DESIGN

Principles & Practices:

An International Journal

Volume 3, Number 2

Design Management in the Utilitarian and

Ornamental Portuguese Ceramic Industry

Raquel J. Antunes, Ana Senos, Joao A. Mota

and José Luís Almeida Silva

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DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL
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Design Management in the Utilitarian and Ornamental
Portuguese Ceramic Industry
Raquel J. Antunes, University of Aveiro, Portugal
Ana Senos, University of Aveiro/CICECO, Portugal
Joao A. Mota, University of Aveiro, Portugal
José Luís Almeida Silva, ESAD/IPL, Portugal

Abstract: The objective of this paper is to characterize the utilitarian and ornamental Portuguese
ceramic industry, focusing on the design practice in those companies and suggest ways to improve it
with the contribution of design management. It was found that at the operational design stage most of
the investigated companies recognized the advantages of the designer’s work but often don’t know the
designer’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 design
and present ideas that help to realize best design management.

Keywords: Design Management, Ceramic Industry, Designer Practices

Introduction
ORTUGUESE UTILITARIAN AND ornamental ceramics industry crosses hard

P times for survival. However, there is unprecedented comprehensive analysis on this

subject. The leitmotiv that triggered the analysis carried out in this study is based on
the 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 in
this sector” (Rilhó, 2008). In the 70’s and 80’s this sector was characterized by a low cost
workforce, flexibility in high production, skilled painters and exceptional know-how in
manual production. By this time the sector was acclaimed by the French, English and
American markets. “Today the Portuguese industry has been struggling with the same
problems that the German and English ceramic industry of the 80’s” (Cipriano, 2008). The
problems 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 the
market, 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 domestic
functional 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 export
markets are France, the UK, U.S.A. and Germany (Oliveira, 2007). These companies structure

Design Principles and Practices: An International Journal

Volume 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 Rights
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DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL

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 these
analyzed companies. The main difficulties are the increase in the cost of raw materials, a
reduction in the volume of orders as well as the costumers’ more exacting requirements. The
study’s aim is to define the subsector companies, the way the design is developed and to
suggest strategies in the design enterprise management environment.

Method
The present study concerns the results on the end of a first year PhD research, the empirical
material 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 larger
workforce, a larger overall business and a superior productive capacity. The representative
sample was carried out in 26 of these companies, although the analysis used the total of the
subsector 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 general
questions in the format of an interview and these usually ended with a questionnaire to
complete by the respondent. The qualitative interview data and some information from the
questionnaires were analyzed by the key-word method and using a triangulation system and
cross-referring several theoretical sources with the direct results of the inquiry (Hermano,
1998, p. 183). The questionnaires’ quantitative and qualitative data analysis was also analyzed
using the SPSS statistic programme.

Figure 1: The Research Context *

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

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

Results and Discussion

Design and Design Management

Due to the definition complexity for design and design management, in the present study
the terms are going to be supported by three authors’ points of view. Bruce and Bessant
define design as being “essential application of human creativity to a purpose - to create
products, services, buildings, organizations and environments which meet people’s needs”
(2002, p. 3); Robert Brain defines design management as “the implementation of design as
formal of division program of activity within the corporation by communicating the relevance
of design corporate goals and coordinating design resources at all levels of corporate activity
to 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 to
develop a product regarding shaping aspects, aesthetic and functional ones (figure 2). The
design 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’s
departments, 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, design
management is present in the brand communications, the product and/or service design, the

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corporate buildings and retail environments and the websites and advertising campaigns of
each enterprise”. It is intended to make the companies’ corporate image with four parameters
mentioned in the Manual de Gestão de Design (1997, p. 114) using the questionnaire carried
out 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 companies
have a coherent visual language connecting all the elements. Furthermore, in all companies
the 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 exclusively
functional ware and 3 exclusively decorative ware. In terms of decoration technique, glazing
is the main one, followed by decals and mass production hand painting. In the final product
the company’s brand is printed on it whenever the client allows, and most of the times, the
packaging 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. 25
companies have a pleasant showroom where there is productware, catalogues and press articles
about the company. The room has good lighting and is comfortable, has a meeting table and
sometimes, a coffee machine, a mini kitchenette and is well decorated. The companies which
were visit the production area have good health and safety considerations towards the people
that 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 be
said 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 within
these 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 beliefs
will also be translated into various business objectives and strategic plans across a number
of departments within the organization and, finally, will also manifest themselves in the en-
vironments, communications, products and services of the organization” (2006, p. 28). Zurlo
amplifies this concept, the author advises that the company concept should be offered to all
its 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 by
the 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 a
strategically plan as a design and innovation trying to get in new markets (picture 3).

