3rd International Conference on Environmental Design - 3-4 October | Marsala - Sicily - IRIS ...
←
→
Trascrizione del contenuto della pagina
Se il tuo browser non visualizza correttamente la pagina, ti preghiamo di leggere il contenuto della pagina quaggiù
NEW FRONTIERS
VISUAL, HAPTIC TECHNOLOGY OF
AND URBAN DESIGN INNOVATIVE MATERIALS
COMMUNICATION
EXPERIENCES
DESIGN
FOR SOCIAL
INNOVATION
HEALTH SCIENCE
3rd International Conference
on Environmental Design
3-4 October | Marsala - Sicily
IIIrd International Conference on Environmental Design A cura di Mario Bisson Proceedings ( reviewed papers) of the IIIrd International Conference on Environmental Design, Mediterranean Design Association | www.mda.center | workgroup.mda@gmail.com 03-04 October 2019, Marsala, Italy Progetto grafico ed impaginazione: Martino Zinzone Immagine di copertina: Mario Bisson | Martino Zinzone ISBN STAMPA: 978-88-5509-060-5 | ISBN ONLINE: 978-88-5509-063-6 © Copyright 2019 New Digital Frontiers srl | www.newdigitalfrontiers.com Viale delle Scienze, Edificio 16 (c/o ARCA) | 90128 Palermo Published in September 2019
3 rd
International Conference on
Environmental Design
Conference proceedings
Organization Scientific Committee
ASSOCIATION PRESIDENT Ali Abu Ghanimeh | University of Jordan
Federico Picone Tiziano Aglieri Rinella | American University in the Emirates
Giuseppe Amoruso | Politecnico di Milano
SCIENTIFIC DIRECTOR Giovanni Anceschi | Università IUAV di Venezia
Mario Bisson Venanzio Arquilla | Politecnico di Milano
Antonino Benincasa | Free University of Bozen
WORKGROUP Berit Bergstrom | NCS Svezia
Martino Zinzone Alessandro Biamonti | Politecnico di Milano
Fabrizio Guarrasi Cristina Boeri | Politecnico di Milano
Marilisa Pastore Monica Bordegoni | Politecnico di Milano
Cristina Genna Daniela Calabi | Politecnico di Milano
Luca Carenzo | Università degli Studi di Palermo
Rossana Carullo | Politecnico di Bari
Mauro Ceconello | Politecnico di Milano
Pietro Cipresso | Università Cattolica del Sacro Cuore
Giovanni Maria Conti | Politecnico di Milano
Riccardo Culotta | Università degli Studi di Palermo
Fiore De Lettera | Ed. De Lettera
Giorgio De Ponti | EPTA Group. S.p.a - R&S
Clice De Toledo Sanjar Mazzilli | Faculdade de Arquitectura e Urbanismo da USP
Barbara Del Curto | Politecnico di Milano
Ozgur Dincyurek | Eastern Mediterranean University
Elisabetta Di Stefano | Università degli Studi di Palermo
Massimo Duroni | Independent contractor
Andreas Faoro | Urban Landscape Architecture Bureau - UNLAB
Luca Fois | Independent contractor
Claudio Gambardella | Università della Campania Luigi Vanvitelli
Franca Garzotto | Politecnico di Milano
Luca Guerrini | Politecnico di Milano
Lisa Hockemeyer | Politecnico di Milano
Matteo Ingaramo | Politecnico di Milano
Pierluigi Ingrassia | Università Piemonte Orientale
Tomasz Jelenski | Cracow University of Technology
Massimiliano Mandarini | Marchingegno s.r.l.
Carlo Martino | Sapienza Univesità di Roma
Valentina Nisi | Madeira Interactive Technologies Institute
Jardim Nunes | Técnico Lisboa - Universidade de Lisboa
Stefania Palmieri | Politecnico di Milano
Frida Pashako | Epoka University
Pier Paolo Peruccio | Politecnico di Torino
Silvia Piardi | Politecnico di Milano
Reaes Pinto | Università LUSIADA
James Postell | University of Cincinnati
Savita Raje | Maulana azad national institute of technology, Mhopal
Juan Roldan | American University in Sharjah
Ruben Garcia Rubio | American University in Dubai
Dario Russo | Università degli Studi di Palermo
Antonio Scontrino | Bowling Green State University
Christiane Sfeir Saad | Lebanese University
Marco Sosa | Zayed University
Cesare Sposito | Università degli Studi di Palermo
Paolo Tamborrini | Politecnico di Torino
Woody Wang | Tsinghua University
Joseph Zaarour | Holy Spirit University of Kaslik
Francesco Zurlo | Politecnico di Milano
With the patronage of:
SCUOLA DI DESIGN
ENVIRONMENTAL DESIGN AND MULTISENSORY EXPERIENC ES
CENTRO INTERNACIONAL DE DISEÑO
DEL CONOCIMIENTO
LABORATORIO COLOR E
“TOMAS MALDONADO”
Comune di
MARSALA
Special thanks to:
Giorgio Di Crescienzo for supporting the translation of the introductory contribution
Index | Indice
INDEX
Introduction to the Conference
11 Transdisciplinarity approach
Mario Bisson
Visual, Haptic and Urban Design
Color | Light | Architecture | Landscape | Design for the common good
15 Color plans: Cultural and methodological foundations
Cristina Boeri
23 Colour experimentations of urban regeneration
Cristina Boeri, Daniela Calabi and Mario Bisson
29 Architecture, contemporary art and light
Toufic Haidamous.
