Artigo publicado na Revista Iniciação – edição Vol. 3, nº1, Ano 2014
Publicação Científica do Centro Universitário Senac - ISSN 2179-474X
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The discussion around Design Projects is usually carried out by dissecting the
product displayed, its merits, flaws, potentials, ideas. How does it look like and why?
What ideas were behind it? What techniques were used? Which references were
inspirational? What ideology is implicit and how valid is it? The questions target the
project itself and specific working process behind it – circumstantial to a pre-defined
program. It is the designer’s main goal of a “what”, and the meriting justification
provided by the “how”, that is placed under the spotlight.
But the operative process, focused on the immediate goal, is only part of a larger
system: method. This often instinctive and invisible component of design is both the
structure of all creative production by an individual and the key constructor of the
individual itself, not only as a designer but as the underrated yet central essence of a
person. Establishing a way of understanding and acting upon the World also defines how
to be in it, thus questioning method is questioning both how to design and how to be.
Specific techniques of a method’s practice are not necessarily universal however:
traditionally drawing has been the prime instrument used; but in recent years digital
systems have come up to defy such domain. The importance of method both to the
designer as a person as to the designed as an object pushes the issue of technique to be
considered beyond the loose acceptance of generic diversity as an absolute value in
itself. Especially in a period when traditional hand drawing strategies are being
unprecedentedly replaced by digital-era influenced computer designs, one must question
how advantageous are, indeed, these mainstream tendencies for the object produced,
and what side-effects are reserved for the designing individual.