PDF Mendeley EndNote BibTex Kaynak Göster

POP UP THE EPHEMERALITY LOOKING FOR ITS DESIGN

Yıl 2015, Cilt 1, Sayı 3, 322 - 330, 29.12.2015
https://doi.org/10.18769/ijasos.52801

Öz

Since the 1990s, we have been witnessing a joint global change in society, economics, politics and culture. From the acceleration of these changes and erosion that causes its perception, it can be deduced an urgent and present need of society to seek ethical and moral values.

The research contributes to knowledge when it holds a significant problem, which challenges the intellect with visionary, entrepreneurial and sustainable strategy, seeking a greater result through a scientific approach that seeks the unity of knowledge.

As an abstract concept of event, the Pop Up can be defined as a body in constant motion and adaptable to the place, responsible for the vital regulation of the being. As research legitimizes the abstraction, the virtues of Pop Up - transgression, contamination, portability, revelation, mishap and ploy - qualify it as a model in the dynamics of consumption, culture and art, contributing to sociocultural homeostasis.

The Pop Up lacks investigation that integrates its assumption as a concept for retail strategies, culture and art. Its ephemerality - revelation and concealment – may also contribute to Sustainable Design. It is intended to guide the practice of architecture and design, optimizing the knowledge in abstraction for the development of theories and methods, through transdisciplinary studies, seeking to encourage a new understanding of reality, articulating elements that pass between, over and across disciplines to understand complexity.

Human beings, who react affectively to the event (Pop Up) and set it strategically, can contribute to sociocultural homeostasis, recognizing who we are presently and concerning ourselves with what we may be.

The Pop Up can contaminate design in the construction of an equilateral triangle whose vertices are the retail design, the exhibition design and the urban and conceptual art. This triangulation does not seem well documented for its definition, characterization and life cycle.

In retail design, Pop Up designates a category of temporary shops with event character, narrating a story and acting as a link between different events in space/time for an experiment and in identifiable areas other than the retail design.

In urban art, Pop Up, as a social practice, allows the appropriation of urban space, from graffiti to performance, involving social, political and cultural significance.

In conceptual art, Pop Up, as an idea, overlaps the execution of the work, and the process is more important than the hold object. It requires an overvaluation of reflective and experiential activity. It rejects the commercial aspect of consumption and tries to imbue its activity with social, ecological and intellectual values.

In a context of artistic exploration, the meeting of certain masterpieces and the absence of others from a museum, invites all of them to meet within the human spirit through imagination: the imaginary museum aims to add as much as possible to the incomplete collections of real museums. Through internet we have the most significant works and images able to expand our memory. The Pop Up also revises itself as an instrument that can expand the mental museum that stimulates creativity and imagination for knowledge.

By philosophy and poetic we reflect our condition of existence, and the Pop Up can be applied as a model to stimulate creativity.

The possibility of a place to stimulate creativity may involve the use of a non-place (Pop Up) which, in his own amazing action, can boost the affective state of the human being in relation to others and to objects on a design ambition.

The Pop Up, as hermeneutic perspective, can help to achieve balance in all aspects of our existence, pursuing perfection in other areas and beyond the tangible world of technology and consumption.

Keywords: Ephemerality, Pop Up, Architecture, Retail Design, Exhibit Design, Urban Art, Conceptual Art.

