Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
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Presentacin / Presentation MDI Lab / MDI Lab Metodologa / Methodology Workshops / Workshops Seminarios / Seminars Cultura del diseo / Design Culture Conferencias y Case studies / Case Studies + Lectures Viajes / Trips Tesis / Thesis Backstage / Backstage
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IED Madrid Masters of Design and Innovation Publica Istituto Europeo di Design Palacio de Altamira, Flor Alta 8, 28004 Madrid IED Master, Larra 14, 28004 Madrid Coordinacin editorial y Redaccin: Luca Baldi, Inma Flor, Luisa Gonzlez-Portillo, Laura Holgado, Hada Martnez, Alejandro Norniella, Claret Pontier, Marta Viturro Edicin: Inma Flor, Laura Holgado, Marta Viturro Traduccin y correccin: Elena Iglesias, Joanna Porter, Alexandra Stephens. Direccin de Arte: Javier Maseda. Diseo y maquetacin: Raquel Garca Casado. Produccin: Thiago Esquivel, Raquel Garca Casado, Josina Llera. Crditos fotogrficos: Antonio Guzmn, Alejandro Norniella y alumnos de los Masters of Design and Innovation 2012. Ilustraciones: Sergio Fernndez Cano y Jorge Mendoza. iedmadrid.com mastersofdesignandinnovation.com
All rights reserved. No part of this publication may be reproduced or transmitted in any way means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writting from the copyright owner(s). de los textos: sus autores e Istituto Europeo di Design de las imgenes: sus autores e Istituto Europeo di Design ISBN: 978-84-940177-1-1 Depsito legal: M-38414-2012 Impreso en Espaa / Printed in Spain
Este libro ha sido impreso con la colaboracin de Antalis. Cubierta impresa en Sensation 100% Reciclado Gloss Tradition Extra Blanco 270 grs distribuido por Antalis. Interior impreso en Sensation 100% Reciclado Gloss Tradition Extra Blanco 120 grs distribuido por Antalis. El papel utilizado para imprimir este libro proviene de pasta 100% reciclada, contribuyendo a la conservacin de los bosques y al ahorro de energa. Sensation 100% Reciclado Gloss es un papel especial con un efecto de impresin brillo y con un tiempo de secado ms rpido, fabricado por Arjowiggins Creative Papers y distribuido por Antalis. Los productos de Arjowiggins Creative Papers continan siendo el referente en cuanto a innovacin y creatividad en el mercado. Adems, ofrecen el mejor rendimiento en cuanto a capacidad y comportamiento en la impresin. Descubre The Blank Sheet Project, el programa sostenible de Arjowiggins Creative Papers, en www.theblanksheetproject.com.
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Siempre que veas una palabra subrayada, significa que es un link y te llevar a una pgina web.
Riccardo Marzullo
Director IED Madrid / Director of IED Madrid
ensados como laboratorios de investigacin, los Masters of Design and Innovation han creado el contexto favorable para potenciar el pensamiento divergente y analizar la actualidad del diseo bajo diferentes enfoques: el concepto y la vanguardia, la estrategia empresarial, la produccin y la comunicacin. Los proyectos son el resultado tambin de la interaccin y la colaboracin entre los alumnos, a travs de un fructfero debate interdisciplinar e intercultural, que ha generado el espacio adecuado para establecer posibles futuros escenarios, convertirlos en oportunidades de negocio, crear productos novedosos y desarrollar un eficaz y original concepto de comunicacin dirigido a nuevos mercados y pblicos.
esigned as research laboratories, the Masters of Design and Innovation have created a favourable context to promote divergent thought and to analyse the latest events in the world of design from a range of perspectives: the concept and the avant garde, business strategy, production and communication. The projects are the result of the interaction and collaboration between the students, through a fruitful interdisciplinary and intercultural debate, which has generated the right space to establish possible future scenarios, turning them into business opportunities, creating innovative products and developing an original and effective concept of communication aimed at new audiences and markets.
Desde siempre, los profesionales del design han entendido que la fuerza de su trabajo reside en la colaboracin: compartir ideas, buscar referencias e inspiracin mediante el dilogo es fundamental para mantener un discurso actual, contemporneo. Las nuevas tecnologas han entrado de lleno y de forma exponencial en estos ltimos aos. Se han convertido en la herramienta natural del diseador, proclive a la colaboracin con profesionales de su gremio y de otras disciplinas. Mediante ellas el dilogo se hace cada vez ms fluido, extenso, ramificado. En este sentido, las redes sociales son ya el soporte donde el designer ha encontrado una deriva de su profesin en generar constantemente links, relaciones, grupos y actividades que enriquecen la complejidad de un oficio en plena transformacin. No obstante, al ser una dinmica muy en boga actualmente, a menudo se encuentran discursos vacos de los que hay que huir para no dejarse enredar, para no perder el tiempo. En el IED Madrid queremos formar a profesionales sensibles a este contexto. Conscientes de que las herramientas sern cada vez ms diversas, pretendemos educar una actitud, un mtodo que cada uno decidir cmo, cundo y dnde poner en prctica. Seguramente, algunos de nuestros alumnos de los Masters of Design and Innovation han recogido la actitud, fomentada por el claustro docente, de hacer especial hincapi en la necesidad de un discurso colaborativo y de dilogo. Otros lo vienen haciendo de una forma natural, ya que es parte de un ADN generacional que simplemente hay que derivar hacia un mbito profesional.
Design professionals have always understood that the strength of their work lies in collaboration: sharing ideas, searching for references and inspiration through dialogue is essential in order to maintain a topical and contemporary discourse. New technologies have burst onto the scene, and grown exponentially in recent years. They have become the natural tool of the designer, prone to collaboration with other professionals of his trade and other disciplines. Through them, dialogue becomes increasingly fluid, extensive and divergent. In this sense, social networks are now the medium where the designer has found an offshoot of his or her profession, in the form of new links, connections, groups and activities that enrich the complexity of a trade undergoing total transformation. However, as this is currently a very fashionable dynamic, they often encounter empty discourses, from which they have to flee so as not to get mixed up in them, and to avoid wasting time. At the IED Madrid we want to train professionals who are sensitive to this context. Aware that tools will be increasingly more diverse, we try to convey to them an attitude, a method that each person will decide how, when and where to put into practice. It is likely that some of our Masters of Design and Innovation students have absorbed this attitude, encouraged by the teaching staff, of stressing the need for a collaborative discourse and dialogue. Others do it naturally, for it is part of a generational DNA, which has simply to be directed towards a professional sphere.
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Dario Assante
Francisco Jarauta
La edicin de este ao ha sido la primera en la que se han activado los cuatro programas de los Masters of Design and Innovation del IED Madrid. Para todas las personas implicadas en este proyecto educativo ha sido un importante punto de llegada, el momento en que ha cobrado su pleno sentido, su identidad: espacio de convivencia entre cursos que comparten una filosofa, una manera de ver las distintas facetas de una profesin, la del designer, tan rica y en plena evolucin. La experiencia nos ha dejado un claro mensaje: la riqueza de perfiles de alumnos ampla exponencialmente la necesidad de compartir con la Escuela las inquietudes, las exigencias y las sugerencias de cada uno. Un programa de tales caractersticas deber tener siempre una parte de la estructura fija, que garantice una metodologa y gue el aprendizaje, y un componente variable, que se estructure y cobre sentido a medida que se desarrolle el curso. Entendemos esto como un valor: hay parte de este recorrido formativo que inevitablemente hay que construir juntos, para que quienes transmiten y quienes aprenden encuentren la empata necesaria para convertir esta experiencia en algo realmente eficaz y provechoso para el futuro profesional. Sin duda, flexibilidad ante la complejidad, apertura al dilogo y al debate se mantendrn en las futuras ediciones de los Masters of Design and Innovation.
This years edition has been the first in which the four programmes of the Masters of Design and Innovation of the IED Madrid have been activated. It is an important starting point for the people involved in this educational project, the moment in which it has taken on its full meaning, its identity: a space of coexistence between courses that share a philosophy, a way of seeing the different facets of a profession, that of the designer, so rich and in full evolution. The experience has left us a clear message: the richness of student profiles exponentially increases the need to share with other Schools everyones concerns, demands and suggestions. Such a programme should always play a part in the permanent structure, guaranteeing a methodology and guiding the training period, and a variable component that is structured and gains meaning as the course develops. We understand this as a value: there is a part of this training path which inevitably has to be constructed together, so that those who teach and those who learn find the necessary empathy to turn this experience into something truly effective and useful for the future professional. Without doubt, flexibility in the face of complexity and being open to dialogue and debate will be attitudes maintained in future editions of the Masters of Design and Innovation.
Los mapas que nos han servido para representar el orden del mundo han quedado obsoletos. Todo ha cambiado, desde la estructura del sistema financiero y econmico del mundo, al orden geopoltico, a las condiciones de desequilibrio en un sistema global profundamente asimtrico entre la complejidad creciente del planeta y las insuficiencias de las instituciones internacionales encargadas de garantizar una governance adecuada del mismo. Y no menos importantes son las transformaciones en el campo de la industria cultural que, apoyada ahora en los nuevos desarrollos tecnolgicos, ha invadido con la alianza de mercados y comunicacin todas las esferas de la vida privada. Todo esto acompaado de cambios antropolgicos que han derivado hacia nuevos sistemas de valores. Ahora toca a los nuevos creativos pensar este escenario y reinventar el orden de lo cotidiano, activando nuevos procesos capaces de imaginar los nuevos tiempos y crear los fundamentos de una discusin abierta que no slo interprete, sino que tambin problematice el alcance de la cultura del proyecto. Estas preguntas relativas a la orientacin de las sociedades contemporneas, sus formas econmicas, polticas, sociales y culturales estn en la base de los Masters of Design and Innovation, convirtiendo estos cursos en un verdadero laboratorio donde cristalizan las formas y discursos de una nueva cultura, asumiendo como reto la reinvencin de las relaciones con nuestra poca mientras se esboza el horizonte de otro tiempo al que pertenecemos.
