendium on self-publishing’s key issues.
Born in 1978, Miguel Cardoso is a computational artist, a lecturer at FBAUL and a PhD researcher in Computer music and Composition at CITAR. He graduated in Communication Design at FBAUP (2004) and is a PhD candidate at the University of Porto’s School of Arts. He has been developing data visualization projects and actively taking part in digital creation-related workshops and seminars.
Having graduated in Communication Design from the University of Lisbon’s Faculty of Fine Arts, Catarina Carreiras enjoys losing herself in the world looking out for shapes, colours, places: ideas. During the last four years she won three honour scholarships from the University of Lisbon, and two Young Creators awards in the category of Graphic Design. She has been working with Sam Baron since 2008, in Fabrica’s (Benetton's communication research centre in Treviso, Italy) design department. She spent a year in New York, where she worked with Karlssonwilker. She currently divides her time between Lisbon and Treviso, consulting for Fabrica Features and working as a freelancer. Though she is divided between all she is missing from Lisbon and the will to keep getting lost in the world, Catarina believes she will one day find her way back.
Having graduated in Communication Design from the University of Lisbon’s Faculty of Fine Arts, Marta’s work was been nominated in the Young Creators awards in the category of Graphic Design. In 2009, she moved to New York and worked at EURO RSCG for four months. Back in Portugal, she immediately joined the Lisbon HQ of this advertising agency. She also took a course in TV, radio and event presenting. She currently works as a freelance designer and owns (with Simon Morgado, partner and friend) Scullings, a company dedicated to the design and manufacture of custom competition swimming gear.
Antonio Silveira Gomes, Portugal. 1971, South Africa. Studied graphic design between 1990-92 in Joubert Park College and in the Witwatersrand Technikon in Johannesburg. Interrupted his studies and moved to Lisbon to study Communication Design, finishing his degree in 1996 at the University of Lisbon’s Faculty of Fine Arts (FBAUL). In 1997 he co-founded the cooperative graphic design studio Barbara Says... He has been teaching since 2001 and is currently a PhD candidate in Contemporary Art at the University of Coimbra’s College of the Arts, where he teaches in the Design and Multimedia degree within the Computer Science Department.
Cláudia Castelo lives and works in Lisbon. She is an editor and cultural producer with a background in Social Communication from the Portuguese Catholic University and holds a post-graduate degree in Books and New Digital Media Editing from the same institution. In 2006 she founded the Projecto Próprio (Barbara says ...) design studio with designer António Silveira Gomes. Between 2004-2006 he joined the communication office of the Arts Institute (Culture Ministry); he worked as a journalist at Publico.pt between 2002-2004; and was part of Zé dos Bois’ board, between 1998-2002, where among other initiatives she was involved in the creation and editorial co-ordination of FLIRT magazine.
Lígia Afonso has a PhD in Art History and is a researcher at FCSH-UNL’s Art History Institute. She has been working in the field of modern and contemporary art as a historian, educator and critic, developing curatorial and editorial projects, both personal and collaborative. She is a co-curator of the Guimarães 2012 Curatorial Laboratory and is curating Jorge Varanda’s forthcoming exhibition at CAM-FCG.
Parallel to his work as an artist, which focuses on drawing and installation work, Mattia edited the book “Experiments and Observations on different kinds of air” (João Maria Gusmão and Pedro Paiva, Venice Biennale, 2009); in 2011, he published both “Câmara de descompressão” (dois dias editora) and “Logo Depois Da Vírgula” (author’s edition with Barbara Says…).
Having obtained a PhD in Communication Design from the University of Lisbon’s Faculty of Fine Arts, with a thesis on Portuguese design and its institutionalization trajectory ("Design in Portugal, a Time and a Way"), Victor Almeida chairs the first and second cycles of FBAUL’s Communication Design degree. Within the Masters in Communication Design and New Media (second cycle) he teaches Design Studio, which presents a set of research activities related to the understanding of digital culture in its discursive, theoretical and project-based approach to communication design.
After graduating from the Universidad Javeriana in Bogotá with a diploma in Industrial Design (1982), Oscar Peña did postgraduate studies in Visual Communications at the Minneapolis College of Art and Design (1985). He worked for Bill Stumpf & Associates and Seitz Yamamoto Moss in the USA before joining Philips Design in 1987, where he has been involved in the design of numerous consumer and lifestyle products and is currently Global Senior Creative Director for Lighting. In 1996 Peña was appointed Head of the “Man and Activity” Department at the prestigious Design Academy Eindhoven, where his main duty was the creation of the department's vision and its management. He has given lectures in several universities and events in Europe and Latin America.
Frederico Duarte (Lisbon, 1979) studied communication design and worked as a graphic designer in Portugal, Malaysia and Italy. In 2010 he graduated from the School of Visual Arts in New York with an MFA in design criticism. As a design writer, critic and curator hes been writing articles and essays, contributing and editing books and catalogues, giving lectures and workshops, organising events and curating exhibitions on design, architecture and creativity since 2006. He currently teaches at ESAD Caldas da Rainha and at Lisbon Universitys Faculty of Fine Arts.
