Artigo design management in the utilitarian and ornamental portuguese ceramic industry

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DESIGNPrinciples & Practices:An International Journal

Volume 3, Number 2

Design Management in the Utilitarian andOrnamental Portuguese Ceramic Industry

Raquel J. Antunes, Ana Senos, Joao A. Mota and José Luís Almeida Silva

DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL http://www.Design-Journal.com First published in 2009 in Melbourne, Australia by Common Ground Publishing Pty Ltd www.CommonGroundPublishing.com. © 2009 (individual papers), the author(s) © 2009 (selection and editorial matter) Common Ground Authors are responsible for the accuracy of citations, quotations, diagrams, tables and maps. All rights reserved. Apart from fair use for the purposes of study, research, criticism or review as permitted under the Copyright Act (Australia), no part of this work may be reproduced without written permission from the publisher. For permissions and other inquiries, please contact <[email protected]>. ISSN: 1833-1874 Publisher Site: http://www.Design-Journal.com DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL is peer-reviewed, supported by rigorous processes of criterion-referenced article ranking and qualitative commentary, ensuring that only intellectual work of the greatest substance and highest significance is published. Typeset in Common Ground Markup Language using CGCreator multichannel typesetting system http://www.commongroundpublishing.com/software/

Design Management in the Utilitarian and OrnamentalPortuguese Ceramic IndustryRaquel J. Antunes, University of Aveiro, PortugalAna Senos, University of Aveiro/CICECO, PortugalJoao A. Mota, University of Aveiro, PortugalJosé Luís Almeida Silva, ESAD/IPL, Portugal

Abstract: The objective of this paper is to characterize the utilitarian and ornamental Portugueseceramic industry, focusing on the design practice in those companies and suggest ways to improve itwith the contribution of design management. It was found that at the operational design stage most ofthe investigated companies recognized the advantages of the designer’s work but often don’t know thedesigner’s potential. The strategic design should be management as a part of cooperative image industry.The challenge is to resolve some of the concerns, show other levels for operational and strategic designand present ideas that help to realize best design management.

Keywords: Design Management, Ceramic Industry, Designer Practices

Introduction

PORTUGUESE UTILITARIAN AND ornamental ceramics industry crosses hardtimes for survival. However, there is unprecedented comprehensive analysis on thissubject. The leitmotiv that triggered the analysis carried out in this study is based onthe fact that “in last the two decades about 250 companies in the west region of Por-

tugal have closed. In the last 10 years there have been more than one thousand job losses inthis sector” (Rilhó, 2008). In the 70’s and 80’s this sector was characterized by a low costworkforce, flexibility in high production, skilled painters and exceptional know-how inmanual production. By this time the sector was acclaimed by the French, English andAmerican markets. “Today the Portuguese industry has been struggling with the sameproblems that the German and English ceramic industry of the 80’s” (Cipriano, 2008). Theproblems got worse after 11th September 2001 with the increasing depreciation of the dollar,which is the currency of the main export markets, and also due to the liberalization of themarket, globalization and increased energy costs.The INE’s (Portuguese Institute National of Statistic) most recent data shows that in 2006

there were 445 utilitarian and decorative ceramics companies in Portugal, that means, be-longing to CAE-Rev.2 26211, 26212 and 26213, which includes the manufacture of domesticfunctional articles and earthenware, porcelain, fine stoneware and terracotta ornaments.According to data (INE, 2008) it can be seen that, from 2001 to 2006, there was a 19% de-crease in the number of subsector companies and a 22% decrease in the number of workers.The exports and imports have reduced by 28% and 18% respectively. The main exportmarkets are France, the UK, U.S.A. andGermany (Oliveira, 2007). These companies structure

Design Principles and Practices: An International JournalVolume 3, Number 2, 2009, http://www.Design-Journal.com, ISSN 1833-1874© Common Ground, Raquel J. Antunes, Ana Senos, Joao A. Mota, José Luís Almeida Silva, All RightsReserved, Permissions: [email protected]

is characterized by very small and small companies in terms of numbers of workers and,geographically, most of the companies are in Leiria, Braga and the Aveiro districts. A reduc-tion in profits and a decrease in sales from the European Union markets are observed in theseanalyzed companies. The main difficulties are the increase in the cost of raw materials, areduction in the volume of orders as well as the costumers’ more exacting requirements. Thestudy’s aim is to define the subsector companies, the way the design is developed and tosuggest strategies in the design enterprise management environment.