The maps that have served to represent the order of the world have become obsolete. Everything has changed, from the structure of the financial and economic system of the world and the geopolitical order, to the imbalance, in a profoundly asymmetrical global system, between the growing complexity of the world and the insufficiencies of the international institutions in charge of guaranteeing an appropriate governance of this same world. And no less important are the transformations in the field of culture that, now supported by new technological developments and in alliance with markets and communication, has invaded all spheres of private life. All this is accompanied by anthropological changes that have led to new value systems. Now it is the turn of the new creator to think about this scene and reinvent everyday order, activating new processes capable of imagining the new times and creating the foundations of an open discussion that not only interprets, but also delves into the scope of the culture of the project. These issues, which are linked to the direction of contemporary societies, their economic, political, social and cultural form, constitute the basis of the Masters of Design and Innovation, turning these courses into a real laboratory where the forms and discourses of a new culture take shape, taking on, as a challenge, the reinvention of the connections with our period while outlining the horizon of another time, to which we belong.
a Identidad ha sido el leitmotiv del Master of European Design Labs 2012: una ocasin nica para dar continuidad a un proceso de investigacin iniciado hace dos aos y que, en esta edicin, ha sido enriquecido con nuevas reflexiones e innovadoras propuestas. El laboratorio de investigacin sobre el diseo con ms background de los Masters of Design and Innovation se ha consolidado como terreno de experimentacin en el que los alumnos se han enfrentado a la temtica del curso, dando como resultado una creatividad madura, slida y bien argumentada a travs de sus propuestas. Ser el referente de un curso de tales caractersticas no significa aspirar a tener discpulos que compartan un estilo: lo importante es que este ejercicio funcione como un entrenamiento para el desarrollo de un mtodo personal, original y nico que vaya asentando poco a poco su autonoma del modelo propuesto.
Program Leader Master of European Design Labs Jaime Hayon
dentity was the leitmotiv of the Master of European Design Labs 2012: an opportunity to give continuity to a research process started two years ago and which, in this edition, has been enriched with new reflections and innovative proposals. The design research laboratory with the strongest background of the Masters of Design and Innovation has been consolidated as a field of experimentation in which student has dealt with the main theme of the course, resulting in a mature, solid and well argumented creativity through their proposals. To be at the head of this kind of course does not mean having disciples who share ones style: what is important is for this exercise to work as training for the development of a personal, original and unique method which gradually establishes students autonomy from the proposed model.
Program Leader Master of European Design Labs Jaime Hayon
l contexto contemporneo de la comunicacin resulta cada vez ms complejo. De este entorno ha de emerger la figura de un nuevo director creativo, un profesional capaz de construir conceptos duraderos, disear estrategias de largo recorrido y liderar procesos colaborativos dirigiendo equipos numerosos y multidisciplinares. El Master of Communication Design Labs tiene como objetivo gestionar la complejidad de disciplinas interrelacionadas en procesos creativos, conocer, dominar y recuperar los recursos del lenguaje y liderar la gestin de equipos transversales. El objetivo del curso, ambicioso, es estimular el pensamiento conceptual, ese que nos permite observar desde lejos, juzgar con amplitud y establecer las conexiones adecuadas. Que esa manera de pensar y de hacer gobernar el porvenir es una de nuestras muy escasas convicciones.
he modern context of communication is without a doubt more and more complex. This environment must give rise to a new creative director, a professional who can identify and construct long lasting concepts, design long term strategies and above all, leading collaborative processes leading large, multidisciplinary teams. The purpose of the Master of Communication Design Labs is to handle the complexity of interrelated disciplines in creative processes, knowing, controlling and recovering resources of language, and managing transversal teams. The ambitious aim of this course is to stimulate conceptual thinking, to observe from afar, make thorough judgments and establish the appropriate connections. One of our few convictions is that this way of thinking and acting will govern the future.
Program Leader Communication Design Labs Toni Segarra
a realidad actual demanda productos e ideas de negocios coherentes con las nuevas necesidades. El xito de las empresas depender de cmo responden a esta demanda. Partiendo de esta realidad, presentamos un programa de formacin e investigacin que se apoya metodolgicamente en la cultura del proyecto y forma la figura de un nuevo profesional con una visin crtica, estratgica y global desde el mbito del diseo. La clave fundamental de este mster es el concepto de innovacin estructurado en torno a cuatro conceptos: Conocimiento, Tecnologa, Visin global y Diseo. En este contexto cambiante, lleno de inseguridades pero tambin repleto de oportunidades, se vislumbran algunos nuevos valores. Entre ellos, destacar la innovacin como valor global y una nueva forma de hacer, de relacionarse, de enfocar los problemas y sus soluciones, lo que podramos denominar como conocimiento transversal.
Program Leader Master of Strategic Design Labs Carlos barrabs
he current reality requires business products, services and ideas that are coherent with change and new needs. In order to be successful, businesses will depend on how they respond to this demand and how to integrate change into processes. Taking this reality as a starting point, we present a training and research programme based methodological on the project culture and forms the figure of a new professional with a critical, strategic and global vision from the field of design. The key to this Masters is the concept of innovation structured around four main concepts: Knowledge, Technology, Global Vision and Design.
In this changing context, full of precariousness but also brimming with opportunity, we can glimpse several new values, one of which is innovation as a global value and a new way of doing things, relating to others, dealing with problems and solutions. All of this can be described as transverse knowledge.
Program Leader Master of Strategic Design Labs Carlos Barrabs
a situacin econmica y social est forzando a la industria a reordenarse drsticamente. El empresario, con un mercado saturado de diseadores, ya no demanda productos sino propuestas cerradas: ideas innovadoras, resueltas hasta el ltimo detalle y listas para su industrializacin. El Master of Product Design Labs forma a diseadores capaces de definir, ejecutar y dirigir sus propios proyectos, gestionando equipos interdisciplinares y coordinando el trabajo de todos los profesionales necesarios para desarrollar un producto de fabricacin industrial. Me gustara que los estudiantes aprovecharan la oportunidad de trabajar con gente de diversas procedencias y experiencias, entendiendo que la disciplina del design es mucho ms que la esttica. Se trata de aplicar un pensamiento crtico a todo el proceso.
Program Leader Master of Product Design Labs Clive van Heerden
he current economic and social situation is forcing the industry into drastic reordering. Entrepreneurs, with a market overflowing with designers, no longer require products but closed proposals: innovative ideas, resolving even the very last details and preparing for industrialisation. The Master of Product Design Labs trains designers to be able to define, implement and manage their own design projects, building up interdisciplinary teams and coordinating the work of all the professionals required to develop an industrially manufactured product. I would like students to take advantage of the chance to work with people from a range of contexts and experiences, so that they realise that the discipline of design is much more than aesthetics. It is a matter of applying critical thinking to the entire process.
Program Leader Master of Product Design Labs Clive van Heerden
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MDI Lab
Lab Masters of Design and Innovation Un espacio transversal de inspiracin
MDI Lab
Masters of Design and Innovation LAB A transversal space for inspiration
n IED Master creemos firmemente en la formacin transversal. Por eso, para los Masters of Design and Innovation hemos habilitado un lugar de creacin distinto, MDI Lab. Un espacio que responde a las necesidades de los alumnos y se adapta a sus horarios, un laboratorio creativo comn a los diferentes programas formativos de los Masters of Design and Innovation donde estudiar, investigar, relacionarse y trabajar en sus propios proyectos. Porque, qu hay ms estimulante e inspirador que un espacio de creacin transversal? En l conviven todo tipo de perfiles y se generan muy diversas sinergias: diseadores industriales, grficos, de interiores y de moda; cocineros, ingenieros,
arquitectos, fotgrafos, publicitarios, directores de arte o directores creativos. Sin duda, los resultados de este tipo de interacciones son ms ricos en matices, derivaciones e innovacin, de mayor recorrido y calado en la sociedad. Todos nuestros alumnos provienen no slo de diferentes disciplinas profesionales, sino tambin de distintos pases: India, Colombia, Per, Costa Rica, Mxico, Venezuela, Rusia, Estonia, Brasil, Lbano, Ecuador, Jamaica, Turqua, Italia y Espaa. Este hbrido de culturas convierte nuestro MDI Lab en una inmensa torre de Babel, donde se intercambian experiencias, proyectos e ideas con un nexo comn: el inters por el diseo, la innovacin, la comunicacin, la estrategia y la pasin por la creatividad.
t the IED Master, we strongly believe in a transversal education, which is why we have established a space for unique creation, the MDI Lab, for the Masters of Design and Innovation. A space that answers to students needs and adapts to their schedules a creative laboratory shared by the various educational programs of the Masters of Design and Innovation, where students can study, research, interact and work on their own projects. Why? Because what could be more stimulating and inspiring than a space for transversal creation? In this space, all different kinds of profiles coexist and generate very diverse synergies: Industrial, graphic, interior and fashion designers, cooks, engineers, architects,
photographers, advertisers, art directors or creative directors. Without a doubt, the results of this type of interaction are very rich in nuances, origins and innovation, long-lasting and more meaningful within society. All of our students come from not only different professional disciplines, but also different countries: India, Colombia, Peru, Costa Rica, Mexico, Venezuela, Russia, Estonia, Brazil, Lebanon, Ecuador, Jamaica, Turkey, Italy and Spain. This hybrid of cultures turns our MDI Lab into a huge Tower of Babel, where experiences, projects and ideas are exchanged with a common connection: interest in design, innovation, communications, strategy and a passion for creativity.
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Metodologa
Methodology
os Masters of Design and Innovation cuentan con una metodologa didctica especfica para cada programa, as como con una didctica transversal comn. Contemplan adems diversas actividades en las que se fomenta el trabajo individual y en equipo mediante un profesorado especializado. Esta parte comn comprende actividades como: cultura del diseo, conferencias, clases magistrales, workshops, case studies, sostenibilidad... De esta manera el alumno fomenta la relacin con otras disciplinas, aprovechando el intercambio de conocimientos y experiencias como parte de una formacin estimulante para su posterior proyeccin profesional. Durante el programa se combinan el estudio, el trabajo, los viajes y la investigacin apoyndose metodolgicamente en la cultura del proyecto. La clave fundamental de los msteres es el concepto de innovacin en base a cuatro reas: Conocimiento Tecnologa Visin global Diseo
he Masters of Design and Innovation boast a specific teaching methodology for each programme, as well as a transverse programme shared by the four MA programmes. They contemplate a range of activities which promote individual and team-work with the help of specialised faculty working in each of the section of the programmes. This shared element includes activities such as design culture, lectures, master classes, workshops, case studies, sustainability, etc. In this way, students strengthen their relationship with other disciplines, taking advantage of the exchange of knowledge, ideas and experiences, as part of a stimulating and enriching training for their future professional career. It combines study, work, visits, trips and research, on the methodological basis of project culture. Their essential key is the concept of innovation, revolving around four areas: Knowledge Technology Global Vision Design
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Workshops
Workshops
alleres creativos basados en la combinacin de aspectos conceptuales y ejercicios prcticos realizados en un breve periodo de tiempo, y que requieren de una dedicacin plena. Esto permite al alumno descubrir nuevas metodologas, fortalecer dinmicas de trabajo en equipo e incentivar la visin multidisciplinar para aplicar los conocimientos adquiridos a lo largo del curso. Tambin ayuda a determinar los diferentes rasgos y aptitudes de las personas creativas para establecer tcnicas que permitan potenciarlas. En cada uno de los workshops se investiga y trabaja sobre un tema concreto relacionado con mbitos del diseo de producto, la comunicacin comercial, los conceptos de diseo y las estrategias de negocio con el objetivo de experimentar con nuevas herramientas creativas y metodolgicas. Todo ello, posibilita la adquisicin de diferentes tipologas y modelos de proyecto transferibles a la tesis final del mster.
ur workshops are creative courses based on the combination of conceptual aspects and practical exercises completed over a short space of time and which require fill time dedication. This allows students to discover new methodologies, strengthen teamwork dynamics and encourage multidisciplinary vision in the application of the knowledge acquired on the range of projects completed over the course of the year. It also helps to determine the different features and skills of creative people and establish techniques to strengthen these areas. Each workshop researches and works on a specific topic relating to the fields of product design, commercial communication, design concepts and business strategies with a view to experimenting with new creative and methodological tools. All this enables them to learn new typologies and project models which can be transferred to their final Masters dissertation.
