25th, 26th & 27th April of 2012 at ESDi Campus (Sabadell) BOOK OF ABSTRACTS. Organizers

Transcription

1 25th, 26th & 27th April of 202 at ESDi Campus (Sabadell) BOOK OF ABSTRACTS Organizers

2 BOOK OF ABSTRACTS 2 3

3 25th, 26th & 27th April of 202 at ESDi Campus (Sabadell) texts & images: the authors Coordination: Llorenç Guilera, Isona Ten & Carlos Jiménez Translation: Isona Ten, Miriam Millán, Luís Calvo, Elisabeth Flores & Enityaset Rodriguez Graphic design and layout: Albert Cano, Astrid Alonso & Bibiana Casassas BOOK OF ABSTRACTS Recorded by: Difusió i gestió gràfica C/ Huelva, 6 Pc, Empresarial Cornellà Nord Cornellà - BCN ISBN: D.L.: B Organizers FUNDIT Sabadell, April

4 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 2 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. 7

5 Program commitee CHAIRMAN Uli Marchsteiner: industrial designer. Summary MEMBERS (in alphabetical order) Albert Esplugues: Director of the Innovation Center in Business 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 Technology Institute, ICTA, of the UAB. Jordi Montaña: head of departament of Design Management of ESADE. Josep Pallarès: member of ROCA enterprise. Llorenç Guilera: Director of the Theory & Developement Area in ESDi. SECRETARY Gemma Gómez: professor in ESDi. 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 About the Congress FUNDIT & ESDi: The commitment work Welcome to the 2nd CIDIC Keynote speakers Nani Marquina Quim Larrea Robert Punkenhofer Josep Congost Norberto Chaves Abstracts New technologies Design Thinking Design as a factor of competitiveness Ecodesign Local development Design for all Pedagogical challenges in design Branding Design of interfaces and of interactiveness 8 9

6 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. 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 From the hand of employers in the textile sector, led by the Manufacturers Association of Sabadell, in March 989 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 992 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). 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 Congress of Design and Innovation in Catalonia to be held on 25th, 26th and 27th April 202 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. 8 papers written by 4 researchers and professionals from 2 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 0

7 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 2 3

8 Nani Marquina Quim Larrea 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. 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. (Barcelona, 952) Businesswoman and industrial designer. In 987 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 and the ability to bring craft traditions to contemporary times. She has won numerous awards during her career: in 2005 she received the National Design Award and the Bussiness Management Chamber Award, in 2008 the National Prize of Culture of the Generalitat de Catalunya (in de design mode) and also several nominations in different editions of the Príncep Felip Award for Business Excellence. Recently Nani Marquina has received the International Women Entrepreneurial Award from the Manhattan Chamber of Commerce, and in addition the FIDEM prize to the Entrepreneur Woman From 2006 to 2009 Nani Marquina was president of ADP (Association of Professional Designers). Today she is also president of RED-AEDE (Association of Spanish Design Companies). 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 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 domestic and foreign daily newspapers specialized in architecture and design. Currently he is a member in the Editorial Board of the architectural magazine Waterdroops. He has been a commissioner in several design and architectural exhibitions around Europe, Asia and America, he has participated as jury in the national and international design awards. From 982 to 997 he worked in association with the architect Juli Capella. He is the author of various works on architecture, interior design, editorial design, corporate identity and packaging for Spanish, European and American companies and institutions. His books have won him numerous awards and highlighting just a few of them are the Honorable Mention in the National Design Awards in 2000, the Barcelona City Award and the Fad Medal. 4 5

9 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. Robert Punkenhofer, born 965 in Austria, lives and works in Vienna and Barcelona. In 995 he became founder and Director of ART&IDEA, an institution for contemporary art that has presented more than 00 exhibitions, publications and special projects in Mexico, the US, Spain, Germany, Japan and Austria since its inception, amongst others the visionary Mur Island project with Vito Acconci, and a special art edition series for the leading German weekly Die Zeit. Since 2005 Punkenhofer is artistic director of Vienna Art Week and in 2008 he conceived and realized Flow Festival of Culture and Science in Novi Sad, Serbia. In parallel, from 994 to 997 he served as Deputy Trade Commissioner of Austria in Mexico, Cuba and Central America. He then returned to Vienna and consulted Casinos Austria International in the field of new project development in Argentina and Brazil. In 998 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 200 as Trade Commissioner in Barcelona. Design & Innovation Manager en Roca, S.A. Born in Barcelona, Spain, 956. Engineer for the Polytechnic University of Barcelona. He has been a founding associate and President of the Governing Council of Ecotècnia S.Coop (98-989) and the Director of Vehicle Design of NETC-B (Nissan European Technology Center of Barcelona) ( ). From 997 redeems his professional activity in Roca Sanitario SA, and at present he is the Design Manager of its center of design (Roca Design Center & Innovation Lab). 6 7

10 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. Member of R & C Consultants (Barcelona), Corporate Image study expert, consultant companies and institutions in strategies and programs for identity and communication. 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. 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. 8 9