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

Figure 3: Parameters that were mentioned in Questionnaire for Mission, Market Target and
Company 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) it
is 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 distinguish
the product from the competitors, sell more and open new markets. The predominance of
these two strategies is also seen by the companies’ definitions for mission, strategical plan
and market targets.

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DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL

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

Operational Design Management

Design Development
The operational design expresses itself through the “implementation of projects and processes
the customer can actually touch” (Best, 2006, p. 17). In the studied companies the design
development is essentially monitored by the client, mainly because the company makes new
products 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 the
need to bring up to date products or ornaments (38,5%). The company define new products
supported 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 on
clients’ 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 graph
shows that aesthetics, the production ability, the rentability and quality are the projects’ most
important 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 was
also 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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RAQUEL J. ANTUNES, ANA SENOS, JOAO A. MOTA, JOSÉ LUÍS ALMEIDA SILVA

Figure 5: Evaluated Parameters regarding the Questionnaire with very, medium and little
concerning 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 chosen
based on experience and professionalism criteria (mentioned by 17 companies) as well as
on 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 multimedia
design, graphic and environmental areas. The figure shows that a big number of designers
are 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 fixed
wage.
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 process
the designer idealizes concepts for new lines and decorations (84,6%), imagine new projects
(76,9%), develops decorations for existing ware (76,9%) and carries on with 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 field
studies. This article is the result of one year’s investigation. It is a constantly evolving process
and therefore may have some weaknesses that could be improved. The next suggestions do
not intend to be original or unique strategies, but simply some of the possible strategies based
on new sources of theorical and phenomenological information, to be used in this field study
or even so in other sectors.

Brand
An example of success in this area is ‘Swatch’, which was born in the middle of the 70’s
when 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 a
reorganization phase. The author Maffei (2007, p. 182) refers the “made in Italy” importance
as a competitive advantage for the territory and the product. The author uses the example of
the Creative-London success brand to present the Designfocus company project that aims
to create an Italian brand (2007, pp. 192-194). Currently is in discussion about the creation
of 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 brand
on products from mass market clients. A suggestion is to develop projects to re-vitalize their
own brands and the territory while denomination of origin, as a differentiation technique
within marketing, strategical management and design. Participation at fairs, site dynamization,
amongst others, may become good brand strategies. It is a designer’s task to understand the
information, to develop products that fit within the brand’s concept, to create the brand and
the 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 and
giving 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”. The
author defends that the mass production is equal to the manufacture of large amounts of
products and lines all over the world. But because of the new technologies it is more and
more common to find a mass personalization, whose benefits are coming from the large
production of quantity (low costs and efficient distribution) are combined with the benefits
of 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 and
such as Andersen Windows that creates windows which fit in all the houses, are examples
of this strategy. An opposite perspective to mass customization is the “design-cost” strategy
defined by Mozota (2002, p. 299) and, also according to the field research, is the less in
force 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 observed
factors 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 improve
the mass customization the designer must know the markets and the clients to be able to
create 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 regarding
competitive advantage” (Best, 2006, p. 120), due the world’s constant renewal, “the markets
are becoming more global and increasingly segmented; consumers are becoming more
sophisticates and demanding more product differentiation and also technologies are changing
rapidly” (Cooper & Press, 1999, p. 112). To achieve quality in the service it is essential to
create teamwork, business points, strategically located offices, have strong relations with
the 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 the
final product which they can assess. This attitude stimulates the line promotion. An example
of a complete service, given by another company, consists on the fact that the product is
sold with the packing expositor. Time to market, spare capacity (distribution chains), solution
presentation and after sales service are essential attributes to supply a good service to the
client.
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, to
improve 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 in
simulations, 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, France
and England, they are growing a new kind of tourism, called “industrial” or “economical
discovery”. 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 has
given added value to the employees”. The visits to those places attract new members of the
public, have lengthened their stay and have stimulated the commerce and services in that
region. Successful national examples in this matter are for example the Porto Wine Lodges
that beyond having increased their sales and the production, stimulate tourism itself. Com-
panies as Villeroy & Boch, Wedgwood and Meissen, amongst others, have created spaces
of industrial tourism, a business strategy that counteracts mass production, leads to niche
markets 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 this
way the designer may develop ware and concepts, create environments and deal directly
with 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 differ
from the majority of the competition and says that “the difference must be distinct enough
to be worth the extra costs allowing the design unique quality and the brands’ characteristics
attributes to be seen” (2006, p. 120). “From the point of view of the producer, quality is
defined 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 recognized
in 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 kaizen
model and systems of information, technology and energy management. 22 companies have
answered 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 and
should be found in all the business process. The products with quality requirements could
be 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 the
company may hire a freelancer or a design office to develop a project or for the complete
design process (from the conception till the production) or use a design consultancy. Best
refers that an outside designer can be hired by the company for several reasons:” the company
does not have its own internal resources or, it is necessary for a different perspective or for
the 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 fabrication