MethodThe present study concerns the results on the end of a first year PhD research, the empiricalmaterial used comes from a bibliographical research in libraries, bookshops and internet.The research is based on sectorial studies, articles, books and dissertations on the subject.The ceramics companies were chosen from the consultation study of the “FUE - Base de

Belém” supplied by INE, in June 2008, which registered 37 medium and large sized com-panies in the subsector. These companies were chosen because they represent a largerworkforce, a larger overall business and a superior productive capacity. The representativesample was carried out in 26 of these companies, although the analysis used the total of thesubsector large companies.The field research of the subsector companies was carried out by direct observation and

through two types of inquiries: interview and questionnaire. The first task was the generalquestions in the format of an interview and these usually ended with a questionnaire tocomplete by the respondent. The qualitative interview data and some information from thequestionnaires were analyzed by the key-word method and using a triangulation system andcross-referring several theoretical sources with the direct results of the inquiry (Hermano,1998, p. 183). The questionnaires’ quantitative and qualitative data analysis was also analyzedusing the SPSS statistic programme.

Figure 1: The Research Context *

* During this research, a big earthenware company (250 workers), that took part in thisanalysis, closed down

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DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL

Results and Discussion

Design and Design ManagementDue to the definition complexity for design and design management, in the present studythe terms are going to be supported by three authors’ points of view. Bruce and Bessantdefine design as being “essential application of human creativity to a purpose - to createproducts, services, buildings, organizations and environments which meet people’s needs”(2002, p. 3); Robert Brain defines design management as “the implementation of design asformal of division program of activity within the corporation by communicating the relevanceof design corporate goals and coordinating design resources at all levels of corporate activityto achieve the objectives of the corporation” (1993 cited in Cooper & Press, 1999, p. 103).Through the questionnaire carried out in the companies, 18 defined the design concept

and 22 the management design. For the most of the companies design is the creative path todevelop a product regarding shaping aspects, aesthetic and functional ones (figure 2). Thedesign management definition was not so unanimous, and concerning the most referred as-pects, it can be defined as the functions and recourses’ management of all the company’sdepartments, aiming a product development individually or within team work.

Figure 2: Parameters that were mentioned in Questionnaire for Design and Design Manage-ment. There were excluded the Variables mentioned by only One Company

Strategical Design Management

Corporate Image

Kathryn Best, in her recent book (2006, p. 16), defends that “within an organization, designmanagement is present in the brand communications, the product and/or service design, the

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RAQUEL J. ANTUNES, ANA SENOS, JOAO A. MOTA, JOSÉ LUÍS ALMEIDA SILVA

corporate buildings and retail environments and the websites and advertising campaigns ofeach enterprise”. It is intended to make the companies’ corporate image with four parametersmentioned in the Manual de Gestão de Design (1997, p. 114) using the questionnaire carriedout in the companies as a basis.Looking upon “graphic communication or visual identity” it is noted that 24 companies

have an internet site. It was observed that the majority did not have their site up to date.Regarding graphic visual elements, such as printed or downloadable material, 16 companieshave a coherent visual language connecting all the elements. Furthermore, in all companiesthe name works both as a brand and as a logo, which is graphically designed.Regarding the “product” analysis it was observed that the companies produce more utilit-

arian ware (80,7%) than ornamental (19,2%), 16 companies produce both types, 7 exclusivelyfunctional ware and 3 exclusively decorative ware. In terms of decoration technique, glazingis the main one, followed by decals and mass production hand painting. In the final productthe company’s brand is printed on it whenever the client allows, and most of the times, thepackaging of the product is also to the clients’ requirement.The “environment where the work is done” was analyzed by observation of the external

building, which looks like a factory and usually has exclusive parking for costumers. 25companies have a pleasant showroomwhere there is productware, catalogues and press articlesabout the company. The room has good lighting and is comfortable, has a meeting table andsometimes, a coffee machine, a mini kitchenette and is well decorated. The companies whichwere visit the production area have good health and safety considerations towards the peoplethat are working there.Concerning the “human team” with whom there was contact (receptionists, designers,

managers and directors) the majority of them showed good customer relations. It must besaid that when the spokesperson received a client’s phone call the appointment with the in-terviewer was interrupted, showing that the client is the most important consideration withinthese companies.