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Gestin de la complejidad
founder of humantific.com
Elizabeth Pastor. Consultora de innovacin y Cofundadora de humantific.com / Innovation consultant and co-
Todo el mundo habla de innovacin multidisciplinar, pero la innovacin trata de personas y no de tecnologa. Con el cambio masivo que impera en el mercado, los diseadores se enfrentan a una serie de retos y oportunidades nunca antes conocidos, necesitan herramientas y procesos altamente adaptables, equipos multidisciplinares y liderazgo aplicables a este nuevo contexto. Esta es la filosofa de Humantific, consultora de vanguardia que centra su actividad en el SenseMaking, metodologa desarrollada en los aos setenta que pone su foco de atencin en el ser humano, en cmo la gente percibe y entiende el mundo y, a partir de ah, desarrolla una estrategia de negocio. Humantific ayuda a las empresas a gestionar eficazmente la complejidad de cualquier estrategia y optimizarla, ensea a directivos y empleados a ser ms creativos, a resolver retos y pensar de una manera visual, para entender y dar sentido a cualquier situacin de incertidumbre. El objetivo final es hacer de las organizaciones un mundo mejor, ms humano y menos material.
Everyone is talking about multidisciplinary innovation, but innovation is about people and not technology. With the massive changes taking place on the market, designers are facing a series of previously unknown challenges and opportunities , and they need highly adaptable tools and processes, multidisciplinary teams and leadership applicable to this new situation. This is the philosophy at Humantific, a cuttingedge consultancy focussing on SenseMaking, a methodology developed in the 70s, centred on human beings, and how people perceive and understand the world, and use this to develop a business strategy. Humantific helps businesses to manage efficiently and optimise the complexity of any strategy, teaching directors and staff to be more creative, to overcome challenges and think in a visual manner, in order to understand and give meaning to any uncertain situation. The final objective is to make organisations a better place, more human and less material.
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Maral Molin (Creativo publicitario) y Miquel Royo (Director de arte) / Maral Molin (Advertising creator)
Los estudiantes trabajaron como lo hacen los creativos profesionales: mismos planteamientos, metodologa, presin y satisfaccin personal. Se organizaron en parejas (copy director de arte) e hicieron frente al briefing de la marca Hagen-Dazs para su producto Secret Sensations. El ejercicio tuvo como objetivo valorar e interrelacionar el poder de la palabra y de la comunicacin no verbal. Recibieron instrucciones, correcciones y sugerencias del propio Molin, con una curtida experiencia como planificador estratgico y creativo publicitario. Fundador de la agencia MMLB, sus trabajos han obtenido numerosos premios nacionales e internacionales y ha sido jurado de prestigiosos festivales de publicidad. Molin y Royo no conciben que las cosas se hagan para contemplarlas, sino para competir, publicarse y prevalecer con el producto frente a los competidores. Adems, destacan la importancia de competir contra uno mismo, volver a hacer el trabajo que parece bueno hasta mejorarlo. Performance es el carcter mismo del trabajo creativo y Challenge es la actitud propia del creativo.
Students worked in the same way as professional creators: the same approaches, methodology, pressure and personal satisfaction. They worked in groups (copy art director) and faced a briefing by the Hagen-Dazs brand for their product Secret Sensations. The purpose of the exercise was to assess and interrelate the power of works and non-verbal communication. They received instructions, corrections and suggestions from Molin, who has vast experience as a strategic planner and advertising creator. Founder of the agency MMLB his work has received numerous national and international awards and he has sat on the jury for top advertising festivals. For both Molin and Royo, things are not done to be observed, but for competing, publication and prevailing with a product against competitors. They also stress the importance of competing with oneself, re-doing work that appears decent until it can be improved upon. Performance is the very character of creative work and Challenge is the attitude of the creator.
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A raz de una cita de Michael Wolf surge el briefing propuesto, cuyo objetivo era reflexionar sobre el diseo del mundo y la humanidad. Desde la perspectiva de las ciencias a la transformacin de la sociedad, se analizaron diferentes modelos matemticos y emocionales, y el peso de la publicidad sobre ambos. La raza humana percibe el mundo esttico, potico y cientfico mediante los cinco sentidos, configurando y desfigurando la realidad para crear diferentes percepciones. Trabajar con estos conceptos fue el reto: crear un sistema aislado y exponerlo a seres extraterrestres sin ninguna referencia sobre nuestro planeta. Partiendo de la existencia de otros seres, se generaron ideas para crear un vnculo intrasensorial (a b); se buscaron frmulas variables con las que solidificar los valores universales de justicia y derechos entre dos sociedades poco o nada conocidas entre s. Diferentes soluciones hicieron alusin a las sondas, que ya en los 70 envi la NASA con informacin sobre la raza humana. Una intensa reflexin para esta generacin de creativos, que han aportado nuevas formas de comunicar el mundo.
Based on a quotation from Michael Wolf a briefing emerged: the purpose was to reflect on the design of the world and humanity. From a scientific perspective to the transformation of society, different analyses were made of mathematical and emotional models, and the weight of publicity in both. The human race perceives the aesthetic, poetic and scientific world through the five senses, configuring and disfiguring reality in order to create different perceptions. The challenge was to create an isolated system and present it to extra-terrestrial beings with no knowledge of our planet. Based on an assumption that other beings truly exist and are perceived, ideas were generated to create an intra-sensory connection (a b) Variable formulae were searched for, in order to solidify the universal values of justice and rights in two societies which know little or nothing about each other. Different solutions referred to space probes, sent back in the 70s by NASA with information about the human race. An intense reflection for this generation of creators.
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Design Research
Design Researcher for Designit
Jess Carreras. Socilogo, Team Manager y Design Researcher en Designit / Sociologist, Team Manager and
El objetivo del workshop era introducir a los alumnos en el mundo del Design Research -recalcando las diferencias frente a otros mtodos de investigacin- a travs de diversas tcnicas para ayudarles a enfrentarse con garantas en sus futuros proyectos de innovacin y diseo. La metodologa, eminentemente prctica, invitaba a los alumnos, siempre trabajando en equipo, a hacer una investigacin de campo para estudiar diferentes necesidades y problemticas sociales, y aportar soluciones creativas e innovadoras que resolvieran dichos problemas, entendiendo que uno de los grandes desafos de hoy da no es slo gestionar informacin, sino saber cmo analizarla e interpretarla correctamente.
The purpose of the workshop was to introduce students to the world of Design Research - stressing the differences with other research methods through different techniques for helping them to make a confident approach to their future innovation and design projects. The eminently practical methodology invited students to work in groups on a piece of field research to study different social needs and problems and provide creative and innovative solutions to resolve these problems, understanding that one of the major challenges of our time is not just managing information, but also how to analysing and interpreting it correctly.
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Pep Torres. Escritor, Msico, Diseador, Inventor y Director del Museo de las Ideas y los Inventos de Barcelona /
Writer, musician, designer, inventor and director of Museum of Ideas and Inventions in Barcelona
En este workshop los alumnos aprendieron a obtener visibilidad pblica para sus ideas: es decir, a hacer ruido meditico. Ha sido un taller esencial para emprendedores y creativos, donde han trabajado las mejores tcnicas, herramientas y trucos para potenciar sus proyectos y conseguir que los mainstream media se hagan eco de ellos, multiplicando as la cobertura en medios internacionales. El workshop est basado en el libro El Arte del Ruido de Pep Torres, que ha conseguido ms de 3.000 apariciones en medios como The Wall Street Journal, TIME Magazine o Discovery Channel.
This workshop was designed especially for all those who want to obtain public visibility for their ideas: i.e. making media noise. It is an essential workshop for entrepreneurs and creators, working with the best techniques, tools and tricks to strengthen their projects and managing to see them reflected in the mainstream media, thus multiplying international media coverage. The workshop is based on the books The Art of Noise by Pep Torres, which has appeared over 3000 times in media such as The Wall Street Journal, TIME Magazine or the Discovery Channel.
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WE ARE
Pedro Ferreira. Fundador y Socio de Pedrita Studio / Founding partner of Pedrita Studio
El objetivo principal del workshop fue ahondar en la sensibilidad de los alumnos y conseguir que exploraran, dejando atrs la vorgine diaria, quines son/somos, partiendo de cuatro conceptos: personas, recuerdos, lugares y objetos. Tras una sesin preliminar para definir y compartir ideas, comenzaron con la bsqueda de una imagen que ilustrara su idea sobre cada uno de estos cuatro elementos para, tras esto y de un salto, corporeizar ideas y recuerdos, y crear pequeas esculturas de papel que representaran de igual modo los cuatro conceptos de partida. El trabajo individual de cada uno de los alumnos se complet con una frase We are que defina lo que somos, de qu estamos hechos Se trataba de un workshop de exploracin personal y tambin uno muy teraputico, ya que las esculturas cumplan dos objetivos: canal para plasmar ideas tan sensibles de introspeccin como las que tomamos y punto de concentracin de cada uno, alejndonos del ruido exterior y creando algo con las manos, apuntaba Pedro Ferreira.
The main objective of the workshop was to delve deeper into the students sensitivity and get them to explore, leaving behind all daily hustle and bustle, who they/we are, based on four concepts: people, memories, places and objects. After a preliminary session to define and share ideas, they started with the search for an image to illustrate each ones idea of these four elements, to then jump to embody ideas and memories, and create small paper sculptures which also represent the four initial concepts. Each students individual work was completed with the sentence We are to define what we are, what we are made from It was a workshop on personal exploration, and it was also highly therapeutic, as the sculptures meet two purposes: a channel for forming such sensitive ideas as introspection, and each ones point of concentration, moving away from the external noise and creating something with their hands, said Pedro Ferreira.
