مطالعه قابلیت های مواد بوم آورد در دیزاین محیطی پایدار بر اساس نظریه اتزیو مانزینی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
با گرم شدن کره زمین و افزایش جمعیت، دیزاین پایدار به عنوان راه حلی مناسب جهت کاهش فرآیند تولید زباله و به حداقل رساندن آسیب های محیط زیستی بدون به خطر انداختن منابع نسل های آینده، عمل می کند. در زمانی که پایداری زیست محیطی از دغدغه های اصلی دنیای امروز است این تحقیق به طور انتقادی مواد و روش های مرسوم در گرافیک محیطی را بررسی کرده و از تغییر نگرش به سمت شیوه های سازگار با محیطزیست حمایت می کند. هدف اصلی آن شناسایی و ارزیابی نقش مواد بومی در دیزاین پایدار و کاربرد آن ها بر پایه نظریه دیزاین پایدار اتزیو مانزینی است. این پژوهش به شیوه توصیفی-تحلیلی با استفاده از منابع کتابخانه ای و دیجیتال انجام شده و به این پرسش پاسخ می دهد که چگونه می توان از مواد محلی که برای فرهنگ، جغرافیا و محیط یک مکان مهم هستند در دیزاین استفاده کرد؟ محور اصلی این تحقیق، تأکید بر پایداری در دیزاین گرافیک، نقدی به مواد غیرقابل تجدید و روشن کردن اثرات نامطلوب محیطی آن ها است. استفاده از مواد بومی مانند گل، خاک رس، آجر و سنگ را به عنوان جایگزین های پایدار پیشنهاد کرده که ردپای کمتر اکولوژیکی، هویت فرهنگی، تطبیق پذیری زیبایی شناسی و دوام آن ها بیشتر است. این رویکرد با مفهوم بومی گرایی جهان وطنی اتزیو مانزینی، که دیدگاه های محلی و جهانی را در دیزاین هماهنگ کرده، هم سو می شود. سنجش قابلیت های مواد بوم آورد در یکپارچه سازی محیطی و پایداری در دیزاین گرافیک محیطی و معماری بومی ایران از دستاوردهای اصلی این پژوهش به شمار می رود.Study of the Capabilities of Vernacular Materials in Sustainable Environmental Graphic Design Based on Ezio Manzini’s Theory
In the context of global warming and an ever-increasing global population, sustainable design has become a critical approach to mitigating environmental challenges. By reducing waste production and minimizing ecological damage, sustainable design ensures that natural resources are preserved for future generations. This necessity arises from the growing realization that environmental sustainability is not just a choice but a pressing global concern requiring immediate action across all sectors, including graphic design. This research critically examines traditional materials and methods used in graphic design, advocating for a shift toward environmentally friendly and sustainable practices. It posits that adopting sustainable strategies in design is pivotal to reducing the industry's ecological footprint while fostering innovation and creativity in response to global challenges. This study focuses on how local materials—deeply intertwined with specific regions' culture, geography, and natural environment—can be sustainably and creatively incorporated into graphic design practices. These vernacular materials, which include mud, clay, stone, and brick, have long histories of use across diverse cultural and environmental contexts. They are examined for their sustainability and ability to reflect the local identity and heritage of the regions they represent. By grounding the discussion in Ezio Manzini’s sustainable design theories, particularly his concept of "cosmopolitan localism," this research explores how vernacular materials can bridge the gap between traditional practices and contemporary sustainability goals. Cosmopolitan localism emphasizes the importance of integrating local traditions and resources into global design frameworks, fostering solutions that are both culturally meaningful and ecologically responsible. The methodology adopted for this research combines descriptive and analytical approaches. Drawing from a combination of traditional library research and modern digital resources, the study aims to provide a comprehensive understanding of the role of vernacular materials in graphic design. Its objectives are threefold: first, to evaluate the significance of vernacular materials in advancing sustainable design; second, to analyze their application through Manzini’s theoretical framework; and third, to examine their cultural, historical, and ecological relevance across various regions. By addressing these objectives, the study seeks to contribute to the growing body of knowledge on how graphic design can evolve to meet the challenges of sustainability. At the core of this research is a critique of the traditional materials and methods commonly employed in graphic design. Conventional materials, such as plastics and non-renewable resources, have long dominated the industry due to their availability and cost-effectiveness. However, these materials are increasingly recognized for their detrimental environmental impacts, including pollution, resource depletion, and long-term ecological harm. This study underscores the urgency of moving away from these unsustainable practices and instead adopting materials that are renewable, biodegradable, and less harmful to the environment. By highlighting the adverse effects of non-renewable materials, the research advocates for the use of vernacular materials as a viable and sustainable alternative. Vernacular materials present several advantages that make them particularly suitable for sustainable graphic design. Their local availability reduces transportation costs and emissions, contributing to a lower overall ecological footprint. Furthermore, their use often reflects the cultural and historical contexts of the regions they come from, enriching the designs with authenticity and a sense of place. These materials also offer a wide range of aesthetic possibilities, allowing designers to create visually compelling and contextually relevant works. Additionally, many vernacular materials, such as stone and clay, are highly durable, ensuring the longevity of the designs and reducing the need for frequent replacements or repairs. Ezio Manzini’s concept of "cosmopolitan localism" provides a valuable theoretical framework for this research. It advocates for a design philosophy that respects and incorporates local cultural identities while embracing global ideas and innovations. By applying this concept to environmental graphic design, the study demonstrates how vernacular materials can be adapted to contemporary design contexts without losing their cultural significance. This approach not only addresses environmental sustainability but also fosters cultural preservation and innovation. Through a detailed analysis of the environmental impacts of conventional graphic design practices, the research identifies areas where sustainable interventions can make a meaningful difference. It advocates for a reimagining of material selection processes, prioritizing sustainability without compromising creativity or functionality. By proposing vernacular materials as an alternative, the study aligns itself with broader global efforts to promote eco-friendly practices across industries. In conclusion, this research underscores the transformative potential of integrating vernacular materials into environmental graphic design. Guided by Manzini’s theories, it demonstrates how locally sourced materials can harmonize with their environments to create designs that are sustainable, culturally significant, and aesthetically versatile. By embracing the principles of cosmopolitan localism, the study provides a roadmap for designers to create works that honor local traditions while addressing global sustainability challenges. Ultimately, this research calls for a paradigm shift in graphic design—one that prioritizes environmental responsibility and cultural authenticity in equal measure. Through this lens, graphic design can become a powerful tool for fostering sustainability and cultural preservation in an increasingly interconnected world.
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