Emílio Távora Vilar has a degree in Communication Design (FBAUL, 1989), a Masters in Business Studies (ISCTE, 1995) and a PhD in Management with a specialisation in Marketing (ISCTE, 2003). He is currently an Associate Professor at the University of Lisbon’s Faculty of Fine Arts, where he is Chair of the Communication Design scientific area and teaches courses in Marketing, Design Management [1st cycle] and Seminar/Design [2nd cycle]. He is also a regular guest lecturer at ISCTE and The Catholic University of Portugal.
Graduated in Architecture in 1984 and concluded his PhD in 1999 in Visual Communication, following periods of studies in England and Italy. Since 1999 he’s been working at IADE, Instituto de Artes Visuais, Design e Marketing where he is Associate Professor, Scientific Board President, researcher at UNIDCOM/IADE and will coordinate the forthcoming PhD programme in Design. In 2009 he received the João Branco design research award for a research project on Drawing, Design and Visual Culture in Portugal during the second half of the 20th Century, funded by the Portuguese Foundation for Science and Technology. He’s published and presented numerous papers in national and international publications and conferences. He is the editor in chief of the online journal “The (radical) Designist”, ThRaD, www.iade.pt/designist. In 2001 he wrote the book O Triunfo da Virtude, As Origens do Desenho Arquitectónico and most recently “The Smooth Guide to Travel Drawing” and “The Triumph of Design”.
Graduated in Design from ESBAL. Taught at this school between 1982 and 2011. Currently holds a teaching position at the Institute of Education and Science, and is the coordinator for visual communication at the Foz Côa Foundation.
Raul Cunca (Lisbon, 1963) holds a PhD in equipment design from the University of Lisbon’s Faculty of Fine Arts (FBAUL) a Masters in industrial design from Domus Academy in Milan and a degree in equipment design from FBAUL. He has taught at FBAUL since 1994, where he currently chairs the PhD programme in equipment design and the design section of CIEBA - Centre for Research and Studies in Fine Arts. Cunca is also a visiting professor in the industrial design masters of Sapienza University’s Faculty of Architecture in Rome. His design work and articles have been published in national and international publications, such as: Revista Expresso; Pública; Convergências; Design Report; Domus; Intramuros; Interni; Design Diffusion News; ddiseño; DIID disegno industrial industrial design. He has also authored the books “Territórios Híbridos” (UL-FBA, 2006) and “A Magia da Polaroid – Colecção Raul Cunca (IPCB, 2011).
Isabel Dâmaso-Rodrigues (Lisbon, 1966) Holds a Master Degree in Industrial Design from Oporto University’s Faculty of Architecture (1998) and both a PhD and Undergraduate degree in Product Design (2008, 1989) from Lisbon University’s Faculty of Fine Arts (FBAUL). She has received Research Grants from Portugal’s National Foundation for Science and Technology, (FCT). She has also been distinguished in several Design Awards and taken part in Design exhibitions in Portugal, Spain and Germany. She is an Assistant Professor on FBAUL since 1997 and is at present chair of the Product Design Undergraduate Degree, while heading the Design Studies area of FBAUL’s Master Programme in Product Design.
Inês Secca Ruivo (1972) is an Industrial Designer, with a PhD from the University of Aveiro. She is an Assistant Professor at University of Évora, and in that entity is the Director of the Master in Design, Co-coordinator of the Graduation in Design, Chair of the Pedagogical Council of the Arts School and a member of the Centre of History of Art and Artistic Research (CHAIA). Since 2010, she is also member of the committee of the Agency for Assessment and Accreditation of Higher Education (A3ES). Among her published work is the recent article «Rhetoric in Industrial Design», in The Poster 1:1 (London: Intellect Journals).
Born in 1974, Pedro Almeida graduated in Communication Design from the University of Lisbon’s Faculty of Fine Arts (FBAUL) in 1998. He currently teaches Information Design (undergraduate) and Interactive Information Design (graduate) courses at FBAUL. He is also a PhD candidate and has been developing his research project within the information visualization area.
With a degree in Communication Design from the University of Lisbon’s Faculty of Fine Arts (1998) and a Masters in Economic and Organizational Sociology at the Technical University of Lisbon’s School of Economics and Management (2004). She is a Communication Design professor and a PhD candidate and researcher at FBAUL. Her research project addresses the creative process behind design and gastronomy.
Sofia Gonçalves teaches Communication Design at the University of Lisbon’s Faculty of Fine Arts. She is a co-founder of the graphic design studio Flatland. With Marco Balesteros she has been developing potential models for the generation of contents and publications. In 2011 she founded, with Rui Almeida Paiva, 2 DIAS, a publishing project that deals with possible juxtapositions between art and literature. Sofia is currently researching the page as a space for the reconfiguration of design by digital culture, particularly through publishing-related questions.