Kaynakça

  • Arendt, H. (1998). The Human Condition. Chicago: University of Chicago Press.
  • Auge, M. (2007). Não-Lugares: IntroduçÃo A Uma Antropologia Da Supermodernidade. Campinas: Papirus.
  • Bachelard, G. (1978). A Poética do Espaço. São Paulo: Abril Cultural (1).
  • Baudrillard, J., & Pereira, M. J. C. (1991). Simulacros e Simulação. Lisboa: Relógio dþÁgua. (1);
  • Damásio, A. (2010). O Livro da Consciência. A Construção do Cérebro Consciente. Temas e Debates (1).
  • Flusser, V. (2010). Uma Filosofia do Design. A Forma das Coisas. Lisboa: Relógio D'Água (1).
  • Goldberg, R. (2012). A Arte da Performance. Do Futurismo ao Presente. Orfeu Negro.(2).
  • Locker, P. (2011). Exhibition Design. Lausanne, Switzerland: AVA Pub. (1).
  • Loução, D. (2014). A Arquitetura como desejo de existir, Arquiteturas do Mar, da Terra e do Ar, 1(1).
  • Mesher, L. (2010). Retail Design. Lausanne, Switzerland: AVA Pub. (1).
  • Malraux, A. (2014). O Museu Imaginário. Edições 70 (1).
  • Mumford, L. (2007). História das Utopias. Antígona (1).
  • Silveira Dias, J. and Loução, D. (2015). “Anatomia de um Evento: Reflexão sobre a Causalidade. Proporção, des-Harmonias e Identidades, (1).
  • Snodgrass, Adrian and Richard Coyne (1997). “Is Designing Hermeneutical? Architectural Theory Review, Journal of the Department of Architecture, The University of Sydney, Vol. 1, No. 1, pp 65-97 (1).

Yıl 2015, Cilt 1, Sayı 3, 322 - 330, 29.12.2015
https://doi.org/10.18769/ijasos.52801

Öz

Kaynakça

  • Arendt, H. (1998). The Human Condition. Chicago: University of Chicago Press.
  • Auge, M. (2007). Não-Lugares: IntroduçÃo A Uma Antropologia Da Supermodernidade. Campinas: Papirus.
  • Bachelard, G. (1978). A Poética do Espaço. São Paulo: Abril Cultural (1).
  • Baudrillard, J., & Pereira, M. J. C. (1991). Simulacros e Simulação. Lisboa: Relógio dþÁgua. (1);
  • Damásio, A. (2010). O Livro da Consciência. A Construção do Cérebro Consciente. Temas e Debates (1).
  • Flusser, V. (2010). Uma Filosofia do Design. A Forma das Coisas. Lisboa: Relógio D'Água (1).
  • Goldberg, R. (2012). A Arte da Performance. Do Futurismo ao Presente. Orfeu Negro.(2).
  • Locker, P. (2011). Exhibition Design. Lausanne, Switzerland: AVA Pub. (1).
  • Loução, D. (2014). A Arquitetura como desejo de existir, Arquiteturas do Mar, da Terra e do Ar, 1(1).
  • Mesher, L. (2010). Retail Design. Lausanne, Switzerland: AVA Pub. (1).
  • Malraux, A. (2014). O Museu Imaginário. Edições 70 (1).
  • Mumford, L. (2007). História das Utopias. Antígona (1).
  • Silveira Dias, J. and Loução, D. (2015). “Anatomia de um Evento: Reflexão sobre a Causalidade. Proporção, des-Harmonias e Identidades, (1).
  • Snodgrass, Adrian and Richard Coyne (1997). “Is Designing Hermeneutical? Architectural Theory Review, Journal of the Department of Architecture, The University of Sydney, Vol. 1, No. 1, pp 65-97 (1).

Ayrıntılar

Birincil Dil İngilizce
Bölüm Makaleler
Yazarlar

José Silveira Dias Bu kişi benim


Dulce Loução Bu kişi benim

Yayımlanma Tarihi 29 Aralık 2015
Başvuru Tarihi 27 Aralık 2015
Kabul Tarihi
Yayınlandığı Sayı Yıl 2015, Cilt 1, Sayı 3

Kaynak Göster

EndNote %0 International E-Journal of Advances in Social Sciences POP UP THE EPHEMERALITY LOOKING FOR ITS DESIGN %A José Silveira Dias , Dulce Loução %T POP UP THE EPHEMERALITY LOOKING FOR ITS DESIGN %D 2015 %J IJASOS- International E-journal of Advances in Social Sciences %P 2411-183X-2411-183X %V 1 %N 3 %R doi: 10.18769/ijasos.52801 %U 10.18769/ijasos.52801

Contactijasosjournal@hotmail.com

17922

The IJASOS Journal's site and its metadata are licensed under CC BY

Published and Sponsored by OCERINT International © 2015-2022