Corporate Identity

Best states that the corporate identity should express “the values and beliefs that an organiz-ation stands for outlined in the company’s brand and mission. The same values and beliefswill also be translated into various business objectives and strategic plans across a numberof departments within the organization and, finally, will also manifest themselves in the en-vironments, communications, products and services of the organization” (2006, p. 28). Zurloamplifies this concept, the author advises that the company concept should be offered to allits collaborators in a way to motivate and give substance to the company culture (2007, p.49).Based on that corporate identity parameters it was observed that 19 companies have outlined

a mission, 19 market targets and 17 a strategic plan. On the basis of the most mentioned bythe companies, mission may be defined as the products creation with design and innovation,trying to satisfy the costumers’ needs; market targets such as new markets search; and astrategically plan as a design and innovation trying to get in new markets (picture 3).

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Figure 3: Parameters that were mentioned in Questionnaire for Mission, Market Target andCompany plan Definitions. There were excluded the Variables mentioned by only One

Company

Corporate Design Position

Mozota (2002, pp. 298-301) has associated three design strategies to three aesthetic position-ings and, according to the author, the strategies were based in Potter’s vision of the company:“design-cost, design-image and design-market”. Based on the questionnaires (picture 4) itis observed that the studied companies have placed themselves in “design-image and design-market”. The first one is characterized by product differentiation and search long time rent-ability through design and innovation; the second one by the design advantage to distinguishthe product from the competitors, sell more and open new markets. The predominance ofthese two strategies is also seen by the companies’ definitions for mission, strategical planand market targets.

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Figure 4: Number of Companies that have answered the Questionnaire Questions Concerningthe Three Ranking Design Strategies from Mozota

Operational Design Management

Design Development

The operational design expresses itself through the “implementation of projects and processesthe customer can actually touch” (Best, 2006, p. 17). In the studied companies the designdevelopment is essentially monitored by the client, mainly because the company makes newproducts for the clients’ requirements (73,1%). The other most quoted answers to this question(reasons to develop design) were: company strategy (65,4%), market need (38,5) and theneed to bring up to date products or ornaments (38,5%). The company define new productssupported by the commercial department (80,8%), internal designer (65,4%) and the admin-istration / management (46,2%); and it is mainly based on specialty fairs (88,5%) and onclients’ feedback (84,5%).Figure 5 illustrates the projectual process of designers. It is noted that they guide their

development in reaction to the clients, to the markets and to the countries needs. The graphshows that aesthetics, the production ability, the rentability and quality are the projects’ mostimportant factors.In this study it was observed that internally the projects are mainly evaluated by the pro-

duction possibilities (73,1%), aesthetic factors (53,8%) and market / client (50%). It wasalso identified that the projects workability is the final responsibility of the client (65,4%),followed by the administration / management (46,2%) and, finally, the commercial department(23,1%).

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Figure 5: Evaluated Parameters regarding the Questionnaire with very, medium and littleconcerning how the Designer Plans and the Factors Importance in the Projectual System.

All the Answers were considered and the most quoted were recorded

Department Design Organization

Regarding the incorporation of the design services and taking account of the questionnaires’data, it may be said that 22 subsector companies do not feel troubled; the designer is chosenbased on experience and professionalism criteria (mentioned by 17 companies) as well ason the academicals studies (referred by 12 companies).The observed data on figure 6 demonstrates that the internal designer of the company

works mainly on the product development and the freelancer is placed on the multimediadesign, graphic and environmental areas. The figure shows that a big number of designersare contracted for less than one year, as well as resident designers between 5 and 8 years.Concerning wages, the questionnaires show that the external designers are paid by project,royalties and postage, in opposition to the internal ones whose payment is a monthly fixedwage.In order to establish the designer relationship with the other departments, based on the

available data, the designer seldom participates in the appointments with the clients (46,2%).Concerning production, sometimes the designer follows the new projects model up (38,5%),samples’ decorations (34,6%) and ware choosing (38,5%). Regarding the projectual processthe designer idealizes concepts for new lines and decorations (84,6%), imagine new projects(76,9%), develops decorations for existingware (76,9%) and carries onwith the actual projects(73,1%).

