book of abstracts

25th, 26th & 27th April of 2012
at ESDi Campus (Sabadell)
BOOK OF
ABSTRACTS
Organizers
BOOK OF
ABSTRACTS
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25th, 26th & 27th April of 2012
at ESDi Campus (Sabadell)
BOOK OF
© texts & images: the authors
Coordination: Llorenç Guilera, Isona Ten & Carlos Jiménez
ABSTRACTS
Translation: Isona Ten, Miriam Millán, Luís Calvo, Elisabeth Flores & Enityaset Rodriguez
Graphic design and layout: Albert Cano, Astrid Alonso & Bibiana Casassas
Recorded by: Difusió i gestió gràfica
C/ Huelva, 6
Pc, Empresarial Cornellà Nord
08940 Cornellà - BCN
ISBN: 978-84-936165-6-4
Organizers
D.L.: B. 1493214932-2012
FUNDIT
Sabadell, April 2012
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Honor committee
PRESIDENT
Andreu Mas Colell Minister of Economy and Knowledge
of Generalitat de Catalunya
VICE
Esther Giménez-Salinas: Rector of Ramon Llull University.
Josep Bombardó: President of FUNDIT.
Manuel Bustos: Mayor of Sabadell.
MEMBERS (in alphabetical order)
Antoni Maria Brunet Berch: President of the Cambra de Comerç de Sabadell.
Joan Planes & Vila: President of Fluidra.
Joan Torres & Carol: President of Associació d’Enginyers Industrials
de Catalunya.
Josep Casas i Bedós: President of the Gremi de Fabricants de Sabadell.
Josep Maria Garrell i Guiu: Vice Chancellor of Política Universitària
i Secretari General in Ramon Llull University (URL).
Josep Maria Martorell i Rodon: General Director of Research
of Generalitat de Catalunya.
Josep Maria Recasens i Soriano: General Director of Comerç CCAM
of Generalitat de Catalunya
Josep Maria Tost i Borràs: Director of Agència de Residus de Catalunya
Josep Oliu i Creus: President of Banc de Sabadell.
Josep Piqué & Camps: President of PANGEA 21 Consultora Internacional.
Lluís Comellas Riera: Vice Chancellor of Research and Innovation
in Ramon Llull University (URL).
Miquel Espinet Mestre: President of FAD.
Golden Sponsors
Pau Herrera: President of BCD.
Pere Pardo i Sabartés: Director of Fundació Institució Catalana
de Suport a la Recerca
Xavier Bigatà i Ribé: President of the Grup CASSA of Sabadell.
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Program commitee
CHAIRMAN
Uli Marchsteiner: industrial designer.
Summary
MEMBERS (in alphabetical order)
Albert Esplugues: Director of the Innovation Center in Business
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About the Congress
11
FUNDIT & ESDi: The commitment work
12
Welcome to the 2nd CIDIC
13
Keynote speakers
14
Nani Marquina
15
Quim Larrea
16
Robert Punkenhofer
Technology Institute, ICTA, of the UAB.
17
Josep Congost
Jordi Montaña: head of departament of Design Management
18
Norberto Chaves
Josep Pallarès: member of ROCA enterprise.
21
Abstracts
Llorenç Guilera: Director of the Theory & Developement Area in ESDi.
23
New technologies
33
Design Thinking
SECRETARY
43
Design as a factor of competitiveness
Gemma Gómez: professor in ESDi.
55
Ecodesign
63
Local development
73
Design for all
81
Pedagogical challenges in design
91
Branding
97
Design of interfaces and of interactiveness
Productivity of Microsoft.
Alberto Sanfeliu: Director of Informatics & Robotics Institute (IRI)
of the UPC.
Felipe César Londoño: Dean of Art’s Faculty in Caldas
University, Colombia.
Francesc Aragall: President of “Disseny for All Foundation”, DfA.
Isabel Roig: General Director of “Barcelona Centre de Disseny”, BCD.
Javier Nieto: designer, President of Santa & Cole brand.
Jesús Martinez-Pujalte: President of the Excecutive Council of
FUNDIT-ESDi.
Joan Rieradevall: member of the Science and Environmental
of ESADE.
Organizing commitee
Director: Llorenç Guilera.
Coordinators: Isona Ten & Carlos Jiménez.
Arts designer: Albert Cano, Astrid Alonso & Bibiana Casassas.
Communication: Miriam Millán, Lourdes Baeza & Xavier Lladó.
Collaborators: Luis Calvo & Elisabeth Flores.
Audiovisuals: Elizabeth Ferrándiz, Mireia Feliu & Cecilia Górriz.
Logístics: Salvador Limonero, Toni González & Juan Martín.
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About the Congress
FUNDIT & ESDi: The commitment work
When an institution like ours organizes an international conference, it is to secure the presence of experts from around the world, to share views in real
live, experiences, successes and knowhow.
From the hand of employers in the textile sector,
led by the Manufacturers Association of Sabadell,
in March 1989 arose the Textile Design Foundation (FUNDIT), few months after was created the
School of Design ESDi for the purpose of training
design professionals in a university as it happened
with the most advanced countries of Europe and
America. Designers with a high capacity for observation and tests, capable to put their creative abilities in
the service of economic and social development in
a world that draws on the horizon even more open,
multipolar and highly competitive. Design studies
that were fully light in September 1992 due to the association agreement with the Ramon Llull University
(URL). For the first time, there were design studies
in Spain. Some pioneering studies in the country that
marked the culture and values of ESDi, it explains
that in 2008 ESDi would again be the first pioneer
center in Spain teaching design in all disciplines, the
Official Undergraduated University Degree in accordance with the guidelines established by the European Higher Education Area (EHEA).
Today, many market analysts have diagnosed to trust
in design as a great way to break the economic and
financial stagnation where many countries (including
Spain) have fallen. It is not the only way, of course,
but it is one of the most important.
Everyone knows that companies need to become
more competitive. There are many factors that increase the competitiveness of a company: improving productivity, reducing production costs (highly
frequented in our country in recent times), better
funding, better marketing, growing exports, etc.
Nevertheless, where all the experts agree on is that
the substantial improvement in competitiveness
comes from innovation. And innovation needs design just as a plant needs water.
Because of that, this 2nd edition of the International
Design and Innovation of Catalonia Congress has
chosen the motto: “design: driver of competitiveness.”
We are aware that several thematic lines converge
towards this great theme and we have held them
open to provide a multifaceted view of the fundamental objective we are seeking: that attendees of
all kinds (design professionals, entrepreneurs, public
administration members, design researchers, teachers
and students) get to enrich their personal knowledge
about the close ties that have always existed and will
always exist between competitiveness, innovation
and design.
Llorenç Guilera
Director of the Organizing Comitee
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Since the birth of FUNDIT, thus ESDi, the importance of design has increased significantly, designers
of today are needed in all business organization that
wants to compete with innovative products, quality,
and put the technical and scientific progress to the
service of human development. The design is not
only an aesthetic value, is an essential and strategic
value that requires us to have a look exogenous for
integrate fully into productive activities, all working
methodically and with scientific rigor.
Designers can not work alone. They require synergistic work with other professionals (using the scientific method and sharing the knowledge) and they
need to know how to work closely with to enable
the continuous flow of research, development and
innovation. It is in this context that emerged from
our Foundation and ESDi, the 2nd International
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Congress of Design and Innovation in Catalonia to
be held on 25th, 26th and 27th April 2012 at ESDi
campus, under the slogan “The design: motor of the
competitiveness.” A Congress that will help to boost
R+D+i activities in design and innovation as a way
to improve competitiveness in international markets.
Some objectives will meet giving the quality of
presentations and rigor of the papers being presented, and central papers issued by internationally
renowned professionals. 81 papers written by 141 researchers and professionals from 12 countries: Germany, Argentina, Brazil, Chile, Colombia, Canada,
England, Italy, Mexico, Turkey , Portugal and Spain
To all of them attendees who have completed the
registration, and the thousands that will follow the
result of the congress through telematic networks,
the gratitude of our foundation, because the wealth
of ideas that bring their papers make us look forward to the horizon and bring light to issues and
problems world faces on it’s way towards the future.
In this gratitude we can not forget the professionals who daily make possible ESDi, their students,
the thousands of designers who have trained at
ESDi, the businesses and institutions taking part
in activities, ultimately those who make possible
co-operation to compete in an increasingly global
and more challenging world, and they know that
the design working symbolically with technical and
scientific progress is the engine of innovation and
social progress.
Josep Bombardó President of FUNDIT and ESDi
Welcome to the 2nd Congress of Design
and Innovation of Catalonia!
Innovate in order to compete – that’s how we could resume the formula we follow when
we design. We know that a properly canalized creativity can stimulate the increase of sales
and a position in the market. However, we keep taking about innovation and competition
from the point of view of an economic system in deep identity crisis and with an undeniable necessity of change.
While the predictions of the experts are still contradicting themselves about the future of
our country, in Europe the most distinctive value will be charged on the creative professions.
For the modern industrial times of the XX century “innovating” meant creating something
completely new, revolutionary.Today, the value of innovation does not lie in this “clean slate”,
but in humanizing the technology, recuperating qualities and defining products because
of their effective durability and vital cycle.
Which are the qualities a product must have in order to be more competitive in the future
markets? What role should design and creativity play in the definition of new industries in
Europe? Both questions are interesting for debate and answer. I wish that in this congress
we could define some lines of thought that contribute trustworthy data about how to understand innovation and competition in years to come.
Uli Marchsteiner
Chairman
KEYNOTE SPEAKERS
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Quim Larrea
Nani Marquina
Design and craftwork:
an innovative binomial
The trajectory of Nanimarquina is based in a lucid
idea: to design carpets. A simple sentence, a clear
declaration of intentions that becomes real bringing
to play values like observation, innovation, communication, emotions and the knowledge of updating traditional craftwork. For 25 years, design
and craftsmanship has been the main values of Nanimarquina as a Catalan textile company, concepts
that have achieved the creation of a trademark and
a world competitive product.
Biography
Identity, emotion
and function
The free circulation -or we should say traffic- of
products, materials, people and capital is building an
unstressed regular world, in which coincidences are
extremely hateful. It is easy to find the same Italian,
Japanese or American product, conveniently produced in China, in a Moscow avenue or in a mall in
Chicago. To this movement of goods a new one has
been added: ideas. As a consequence famous European architects set up their buildings in the Far East
or creative artists design products for rarely proved
needs or unintelligible advertising campaigns. Man
is no longer an individual and has become a consumer: although the individual may be specific and
localized, the consumer is global, amorphous. If
the previous one had rights as a “human being”,
this one has them as a “buyer”. Design has fallen
into this logic-trap, which seeks as its ultimate goal
to offer as many pieces to people to cover a service,
instead of promoting the greatest happiness and
care for the person who uses a piece.
This view is not unique in design. Concerning art,
a very descriptive comparison could be built. The
Prado Museum needs no introduction: after its recent enlargement, people throng in the entrance to
see the pieces of
(Barcelona, 1952) Businesswoman and industrial designer. In 1987
she created nanimarquina, a company of her own which focused in
the design, editing and distribution of carpets and textile items for the
household, considering values like observation, innovation, emotions
Biography
Architect, designer and journalist, Quim Larrea is a member of FAD
(Promotion of Decorative Arts of Barcelona).
He was a member in the Editorial Board in The Croquies magazine
and co-director of De Diseño Ardi. He has collaborated with several
and the ability to bring craft traditions to contemporary times. She has
domestic and foreign daily newspapers specialized in architecture
won numerous awards during her career: in 2005 she received the
and design. Currently he is a member in the Editorial Board of the
National Design Award and the Bussiness Management Chamber
architectural magazine Waterdroops.
Award, in 2008 the National Prize of Culture of the Generalitat de Ca-
He has been a commissioner in several design and architectural
talunya (in de design mode) and also several nominations in different
exhibitions around Europe, Asia and America, he has participated
editions of the Príncep Felip Award for Business Excellence.
as jury in the national and international design awards.
Recently Nani Marquina has received the International Women
From 1982 to 1997 he worked in association with the architect Juli
Entrepreneurial Award from the Manhattan Chamber of Commerce,
Capella. He is the author of various works on architecture, interior
and in addition the FIDEM prize to the Entrepreneur Woman 2007.
design, editorial design, corporate identity and packaging for
From 2006 to 2009 Nani Marquina was president of ADP (Association
Spanish, European and American companies and institutions. His
of Professional Designers). Today she is also president of RED-AEDE
books have won him numerous awards and highlighting just a few
(Association of Spanish Design Companies).
of them are the Honorable Mention in the National Design Awards
in 2000, the Barcelona City Award and the Fad Medal.
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Robert Punkenhofer
Josep Congost
Creative Industries – Hype and
Reality
The presentation “Creative Industries – Hype and Reality” gives a brief overview of this hot topic of policy
making and business promotion, Austria´s perspective
and position within an international context, touches
the risks and opportunities on a macro- and microeconomic level and highlights some specific examples
and success stories of city, nation and company branding through the means of design and architecture.
Roca, Moving Forward
The design and innovation have played a very important strategic objectives of Roca, including international expansion has striking exemplar. Roca was the first
Spanish company that won the DME (“Managment
Design Award”) in the large company category, an
award that highlights and recognizes companies that
are leaders in managing design and innovation.
Roca remains true to its principles, and it still backs the
design and innovation, recognizing that they are the
most effective tool to be competitive in an increasingly
demanding and complex. Therefore, in recent years it
has consolidated its “Roca Design Center” and has
launched the so-called “Innovation Lab”, center for
research and creation of new innovative products.
Products that we design today are going to be used
for a long period of time. They are not consumable or
ephimeral. These products must convey concepts and
values in response to a new market equirements and
user needs. For “Roca Design Center” these values
are not random, but must establish their identity as
tangible and recognizable of our product.
Biography
Biography
Robert Punkenhofer, born 1965 in Austria, lives and works in Vienna
Design & Innovation Manager en Roca, S.A.
and Barcelona.
Born in Barcelona, Spain, 1956.
In 1995 he became founder and Director of ART&IDEA, an institution
Engineer for the Polytechnic University of Barcelona.
for contemporary art that has presented more than 100 exhibitions,
publications and special projects in Mexico, the US, Spain, Germany,
He has been a founding associate and President of the
Japan and Austria since its inception, amongst others the visionary
Governing Council of Ecotècnia S.Coop (1981-1989) and
Mur Island project with Vito Acconci, and a special art edition series for
the Director of “Vehicle Design” of NETC-B (Nissan European
the leading German weekly Die Zeit. Since 2005 Punkenhofer is artistic
Technology Center of Barcelona) (1989-1997).
director of Vienna Art Week and in 2008 he conceived and realized
Flow “ Festival of Culture and Science in Novi Sad, Serbia.
From 1997 redeems his professional activity in Roca Sani-
In parallel, from 1994 to 1997 he served as Deputy Trade Commissioner
tario SA, and at present he is the Design Manager of its
of Austria in Mexico, Cuba and Central America. He then returned to
center of design (Roca Design Center & Innovation Lab).
Vienna and consulted Casinos Austria International in the field of new
project development in Argentina and Brazil. In 1998 he rejoined the
Foreign Trade Department of the Austrian Federal Economic Chamber
and was posted as Deputy Trade Commissioner in New York and Berlin
and since 2010 as Trade Commissioner in Barcelona.
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Norberto Chaves
Competitiveness. Price,
quality and brand.
In a market society in which virtually no one has the
monopoly on the market because it has to share with
similar companies, and in an essentially market supply,
competitiveness is condition sine qua non not only for
commercial success but also for survival.
Competitiveness is achieved by beating the competition in one or more of the parameters value of the
offer: price, quality, service, proximity, accessibility and
so on. These parameters are not universally valid for
every sector and every market nor are they stable over
time, as they vary depending on market developments
and the bid itself.
Hence, a strategic approach to competitiveness should
not contemplate a single aspect (eg price), however
strong it is: for a change of scenery can leave the company out of business. A strategic approach to competitiveness must address it fully.
Biography
Member of R & C Consultants (Barcelona), Corporate Image
study expert, consultant companies and institutions in strate-
Anyway formula lacks competitiveness, then, by its
very concept, is relational: it is competitive with others and in certain context. Competitors and context
variables are realities, and thus alter the competitive
relationship.
gies and programs for identity and communication.
He was Head of the Pedagogical Department FADU, UBA.
Professor of Theory of Urban Design and Architectural, Social
Theory and Semiotics Habitat Architecture, FADU, UBA. Professor of Communication Theory, Image Reading, Theory of
Environmental Design and Theory of Graphic Design at the
Escola Eina, Barcelona.
Visiting Professor at Schools and Colleges of Architecture
and Design in Spain, Argentina, Mexico and Cuba. Author of
books and articles on his specialty.
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ABSTRACTS
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New technologies in design
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New technologies in design
The exhibition
design in the
context of new
media art
..................................................................
Susana Aristoy Bolíbar1
1
Escuela Superior de Diseño,
Universidad Ramon Lull. Sabadell,
España.
La Petita Dimensió (LaPetitaD s.l.p.)
Barcelona, España
email:
susana@lapetitadimensio.com
The incorporation of digital technologies in art brings new experiences
in artistic production and in the process of exhibition.
The new media art changes the relationship between the audience and
the art work. It’s necessary to re-think about the exhibition space, due
to the new media art aspects like interactivity, multiple sensorial experiences, and the new work materiality.
The exhibition space, initially a contemplation site, becomes an action
place, where the visitor is the user. In this kind of exhibition the audience can touch, ear, test… These specific aspects of new media art
and the technological complexity make more difficult its installation,
maintenance and conservation, could explain the low presence of new
media art in the contemporary museum.
I shall deal with more than the technical or management difficulties in
new media art exhibition: how to conceptualize the exhibition space
into this context.
New technologies in design
Fashion in the
network: a
reflection on
fashion blogs and
their influences on
the sector
...............................................................
Encarna Ruiz Molina1,
Lola Dopico Aneiros1
1
Grupo DX7. Tracker. Laboratorio Visual,
Fine Arts Faculty, University of Vigo,
Pontevedra, Spain.
email:
eruiz@prof.esdi.es
..................................................................
Biography
...............................................................
Susana Aristoy earned her
professional degree in Architecture
at EtsaB, Universitat Politècnica de
Catalunya, in 1999. In 2011, she
completed a Master’s degree in
the “Curator in new media art”
program at Universitat Ramon Llull
and has since then begun working
on her dissertation which focuses
on “exhibition spaces in the context
of new media art”. She is Adjunct
Professor of Interior Design at ESDI,
Universitat Ramon Llull, and together
with Filena Di Tommaso, she is cofounder of “La Petita Dimensió,” a
practice working at the intersection
of urban, exhibit and interior design.
Biography
Encarna Ruiz Molina (Granada,
1971) has been Director of Academic
Coordinator of School of Design, ESDI,
which is attached to the Universitat
Ramon Llull between 2001 and 2011.
She is currently Research Coordinator
of the Fashion and Textile Unit of
the Center, where she also teaches
contemporary sociology and
anthropology. In addition, preparing her
doctoral thesis in the field of journalism
specializing in fashion.
