How Natural Are the “Natural” Materials? Proposal for a Quali-Quantitative Measurement Index of Naturalness in the Environmental Sustainability Context

The overall purpose of the paper is overcoming the misunderstanding of the “naturalness” attribute of materials. This is due to the always-increasing innovative materials considered “environmentally sustainable” and “natural” by producers, material libraries, and designers. The investigated research problem is: how to simply and effectively evaluate the degree of naturalness of a material, preventing a complete and complex LCA analysis? The basic design of the study was focused on (i) creating a multicriteria quali-quantitative method—Material Naturalness Index (MNI)— in order to assess materials’ naturalness scientifically, and (ii) test it by running the evaluation on 60 innovative materials. MNI was set considering the least number of parameters of the Material Life Cycle (i.e., resource kingdom, material resource, material processing, post-use processing). The 60 latest materials selected from the “natural” material family of six international material libraries were selected to test the index. The data analysis was based on the Theory of Attractive Quality, considering attractive, must-be, or reverse qualities. Major findings concerning the index utility were found as a result. MNI was demonstrated to support different actors with different aims: (i) designers, in independently evaluating naturalness of materials using real evidence and pursuing a critical point of view not influenced by marketing claims; (ii) producers, in facing the challenge of naturalness; (iii) material libraries, which are collocated between the two other actors, in proposing measurable information concerning naturalness. In conclusion, the study demonstrated how the key-concept of “naturalness” should be assumed as an attribute rather than as a material family

2D object reconstruction with ASP

Damages to cultural heritage due to human malicious actions or to natural disasters (e.g., earthquakes, tornadoes) are nowadays more and more frequent. Huge work is needed by professional restores to reproduce, as best as possible, the original artwork or architecture opera starting from the potsherds. The tool we are presenting in this paper is devised for being a digital support for this kind of work. As soon as the fragments of the opera are cataloged, a user (possibly young students, and even children, using a tablet or a smartphone as playing with a video game) can propose a partial reconstruction. The final part of the job is left to an ASP program that first computes a pre-processing task to find coherence between (sides of) fragments, and then tries to reconstruct the original object. Experiments are made here focusing on 2D reconstruction (frescoes, reliefs, etc)

How a Technology Identity Can Enhance the Diffusion of Good Design Practices in Product Sound Design

People are plugged into an intangible sound universe. But only a tiny part of the sounds we are exposed to have been purposefully designed. Recently, designers are bashfully approaching these intangible products’ quality. Product Sound Design represents, in fact, a promising research field still scarcely explored. The design community is answering this concern through new design methods. An Italian university developed a patented method-and-tool, conceived to collect, analyze, and recreate various sounds to develop a new generation of products with designed mechanical (and, eventually, digital) sounds. Spreading this innovation within the design community is fundamental to stimulate future more focused and aware practices. As well as all new technologies, the new patent didn’t have its own identity from the beginning. Extensive work conducted with the scientific approach has therefore been undertaken to redesign its identity to make its disruptiveness intelligible and understandable

Merchandising in miniera. Design per l’identità e promozione dell’Ecomuseo delle Miniere e della Val Germanasca

Nell’ambito del progetto per la valorizzazione dei beni ambientali territoriali, l’azione del design si sviluppa a diverse scale e livelli: dal design del prodotto a quello della comunicazione, fino a quello del servizio e strategico, si adopera per favorire processi di comprensione di luoghi e identità locali, miglioramento della fruizione, rafforzamento dell’identità fisica e simbolica del contesto e sua comunicazione. In tale ambito si inserisce la collaborazione tra il Laboratorio di Concept Design del Corso di Laurea in Design e Comunicazione Visiva, Politecnico di Torino e l’Ecomuseo delle Miniere e della Val Germanasca (Prali, TO), dedicata allo sviluppo di un’attività di ricerca e didattica con l’obiettivo di dare vita a una linea di proposte di merchandising dedicata all’Ecomuseo in occasione del prossimo ventennale del complesso

Merchandising as a strategic tool to enhance and spread intangible values of cultural resources

The design of cultural and environmental goods can aim at valorising both material and immaterial cultural heritage at different scales. Specifically, the merchandising product, which is often the victim of production stereotypes, can instead collaborate with a disruptive force in the construction of the non-ephemeral “sense” of a visit. It is, in fact, able to spread complex contents in scientifically correct and comprehensible ways for different targets, condensing the immaterial patrimony into (small) new, low-cost and rich-in-meaning artefacts. This case study, proposed as evidence of such an approach, pertains to a research and teaching activity that was developed in 2017 with 230 university students of design, with the aim of setting up a collection of dedicated merchandising products for a regional talc mine Ecomuseum. The challenge involved narrating the material culture of the location through products that were philologically coherent with the context, but new from the language, functionality, productivity, user involvement and economic accessibility points of view. The resulting projects are, at present, being screened by the Ecomuseum in order to select the most significant for future production. In conclusion, the activity was shown to be potentially scalable and repeatable in other contexts, in which design can valorise an intangible heritage of immense value through products that, inserted into a more extensive strategy of valorisation of the cultural heritage, are within the reach of all

La cultura dei materiali e il lato sensoriale del progetto / The material cultures and the sensory side of the project

L’ambito della cultura dei materiali per il design, oggi, si presenta quale disciplina variegata e multiforme: tale contesto, infatti, è studiato attraverso metodi, metodologie e approcci differenti, appartenenti a scienze e saperi spesso anche distanti tra loro, quali discipline delle aree tecnico-scientifiche e discipline umanistiche. I materiali (per il progetto) sono infatti indagati principalmente da due tipi di conoscenze, la prima più tecnica e la seconda più estetico-sensoriale. L’articolo si focalizzerà su quest’ultima, porgendo particolare attenzione ai sensi del tatto, dell’udito e dell’olfatto, quali “strumenti” per il progettista per la progettazione corretta della loro user experience, della percezione, emozione e reazione che una persona prova quando si interfaccia con essi. / Today, the field of the culture of materials for design is a variegated and multi-form discipline: this context, in fact, is investigated through different methods, methodologies and approaches, belonging to sciences and knowledge that are often very distant from each other, such as disciplines of technical-scientific areas and humanities. The materials (for the project) are, in fact, investigated mainly by two types of knowledge, a more technical one and a more aesthetic-sensorial one. The article will focus on the latter, paying particular attention to the senses of touch, hearing and smell, as “tools” for the designer looking for the correct design of their user experience, perception, emotion and reaction when interfacing with them

Che suono fa il vostro prodotto? Dalle composizioni sperimentali di John Cage alla ricerca della sonorità ideale: i materiali al servizio del sound design

This contribution deals with the theme of sound design, as well as the support provided by material libraries such as MATto, the material library of Politecnico di Torino, to designers and firms in this context. A first overview on the theoretical research on soundscape by John Cage will introduce the main topic of everyday sounds design. The research opportunity offered by MATto will be disclosed as well as the SounBe tool and method developed and adopted by Politecnico di Torino design researchers in order to “sound” and verbally categorize different material samples and foods. The main key points of the SounBe database will be outlined, such as the presence of materials indexed by sound descriptors, and several application of sound design in the industrial field will be sketched. Finally, the topic of the responsibility for the soundscape generation will be discussed and the role of the designers in this context will be pointed out