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Figure 6: Questionnaire Questions regarding the Design Companies Services

Competitive Advantage through Design

Next, its possible find relevant issues for discussion, based on the bibliographical and fieldstudies. This article is the result of one year’s investigation. It is a constantly evolving processand therefore may have some weaknesses that could be improved. The next suggestions donot intend to be original or unique strategies, but simply some of the possible strategies basedon new sources of theorical and phenomenological information, to be used in this field studyor even so in other sectors.

Brand

An example of success in this area is ‘Swatch’, which was born in the middle of the 70’swhen the Swiss watchmaking industry faced the worse crisis ever due to the Japanese com-petition. The Swatch group results from the Swiss watchmakers companies’ association(Silva, 2003). In the year 2000 a brand was created in Portugal that represents 23 glass in-dustry companies - the MGlass; this project did not have the desired results and is now in areorganization phase. The authorMaffei (2007, p. 182) refers the “made in Italy” importanceas a competitive advantage for the territory and the product. The author uses the example ofthe Creative-London success brand to present the Designfocus company project that aimsto create an Italian brand (2007, pp. 192-194). Currently is in discussion about the creationof a Portuguese ceramics brand from Alcobaça “in a way to revitalize the sector” (Rilhó,2008).It may be observed that there is a preoccupation of the studied companies regarding this

subject, since 20 of them have a registered brand and 11 have more than one brand to differ-entiate several target markets. It’s noted that companies have difficulties to put their brandon products frommass market clients. A suggestion is to develop projects to re-vitalize theirown brands and the territory while denomination of origin, as a differentiation techniquewithinmarketing, strategical management and design. Participation at fairs, site dynamization,amongst others, may become good brand strategies. It is a designer’s task to understand theinformation, to develop products that fit within the brand’s concept, to create the brand andthe logo. Referring to Mozota in the design-image strategy context: “the designer task is to

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reinforce the company’s power in its market through the power of image, the brands andgiving the product a visual value” (2002, p. 298).

Mass Customization

Best states that “customizing products and service is an invaluable way you achieve compet-itive advantage through design because it creates “unique” offers for the consumers”. Theauthor defends that the mass production is equal to the manufacture of large amounts ofproducts and lines all over the world. But because of the new technologies it is more andmore common to find a mass personalization, whose benefits are coming from the largeproduction of quantity (low costs and efficient distribution) are combined with the benefitsof a personalized good service based on the particular needs from the clients (2006, p. 118).Companies such as Levi Strauss which customizes trousers in a way that fits all clients andsuch as Andersen Windows that creates windows which fit in all the houses, are examplesof this strategy. An opposite perspective to mass customization is the “design-cost” strategydefined by Mozota (2002, p. 299) and, also according to the field research, is the less inforce among the industries, although in the past has been prevalent in the subsector.Many of the analyzed companies have pointed out that a portion of their production is

due to the specific clients’ decorations within hotel chains and restaurants. Other observedfactors were these companies flexibility to produce using different type of products (earth-enware, porcelain, stoneware or terracotta) in order to satisfy their clients’ needs. To improvethe mass customization the designer must know the markets and the clients to be able tocreate or propose shapes and decorations to these market niches. It is also a task of the de-signer to think about flexible strategies and products in a way that can be individualized.