The net is full of websites and blog that provide information on various
subjects. The great merit of the digital revolution has been the effectiveness with which information is presented to us every time we get a more
dynamic and versatile. Social networks and blogs allow us to have greater
access to all kinds of information and many personal contacts.
The fashion industry are not immune to this new way of promoting their
products and to show the latest trends. Many companies in the international arena have launched digital, using the platform extension involving
social networks and blogs. In addition, many firms have an online store,
where users can shop telematically. These brands also have the support
of the leading fashion bloggers to disclose their clothes quickly and efficiently with minimal cost to the entity.
The fashion blogs appeared in Spain in 2009 as information dissemination format that emerged from a timid and spontaneous. Were dealing
with simple structures in which we wished to simulate the Street Style,
street fashion, which triumphed in America. Each blogger hung photos
taken yourself or another person in representing individuals who dresses
in a very determined. These were accompanied by street looks explanatory text and an author’s opinion.
What at first was somewhat naive has become a social phenomenon that
is changing the clothing sector and styling. The blogger is now important
piece in the complex social puzzle fashion, which are becoming a more
important place. Thus, in the last two editions of the Fashion Week in
New York, bloggers have figured prominently in the audience that followed the parade of major designers.
Now, designers look for trends, which previously were located in the
streets of major cities in the network. We are witnessing the transformation of an industry that must adapt new information and promotional
methods to advance. And is that blogs bring to the fashion industry with
valuable information that allows them to approach the likes of the people
on the street and at the same time, see in them a platform for flexible
communication, direct and flexible.
This article will explain the impact of these blogs have in the clothing sector in Spain, as they and the online stores are now part of our collective
imagination. In a time of economic crisis like the current fashion remains
a vital engine for the economy, an important social actor and a key factor
in intercultural communication. E Internet emerges as the most effective
channel in which to move information and have to do business.
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New technologies in design
Some social uses
of Internet
..................................................................
Raquel Pelta Resano1
1
Facultad de Bellas Artes, Universidad
de Barcelona, España.
email:
raquelpelta@gmail.com
..................................................................
In this present work we propose which features and functionalities
we should consider in the design of social robots according to the
“Uncanny Valley” effect. This effect, described in the 70s, argues that
when robots have a human appearance and a performance very close to
reality, they cause a rejection response between individuals. This effect
is reflected in a minimum in the valley of the graphic between social
acceptability and the degree of human appearance.
This paper presents an overview of the current status of Graphic Design in the information society. It explores the impact that Internet is
taking on this discipline. It deals also the social implications of Internet
and particularly the creation of virtual communities of designers and
their attitudes in front of free software.
Biography
New technologies in design
Localization
networked.
Creativity
committed from
new technologies
...............................................................
Mireia Feliu Fabra1
1
Escola Superior de Disseny ESDi,
Barcelona, Espanya,
Departament de Pintura, Facultat de
Belles Arts, UB, Barcelona, Espanya
email:
mfeliu@prof.esdi.es
BA in Geography and History, BA in
Audiovisual Communication Sciences,
PhD in History. Master in Society of
Information and Communication.
Professor in Design History at the
University of Barcelona. Researcher,
exhibition curator and writer.
...............................................................
Biography
Multimedia artist, Professor at ESDi, URL,
and a PhD candidate at UB. Awards
selection: Institut Ramon Llull Art Grant
(2011), Espais Award (2006), New York
Foundation for the Arts Fellowship
(2005), Fundació ”la Caixa” (2001),
etc. Solo Shows selection: Oranim New
Media Gallery (Israel, 2011),Centre d’Art
Cal Massó (Reus,2010), Safia Gallery
(Barcelona, 2010).
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With the effects of the image mechanical reproduction announced by Walter Benjamin, plus the emergence of the first portable cameras in 1884-88,
and the subsequent popularization of their use especially from the twentieth
century, the representation of reality that had been reserved for professional
artists, became more and more democratic. The next step in the proliferation
and immediacy of the photographic representation was the moving image.
The first Super-8 cameras began to be used by a greater number of people
to shoot their family scenes. New technologies, therefore, from the first reflex
cameras until the recent iPhone, have led to a democratization process of the
representation systems.
However, artists and designers should think and use this technology in a creative
way, so they should be aware of the specific nature of digital language. Artists
and designers should go further in their projects than a first admiration for
the technique itself. They should look for possible meanings and advantages
that the digital language can give, from the rhizomatic structure patterns of
communication to the portability of devices. Artists and designers should be
aware of digital language and new media cultural and social repercussions. The
creative use of new technologies involves much more than chasing an audience
growing exponentially though the Internet network. It involves responsibility
of managing projects that must be able to reflect the complexity of reality and
its multiple voices, from a social, cultural and political commitment towards the
territories and their inhabitants. Within the art and the design world, projects as
the film Redacted of Brian De Palma, the performances of The Yes Men, and
the web channel www.megafone.net of Antoni Abad, are examples of creative
uses of new technologies to serve a social engagement.
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New technologies in design
Augmented
Reality, the design
of our new eyes.
A discussion of
virtual signage
in innovative
technologies
..................................................................
Ma. Lucila Testi1, Ma. Victoria
Paredes2.
Docente de Comunicación y Diseño
Multimedial y de Taller de Diseño,
1
Directora de las carreras Diseño
Gráfico y Visual, y Técnico Superior en
Diseño y Producción de Indumentaria
Instituto de Estudios Superiores - IES.
Santa Fe, Argentina.
Docente de Diseño Asistido por
Computadora, Comunicación
Electrónica y Herramientas Digitales de
Comunicación Visual,
2
Directora Tecnicatura en Informática
Aplicada a la Gráfica y Animación
Digital
Facultad de Ingeniería y Ciencias
Hídricas, Universidad Nacional del
Litoral. FICH – UNL. Santa Fe, Argentina.
email:
lucilatesti@yahoo.com
victoryp.ar@gmail.com
..................................................................
Biography
Graphic Designer and Architect
graduated from FADU UNL/Sta Fe/
ARG. Lucila is Associated Professor
of Comuncation and Multimedial
Design, and Director of Visual and
Graphic Design College at IES/
Sta Fe/ARG. Victoria is Associated
Professor of CAD and Digital Tools for
Visual Communication, and Director
of technician program: Applied
Information Technology for Graphic
Design and Animation at FICH UNL/Sta
Fe/ARG.
In this paper we examine the new developments in augmented reality and discuss
their possible implications in information design, to finally arrive at an interdisciplinary view of the subject.
Communication in the digital age is changing the substance and form of the visual
message. Just watching how this reality has changed in the last ten years, and imagining what life will be in ten years, allows us to anticipate the future of information design at the interfaces of different technological supports. This fact and the
advances in information technology will achieve substantially merge transforming
ways of communicating.
Augmented reality is one trend that is dominating the information design. It is
constantly updated dynamic interfaces, through various devices that improve the
user useful information in real time and space.
Thus the info – designner presented by Giu Bonsiepe as a new capability of the
design discipline, today must attend not only the new communication media but
also the use made of the communication, and involves the concept of Donald
Norman, evolving innovative “prestaciones”.
Project like those of Microsoft Productivity Future Vision, shown in everyday life
the merger of computing - user - design, through emerging technologies such as
tables, mobile phone and touchwalls. Projects such as Solar Roadways, Scott and
Julie Brusaw replace existing asphalt roads by solar panels, LED technology making
roads in dynamic signaling system and self-updating.
These experiences are analyzed from the communication design, and from the
concepts of syntax, semantics and pragmatics.
Looking at the issue from the syntactic aspects, it is questionable whether evidence
that the information provided by these means, it is only functional and stripped
of all design. If we think of the elements involved, visual design hierarchies exist?
From the semantic aspects, leads to subjectivity, and persuasion? This new mode
of communication is legible? It is characterized by being both ephemeral as a communication to continue the cycle of information? From the pragmatic, information
design delimits the spaces? Gives the objects a readable size? Is the design that
mediates between user and space?
New technologies in design
Exploration in
mobile learning,
two study
proposals: iPad
application and
web adapted
version for mobile
devices
...............................................................
Irene Manresa Mallol1
1
Dissenyadora web freelance,
col·laboradora de la Universitat Oberta
de Catalunya, Barcelona, Espanya.
email:
irene.manresa@gmail.com
...............................................................
Biography
Freelance User Experience Designer.
Working since 2001 in virtual learning
environments. Five years collaborating with
the Universitat Oberta de Catalunya in the
development and management of projects
that involve UCD, IA, interaction and graphic
design, html and css code and accessibility.
In a context where society is becoming increasingly mobile and connected, mobile learning (m-learning) has emerged in recent years, as
a natural evolution of e-learning. The challenge in this field is to take
advantage of the potential binomial “different research contexts” and
“mobile connections” for learning.
Within this framework, we present one of the scan lines in m-learning
undertaken by the Open University of Catalonia in recent years, and
its materialization in two designs of the homepage of the virtual
campus for different mobile devices: the web version and a native
application adapted for iPad.
From the perspective of User Centered Design and based on previous
studies about users of the University, we carried out interviews on
students who perform tasks related to learning in their own commuting context, as well as ethnographic observations in this context, in
order to explore in depth the relationship between commuting and
m-learning (understanding this journey as a paradigmatic context in
the use of mobile devices).
From the analysis of results, we conclude that students perceive commuting as a study context and they plan their study time taking this
into account . The only difference is the tasks and devices that can be
used in each context. From this study, two application scenarios have
been made for mobile learning that have helped in the development
of, among others, the two proposals presented in this article.
Each proposal aims to meet very different needs within the learning
cycle; the features of the devices and the choice between Application
or Web have also been decisive factors in the conceptualization and
design of the two options.
Both applications are open to UOC users and how they have welcomed them will determine the success of the decisions taken
In conclusion, the issue of correct information design is of vital importance. If the
design is poor makes the signal loses its functionality. The inappropriate design of
a signal, could void the signal itself.
Hence the importance of such debates, proposing a careful analysis of how we
perceive the space and the real structures by sign designers and guidance systems,
which must respond from their developments, the need for signaling can be read
without speaking the local language to mediate between the user and achieving
optimum space orientation experience, where the visual precedence over the verbal
The design of information design, it is a multifaceted task, involving interdisciplinary working groups: computer, designers, planners and manufacturers. Where all
try to achieve an integrated reading of space, substantially changing the positioning
of the user interaction in the environment.
28
29
New technologies in design
The New Reality
of Packaging
Design: Applying
New Virtualization
Technologies to
Innovate and
Expedite the
Design Cycle
..................................................................
Vicenç Marco1
Vicenç Marco Design, Barcelona,
España
1
email:
vicenc.marco@vicencmarcodesign.com
..................................................................
In the current economy, integrating virtual technologies in the creation of Packaging
Design represents the most effective means to redefine, improve, and monetise its
practice. Engaging designers to create using virtual tools will increase their contribution within the Spanish economic system through a compact and more efficient
creative process (“Stream-lined Virtual Design Process”). The integration of this
technology will impact the manufacture and design cycle improving 3 fundamental
aspects: strategy, creation and front–end implementation.
New technologies in design
The anti Photoshop
laws. Dilemmas of
photo retouching
in the area of
advertising design
Significant time and cost reductions, error-proof designs, virtual prototypes, and
hiperrealistic imagery of products are among the benefits resulting from this innovative practice that is also profitable at a crucial moment for society.
The reach of evolving and improving a work method which impacts businesses,
industrial producers and designers goes beyond the search of excellence per se. It
fuels the designers´ creativity allowing for further exploration of ideas, enables the
decision-making process for brand owners and reduces resource investment. The
method favors the verification of designs prior to production which guarantees an
optimal finished product and a 100% feasible industrial production.
Adopting virtual simulations as an aide to design packaging and virtual retail environments as a new standard in the industry helps designers materialize rather
complex ideas. Advancing the good practice of design locally and contributing to
the internationalization process of Spanish brands willing to become design led
innovators.
Biography
...............................................................
Dr. Ricardo Guixà Frutos1
1
Escola Superior de Disseny,URLL,
Sabadell,
Facultad de Bellas Artes Sant Jordi, UB,
Barcelona, España.
1
email:
rguixa@prof.esdi.es
rguixa@ub.edu
...............................................................
Biography
Vicenç Marco is CEO & Creative
Director at Vicenç Marco Design in
Barcelona since 1991. He is known as
a pioneer in Spain for implementing
virtual simulation tools in Packaging
Design. His innovative work includes
the bespoke creation of Virtual Stores
and POP campaigns to help brands
gain consumer insights.
Ricardo Guixà has a doctorate in image
from the University of Barcelona, teaches
photography at ESDI (URLL) and in the
Faculty of Arts (UB). Photographer and
researcher, has developed his theoretical
and artistic work in the field of epistemology
of the photographic, specializing in their
interaccions with science, desing and art.
This paper is a study on the impact that the digital revolution has had on the
uses and applications of photography in society and its ethical implications
in the field of design.
Starting from a detailed analysis of the changes that have involved the change
of analogical support (chemical) to digital (numeric), the keys that allow understand the rise of photography in contemporary culture and, more specifically, in the expanded field applied design are decrypted .
It is a proven fact by the main ideologists of the image that this new technological evolution of photography is more than just another change of the
photosensitive material, since it involves a change of visual paradigm ontological character redefining the very essence of the medium. Postphotography
replaces the photography marked by a series of revolutionary transformations. First, the digitization process which greatly facilitates the manipulation
of the photographic image, offering the mass a real chance to alter the visual
content quickly and easily by changing the relationship between the products
of the camera and the reality inherited from the nineteenth century.
On the other hand, the dematerialisation of the light -image starting from its
translation into the binary system provides immediate and universal access to
society through digital information networks, causing an exponential increase
in social presence at all levels reaching saturation point, and thus becoming
the predominant method for generating images in the XXI century.
This democratization of photography leads a revaluation of the medium as
a cultural device, and at the same time it acquires a new recreational value, in
which the image produced by the camera extends its memory repository status to acquire a communicative dimension which amplifies the social impact
of wide and massive spread afforded by the Internet.
Design professionals, particularly in the specific field of graphics advertising,
as main actors of audio-visual culture, assimilate this novelties being aware
of the strategic importance assumed by photography in the popular imagery,
in a technological society, which is permanentlyconnected and receiving the
information in real time. These circumstances, in broad sectors of society
arises critical awareness of the limits of photographic manipulation, posing ethical dilemmas, especially with everything related to the body image
that is transmitted by advertising. The digital editing software, Photoshop, as
standard of the medium, becomes the scapegoat of this social movement
against excessive retouching.
In the postphotography era the designer assumes the role of images producer, global and multimedia, phagocytizing the products of the camera their
cognitive status is finally removed. Photography redefines itself until you
reach a new epistemological condition, which forces reconsider its use and
the moral implications associated with their handling.
30
31
Design thinking
32
33
Design thinking
Design- Towards a
creative industry
for the latinamerican reality
...............................................................
Dra. Alejandra Elena
Marinaro1, DG. Romina Alicia
Flores1.
Escuela de Comunicación y Diseño
Multimedial. Universidad Maimónides –
Buenos Aires, Argentina.
1
email:
marinaro.alejandra@maimonides.edu
flores.romina@maimonides.edu
...............................................................
Biography
Alejandra Elena Marinaro (44) got her
MBA degree from Salvador University
(Argentina) and Deusto University
(Spain). She is academyc Secretary
at Maimonides University. Director of
the International Business School and
the Communication and Multimedia
Design School at the same University.
Founder and member of the collective
art group “Proyecto Untitled”.Evaluator
designated by the National
Commission for University Evaluation
and Accreditation of Argentina for
postgraduate programs.
Nowadays, Latin America shows a very uneven distribution of technology
resources: the gap between those who have access and those who cannot
access technology is ever growing; this leads to “technology illiteracy” that
produces job marginalization and educational inequity.
The duty of educators and politicians is to find new policies and programs
that should include creative industries such as designing, together with the
teaching of new technologies to make it possible for a greater portion of
the population to have access to this knowledge, which will enable it to be
included in the job market. This would lead to a greater social and cultural
impact in the region.
This type of training also means that the language of the educators will
change. It is, at the same time both, continuity and separation from an
essentially verbal teaching tradition, centered in the teacher as the main
actor towards a new multi-linguistic and multi-media and multidisciplinary
conception oriented towards the learning activities of the student.
Within this context and due to the challenges posed by our goals to transform Multimedia Design into an important creative industry in our region,
we created “Project Untitled” at Universidad Maimonides. This is an artistic collective undertaking that includes teachers, directors, and students
of the School of Multimedia Communication and Design, together with
a group of artists, curators, biologists, and engineers, among others, that
we invite to work with whenever it is possible. Our goal has been, since
its inception, to be mediators or links among the fields of education, arts,
science, and society by means of interactive design.
“Untitled” is a pedagogic, artistic and technology Project, which originated
as a response to the need to optimize the quality of education in the local
scene. Teaching strategies as the one we describe are generally not present
in Latin America and we have adopted them to enable our students and
graduates to become as competitive as possible for the job market.
Since its creation, this Project has been present with its avant-garde artistic
production in many art and design spaces. This Collective Project has been
able to find artistic solutions to challenges that are a mixture between the
arts and technology by approaching them from the design, public art, bioart, robotics, interactivity, and video games points of view, among others.
Furthermore, it was devised as a system that links education with work
and experimentation. Naturally, this will have a strong repercussion on
the entire society.
Design thinking
Understanding
organizations
from the cultural
perspective.
Elements for
a model of
corporate identity
design based
upon human
values
..................................................................
Fabián Taranto1
1
Doctorado en Investigación en
Diseño, UB, Barcelona, España,
This paper deals with the study of organizational culture from the corporate identity design. The key objective is to raise awareness about the
importance that has a deep knowledge about the organizational culture
and its impact in the design process of corporate identity design when
human values are considered.
To introduce the topic, the concept of organizational culture is reviewed comparing two seminal models: Deal and Kennedy (Corporate
Cultures, 1982) as it is the first of its kind and Edgar Schein (Organizational Culture and Leadership, 1992) as it is one of the most prominent
work in the field and a model that is both used to study organizational
culture and to manage cultural change.
I also outlines a cultural change model considering some aspects of
human-centred design, taking advantage of the role of corporate identity design as a learning process. Finally, a case of corporate identity
design is discussed where several research methods proposed in this
article were used and where the visual identity has been constructed
upon the values of the organization.
Escuela Superior de Diseño ESDI
(Universidad Ramon Llull), Sabadell,
España.
email:
fabian@ftdesignlab.com
..................................................................
Biography
Fabián Taranto has a degree in
Graphic Design from the Faculty
of Architecture, Design and Urban
Planning at the University of Buenos
Aires. He has a Master’s degree on
Creation and Design for Interactive
Systems from MECAD-ESDI and is a PhD
candidate at University of Barcelona,
program Research in Design.
The goal of this Project is to cooperate with learning paradigms in order
to reach the quality that a true society of knowledge needs. Education is
fundamental for the development of any nation, including the “periphery
countries”, which can contribute a different point of view, and which, in
this sense, can offer wider possibilities, precisely because these countries
have the “critical distance” that, probably, core countries are short of.