processes, industry limitations and company capacity, which makes his work more effective
in 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 punctual
projects. Their contribution will be an important resource to start up the product and also
for the operational marketing and it is the companies’ interest to take advantage of this aspect
of the project. Some of the other ways to make the design more dynamic may be through
contests, 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 different
disciplines and the establishment of a good network from external collaborations ready to
be consulted.” Often the resident designer is absent during the follow up of the productive
process, during strategy meetings, or meetings with clients and being unaware of the company
objectives and visions make their work more complicated. The meetings promote achievement
of new solutions, technological innovations and afford quick and functional responses.

Conclusions
It can be observed that Portugal is loosing shape as ceramic supplier. The industries’ quantity
decreasing 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 from
using 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 resources
may 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 to
improve 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 to
develop 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 distinguishes
a company from another one and, when a kind of product and its image associate, it will not
be necessary to know the brand to identify the product. The mass personalization is a way
to 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 service
quality 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 and
products’ 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 management
meetings, if they had direct contact with the clients, sales agents or the markets and if they
followed up on the production processes, all of these advantages could be transferred to the
product, 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 the
departments, they will surely have more competitive advantages.

Acknowledgments
The authors gratefully acknowledge the financial support for the investigation of the Por-
tuguese Foundation for Science and Technology (FCT). Also thanks to Professor Doctor
Rui 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.; BrazGil
Studio; CCA Cerâmica Culinária Alimentar S.A.; Ceragês Investimentos S.A.; Cerâmica da
Borralheira S.A.; Cerâmicas Ceramirupe; Cerâmicas S. Bernardo; Cerarpa Cerâmica Artística
do Paço Lda., Cerutil S.A.; Faianças Artísticas Bordalo Pinheiro Lda.; Faianças Primagera
S.A.; Faria & Bento Lda.; Grestel Produtos Cerâmicos S.A.; Lusogrés Fine Stoneware;
Matcerâmica Ceramics Manufacture; Molde Faianças S.A.; Porcel S.A.; Porcelanas da Costa
Verde S.A.; Primagera3 Terracota; Primagrês Cerâmica de Grés S.A.; Secla Sociedade de
Exportação e Cerâmica S.A.; Spal, Sociedade de Porcelanas de Alcobaça S.A.; Val do Sol
Cerâmicas S.A.; Value Ceramic S.A., Vista Alegre Atlantis S.A., as well as all entities and
people that have shown their availability to collaborate.

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http://www.novabase.pt/showNewsDeatail.asp?idProd= IMPRESSA449174 [Accessed 21
October 2008].
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uma proposta de “indústria” criativa e de emprego sustentável. In Alcutur, Guimarães 2008
encontros de cultura, sessão empreendedorismo e inovação em cultura: as indústrias criativas
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11 November 2008].
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di design. 2th ed. Milano: Edizioni Poli.Design, pp. 42-52.

About the Authors

Raquel J. Antunes
Student doctorate in the University of Aveiro (UA) in Portugal - research in Design Manage-
ment in the Decorative and Utilitarian Ceramic Industry in Portugal. Graduate in Design of
Ceramic 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 Senos

Professor 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 biomedical
applications; Processing and properties of ceramic composites; Innovation in ceramics in-
dustry.

Prof. Joao A. Mota

Joao A. Mota is a visual artist and designer and undertakes research in non-commercial
large-scale images set in urban environments. Taught design courses at NYU (New York
University 1995), GSD (Graduate School of Design - Harvard University 1995 - 2000).
Since 1996 teaches at UA (Universidade de Aveiro). Recently had papers published (1st
author) 2007 Connected International Conference on Design Education, University of New
South Wales, Sydney, Australia; 2006 Wondergroud DRS International Conference, Lisbon,
Portugal; 2006 World Planning Schools Congress, Mexico City. Currently he is the coordin-
ator for the PhD programme in Design offered at UA. Founding member of the research
Institute ID+ (www.idmais.org) responsible for the coordination of the research area: Public
Space and Local Networks for Visibility and Cultural Value. Coordinator at UA for the
network “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/).

83
DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL

Prof. José Luís Almeida Silva

Professor and Responsible for the module of Strategy and Prospective taught to the Design
Students, School of Arts and Design of Caldas da Rainha (ESAD), from 2002; Head of the
Planning and Management Department, Cencal - Vocational Training Centre for the
Ceramics Industry, from 1985; PhD in Economics, The subject of the dissertation was “The
e-company and the intelligent worker in the traditional industries”, 2002.

84
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.

Please visit the Journal website at http://www.Design-Journal.com

for further information about the Journal or to subscribe.
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