35 Telling stories New technologies and city narrative
Stefano Follesa
43 Anti-city: Design lacks and issues of urban re-appropriation ...
Tiziano Aglieri Rinella
51 Code, design and adaptability
Attilio Nebuloni
57 Dissecting the Home
Karim Musfy
65 New models of mountains museums between territorial identity ...
Raffaella Trocchianesi, Elena Enrica Giunta and Elena Martucci
71 Experimental processes for space design
Clice Mazzilli, Sara Goldchmit, Guilherme Bullejos and Mariana Demuth
77 In between landscape and art. Discovering a territory as an open museum
Marco Borsotti
85 Green Walls for Urban Climate Mitigation
Nerantzia Julia Tzortzi - Georgi and Martina Di Labbio
93 New Generation of Hospitality Spaces
Elena Elgani
99 Albanian terraced landscape, case of lukova
Frida Pashako.
107 In pursuit of panorama: the unbound view
Antonio Scontrino and Andreas Luescher
115 Low Carbon Plug-In Blocks for Exterior Walls
Alberto Reaes Pinto.
5
Index | Indice
121 Art in the streets. Artification strategies for public space
Elisabetta Di Stefano
127 Cultural landscapes and the practice of beauty. ...
Giuseppe Amoruso and Valentina Battista
Technology of Innovative Materials
Surface design | Multisensory experience | Environment and society
137 Technologies of craftsmanship for design
Vincenzo Paolo Bagnato
143 Research on Wind Energy Exploitation in Urban Buildings Environment
Tu Mingchiu, Chen Huashu and Hu Guanghong
151 “Perceptions” versus “Conceptions.” Mapping materials between ...
Rossana Carullo, Barbara Del Curto and Sabrina Lucibello
159 Computational approaches in design
Giorgio Buratti, Attilio Nebuloni and Giorgio Vignati.
167 Product design in plastic materials: the widespread application ...
Maria Do Rosario Gonçalves Mira, Barbara Del Curto and Luis Cláudio Portugal Do Nascimento
173 Designing new sustainable materials
Romina Santi, Andrea Marinelli, Silvia Fare’ and Barbara Del Curto.
181 Smart materials experience room
Flavia Papile, Andrea Marinelli and Barbara Del Curto.
189 A possible tool for the choice of building materials: ...
Cesare Sposito and Francesca Scalisi.
New Frontiers
Product design | Human society 2.0 | Open Innovation
203 Organic Sicily: grows from nature
Fabrizio Guarrasi, Mario Bisson and Barbara Del Curto.
211 Towards the future. Insights on research and training
Luca Guerrini.
219 Design Research experience for Product Design innovation
Venanzio Arquilla, Mario Bisson and Martino Zinzone.
231 Smart objects as a booster to appropriating and giving meaning ...
Valeria Maria Iannilli and Alessandra Spagnoli.
239 Easy: an example of conversational design
Priscilla Lanotte and Venanzio Arquilla.
245 Materials for the creative economy
Denise Dantas, Barbara Del Curto, Cristiane Aun Bertoldi and Cibele Haddad Taralli
251 Inventive methods and tools to design within living systems
Laura Dominici, Elena Comino and Francesca Montagna.
259 Trends and scenarios of migrant’s shipwreks
Giovanni Busetta, Mariafrancesca Agnese Giglia and Francesco Belvisi
Communication Experiences
User experience | Virtual learning environment | Identity and otherness
267 Old glasses for new texts
Riccardo Culotta.
273 A Synaesthesia Learning Approach to CAVE
Yuan Liu, Daniela Calabi and Dina Riccò.
6
Index | Indice
281 A cad-based game for inclusive design
Fiammetta Costa, Giorgio Buratti, Antonella Serra, Alessia Brischetto, Francesca Tosi, Guven Catak F,
Cetin Tuker, Barbaros Bostan.
289 Discovering Johnny appleseed
James Postell.
297 From data gate to story gate. Territory Visualization Models and ...
Vincenzo Cristallo and Miriam Mariani.
305 Perform the Magic! Usability testing for Magika, a Multisensory ...
Giulia Cosentino, Mattia Gianotti, Mirko Gelsomini, Franca Garzotto and Venanzio Arquilla.
313 Visual Communication for Natural Capital
Carlo Martino and Alessio Caccamo.