11 20 2 ABSTRACTS

12 22 23 New technologies in design

13 New technologies in design New technologies in design The exhibition design in the context of new media art Susana Aristoy Bolíbar Escuela Superior de Diseño, Universidad Ramon Lull. Sabadell, España. La Petita Dimensió (LaPetitaD s.l.p.) Barcelona, España Susana Aristoy earned her professional degree in Architecture at EtsaB, Universitat Politècnica de Catalunya, in 999. In 20, 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. 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. Fashion in the network: a reflection on fashion blogs and their influences on the sector Encarna Ruiz Molina, Lola Dopico Aneiros Grupo DX7. Tracker. Laboratorio Visual, Fine Arts Faculty, University of Vigo, Pontevedra, Spain. eruiz@prof.esdi.es Encarna Ruiz Molina (Granada, 97) has been Director of Academic Coordinator of School of Design, ESDI, which is attached to the Universitat Ramon Llull between 200 and 20. 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

14 New technologies in design New technologies in design Some social uses of Internet Raquel Pelta Resano Facultad de Bellas Artes, Universidad de Barcelona, España. 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. 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. Localization networked. Creativity committed from new technologies Mireia Feliu Fabra Escola Superior de Disseny ESDi, Barcelona, Espanya, Departament de Pintura, Facultat de Belles Arts, UB, Barcelona, Espanya mfeliu@prof.esdi.es Multimedia artist, Professor at ESDi, URL, and a PhD candidate at UB. Awards selection: Institut Ramon Llull Art Grant (20), Espais Award (2006), New York Foundation for the Arts Fellowship (2005), Fundació la Caixa (200), etc. Solo Shows selection: Oranim New Media Gallery (Israel, 20),Centre d Art Cal Massó (Reus,200), Safia Gallery (Barcelona, 200). With the effects of the image mechanical reproduction announced by Walter Benjamin, plus the emergence of the first portable cameras in , 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 of Antoni Abad, are examples of creative uses of new technologies to serve a social engagement

15 New technologies in design New technologies in design Augmented Reality, the design of our new eyes. A discussion of virtual signage in innovative technologies Ma. Lucila Testi, Ma. Victoria Paredes 2. Docente de Comunicación y Diseño Multimedial y de Taller de Diseño, 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. 2 Docente de Diseño Asistido por Computadora, Comunicación Electrónica y Herramientas Digitales de Comunicación Visual, 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. lucilatesti@yahoo.com victoryp.ar@gmail.com 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? 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. Exploration in mobile learning, two study proposals: ipad application and web adapted version for mobile devices Irene Manresa Mallol Dissenyadora web freelance, col laboradora de la Universitat Oberta de Catalunya, Barcelona, Espanya. irene.manresa@gmail.com Freelance User Experience Designer. Working since 200 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 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

16 New technologies in design New technologies in design The New Reality of Packaging Design: Applying New Virtualization Technologies to Innovate and Expedite the Design Cycle Vicenç Marco Vicenç Marco Design, Barcelona, España Vicenç Marco is CEO & Creative Director at Vicenç Marco Design in Barcelona since 99. 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. 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. 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 00% 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. The anti Photoshop laws. Dilemmas of photo retouching in the area of advertising design Dr. Ricardo Guixà Frutos Escola Superior de Disseny,URLL, Sabadell, Facultad de Bellas Artes Sant Jordi, UB, Barcelona, España. rguixa@prof.esdi.es rguixa@ub.edu 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 3

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18 Design thinking Design thinking Design- Towards a creative industry for the latinamerican reality Dra. Alejandra Elena Marinaro, DG. Romina Alicia Flores. Escuela de Comunicación y Diseño Multimedial. Universidad Maimónides Buenos Aires, Argentina. marinaro.alejandra@maimonides.edu flores.romina@maimonides.edu 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. 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. Understanding organizations from the cultural perspective. Elements for a model of corporate identity design based upon human values Fabián Taranto Doctorado en Investigación en Diseño, UB, Barcelona, España, Escuela Superior de Diseño ESDI (Universidad Ramon Llull), Sabadell, España. fabian@ftdesignlab.com 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. 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, 982) as it is the first of its kind and Edgar Schein (Organizational Culture and Leadership, 992) 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

19 Design thinking Design thinking Application of the Systemic to Concurrent Design Model with sustainable concepts for design a Vertical garden indoors Julio Cesar Rivera Pedroza, Bernabé Hernandis Ortuño 2 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. juceriv@hotmail.com juriped@masters.upv.es degi.upv.es Born in Cali in 979, 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. How to Apply Trends: Examples of CompaniesSilvia Silvia M. Rodríguez Vives, Mª Giuseppa Casado D Amato Observatorio de Tendencias del Hábitat. Instituto de Tecnología Cerámica, Castellón, España. silviarodriguez@itc.uji.es 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 0/, 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

20 Design thinking Design thinking Development of book childrenyougth for the visually impaired, with focus on universal design Dra Ana Paula Perfetto Demarchi, Dra Cleuza Bittencourt Ribas Fornasier, Dra Rosane Fonseca de Freitas Martins Universidade Estadual de Londrina / Brasil perfeto@sercomtel.com.br cleuzafornasier@gmail.com rosane@uel.br 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 (978), 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. Experience in design: challenges and difficulties Aiur Retegi Uria, Daniel Justel Lozano, Arantxa González de Heredia López de Sabando, Amaia Beitia Amondarain Diseinu Berrikuntza Zentrua, Mondragon Unibertsitatea, Arrasate- Mondragón, España. aretegi@mondragon.edu I studied industrial design engineering bachelor at Mondragon Unibertsitatea (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. 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). Design. The academic year 200 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