34
35
Design thinking
Application of
the Systemic
to Concurrent
Design Model
with sustainable
concepts for
design a “Vertical
garden indoors”
...............................................................
Julio Cesar Rivera Pedroza1,
Bernabé Hernandis Ortuño2
1
Diseñador Industrial; Universidad
Nacional de Colombia, Palmira.
Estudiante de Máster Universitario en
Ingeniería del Diseño (actualmente);
Universidad Politécnica de Valencia,
España.
2
Doctor, Coordinador del Programa
de Doctorado Diseño, Fabricación
y Gestión de Proyectos Industriales,
Subdirector del DIG; Universidad
Politécnica de Valencia, España.
email:
juceriv@hotmail.com
juriped@masters.upv.es
bhernandis @ degi.upv.es
...............................................................
Biography
Born in Cali in 1979, Julio Rivera is an
industrial designer at the National
University of Colombia, has a Masters
in Design Management and New
Product Development. Has designed
for POP design firms and contemporary
handicraft and has been design
adviser in other projects.
The application of methodologies for product development and design
concepts are now widely recognized, because it is necessary to follow
a methodical process to generate new products or concepts, which
varies according to the complexity of the project. The purpose of this
research is the study of methodologies and tools for product design,
taking into account the implementation of eco-design principles and
sustainability criteria, and with this, identify which are the most important factors in the conceptual design of a product.
This work is based on the analysis of concurrent design methodology,
considering the stages of the model and their respective phases, with
the use of systemic tools for product development, studying how to
apply this methodology to the development of a sustainable product
design. Knowing that the methodology considers aspects of eco-design,
this paper emphasizes the strategic development of the conceptual
phase, in the systemic tools were analyzed as sustainability concepts
that facilitate decision making by objectives.
The application of research is the development of a system of “Vertical Garden for indoor”, for domestic cultivation of plants (flowers,
ornamental or consumption), linking sustainable concepts with the optimal use of resources and nutrients to function. Resulting in a product design, that is ecologically friendly environment. The hypothesis
suggests that the generation of new concepts, products and services
with a high degree of sustainability is achieved by an analysis in the
conceptual phase with specific environmental criteria. To achieve this,
the work is based on concurrent design methodology, which since its
conception, considers sustainability, like the cycles of materials and
energy; seeking a balance between economic levels, ecological, social
and productive, beginning with concept development and statement of
objectives, and ending with the observation of the stages and their corresponding phases, considering their relations, feedback and comments,
which may arise as a result of these. Also, should take into account all
components of the methodology, first performing conceptual modeling
of the product, and then applying two procedures: first, the conceptual
description, consisting of a theoretical and structural analysis; and a
detailed description, consisting of a formal and functional analysis. All
this considering the components of the basic subsystems (form, function and ergonomics), all focused towards sustainability.
Design thinking
How to Apply
Trends: Examples
of CompaniesSilvia
..................................................................
Silvia M. Rodríguez Vives1, Mª
Giuseppa Casado D’Amato1
Observatorio de Tendencias del
Hábitat. Instituto de Tecnología
Cerámica, Castellón, España.
1
email:
silviarodriguez@itc.uji.es
..................................................................
Biography
Silvia Rodríguez es responsable del
Observatorio de Tendencias del
Hábitat en el Instituto de Tecnología
Cerámica. Es ingeniera técnica en
diseño industrial y ha sido profesora
de Diseño Cerámico en la Universitat
Jaume I. Es coautora de cuatro
publicaciones sobre tendencias:
Cuaderno de Tendencias del Hábitat
08/09, CTH 10/11, Nuevas Formas de
Habitar y Cómo Aplicar Tendencias.
El objetivo de esta ponencia es aportar ciertas pautas y estrategias que sirven de guía para las empresas a la hora de aplicar tendencias en su propia
realidad empresarial. Además se presentarán casos de éxito reales de empresas a nivel internacional que han sabido llevar a cabo dichas estrategias y
prácticas creativas a nivel de diseño, mercado y comunicación, pero también
desde una visión holística de la gerencia de una empresa.
En cuanto a diseño se presentarán casos relacionados con la introducción del
ecodiseño en los sectores del hábitat, pero también en la innovación centrada
en el usuario o la creciente importancia de la cultura de diseño dentro de las
empresas a nivel internacional De modo que temas como la sostenibilidad o el
valor del diseño se han convertido no solo en valor añadido de los productos,
sino en el motor central de algunas empresas.
The aim of this paper is to provide some guidelines and strategies useful for
implementing trends in the business reality. Also it presents success stories of
international companies that have managed to carry out these strategies and
creative practices in terms of design, marketing and communication.
In terms of design, some success cases are related to the introduction of ecodesign in the industry, but also in user-centre innovation and the growing importance of design culture within companies worldwide Thus issues, such as
sustainability or the value of design, has become not only added value for
products, but in the central engine of some companies.
Currently studying a Masters Degree in
Design Engineering at the UPV.
36
37
Design thinking
Development of
book childrenyougth for the
visually impaired,
with focus on
universal design
...............................................................
Dra Ana Paula Perfetto
Demarchi1, Dra Cleuza
Bittencourt Ribas Fornasier1,
Dra Rosane Fonseca de
Freitas Martins1
1
Universidade Estadual de Londrina
/ Brasil
Currently organizations in Brazil are searching for tools and processes
related to innovation and attentive to the internationalization’s issues of
the market; begin to see the design as a strategy for positioning its brand.
The strategic design management process based on design thinking represents a shift in the way of doing business and this approach can help
the designer way of view to reach different levels in the organization,
becoming a tool for the organization’s differentiation. In this context,
this article demonstrate a model, nominated as integrated strategic design management (ISDM), that join the process of design created by
Jones (1978), with the design process developed by Brown (2009), that
determines the subdivisions as spaces, with the funnel of knowledge
of Martin (2009), and with the skills of the design thinker. It will be
illustrated with a case of the family agriculture developed in the State
of Parana, Brazil, where was applied the ISDM model of Demarchi,
Fornasier and Martins (2009) developed during a research project at the
State University of Londrina.
Design thinking
Experience in
design: challenges
and difficulties
..................................................................
Aiur Retegi Uria1, Daniel Justel
Lozano1, Arantxa González de
Heredia López de Sabando1,
Amaia Beitia Amondarain1
1
Diseinu Berrikuntza Zentrua,
Mondragon Unibertsitatea, ArrasateMondragón, España.
email:
aretegi@mondragon.edu
..................................................................
email:
Biography
perfeto@sercomtel.com.br
I studied industrial design engineering
bachelor at Mondragon Unibertsitatea
cleuzafornasier@gmail.com
rosane@uel.br
(Spain) and then went to Netherlands
to study an MSc on Integrated Product
El Diseño de Experiencias se ha convertido en la última década en una
expresión de moda. El ámbito mercantil identificó a principios de siglo
en las sociedades económicamente acomodadas una tendencia a estar
más interesados en adquisiciones inmateriales (vivencias personales únicas) que en las materiales, como había sido lo habitual en la sociedad
postindustrial. La llegada de esta “Sociedad de la Experiencia” implica
que lo que hasta ese momento había sido la base de la Economía, es
decir, el producto y posteriormente los servicios asociados a ellos, dejarían paso a las Experiencias como poseedoras de valor. Esta visión
refleja un profundo cambio en las necesidades de las personas que requiere de un cambio igual de profundo desde la perspectiva del Diseño.
Al principio, se identificó la necesidad de diseñar teniendo en cuenta
aspectos hedónicos además de los puramente pragmáticos, es decir, la
búsqueda del placer. Sin embargo, la distinción entre placeres y gratificaciones hecha desde la perspectiva de la Psicología Positiva aporta un
nuevo punto de vista en el debate. Mediante este artículo se pretenden
describir las bases fundamentales del Diseño para la Experiencia, sus
orígenes y su evolución. A partir de ello, se plantean las diferentes
vías de investigación teóricas actuales y se recogen diferentes casos de
aplicación práctica en distintos ámbitos. Finalmente, se describen los
retos y dificultades que entraña el Diseño para la Experiencia, sentando
la base sobre la que Mondragon Unibertsitatea va a trabajar en los
próximos años.
Design. The academic year 2010‐11
I started working at Mondragon
Unibertsitatea as a lecturer. Nowadays
I am a PhD candidate in the subject
of “Design for Experience” in the same
institution.
...............................................................
Biography
The professor is Designer with a Doctor
Degree in Engineering and Knowledge
Management by the Federal University
of Santa Catarina (UFSC). She is
currently adjunct professor at the State
University of Londrina (UEL), is also
productivity researcher (DTII) by the
Brazilian “National Research Council
(Cnpq)”.
38
39
Design thinking
The Role of
Empathic Design
in Developing New
User Centred Tools
& Methods for
Chinese Product
Design
China has a booming economy but an inadequate design infrastructure
to serve it, especially in product design education. Previous practices
and theory in Chinese product design are no longer adequate to serve
the new circumstances of international economic development. Western design experience and Empathic Design Methodology may help
China anticipate the new issues of new product development. The
aim of the paper is to discuss the importance of Empathic Design in
developing effective methodology for Chinese product design based
on the pilot study that explores the growth of Chinese product design
and the need of Empathic Design from both industry and education.
..................................................................
Design thinking
The coding of
Graphic Design.
Rhetoric and
Creativity in the
Design Process
...............................................................
Josep Rom Rodríguez1
Xin Liu , Professor Simon
Bolton2, (Gene) Xin Ge3
Grupo de Investigación en Estrategia
y Creatividad Publicitarias, España,
Facultat de Comunicació Blanquerna,
URL, Barcelona, España.
1
DCranfield University, Centre for
Competitive Creative Design
email:
joseprr@blanquerna.url.edu
1
1
2
Cranfield (C4D), Bedfordshire, MK43
0AL, UK,
...............................................................
Biography
email:
x.liu@cranfield.ac.uk
Vice Dean of Blanquerna-URL
Communication School. Dr. in
Advertising and Public Relations.
Director of the Research Group on
Strategy and Creativity in Advertising.
Author of books “Fonaments del
Disseny Gràfic” (2005), “Sobre la
Direcció d’Art” (2006) i “Llenguatge
publicitari” (2007)
..................................................................
Biography
Xin Ge received Master of Design
Innovation and Creativity in Industry
from Cranfield University UK. He is
currently working as a creative
cousaltant at Center for Competitive
Creative Design in Cranfield University.
His professional interests foucus on
Cosumer Insight and Street Fashion
Culture in Asian.
40
The methodology of Graphic Design is characterized by the adoption
of multiple methods in the structure of the creative process of design.
We understand the process and the creation and development of the
project and the method and system of organization, whether a method
is intuitive, artistic, or regulated, in the sciences. We can apply more
than one method in the resolution of a process. The information stage
involves document analysis methods, the step of conceptualizing affects creative methods and the stage of configuration requires the use
of methods of visual representation.
The methods are not technical, are systems of rules that apply to different aspects of work and we adapted to our cognitive peculiarities. The
method is not a limitation for creativity. It is an ally in a process that
forces us to make decisions and analyze the relevance simultaneously.
In this communication, we intend to expand the traditional discourse
on the methods of construction of images of graphic design by presenting a model of interpretation and decoding of the key design artifacts in rhetoric.
We believe that the codes form a map, a surveying instrument, a guide
to delve into the elements that make the design in a language with a
symbolic communicative function. A feature that particularly affects
the professional field of branding. In the area of design methodology,
autors as Llovet, Mukafovsky or Bürdek have referred extensively to
the symbolic functions of the design artifacts that refer to the code, the
repertoire of signs that sender and receiver share in a cultural context.
This cultural context is determined by an imaginary defined by moles,
the commonplaces of rhetoric. In this paper, we show how any code
can trigger the labor process that transforms the concept of graphic
design in a visual discourse.
41
Design as a factor of competitiveness
42
43
Design as a factor of competitiveness
Artistic practices
[between] gender
and technologies
This article reports on the research entitled, Pràctiques artístiques [entre] gènere i tecnologies (Artistic Practices [between] technology and
gender), carried out by the group of professors, Maia Creus, Tamara
Díaz and Inés Martins from the Unitat de Teoria d’Art i el Disseny of
ESDI, with the collaboration of the Institut Català de les Dones.
...............................................................
The research, based on a feminist and performance studies, focuses
on artistic groups currently working in Catalonia and whose practices
produce tools and technology sharing, highlighting the social and educational potential of Information Technology and Communication free
access when used, consciously and critically, from feminist perspectives
assumed.
Maia Creus1, Tamara Díaz1, Inés
Martins1
1
ESDi-Escola Superior de Disseny, Unitat
Departamental de Teoria de l’Art i el
Disseny, Sabadell, España.
email:
mcreus@esdi.es
tdiaz@esdi.es
imartins@esdi.es
...............................................................
Biography
Maia Creus has a PhD in Art History
by the Universidad de Barcelona. She
is member of the Catalonian Critics
Association, cultural researcher and
independent curator, teacher in ESDiEscuela Superior de Diseño at the
Master of New Media Arts (URL). At
the present she works in two projects
of investigation: Artistic Practices
(between) art and gender, and 1946
Matances 1947: Art and politic in the
work of Fina Miralles. She is an editorial
member in the magazine Quadern
de les Idees, les Arts i les Lletres (portal
dialnet).
The research project was developed as a dual methodological process.
This research group has developed a critical review of the three conceptual axes - women, art and technology - around which revolves the
present study and, in parallel, has conducted field work directly with
groups of selected artists, with the order to meet them within their areas of production, know more about their working methods, theoretical
discourse, goals, frustrations and desires. This deployment in parallel
was used to develop a group of key concepts that revolve around “free
culture” and “culture of access” that, in contrast with the practices and
theories of the investigated groups are necessarily to intercepted and
reinterpreted.
Through various forms of visibility, this study intends to investigate,
promote and share these tools, technologies and pedagogies developed
by these groups which, by its own dynamics of collective work, as well
as the processes of public participation, that emphasize in forms of
intercultural and interdisciplinary.
44
Design as a factor of competitiveness
Teaching what
we know and
what we don’t
know. The value
of uncertainty in
the pedagogy of
design
..................................................................
Nacho Gil González1
Since the mid-twentieth century, uncertainty has turned into a main
concept for seemingly distant fields such as physics or psychology. Although it takes roots in much earlier times, its presence is increasingly
relevant in our everyday life. But where does uncertainty arise from?
Why do we understand it as a threat? And in particular: Is there the
need for a pedagogy of uncertainty? Could it apply to design teaching?
Which could be the purposes and implications of its adoption?
This paper tries to answer these questions and clears space for a teaching and learning of design ready to face uncertainty instead of avoiding
it, considers the role of uncertainty as an organizer of both content and
teaching practices, and aims to promote an education consistent with
contemporary knowledge and circumstances.
1
Área Cultural, BAU Escuela Superior
de Diseño, Barcelona, España
email:
nacho.gil@bau.cat
..................................................................
Biography
Professor of Expression and
communication (Bachelor degree in
Design, BAU) and previously professor
of Communication, Creativity and
Advertising at different universities
(UPF, UOC, UVIC, ESERP). Graduated in
Journalism (1990) and in Advertising
and Public Relations (1992) both at
UAB. Postgraduated in Philosophy at UB
(1999) and currently PhD candidate
in Public Communication at UPF.
Since 1992 also works as a journalist,
advertiser and graphic designer.
45
Design as a factor of competitiveness
Design as
locomotive
of innovation;
Itinerario adñ,
an experience in
small and medium
sized enterprises
..................................................................
Menno Veefkind , Angel
Palazuelos Puerta2, Belén
Hermosa Arroyo1, Xavier
Ayneto Gubert1
1
1
Idom, Barcelona, Spain.
2
ENISA, Madrid, Spain.
email:
menno.veefkind@idom.com
..................................................................
During the years 2009 and 2010, 46 small- and medium sized enterprises participated in a programme called “Itinerario adñ, a route to
design and innovation” that was offered by the then National Agency
for Design and Innovation (DDI), now part of ENISA, the National
Enterprise for Innovation, Ministry of Industry, Tourism and Trade.
Idom detailed the methodology and helped with its execution. The
overall goal of adñ programme was to improve the competitiveness of
small and medium sized enterprises (SMEs) through the adoption of
design management, design methodology and design practice, as the
locomotive of innovation. The paper is directed to innovation policy
makers and design professionals who are interested in fostering innovation in SMEs. It aims to share the Itinerario adñ experience and to
contribute to the conception and improvement of similar programmes
and initiatives. The introduction explains the programme’s design driven
“learning by doing” approach, the need for it, and compares it with other approaches to fostering innovation in SMEs. The following sections
describe the Itinerario adñ programme in terms of initiative, funding,
purpose, specific goals, participants, methodology, results and evaluation. Descriptions of project cases illustrate the functioning of the
programme in practise. Overall, the paper shows that chosen approach
is a sound way to help SMEs increase their capacity for innovation in
a sustainable way, and obtain tangible results at the same time. The authors consider programmes similar to Itinerario adñ a great opportunity
for SMEs and design professionals to join forces for innovation.
Biography
Menno graduated as Industrial
Design Engineer at Delft University of
Technology, in the Netherlands. He
worked as designer, teacher and
researcher at MMID design team, Delft
University of Technology and ELISAVA.
Since 2007 he works at IDOM, in the
group that helps clients with studies,
projects and programs that foster
design and innovation.
Design as a factor of competitiveness
Identity, emotion
and function
..................................................................
Quim Larrea1
1
SURGENIA, Centro Tecnológico
Andaluz del Diseño.
email:
comunicación@surgenia.es
Córdoba, España,
Presidente de Surgenia.
..................................................................
Biography
Presidente de Surgenia.Arquitecto,
diseñador y periodista. Director del
estudio Quim Larrea&Associates
y autor de obras de arquitectura,
interiorismo, diseño industrial e
identidad corporativa.
The free circulation -or we should say traffic- of products, materials,
people and capital is building an unstressed regular world, in which coincidences are extremely hateful. It is easy to find the same Italian, Japanese
or American product, conveniently produced in China, in a Moscow avenue or in a mall in Chicago. To this movement of goods a new one has
been added: ideas. As a consequence famous European architects set up
their buildings in the Far East or creative artists design products for rarely
proved needs or unintelligible advertising campaigns. Man is no longer an
individual and has become a consumer: although the individual may be
specific and localized, the consumer is global, amorphous. If the previous one had rights as a “human being”, this one has them as a “buyer”.
Design has fallen into this logic-trap, which seeks as its ultimate goal to
offer as many pieces to people to cover a service, instead of promoting
the greatest happiness and care for the person who uses a piece.
This view is not unique in design. Concerning art, a very descriptive comparison could be built. The Prado Museum needs no introduction: after
its recent enlargement, people throng in the entrance to see the pieces
of work. The tour lasts three hours, in which the splendid contents are
displayed with overflowing generosity. But two things happen. In the
first place: nobody can stop the right time in front of each picture to
analyze it carefully and admire or dismiss it, according to his preference.
And secondly: being in one of the largest art galleries in the world, the
public’s mind gets dulled and they fail to appreciate the beauty around
them, the individual becomes indifferent: the perfect opposite of the
Stendhal’s Syndrome.