321 The contemporary production of movable types. Research perspectives ...
Andrea Vendetti
Design for Social Innovation
Political design | Co-design | Service design | Culture 3.0
331 Safer Design, Stronger People
Lara Barbosa.
339 Participatory pilot project for a primary school
Ilaria Oberti, Linda Poletti and Cristina Boeri.
347 Vegetable dyeing in the fashion project as a resource for a sustainable...
Giovanni Maria Conti and Eliza Marazzi.
355 Social Enterprises and the Fashion Industry
Renata Mayumi Lopes Fujita and Lara Leite Barbosa.
363 Research on System Design of urban furniture in China
Shude Song and Shidu Bao.
371 Literature and identity of places
Elena Nardone, Daniela Anna Calabi and Mario Bisson.
377 Parklets, Network Spaces
Francesco Armato.
385 Territorial innovation, tourism and sustainability
Andrea Arcoraci, Andrea Di Salvo and Paolo Tamborrini.
393 Smart objects for smart cities the use of Internet of things in public spaces
Peian Yao.
399 Let’s go to the cinema: Design Management for the inclusion of ...
Diego Normandi and Cibele Taralli.
407 Metacity - behavior, design and sense
Nelson Urssi.
413 Performing arts to foster accessibility
Barbara Camocini, Giulia Maria Gerosa and Francesca Telli.
421 Urban agriculture and water recycling
Fiammetta Costa, Attilio Nebuloni, Matteo Meraviglia, Luciana Migliore, Roberta Congestri and
Manuela Antonelli.
427 Design and build methodology in par with learners’ participation ...
Lina Ahmad and Marco Sosa.
435 Co-design supporting organizations’ internal change in the digital ...
Stefano Morazzoni, Stefania Palmieri and Mario Bisson.
441 Interaction practices in design
Michela Carlomagno.
7
Index | Indice
447 Co-design for the Agroforestry System
Denise Dantas and Neide Araujo.
455 Design and tourism, value to territories
Giulia Damiani and Pier Paolo Peruccio.
463 Designing urban green infrastructure: The role of trans-sectoral ...
Tomasz Jelenski.
471 Research on Value Conversion from Agricultural Products to Creative ...
Jing Ruan.
Health Science
Well-being | Design for all | Advance simulation
479 Biophilic Design for Sustainable Community 2050
Massimiliano Mandarini and Giorgio De Ponti.
485 Guidelines to set up a simulation center
Alessandro Ianniello, Mario Bisson and Pier Luigi Ingrassia.
491 Towards an extra-inclusive city
Silvia Maria Gramegna, Barbara Camocini and Alessandro Biamonti.
497 John Smith. Personalized and posture care chair, on demand
Dario Russo.
507 The user’s perspective in architectural heritage
Maria Luisa Germanà.
513 Virtual reality for sensory
Mario Bisson, Shanti Andreana Alberti di Catenajo and Stefania Palmieri
519 Healthy Building: a Circular Economy`s approach
Carlos Oliveira Augusto.
527 Design and medical training Experimental hypotheses for training ...
Daniela Anna Calabi, Mario Bisson and Chiara Venica.
8
Technology of Innovative Materials | SECTION 2
“Perceptions” versus “Conceptions.”
Mapping materials between memory,
responsibility, and technology.
ROSSANA CARULLO A | BARBARA DEL CURTO B | SABRINA LUCIBELLO C
Abstract
A
ROSSANA CARULLO, This paper starts from the problems related to cataloguing materials for design, which
Architetto e PhD; Professore As- opens the way for subsequent categorization processes, while identifying the conceptual filters
sociato | Dipartimento ICAR di needed to make this step. Memory, responsibility, and technology are those chosen by the au-
Scienza dell’Ingegneria Civile e thors as screens for conceptualizing in a different way the perceptive properties of the materials
dell’Architettura del Politecnico di made available by the now vast literature currently existing on “material experience.”
Bari (Italia)| The question, therefore, is: how can perceptive aspects of materials take on logical structu-
rossana.carullo@poliba.it
res – mapping in fact – that differ in accordance with the conceptual filter or category that is
used? In what way can these categories transform the neutrality/naturalness of the perceptive/
B
BARBARA DEL CURTO
sensory characteristics of materials into interpretative processes with those same characteri-
Architetto e PhD; Professore Ordi-
stics as a necessary condition for the project? All this is the case if we wish to credit what was
nario | Dipartimento di Chimica,
recently stated by Giuliana Bruno, according to whom speaking today of materiality means
Materiali e Ingegneria Chimica
representing the transformation of matter and the movements of the mind as interconnected
“Giulio Natta” del Politecnico di
phenomena (Bruno, 2014/2016 ).