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FILMIZE
Tomas Kral. Diseador y Fundador de Tomas Kral Product Design Studio / Designer and founder of the Tomas Kral Product Design Studio
El diseador eslovaco Tomas Kral propuso el workshop FILMIZE, cuyo briefing ret a los alumnos del Master of Product Design Labs y del Master of European Design Labs a interpretar y traducir una parte de la historia de una pelcula en un objeto, funcional o abstracto, desde cualquier gnero narrativo: ciencia ficcin, comedia, blico, romance, documental Captar de ese momento cinematogrfico el detalle clave de la trama o inspirarse en los personajes principales o secundarios, incluso en el espacio en el que ocurre todo o donde todo empieza, ha sido el punto de partida para transformar las ideas en objetos. Los jvenes diseadores crearon bocetos y argumentaron sobre diferentes temas con el fin de aproximarse al concepto escogido de cada largometraje, sin olvidar el proceso de dibujo y la escala en maquetas de las ideas como parte fundamental de la investigacin. Adentrarnos en pelculas de la historia del cine dej entrever la creatividad y el poder de anlisis crtico de cada uno de los participantes, traducido en originales objetos.
The Slovakian designer Tomas Kral conceived the workshop FILMIZE, the briefing for which challenged the Master of Product Design Labs and Master of European Design Labs students to interprete and translate a part of the history of a film in a functional or abstract object, from any narrative genre: science fiction, comedy, war, documentary Capturing the key detail of the plot from that cinematographic moment, or drawing inspiration from the main or supporting characters, including the setting in which everything takes place or everything starts, was the starting part for developing ideas into objects. The young designers created models and discussed different themes in order to draw closer to the chosen concept from each full feature film, without forgetting the drawing process, and model scale of ideas as a fundamental part of the investigation. The result revealed the creativity and power of critical analysis of each participant, translated into original objects.
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Mischer'traxler
La propuesta ambivalente de los diseadores Katharina Mischer y Thomas Traxler nace del enfrentamiento con objetos producidos en grandes cantidades y la percepcin del usuario. Habitualmente convivimos con artculos que, en muy pocas ocasiones, son vistos como objetos de diseo: cubiertos desechables, bandas de goma, pinzas para ropa, vasos de papel, clips, post-its, cerillas Los fundadores de mischer'traxler pidieron a los alumnos del Master of European Design Labs y del Master of Product Design Labs que buscasen y comprasen uno de estos productos baratos en grandes cantidades para, ms tarde y como punto de partida, analizarlos desde mltiples perspectivas (usuario, produccin, interaccin). Tras la reflexin, lleg el momento de transformar, destruir, trasladar y reconstruir dichos objetos. El resultado fueron diversas alternativas, construcciones, instalaciones y escenarios que surgieron de una aproximacin valiente y original de los estudiantes de un objeto cotidiano en el que habitualmente no reparamos.
The ambivalent proposal of the designers Katharina Mischer and Thomas Traxler is born from the encounter of objects produced in large quantities and user perceptions. We habitually live with articles which, on few occasions, are seen as design objects: disposable cutlery, rubber bands, clothes pegs, paper cups, paper clips, post-its, matchsticks The founders of MischerTraxler asked students on the Master of European Design Labs and the Master of Product Design Labs to seek out and buy one of these cheap products in bulk, and then use then for multiple perspective analysis (user, production, interaction). After this reflection came the moment for transforming, destroying, transferring and re-building these objects. The result was a range of alternative, constructions, installations and scenarios which emerged from a courageous and original approach by the students to an everyday object which we barely notice.
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Design movements
Los alumnos del Master of European Design Labs disfrutaron de una semana en el emblemtico Domaine de Boisbuchet (Francia), un referente del diseo. Un escenario perfecto para la realizacin de un proyecto en total conexin con la naturaleza. Cmo reinventar el diseo basndose en la transformacin constante del espacio? ste fue el punto de partida fijado por el estudio de arquitectos responsable de proyectos arquitectnicos como la Terminal 4 del Aeropuerto de Barajas (Madrid) y el Centro Georges Pompidou (Pars). En el workshop trataron la concepcin del diseo desde el movimiento, y ste como accin que determina nuestra vida y relacin con el medio ambiente. Asimismo, llevaron a cabo el rediseo de caminos alternativos dentro del mapa de Boisbuchet, una actividad multidisciplinaria que exige una constante transformacin, teniendo en cuenta el carcter cambiante de la naturaleza. En este proyecto, los alumnos llevaron a cabo la construccin de una ruta a travs del Domaine para crear un enlace entre dos reas de descanso.
The Master of European Design Labs students enjoyed a week at the emblematic Domaine de Boisbuchet (France), a reference point for design. This was the perfect setting for completing a project in full connection with nature. How to reinvent design, based on the constant transformation of space? This was the starting point for the architectural studio in charge of projects such as the Terminal 4 building at Madrid Barajas Airport, the Georges Pompidou Centre in Paris or the Lloyds building in London. This workshop dealt with the concept of design from movement, and of movement as an action which determines our life and relationship with the environment. They also completed the redesign of alternative routes on the Boisbuchet map, a multidisciplinary activity demanding continuous transformation, bearing in mind the that nature is continuously changing. On this project, the students completed the construction of a route through the Domaine in order to create a connection between two rest areas.
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VISTA ALEGRE
Portillo (Architect)
Isabel Abreu (Project Manager Vista Alegre Atlantis), Paloma Uriel (Arquitecta) y Luisa Gonzlez-Portillo (Arquitecta) / Isabel Abreu (Project Manager Vista Alegre Atlantis), Paloma Uriel (Architect) and Luisa Gonzlez-
Proyecto de colaboracin entre los diseadores del Master of European Design Labs y la empresa de cermica Vista Alegre, reconocida mundialmente por su excelencia. El objetivo del workshop fue el diseo de una coleccin de piezas en alguno de los materiales con los que la compaa portuguesa trabaja (vidrio, cermica o porcelana), basndose en su propia interpretacin de la compaa y su historia. Este proyecto, adems, permiti a los alumnos viajar hasta las instalaciones de Vista Alegre en Oporto, donde pudieron observar en primera persona los distintos procesos de produccin artesanal e industrial del vidrio, la cermica y la porcelana de la mano de profesionales.
Collaboration project between the Master of European Design Labs designers and the ceramics company Vista Alegre, known for its excellence around the world. The purpose of the workshop was the design of a collection of pieces using some of the materials commonly used by the Portuguese company (glass, ceramic or porcelain), based on their own interpretation of the company as its background. This project also gave the students the chance to travel to the Vista Alegre facilities in Oporto, where they could see firsthand the different traditional and industrial production processes using glass, ceramics and porcelain with professional craftsmen.
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Seminarios
Seminars
ado el carcter multidisciplinar y transversal de los Masters of Design and Innovation, el programa incluye una serie de seminarios que proporcionan a los estudiantes las herramientas conceptuales, prcticas y de lenguaje especializadas en el rea del diseo de producto, la comunicacin comercial, las estrategias de negocio y contenidos de sostenibilidad o de cultura e historia del diseo, fuentes de informacin e inspiracin para sus proyectos de investigacin. Estos contenidos completan el background de cada alumno de manera que, desde el principio, cuenta con los conocimientos necesarios para construir su tesis con coherencia, calidad y anlisis crtico. Metodolgicamente, el contenido se divide en clases frontales, case studies, seminarios tcnicos y conferencias diseadas para permitir al alumno visualizar de manera prctica el contenido terico.
iven the multidisciplinary and transverse nature of the Masters of Design and Innovation, the programme includes a series of seminars that provide students with the conceptual and practical tools, as well as the specific language, required to work in the areas of product design, commercial communication, business strategies and sustainability contents, as well as those relating to the culture and history of design, all of which are sources of information and inspiration for their research projects. These contents round off the background of each student so that, from the start, they boast the necessary knowledge to build a thesis on the basis of consistency, quality and critical analysis. Methodologically, the content is divided into lessons, case studies, technical seminars and lectures designed to allow students to visualise theoretical content in a practical way.
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En este seminario se ha trabajado, desde un punto de vista terico-prctico, la parte formal de la escritura, dejando por un momento de lado el mundo de las ideas y centrndose en la forma de contarlas. Se ha hablado del uso de los distintos tonos de escritura, que deberan ser el resultado de una pequea estrategia previa a las primeras lneas y que buscan provocar algn tipo de reaccin especfica en el lector.
During this seminar we have worked, from a theoretical-practical perspective, on the formal aspect of writing, leaving aside for a moment the world of ideas and focusing on the way of expressing them. A range of tones of writing was discussed, which should be the result of a brief prior strategy to the first lines, in order to provoke a specific reaction in the reader.
Branding
David James Standley. Director de arte y Consultor en comunicacin corporativa / Art director and corporative communication consultant
Los alumnos profundizaron en el anlisis de casos reales de marcas contemporneas y relevantes para entender los fundamentos del branding, desarrollando las destrezas imprescindibles para intervenir en las actuaciones ms cruciales, dada la compleja situacin actual de la economa.
Students delve into the analysis of real cases concerning relevant, contemporary brands in order to understand the basics of branding, developing the essential skills for intervening in the most crucial actions, given the complex economic situation.
Gestin de equipos
MindValue
Jos Aguilar. Doctor en Filosofa y Socio director de MindValue / Doctor of Philosophy and associate director of
Gestionar la complejidad de disciplinas interrelacionadas en procesos creativos fue el tema central de este seminario. Esta tarea exige el dominio de muchas competencias tcnicas (recursos del lenguaje, aplicacin a las tecnologas de la informacin, etc.), y junto a ellas se desarrollan habilidades de gestin para un correcto y fructfero trabajo en equipo.
The main subject of this seminar dealt with the management of the complexity of interrelated disciplines in creative processes. This task requires a command of many technical skills (linguistic resources, applications in information technology, etc.), along which are developed management skills for an appropriate and fruitful teamwork.
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Planificacin estratgica
Luis Marijuan. Doctor en Ciencias Qumicas y Socio Gerente de la consultora Pingarron and Partners / Doctor of Chemistry and managing partner at the Pingarron and Partners consultancy firm
Durante este seminario se ha trabajado el anlisis de formulacin e implantacin de los principales conceptos de marketing estratgico, identificando las funciones bsicas de la direccin de marketing, la estrategia empresarial, las dimensiones ms relevantes y, en particular, sus caractersticas e interrelaciones.