Toledo is worth a visit, just to see “Count Orgaz’s Burial” in Santo Tomé
Church. Although the site hosts some other pieces of art, none equals the
canvas by El Greco. It is necessary to go there to see the picture and it is
extremely worthy: the composition, colors and conservation of the work
of art, the recognition of the characters...The situation, or better the position of the picture in the museum or in the church is radically different.
Coming back to design, and to the global saturation effect, we must
remember that the star of the project is the man and that we must build
it on a diofantic equation. Here is the formula that states the conference: “Design = identity + function + emotion.” “Identity”, which gives
substance to the product, identifying it with a certain way of being and
doing and with a particular culture. “Function”, the essential link between
reality and the human body through ergonomics. And “emotion”, the
man’s supreme relationship with the objects which turn into the supports
of wishes, hopes, memories and aspirations…The combination of these
three concepts is only the will to translate the individual’s holism essence
to design: mind, body and soul.
46
47
Design as a factor of competitiveness
Design, implicit
knowledge and
innovation
...............................................................
Jaime Franky Rodríguez1
Director ODA. Observatorio de Diseño
Aplicado, Universidad Nacional de
Colombia.
1
email:
jfrankyr@unal.edu.co
...............................................................
Biography
Director of the “Observatory of Applied
Design”-Universidad Nacional de
Colombia, professor of the School of
Industrial Design in the same university.
Independent consultant to several
public institutions in the development
of design projects. CEO of “AEI Gestión
de Diseño Ltda”.
Reflection about design revolves in general around design as a way of
doing or as a way of thinking. Our research considers design as a sort
of knowledge; therefore, as a knowledge which is not incorporated
in the forms in which explicit knowledge or scientifically elaborated
knowledge is traditionally recorded. In the field of design, knowledge
responds primarily to experience; it has a practical sense, it is generated
in the interaction and in the search of answers, it has its own transmission and validation channels, and it generates academic communities
and communities of practice that are differentiated or that can be differentiated.
Exploring the possibility to have of a knowledge produced by the design and, therefore, the domain of design, we have to explore where it
can be represented and if there is some kind of “logic” that regulates
it. At the beginning, we look at two elements: the project itself and the
products resulting from the design. We assume that these two elements
contain a tacit or implicit knowledge and that the project, especially in
the former one, reproduces and expands itself, thus producing new
design knowledge.
The reflection is guided by a practical sense: to identify the parameters
and guidelines of innovation and competitivity that arise from design.
The starting point is to recognize design as an alternative for innovation
different from that which is offered by science and technology; we believe this is increasingly understood as such in the world and in modern
business field. Recognizing the notion of innovation as putting into social circulation (i.e. in the market) new and original products, we find an
affinity with the design. That is just what design brings in the business
field. However, it is possible to innovate by looking for an application
to the new technological developments, in which case design functions
as a converter of the technical and scientific research into commercial
technology; or to innovate by using design as a problem solving tool
(design in interaction with the user, or user-centered design), in which
case design begins to constitute itself as a motor for innovation; or to
innovate by exploring brand new situations or by problematizing situations, in which case design aims at radical innovation and can even
constitute a milestone in the technological development path.
In order to understand design in depth as innovation and thus be able
to unfold its full potential, design has to be considered as a way of
doing, as a way of thinking and, furthermore, as a way of knowing.
To make an articulated review of these three ways, linking them with
innovation, is the aim of this research.
48
Design as a factor of competitiveness
Innovation through
fashion details:
The contemporary scene of commodity production is characterized by a strong
and constant solicitation of images, products and places that makes complex
the process of interpretation and consequently of understanding of themselves.
a design model
This globalizing uniformity of forms, systems and processes prevents the emergence of local specialties and authenticities, characteristics potentially decisive in
the process of value creation.
...............................................................
Starting from this framework of analysis, the paper focuses on the field of fashion
design, emblematic for its ability to produce senses originated from the intrinsic
communicative power of fashion and for its attention to the applied design research.
Rossana Gaddi , Anna Sara
Zanolla Mancini1
1
1
Dipartimento IN.D.A.CO., Politecnico
di Milano, Italy.
email:
rossana.gaddi@polimi.it
anna.zanolla@mail.polimi.it
...............................................................
Biography
PhD in Design, she works in the Fashion
Design Research Unit of INDACO
Department at Politecnico di Milano,
developing research projects on the
creative and productive processes in
the Fashion System, with a particular
attention to the SMEs and the
handicrafts sector. She is involved in
education programs since 2008.
In the field of fashion design there are virtuous examples where in some cases
the design of a detail leds to the creation of a consistent and recognizable visual
identity system, that leads the project as Umberto Vattani, president of the Italian
Institute for Foreign Trade mantains that “in international competition, as never
before, it is the detail that makes the difference”(2009); in others it becomes a codified expertise in which the detail is identified with a technological innovation that
becomes a characteristic element of the artifact. Paola Bertola (2010) also asserts
that “material, architecture and lastly detail: sewing, hemming, embroidery and
trimmings are elements in which creativity and technique, rather than technology,
work together to create the uniqueness of products, indeed risk being the truly
distinctive elements of a product” and that “attention to and quality of detail
(seams, hems, embroidery, decorations, etc.), are still elements that are difficult to
reproduce elsewhere” and finally that “it is increasingly through detail that Italian
fashion firms differentiate their products and it is also through the recognizability
of details that expert consumers purchase and select high quality products”, then
it appears to emerge from these declarations that detail is a decisive factor for
transferring the characteristics of Made in Italy directly to and onto the finished
product.
Thus, innovation can be seen with a double valence: a product one, through
ameliorative or even generative measures technology-based, or a sense one, which
occurs when the direction and consequently the value of relationship changes, the
reciprocal relationship between object and user.
In this context, the detail will then be analyzed as a vehicle for innovation, both
technological and of sense, meaning that detail is a feature that contributes not
only to the creation of the architecture of the artifact, but aboveall that is an active, primary and distinguishing actor and therefore that allows the study and the
design of a consistent and coherent scenario around the product to which it is
associated, becoming the vehicle of the communicative message.
One element, then, that in itself contains the identity of an artifact.
Through qualitative and quantitative analysis of cases of good practice within
the context of fashion design the paper aims to analyze how the design of the
detail applied to the fashion-product is able to catalyze innovation and thus to
communicate the identity consistently.
Finally, the paper wants to validate a model and then to abstract its features, tools
and methods with the consequent testing and application in other design fields.
49
Design as a factor of competitiveness
Issues for
design projects
implementation
success
...............................................................
Gabriel Schüler1, Celso
Scaletsky1
To design a concept can be much easier than implementing it. But what are the exact factors that can be problematic concerning implementation of design projects.
Especially when design starts being treated as a strategic support for companies,
and new product development turns into radical innovation of product-service
systems. With this in mind a research has been made on an attempt to reveal
what are the main issues that can help the development of design concepts into
market implemented innovations. Three case studies have been developed based
on previous studies in project management to establish a link between design and
implementation of innovative projects. A number of issues are listed and discussed
in order to guide designers on what to be concerned when designing solutions.
1
Escola de Design Unisinos, Porto
Alegre, Brazil.
email:
Design as a factor of competitiveness
Over-diagnosis
and bad
execution of the
design in Mexico:
Development of
a work program
based on design
to increase
the level of
competitiveness.
gabrielkschuler@gmail.com
...............................................................
..................................................................
Biography
Jorge Rodriguez1, Marco
Ferruzca2
Graduated in Social Communication
and Advertising at the ESPM (RS)
(2006). Specialization in Strategic
Design at Unisinos POLI.design.
Master in Strategic Design at Unisinos.
Participant of the research group
Strategic Design and Culture Project.
He has been working mainly in
communication design.
1
Depto. de Procesos y Técnicas de
Realización, UAM-Azc., D.F., México,
Área de investigación de
Administración y Tecnología para el
Diseño
2
Depto. de Investigación y
Conocimiento para el Diseño, UAMAzc., D.F., México.
email:
rmj@correo.azc.uam.mx
mvfn@correo.azc.uam.mx
..................................................................
Biography
Profesor-investigador de la Universidad
Autónoma MetropolitanaAzcapotzalco (UAM-A). Estudios
de Posgrado en el ámbito de las
Nuevas Tecnologías Doctor por la
UPC. Su experiencia profesional y
de investigación se orienta a la
innovación conducida por el diseño
y las TIC.
50
Over-diagnosis and Sub-execution of design in Mexico: Proposal of a work program based on design to increase the competitiveness at the national level.
In recent years a number of actions have been carried out in Mexico to highlight
the importance of design as a factor in innovation and competitiveness. Such as
the promotion of a national public policy on design that was presented to the
Chamber of Deputies (2008); a series of studies conducted by academics and
researchers; exhibits and events that are design related; and a several initiatives
launched in the main cities, where most business design units are located. The
World Economic Forum (WEF) publish every year an analysis of 142 countries;
in its 2012 report, of the 12 country indicators evaluated, Mexico obtained its
lowest mark precisely on innovation, occupying a place in the middle of the general Table where all the countries are ranked. If the country is not able to apply
innovation to its businesses, or to offer value added to its products and services,
it will be very unlikely that it could improve its position among the nations of
the world, because competition is fierce between developed countries and the so
called emerging economies.
To respond to this weakness in the Mexican economy, the federal government
is about to launch the National Program on Innovation. This paper presents
the background of an initiative where the authors had an active participation,
that even though it emerged from the academia it counted with the support of
the federal government, and it was addressed to the manufacturing sector. The
main objective was to promote the interaction amongst the different agents of
the triple helix model to foster interaction between the different agents through
design-driven innovation. Started from the premise, that in the case of Mexico,
enterprises and even the government, at different levels, do not know the potential
design has and its possible role in the national economy. To achieve this goal, an
international seminary was organized with the topic. “Design as a strategic factor for innovation”. To this event 317 people attended, most of them from the
productive sector. During the registration process, applicants were asked to answer
a questionnaire to obtain answers on how their enterprises conceive and apply
design in its own organizations.
Different perspectives were presented, from its application as esthetic factor or
as a factor to increase sales, as well as its capacity as a discipline that integrates
knowledge. Based on the obtained information, a conclusion may be drawn, in
effect design in Mexico has been over-diagnosed, and taking into consideration
that most of the participants of this sample are aware of the importance design
may have in an enterprise. Nevertheless, it is not reflected in its innovative capacity,
or in its ability to apply design, neither at the enterprise or government level, and
it is not part, yet, of a national policy. This paper sketch some opportunity areas
that could facilitate to pass from a sub-execution to an effective execution to boost
the impact of design on national competitiveness, as it is to organize design workshops; to incorporate students and academics alike, to entrepreneurial dynamics;
continuous education on design management; document and disseminate and
document; and to implement a national prize on design, etc.
51
Design as a factor of competitiveness
Fashion MC:
designing the
concept of beauty
as an occasion to
survive
...............................................................
Ermanno Aparo1,2, Liliana
Soares1,3
1
Polytechnic Institute of Viana do
Castelo, Portugal,
2
CIAUD - Research Centre for
Architecture, Urban Planning and
Design (FA-TUL), Lisbon, Portugal.
3
ID+ (Research Institute for Design,
Media and Culture), Aveiro, Portugal
email:
aparo@estg.ipvc.pt
...............................................................
Biography
Ermanno Aparo (PhD) is Professor
and Head of Product Design Course
at the Polytechnic Institute of Viana
do Castelo (Portugal), member of
the Research Centre for Architecture,
Urban Planning and Design (Portugal)
and member in several scientific
international research projects. He
performs strategy consulting and
implementation in Product Design and
Development for European companies
and participated in worldwide
exhibitions.
This text supports the notion of beauty as design’s competence to create ‘spatial objects’, supported on the design cognition (Cross, 2006)
and related with the liquid modernity (Bauman, 2005) that defines the
XXI century.
The first part revisits the meaning of the word ‘beauty’ in the western
society to understand how to use it in the design method. In particular
we reflect about the meaning of beauty, asking what is beauty today,
instead of affirming that this is, or this is not, beauty. We defends that
an era creates its own design, which is an image of a system of thought
(Le Corbusier, 1920) and not an idea of social or/and historical reference. Our thesis is that anyone can be beautiful, if the place where he/
she is able to transmit its semantics dimension. This means that the
construction of a place must be thinking as a scenario of images that
involves and relates all the elements of the context (individuals, space,
architecture, media), in order to qualify either him/her, either the place
in so many appearances as the need for change that characterises our
time. These are different settings that start from the same rationality
(Kant, 2007) and therefore, they are able to give meaning to the place
and to the individuals. To understand the relationship of the concept of
beauty with the notion of ‘spatial objects’ we revisited how this relation
was happening over time in the Western context.
The second section of the text presents the arguments in favour of a
phenomenological pondering of the concept today. If once the standards of beauty were based for instance on the Greeks conviction that
beauty was something good or on Christian belief (Eco, 2004) in liquid
modernity a fashion show can be provided by design as a public service,
mainly focusing on the semantic value. To support this view, we create
a design project with Design students and a hairdresser office oriented
by a design professor. We aim to demonstrate that design enables the
‘spacial-object’ to image hypothesis, something ever renewable and
meta-design. Something that is no longer a hairdresser or a company’
stand, but an occasion to connote the ‘being-in-the-world’.
Design as a factor of competitiveness
Competition
of universities
with the help of
Branding
..................................................................
Prof. Dominika Hasse1,2
1
Vicedean of Faculty of Design,
HAWK University of applied Science,
Hildesheim, Germany.
1. The future – a shrinking market
The problem – too few students for too many university places
In the past the universities have been dominated by the situation that
there have been too many students for too less university places. But
these circumstances will change in the future radically. We expect the
opposite and this will be a huge challenge for the university landscape,
as every university has to look at their own competition possibilities.
The question is how could each of them build up an USP and how
could they brand their university.
2
Head of CI/CD department,
HAWK University of applied Science,
Hildesheim, Germany.
email:
hasse@hawk-hhg.de
..................................................................
Biography
Dominika Hasse studied from 19841989 Visual Communicatons at the
UDK Berlin, Cofounder and Partner
of Plexgroup, Berlin since 1990, www.
plexgroup.com , Professor of Editorial
Design, since 2002 and Professor of
Corporate & Editorial Design, since
2008 at Faculty of Design, HAWK,
University of applied Sciences and Arts
Hildesheim
Three case studies involving design graduate students exemplify this
notion.
The text ends with a reference on the designer’s quality as interpreter
of his/her reality that creates experiences embedded in the culture
environment in which takes place. Design as an agent of changing,
challenge the companies to accept risk as an occasion for accepting
transformation keeping its survive and competitiveness. The ‘spacialobject’ flattering experience reveals its nature during a succession of
images connected with individuals, ensuring them the right of being
happy in the world.
52
53
Ecodesign
54
55
Ecodesign
Design for waste
recovery. Grinding
and conditioning of
celular plastics from
the waste flow, for
gypsum wallboard
manufacture
...............................................................
Design for the revaluation of residues. Grinding and conditioning of residues of expanded plastic fort the manufacture of constructive flat boards.
In this paper reported some research advances from the project Grinding and conditioning of residues of expanded plastic (SMA in spanish).
SMA is framed inside a major project: Constructive system based on light
flat boards made of gypsum plaster and wastes from EPS plastics and
reinforced with nature dry fibers (SCY). SCY has been reported in other
papers and briefly consists in a new constructive system based on a thin
gypsum board (>12.5 mm) held by metallic and plastic elements with different applications in building construction like walls, indoor partitions,
and interior ceilings. The wallboards in SCY are made of a gypsum plaster
enriched with expanded plastics particles and dry natural fibers, both from
the municipal or industrial wastes flows.
Dr. Ing. Francisco Javier
González Madariaga1, Dr. Ing.
Luis Alberto Rosa Sierra1, DI. José
Luis R. García1
Expanded plastic particles cooperate to produce a light wallboard and dry
1
Universidad de Guadalajara, México.
email:
francisco.madariaga@cuaad.udg.mx
alberto.rosa@cuaad.udg.mx
luis.garcia@iceproyectos.com.mx
...............................................................
Biography
Industrial designer (UAM, México) and
Doctor in Project Engineering (ETSEIB,
UPC. Barcelona, Spain) among other
academic degrees. Member of the
faculty and researcher at the University of
Guadalajara, México since 1986. Today
his work focusses in plastic’s recovery and
technological innovation. He is a steady
lecturer in México and other countries,
and has wrote several books and other
publications about plastics and design.
fiber look for to reinforce the constructive elements. Lab reports show that
the addition of residues of particles of expanded plastic in the mixtures
of the boards brings important benefits, as up to 45 % lighter than other
different already wallboards existing on the market, an attractive thermal
isolation rate and finally a good response to direct fire attack. Experimental
work points out that in order to integrate expanded plastic particles from
the municipal waste flow to the gypsum plasters it is necessary to reduce
those big plastic bodies up to little pieces with specific shapes and sizes,
this has drive to the research team to design and manufacture a mechanical
system (SMA) with the objective to transform expanded plastics wastes in
particles useful to be included in gypsum mixtures. SMA counts on three
stages; first stage (I) crushes the big expanded plastics packing residues
up to achieve small pieces of plastic (±30 mm), second stage(II) offers
particles between ± 3 and 6 mm, finally (III) produces dry plastic particles
ready to be included into the mixtures. SMA combines available mechanical
elements and special machinery designed and manufactured by the research
team, where some of his mechanical elements have turned out to be innovative contributions to the state of the art. In this document are shown
some results from the SMA testing also is included a characterization report
of the particles that SMA produces.
56
Ecodesign
Ecodesign in the
Mediterranean
region, a needed
tool to reduce
impacts and
obtain market
advantage and
penetration
..................................................................
Áurea Adell Querol1
1
Ecoinstitut, Barcelona, Spain
email:
ecoinstitut@ecoinstitut.es
..................................................................
Biography
Green Procurement and especially Green Public Procurement (GPP)
are being promoted through responsible supply chain management (in
the private sector) and through the definition of GPP Action Plans at
Government level. In the international sphere a big step forward on
the commitment and promotion of GPP has materialised within the
Marrakesh Process resulting from the Johannesburg World Summit
Implementation Plan. In the European Union that commitment has
materialised in several strategies and regulations promoting the drafting
of such plans by EU Member States.
In the Mediterranean region, countries have different starting points
and structural differences which affects how GPP is promoted and
implemented. Drawing from the lessons learnt of the barriers and
possibilities to GPP in northern and southern back countries in the
Mediterranean this paper tries to highlight key elements for a successful
implementation of GPP strategies taking into consideration the role,
synergies and interactions among the different stakeholders.
Especially this paper tries to explain how ecodesign can contribute in
the process and which form is most appropriate taking into consideration market development in Mediterranean countries and the specific
characteristics and limitations of public procurement.
Aure has more than 10 years
experience in promotion institutional
change towards more sustainable
consumption patterns. One of her
main field of work is sustainable
procurement implementation at local,
regional, national and international
level (from Barcelona to the Basque
Country, the Spanish Env. Ministry, EC
and UNEP)
57
Ecodesign
Barcelona
Sustainability Jam
2011
...............................................................