Service

“To be the first to present a product in the market can be a key strategy especially regardingcompetitive advantage” (Best, 2006, p. 120), due the world’s constant renewal, “the marketsare becoming more global and increasingly segmented; consumers are becoming moresophisticates and demandingmore product differentiation and also technologies are changingrapidly” (Cooper & Press, 1999, p. 112). To achieve quality in the service it is essential tocreate teamwork, business points, strategically located offices, have strong relations withthe suppliers, partners and even clients.Two of the analyzed companies have pointed out that before a new line release they define

strategical partnerships right from the development stage and therefore get the feeling of thefinal product which they can assess. This attitude stimulates the line promotion. An exampleof a complete service, given by another company, consists on the fact that the product issold with the packing expositor. Time to market, spare capacity (distribution chains), solutionpresentation and after sales service are essential attributes to supply a good service to theclient.Mozota states that the strategy of “design-market aims at to know the markets and the

type of users where the function of designer is to strengthen the position of the company, toimprove the value of the product in intention to better adapt it to the necessities of the users”(2002, p. 299). The design role is essential to the product development speed as well as insimulations, which sometimes at the ‘click of a mouse’ are in front of the client.

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Industrial Tourism and Territory Value

According to Silva’s opinion (2008, pp. 5-8) in countries such as Japan, Germany, Franceand England, they are growing a new kind of tourism, called “industrial” or “economicaldiscovery”. The author refers that studies were made which show that industrial tourism“led to the companies’ sales increasing and strengthening the image, products and brands.It allowed information techniques to be communicated and also the products know how hasgiven added value to the employees”. The visits to those places attract new members of thepublic, have lengthened their stay and have stimulated the commerce and services in thatregion. Successful national examples in this matter are for example the Porto Wine Lodgesthat beyond having increased their sales and the production, stimulate tourism itself. Com-panies as Villeroy & Boch, Wedgwood and Meissen, amongst others, have created spacesof industrial tourism, a business strategy that counteracts mass production, leads to nichemarkets and promotes the product the brand and the territory.The concept of industrial tourism is beginning to gain followers, since two of the studied

companies have it already in their manufacturing facilities and two have a museum. In thisway the designer may develop ware and concepts, create environments and deal directlywith the final consumer. The success of the project has also to do with the right partnerships,having as their allies marketing techniques, managing and design.

Quality

Best reflects about the ways how the products and the services of a company may differfrom the majority of the competition and says that “the difference must be distinct enoughto be worth the extra costs allowing the design unique quality and the brands’ characteristicsattributes to be seen” (2006, p. 120). “From the point of view of the producer, quality isdefined as a product that includes the needs of the client, associated design and production.From the point of view of the customer, quality is linked to the value and utility recognizedin the product” (Wikipédia, 2008).To some of studied companies quality is managed as strategy in all organizational pro-

cesses; the companies’ production is based in a total quality management using the kaizenmodel and systems of information, technology and energy management. 22 companies haveanswered in questionnaire that quality is the main characteristic of their product.The quality minimizes the errors, works as prestige image and defends a brand. The

quality is in the offered service, in the efficient reply regarding the product developing andshould be found in all the business process. The products with quality requirements couldbe sold to high market segments and make the difference through design, packing, durability,service, etc.

Design

A company can turn to internal or external design services. In the last circumstance thecompany may hire a freelancer or a design office to develop a project or for the completedesign process (from the conception till the production) or use a design consultancy. Bestrefers that an outside designer can be hired by the company for several reasons:” the companydoes not have its own internal resources or, it is necessary for a different perspective or forthe added motivation that the designer is able to bring to the internal team” (2006, p. 170).

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A resident designer is usually characterized as having good knowledge of the fabricationprocesses, industry limitations and company capacity, which makes his work more effectivein a productive point of view.It was noted by this investigation that 25 companies work with designers, 10 of them ex-

clusively with internal designers, 6 exclusively with freelancers and 9 with both services.Many of the analyzed companies appeal to a reputed design office only to develop punctualprojects. Their contribution will be an important resource to start up the product and alsofor the operational marketing and it is the companies’ interest to take advantage of this aspectof the project. Some of the other ways to make the design more dynamic may be throughcontests, free spaces for creation or to stimulate designers’ teams.The Manual de Gestão de Design (1997, p. 25) refers that this level of operational man-

agement “above all, takes care of compiling information through the integration of differentdisciplines and the establishment of a good network from external collaborations ready tobe consulted.” Often the resident designer is absent during the follow up of the productiveprocess, during strategymeetings, or meetings with clients and being unaware of the companyobjectives and visionsmake their workmore complicated. Themeetings promote achievementof new solutions, technological innovations and afford quick and functional responses.