During this seminar students dealt with the analysis of the formulation and implementation of the main concepts in strategic marketing, identifying the basic roles of marketing direction, business strategy, the more relevant dimensions of the field, and, in particular, their characteristics and interrelations.
Innovacin
Francesco Sandulli. Director de la Ctedra UCM-Orange de la Sociedad de la Informacin en la Universidad Complutense de Madrid / Director of the UCM-Orange Department at the Information Society of the Universidad Complutense in Madrid
Los alumnos aprendieron a analizar los fundamentos para organizar con xito las estrategias de innovacin y sus procesos. Los temas principales incluyeron el desarrollo de un clima organizacional que premia la creatividad y el diseo de los procesos de innovacin adecuados.
Students learnt to analyse the essential elements needed to successfully develop innovation strategies and their processes. The main issues included the development of an organizational climate that rewards creativity and the design of the appropriate innovation processes.
Grfica
Marta Bota. Diseadora grfica e Ilustradora / Graphic designer and illustrator
En este seminario/taller los alumnos han trabajado su propia identidad grfica, lo que visualmente les ha dado una personalidad y les ha diferenciado del resto, desde un punto de vista prctico y realista. Para ello, han trabajado con unos ingredientes (tipografas, gama cromtica, materiales, elementos grficos...), que han mezclado al aplicar su identidad sobre diferentes soportes, para marcar o comunicar su proyecto.
During this seminar/workshop, students worked on their own graphic identity, which lent them a visual personality and differentiated them from the rest, from a practical and realistic perspective. In order to do so, they worked with ingredients (typographies, chromatic range, graphic elements, etc.), which have been combined by applying their identity to a range of supports, in order to define and communicate their project.
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Serigrafa
Sandra Sarasola. Socia de Arteria Grfica / Partner at Arteria Grfica
Desde un enfoque terico-prctico, los alumnos del Master of European Design Labs han podido aprender las reglas y procedimientos bsicos de la tcnica de estampacin por serigrafa en diferentes soportes: papel, cartn, madera, cermica y vidrio. De este modo, se ha buscado que adquieran unos conocimientos bsicos que sirvan de aproximacin a esta tcnica y den amplitud de miras a la hora de afrontar proyectos futuros que requieran de ella.
From a theoretical-practical perspective, the students of the Master of European Design Labs had the chance to learn the basic rules and procedures of the serigraphy printing technique in a range of media: paper, cardboard, wood, ceramics and glass. In this way, the aim is for them to acquire basic knowledge that will help them understand this technique and widen their views with regard to any future projects in which they might use it.
Cermica
Ana Ferichola y Natalia Figueroa. Ceramistas y Socias de Tnata / Potters and partners at Tnata
Establecer las bases y tcnicas principales en cuanto al trabajo con cermica y porcelana ha sido esencial a la hora de afrontar el proceso de produccin de los prototipos al final del curso. Este seminario dio la los alumnos la oportunidad de acercarse al material desde una perspectiva terica, que se enriqueci posteriormente con un taller de un da dedicado a la coccin de cermica en horno Rak.
To establish the main foundations and techniques of ceramic work is essential when dealing with the production process of the prototypes at the end of the year. This seminar gave students the chance to get to know the material from a theoretical perspective, which was further enriched with a one-day workshop devoted to the firing of ceramics in a Rak oven.
Un diseador que produce externamente, Alberto Marcos; la creadora de una concept store, Luca Ruiz-Rivas (DO Design), y un diseador que ha optado por la auto-produccin, lvaro Cataln de Ocn, estuvieron en el ciclo de conferencias que sirvi de cierre al Master of European Design Labs y al Master of Product Design Labs. Finalmente, se celebr una mesa redonda entorno a la situacin actual del mercado, el marketing y la gestin de la produccin.
A designer that produces externally, Alberto Marcos; the founder of a concept stores, Luca Ruiz-Rivas (DO Design) and a designer who has chosen self-production, lvaro Cataln de Ocn, were the profiles presented in the lecture series that closed the 2012 edition of the Master of European Design Labs and the Master of Product Design Labs. Lastly, a round table was held to debate the current situation of the market, marketing and production management.
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Design Culture
by Pablo Jarauta
lo largo de las horas compartidas se discutieron problemticas encaminadas hacia una misma pregunta: tiene algo que decir el diseo ante las transformaciones actuales y las que estn por venir? La Historia y el paso del tiempo nos han mostrado que s. Es ms, en el marco de un mundo globalizado, las acciones y decisiones del diseo se han revelado como un laboratorio capaz de formular preguntas y respuestas dirigidas directamente a los procesos de transformacin social, cultural o econmica. Los alumnos encontraron la oportunidad de debatir acerca de los distintos significados del ejercicio del diseo, de su condicin y naturaleza, de sus posibilidades y lmites. Los contextos socioculturales del diseo sirvieron de punto de partida para ir recorriendo ideas y conceptos transversales en distintas disciplinas. Estas ideas, conceptos y metforas giraron alrededor de un mismo eje: el ejercicio del diseo como construccin de las formas del mundo. En este sentido, cabra decir que todo diseo esconde un proyecto sobre el mundo.
uring the hours we shared together, a range of issues for discussed, all focusing on the same question: does design have anything to say in the face of current and upcoming transformations? History and the passing of time tell us that it does. Furthermore, in the context of a globalised world, the actions and decisions of design have revealed themselves to be a laboratory which is capable of formulating questions and answers aimed directly at the processes of social, cultural and economic transformation. The students enjoyed the chance to debate the various meanings of the exercise of design, its condition and nature, its possibilities and limits. The social-cultural contexts of design served as a starting point to travel through transverse ideas and concepts in a range of disciplines. These ideas, concepts and metaphors revolved around a single idea: the exercise of design as a construction of the forms of the world. In this sense, it would be worth mentioning that all designs conceal a project for the world.
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ncuentros exclusivos que brindan a los alumnos la oportunidad de conocer las experiencias de profesionales y empresas. Las conferencias se centran en temticas candentes en los mbitos del diseo y la comunicacin: los ponentes, destacados profesionales en activo, aportan su visin personal y modus operandi, estimulan el debate, establecen un dilogo que, en ocasiones, hace referencia a los temas de tesis e investigacin de los alumnos. Los case studies se centran en experiencias o casos que vinculan al profesional con el mundo empresarial, y cuentan casos de xito como ejemplos de buenas prcticas. El carcter cercano a la realidad hace que el alumno vea reflejado un posible escenario de su futuro profesional, conociendo de primera mano el desarrollo de una propuesta, desde el briefing hasta su implementacin en los procesos de diseo y produccin, la estrategia comercial y de comunicacin, y la sucesiva difusin en el mercado.
CONFERENCIAS
Juan Pastor, Fundador y CEO en Repensadores. La creatividad es buena para la salud Ignacio Escolar, Fundador y Director de Eldiario.es. Internet y la marca personal Ian Crocombe, Vicepresidente de innovacin en American Express. Las redes sociales Antonio Nez, Consultor de comunicacin. Storytelling Fernando Beltrn , Nombrador y Poeta. Naming Antonio Muoz Molina, Escritor y Acadmico. Educacin visual Miguel Olivares, Fundador y Director Creativo de La Despensa. Creatividad de guerrilla Guzmn Lpez, Asesor en creatividad e innovacin. Cmo conseguir ideas increbles Jordi Ballera, Director Edelman. KISS y la creacin de marcas poderosas Andrea Caruso, Fundador de Ciszak Dalmas. Stop talking, start making Paloma Caizares , Fundadora de PCM. Editing design Pablo Martn Antoranz, Director de Marketing, Strategy, Consultant UNOBRAIN. La importancia de las redes sociales Miguel Madariaga, Director creativo *S,C,P,F... Madrid. 7 cosas que nunca me contaron sobre publicidad Piero Lissoni, Arquitecto y Diseador. Lezioni Americane Anatxu Zabalbeascoa, Periodista especializada en diseo y arquitectura de El Pas. Qu aprender de la ciudad informal Edwin Gardner, Diseador. Space is the machine
Exclusive opportunitie for students to hear about the experiences of professionals and businesses. The lectures are centred on burning issues in the field of design and communication: the speakers are all renowned active professionals, and they offer a personal view of their modus operandi, stimulating debate, establishing a dialogue which, on occasions, references the issues researched or chosen as the subject of their dissertation by the students. The case studies focus on experiences and cases that link professionals with the business world, and describe successful enterprises to offer examples of good practices. The reality-based approach of the case studies help students glimpse possible scenarios for their professional future, gaining first hand experience of the development of a proposal, from the briefing to its implementation in the design and production phases, commercial and communication strategies and, eventually, distribution on the market.
LECTURES
Juan Pastor, Founder and CEO of Repensadores. Creativity is Good for Your Health Ignacio Escolar, Founder and director of Eldiario.es. Internet and the Personal Brand Ian Crocombe, Vice-President of Innovation at American Express. Social Networks Antonio Nez, Communication Consultant. Storytelling Fernando Beltrn, Namer and poet. Naming Antonio Muoz Molina, Writer and academic. Visual Education Miguel Olivares, Founder and creative director at La Despensa. Guerrilla Creativity Guzmn Lpez, Creativity and innovation consultant. How to Achieve Incredible Ideas Jordi Ballera, Director of Edelman. KISS and the Creation of Powerful Brands Andrea Caruso, Founder of Ciszak Dalmas. Stop Talking, Start Making Paloma Caizares, Founder of PCM. Editing design Pablo Martn Antoranz, Marketing and Strategy Director, Consultant UNOBRAIN. The Importance of Social Networks Miguel Madariaga, Creative Director of *S,C,P,F... Madrid. 7 Things I Was Never Told About Advertising Piero Lissoni , Architect and designer. Lezioni Americane Anatxu Zabalbeascoa, Journalist specialising in design and architecture at El Pas. What to Learn from the Informal City Edwin Gardner, Designer. Space Is The Machine
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Pocoyo, by Zinkia
Empresa: El negocio de Zinkia Entertainment no se limita a la produccin audiovisual; crea y comercializa marcas de entretenimiento a travs de la produccin y el desarrollo de contenido audiovisual destinado a audiencias familiares de todo el mundo. Contenido: QUIN ES POCOY? Pocoy trata del descubrimiento de un nio pequeo del mundo que le rodea; un mundo que es sencillo y maravilloso al mismo tiempo, en el que cualquier cosa puede ocurrir si tienes la suficiente imaginacin. Pocoy es "Aprende riendoTM". Pocoy es una marca de entretenimiento educativo destinada a nios de entre 2 y 6 aos, popular en todo el mundo. La serie de TV se ha vendido a ms de 120 pases del mundo, alcanzando excelentes cuotas con hasta un 60% de share. Hoy en da est disponible a travs de numerosas plataformas: televisin, Home Entertainment, web, telefona mvil, vdeo a la carta y consolas. Y la extensin de la marca incluye la licencia de productos para el consumidor. Pocoy abarca un universo de valores humanos, y resulta visualmente contundente, con una narracin simple, clara e interactiva en cada captulo. Pocoy trata ms de aprender cmo aprender que de ensear lecciones especficas.
