Instance: 2022/2023 - A
Cycles of Study/Courses
Teaching Staff - Responsibilities
Teaching - Hours
|Theoretical and practical :
— Analyze the image beyond its representation;
— Investigate and validate the image as a contemporary unit of literacy;
— Recognize the importance of the image at an academic, cultural and professional level;
— Understand the relevance of visual narratives around contemporary projects;
— Understand the importance of preserving documents capable of providing us with a view of the world from an individual, local, regional and global standard;
— Knowing how to recognize a transmissible visual heritage of individual and collective memory;
— Working the image as a structuring entity of communication design and multiple branches of knowledge;
— Develop design projects supported by the use of image, crossing increasingly complex scientific areas.
— Produce prototypes, models and projects in the field of extended communication design, applied to the market and the respective needs of its audiences.
Learning outcomes and competences
At the end of this Curricular Unit, students are expected to obtain the following skills:
— Identify and define communication problems that encourage them to interfere in contemporary society;
— Look for other angles for the problems, rethinking the role of design and the processes used by designers from less obvious methodologies;
— Relaunch the designer's relationship from an interdisciplinary perspective that promotes social innovation and the construction of a sustainable and resilient culture;
— Develop design projects supported by the use of image, crossing increasingly complex scientific areas, applied to specific contexts and the respective needs of their audiences.
— Produce prototypes, models and projects in the field of extended communication design, applied to specific contexts and the respective needs of its audiences.
— Combine personal interests with scientific areas of ethical and social questioning;
— Recognize the importance of image on a social, cultural and professional level.
Pre-requirements (prior knowledge) and co-requirements (common knowledge)
First Part: Photographic Narrative
Understand the importance of relationships between images. Presentation, analysis and discussion of photographic projects organized in narrative and thematic series. Creation of a visual repertoire from technological procedures related to the preparation, formatting and production of a visual narrative.
Second Part: Relational Design
Presentation of sustainable and functional visual communication programs, implemented from original concepts and from which messages, means and visual devices result in a relationship in which Design is viable as an ethical contract with society. Creation of a visual project supported by a theoretical field of reflection applied to a specific social context.
Third Part: Research Project Proposal
Analyze applied research projects, valuing innovative experiences in historical and contemporary contexts. Raise awareness and deepen multiple dynamics and impacts between design, society and culture, enabling and preparing students for research at a theoretical and practical level that enables the expansion of knowledge in projects that solve effective contemporary problems. Develop research proposals that enable the realization of visual communication products that are alternatives to the most immediate solutions on the market, crossing scientific interests with ethical and social visions and that allow the creation of communication prototypes that act in local, regional contexts but also international, fostering partnerships with civic, scientific and/or business entities. Preparation of research project proposals to be developed in the second curricular year of the course.
Alexandra Midal; Design by accident
. ISBN: 978-3-956791-43-7
Alice Rawsthorn ; Hello World: Where Design Meets Life, Abrams Press;, 2014
Anthony Dunne; Speculative everything
. ISBN: 978-0-262-01984-2
Deyan Sudjic; B is for Bauhaus
. ISBN: 978-0-718-19951-7
Ezio Manzini e Rachel Coad; Design, When Everybody Designs: An Introduction to Design for Social Innovation (Design Thinking, Design Theory), The MIT Press, 2015
Gillian Rose; Visual methodologies
. ISBN: 978-1-4129-2191-6
Graham Harman; Object-Oriented Ontology: A New Theory of Everything, Pelican, 2018
Helen Armstrong; Graphic design theory
. ISBN: 978-1-56898-772-9
Marjanne van Helvertg; The^Responsible object
. ISBN: 978-94-92095-19-0
Victor Papanek; Design for the Real World, Thames & Hudson, 2019
Adam Greenfield; Radical technologies
. ISBN: 978-1-78478-045-6
Audrey Bennett e Steven Heller; Design Studies: Theory and Research in Graphic Design, Princeton Architectural Press, 2006
Beatriz Colomina e Mark Wigley; Are We Human? Notes on an Archaeology of Design, Lars Müller Publishers, 2017
Bruce Sterling; Shaping Things, The MIT Press, 2005
Lois Tyson; Critical theory today: A user friendly guide, Routledge, 2014
Marcus Banks; Visual Methods in Social Research, SAGE Publications Ltd, 2015
Peter G. Rowe; Design Thinking in the Digital Age, Sternberg Press, 2017
R. Buckminster Fuller; Manual de instruções para a nave espacial Terra
Ruben Pater; The Politics of Design, Ruben Pater e BIS Publishers, 2016
Victor Papanek; Arquitectura e design
. ISBN: 972-44-0968-6
Teaching methods and learning activities
Teaching methodologies based on the following model: classes in two distinct modules: the first will correspond to a theoretical exposition; the second to a more practical model.
The demonstration of the coherence of teaching methodologies will be tested during the semester, through the preparation and analysis of ongoing projects. In this way, it is intended to discuss with students all phases of the work process, according to the following parameters:
— The logic of the methodologies must be coherent with the scientific characteristics, objectives and constraints of each project;
— The coherence of the methods used will be related to the applied consequence of the results of each project;
— Relevance of the study and the solutions found;
— Give visibility to the starting questions that make the research plan inherent to each project coherent;
— Balance between the theoretical framework and the practical plan of experimental and laboratory development;
— Management and planning of research and the production of papers presented during the semester
Assessment will be continuous and distributed throughout the semester without a final exam. The originality of the process and the quality of the methodologies used will be considered, as well as the relevance of its result in the field of Design and Image.
Distributed evaluation without final exam
Amount of time allocated to each course unit
|Apresentação/discussão de um trabalho científico
|Elaboração de projeto
|Frequência das aulas
|Trabalho de campo
|Trabalho de investigação
Eligibility for exams
— Monitoring of projects;
— Work presentation;
— Development of exercises and projects;
— Scientific curiosity;
— Technological domain;
— Use of concepts and appropriate technical language.
Calculation formula of final grade
Upon delivery of each exercise or project, students will be graded on an alphabetical scale from A (maximum grade) to F (minimum grade). At the end of each exercise or project, the assessments will be released by the students. In addition to the exercises or projects developed, the monitoring of projects, attendance, participation and presentation of work, scientific curiosity and technological mastery will also be evaluated, as well as the use of concepts and appropriate technical language. The participation and involvement of students in teaching activities that go beyond the context of the class may be a reason for evaluation. Exercises or projects that have not been properly monitored during the semester will not be evaluated. Students who do not attend at least 75% of the classes taught will not be evaluated.
Face-to-face participation — 25%
Research work — 25%
Practical or project work — 50%
Total: — 100%
Students will be assessed quantitatively at the end of the 1st semester, from 0 to 20, although the final grade of the year is not a reflection of an arithmetic average.
Given the current pandemic context, it is unpredictable to ensure the functioning of a classroom semester. In any case, three projects are planned: a project focused on photographic practice (Project 01), a second relational design project, crossing disciplines that integrate social concerns (Project 02) and a third project that will serve as identification and preparation for the research proposal to be developed in the second school year (Project 03).