**2. Characterization of the identity of existing Portuguese and Brazilian design**

In this section, an attempt to identify the Portuguese and Brazilian identities reflected in the design of existing products is carried out. This contribution gives rise to new concepts, which are aimed at representing cultural traits embedded in objects. An array of product features is drawn up from observation of a sample of designed objects (208), whose pictures were readily available from design web-blogs and design museums which were found through web searches, to empirically assess the existence of a Lusophone design style, in comparison with other design origins. The main purpose of this section 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 designs 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 apply it in a practical component, two conceptual designs were developed (Fig. 2 and 3).

One of the designs concerns a refrigerator (Figure 2) that intends to reflect the Portuguese identity, without disregard to new options, both in terms of currently available material and technology. The other conceptual design consists of a sofa with a special focus on Lusophone related features (Figure 3). The latter may assume an array of different configurations, and it differs from similar products in its versatility, having as main function that of a sofa, but including a footrest for the support of the users' feet, and converting into a set of table with three stools if necessary.

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

This section seeks identification of various types of associations that support cultural identity and seeks to illustrate them by adopting a historical perspective. The aim is also to seek answers to the question: over time is there a noticeable continuity and perseverance in the appearance of traces, signs (materials, shapes, graphic markings, colours, and so on) in the production of objects within the Lusophone space, and Portugal? To answer this question a web based search for products with origins in Portugal and Brazil was carried out. As was observed throughout the many examples encountered in our review, over time there is a continuity and perseverance in the appearance of traces, signs (materials, shapes, graphic markings, colours, and other) in the production of objects within the Lusophone space (represented only by Brazil), and Portugal. With regard to the continuity of Portuguese design, analyzing the set of iconic products encountered (regarding the similarities at technical and conceptual levels) the colours that are most used are white, beige, black, green, metallic grey, red, brown and yellow. The materials most used are ceramic, wood, porcelain, cork, metal and leatherette. In what concerns form, the products are characterized by simplicity, rationality, curved shapes, elegance and convening an organic appeal. Portuguese designers innovate especially in incorporating several features to objects, they take care in choosing the most appropriate and up-to-date material, and the products are usually easy to use and provide

In terms of the continuity of Brazilian design, analyzing the set of iconic products encountered (regarding the similarities between technical and conceptual qualities), suggests that Brazilian designers seem to show a preference for brown, white, black and green colours. Materials-wise, a higher adherence to wood, plastic, leather and metal is visible. Brazilian products are characterized primarily by simplicity, rational and straight

increasing the quality of human life.

great comfort, with no graphic markings.

**2.2 Product characteristics associated with identity** 

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 "canapé" (multiple seat wooden chair) (designed by the third author).

### **2.1 Methods deployed to unveil existing design profiles**

The overall goal of the study was to identify from various perspectives (brand, material, archetype, among others) the contours of a possibly existing identity of Lusophone design, from the study of selected cases. The guiding specific objectives were the following:


To assist in achieving these objectives the following research questions were developed:


An extensive review of Portuguese and Lusophone design was carried out in order to better understand it. The new designs created in the course of this study are based on results from the analysis pertaining to the products shown in the following sections. The selection of products comprised in the analysis presented (including iconic designs identified in design web-blogs, items for sale at the Museum of Modern Art, New York, red dot design awards and design fair catalogues, e.g. Milan design fair) has necessarily influenced the results

Fig. 2. Refrigerator designed with inspiration on the Portuguese "postigo" (small door or

Fig. 3. Multi-purpose object (sofa, table, shelf, stools and footrest) designed with inspiration taken from the traditional "canapé" (multiple seat wooden chair) (designed by the third

The overall goal of the study was to identify from various perspectives (brand, material, archetype, among others) the contours of a possibly existing identity of Lusophone design,






An extensive review of Portuguese and Lusophone design was carried out in order to better understand it. The new designs created in the course of this study are based on results from the analysis pertaining to the products shown in the following sections. The selection of products comprised in the analysis presented (including iconic designs identified in design web-blogs, items for sale at the Museum of Modern Art, New York, red dot design awards and design fair catalogues, e.g. Milan design fair) has necessarily influenced the results

To assist in achieving these objectives the following research questions were developed: - Over time is there a continuity and perseverance in the appearance of traces, signs or marks on the production of objects within the Lusophone space, and in Portugal? - Are there materials, shapes, graphic markings, colours, and other product properties

typically Portuguese (Lusophone), and, or, with international acceptance?

from the study of selected cases. The guiding specific objectives were the following:

**2.1 Methods deployed to unveil existing design profiles** 

to illustrate them by adopting a historical perspective.

context of other traditions, as a means of differentiation.

Portuguese and Lusophone design.

contemporary or emerging technology.

Italian or German design?

author).

window within a regular door) (designed by the third author).

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.

#### **2.2 Product characteristics associated with identity**

This section seeks identification of various types of associations that support cultural identity and seeks to illustrate them by adopting a historical perspective. The aim is also to seek answers to the question: over time is there a noticeable continuity and perseverance in the appearance of traces, signs (materials, shapes, graphic markings, colours, and so on) in the production of objects within the Lusophone space, and Portugal? To answer this question a web based search for products with origins in Portugal and Brazil was carried out. As was observed throughout the many examples encountered in our review, over time there is a continuity and perseverance in the appearance of traces, signs (materials, shapes, graphic markings, colours, and other) in the production of objects within the Lusophone space (represented only by Brazil), and Portugal. With regard to the continuity of Portuguese design, analyzing the set of iconic products encountered (regarding the similarities at technical and conceptual levels) the colours that are most used are white, beige, black, green, metallic grey, red, brown and yellow. The materials most used are ceramic, wood, porcelain, cork, metal and leatherette. In what concerns form, the products are characterized by simplicity, rationality, curved shapes, elegance and convening an organic appeal. Portuguese designers innovate especially in incorporating several features to objects, they take care in choosing the most appropriate and up-to-date material, and the products are usually easy to use and provide great comfort, with no graphic markings.

In terms of the continuity of Brazilian design, analyzing the set of iconic products encountered (regarding the similarities between technical and conceptual qualities), suggests that Brazilian designers seem to show a preference for brown, white, black and green colours. Materials-wise, a higher adherence to wood, plastic, leather and metal is visible. Brazilian products are characterized primarily by simplicity, rational and straight

Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 61

Fig. 4. Images of Portuguese designed products sampled as a basis for analysis.

Fig. 5. Images of Brazilian designed products sampled as a basis for analysis.

Besides the 32 examples of product design from Brazil shown in this section, an additional set of another 32 products was considered in the analysis presented in this study, but are not shown due to space and size restrictions (Fig. 5; images shown are in the public domain; for

2.2.1.2 Sampled Brazilian designs

a complete set of references see Simão & Coelho, 2011).

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.
