Design Inspiration
Design Inspiration
Design Inspiration
1. Introduction
This chapter, focusing on culturally inspired design, with emphasis on Portuguese and
Lusophone cultures, is developed in a two stage process (Fig. 1). In the first part, an effort to
identify the Portuguese identity reflected in the design of existing products is pursued. In
the second part of this work, product design specifications are created based on the
assignment of product personalities to capture Portuguese and Lusophone cultural aspects.
Both stages of this contribution give rise to new product concepts, which are aimed at
exemplifying the profile in existing Lusophone design production (in comparison with other
design origins) and at demonstrating the transfer of selected cultural values to designed
objects.
Fig. 1. Depiction of the two streams of analysis departing form an empirical and an abstract
level, reaching at new product concepts.
In both stages of the research, an array of product features was drawn up, in the first case
from observation, in the second case from matching of cultural traits with product features,
through the use of the product personality assignment approach.
Culture may inform design by a process of context-informed practice. Hence, collectively-
held norms of practice shared within contexts may well introduce culture into the design
process, even if indirectly. Geographical context may influence the practice and results of
design in two ways. One the one hand, everyday specific features of a location (availability
of technology and materials, climate, local modes of exchange and even cultural factors
affecting business activities) produce particularized actions, which may however be
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56 Industrial Design New Frontiers
contrasted with perceived globalized, mainstream and dominant modes of practice. On the
other hand, when viewing design as a mode of communication, peripherization and
engagement of a consciousness of difference may emerge, depending on location (Julier
2007). No factual data with a substantial depth about the cultural traits of the nations
portrayed in this chapter was found in literature, with the exception of the work by the
Dutch social scientist Geert Hofstede. Hofstede developed and published, in 1980, four
national measures of culture applied to a set of selected countries. Portugal and Brazil were
the only Lusophone countries included in Hofstedes study. The national measures of
culture presented by this author were: Power Distance, Masculinity, Individuality and
Uncertainly Avoidance. The nature of the national measures of culture presented by Geert
Hendrik Hofstede, was not deemed adequate to advance the development of the goals set
for the second project reported in this chapter. A literature survey was hence pursued,
informing, through the perspectives of several authors, on the Portuguese and Lusophone
cultural traits.
The current geo-strategic setting gives some added importance to the Portuguese-speaking
world. Both Brazil and Angola, in part, have been claiming themselves as regional powers
(in South America and sub-Saharan Africa, respectively). In this context, the design of
products as part of the cultural expression of people is associated with its production and
industrial capacity, and can be seen as a front for disseminating advancement of culture,
while its existence is related to the relative importance of this culture in the globalized
world. It is not mandatory to join Brazilian design, and eventually Angolan, or the design of
other Portuguese-speaking countries, with Portuguese design. In the cultural sphere, and
the approach that underlies this work has a strong cultural component, it will be difficult to
disentangle the historical and cultural legacy of the area of language, as this is one of the
main ways to define and mark broad cultural groups. Thus, in this work, it is considered
that the combination of design production in the countries of official Portuguese language is
relevant.
1.1 Aims
The main purpose of the first part of this chapter is to seek the identification of a possibly
existent identity of Portuguese and Lusophone Design, according to different perspectives
(e.g. form, brand, material, archetype), from the study of selected cases. While it is
acknowledged that an analysis which is mostly based on the material properties of products
is necessarily limited in scope, the consideration of experience or use related qualities, given
the breadth of this survey, was inferred, albeit visually as their assessment by actual use
would not be feasible. Initially, a historical perspective of Portuguese and Brazilian design
was drawn up. Since the existing information concerning existing design of other
Lusophone countries is very limited, it was chosen to analyse Portuguese and Brazilian
design only, and from these two identities, extrapolate a proposed Lusophone design
identity, focusing on material properties mostly. From this analysis, similarities were
perceived between Portuguese and Brazilian (Lusophone) designs, according to the
analyzed products. Another analysis of designed products was then carried out, focusing on
countries with design production of great international appreciation so that it would be
possible to differentiate this against Lusophone design. The analyzed regions and countries,
for the purpose of differentiation, were Scandinavia, which includes the Nordic countries, as
well as Italy and Germany. To conclude the first stage of this research, and project it in a
practical component, two conceptual designs were developed.