Company: The business of Zinkia Entertainment is not limited to audiovisual production - Zinkia creates and commercializes entertaiment brands though the production and development of audivisual content target at family audiences world- wide. Content: WHO IS POCOYO? Pocoyo is a curious, fun, loving, friendly toddler who is always into something new. Pocoyo is about a young childs discovery of the world around him. A world that is both simple and beautiful, where anything can happen if your imagination is big enough. Pocoyo is about Learning Through LaughterTM. Pocoyo is an entertaining and educational brand targeted to children ages 26 that is popular around the world and invites audiences to enter into Pocoyo's world, play along with his friends. The TV series has been sold in over 120 territories worldwide, achieving excellent ratings with up to a 60% share in many countries. Now its available across many platforms: Television, Home Entertainment, Web, Mobile, VOD, Consoles. And, extended brand reach through consumer products licensing. A unique and innovative brand designed for gender neutral toddlers: appealing equally to boys and girls! Pocoyo embraces a universe of human values. Visually stunning with simple, clear and interactive storytelling at the heart of each episode. A blend of humor and learning which mimics toddler development, language, imagination, curiosity and repetition.
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Dyson
Biografa: Doug Inge (Reino Unido, 1980) se licenci en Diseo Industrial y Tecnologa en la Universidad de Loughborough, y vive y trabaja en Londres. Su carrera profesional se ha centrado en el diseo y la produccin de innovadores objetos fabricados en serie, con experiencia en todas las fases del proceso. Tiene una amplia experiencia en los procesos de produccin y con proveedores de todo el mundo, incluyendo dos aos de estancia en China. Contenido: Introduccin a las compaas Dyson y Jake Dyson Products, desde la propia perspectiva de Douh Inge, empleado de ambas firmas. Inge present las estrategias que llevan a cabo, tanto de diseo como comerciales, mostr cmo se desarrollan los procesos creativos y el enfoque en la venta de los productos. Asimismo, realiz una comparativa entre ambas empresas. Cont a los alumnos su trabajo previo en Dyson Research, donde trabaj en distintos puestos, dise SCUBA y un equipo de buceo para Parker Diving Ltd. Actualmente, trabaja para Jake Dyson Products, donde est llevando el diseo de CSYS Task Light, desde los primeros conceptos y la investigacin hasta la produccin. Tambin est a cargo del desarrollo del producto a nivel mundial y de la creacin de los nuevos diseos como continuacin de este producto.
Bio: Doug Inge (United Kingdom, 1980) has a degree in Industrial Design and Technology from Loughborough University, and he lives and works in London. His professional career has focused on the design and production of innovative mass-produced objects, and he has experience in all the stages of the process. He is also very familiar with production processes and with providers from all over the world, having spent two years in China. Content: Introduction to the Dyson and Jake Dyson Products, from the point of view of Doug Inge, an employee at both firms. Inge presented the strategies they carry out, both on a commercial and a design level, and explained the way in which creative processes are carried out and the focus of product sales. He also compared the two companies. He told the students about his previous work at Dyson Research, where he worked in a range of positions, designing SCUBA and diving equipment for Parker Diving Ltd. He currently works at Jake Dyson Products, where he is in charge of the design of the CSYS Task Light, from the early concept stage to research and production. He is also in charge of the development of the product on a global level, and of the creation of new designs to carry on from this product.
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Empresa: McCann Worldgroup es el grupo lderde comunicacin en Espaa, tanto a nivel de facturacin (17 aos consecutivos) como en trminos creativos y de innovacin. Cuenta con ms de 400 profesionales a nivel nacional y ms de 18.000 a nivel mundial. Contenido: En el case study se present el caso de una campaa de comunicacin de Coca-Cola, Encuentros: una historia real que rene, en estos tiempos difciles que nos toca vivir, a la persona con ms edad en Espaa (102 aos) con un recin nacido, lanzando un claro mensaje de optimismo. La campaa ha tenido mucho xito, no slo a nivel de resultados racionales sino tambin emocionales, y ha conseguido importantes premios nacionales (AMPE de Oro, Laus de Oro, Sol de Bronce, Club de Creativos Plata...) e internacionales (NY Festival de Bronce, One show). El punto de partida y la pregunta a la que nos enfrentbamos como agencia fue: Cmo dar un mensaje de esperanza a la sociedad espaola en un momento de crisis tan delicado?
Company: McCann Worldgroup is the leading communications group in Spain, both in terms of turnover (17 consecutive years) and in creative and innovation terms. It has over 400 professionals at national level, and over 18,000 around the world. Content: The case study presents the case of a Coca-Cola media campaign, Encounters: a true story which brings together, in these difficult times in which we live, the oldest person in Spain (102 years old) with a newborn, sending out a clear message of optimism. The campaign was highly successful, not only in the rational sense, but also at emotional level, and has received major national awards (AMPE de Oro, Laus de Oro, Sol de Bronce, Club de Creativos Plata...) and international awards (NY Bronze Festival, One show MERIT AWARDS TV, ) The starting point and the question we were facing as an agency was: How to send a message of hope to Spanish society in such a delicate time of recession?
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Viajes
Trips
os viajes internacionales a estudios de diseo, agencias de publicidad, ferias, instituciones educativas, museos, empresas y centros de investigacin representan una herramienta fundamental en la formacin de los Masters of Design and Innovation. La presencia de los alumnos en ciudades tan dinmicas como Londres, Copenhague, Berln, Hong Kong, Miln, Pars, msterdam o Venecia, entre otras, les aporta una visin global y les proporciona una importante red de contactos profesionales y acadmicos. Se trata, en definitiva, de una experiencia personal irrepetible y una apuesta decisiva por su futuro profesional. El contacto con culturas, paisajes, costumbres y formas de vida diferentes resulta imprescindible para que el alumno desarrolle toda su capacidad y potencie un pensamiento divergente, ajeno a lo comn, innovador y extraordinario.
nternational trips to design studios, advertising agencies, fairs, educational institutions, museums, companies and research centres represent an essential tool in the training offered by the Masters of Design and Innovation. Visits by students to such dynamic cities as London, Copenhagen, Berlin, Hong Kong, Milan, Paris, Amsterdam and Venice, among others, offer them a global vision and provide them with an important network of professional and academic contacts. Ultimately, it is a once-in-a-lifetime personal experience and a key event in terms of their professional future. The contact with different cultures, landscapes, customs and ways of life is essential to help students develop their full capacity, as well as promoting divergent thinking outside the box, innovative and extraordinary.
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Pars-Boisbuchet / Paris-Boisbuchet
Los alumnos del Master of European Design Labs disfrutaron de unos das en torno al diseo en el emblemtico Domaine de Boisbuchet (ver apartado de Workshops, pgina 40) y en la bohemia ciudad de Pars. La capital francesa descubri a los participantes los principales enclaves del arte contemporneo: Muse des Arts Decoratifs, Muse dArt Moderne Ville de Paris, Palais de Tokyo mostraron la faceta ms artstica de la ciudad. La vertiente ms profesional la descubrieron de la mano de importantes estudios de arquitectura y diseo. Dominique Perrault, destacada figura de la arquitectura internacional, y su estudio fueron fuente de inspiracin para los estudiantes que, tras la visita a sus principales obras en la capital (Biblioteca Nacional francesa, Fukoku Tower), pudieron conocer su concepcin de la arquitectura como una parte integral del paisaje. Junto a Gabriele Pezzini Studio investigaron en torno al diseo de productos e indagaron en la concepcin de las relaciones necesarias entre objeto y usuario, con el fin de desarrollar un nuevo lenguaje para la creacin e innovacin.
The students of the Master of European Design Labs enjoyed a few days focused on design at the legendary Domaine de Boisbuchet (see Workshops section) in the Bohemian city of Paris. Paris revealed to the participants the main enclaves of contemporary art: the Muse des Arts Decoratifs, Muse dArt Moderne Ville de Paris, Palais de Tokio all of which displayed the most artistic facet of the French capital. The more professional side of the trip was provided by important architecture and design studios. Dominique Perrault, an important figure in international architecture, and his studio were a source of inspiration to students who, after visiting his main works in the city (French National Library, Fukoku Tower, etc.), had the chance to get to know more about his concept of architecture as an integral part of the landscape. At the Gabriele Pezzini Studio they delved into product design and they learnt more about the concept of the necessary relationship between objects and users, with the aim of developing a new language for creation and innovation.
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1/ Museo de Artes Decorativas de Pars 2/ Alumnos en la explanada del Museo Pompidou 3/ Alumnos en uno de los caractersticos tneles exteriores de acceso al Museo Pompidou. 4/ Fachada del Museo Pompidou 5/ Visita al Estudio de Gabriele Pezzini 6/ Museo de Arte Moderno 7/ Estudio de Dominique Perrault 1/ Museum of Decorative Arts in Paris 2/ Students of the Master of European Design Labs on the forecourt of the Pompidou Museum 3/ Students of the Master of European Design Labs in one of the characteristic external access tunnels to the Pompidou Museum 4/ Facade of the Pompidou Museum 5/ Visit to the Gabriele Pezzini Studio 6/ Modern Art Museum 7/ Studio of the architect Dominique Perrault
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msterdam-Eindhoven / AmsterdamEindhoven
Holanda empieza a ser referente en diseo para muchos, frente a destinos tradicionales como Londres, Pars o Miln. Bajo la premisa de descubrirlo, se organiz el viaje del Master of European Design Labs a tierras holandesas, coincidiendo con la Dutch Design Week en Eindhoven. Antes, los alumnos pudieron disfrutar de unos das en msterdam, donde visitaron el estudio de Maria Blaisse, cuya magia y cordialidad constituyeron la mejor de las bienvenidas. Tambin se realizaron visitas al Krller-Mller Museum, impresionante museo enclavado en un parque natural que alberga una rica coleccin de obras de artistas del siglo XX, como Vincent van Gogh, Pablo Picasso y Piet Mondrian, adems de un jardn de esculturas donde se pueden contemplar al aire libre obras monumentales de Auguste Rodin, Henry Moore y otros escultores contemporneos. Tambin accedieron al Stedelijk Museum en msterdam y a galeras de arte contemporneo como FOAM Gallery o la Galerie Pien Rademakers.