Born in 1986 in Lisbon, where she lives. Graduated in communication design from the University of Lisbon’s Faculty of Fine Arts in 2009. In 2007/08 she studied in Maastricht, Netherlands with an Erasmus scholarship. She was involved with IST’s Theatre Group and in recent years she collaborated with the CCB/Fábrica das Artes in creating workshops for children. In 2010 she took up an artist residency within the EVA project at the 6 de Maio and Armador districts, where she developed an two-month art project with the community, along with Joana Manaças and Catarina Gonçalves. Together with Margarida Rego, she has been designing the transdisciplinary art publication 'Cine Qua Non. This past year she did post-graduate studies in Visual Anthropology at ISCTE, where she developed the project "Eu sou da Mouraria" with Catarina Laranjeiro. She is currently pursuing a masters degree in Visual Communication at the Royal College of Art in London.
Joana Manaças, Lisbon, 1984. In 2007 she concludes a degree in Dance at the Upper School of Dance. Since 2005 she has performed in theater and dance projects, notably with Teatro O Bando, São José Lapa, Tanz Atelier Wien, Sebastian Prantl, Guillermo Weickert, Teresa Ranieri, Madalena Victorino and Ana Sofia Paiva. She took part in the EVA (a project by Clube Português de Artes e Ideias and Programa Escolhas) artist residencies in the 6 de Maio and Armador districts. She currently works at the Education Center of the Calouste Gulbenkian Foundation's Museum of Modern Art and is enrolled in the actor training course at the Upper School of Theatre and Film.
Mario Moura writes about design in the blog ressabiator.wordpress.com since 2004, as well as in newspapers, magazines, etc. Some of his writings were collected in the anthology “Design em Tempos de Crise (Braço de Ferro, 2009).” He completed a PhD thesis on authorship in graphic design in 2011. Moura teaches at the University of Porto’s Faculty of Fine Arts and is a fellow at i2ADS - Research Institute in Art, Design and Society.
Doctoral candidate in Equipment Design at the University of Lisbon’s Fine-Arts Faculty (FBAUL). Holds an MA in History of Design from the Royal College of Art, London and a degree in Equipment Design from FBAUL. Teaches at the Applied Arts School - Castelo Branco Polytechnic Institute and at FBAUL. He has been working as a freelance designer since 2001.
Having graduated in sculpture from the Lisbon School of Fine Arts (1968) and in Architecture from the Technical University of Lisbon’s Faculty of Architecture (1989), Miguel Arruda is since 2003 Senior Professor at the University of Lisbon’s Faculty of Fine Arts, where he was chair of the equipment design course (1995-2008) and President of the Governing Board (2004-2008). His work encompasses the fields of sculpture, industrial design and architecture. He has participated in several exhibitions and has lectured on design and architecture, namely at the Federico II University in Naples, Italy. In 2010 he is nominated for the European Union Prize for Contemporary Architecture Mies van der Rohe Award.
Ph.D. in Electrical and Computer Engineering (Interaction Design), 1997, Faculty of Engineering of the University of Porto, Portugal.
Associate Professor at the Department of Communication and Arts of the University of Aveiro where he was one of the first responsible for developing the area of Design.
It is currently the coordinator (at UA) of the Doctoral Program in Design, a joint initiative of the Universities of Aveiro and of Porto and director of ID+ (Research Institute of Design, Media and Culture).
Represents the University of Aveiro as vice president of ADDICT (Agency for the Development of Creative Industries).
Member of the Executive Committee of the European Academy of Design and member of the Editorial Advisory board of international magazines in the area of Design.
Master in Equipment Design – Design Studies from FBAUL. His career is marked by the experiences as designer of exhibitions celebrating the opening of the 2009/10 and 2010/11 academic years at the University of Lisbon, as well as his collaboration with Attitude magazine, where he has been writing.
Federica Dal Falco is an architect with a PhD in Architectural Technology. She became a Researcher at the Faculty of Architecture at Sapienza University in Rome in 1999 and an Associate
Professor in 2005. She teaches on the undergraduate and Master of Design courses and carries out research in the DATA Department. She has coordinated the Master of Design course since 2004 and she has been responsible for the Erasmus programme for seven universities since 2008. She was a member of the Board of Teachers for the PhD in Design from 2005 to 2006, and since 2010 she has been the President of the Design Teaching Area at Sapienza University. Her research activities involve scientific publications and organization of events. In terms of publishing, she is part of the editorial board of DIID Disegno Industriale – Industrial Design. Dal Falco’s scientific activities include:
- Scientific interest in the preservation of design by the Modern Movement, with the publication of a book (Stili del Razionalismo. Rome 2002, Gangemi) and essays.
- Studies and international publications on products, materials and contexts, adopting an approach that focuses on comprehension of how industrial products evolve, as well as changes in their morphology and manufacturing.
- Organization of conferences as a member of the scientific committee of the international Roma Design Più initiative (2003-2008) and publication of international articles about crossovers between the arts, design and architecture.
- Leading digital and multimedia artistic research which has resulted in the organization of three international exhibitions and the publication of ad hoc catalogues.
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