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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 57
The second part of this chapter reports on a project that aimed to identify the cultural traits
of the Portuguese speaking countries, with regard to both an internal perspective as well as
an outsiders perspective. Subsequently, the translation of these traits into product design
was intended, attempting to give a Portuguese and Lusophone projected cultural identity to
products. To this end, a methodology was developed in several stages. For the application of
the methodology, several studies were carried out. The personality attributes of products
were analyzed using a technique known as Product Personality Assignment (Jordan 2000) in
order to mediate the transfer from the identified cultural traits to product design
requirements. Patrick W. Jordan used positive and negative characteristics of people,
developing a list with 209 descriptors of personality and, after a collation and synthesis of
work arrived at a list of 17 pairs of dimensions of personality. These dimensions are
composed of pairs of opposing personality descriptors, such as Complex / Simple. Thus,
Personality Assignment to a product is a tool that explores the emotional ties existing in the
relationship between user and product.
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58 Industrial Design New Frontiers
Fig. 2. Refrigerator designed with inspiration on the Portuguese postigo (small door or
window within a regular door) (designed by the third author).
Fig. 3. Multi-purpose object (sofa, table, shelf, stools and footrest) designed with inspiration
taken from the traditional canap (multiple seat wooden chair) (designed by the third
author).
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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 59
attained. Had other objects produced in the same geographic spaces been considered,
different results probably would have been found. An underlying hypothesis for the
approach deployed in this chapter is that cultural influences are capital even when not
consciously considered by designers, and are hence reflected in the design production itself.
A possibly existing design identity and its continuity over time was sought, in order to
recognize characteristics and similarities among products. Design production was not only
examined within the Lusophone space, but its international acceptance and appreciation
was also considered, so that, through this analysis, it would be possible to recognize the
character and contours of the design culture in order to give continuity to a tradition of
centuries. It then became imperative to perform a new product search to investigate the
differentiation against highly visible design traditions, as is the case of Scandinavian, Italian
and German designs. Finally, and from the analytical treatment performed to the data
collected in the survey mentioned above, two design concepts are presented which combine
Portuguese and Lusophone design tradition, respectively, with contemporary materials and
technologies. Ultimately, the aim of these concepts was to establish an alliance between the
cultural backgrounds of Portuguese design with the numerous technological possibilities
that are presented everyday and that enable the achievement of product improvements at
various levels. These improvements focus on aspects such as product performance and
increasing the quality of human life.
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60 Industrial Design New Frontiers
lines, wavy and winding forms. These designs are innovative, incorporate functional
improvements and demonstrate savings in the materials used in the objects, while designers
select the most recent materials and apply high mutability to their projects. The designers of
this nationality do not use graphic markings and inferred ease of use of their products varies
between easy to medium. In the following section, it is possible to define an identity for
Lusophone design, based on the intersection of Brazilian and Portuguese design
characteristics.
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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 61
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62 Industrial Design New Frontiers
Lusophone Space
Scandinavia (23) Italy (26) Germany (23)
(136)
White 25% White 35% White 36% Black 36%
Metallic Metallic
Brown 17% Red 30% 32% 28%
Grey Grey
Black 15% Black 30% Yellow 24% White 28%
Green 7% Brown 26% Black 20% Blue 16%
Red 20% Grey 12%
Blue 16% Orange 12%
Pink 12%
Brown 12%
Green 12%
Orange 12%
Table 1. Colour characteristics prevalent across the sampled products.
In relation to the material differences visible in the material of choice for products, these are
shown in Table 2. Portuguese speaking designers have a special preference for wood
primarily, followed by plastic, while the materials of preference of Scandinavian, Italian and
German designers (metal) are the least utilized by Lusophone designers.
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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 63
At a formal level, design projects with Lusophone and German origins display a great
sobriety instilled in the shape of products, while designs from Italy and Scandinavia display
more organic and fun shapes than those from Germany and the Lusophone space (Table 3).
Innovation in the Lusophone space is still lagging behind the other design streams
examined. Although Lusophone products reflect innovation and originality, they are still
short of the originality that grew with these other three schools for decades and contributes
to highlighting the timeless tradition of their designs (Table 4). Across the items displayed in
Table 5 there is not much difference, since the products of the four nationalities and, or,
regions, are usually devoid of graphic markings, using them only to show the product's
brand. Products are mostly similar in terms of inferred ease of use (Table 5).
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64 Industrial Design New Frontiers
The analysis presented in this section suggests that Lusophone design shows some
differences when compared to Scandinavian, Italian and German design traditions,
particularly in relation to innovation, which is rather less inculcated in Portuguese and
Brazilian products. This is deemed to result largely from the tradition and heritage that
comes from long ago in these design currents. There are also obvious similarities that unite
these four design streams, namely at the form level.