The Netherlands is starting to become a reference point for many, in contrast with traditional destinations such as London, Paris and Milan. In order to get to know the city, the students of the Master of European Design Labs travelled to The Netherlands during the Dutch Design Week of Eindhoven. Before that, the students spent a few days in Amsterdam, where they visited the studio of Maria Blaisse, whose magic and affability constituted a perfect welcome. They also visited the Krller-Mller Museum, an impressive museum set in a natural park which hosts a rich collection of works by 20th-century artists, such as Vincent van Gogh, Pablo Picasso and Piet Mondrian, as well as a garden of sculptures including monumental works by Auguste Rodin, Henry Moore and other contemporary sculptors; and they had the chance to go to the Stedelijk Museum in Amsterdam, as well as contemporary art galleries such as the FOAM Gallery and the Galerie Pien Rademakers.
1/ Una de las obras del jardn escultrico del Museo Krller-Mller 2/ Alumnos junto a la diseadora Maria Blaisse durante el paseo en barco por los canales 3/ Stedelijk Museum Amsterdam 4/ Vista del centro de msterdam 5/ Una de las obras de Maria Blaisse en su estudio 6/ Fachada del Krller-Mller Museum 7/ Exposicin de Anish Kapoor en el Museum de Pont (Tilburg) 1/ One of the works in the sculptural garden at the Krller-Mller Museum 2/ Students with the designer Maria Blaisse during a boat trip down the canals 3/ Stedelijk Museum Amsterdam 4/ View of the Amsterdam city centre 5/ One of the works by the designer Maria Blaisse at her studio 6/ Facade of the Krller-Mller Museum 7/ Exhibition of the sculptor Anish Kapoor at the Museum de Pont (Tilburg)
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Venecia / Venice
La segunda estancia en tierras italianas constituy el ltimo viaje para los alumnos del Master of European Design Labs. Visitaron Venecia, ms concretamente la zona de Treviso, donde pudieron conocer en persona a los artesanos que estn produciendo algunos de los prototipos de sus proyectos de tesis. De la mano de su profesor de Seminario Tcnico, Matteo Zorzenoni, pudieron ver parte de la produccin en vidrio, cermica, metal y madera de sus prototipos. Tambin en Treviso, visitaron el estudio del director del mster, Jaime Hayon, donde su equipo de trabajo les explic sus dinmicas internas y su forma de abordar los proyectos, as como algunos de los nuevos retos en los que ya estn inmersos.
The second trip to Italy constituted the last journey of the students of the Master of European Design Labs. They visited Venice, specifically the Treviso area, where they had a chance to meet in person some of the artisans who are producing some of the prototypes for their thesis projects. Accompanied by their Technical Seminar teacher, Matteo Zorzenoni, they were able to observe part of the glass, ceramic, metal and wood production of their prototypes. Also in Treviso, they visited the studio of the MA director, Jaime Hayon, and got to meet his team, who told them about their internal dynamics and the way in which they approach each project, as well as some of the challenges they are already facing.
1/ Estampa tpica veneciana 2/ Sergio Guijarro, alumno del Master of European Design Labs, con el diseador Matteo Zorzenoni (Hayon Studio) comentando detalles de su prototipo de tesis. 3/ Visita a Hayon Studio 4/ Alumnos durante la visita a uno de los artesanos que trabajaba en sus prototipos de tesis 5/ Prototipo en proceso de construccin de Carlos Andrs Bueno 1/ Typical Venetian view 2/ Sergio Guijarro, student of the Master of European Design Labs, with the designer Matteo Zorzenoni (Hayon Studio) discussing some details regarding his thesis prototype. 3/ Visit to Hayon Studio 4/ Students of the Master of European Design Labs during the visit to one of the artisans who is working on their thesis prototypes 5/ Prototype under construction, by Carlos Andrs Bueno, a student of the Master of European Design Labs
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Barcelona / Barcelona
Los alumnos del Master of Communication Design Labs visitaron Barcelona, una de las ciudades ms creativas de Europa. Aqu conocieron de primera mano la sede de la agencia de publicidad *S,C,P,F, una antigua fbrica textil de 1914 situada en pleno barrio de Sarri. Junto a Quique Baeza, director creativo de la agencia, los estudiantes pudieron trabajar en un workshop intensivo para la marca BMW; asimismo asistieron a una master class con el Program Leader del mster, Toni Segarra, junto al que analizaron las mejores piezas publicitarias de las ltimas dcadas y aprovecharon para resolver dudas sobre sus tesis. Tambin visitaron el recin inaugurado Museo de las Ideas y los Inventos de Barcelona (MIBA), cuyo director, Pep Torres, tambin particip en el mster dirigiendo un taller creativo, El Arte del Ruido. Finalmente, visitaron el Centre de Cultura Contempornia de Barcelona (CCCB), un espacio abierto que impulsa la investigacin artstica, organiza y produce todo tipo exposiciones.
The students of the Master of Communication Design Labs visited Barcelona, one of the most creative cities in Europe. They enjoyed a first-hand view of the *S,C,P,F advertising agency, an old textiles factory from 1914 set in the Sarri quarter. Along with Quique Baeza, the creative director of the agency, the students were able to work on an intensive workshop for the BMW brand; they also attended a master class with the Program Leader of the MA, Toni Segarra, with whom they analysed the best advertising pieces from the last few decades, and took advantage of the chance to discuss any issues relating to their theses. They also visited the recently inaugurated Museo de las Ideas y los Inventos (MIBA), whose director, Pep Torres, also took part in the master with a creative workshop, The Art of Noise. Finally, they visited the Centre for Contemporary Culture of Barcelona (CCCB), an open space that promotes artistic research, and organises and produces all kinds of exhibitions.
1/ Workshop creativo en las oficinas de *S,C,P,F... 1/ Creative workshop at the *S,C,P,F... agency
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Berln / Berlin
Los alumnos del Master of Communication Design Labs y del Master of Strategic Design Labs viajaron a Berln, y disfrutaron de una experiencia formativa repleta de workshops y visitas a agencias, museos y consultoras creativas. AKQA, reconocida agencia internacional especializada en marketing interactivo, les dio la clave para poder seguir creciendo: la creacin de un nuevo tipo de agencia donde la innovacin sea el pilar central; DDB Tribal, perteneciente a una de las redes de agencias creativas ms grandes del mundo, les mostr su pasin por las soluciones atpicas y comparti con ellos su filosofa de creacin de valor de marca a largo plazo: las grandes ideas han de permanecer simples. Tambin visitaron agencias alemanas que son ejemplo de grupo multidisciplinar que ha logrado hacerse un hueco apostando por conceptos creativos potentes, ART+COM, Weiss-Heiten y Dark Horse, y se acercaron a conocer los nuevos productos, prototipos y conceptos de DMY y el Nhow Hotel, arriesgada apuesta por un diseo nada convencional que sirve de inspiracin a msicos y viajeros.
The students of the Master of Communication Design Labs and the Master of Strategic Design Labs travelled to Berlin, and enjoyed an educational experience full of workshops and visits to agencies, museums and creative consultancy firms. AKQA, a renowned international brand specialising in interactive marketing, offered the students the key to continue to grow professionally: the creation of a new kind of agency where innovation is the central pillar; DDB Tribal, which belongs to one of the largest networks of creative agencies in the world, shared its passion for unusual solutions, as well as a philosophy for the creation of long-term brand value: good ideas must be simple. They also visited German agencies that are an example of a multidisciplinary group that has managed to find a niche through their commitment to powerful creative concepts, ART+COM, Weiss-Heiten and Dark Horse, and they got to know new products, prototypes and concepts at DMY and the Nhow Hotel, a bold display of unconventional design that serves as inspiration to musicians and travellers.
1/ Detalle de la cpula del Reichstag, proyecto de Norman Foster 2/ Workshop en AKQA, agencia digital 3/ Tour de graffitis y street art. 1/ Detail of the Reichstag dome, a project by the architect Norman Foster 2/ Workshop at AKQA, digital agency 3/ Tour of graffiti and street art
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Londres / London
Viajar a Londres en plena semana del London Design Festival es un plan inmejorable para cualquier amante del diseo. Los alumnos del Master of Communication Design Labs tuvieron la oportunidad de visitar la capital britnica, convertida por una semana en un hervidero de tendencias, y de adentrarse en las mejores agencias del mundo de la mano de sus directores creativos: Mother London y TBWA les mostraron sus trabajos y metodologas. Fueron, adems, recibidos por el estudio del arquitecto Lord Norman Foster (autor de la cpula del Reichstag en Berln o la torre Swiss Re en Londres) y del diseador espaol Fernando Gutirrez (especialista en diseo grfico, identidad corporativa y editorial). Tras ello, los estudiantes continuaron su formacin en el Design Museum, la Saatchi Gallery y el Tate Modern, tranquilos templos del arte y el diseo contemporneo. Y, por ltimo, aprovecharon la ocasin para asistir a 100% Design, el evento ms prestigioso entorno al diseo de producto y mobiliario en el Reino Unido.
Travelling to London in the midst of the London Design Festival is the perfect trip for anyone who loves design. The students of the Master of Communication Design Labs had the chance to visit the British capital during the week when it turns into a melting pot of trends, to get to know the best agencies in the world, accompanied by their creative directors: Mother London and TBWA showed them their work and methodology. They also visited the studio of architect Lord Norman Foster (the author of the Reichstag dome in Berlin and the Swiss Re tower in London) and the Spanish designer Fernando Gutirrez (a specialist in graphic design and corporate and editorial identity). Following this trip, the students had the chance to continue their training at the Design Museum, the Saatchi Gallery and the Tate Modern, those tranquil temples of contemporary art and design. And, lastly, they took advantage of the chance to attend 100% Design, the most prestigious event in the field of product and furniture design in the United Kingdom.
1/ Exposicin en Saatchi Gallery 2/ London Bridge 3/ Alumnos del Communication Design Labs 4/ Visita a la agencia de publicidad Mother London 5/ Visita a la agencia de publicidad TBWA 1/ Exhibition at the Saatchi Gallery 2/ London Bridge 3/ Students of the Master of Communication Design Labs 4/ Visit to the Mother London advertising agency 5/ Visit to the TBWA advertising agency.
