Pioneiros do design brasileiro no projeto de automóveis

Não se questiona que o design seja um saber naturalmente multidisciplinar. Os projetos da indústria automobilística ilustram esse ponto magistralmente: do ato de inventar à engenharia da produção; do design de exteriores aos interiores; das autopeças às diversas tintas. Projetos desenvolvidos em engenharia simultânea, produzidos em diversos países do mundo e montados onde quer que se mostre mais rentável. A moderna indústria automobilística mostra-se, nesse sentido, global. Mas como harmonizar os gostos e as legislações locais a essa estrutura produtiva internacional? Esta dissertação ilustra alguns aspectos da estratégia de projetos em design automobilístico tomando como base a experiência brasileira. Foram entrevistados os mais destacados designers brasileiros de automóveis dos pioneiros aos mais importantes profissionais contemporâneos. Embora as estratégias das empresas sejam diversas fato que impede uma única conclusão -, esta dissertação lança luzes sobre os desafios do desenvolvimento de projetos automobilísticos onde o projeto é global mas as vendas são locais.

S’exercer à l’empathie : une expérience pédagogique en design d’intérieur

Les professionnels ont par définition un public bénéficiaire de leurs services : le patient pour le médecin, le psychologue ou l’infirmière ; le client pour l’avocat ; le consommateur pour le gestionnaire d’une entreprise commerciale ; etc. L’usager ou l’habitant du cadre bâti constitue un des destinataires des services professionnels du designer d’intérieur. De quelle manière peut-on apprendre aux étudiants/futurs professionnels du design d’intérieur à se mettre à la place de l’usager/habitant des espaces qu’ils conçoivent ? Le concept de l’empathie, communément décrit comme la capacité de se mettre à la place de l’autre, de le comprendre et de ressentir ses sentiments et ses émotions, est bien adapté pour explorer cette attitude. Cet article est composé de deux parties. La première présente une expérience pédagogique en design d’intérieur où des étudiants apprennent à se représenter les usagers de leur projet d’aménagement en utilisant un outil méthodologique appelé « boussole éthique ». Cette boussole est constituée essentiellement de trois pôles qui renvoient aux trois rapports fondamentaux de l’être humain tels qu’étudiés dans la tradition stoïcienne : rapport à soi-même, à autrui et à la nature. Dans la seconde partie, l’article met en relief plusieurs éléments théoriques qui permettent de comprendre, de consolider et, éventuellement, de faire évoluer les bases conceptuelles qui sous-tendent cette démarche. Il s’agira notamment des théories éthiques et de certaines approches spécifiques au concept de l’empathie.

Le design expérientiel dans l'espace marchand

Issu de la rencontre entre les disciplines de l’architecture intérieure et de la stratégie de marque et développé en réponse au raffinement de l’offre et des nouveaux modes de consommation, le design expérientiel présente un champ de pratique émergent qui tend vers la communication d’une expérience client marquante et immersive à travers l’environnement commercial. Bien que le sujet soit richement documenté par le domaine du marketing, il est apparu qu’il l’est moins par celui de l’aménagement. En effet, peu d’études démontrent concrètement la façon d’aménager l’espace marchand dans le contexte de la pratique du design expérientiel ou cherchent à mettre en lumière son empreinte physique sur l’environnement commercial. Cette recherche vise simultanément l’amélioration de la compréhension de la pratique émergente qu’est le design expérientiel ainsi que l’identification des caractéristiques environnementales propres aux espaces marchands qui en découlent. Dans la volonté de sonder le phénomène du design expérientiel tant dans la dimension conceptuelle de sa pratique que dans celle de son résultat bâti, la stratégie méthodologique de cette recherche repose sur la tenue d’entretiens semi-dirigés avec des professionnels basant leur pratique sur le design expérientiel et l’observation directe de trois projets commerciaux expérientiels reconnus. L’issue de cette recherche et les résultats extraits du terrain mèneront plutôt à relever l’existence d’un processus de conception caractéristique à la pratique ainsi que celle de concepts fondateurs qu’à identifier des éléments de l’aménagement intérieur propres aux environnements commerciaux en découlant. Nettement apparus au cours de l’étude, ce processus et la volonté de mettre sur pied une stratégie de communication solide semblent occuper une place plus importante dans la définition et la compréhension de la pratique du design expérientiel que les attributs de l’espace marchand comme tel.