Milano (Italia)|
The authors aim to demonstrate, through specific case studies, how the movement between
barbara.delcurto@polimi.it
memory, responsibility, and technology leads to different transformations of matter, producing
C
SABRINA LUCIBELLO
different organizations of perception. Starting from the same, common material, in the specific
Architetto e PhD; Professore As-
case paper and its derivatives, the filters chosen by the authors highlight this transition from
sociato | Dipartimento PDTA di
perceptions to conceptions as a methodological strategy, as model zero, in order to organize a
Pianificazione, Design Tecnologia national dialogue on the design of materials in relation to the nascent Design4material net-
dell’Università della Sapienza di work being formed in Italy.
Roma (Italia)|
sabrina.lucibello@uniroma1.it
Introduction
actions to activate national dialogue on the design of materials.1
KEYWORDS:
The materials research laboratories established in Italian design education institu-
| Material experience tions, from Polytechnic University of Milan to that of Bari, from Sapienza University
| Design4material of Rome to Vanvitelli University of Napoli, joined by Fondazione Istituto Italiano di
| Surface design
| Multisensory experience
Tecnologia di Genova, initiated, in 20172 (Carullo et alii), a comparison programme
which, starting from the aforementioned university locations, formed a network
named Design4materials. This network took action for a larger and more complex
national involvement3 with the objective to “promote and facilitate research in the
matter of Design, within the area of Italian and European research, while making
an original contribution towards creating real, active collaboration among the Italian
Design Schools dealing with the theme of product innovation through materials.”4
Given that the purposes expressed by the Statute include that of creating synergies for
new research opportunities among the partners, one must wonder as to the identify-
ing traits characteristic of the various research labs that will belong to the Network.
It seemed to the authors that this could not take place without identifying the con-
ceptual filters needed to make this transition starting from the literature belonging
to the sector of material experience and from the problems of excessive choice and
classification underlying it, in connection with the materials’ perceptive and sensory
properties.
MDA | 3rd International Conference on Environmental Design | Marsala 03 - 04 October 2019 151
SECTION 2 | Technology of Innovative Materials
The research laboratories belonging to the network have worked – and are work-
ing – on these issues. Clearly, any expansion of the Network can only also become an
enlargement of the classification processes with which each laboratory works in the
context of the material experience. But proceeding in this fashion would not result in
determining the identifying characteristics of the various laboratories. Otherwise, this
could be obtained if a categorization process were to be initiated in order to identify
those conceptual filters needed to make the transition, in fact, from perceptions to
conceptions, a transition that the authors believe necessary for constructing a real
added value for the Network, and that winds its way through Memory, Responsibil-
ity, and Technology.
Surfaces according to “Memory”:
perception between the natural and the historical.
“During long periods of history, the mode of human sense perception changes
with humanity’s entire mode of existence. The manner in which human sense percep-
tion is organized, the medium in which it is accomplished, is determined not only by
nature but by historical circumstances as well.” (Benjamin, 1936, 2011-14, p. 9).
With these words, Benjamin indicates, with extreme clarity and before anyone
else, what more recent examinations of aesthetics (Pinotti, 2008, 2018) recognize as
his theory on the historicity of perception. He points out the poles of the natural and
the historical, within which sense perception – which does not stay constant over
time – is assessed. While on the one hand it is naturally and objectively conditioned in
psycho-physiological terms (Pinotti, p. 61), on the other, to this natural state of being
conditioned, a historical one is added. Benjamin draws this from the lessons of Riegl
(Benjamin, 1936, 2011, p. 10) and from the dialectic between tactile/haptic vision and
optical vision that the Vienna School established at the turn of the twentieth century,
following a digression in the history of the visual arts that emphasizes sense percep-
tion’s dependence on the specific historical context, or “weltangschauung,” in which
it takes place. For Riegl, in fact, “man is not just a being that perceives with his senses
(passive) but also a being that wishes (active) and that therefore wants to explain the
world as he wishes it appeared, in the manner that is most open and dependent upon
his will (changeable according to the people, the place, and the time). The character
of this will is enclosed in what we have today called the “weltangschauung” of the
current moment […].” (Pinotti, 2008 p. 77)
It is with this logic that Giuliana Bruno wonders what the locus of materiality is
today: “what role can it have in this era of virtuality, marked by the rapid mutation
of materials into media?” (Bruno, p. 9). Continuing with the concept of media, she
asks us to think of materials as conditions of surfaces and consequently activators of
transmission of sense perceptions, since “the surface embodies the relationship of ma-
teriality with aesthetics, technology, and temporality” (p. 9), and it can do so because
the transformation of the matter and movements of the mind ought to be understood
as interconnected phenomena (Bruno 2014/2016), in search of the expressive possibili-
ties in the weltangschauung of our time. Sense perceptions, then, may be understood,
transformed, and strengthened precisely in their chrono-topical trait (Pinotti, 1999, p.
37), changeable according to the people, the place, and the time, to organize techni-
cally and historically determined surfaces of memory.