2.2.2.1 Sampled Scandinavian designs
The sample consists of 23 product designs, which are the basis on which the analyses
relating to Scandinavian design are made in this study (Fig. 6; images shown are in the
public domain; for a complete set of references see Simo & Coelho, 2011).
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66 Industrial Design New Frontiers
Significant similarities were found between the design productions sampled in this study.
Portuguese design production, as sampled in this study, shows a preference for colours such
as white, black, beige, brown and metallic grey. In what concerns materials, the choice falls
mainly on ceramics, wood and cork; in terms of shape or form, products are simple, rational
and often incorporate curved lines. Although Portuguese product designs show a striking
low level of innovation, designed products are deemed easy to use and are mostly devoid of
graphical markings. For Brazilian designers, it can be concluded that they prefer colours like
brown and white, in terms of materials, their preference falls on wood and in terms of
forms, their products are conspicuously simple. Brazilian designers innovate in particular in
products that integrate technology and that are comfortable, while Portuguese designers
innovate mostly by conceiving products that are very user-friendly. Portuguese designs are
mostly devoid of graphical markings. From the joint analysis of the sampled designs
pertaining to these two nationalities it can be concluded that Lusophone design gives
primacy to colours like white, brown and black; wood is the material of choice and the form
of these products is simple and rational. The rate of innovation in Lusophone product
design is not high, but designers produce user-friendly products which are devoid of
graphical markings.
As a result of the analysis presented, Scandinavian chromatic preferences reflect mainly
white, red, black and brown. In respect to the materials order of preference, it begins with
plastic, followed by wood, metal, textiles, glass and, finally, their products are also
characterized by simplicity, rationality and the use of organic forms. The innovations
incorporated in these are evident at the level of adaptability, sustainability, multi-
functionality of products and modern appearance. The objects designed within this culture
are devoid of graphic markings and are very easy to use. Italian design uses more often as
colours white, metallic grey, yellow, black, red, blue, pink, brown, green and orange. In
terms of materials that stand out, there is plastic, metal, with special focus on steel, and
wood. At the form level, products are characterized by simplicity, curved shapes, fun
shapes and functional form. Their originality can be seen through the adaptation of new
technologies to design, which led to the creation of great classics of design, striving to create
compact objects. Multi-functionality, ergonomics, and fun are common product attributes.
Italian product designs include some graphic markings although most products are devoid
of them. Inferred ease of use ranges from medium to easy. Finally, in what concerns the
German current, based on the sampled designs covered within this study, often designers
opt for black, metallic grey, white, blue, grey and orange colours. In terms of materials there
is a preference for wood, leather, steel and plastic. These products main characteristics are
simplicity and minimalism. Their originality lies on adaptability and incorporation of new
technology, great comfort, modularity and multiple functionality. The products designed in
Germany are mostly devoid of graphical markings and if they do have them, they concern
the product brand. These products are deemed mostly easy to use.
In this era of globalization accelerated by technology, although it is not noticeable at first
glance, there seem to be apparent marks of national design in the existing design
production, even if a conscious effort to create them was absent from the design process. It
is a fact that the design originating in different nationalities and cultures is similar in many
ways, but the designer, is influenced by culture, societal norms and environmental
conditions of the place where he or she grows and matures. Therefore, even if there is no
deliberate intent, design will always reflect personal characteristics and the experiences of
those who design the products, even if sometimes barely visible.
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Portuguese positive aspects and Lusophone neutral aspects (the distinction between
positive, neutral and negative aspects was done by the authors).
3.3 Study II - Matching selected cultural traits with product personality dimensions
The cultural traits obtained from study I were corresponded by the authors to Jordans
(2000) product personality attributes. Each cultural trait was assigned to one or more of the
product personality dimensions (Table 8) and a matrix was prepared that translated the
cultural traits into personality dimensions. The personality dimensions that resulted are
presented in Tables 9 (results of subjective transfer of the Portuguese cultural traits
identified in study I) and 10 (results of subjective transfer of the Lusophone cultural traits
identified in study I).
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72 Industrial Design New Frontiers
Fig. 9. Products that were used as a basis for the product personality assignment survey
performed as part of study III.