Painéis de bambu, uso e aplicações: uma experiência didática nos cursos de design em Bauru, São Paulo

Pós-graduação em Design - FAAC

Processo de avaliação de uma disciplina de Design de Interiores

This study aims to present the strategies and assumptions used to evaluate a class entitled Design Furniture seeking their improvement and adapting the expectations of the profession of Interior Design Technologist. Initially the study focused on the contexts of Design Teaching and Higher Education in Brazil, with the purpose of adequacy of theory with practice. The method of continuous evaluation was used over two semesters with two classes. This study presents and discusses the data of one of the groups. This evaluation method helped in adequacy of teaching regarding the methodology, content and expectations of students and teacher. As a result, furniture were produced based on the type of evaluation chosen by the student, showing academic progress.

Exception or extension? : reorienting the Peacock Room among James McNeill Whistler's interior designs

"Although famous for his paintings and etchings today, James McNeill Whistler (1834-1903) was also an important interior designer in the nineteenth-century British Aesthetic movement. Whistler‘s most famous and only extant interior design is Harmony in Blue and Gold: The Peacock Room (1876-77). It is also his most puzzling interior. Long considered an exception to the rule of Whistler‘s other interiors, the Peacock Room has often been overlooked in the few studies of the artist‘s interior designs"

Digital workers by design? An example from the on-demand economy. CEPS Working Document No. 414/October 2015 Monday, 19 October 2015

Recent organisational and technological changes à la Uber have generated a new labour market fringe: a digital class of workers and contractors. In this paper we study the case of CoContest, a crowdsourcing platform for interior design. Our objective is to investigate how profitable this type of work can be, also from a cross-country perspective, and why professionals choose to supply work on such a platform. Given the low returns, one might expect to see a pattern of northern employer/southern contractor. Yet analysis reveals a more nuanced pattern, in which designers supply their work even if they live in Italy, which is a high-income country. For these designers work on CoContest can make sense if they are new to the labour market and face high entry barriers, although crowdsourcing does not offer them profitable employment full time. The case of Serbia, the second-largest supplier of designers, is different, however. As a result of differences in purchasing power, if the market grows experienced Serbian designers can expect to make a living from crowdsourced contracts.

Case based design of knitwear

In the developed world we are surrounded by man-made objects, but most people give little thought to the complex processes needed for their design. The design of hand knitting is complex because much of the domain knowledge is tacit. The objective of this thesis is to devise a methodology to help designers to work within design constraints, whilst facilitating creativity. A hybrid solution including computer aided design (CAD) and case based reasoning (CBR) is proposed. The CAD system creates designs using domain-specific rules and these designs are employed for initial seeding of the case base and the management of constraints. CBR reuses the designer's previous experience. The key aspects in the CBR system are measuring the similarity of cases and adapting past solutions to the current problem. Similarity is measured by asking the user to rank the importance of features; the ranks are then used to calculate weights for an algorithm which compares the specifications of designs. A novel adaptation operator called rule difference replay (RDR) is created. When the specifications to a new design is presented, the CAD program uses it to construct a design constituting an approximate solution. The most similar design from the case-base is then retrieved and RDR replays the changes previously made to the retrieved design on the new solution. A measure of solution similarity that can validate subjective success scores is created. Specification similarity can be used as a guide whether to invoke CBR, in a hybrid CAD-CBR system. If the newly resulted design is suffciently similar to a previous design, then CBR is invoked; otherwise CAD is used. The application of RDR to knitwear design has demonstrated the flexibility to overcome deficiencies in rules that try to automate creativity, and has the potential to be applied to other domains such as interior design.