●● Chrono-topical materials: two case studies
At Polytechnical University of Bari, in the Material Library INMATEX (INterac-
tion MATerial EXperience lab)5, attention to the historical determination of perceptive
aspects embraced the concept of material as a surface condition, or as a medium, or-
ganizing the classification according to sensory gradients (Carullo, 2018, pp. 127-135);
on the other hand, it sought to bring out their chrono-topical traits, their transforma-
tive potential according to the people, the place, and the time: can the southern Italian
conditions of place and time impact the organization of perception in such a way as to
define logical structures and therefore specific, identity-based mappings in the setting
of the Italian Mezzogiorno?
152 MDA | 3rd International Conference on Environmental Design | Marsala 03 - 04 October 2019Technology of Innovative Materials | SECTION 2
In examine chartam and Cartapista represent this attempt in the specific sector of
paper manufacturing. With In examine chartam6 optical (transparent/opaque) and
tactile (smooth/rough) sensory scales were produced using recycled pulp, in continu-
ous dialogue with the artisanal wisdom of Andrea de Simeis,7 a maker of paper ob-
tained using fibres extracted from plants of the Mediterranean basin (in particular the
Salento fig tree) thanks to technical know-how acquired in the restoration workshops
at Palazzo Spinelli in Florence, and on many trips to Japan. The sensory scales of
In examine chartam yielded strengthening of the surfaces, through a differentiated
distribution of pulp grain size, with the simple modification of the porosity fields of
the sieve, or by introducing ribs onto the sieve’s surface to groove the sheet first, then
removing the cellulose thickness in accordance with established roughness rhythms.
Each rib in subtracting material corresponds to a possibility for a fold in the paper.
This is a study done with artisanal techniques but, since it is a system of relationships
rather than a material one, it can be transposed to digitizable processes. On the other
hand, with Cartapista,8 the study more deeply examined the age-old techniques of
the production of papier-mâché in Puglia and Lecce in particular, designing scales of
sensory gradients aimed at streamlining their processes of artisanal layering, here too
in accordance with scientifically and objectively reproducible gradients (Figg. 1, 2).
01 In both cases, categorization by gradients or by relationships between material
In examine chartam: sensory scales
of a with the sieve structure modi- fields aimed to transform matter into movements of the mind, thereby creating a pos-
fied to obtain the desired sensory sible – and different – bridge between the chrono-topical complex of artisanal tech-
enhancement (credits: Rossana niques and the possibility of creating the conditions for their reproducibility within
Carullo, Antonio Labalestra,
Andrea De Simeis; student: Maria
digitization processes as expressions of sense perception’s historical state of being
Murgolo) conditioned, in a continuous back and forth between present and memory.
01
02
02 Transition towards “Responsibility”:
Cartapista: categorization scales
aimed at streamlining the processes between necessity and virtue.
of artisanal layering and/or ag-
gregation of recycled paper pulp, in
accordance with scientifically and Sustainability is by all means one of the problems with which not only design,
objectively reproducible gradient over the last forty years, has had to relate at every level, whether it is that of the pro-
(credits: Rossana Carullo, Antonio
Labalestra; students: Katia Netti,
ject, or of production, of consumption or of post-consumption.
Sara Cavuoti) While in the 1970s, as a consequence of the dizzying growth after the economic
boom, attention was devoted mainly to the environment and to the design hope based
upon confidence in the “revolutionary function of applied rationality” (Maldonado,
1997), the 1980s saw the concept of sustainability spread on an international level –
without, however, generating particular design impacts until it entered its phase of
maturity in the 1990s. That decade witnessed a strong attitude in design aimed at
MDA | 3rd International Conference on Environmental Design | Marsala 03 - 04 October 2019 153SECTION 2 | Technology of Innovative Materials
factors of control and efficiency (technological, of materials, of products) that in fact
ushered in, as the only alternative, that of a possible if sustainable world (Lucibello,
La Rocca, 2014). Today9, attention to sustainability covers a broader range of action,
including first of all experimenting with and combining new materials – rather than
using the nobler and simpler ones – that call into play concepts of “smartness” and
“bio-smartness”10 (Lucibello et alii, 2018).
One interesting approach looks to the constant relationship between Nature and
Artifice, concentrating on sustainability and innovation as elements upon which to
focus the design project. But this approach requires grappling with the problems con-
nected with ethics, aesthetics, and language, moving towards a broader concept of
sustainability, transitioning towards the concept of responsibility because, as Jégou
already observed in 2003, it is a matter of implementing, first of all, an ethical and
social learning process that makes it possible to learn and live better while consuming
less and regenerating Nature.
●● Scobyskin: a design hope from cellulose
In this perspective, some interesting experiments have been developed11 on Scoby
(Symbiotic Culture Of Bacteria and Yeast) skin12, a pure fabric nanocellulose, semi-
processed by the microbial pools that are present. In its dry version, this cellulose film
has properties – both aesthetic and to the touch – similar to animal skin. Scobyskin is
made thanks to a bacterial culture that uses entirely biological products like tea, wa-
ter, sugar, yeast, and so on: the result is a sort of a haptic eco-skin that allows electrical
signals to be conducted, making them compatible with touchscreens.