The ranking attained by combining the judgement of the eight raters within the personality
pairs of each set of four products is shown in Tables 11 to 13, accompanied by the result of
the Kendall coefficient of concordance for each dimension and set rated.
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3.5 Study IV Establishing the link between product personalities and product
characteristics
The 12 objects depicted in Fig. 9 were further characterized, by the authors, in terms of their
product attributes according to a series of dimensions. These included materials, colour,
shape, graphic markings, archetype, morphology, inferred ease of use, manufacturing
process, technological sophistication, multiple functionality and size. The dimensions that
were used to characterize the 12 objects involved in study III are shown in Table 14.
As a result of study IV, two product attribute lists were attained, one concerning the
transference of Portuguese cultural traits to product properties and the other one concerning
the transfer of Lusophone cultural traits (Table 15).
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76 Industrial Design New Frontiers
No Portuguese or
Furniture concept Portuguese traits Lusophone traits
Lusophone traits
Imprio Lusophone A 8 8 5
Bloco Lusophone B 3 9 9
Flex 2 Lusophone C 2 4 15
Vale Portuguese A 5 6 10
Leveza Portuguese B 7 7 7
Flex Portuguese C 2 8 11
Table 16. Survey seeking the validation of the results of the studies reported in this chapter
(21 respondents second year undergraduate industrial design students).
The results of the survey do not lead to consider that the results convey clearly identifiable
cultural traits associated with the Portuguese and Lusophone cultures, although these vary
from product concept to product concept.
Fig. 10. Renders of Vale living room furniture line based on the Portuguese cultural traits
and their corresponding product technical attributes (designed by the second author).
Fig. 11. Renders of Imprio living room furniture line based on the Lusophone cultural
traits and their corresponding product technical attributes (designed by the second author).
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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 77
section of this chapter. The adequateness of the use of the product personality assignment
technique in supporting this transfer could not be determined conclusively, as the results of
the panel convened to assess the cultural identity of the product concepts produced was not
conclusive, lacking agreement among the group.
4. Conclusion
One of the underlying assumptions for this chapter was that there is a space yet to be filled
by a culturally inspired design current to take the space of design production with a
Lusophone flavour, for international dissemination. Another underlying assumption is that
design may be inspired by culture, and a direct transfer of cultural traits to product
attributes may be pursued, with the support of product personality attributes, as a mediator.
The results of both streams of analysis (Fig. 1) presented in this chapter were found not to
match entirely. The product feature profiles encountered in the sampled Lusophone design
production (first part of the chapter) do not match entirely the product feature profiles
obtained from transferring selected cultural traits (positive and neutral) to technical
features. This suggests that there is a space yet to be filled by a culturally inspired design
current to take the space of design production with a Lusophone flavour, for international
dissemination. This mismatch also suggests that culturally inspired design may yield novel
design concepts and trigger an array of new proposals that cater to varying tastes and
sensibilities. This may contribute to more visibility of designs from particular regions of the
globe, opposing the paradigm of mainstream design production, according to the traditional
and well established design schools and currents. In a globalized world, culturally inspired
design carries the promise to bring more cultural inclusion into the design discourse and to
promote added differentiation of consumer choice of design objects.
5. Acknowledgment
The research projects presented in this chapter were developed as Master of Science thesis in
industrial design engineering by the second and third authors, supervised by the first
author. A selection of results from these projects have previously appeared in Simo and
Coelho (2011) and Silva and Coelho (2011), published by Common Ground.
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Industrial Design - New Frontiers
Edited by Prof. Denis Coelho
ISBN 978-953-307-622-5
Hard cover, 190 pages
Publisher InTech
Published online 09, November, 2011
Published in print edition November, 2011
A new breed of modern designers is on the way. These non-traditional industrial designers work across
disciplines, understand human beings, as well as business and technology thus bridging the gap between
customer needs and technological advancement of tomorrow. This book uncovers prospective designer
techniques and methods of a new age of industrial design, whose practitioners strive to construct simple and
yet complex products of the future. The novel frontiers of a new era of industrial design are exposed, in what
concerns the design process, in illustrating the use of new technologies in design and in terms of the
advancement of culturally inspired design. The diverse perspectives taken by the authors of this book ensure
stimulating reading and will assist readers in leaping forward in their own practice of industrial design, and in
preparing new research that is relevant and aligned with the current challenges of this fascinating field.
How to reference
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Personalities to Capture Cultural Aspects, Industrial Design - New Frontiers, Prof. Denis Coelho (Ed.), ISBN:
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