Cesc Mestres Domènech1,
Jessica Fernández Cano1 ,
Mireia Puig Poch1
1
DRASSANA Studio.
email:
drassana@drassana.com
On this article you can know the real success case, based on Design
Thinking methodology with a common target: sustainability design. All
this is called Barcelona Sustainability Jam. This event was celebrated
on October in Barcelona and also simultaneous in over 5o cities in
the world. Over 25 designers of different disciplines and other nondesigners people were working during 48hours thinking in a product
or a service solution to save the world. The subject (Playgrounds and
sustainability) was a secret until the first day of the events, after that, the
teams were working very hard until Sunday. Here, you can understand
and see the methodologies, results and conclusions of this event of the
teams and the projects of Barcelona. On the same way, we would like
to expose the own experience to perform and drive an activity related
on Design Thinking.
...............................................................
Ecodesign
The “Green-shift”
phenomenon in
current Desing.
Greenvertising
and and false
ecodesing
..................................................................
Pompeyo Reina Moreno1
1
Estudiante de doctorado del
Departamento de Dibujo, Diseño
y Estética de la Universidad de la
Laguna. España
email:
albertllort@hotmail.com
Biography
Cesc Mestres was trained as a designer and
engineer in the High School of Design and
Engineering ELISAVA. With over 15 years
experience on the industry facing projects
as a industrial designer and PLM consultant.
Also he combines his design activity as
a teacher in ELISAVA around product
simulation areas.
..................................................................
Biography
Pompeyo Reina Moreno (Las Palmas de
Gran Canaria 1975)
Work as graphic designer, Has a Bachelor in Art
from the Universidad de la Laguna, is currently
doing his doctoral thesis within the research
project in eco-design of the Department of
Drawing, Aesthetics and Design.
The current trends towards environmental concern, fear to climatic
change and other natural disasters caused by the human activity on
the planet has created an awareness for environmental responsibility
on consumers. The market has identified this potential and used some
aesthetic strategies in order to convey to consumers the certainty that
when consuming some products, they are acting for the environment.
Actually, this contribution is minimal in several cases, in others, nonexistent.
In astronomy exists a phenomenon called “redshift”. When astronomers began to study the spectrum of stars in other galaxies, they found
a peculiar fact: these stars had the same absent colour that the stars in
our own galaxy, but all shifted in the same relative amount to the end
of the red spectrum. This means that the stars are moving away from
us, whereas if they were approaching, they would show a blueshift. By
analogy we can consider that nowadays, many companies are experiencing a phenomenon of “green-shift”, understanding this as a marketing
strategy that simply applies a “greenwashing” to the brand.
The market is saturated with ecolabels and green brands therefore the
information is not so clear to consumers, who act for instinct based in
non-quantified data or uncorroborated. According to surveys elaborate
by the OCU, 75% of consumers in Europe have an ecological conscience but only 17% act accordingly by buying responsible, or so they
thinks. According to the same survey, 50% of Europeans do not feel
well informed about the products they consume. Despite this lack of
information, they continue consuming them.
This ecological marketing has developed the ecological advertising
(Greenvertising) which potential target is the “green consumer” who
is concerned about the environment in their purchasing behavior, looking for products that are perceived with less environmental impact. The
term “ecological” as an adjective, now is a fashion, and will be reviled
in the future. But the current eco-design criteria can be incorporated
in the production processes as standard.
In this way, the products may or may not be environmentally friendly,
but they should seem so. The keys to this ecological aesthetic are used
as tools for advertisers and designers and are designed to attract the
consumer who is concerned about the environment. Therefore, ecological aesthetic is only an indicator of the target for the product.
The existing confusion by saturation of green brands that exist in the
consumer market, makes that the information is not reaching to the
consumer, or does in a confused way, which is leading the banality of
the ”ecological” term.
58
59
Ecodesign
Susteinable device
for the recue
of architectural
heritage: the
“ligth-grasper”
...............................................................
Sofía Letelier Parga1, Cecilia
Wolff Cecchi2, Rebeca Silva
Roquefort2
Depto. de Arquitectura, FAU,
Universidad de Chile.
1
Depto. de Diseño, FAU, Universidad
de Chile.
2
email:
sletelie@uchile.cl
momwolff@uchile.cl
bekysilva@uchile.cl
...............................................................
Biography
Sofia Letelier Parga, architect from
Universidad de Chile, got the Doctor
degree in Architecture and Urbanism
at Universidad Politécnica de Madrid,
Spain. Today she is Professor at
Universidad de Chile, after teaching
in México for several years. Doing
research in Perception and Creativity,
she specialize herself in Visual Thinking
and Visualty, publishing numerous
books and articles. She has being
Visiting Professor over other universities,
and in 1990 integrated the Evaluating
Board of R.I.B.A. for Schefield School of
Architecture, England.
Ecodesign
The few remains of architectural heritage in Chile consist generally in
non- monumental but residential and anonymous buildings. Its recovery with residential purposes requires of incentive public policies to
promote a participatory process. But due to their age, these buildings
have deficiencies in energy efficiency and lighting comfort, seam unattractive to common people and result in expensive maintenance for
ethical and aesthetic demands of younger generations. The proposed
ATRAPALUZ ‘devise’, being non-invasive, minimal and adaptable to
different dimensions, can ‘re-spatialize’ perceptually the intermediate
and dark enclosures. By bringing natural light it results in line with
contemporary sensibility in an energetically sustainable way. And by
means of the optical properties that offer available materials, spatial
perception changes are achieved, especially to increase the luminance
for comfortable use during the day.
Natural
competence,
sustainable
incompetence.
The role of the
(eco) graphic
design in the
new economic
structures
Thus, natural light (free, with a known trajectory, frequency and intensity) may be the factor that enthuse to a ‘sustainable improvement’ for
this kind of buildings in rundown districts. It can become the raw material for perceptual revitalization, based on the physiological effect that
solar cycles install in our body, in a synchronous stadium with all other
living beings by hormonal stimulation that generates circadian cycles:
the reason why during day time, natural light should not be substituted
and it’s incomparable with artificial light.
Manuel Reyes Guerrero1
The ATRAPALUZ devise, innovative version of ‘lightpipes’ that adds
various options for its reflector / diffuser / distributor, was tested in a
prototype and in two typologies of heritage buildings: one from nineteenth century, with a ‘palatio’ character whose darkness in the ‘pas
perdues’ spaces prevents to appreciate its beauty, and forced to provide
light from a distant ground floor. The other one, a residential block of
Modern Heritage, has a morphology that leaves the hallway with serious
lighting deficiencies and not enough light for the recognition of faces
causing an annoying glare. In both cases the proposal achieved its goal.
60
..................................................................
El Tinter Comunicació, Barcelona,
España
1
Reyes Disseny, Santa Coloma de
Gramenet, Barcelona, España
email:
manuel@eltinter.net
manuel@reyesdisseny.com
..................................................................
Biography
Manuel Reyes is a graphic designer
since 1991. For over ten years he has
been studying and doing projects on
green graphic design and on ecoedition at EL Tinter Comunicació, which
is the first graphic design studio to obtain
the UNE 150301 on ecodesign.
In the times we live in, boundaries and professional specializations have
fuzzy contours in the commercial and economical structures. It is almost
indisputable that ecodesign is a key element that makes the difference in
the socially responsible markets. Part of the social consumers demand environmentally responsible products and some companies include ecodesign
intrinsically in their structures and processes. For graphic designers, having
an environmental awareness is not only a value, but is also recognised as
a synonym of good design. But to achieve excellence (in this and in other
sectors), the designer must play other roles.
This is what is called sustainable competition or healthy parasitism: we need
others to move on, to become stronger and be able to survive in the jungle.
Our approach will be undoubtedly improved with our partnerships; what
at first we thought would be a separate activity, now only makes sense in
collaboration with others.
The fusion of small studios, businesses, students, large technological structures, etc., all this is essential to strengthen our ideas about sustainability and
ecology applied to our profession, and to maintain an optimal positioning
and visibility as professionals. These relationships are not always in the same
direction, moreover, they do not always have a commercial or economic
interest: the collaboration student / study and the one between a biologist
and a designer are not the same. Of course, the benefits from the union are
not the same for each of the parties, not even their use, enjoyment and dissemination for each of the agents involved separately. As positive thinking
we can consider, knowingly, that generally the result is settled with a high
performance on the rise. However, even if facing the gallery the result is
of diffuse authorship, there should be a prior agreement to the limits of
the collaboration and the establishment of the functions.
In our presentation we will show real examples of our work as graphic ecodesigners in relation to our alliances and partners, will make a public assessment of the results and we will push for cooperation and fair competition.
61
Design for local development
62
63
Design for local development
Craftsmanship and
Design in the local
development
The paper explains some successful cases of the binomial Craft-Design in local
and, in some cases, rural development.
...............................................................
The first case is “Oficis Singulars” (Special Trades), a project executed by Artesania
Catalunya, Generalitat de Catalunya, which recognizes some trades’ identity related
to the area of origin. The special trades are related to territory, method and product.
They depend on the geographical environment where extraction of raw materials,
processing and making of the final product takes place.
Gemma Amat de Broto1
1
Escola Massana, Barcelona, España
email:
gemma.amat@escolamassana.cat
...............................................................
Biography
Bachelor of Fine Arts, specializing in
Painting. Universitat de Barcelona. CAP.
Certificate of Pedagogical Aptitude.
Universitat Politècnica de Catalunya.
Specialization in management of
cultural institutions and creative
strategies. IESE. Ex Director of Artesania
Catalunya. Generalitat de Catalunya.
Professor at the Escola Massana .
Department of drawing. Today: Director
of the Escola Massana, Municipal
Center of Art and Design, part of the
Universitat Autònoma de Barcelona.
Collaborate with the Universitat de
Lleida and the Escola Universitària
del Maresme. Collaborate with the
Barcelona Activa, Ajuntament de
Barcelona.
They are real experiences carried out by the government working with designers,
artists, artisans and schools with the involvement of local authorities, residents
and visitors.
Different experiences are presented and analyzed. These experiences have been
collected in the workshops, where designers have been involved with rural artisans,;
one of them is La Pauma (Palm tree crafting), one of the Oficis Singualrs (Special
Trades) at Terres de l’Ebre
Wool is also one of the Catalan Pyrenees special trades. The surplus wool of local
sheep called “xisquetes” from the Àssua valley is used for local crafts development
and bio construction applications.
The second experience is the creation of the brand “Empremtes de Catalunya”
(Traces of Catalonia), which was created to fill a need in the market: provide our
visitors with a guaranteed image of our country through crafts and design. Traces
of Catalonia are quality souvenirs, both traditional and contemporary, from the
Catalan countryside, its customs, history, gastronomy and art.
“Empremtes de Catalunya” are objects with very different languages, from the
collectable traditional pieces to more practical ones designed for everyday life. They
not only spread our cultural heritage, but also give the opportunity to activate the
craft and design sector.
A third experience is the biennial conferences about “Joieria i Natura a Serraduy”
(Nature and Jewellery at Serraduy), Serraduy (Isavena Valley) is a place of great
geological and archaeological interest in the region of Aragon-Ribagorça. A “must”
for Jewellery teachers and students who want to work in nature, with geological
materials and to experiment with creative proposals.
The fourth case of identity related arts and craft design is the monographic exhibition dedicated to the production of soap and bath items: “Net, Fira del Sabó de
Montgai” (Clean, Montgai Soap Fair).
Taking the soap as a symbol of Montgai’s local identity, a local fair has been designed as a model for other municipalities that want to create their own fair based
on unique local characteristics. The town of Montgai recovered with this event the
crafts tradition with a contemporary look. Today it is a crucial event in the annual
program of the town as it includes tradition and recycling.
64
Design for local development
Contribution of
Design in Local
Sustainable
Development
processes in an
island. The Relaja
case.
..................................................................
Jon Marín1, 3, Carlos Jiménez3, 4,
Jordi Oliver-Solà1, 2
1
SosteniPrA (UAB-IRTA-inèdit).
Institute of Environmental Science
and Technology (ICTA). Universitat
Autònoma de Barcelona (UAB), 08193
Bellaterra, Barcelona, España.
Territorial development is one of the guidelines to follow in the
process towards sustainability, in order to the European Policy for
Sustainable Development. Design, as a discipline that combines
creativity and innovation may contribute significantly in achieving
the goals set by these guidelines. Specifically, Design for
Sustainable Local Development takes into account environmental and
social aspects in the methodological process and is considered a
useful tool to increase the innovation capacity of local systems.
This document details the design process of Relaja, system furniture
made in the north of Gran Canaria, that addresses local needs and
provides solutions to environmental and social problems of the
region. Life Cycle Analysis conducted shows that environmental
impacts are between 8% and 58% lower than the other two benches
compared. Also, to validate the social imprint of Relaja, some
indicators have been selected and adapted in order to be used in the
Social-Life Cycle Analysis. They show the social contribution on the
territorial system, highlighting local employment and increasing the
involvement of local stakeholders in these initiatives.
2
I nèdit Innovació SL. (UAB Research
Park), Ctra. Cabrils, km 2 08348, Cabrils,
Barcelona, España.
3
Unidad Departamental de Producto
e Interiores. Escuela Superior de Diseño
ESDi. Marquès de Comillas 81-83, 08202
Sabadell, Barcelona, España.
4
Departamento de Dibujo, Diseño y
Estética. Universidad de la Laguna.
Camino del Hierro, 4, 38009 Santa Cruz
de Tenerife, España.
email:
jmarin @prof.esdi.es
..................................................................
Biography
I am part of the Department of
Product and Interior Design’s research
staff at ESDi, Sabadell School of Design
(Ramon Llull University), where I also
teach Multidisciplinary Projects, Bionics
and Ecodesign. I am graduated in
Biology and MSc of Industrial Ecology
–with a year stage at Copenhagen
University- and my research interests
are related to urban and industrial
ecologies, ecodesign and biomimicry.
65
Design for local development
Design as a
catalyst in
processes of social
reconstruction
in vulnerable
communities.
Case: Mini-chain
of banana in
Valle del Cauca in
Colombia.
...............................................................
John J. Cardozo Vásquez ,
Nélida Yaneth Ramírez Triana1,
Elisabeth Herreño Téllez1
1
UAB Departamento de Diseño.
Universidad Nacional de Colombia.
Palmira, Colombia
1
email:
jjcardozov@unal.edu.co
nyramirezt@unal.edu.co
eherrenot@unal.edu.co
The Integral Program of the productive chain of the byproducts of
banana, run by the “Progresamos Foundation” and the Palmira Chamber of Commerce, has been implemented in 3 craft communities. The
Design Department of the National University of Colombia participates in this program using the design as a catalyst in processes of social
reconstruction in vulnerable communities.
This paper has 6 sections, the introduction is the first, and states that
the design is a powerful tool that can contribute positively to improving the conditions of vulnerable communities. The second proposed
a classification of design methodologies with a social focus. The third
section places the project within the framework of these methodologies. In the fourth part, the collaborative approach show the inclusion
as a tool which links all actors involved in the program, and through
empowerment of users, it is possible they participate in solving their
problems. The initial analysis identified the areas in which they should
focus the work of different actors, also performed an analysis of the
process of craft products, starting with the collection of raw materials in the growing area to the delivery of the product for marketing,
these analyzes are the basis for prioritizing actions and defining goals.
In the fifth part, we discuss the methodology of the project, this was
developed in three phases: 1) Related to the collection and handling of
raw materials. 2) Related to manufacturing processes, development of
craft skills and standardization.
3) Related to the design of new products. And finally presents the findings of the project.
...............................................................
Design for local development
Hat Gallery And
the design in the
neighbourhood of
Ruzafa, Valencia
..................................................................
Jaime Sanahuja Rochera1
Ruzafa is a neighborhood full of workshops and studios, no doubt the
neighborhood in the city of Valencia which more artists concentrates
per m2. Of reduced dimensions and a lot of flavor, it keeps the proximity between neighbors, which meet in the busy market. It is, besides
that, the entrance to Valencia from the just arrived AVE, and thanks to
initiatives such as Hat Gallery -platform for dialogue between architecture, design and art-, one of the areas with more design development
not only in the city but internationally.
1
Director del estudio de arquitectura
Jaime Sanahuja Asociados, Castellón
y Valencia, España.
Cofundador de Hat Gallery, Valencia,
España.
Profesor en la Escuela Técnica Superior
de Arquitectura de Valencia, España.
email:
comunicacion@jaimesanahuja.com
..................................................................
Biography
Studied Archecture at the School
of Architecture of Valencia (ETSAV).
Started his professional career in 1983.
Architecture Firm Director JAMES AND
ASSOCIATES SANAHUJA, based in
Valencia, Castellón and Ibiza.
Associate Professor in the Department
of Architectural Design at the ETSAV
of the Universidad Politécnica de
Valencia (since 2006).
Biography
PhD Candidate “Design, Manufacture
and Industrial Project Management”
UPV, Spain. 2010 - to date. Master: “MBA
Master in Business Administration”,
Universidad del Valle, Colombia.
(2002-2006) Degree Industrial Design.
Universidad Nacional de Colombia
(1996) Professor: Design Department.
Universidad Nacional de Colombia,
Sede Palmira (1999- to date)
Co-founder of Hat Gallery, platform
for dialogue and debate between
artistic disciplines: architecture, design
and art.
66
67
Design for local development
Triciclo Gestión
y Diseño: An
entrepreneurial
experience in
Asturias with
Industrial Design
as a standard
..................................................................
Carlos Fuentes García1,
Javier Suárez Quirós2, Ramón
Gallego Santos2
1
Triciclo Gestión y Diseño S.L. Gijón,
España.
2
Grupo I3G (Investigación e
Innovación en Ingeniería Gráfica)
Escuela Politécnica de Ingeniería.
Campus de Gijón, s/n. Universidad de
Oviedo.
email:
carlos.fuentes@triciclodesign.com
..................................................................
Biography
Biografía Carlos Fuentes: Carlos
Fuentes was graduated as an
Industrial Engineer and Master in
Industrial Design Management at the
University of Oviedo. He worked several
years as a research fellow in R + D +
i and in 2010 founded the Strategic
Consultancy about Industrial Design
called Triciclo Gestión y Diseño
If for many years the word that was associated business excellence
was the “quality”, today it is the “innovation”. However, innovation
is often associated with technology only when it is precisely the nontechnological innovation, for example, industrial design, which is more
affordable for all businesses, however small, in any sector in any situation. In addition, innovative design may be the trigger for technological
modernization. Industrial Design is a service that any company can
have whatever their size, as each will have to adapt this service to its
corporate structure to take full advantage of their competitive advantage. If we understand that design is a tool for adding value and other
business tools, we must develop capabilities to manage. That is why it
has launched in the Principado de Asturias a pioneering initiative in the
region to improve competitiveness and alleviate the shortage among
companies of our business: Tricycle Management and Design. Tricycle
is an Industrial Design Management and Strategy Consulting seeks to
imbue designthinking culture, a new paradigm globally oriented companies to design as a tool for innovation in strategic planning, relations
with the various agents (customers, suppliers), the integral design of
products and services or the definition of manufacturing processes.