Through bio-fabrication, combined with the new technologies of Digital Fabrica-
tion, the attempt is being made13 to make manifest the latent and still unexplored
potential of nanocellulose of bacterial origin, investigating both its primary qualities
(colour, texture, odour, etc), and its potential in terms of sustainability, for a respon-
sible design. In fact, the designer’s action during the production process was particu-
larly interesting, allowing the material to be designed for shape and colour, as early as
the growth phase. Equally interesting was the action a posteriori, with additives and
substrata, natural and synthetic dyes, and traditional and digital printing techniques
– above all etching, laser cutting, and thermoforming (Fig. 3).
This approach:
-- considers the material not only for what it is, but also for what it does and what
it expresses;
-- makes the material an input of the creative process (Lucibello, 2018; Karana et alii,
2015);
-- prefers direct manipulation of the material through tinkering, with which to build
experiential knowledge (Santulli et alii, 2018);
-- recognizes and communicates the value of the process of transforming matter,
reappropriating it through self-production and do-it-yourself practices;
-- looks to the material as a vehicle of values and meanings with the design-driv- 03
en innovation approach (Verganti, 2009), seeking its identities and symbologies Skobyskin by BIOlogic Lab,
experimentation on texture, colour
through which to establish an emotional bond with the user and to determine his and design, Saperi&Co-Sapienza
or her appreciation. University of Rome, 2019
03
154 MDA | 3rd International Conference on Environmental Design | Marsala 03 - 04 October 2019Technology of Innovative Materials | SECTION 2
Between materials and “Technology” for the generation of new
design opportunities
Generating, designing, and experimenting with new materials with additional
properties and new functions is one of the research activities of the universities in-
volved in Design4materials.
As is well known and broadly documented by the literature, a major contribution
to research in this field is credited to Mike Ashby (Ashby, 2002), who explores and an-
alyzes the various strategies used by designers in the selection of materials, identify-
ing how these strategies can be used to give products, beyond their specific functions,
a character of their own, which becomes an essential element for the design’s success.
The study of materials and their technical, sensory, and productive properties is
thus part of the baggage of knowledge essential in a designer’s training (Ashby, 2002).
Technologies are at the heart of any physical artefact; not only do they contrib-
ute to its function, but they also have aesthetic and emotional values that allow the
designer to shape a product’s character (Karana et al., 2016) (Piselli, 2018). Having
up-to-date knowledge of advanced materials and of production technologies is of the
utmost importance to designers, in order not to miss new opportunities that might
present a solution to their next design problem (Dastoli et al., 2018).
On this continuously evolving landscape, new classes of materials are emerging,
revolutionizing how we design and interact with products, from smart materials to
biobased materials (Veelaert et al. 2017), by way of self-produced – DIY – materials
that subvert how we design experiences and the ways of interacting with products
(Lefebvre et al., 2014) (Hölter et al., 2019)
●● Paper, pulp, and new composites:
technology between new functions and new perceptions.
An example of a new material that permits a functionalization of the final product
is the result of the Mantello research project (Del Curto, 2016) involving the use of
phase change materials that allow temperature to be controlled and modulated, ap-
plied to secondary packaging in corrugated board. The category of phase change ma-
terials embraces various types of substances that share the capacity to store, at useful
temperatures, a high quantity of energy during the phenomenon of phase transition,
and to be able to release it through the inverse process.
Technologies, and the ability functionalize pulp, made it possible to develop and
produce an active packaging, constituting an effective innovation for the packaging
sector. The experimentation phase consisted of adding PCMs during the processing
of waste paper, which is to say in the pulp phase (Fig. 4). The properly processed
material hides its functional properties from sight, and is thus used like a traditional
corrugated board while offering decidedly higher performance.
The new materials’ perceptive and sensory properties can in fact be brought out
and enhanced, and may lead to changing our perception and understanding of what
a material is in and of itself, and of what specific performance features it can offer.
One example of a new composite material developed thanks to collaboration between
the spin-off NextMaterials and Polytechnic University of Milan is called Poly-Paper
and stands out for its high environmental sustainability. This cellulose-based material
can in fact be recycled in the paper and board recycling circuit, thanks to the presence
of a water soluble matrix like PVA (polyvinyl alcohol), a polymer material produced
without taking fertile land away from agriculture, that can melt in water by forming
compounds with no toxicity risk. (Santi et al., 2018) (Santi, et al., 2019)
The material presents certain unexpected properties, that make it somewhat dif-
ferent from the classical perception one has of paper and board. It in fact has a very
particular touch that distances it from the world of plastic, but does not allow it to
04 be characterized as paper, thereby raising additional questions when it comes into
contact with even only a wet cloth allowing it to be polished. It can also be obtained in
04 translucent form, thereby offering an equally unexpected vision of the paper. (Fig. 5).