ConclusionsIt can be observed that Portugal is loosing shape as ceramic supplier. The industries’ quantitydecreasing takes away visibility.From the 26 studied companies, 25 of them could appeal to one or more designers. In this

area it may be found a company investment, but companies could take more benefits fromusing creative services.In terms of strategical positioning (Mozota, 2002, pp. 298-301) it may be observed a

companies’ trend in abandoning the “design-cost” strategy and to rely on the “design-image”and “design-market”. The designer, in conjunction with other departments and resourcesmay materialize in formal terms the company strategy. The designer function will be to de-velop the product, to provide it visual value and to know the users necessities, in order toimprove the market power and the company, through the image.The investigation process will be improved in terms of qualitative data using the isotopic

method and descriptive condensation (Albarello, et al., 1997) and be used cases studies todevelop design management strategies.The competitive advantage through design is a chapter that condenses ideas and strategies

susceptible to be applied within the subsector context. The brand is a name that distinguishesa company from another one and, when a kind of product and its image associate, it will notbe necessary to know the brand to identify the product. The mass personalization is a wayto individualize the product for a client, within the fashion trends. Service is the key word;good service is paid for, recognized in products and works as an advantage. Through indus-trial tourism the product is produced and shown in public places. The product or servicequality is the strategy key that allows the companies to achieve their market objectives,mainly when it is aimed at the high-end market segment.Due to the fact that most of the companies have hired designers for less than one year it

may be concluded that this means a company tends to rely on the design, innovation andproducts’ improvement towards alleviating any experienced difficulties. If the designers had

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knowledge of the corporative companies’ identity, if they took part in the managementmeetings, if they had direct contact with the clients, sales agents or the markets and if theyfollowed up on the production processes, all of these advantages could be transferred to theproduct, could provide the companies with a different and distinct product.The designer, as a creative being, has many challenges ahead of him, if the company

knows how to take advantage from his resources and knows how to run the design in all thedepartments, they will surely have more competitive advantages.

AcknowledgmentsThe authors gratefully acknowledge the financial support for the investigation of the Por-tuguese Foundation for Science and Technology (FCT). Also thanks to Professor DoctorRui Roda for suggestions, Ana Antunes for translation and the support of António Marques.Many thanks to the researched subsector companies’: Almas D` Areosa Cerâmicas S.A.;Barbotina Fábrica de Artigos Cerâmicos S.A.; Bonvida Porcelanas de Portugal S.A.; BrazGilStudio; CCA Cerâmica Culinária Alimentar S.A.; Ceragês Investimentos S.A.; Cerâmica daBorralheira S.A.; Cerâmicas Ceramirupe; Cerâmicas S. Bernardo; Cerarpa Cerâmica Artísticado Paço Lda., Cerutil S.A.; Faianças Artísticas Bordalo Pinheiro Lda.; Faianças PrimageraS.A.; Faria & Bento Lda.; Grestel Produtos Cerâmicos S.A.; Lusogrés Fine Stoneware;Matcerâmica CeramicsManufacture;Molde Faianças S.A.; Porcel S.A.; Porcelanas da CostaVerde S.A.; Primagera3 Terracota; Primagrês Cerâmica de Grés S.A.; Secla Sociedade deExportação e Cerâmica S.A.; Spal, Sociedade de Porcelanas de Alcobaça S.A.; Val do SolCerâmicas S.A.; Value Ceramic S.A., Vista Alegre Atlantis S.A., as well as all entities andpeople that have shown their availability to collaborate.

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About the AuthorsRaquel J. AntunesStudent doctorate in the University of Aveiro (UA) in Portugal - research in DesignManage-ment in the Decorative and Utilitarian Ceramic Industry in Portugal. Graduate in Design ofCeramic at University of Arts and Design in Caldas da Rainha (ESAD) in Portugal (1998 –2003). Worked as ceramic designer in two medium Portuguese industries (2003-2007)

Prof. Ana SenosProfessor and researcher in Dep. of Ceramics and Glass Engineering, University of Aveiro,from 1994; PhD in Materials Science and Technology, 1994; Research interests: Synthesis,processing and properties of ceramics and glasses for structural, electrical and biomedicalapplications; Processing and properties of ceramic composites; Innovation in ceramics in-dustry.