It is shown that with the implementation of a comprehensive methodology to design products that are obtained much more responsive
to the needs of users, so that the degree of consumer satisfaction is
much higher and the likelihood of success of such products increases
significant. However, for various reasons, the use of industrial design
has not yet been integrated intensity in the Principality of Asturias.
In our region, usually unknown possibilities of industrial design and
is considered neither necessary nor relevant to the business strategy.
Companies focus their competitiveness in how they do things and not
on what to do, but it is crucial to guide their strategies towards innovation and development of new products that differentiate in the market.
Although gradually awakens the consciousness Asturian companies that
design is a must for strengthening and growth in today’s market, it is
still necessary to make a great effort to achieve full implementation of
design within the structure of the company.
Design for local development
The conjoint work
in craftsmanship
and design like
an opportunity of
future for the local
development.
Three examples in
Galicia
This paper pretend to analize three examples of collaboration between
crafts and design in the context of local development. The first example
is the designer Martin the Azúa´s project with Galician artisans, and the
use of basketry in interior design, in OFF space at the City of Culture
(Santiago de Compostela). The second example is D-due Lab project,
in which the
Galician Fashion company collaborated with artisans from different
fields to create objects in the context of its spring/summer 2012 collection. The third example is Alfar Shop , where are marketed contemporary and experimental ceramics in Vigo City (Galicia).
...............................................................
Silvia García González1,
Dolores Dopico Aneiros1,
Marta Fariña Rodríguez1, Sara
Goberna Crespo1
1
Grupo de investigación Dx7, Facultad
de Bellas Artes, Universidade de Vigo,
España.
email:
silviagarcia@uvigo.es
...............................................................
Biography
Professor at the faculty of Fine Art of
Pontevedra University of Vigo, and
in the Atelier of textile design and
fashion in Galicia (ESDEMGA) from the
University of Vigo. Worked in the Centro
Galego de Arte Contempor’anea
of Santiago de Compostela and as
exhibitions curator of design and
photography.
This paper outlines the keys to entrepreneurial experience in an economic situation like the present, in an unreceptive environment in relation to industrial design as a generator of economic development and it
has been possible thanks to municipal support the entrepreneurial culture of the City Gijon, the strong link with the project of the University
of Oviedo and the result of specific training in industrial design management as a tool for success and the existence of which are already
benefiting companies of the business of the Principado de Asturias.
68
69
Design for local development
Flexible furniture.
Community
development
through an
inclusive business
..................................................................
Cecilia Vera Pérez-Gacitúa1
Centro de Políticas públicas UC,
Santiago, Chile.
1
Chilean chipboard company MASISA has developed social programm
iniciative to help a low income community located at the pereferia of
Santiago, through the development of an inclusive business of furniture fabrication for social housing projects.
Within this programm, this paper will discuss the development of a punctual
design project that shows the different problems and necesities of the subjects
that participate to the inclusive business. And how the reality of their situation
traces the guidelines to achieve the most adjustable design proposal to their
necesities and capacities.
In this case study design becomes an instrumental mediator between the users,
producers and aims to add “choice” to the rigid boundries of chilean social
housing.
email:
caverap@uc.cl,cvera@iw¬al.com
Design for local development
Design, identity
and regional
development in
the Amazon
..................................................................
Alexandre Oliveira Santos
de.1
1
Programa de Posgrado en Diseño,
PUC-Rio, Rio de Janeiro, Brasil.
email:
olialx@gmail.com
..................................................................
..................................................................
Biography
Biography
Phd Student in Design in Pontificia
University Catholic of Rio de Janeiro,
Brasil. Arte-educator, Master in
Education.
Studied architecture at the Pontificia
Universidad Católica de Chile and a
Phd from Politecnico di Torino. From
2007-2011 has collaborated in several
research in Italy, Barcelona, and
Santiago de Chile. Currently,
is dedicated to his newly created office
of architecture in Santiago, Chile.
70
Countries such as Brazil have experienced economic growth rates that
place it between the seven largest economies (IMF, 2010). This emerging economy panorama poses to Amazon, and more specifically to the
State of Amazonas, the challenge of responding to such outbreaks of
economic development, considering the biological, cultural and social
diversities, understood as some of the foundations of this region’s identity. On the other hand, it is important to stress that, in the Amazon,
the distancing of the field of Design from the development strategic
policies of the region is a reality that needs to be constantly questioned
in order to be overcome. On the theoretical plane, with respect to the
cultural identity category, it is complex to think about the theme from
the perspective of regional development and Design, both in terms
of conceptual instabilities that the term evokes and in what concerns
the stability topic that permeated the discourse on identity after World
War II and that remains to the present day, through the concept of
nation-State. Or, with regard to criticism, under the speeches in terms
of identity, it goes from folklorization (Ortis, 1994) and criticism of
pure identities (Featherstone, 1997) to the hybridism of cultures and
identities (Hall, 2006; Canclini, 2008). Departing from this scenario, this
communication intends to reflect on the possibilities of a greater expertise in the field of Design, in the Amazon, taking as vectors culture and
cultural identity and their importance for regional development. The
first part, relying on official documents of the Brazilian Government,
undertakes a reflection on the opportunities for dialogue between the
field of Design and public policies for regional development in the last
ten years. It departs from a concept of development based on a cultural
perspective and identity under the logic of a translation work, as proposed by Santos (2003; 2008). The second part, based on the studies of
Oliveira (2009, 2010 and 2011), extends the previous discussion with
focus on the themes of culture and cultural identity and the way the
field of Design has given responses to these policies, both for teaching and research activities, in what concerns relations with the market
and with public bodies, responsible for the implementation of those
policies. The third part shows paths that may guide the actions of the
Design field, in the Amazon, in order to place it as a strategic factor to
regional development as a vector of culture and cultural identity.
71
Design for all
72
73
Design for all
Dixy, a connection
between the
“typographic
blotch” and
children’s brains
..................................................................
María Fernanda del Real
García1
1
Departamento de Pedagogía
Aplicada, UAB, Bellaterra, España
email:
ferdelreal@gmail.com
..................................................................
Biography
Maria Fernanda del Real García.
She studied her bachelor’s degree
in Graphic Design at Universidad
Iberoamericana in Mexico City.
She obtained her Master’s degree
in Artistic and Graphic Design
at the School of Contemporary
art and graphic design in Leeds
Metropolitan University, UK, where she
designed the font Dixy especially
for dyslexic people. At present she
is completing a Doctoral degree in
Process of Quality and Innovation
in Education at the Department of
Applied Pedagogy at the Universidad
Autonoma de Barcelona. The title of
her thesis is “Comparative study about
the influence of fonts used on the
reading material for dyslexic children”,
throughout this research she has been
advised by Dr Arnol Wilkins of Essex
University.
This study presents a comparison between three different fonts in order to know the possible influence they may have when used in educational materials for children with readers difficulties resulting from
dyslexia. Two of the three selected fonts (Arial and MeMimas) are
frequently used in textbooks in Spain. The third type of letter (Dixy)
was specially developed for typographic research purposes, following
graphic features that according to literature and previous studies on
reading patterns favor the dyslexic, and could improve reading skills
in these individuals. To examine the quality of reading (speed and accuracy) between fonts, a small -but significant- sample was used. Ten
children in Madrid, from 8 to 10 years were examined while reading
words and pseudowords with three different fonts (Arial, MeMimas and
Dixy). The result of the study shows the influence of the shapes of
the letters in the legibility of texts with familiar and unfamiliar words
(pseudowords) in children with dyslexia. The study showed that using
the font Dixy, despite not being known by the children, reading is more
accurate than using fonts known to them, such as Arial and MeMimas.
As to the reading speed, the results indicate that, although the Dixy is
a font never seen before by the children, reading speed is similar to a
known font for them, as is the Arial ,and greater than a hand writing
font such as MeMimas.
Design for all
The design of
street furniture and
its accessibility as
a quality factor
in the design and
management of
public space
...............................................................
Lola Merino Sanjuán1, Marina
Puyuelo Cazorla1, Jaume
Gual Ortí2
Departamento Expresión Gráfica
Arquitectónica, ETSID – UPV, València,
1
España.
2
Departamento de Ingeniería de
Sistemas Industriales y Diseño, UJI,
Castelló, España.
email:
mamesan@ega.upv.es
mapuca@ega.upv.es
jgual@esid.uji.es
...............................................................
Biography
L. Merino is a practising architect,
academic and curator. She holds the
speciality of Urban Furniture Design
at the Industrial Design School of the
Universitat Politècnica de València and
has wide experience in garden and
urban park design.
The quality of the public space is directly related to the facilities and the
available elements of use for the development of activities that facilitate
the experience of the public environment. Taking into account these
considerations, the public space and the elements of collective use, they
must offer all the citizens an undifferentiated and social use.
To design public spaces that combine the multiple aspects and needs
of a satisfactory and respectful way, it constitutes a constant aim for
companies and local administrations.
All the professionals and technicians, companies and users, must interact in order to get common criteria that can improve the product
design and the conditioning of the environment. In this respect, the
design and development of elements street furniture, under criteria
of accessibility, constitutes a decisive factor for the social integration
of a great number of persons in the use of the public space. It is also
an offer necessary for the generation of competitive spaces and of
integration places.
The inclusive design of elements of street furniture constitutes a challenge for the companies simultaneously that a commitment of quality
and an advance in the achievement of the general well-being.
This article, summarizes a part of the research project led at the Universitat Politècnica de València with the title Determination of guidelines of design for the urban elements under criteria of accessibility
[Primeros Proyectos_ Programa de Incentivo a la Investigación de la
UPV]. In this one the principal agents who intervene in the design and
development of street furniture have been analyzed together (producing companies, local and normative administrations of application).
The aim of this investigation has been to contribute in the knowledge
about this kind of products, to increase the sensibility and the relation
between these agents and finally, to extract conclusions that could be
useful for the improvement of his design and accessibility.
She is working as web/graphic
designer and advisor in graphic
elements that help the learning
process in children with and without
learning difficulties.
74
75
Design for all
Project design,
production and
marketing of
children’s furniture
(0-6 anys) in
corrugated
cardboard
...............................................................
Daniel Pegenaute Sanchez1,
Anna Gonzalez Giralt1
1
Tempus Fugit Studio, Barcelona,
Espanya
email:
pegenaute@tempusfugitstudio.com
giralt@tempusfugitstudio.com
...............................................................
Biography
Barcelona, 1975.formado en diseño
industrial en Llotja, inicié la actividad
del diseño trabajando para RIU
(Autocarrocerias), CPV (diseño PLV),
colaborando con AreaDesign, Quest, ICI
y desde entonces soy socio fundador y
director de tempusfugitstudio.
BACKGROUND: The project started on 2009-10 (from a self project) following the market
Identification, analysis, approach to Kids enviroment.
a-Target-User: 0-6 years / b-Target-Buyer: Adults, Parents.
PROJECT BASES: This project was based on following items:
MATERIALS: The material as a base of project: Ecological, Natural, Sustainable and Recyclable.
| Analysis of product/project life cycle, revers cycle (from trash to production) | Uses of technologies, experiencies and knowledge of Local Industrial links. | UE and International Standard
Norms.
SOCIAL ECONOMY & BUSINESS: The kids enviroment are full of changes, it’s a time (between 0-6 years where the physical and psiquic devolopment are intense. Try to adapt to this
changes it’s a daily challenge for the parents and kids too.
The consumism social background drove us to “use&throw” culture, and it’s intensive on the
kids, where the attention focus, interest and desire are in continous changes, so we have to plan a
product that can adapt at this situation, so economic too.
KNOWLEDGE and PARTICIPATION: The user will know and participate into the project
devolopment.
COMUNICATION: Focused on potencial user following the digital enviroment, product management focusing on social networks, blogs, web pages, Apps, minimizing the use of physical
catalogs, trade visits. A direct communication with the final user.
FUNDING: Crow-Funding, Sponsorship. By Social Co-Funding and Sponsorship of the product, linking the product with social action of Sponsor.
MANAGEMENT: Unify the communication and management criteria with the client/user, even
in the devolopment (production), so in the distribution. Simplify the product distribution process.
SOCIAL: allocate 10% of the production to Social objectives and other entities.
SOCIAL PEDAGOGY and BUSINESS
RESPONSABILITY: product pedagogy between kid-product, adult-kid and adult-product, and
must have a value to learn about ecology, sustainability, colaboration and interactivity.
TRANSPARENCY: in all product aspect and management, must bring confidence and safety
to users, so the Mark will grow in strenght and solidity.
SUSTAINABILITY/ECOLOGY: FILTERS: each previous, current and future item it’s studied
by sustainable, ecological, economical and social criteria (Packaging, Distribution, Sell-Points...)
RESOURCES: Using the local material and production resources. Export the product by license
or international distribution by local agents.
COMMITMENT: The raw material it’s obtained and manipulated following ecological, sustainable and rational uses. Minimizing the waste and energy resources.
KRTO PROJECT: A Kids cardboard furniture, where the needed items for the kids enviroment
(chairs, tables, wardrove, beds, shelves) are propoused.
Presents a product in two basic finishes, Natural and White, with a finger-paint (ecological, no
aggressive to kids)
Intesify the relationship between adult-kids (co-work), devolping the kids creative, space senses
and mechanical coordination, also in ecological values.
The kid will take own enviroment, he creates his own work, his own vision of the world.
And the Adults, has a elements can adapt to differents growing phases in affordable cost.
76
Design for all
The rol of the
design in the
accessibility and
the interpretation
of the pleaces of
the heritage
Accessibility to the culture is a right of everyone, and the visit to the patrimonial
places such as historical sites and monuments, makes possible to take part actively
of this public right. Nevertheless, there are some limitations imposed by certain architectural conditions or of conservation which make difficult or even impossible,
the visit or even its comprehension for those persons who have their capacities
reduced. The goods of collective interest since the historical, artistic, cultural and
/ or natural heritage sites, require of design attention in this direction in order that
his experience should be dynamic and accessible.
..................................................................
To achieve an active participation in sites of inheritance does necessarily not only
they solve the accessibility to the place, but also to his cultural content. The design
is a tool key to reach such an end, on having considered the visitor to be a user to
whom they have to adapt the products and the environment. The design is necessary for the creation of new devices and the improvement of his usable qualities.
Marina Puyuelo Cazorla1,
Mónica Val Fiel1, Elena Vento
Vila1
1
Departamento Expresión Gráfica
Arquitectónica, ETSID – UPV, València,
España.
email:
mapuca@ega.upv.es
movalfie@ega.upv.es
elenavento@gmail.com
..................................................................
Biography
Dr. M. Puyuelo es professor, academic
and curator. Her research investigates
products for public spaces,
accessibility and inclusive design.
She has published several books as
result of these projects, wich provide
a framework for understanding
accessibility in the context of product
design practice.
The way to the consolidation of a cultural demand has to consider the integration
of the new technologies in the cultural and patrimonial spaces. These are facilities
and resources that provide to the visitor an experience of learning and enjoyment.
In any case, it is suitable that these elements give to the users the maximum autonomy to realize the visit in a process of effective learning with flexible, versatile
and comfortable resources.
In our study we find elements destined for the communication and the wayfinding, some products that attend to the suppression of architectural existing barriers, and the specific devices designed for the specific interpretation of the place.
These solutions have to seek the goal of bringing the cultural resources to the
citizens, especially to those groups with different types of disabilities: blindness,
reduced mobility, deafness, etc. Designs seek to make them direct participants
in cultural events, changing their role from a passive to a fully active one. This
approach would transform the heritage sites into a fully didactic and interactive
areas for all participants.
Of this form, design is a multidisciplinary tool that increases the accessibility to the
heritage sites and becomes engine for the competitiveness in touristic and cultural
sectors. The information obtained allows to value the accessibility of a certain
place and in addition, contributes useful knowledge to select and to design so
much products, as alternative itineraries of intervention that make possible to any
person the full access to the facilities and the consistent enjoyment of his contents.
This paper presents the different areas and studies that are being carried out as
part of a research project in progress conducted at the Universitat Politècnica de
Valencia, funded by the Spanish Ministry of Science and Innovation: “Study and
design of orientation elements, communication support and other accessories
to improve accessibility in different environments of the interpretation of the
natural and built heritage”. Spanish National Scientific Research, Technological
Development and Innovation Program 2008-2011.
77
Design for all
Development of
book childrenyouth for the
visually impaired,
with focus on
universal design
This project of initiation artistic aims the development of children’s
book showing the mythological story of the fabric, including the spider
and the act of weaving through tactile senses and illustrations, with a
focus on universal design in the educational sense and based on psychological and cognitive aspects of youth children public. The content
and form will be substantiated through literature and field research.
...............................................................
Leticia Aparecida Nakayama1,
Ana Paula Perfetto Demarchi1
Design for all
The Role of
Empathic Design
in Developing New
User Centred Tools
& Methods for
Chinese Product
Design
..................................................................
China has a booming economy but an inadequate design infrastructure
to serve it, especially in product design education. Previous practices
and theory in Chinese product design are no longer adequate to serve
the new circumstances of international economic development. Western design experience and Empathic Design Methodology may help
China anticipate the new issues of new product development. The
aim of the paper is to discuss the importance of Empathic Design in
developing effective methodology for Chinese product design based
on the pilot study that explores the growth of Chinese product design
and the need of Empathic Design from both industry and education.
Xin Liu1, Professor Simon
Bolton2, (Gene) Xin Ge3
State University of Londrina, Londrina,
Brazil 2 State University of Londrina,
Londrina, Brazil.
1
Cranfield University, Centre for
Competitive Creative Design Cranfield
(C4D), Bedfordshire, MK43 0AL, UK
1
email:
leticiaapnakayama@hotmail.com
2
Cranfield University, Centre for
Competitive Creative Design Cranfield
(C4D), Bedfordshire, MK43 0AL, UK
perfeto@sercomtel.com.br
3
Cranfield University, Centre for
Competitive
...............................................................
Biography
Creative Design Cranfield (C4D),
Bedfordshire,
The professor is Designer with a Doctor
Degree in Engineering and Knowledge
Management by the Federal University
of Santa Catarina (UFSC). She is
currently adjunct professor at the State
University of Londrina (UEL), is also
productivity researcher (DTII) by the
Brazilian “National Research Council
(Cnpq)”.
MK43 0AL, UK
email:
x.liu@cranfield.ac.uk
s.bolton@cranfield.ac.uk
x.ge@cranfield.ac.uk
..................................................................
Biography
Xin Ge received Master of Design
Innovation and Creativity in Industry from
Cranfield University UK. He is currently
working as a creative cousaltant at
Center for Competitive Creative Design
in Cranfield University. His professional
interests foucus on Cosumer Insight and
Street Fashion Culture in Asian.
78
79
Design for all
S.O.S public
space! The Access
project and
cities building
accessible to all
ages
...............................................................
Filena Di Tommaso, Matteo
Fioravanti, Cristina Tartari
Acces_sos atp, http://accessos01.
blogspot.com/ Florencia, It
email:
filena@territori24.com
...............................................................