Composite made by a damp pulp to The use of new materials functionalized through technology allows new opportuni-
which the PCM may be added. The
ties to be generated in the creation of future forms of interaction between product and
final result (at right) is a composite
material enclosed between two cov- user, thereby promoting new concepts of perception
ers in traditional paper
MDA | 3rd International Conference on Environmental Design | Marsala 03 - 04 October 2019 155SECTION 2 | Technology of Innovative Materials
05
Poly-Paper: new sensory perception
05 of the material.
Conclusions
The comparison made with the three different experiences, but on a single ma-
terial, by three different components of the Design4materials Network, shows how
the perceptive aspects of materials, the perceptions, may take on structural logics,
conceptions, and consequent experimentation processes, that are quite different, with
results and design potentials that are equally different. This is a necessary condition
for producing the initial mappings of the various research centres, and with them of
the materials that are kept and/or produced there, which are equally different, de-
pending on the conceptual filter or category used. Lastly, it demonstrates the extent to
which this action can transform the neutrality/naturalness of the perceptive/sensory
characteristics of the materials, in processes interpreting those very characteristics.
Notes
1. The authors share this paper in its entirety; it is specified that the introduction and conclusions are writ-
ten by the authors together, while paragraphs 2 and 2.1 are by Rossana Carullo, paragraphs 3 and 3.1 are
by Sabrina Lucibello, and lastly paragraphs 4 and 4.1 are by Barbara dal Curto.
2. 2 The Design4materials network was presented during the 12th European Academy of Design Confer-
ence of 2017. The locations, laboratories, and contacts at the foundation are: MaterialdesignLab | Sapien-
za University of Roma (Sabrina Lucibello, ideatrice), HybridesignLab | Vanvitelli University of Naples
(Carla Langella), Madec | Polytechnic University of Milan (Marinella Ferrara), INMATEX | Polytechnic
University of Bari (Rossana Carullo).
3. 3 On 04 April 2019, a national meeting held in Turin approved the entry into the Design4materials
network of MatTO | Polytechnic University of Turin (Claudia De Giorgi), Laboratorio di Design per
la Sostenibilità e di Comunicazione e Immagine (Design Laboratory for Sustainability, and of Com-
munication and Image) | University of Florence (Giuseppe Lotti), Making Materials LAB | Polytechnic
University of Milan (Barbara Del Curto)
4. 4 Article 2.1 of the Statute of the Design4materials Network
5. 5 www.inmatex.it
6. 6 Study carried out by Maria Murgolo, within INMATEX, with Antonio Labalestra.
7. 7 www.cubiarte.it
8. 8 Study carried out by Katia Netti e Sara Cavuoti, within INMATEX, with Antonio Labalestra.
9. 9 Sustainability, innovation, quality, design, and of course tradition are also central issues in the strate-
gies of the more evolved companies, and confirm that today’s “green economy” is, in its broadest con-
notation, a mainstay of the manufacturing system’s value chain.
10. 10 “Bio-smart materials are materials with reduced environmental impact that possess – or that, by
means of specific treatments and/or processing, have been endowed with – complex performance fea-
tures, which may be likened to active biological behaviour and functions. These performance features
may be reversible, and can vary with changing conditions, stresses, and outside stimuli.” (Lucibello et
alii, 2018)
11. 11 The research team consisted of Sabrina Lucibello (Sapienza University of Rome and manager of
Saperi&Co), Carla Langella (Vanvitelli University of Naples), Carmen Rotondi (designer), Lorena Treb-
bi and Chiara Del Gesso (doctoral candidates at Sapienza University of Rome).
12. 12 Scobyskin was developed by BIOlogic, a bio-manufacturing workshop with main office at Cava de’
Tirreni, promoted and managed by Knowledge for Business, a company active in promoting innovative
processes and in technology transfer, in collaboration with Medaarch, a specialist in digital fabrication
technologies.
13. 13 Starting from this research, certain trials are being implemented at Centro Interdipartimentale di
Ricerca e Servizi Saperi&Co at Sapienza University of Rome, aimed at assessing the workability of the
material using both technological tools and those associated with digital manufacturing.
156 MDA | 3rd International Conference on Environmental Design | Marsala 03 - 04 October 2019Technology of Innovative Materials | SECTION 2
References
1. Ashby, M., Johnson, K. (2002). Materials and Design: The Art and Science of Material Selection in Prod-
uct Design. Butterworth-Heinemann, Oxford.
2. Benjamin, W. (1936). Das Kunstwerk im Zeitaler seiner technischen Reproduzierbarkeit, (trad. it. 2014)
L’opera d’arte nell’epoca della sua riproducibilità tecnica, Einaudi, Torino.
3. Carullo, R., Cecchini, C., Ferrara, M., Langella, C., Lucibello, S. (2017). From Science to Design: the
Design4Materials virtuous cycle. In: Design for Next - Proceedings of the 12th European Academy of
Design Conference. vol. 20, p. 1794-1806, Routledge Taylor & Francis Group.