Prof. Joao A. MotaJoao A. Mota is a visual artist and designer and undertakes research in non-commerciallarge-scale images set in urban environments. Taught design courses at NYU (New YorkUniversity 1995), GSD (Graduate School of Design - Harvard University 1995 - 2000).Since 1996 teaches at UA (Universidade de Aveiro). Recently had papers published (1stauthor) 2007 Connected International Conference on Design Education, University of NewSouthWales, Sydney, Australia; 2006Wondergroud DRS International Conference, Lisbon,Portugal; 2006World Planning Schools Congress, Mexico City. Currently he is the coordin-ator for the PhD programme in Design offered at UA. Founding member of the researchInstitute ID+ (www.idmais.org) responsible for the coordination of the research area: PublicSpace and Local Networks for Visibility and Cultural Value. Coordinator at UA for thenetwork “Desire - Creative Design for Innovation in Science and Technology” FP7-People-2007-1-1-ITN-Marie Curie Actions (www.comp.lancs.ac.uk/~corina/DESIRE/).

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Prof. José Luís Almeida SilvaProfessor and Responsible for the module of Strategy and Prospective taught to the DesignStudents, School of Arts and Design of Caldas da Rainha (ESAD), from 2002; Head of thePlanning and Management Department, Cencal - Vocational Training Centre for theCeramics Industry, from 1985; PhD in Economics, The subject of the dissertation was “Thee-company and the intelligent worker in the traditional industries”, 2002.

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EDITORS Bill Cope, University of Illinois, Urbana-Champaign, USA. Mary Kalantzis, University of Illinois, Urbana-Champaign, USA EDITORIAL ADVISORY BOARD Genevieve Bell, Intel Corporation, Santa Clara, USA. Michael Biggs, University of Hertfordshire, Hertfordshire, UK. Thomas Binder, Royal Danish Academy of Fine Arts, Copenhagen, Denmark. Jeanette Blomberg, IBM Almaden Research Center, San Jose, USA. Eva Brandt, Danmark Designskole, Copenhagen, Denmark. Peter Burrows, RMIT University, Melbourne, Australia. Monika Büscher, Lancaster University, Lancaster, UK. Patrick Dillon, Exeter University, Exeter, UK. Kees Dorst, TUe, The Netherlands; UTS, Australia. Ken Friedman, Swinburne University of Technology, Melbourne, Australia;

Denmark’s Design School, Copenhagen, Denmark. Michael Gibson, University of North Texas, Denton, USA. Judith Gregory, IIT Institute of Design, Chicago, USA; University of Oslo,

Oslo, Norway. Clive Holtham, City of London University, London, UK. Hiroshi Ishii, MIT Media Lab, Cambridge, USA. Gianni Jacucci, University of Trento, Trento, Italy. Klaus Krippendorff, University of Pennsylvania, Philadelphia, USA. Terence Love, Curtin University, Perth, Australia. Bill Lucas, MAYA Fellow, MAYA Design, Inc., Pittsburgh, USA. Ezio Manzini, Politecnico of Milano, Milan, Italy. Julian Orr, Work Practice & Technology Associates, Pescadero, USA. Mahendra Patel, Leaf Design, Mumbai, India. Toni Robertson, University of Technology Sydney, Sydney, Australia. Terry Rosenberg, Goldsmiths, University of London, London, UK. Keith Russell, University of Newcastle, Callaghan, Australia. Liz Sanders, Make Tools, USA. Maria Cecilia Loschiavo dos Santos, University of São Paulo,

São Paulo, Brazil. Lucy Suchman, Lancaster University, Lancaster, UK. Ina Wagner, Technical University of Vienna, Vienna, Austria.

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Documents

Artigo design management in the utilitarian and ornamental portuguese ceramic industry