Biography
Studied at the Faculty of Architecture
of Florence and integrates her studies
at the Polytechnic TU Delft, Netherlands
and the European Institute of Design
of Turin, Postgraduate in Exhibit Design.
Since 2005 She is member of Territori24
architecture and urbanism for which
coordinates the project ACCES_SOS- In
2010 founded the company in design
and ephemeral architecture LA PETITA
DIMENSIO’ with Aristoy Susana.
Our Cities’ Public Space is the last neutral territory. It does not belong
to anybody, it belongs to everyone. It changes and shapes itself depending on who is momentarily inhabiting and contaminating it. Most urban
public space is empty, forgotten, or - on the contrary - confused and
congested, because of the rapid social transformation the city itself
is experiencing. We cannot avoid hearing an SOS urgently being sent
from our streets, as well as a demand for a new civil commitment that
involves us, as scholars, professionals and public space actors.
Acces_sos, an international association for design and research composed of Italian and Catalan architects, explores the nature of public
places and tries to give answers to the social discomfort of our urban
space through the study of accessibility. Acces_sos defines accessibility
not just as the absence of architectural barriers, but also as the propensity any anthropized environment has to be inhabited, lived and enjoyed
by people of any age and social status. Acces_sos has developed urban
design projects through participative practices with citizens, events,
performances and research, with and for the public administration of
Catalunya, Emilia Romagna and Tuscany. In 2010, Emilia Romagna
financed the creation of an executive general plan to help with the
construction of an “elderly friendly city” and of a “hospitable urban
environment.” The acces_sos method has been divulged through the
‘Xarxa de Barris” by the Generalitat de Catalunya during the process of
urban revitalization activated by the “llei de millora de barris”.
This paper presents the results of acces_sos research as of today. It
also describes the experience of the workshops in Emilia Romagna
and Catalunya and presents a photographic journey through differnt
contemporary urban realities offering possible guidelines for urban revitalization using the methodology acces_sos applies.
Pedagogical challenges in design
80
81
Pedagogical challenges in design
Challenges of
jewelry designers
in front of the
industrial demand:
a new profile?
..................................................................
Isona Ten Valls1
1
Dissenyadora de joies freelance,
Barcelona, Espanya.
email:
The purpose of this text is to figure out the working challenges jewellery and costume jewellery designers will encounter in order to define
their profile, taking into consideration the present changes in mass
production and any present social transformations.
The definition of the jewellery designer’s profile is based on three
points: 1) An approximation of the jewellery concept and its impact in
production. 2) An attempt to redefine the relation between jewellery
designers and their working place based on my own training and working experience. 3) A multidisciplinary training proposal which includes
learning industrial design and fashion design competence skills while
learning social skills which will enable the designers to cooperate and
work with a wide range of professionals.
isona10@gmail.com
..................................................................
Pedagogical challenges in design
Teaching what
we know and
what we don’t
know. The value
of uncertainty in
the pedagogy of
design
...............................................................
Nacho Gil González1
Área Cultural, BAU Escuela Superior
de Diseño, Barcelona, España.
1
Since the mid-twentieth century, uncertainty has turned into a main
concept for seemingly distant fields such as physics or psychology. Although it takes roots in much earlier times, its presence is increasingly
relevant in our everyday life. But where does uncertainty arise from?
Why do we understand it as a threat? And in particular: Is there the
need for a pedagogy of uncertainty? Could it apply to design teaching?
Which could be the purposes and implications of its adoption?
This paper tries to answer these questions and clears space for a teaching and learning of design ready to face uncertainty instead of avoiding
it, considers the role of uncertainty as an organizer of both content and
teaching practices, and aims to promote an education consistent with
contemporary knowledge and circumstances.
email:
Biography
nacho.gil@bau.cat
Degree in Industrial Design at Escola
Superior de Disseny, ESDi (Spain) and
3D with Digital Modelling at University
of Central Lancashire, UCLAN (Great
Britain) Actually I am working as a
freelance jewellery and accessories
designer.
...............................................................
Biography
Professor at BAU School of Design
and, formerly, professor at several
Catalan universities (UPF, UOC, UVIC,
ESERP). Graduated in Journalism
(1990) and in Advertising (1992) at
UAB. Postgraduated in Philosophy
at UB (1999). Currently, he is a PhD
candidate in Public Communication
at UPF, and he also works as an
advertiser and graphic designer since
1992.
82
83
Pedagogical challenges in design
Can you learn
to innovate?
A proposal for
people-centered
school innovation
..................................................................
Humberto Matas Rodrigo ,
Alicia Chavero2, Irene Estrada2
1
Director Fundación Diseño e
Innovación. Madrid, España.
1
2
Directora h2i institute, Madrid, España.
email:
humberto.matas@h2iinstitute.com
The concept of human centred innovation goes beyond embodying
potential clients or users in the new creation of ideas. The philosophy
puts the person at the core of innovation, and solutions are based
on needs instead of possibilities. This approach is more centred on
the how than the what. In that sense, h2i is quite different from the
few other similar education initiatives there are out there. The institute
works with innovation methodologies, skills and tools, developed by
important American and European universities, innovation centres, and
business schools that have been successfully tested and used in business.
h2i promotes a space for training and experimenting, which is to be
used as a think-tank, and from which the postgrads and companies can
benefit. There are never more than 16 students at a time and the courses
are very intensive, with students taking classes three days a week, as well
as working on demanding projects. Everything the students work on
is eventually applied to the real world. As a foundation for a lot of the
thinking behind h2i, innovation can only exist when applied.
alicia.chavero@h2iinstitute.com
Pedagogical challenges in design
Design- Towards a
creative industry
for the latinamerican reality
..................................................................
Dra. Alejandra Elena
Marinaro1, DG. Romina Alicia
Flores1
1
Escuela de Comunicación y Diseño
Multimedial. Universidad Maimónides –
Buenos Aires, Argentina
email:
marinaro.alejandra@maimonides.edu
flores.romina@maimonides.edu
..................................................................
irene.estrada@h2iinstitute.com
Biography
Alejandra Elena Marinaro (44)
got her MBA degree from Salvador
University (Argentina) and Deusto
University (Spain). She is academyc
Secretary at Maimonides University.
Director of the International Business
School and the Communication and
Multimedia Design School at the same
University. Founder and member of the
collective art group “Proyecto Untitled”.
Evaluator designated by the National
Commission for University Evaluation
and Accreditation of Argentina for
postgraduate programs.
..................................................................
Biography
Humberto Matas, Designit’s Strategic
and Innovation Director, teaches
Innovation Methodologies and is the
president of the Innovation and Design
Foundation, where the Innovation
School Human Centered h2i was
founded. He helps large companies
to develop new products and services,
supporting entrepreneurs in their
business and teaching their students
new ways of thinking and finding
passionate ideas. He has demonstrated
that the balance between a
company’s human conception and
implementation of an income statement
is not only possible but desirable from
a business perspective. Linked to the
Internet from the beginning, and a
first experience in Tandem DDB, in
1995 he founded Conver, an online
marketing consultancy. In 1997, he
joined Teknoland, where he held various
senior positions, including Director of
Consulting. In May 2001 he founded dnx
with Joaquín Guirao, its current business
plan (now Designit).
Romina Alicia Flores (35) is Graphic
Designer. She completed her studies
in 1999 at the University of Buenos Aires
(Argentina), where she taught for over
7 years in Morphology I and Design II.
In 2004, she became coordinator at
the graphic design and multimedia
area at Maimonides University, where
she is currently teaching “Basic´s of
Design” and “Senior Project II”. Since
2007, under the direction of Alejandra
Marinaro, she coordinates the
collective art group “Proyecto Untitled”
84
Nowadays, Latin America shows a very uneven distribution of technology resources: the gap between those who have access and those who cannot access
technology is ever growing; this leads to “technology illiteracy” that produces job
marginalization and educational inequity.
The duty of educators and politicians is to find new policies and programs that
should include creative industries such as designing, together with the teaching
of new technologies to make it possible for a greater portion of the population
to have access to this knowledge, which will enable it to be included in the job
market. This would lead to a greater social and cultural impact in the region.
This type of training also means that the language of the educators will change.
It is, at the same time both, continuity and separation from an essentially verbal
teaching tradition, centered in the teacher as the main actor towards a new multilinguistic and multi-media and multidisciplinary conception oriented towards the
learning activities of the student.
Within this context and due to the challenges posed by our goals to transform
Multimedia Design into an important creative industry in our region, we created
“Project Untitled” at Universidad Maimonides. This is an artistic collective undertaking that includes teachers, directors, and students of the School of Multimedia
Communication and Design, together with a group of artists, curators, biologists,
and engineers, among others, that we invite to work with whenever it is possible.
Our goal has been, since its inception, to be mediators or links among the fields
of education, arts, science, and society by means of interactive design.
“Untitled” is a pedagogic, artistic and technology Project, which originated as a response to the need to optimize the quality of education in the local scene. Teaching strategies as the one we describe are generally not present in Latin America
and we have adopted them to enable our students and graduates to become as
competitive as possible for the job market.
Since its creation, this Project has been present with its avant-garde artistic production in many art and design spaces. This Collective Project has been able to find
artistic solutions to challenges that are a mixture between the arts and technology
by approaching them from the design, public art, bio-art, robotics, interactivity,
and video games points of view, among others.
Furthermore, it was devised as a system that links education with work and experimentation. Naturally, this will have a strong repercussion on the entire society.
The goal of this Project is to cooperate with learning paradigms in order to reach
the quality that a true society of knowledge needs. Education is fundamental for
the development of any nation, including the “periphery countries”, which can
contribute a different point of view, and which, in this sense, can offer wider
possibilities, precisely because these countries have the “critical distance” that,
probably, core countries are short of.
85
Pedagogical challenges in design
The North, East,
West, South (NEWS)
Project Exploring
traditional
knowledge
parallels in the
Creative Economy
...............................................................
Timothy Neil Antoniuk1
Associate Professor Coordinator Industrial Design Program
1
University of Alberta,Department of Art
& Design,
3-98 Fine Arts Building, Edmonton,
Alberta, Canada
email:
tna@ualberta.ca
...............................................................
Biography
Tim Antoniuk is an Associate
Professor in the Industrial Design
Program at the University of Alberta
where he teaches classes in
emerging economic design models,
contemporary furniture, and design
for social and sustainable needs.
Prof. Antoniuk’s research investigates
sustainable desire and issues related
to tacit, traditional knowledge, and
the emergence of the (global)
Creative Economy.
Is it possible that smaller and less globally competitive countries in the
world could become the focal point of creative inspiration and envy?
Could old knowledge and a deep understanding of ancient cultural traditions, such as those of the Canadian Inuit, Chinese, Mexican and South
African people, become one of the most important factors behind developing innovative goods and services in the future? The NEWS Project
is beginning to show compelling evidence that one of the most important sources of ‘innovation’ in the future will come from co-developing
a socially and environmentally-driven design process; a system which is
focused on redefining contemporary notions of modernity and human
progress through integrating old knowledge parallels and traditions with
emergent technologies, design, communication and distribution systems.
Building on to the research findings, lessons and methodological processes that Antoniuk and the visionary Dutch design group Droog developed during The NEWS Project’s pilot-project, The Luxury of the
North (2009-11), team members will visit four new and highly remote regions of the world each year to immerse themselves in the rituals, lessons
and traditions of four ancient, indigenous cultures. Mobilizing some of
the most respected researchers and design schools/institutions from the
North (Canada), East (China), West (Mexico) and the South (S. Africa and
Botswana), all projects will maintain the highest levels of creative and ethical integrity through using ‘local research experts’. Intended to help steer
each project, these regional collaborators will help the team to develop
open, trusting and meaningful relationships with the remote communities that they will work with; they will become invaluable interpreters of
cultural traditions, aesthetics and in decoding how these people have lived
sustainably for millennia. Through developing a better understanding of
how these cultures have relied on art, design and story-telling as a primary
(or only) means of conveying knowledge (a system which evolved over
thousands of years of testing and development) Professor Antoniuk and
members of The NEWS Project will show theoretical (written), conceptual (computer-generated) and physical evidence (prototyped artifacts), of
how seemingly worthless objects from nature and traditional cultures can
offer new creative, material and aesthetic insights into how the contemporary world could live more sustainably.
This paper, which is supported by initial findings from The Luxury of
the North Project and a diversity of theoretical and statistical evidence,
will show: (A) how and why the Creative Economy is becoming the most
powerful, durable and influential economy in the world today; (B) why a
new global and creative-base design methodology must be developed to
support its expansion; (C) how and why new creative-based approaches
could enhance levels of social innovation; and (D) how the ‘hybridization’
and reformulation of traditional knowledge and cultural practices could
allow struggling nations, regions and cultures to compete more effectively
in the Creative Economy.
86
Pedagogical challenges in design
Colour: In the line
of tradition and
of ephemeral
existence
..................................................................
Daniel Yacubovich Bursztyn1
1
Escuela superior de Diseño. ESDI.
Asignatura: Teoría y Taller de la Forma
y el color
email:
dyacubovich@prof.esdi.es
danivich@gmail.com
..................................................................
Biography
Daniel Yacubovich was born in
Argentina in the year 1954. In the year
1963 he emigrated to Israel.From 1982
he leaves in the city of Barcelona.
Paints, writes and shows installations in
museums, Fundacion Miró, Kunstahalle
Dusseldorf. Williamsburg Art & Historical
Centre in NY.
Arts festivals and galeries. He designed
games and showed chairs, in the
Vinçon art space,
drawings and paintings at the Gallery
MX Espai, the Gallery Antonio de
Barnola in Barcelona. He teaches from
the year 1989 in the ESDI: Escuela
Superior del Diseño de Sabadell.
Barcelona. Universitat Ramon Llull.
This paper is mainly concerned with the theoretical and practical aspects of the
teaching of form and fundamentally the teaching of colour. Through chromatic
means this paper explores the metamorphosis carried out by our perception,
between the phenomenology of presentation and representation.
Observations carried out in everyday life as well as in teaching are presented, looking at different emphases and methods of application, especially through colour
and its use in teaching, communication and design.
Some of these interactions will be shown through practical exercises.
A big challenge in the transformation of perception today involves the use of
new methods of focussing on time in a creative manner.
The phenomenon of representation is an essential depository of time, the history
we inherit and how this is represented.
In this more general context are grouped perception, the culture we inherit and
an overall structure by which we are conditioned.
The system of experimentation through the recourse to colour, which is presented here for the first time, is the result of research over a period of 20 years
of experience as multidisciplinary artist and teacher of students of both art and
design.
The experience of integrating a 3D approach in a work of 2D makes necessary
the organization of our perception which, subject to rigid cultural patterns, calls
for a revision of certain aesthetic values that allows a new freedom in representation.
In this experimental work, the distinction between art and design is not fundamental, given that everyone (at least those with no colour perception problem)
experiences the sensory and aesthetic phenomenology of chromatics..
Nevertheless, the application and communication through colour is of particular
interest to professional artists, designers, teachers, etc.
In working with a system of recourse and articulation, for example, for a space,
a place or a landscape, one can experiment with his/her own perception in a
process of transformation.
This means that the person involved must understand the real significance of
differential chromatic value; due to the interaction, not only of tone but from the
movement of his own body through space, changes in skin temperature and
touch, and how this is translated by the retina; following this organizational logic,
in the application of colour in a two dimensional plane..
The exercises proposed analyze and question pictorial tradition, and propose a
reshaping of some aspects of teaching and training in the area of representation,
as applied to the present day.
These proposals arise from new spatial perspectives and from physical and chromatic landscapes transformed into symbolic questioning. The object here is to
render support, by means of specific exercises, to young students who want to
train in the world of design and art while exploring, both personally and professionally, the phenomenon of representation in general and design in particular.
87
Pedagogical challenges in design
Spatial reasoning,
the creativity
phenomenon.
Model “from
design to THE
DESIGN
...............................................................
Dina Rochman Beer
1
1
Universidad Autónoma Metropolitana,
Cuajimalpa, México, Distrito Federal.
email:
drochman@correo.cua.uam.mx
This paper provides an overview of the model called “from design TO
DESIGN” which explains, defines and represents the qualities, characteristics and circumstances of the paradigm shift in the teaching and
learning of design, for the development of a method of spatial reasoning through reflection, interpretation, exploration, relationship, identification and description of the concepts, procedures and techniques for
the production of an object. This model describes the interaction of
the different disciplines that must be taken into account in the teaching
and learning of design to solve real problems, and that with the use
of innovative digital technologies develops spatial reasoning. The spatial reasoning, creativity phenomenon is explained through three main
areas: “know-how, artistic knowledge, and technical knowledge” and
there is a fourth area: “grow for change”, so that the future designers
can create new ideas, provide original solutions and can be competitive
in their professional lives.
...............................................................
Pedagogical challenges in design
The silicon pen:
Reflections on
the impact
of Computer
Graphics in the
activities of design
..................................................................
The article is brought into critical discussion that from the nineteen-eighties
observe with concern the systematic replacement that was carried out in the
traditional techniques of Drawing for Com-puter Graphics. In our opinion the euphoria of the diffusion of ITC’s (In-formation Technology and
Communications) has tended to hide and/or underestimate the incidence
of this phenomenon in the field of Graphic Expression applied to the
project. The aim of our work would be to put into question some of the
pedagogical effects this process has led to the expression and communication of the project, and furthermore, for the capabilities of the designer.
Alfredo Berdié Soriano1
Departamento de Expresión Artística
de la Escola Superior de Disseny (ESDI)
Universitat Ramón Llull (URL) y de
Expresión Gráfica de la Escola Tècnica
Superior d’Enginyeria Industrial de
Barcelona (ETSEIB), Universitat Politècnica
de Catalunya (UPC), España.
1
email:
Biography
alfredo.berdie@ege.upc.edu
Doctor of Education in the area
of diagnosis, measurement and
evaluation of the educational
intervention. Professor and researcher
in the Department of Theory and
processes of Design Cuajimalpa
Metropolitan Autonomous University
in Mexico City. Member of The
International Society for Geometry and
Graphics.
..................................................................
Biography
Doctor of Fine Arts, Bachelor of Fine
Arts, specializing in Design.
Professor, Department of Artistic
Expression of the School of Design
(ESDI)
Universitat Ramon Llull (URL) and
Expression Graphic Superior Technical
School of Industrial Engineering of
Barcelona (ETSEIB), Universitat
Politècnica de Catalunya (UPC), Spain.
88
89
Pedagogical challenges in design
And wake
the dream of
improving design
education
...............................................................
Oscar Ernesto Guevara
Alvarez1
1
Consultoría pedagógica
especializada en la enseñanza del
Diseño. Barcelona, España.
email:
didacte.oscar@gmail.com
...............................................................
Biography
Architect. 25 Years of experience in
architectural project, and teaching
and research in the fields of
architecture and design. Founder
and Academic Vice-Rector of the first
university dedicated to these branches
in Honduras:.Completing a PHD in
architectural education. Founder
and Director of the Consultancy
Pedagogical “Didacte”, specialized
in the teaching of design with
headquarters in Barcelona. Author of
the book under publishing “Immersion
in the Teaching of Architecture and
Design” .