4. Carullo Rossana, (2018). Riflessioni sui gradienti sensoriali tra continuo e discontinuo. Studi e speri-
mentazioni sulla materialità delle superfici. pp-127-135. In Lucibello, S. (2019). Esperimenti di design.
Ricerca e innovazione con e dei materiali. Edizioni LISTt Lab.
5. Dastoli, C., Bolzan, P., Bianchini, M., Del Curto, B., Maffei, S. (2018). Design, digital fabrication& 3D
printing: a crash course for design students. In: EDULEARN18, pp. 4774–4781
6. Del Curto, B. (2016). Packaging naturalmente tecnologico. Innovazioni sostenibili per il food packaging
a base di carta e cartone. Edizioni Dativo Srl, Milano.
7. Hölter, M.; Piselli, A.; Colombo, S.; Del Curto, B. (2019). A Material Database Framework to Support the
Design of Shape-Changing Products. DOI:10.1007/978-3-030-11051-2. pp.648-654. In Intelligent Human
Systems Integration 2019 - ISBN:978-3-030-11050-5.
8. Karana, E. Barati, B., Rognoli,V., Zeeuw van der Laan, A. (2015). Material Driven Design (MDD): A
Method to Design for Material Experiences. IJDesign, Vol 9, No 2. ISSN 191-3761.
9. Karana, E., et al. (2016). Emerging material experiences. Mater. Des. 90, 1248–1250.
10. Karana, E., Pedgley, E., Rognoli, V. (2013). Materials Experience: Fundamentals of Materials and Design.
UK, Elsevier: Butterworth-Heinemann.
11. Lefebvre, E., Del Curto, B., D’Olivo, P., Faucheu, J., Delafosse, D., (2014) Smart materials: development
of new sensory experiences through stimuli responsive materials. In: Proceedings of the 5th STS Confer-
ence, p. 10.
12. Lucibello, S. (2005). Design@Materials. Roma: LibrerieEditriciDedalo.
13. Lucibello, S., Ferrara, M., Langella, C., Cecchini, C., Carullo, R. (2018). Bio-Smart Materials: the binomial
of the future. In: Intelligent Human Systems Integration. Proceedings of the 1st International Conference
on Intelligent Human Systems Integration. vol. 722, p. 745-750,Cham, Switzerland:Springer Interna-
tional Publishing AG.
14. Lucibello, S., La Rocca, F. (2014). Innovazione e Utopia nel design italiano. Roma: Rdesignpress.
15. Maldonado, T. (1997). La speranza progettuale. Ambiente e società. Torino: Einaudi.
16. Manzini, E. (1986). La materia dell’invenzione. Milano: Arcadia Edizioni.
17. Manzini, E., Jégou, E. (2003). Quotidiano sostenibile. Scenari di vita urbana, Edizione.
18. Papanek, V. (1971). Design for the Real World: Human Ecology and Social Change. New York: Pantheon
Books.
19. Pinotti, Andrea, (1999). Piccola storia della lontananza. Walter Benjamin storico della percezione. Raf-
faello Cortina Edizioni, Milano.
20. Pinotti, Andrea, (2018). Storicità della percezione, in Costellazioni. Le parole di Walter Benjamin, Ein-
audi, Torino, pp. 155-158.
21. Piselli, A. (2018) Material selection in the professional appliances industry. In: Polimi Design PhD_018.
Franco Angeli, Milano, pp. 19–41
22. Rognoli V., (2010). A broad survey on expressive-sensorial characterization of materials for design edu-
cation. Metu, Journal of the Faculty of Architecture, vol. 27.
23. Santi, R., Piselli, A., Dastoli, C., Cigada, A., & Del Curto, B. (2018). An Innovative Thermoplastic Eco-
Composite Material Recyclable With Paper and Cardboard. Materials for Energy, Efficiency and Sus-
tainability: TechConnect Briefs 2018, 235–238.
24. Santi, R., Cigada, A., Del Curto, B., & Farè, S. (2019). Modulable properties of PVA/cellulose fiber com-
posites. Journal of Applied Biomaterials & Functional Materials, 17(1), 228080001983122.
25. Santulli, C., Lucibello, S. (2018). Experience of Material Tinkering from Waste in the Year 3-Year 5 Pri-
mary School Age Range as an Introduction to Design and Sustainability. Journal of Education and prac-
tice, vol.9, n. 18.
26. Veelaert, L., Bois, E., Ragaert, K. (2017). Design from recycling. In: EKSIG 2017, pp. 129 143
27. Verganti, R. (2009). Design Driven innovation. Cambiare le regole della competizione innovando.
Milano: Rizzoli Etas.
MDA | 3rd International Conference on Environmental Design | Marsala 03 - 04 October 2019 157Puoi anche leggere