• Is there a specific discipline to teach design? What would this teaching
be about? What would it study?
• What to do to intervene successfully in design education?
The presentation is geared to think about the paradox between the clear
perception of the need to raise the quality of the design teaching-learning process and acceptance of the results obtained repeatedly.
The strategy of the statement that follows is to use a comparison between the avant-garde company, carefully designed to detect problems
and solve them in order to solve them and raise the quality of what they
produce; and the University as a company.
The problems with university design teachings do not belong to a region
or particular institutions, but are universal problems and the differences
seen between the educational institutions are of degree and not of essence.
University education has to be transformed. We often notice that when
we find weaknesses and aspects that could improve. However, we find
ourselves immersed in them with so much familiarity that we fail to
discover them and they go unnoticed. The problems are part of the
teacher’s day-to-day work and become a source for pedagogical research,
but could bring about changes in the teaching quality.
I intend to expose the characteristics that manifest the teachings of design; its logic and the improvement guarantee that it offers, if it joins the
educational system. And, on the other hand, the underlying structures in
the institutions that prevent the intervention and teaching innovations
in the field of design.
This exposition shows that, to adopt particular design teachings, it requires an act of innovation by the educational institutions.
The novelty of this paper is that the analysis is not projected from the
practice of the profession, or from the theory of design, but from quality management and, above all, from a discipline that is newly born with
a particular nature: the Didactics of the Design.
Branding
90
91
Branding
Breaking with the
traditional image of
wine using collage
Tinedo’s (Winery
and Vineyards)
study case
..................................................................
1
Sonia Díaz Jiménez , Gabriel
Martínez García1, Isabel
García Fernández2
Branding
Tinedo is not cool, not trendy, not found in media cultural spaces
neither in the world of wine. They are not young and don’t have an
architectural reference winery. They count with a low budget for communication and production. Having into account all the above they try
to create an authentic and honest system in which owners, workers and
consumers are attached and identified with it.
DASPU – Fashion to
Change
The visual manifestation of such ideas and aspirations is translated
into a contemporary language which communicates the cultural values
of the land and the ecological and social environments. The graphic
resources selected emphasize the narratives and the sense of humor
using collage with basic and direct typography.
1
Departmento de Design – FAAC/
UNESP, Bauru, São Paulo Brasil.
...............................................................
Ana Beatriz Pereira de
Andrade1, Flavio Lenz2
DASPU is a fashion brand project, linked to the NGO Davida, and their results,
translated into T-shirts, transmit messages related to prostitution, health, civil, and
human rights. This is an analysis, as a cut, of three T-shirts signed by the fashion
brand. The choice for these good-humored and double-meaning pieces was due
to their establishing direct graphic reference to three brands that are part of public
imagery repertoire, presenting the objectives of Davida/DASPU, directly related
to the regulation of prostitution as a profession, and to the questions of prejudice
and feminine self-esteem.
2
Instituto de Comunicação e
Informação Científica e Tecnológica
em Saúde, Fiocruz, Rio de Janeiro,
Brasil.
email:
LSDspace, ESDmadrid, Escuela
Superior de Diseño; Escuela de Arte y
Diseño nº 10, Madrid, España.
1
anabiaandrade@openlink.com.br
flavio@davida.org.br
2
Facultad de Bellas Artes, Universidad
Complutense de Madrid, UCM,
Madrid, España.
...............................................................
email:
Biography
sonia@lsdspace.com
gabriel@lsdspace.com
Graphic Designer (PUC-RIo);
Master - Communication and
Culture (ECO/UFRJ); Doctor - Social
Psychology (UERJ). Professor at Design
Department - FAAC/UNESP (Bauru SP). Researches: Typography, Methods
on Design and Design of Dissent,
Human Rights, Multimodal Discourse
applied to Gender
museoig@art.ucm.es
..................................................................
Biography
Sonia Díaz Jiménez is a graphic
designer. She has a three B.As.:
in Fine Arts from the Salamanca
University, in Communication from the
Complutense University of Madrid and
journalism from the Carlos III University
of Madrid. She teaches at the Escuela
de Arte nº 10 and ESD/madrid.
Gabriel Martínez García is a graphic
designer. He has a B.A in Fine Arts
from the University of Salamanca.
Currently he teaches graphic design
at the Escuela de Arte nº 10 and ESD/
madrid.
Isabel García Fernández is museologist
and professor in the Fine Arts Faculty of
the Complutense University of Madrid.
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93
Branding
Doodles and
Google style code
..................................................................
Style codes reveal different strategies image within the visual identity lattice
nowadays. Yet many corporate entities build their visual identity based on closed
strategies: based on the systematic repetition of the universal constants as a
measure of effectiveness.
Profª. Dra. Rocío Cifuentes
Albeza1
The parameter of originality or occurrence can also be a key factor in achieving
the principle of identification, according to our hypothesis.
Área de Comunicación Audiovisual y
Publicidad del Dpto. de CC. SS. Y HH.
Doodles, illustrated Google logos, are a paradigm of open style code, sometimes close to the polymorphous images to leave without fear of the main
image of the company and use some visual games for its configuration.
1
Miembro del Grupo de Investigación
CULTURDES
Universidad Miguel Hernández,
España.
email:
rcifuentes@umh.es
..................................................................
Biography
PhD from Miguel Hernández University
- Outstanding cum laude and
proposed special award
Professor of Audiovisual
Communication and Advertising /
CC. SS. and HH. Department/ Miguel
Hernández Universitas
Member of research group CULTURDESCulture, tourism and development
cooperation
Member of the Spanish Association of
Communication Research, AE-IC
Doodles over 900 published between 1998 and 2010, a period limited in our
research, we glimpse these logos as an established and successful practice. The
measure of effectiveness, according to each individual case, is the product between the relationship recurrence and occurrence. The a systematic with which
these two variables involved in the process of decline or bending of the main
image of Google, serves short-term incorporation of messages whose validity
is ephemeral in time. Doodles have a dual function: to identify the search tool
and the fact circumstantially cited therein.
The medium exhibiting publicly Doodles-Internet- enables these logos and
unusual favors attribution of different forms of interaction with them: they
are all equipped with a function o become a search term drafted in advance
by the company. This feature, unconventional stresses from a coherent and
unambiguous view the symbolic translation of certain attributes of corporate
identity, linked to productive activities such as search server. The Doodles are
considered and a patented method that encourages access to a web site, collected by the Office of United States patents (USPTO: 2011).
Also in 2010 have appeared more frequently interactive Doodles, substantially
altering the public’s relationship with the brand: the user leaves his position of
observer to form an active and integrated into the visual identity of Google.
The user experience takes on new and different characteristics that modify the
image projected by the company and the public perception.
The international scope of the company and its search tool, dip consistently to
the Doodles in a process of specialization, to adapt according to celebrations
and national cultural characteristics of different users accessing the search tool
at the top level geographical domain hat Google has registered. This feature
is related to the company’s vision, making information accessible worldwide.
Branding
Bottle Talks.
Two decades
of innovation
and excellence
in Spain wine
packaging. What
now?
...............................................................
Albert Martinez Lopez-Amor1
In 1988 there is the formal coming out of the first cava produced by
a new winery, Raventós i Blanc. Its bottle wears an innovative and
cutting-edge label, which is now considered the foundation fact of a
new type of packaging communication that breaks with a huge traditionalist legacy. The graphic revolution that the Spanish wine industry
experiences since then spreads upon various names and stages in a journey full of different images and creative ways, which culminates in the
nowadays great acceleration. Today a growing number of professionals
are specializing in an accurate and excellent packaging. The wine sector,
in turn, shows a great understanding and receptivity to the benefits of
the design. We are at a good time, in a good position. So let’s ask: where
are things going? Where we need to make them go?
1
Economista i periodista especialitzat
en la comunicació del sector
vitivinícola; membre de la junta d’ADGFAD, Barcelona, Espanya.
email:
albert@lopez-amor.com
...............................................................
Biography
Independent communication
professional specializing in strategy,
creativity, design and content
management. One of his main areas
of activity is within the wine sector. He
has collaborated with leading wineries
and companies in this field –including
Álvaro Palacios Spain, Luberri, José
Pariente– and has organized several
events related to the wine world, as the
debate series The possible happiness,
held at Arts Santa Mònica in 2011. He
currently writes the blog superwine.
posterous.com.
The reputation of the company and its international recognition, supported
by prestigious institutions such as Prince of Asturias Awards, justifies the investigation of his public image, to set a precedent in the imagination of visual
identities and strategies of the current image today
94
95
Design of interfaces and of interactiveness
96
97
Design of interfaces and of interactiveness
The Role of Design
as a Means
of Innovation
in the Process
of Creating
Educational Video
Games
...............................................................
Joan Morales Moras1
Departament de disseny i imatge, UB,
Barcelona, España.
1
email:
joanmorales@ub.edu
...............................................................
Biography
PhD in Design from the University of
Barcelona. MA in Multimedia Design
(UB)Member of the research group
Creative Practices and New Media
(UOC). I have teached at UB, Elisava
(UPF), IED and Massana (UAB) and
worked as a designer and Art Director.
Fields of interest: Design, New Media
and Pedagogy
In the context of knowledge society, designers face the challenge of
designing new products and services in which digital technologies and
the value of knowledge are crucial. Educational video games are a
good example of them and are now experiencing a renewed interest by
the multimedia idustry and academical research groups. In this regard,
and taking into account that learning sciences -and most recently the
emerging field of game studies- have already started to approach eventual formulas for their renewal, we think that the discipline of design
should make an effort to contribute to that research and to bring its
undoubted value as a discipline committed to innovation.
According to that, this paper focuses on enhancing the role of design
as a means of innovation in the production of educational video games.
In the first place, We will try to identify the challenges and opportunities faced by these products in the context of the knowledge society,
regarding both their design and their theoretical study within the field
of design research. Secondly, We will situate educational video games
in the intersection between edutainment software and the so-called
serious games or games with an agenda. In addition to that, We will
present some theoretical sources that might be useful for designers to
approach their study. And finally, our main topic will be discussing the
specific areas in which design may act as a means of innovation in the
production of educational video games.
We think that all of this may contribute to the aim of setting up the
basis of the design discourse in the field of educational video game
research and innovation, because We think that the discipline of design
should add its voice and find its place in the multidisciplinary field of
game studies, and to carry out an essential role in the innovation of
educational video games.
98
Design of interfaces and of interactiveness
Living Lab
Research
Landscape: Part II
..................................................................
Marco Ferruzca2, Yadira
Alatriste,1, José Ma. Monguet1
1
Barcelona Tech (UPC), Barcelona,
España.
2
CyAD, UAM-Azcapotzalco, México, D.F.
This work presents the results of an analysis and categorization of a set
of papers about living labs published during 2006-2011. The aim was
to build a deep understanding of the domain landscape of living lab
research (D3LR) proposed in the past 1st. Living Lab Summer School
held in Barcelona (Pallot et al., 2010). 817 papers were reviewed in
order to try measuring the size of each research area proposed in the
original D3LR based on published scientific papers contained in the
ISI Web of Knowledge. They had to be related with design, users and
Internet. They were also classified according to four possible subjects:
artifacts, concepts, models and methodologies. Results of this study can
be of interesting for those looking a research topic about living labs.
It also outlines where living lab research is more needed and trends in
this theme.
email:
yadira.alatriste@gmail.com
monguet.upc@gmail.com
mvfn@correo.azc.uam.mx
..................................................................
Biography
Marco Ferruzca, Profesor-investigador
de la Universidad Autónoma
Metropolitana-Azcapotzalco (UAM-A).
Estudios de Posgrado en el ámbito
de las Nuevas Tecnologías Doctor
por la UPC. Su experiencia profesional
y de investigación se orienta a la
innovación conducida por el diseño
y las TIC.
99
Design of interfaces and of interactiveness
The tangible bits
..................................................................
Dr. Anna Pujadas Matarín1
1
EINA/UAB, Barcelona, Espanya.
email:
apujadas@eina.edu
Tangible Bits, is a survey of Human Computer Interaction (HCI) that
seeks to realize seamless interfaces between humans, digital information, and the physical environment by giving physical form to digital
information and computation, making bits directly manipulable and
perceptible. The goal is to testify how designers, architects and engineers blur the boundary between our bodies and cyberspace and turn
the architectural space into an interface.
Design of interfaces and of interactiveness
Neurona, Digital
applications and
content’s design
and development
...............................................................
Alejandro Limón García1
Instituto Tecnológico de Estudios
Superiores de Monterrey. Campus
Guadalajara. México.
1
..................................................................
Biography
Departamento de Diseño industrial,
Escuela de Ingeniería, Arquitectura y
Salud.
Anna Pujadas (Sabadell, 1967) has a
degree in Art History (1990) and one
in Philosophy (1992) by UAB. She has
a Ph.D. in Art History (1998) also at UAB.
She teaches History and Theory of
Design in Eina Design School (2002)
and teaches in the Master in Cognitive
Systems and Interactive Media of UPF
(2007).
email:
alejandro.limon@itesm.mx
Earlier than we can imagine, most of the things that we know will become digital. Through mankind history, the appearance of new technologies has been marking the way we develop as society. To every great invention, has followed a series of movements and sociocultural responses
that have changed the way we see and experience the world around us.
The advance and grow up shown by digital technologies, without any
doubt has reframed the way we understand the world. New types of users, interfaces and computers will be born, and the definitions to concepts
that we have generated as a society, will have to be reconsidered.
This work presents an analysis of some factors that were considered key,
in the development of digital – products and services.
a) The appearance of new artistic forms of expression, product of the
influence of the digital era in world of art.
b) The interface design concept.
c) The increasing availability of new technologies.
d) The strategic analysis of future scenarios.
...............................................................
Biography
Limon has participated as designer
in projects of plastic packages and
publicity, as a professor of Industrial
Design for the ITESM and as interface
designer for the project taxi bcn, in
collaboration with center H.M.I. SEAT,
as an intern design consultant for
the ITESM, Working for companies like
Auto transportes ADO, BEA Sistemas,
Continental, and others.
It will also be presented the concept of “Bionic” as an alternative to the
conception of these new products is and services. This work will presents
as an inspiration three processes of human intelligence, such as associative memory, properties of the cerebral hemispheres, visual memory.
Has published articles and imparted
conferences about, Interface design,
user experience, and future scenarios
for the digital industrie.
100
101
Author index
102
103
A
F
L
57
Adell Querol, Á.
69
Fariña Rodríguez, M.
47
Larrea,Q.
56
R. García, J.L.
99
Alatriste, Y.
27
Feliu Fabra, M.
93
Lenz,F.
66
Ramírez Triana, N.Y.
60
Let Elier Parga,S.
59
Reina Moreno,P.
101
Limón García, A.
39
Retegi Uria, A.
Liu, X.
61
Reyes Guerrero,M.
36
Rivera Pedroza, J.C.
88
Rochman Beer,D.
37
Rodriguez Vives, S.M.
Alicia Flores, R.
74
Fernanda del Real García, M.
64
Amat de Broto,G.
58
Fernández Cano, J.
78
Aparecida Nakayama, L.
52
Aparo, E.
80
Fioravanti, M.
24
Aristoy Bolíbar,S.
38
Fonseca de Freitas Martins, R.
46
Ayneto Gubert, X.
48
Franky Rodríguez, J.
68
Fuentes García,C.
34,85
51, 99
B
Ferruzca, M.
G
40, 79
M
29
Manresa Mallol,I.
51
Rodríguez,J.
30
Marco,V.
41
Rom Rodríguez,J.
65
Marin de la Fuente,J.
56
Rosa Sierra, L.A.
92
Martínez García,G.
25
Ruiz Molina,E.
39
Beitia Amondarain,A.
89
Berdié Soriano, A.
49
Gaddi,R.
95
Martinez Lopez –Amor, A.
38
Bittencourt Ribas Fornasier, C.
68
Gallego Santos, R.
44
Martins,I.
Bolton, S.
92
García Fernández,I.
84
Matas Rodrigo,H.
69
García González,S.
75
Merino Sanjuán,L.
67
Sanahuja Rochera,J.
40, 79
Ge, X.
58
Mestres Domènech,C.
50
Scaletsky,C.
45, 83
Gil González, N.
99
Monguet, J.M.
50
Schüler,G.
98
Morales Moras,J.
60
Silva Roquefort, R.
52
Soares,L.
68
Suárez Quirós, J.
40, 79
C
66
Cardozo Vásquez, J.J.
69
Goberna Crespo, S.
37
Casado D’Amato, M.G
39
González de Heredia López de
84
Chavero, A.
74
Sabando, A.
38
Churchman, L.
76
Gonzalez Giralt, A.
94
Cifuentes Albeza, R.
56
González Madariaga,F.J.
44
Creus Castellana, M.
75
Gual Ortí, J.
90
Guevara Alvarez, O.E
31
Guixà Frutos, R.
D
N
86
35
Tarranto,F.
80
Tartari, C.
70
Oliveira Santos de,A.
82
Ten Valls,I.
65
Oliver-Solà, J.
28
Testi, M.L.
Di Tommaso,F.
92
Díaz Jiménez,S.
44
Díaz,T.
53
Hasse,D.
Dopico Aneiros, D..
46
Hermosa Arroyo,B.
36
Hernandis Ortuño, B.
46
Palazuelos Puerta,A.
77
Val Fiel, M.
66
Herreño Téllez, E.
28
Paredes, M.V.
46
Veefkind,M.
76
Pegenaute Sanchez,D.
77
Vento Vila, E.
26
Pelta Resano,R.
70
Vera Pérez – Garcitúa,C.
93
Pereira de Andrade,A.B.
25, 69
E
34, 85
Elena Marinaro, A.
J
79
Erlendsson, G.
84
Estrada, I.
65
Jiménez Martínez, C.
.
55
Justel Lozano, D.
104
P
38, 78
58
75, 77
Puyuelo Cazorla,M.
49
Zanolla Mancini, A.S.Zizumbo, A.
W
Puig Poch, M.
Pujadas Matarín,A.
Z
V
Perfetto Demarchi,A.P.
100
Yacubovich Bursztyn,D.
T
80
H
87
S
Neil Antoniuk,T.
O
Y
R
60
Wolff Cecchi, C.
105
Innovate in order to compete – that’s how we could resume the formula we
follow when we design. We know that a properly canalized creativity can stimulate the increase of sales and a position in the market. However, we keep taking about innovation and competition from the point of view of an economic
system in deep identity crisis and with an undeniable necessity of change.
While the predictions of the experts are still contradicting themselves about
the future of our country, in Europe the most distinctive value will be charged
on the creative professions. For the modern industrial times of the XX century
“innovating” meant creating something completely new, revolutionary.Today,
the value of innovation does not lie in this “clean slate”, but in humanizing the
technology, recuperating qualities and defining products because of their
effective durability and vital cycle.
Which are the qualities a product must have in order to be more competitive
in the future markets? What role should design and creativity play in the definition of new industries in Europe? Both questions are interesting for debate
and answer. I wish that in this congress we could define some lines of thought
that contribute trustworthy data about how to understand innovation and
competition in years to come.
Uli Marchsteiner
Chairman
106