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Bilbao / Bilbao
Los alumnos del Master of Strategic Design Labs visitaron Bilbao. Acudieron a Creativity Meeting Point 2012, punto de encuentro en el que se habl de robtica, industrias creativas, diseo, iniciativa empresarial, co-working y temas que ayudan al debate y al buen ciclo de las ideas. Durante el viaje tambin visitaron Funky Project, consultora de innovacin especializada en Services Design y creatividad estratgica, donde su fundador, Asier Prez, y su mano derecha, Begoa Muoz, les mostraron y explicaron sus proyectos. Como visita ineludible, asistieron al Museo Guggenheim Bilbao diseado por Frank Gehry. All conocieron porqu se escogi Bilbao para erigir el museo, qu material se us para su construccin, y les hablaron sobre la coleccin de artistas (Richard Serra, Jeff Koons y Miquel Barcel, entre muchos otros) y las exposiciones temporales . Bilbao ha experimentado un extraordinario proceso de regeneracin urbana; una ciudad encantadora que se est posicionando como punto clave para los espacios co-working, la creatividad y el emprendimiento.
The students of the Master of Strategic Design Labs went to Bilbao. They visited the Creativity Meeting Point 2012, a meeting point where robotics, creative industries, design, business initiative and co-working were discussed, promoting debate and the flow of ideas. During the trip they also visited Funky Project, an innovation consultancy firm specialising in services design and strategic creativity, whose founder Asier Prez and second in command, Begoa Muoz, spoke about their projects. And, as an essential visit, they went to the Museo Guggenheim Bilbao designed by Frank Gehry, where they were told why he chose Bilbao to build the museum, the material used in its construction, and where they discussed the collections by artists (Richard Serra, Jeff Koons and Miquel Barcel, among many others) and the temporary exhibitions. Bilbao has experienced an extraordinary process of urban regeneration. It has become a charming city that is turning into a key space for co-working, creativity and entrepreneurship.
1/ Estudiantes del Master of Strategic Design Labs por las calles de Bilbao 2/ Museo Guggenheim frente a la escultura de Louise Bourgeois Mam (Maman) 1/ Students of the Master of Strategic Design Labs in the streets of Bilbao 2/ Guggenheim Museum. In front of the Maman sculpture, by Louise Bourgeois
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Copenhague / Copenhagen
Los alumnos del Master of Strategic Design Labs fueron testigos del liderazgo real sobre la gestin de la innovacin que exhala la ciudad. No en vano, la capital se encuentra en el top list de las ciudades inteligentes. Durante su estancia visitaron el 5te, la incubadora de start ups de la Universidad de Tecnologas de la Informacin; Designit, una multinacional de diseo estratgico que cuenta con dos exalumnos del mster como colaboradores; pasando por ReD Associates y el Danish Design Center Research, donde exploraron posibles escenarios futuros y nuevos usos con materiales sostenibles. Asimismo, en la agencia Workz les mostraron juegos y rutinas que favorecen la implicacin de los empleados en los procesos de innovacin y en los cambios; conocieron Kontrapunkt, agencia de branding que ofrece soluciones a marcas que necesitan un cambio de imagen, y Attention y CIID, Centro de Investigacin de Diseo de Interaccin, destacaron la relevancia de disear productos poniendo especial atencin a la experiencia de usuario y la usabilidad.
The students of the Master of Strategic Design Labs witnessed the true leadership of innovation management that this city exudes. It is clear to see why the Danish capital among the list of tip intelligent cities. During their stay, they visited the 5te, the start up incubator at the University of Information Technology; DesignIT, a strategic design multinational with two former students as collaborators; as well as ReD Associates and the Danish Design Center Research, where they explored possible future scenarios and new uses for sustainable materials. Likewise, at the Workz agency they were shown games and routines that promote employee involvement in innovation processes and changes. They also got to know Kontrapunkt, a branding agency that offers solutions to brands in need of a change in their image, and Attention and CIID, the Centre for Investigation into Interaction Design, where they were told about the relevance of designing products paying special attention to user experience and usability.
1/ Scaledenmark Tour 2/ En las oficinas Attention Copenhagen. 3/ Alumnos del Master of Strategic Design Labs visitaron el estudio Designit 4/Danish Design Centre DDC 5/ Alumnos del Master of Strategic Design Labs en la consultora ReD Associates 1/ Scaledenmark Tour 2/ At the Attention Copenhagen offices 3/ Students of the Master of Strategic Design Labs visit the Designit studio 4/ Danish Design Centre DDC 5/ Students of the Master of Strategic Design Labs at the ReD Associates consultancy firm
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Miln / Milan
Viaje conjunto del Master of European Design Labs y el Master of Product Design Labs a Miln, en las fechas en que la ciudad italiana se convierte en centro neurlgico del diseo. Y ya no slo por el Salone del Mobile, sino por nuevas zonas de influencia como Ventura Lambrate, que empiezan a albergar tanto a jvenes talentos como a diseadores consagrados y grandes empresas. Pero Miln tiene mucho ms que ofrecer: el diseo emana de cada calle de los barrios de Brera o Quartiere Isola. Escenario que los alumnos pudieron conocer durante tres encuentros privados. En su visita al estudio de Michelle de Lucchi salieron impresionados por un ambiente peculiar y una filosofa de trabajo apasionante perfilada por el creador de la lmpara Tolomeo. En Piero Lissoni conocieron la realidad de un estudio de arquitectura de fama mundial que funciona como una mquina engrasada y pulcra. Y en la Casa-Museo de Castiglioni pudieron disfrutar de su inmensa obra y aprender la forma de trabajar del maestro de maestros, Achille Castiglioni.
A joint trip by the students of the Master of European Design Labs and the Master of Product Design Labs to Milan, during the week when the Italian city turns into the focus of design. And not only because of the Salone del Mobile, but also because of new and influential spaces, such as Ventura Lambrate, which begin to host both young talents and established designers and large companies. However, Milan has much more to offer: design emanates from every street in the Brera and Quartiere Isola neighbourhoods. This was the context that students got to know during three private meetings. In their visit to the Michelle de Lucchi studio, they were astounded by the unique atmosphere and fascinating work philosophy devised by the creator of the Tolomeo lamp. At Piero Lissoni they got to know the reality of a world-famous architecture studio, which works like a well-oiled machine. And, at the HouseMuseum of Castiglioni they learnt about the way of working of the master of masters, Achille Castiglioni, as well as enjoying a display of his immense body of work.
1/ El diseador Jaime Hayon en su espacio de Ventura Lambrate explicando uno de sus nuevos proyectos 2/4 Exposicin del estudio de diseo Nendo en el Palazzo Visconti 3/ Alumnos del Master of European Design Labs y del Master of Product Design Labs con la diseadora Constanza Algranti en su estudio 5/ Domingo Seminario, alumno del Master of European Design Labs, con el arquitecto y diseador Michelle de Lucchi 6/ Visita al Estudio de del arquitecto y diseador Piero Lissoni
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1/ The designer Jaime Hayon at his space in Ventura Lambrate describing one of his new projects 2/4 Exhibition of the Nendo design studio at the Palazzo Visconti 3/ Students of the Master of European Design Labs and the Master of Product Design Labs with the designer Constanza Algranti at her studio in Quartiere Isola 5/ Domingo Seminario, student of the Master of European Design Labs, with the architect and designer Michelle de Lucchi 6/ Visit to the studio of the architect and designer Piero Lissoni
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China / China
Los alumnos del Master of Product Design Labs viajaron a China. El objetivo era conocer las formas de produccin de la Fbrica del Mundo. Invitados por la Universidad Politcnica de Hong Kong, visitaron su nuevo edificio (an en construccin), diseado por Zaha Hadid, y mantuvieron un encuentro con el decano, Mr. De Bont (Cees De Bont). Posteriormente, junto a un grupo de estudiantes de dicha Universidad, pudieron ver a Shenzhen, capital de Guangdong, donde pudieron ver grandes reas de produccin industrial y ciudades de produccin artesanal. En Hong Kong, adems, visitaron el puerto, The Peak, el Museo de Arte Contemporneo y el ncleo financiero, entrando en emblemticos rascacielos como el Banco de China, diseado por el prestigioso arquitecto Pei. Tambin se acercaron a conocer los templos ms antiguos que se conservan en la ciudad y los mercadillos de antigedades. Como colofn, viajaron hasta la isla de Macao, antigua colonia portuguesa, y a la de Lantau, para visitar el Gran Buda y el Monasterio de Po Lin.
The students of the Master of Product Design Labs ewent to China. The aim was to get to know the forms of production in the Factory of the World. Invited by the Polytechnic University of Hong Kong, they visited its new building (still under construction), designed by Zaha Hadid, and they met the dean Mr. De Bont (Cees De Bont). Later on, along with a team of students from this university, they visited Shenzhen, the capital of Guangdong, where they visited large areas of industrial production and cities of artisan production. At Hong Kong they also visited the port, The Peak, the Museum of Contemporary Art and the financial centre, made up of legendary skyscrapers such as the Bank of China, designed by the prestigious architect Pei. They also got to know the oldest temples in the city and antique markets. To round off the trip, they travelled to the islands of Macao, an old Portuguese colony, and Lantau, to visit the Great Buddha and the Po Lin Monastery.
1/ Alumna del Master of Product Design Labs paseando por Hong Kong 2/ Alumnos del Master of Product Design Labs con estudiantes de la Universidad Politcnica de Hong Kong en Shenzhen 3/ Skyline nocturno de Hong Kong 4/ Visita a la Universidad Politcnica de Hong Kong 5/ Buda gigante de Lantau 6/ Galera comercial 1/ Student of the Master of Product Design Labs walking around Hong Kong 2/ Students of the PDL with students from the Polytechnic University of Hong Kong in Shenzhen 3/ Night skyline, Hong Kong 4/ Visit to the Polytechnic University of Hong Kong 5/ Giant Buddha in Lantau 6/ Shopping Mall
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Tesis 2012
Thesis 2012
Tesis
Thesis
localizado y desarrollado su tema de tesis con cierta conciencia. Una vez realizada la fase de creatividad y diseo, llegamos a la fase de produccin de estos objetos. Con la colaboracin de algunos de los mejores profesionales, los alumnos desarrollan sus ideas, eligen los materiales idneos y ejecutan las piezas a travs de un proceso artesanal. Con todo este recorrido, el mster quiere ensearles a aprender a pensar, para llegar a una idea y desarrollar una ecuacin propia. Con cada una de estas ecuaciones personales los alumnos se forjarn su futuro, abrindose a un mundo de oportunidades en el mbito profesional. Estoy convencido de que esta experiencia ha reforzado en cada uno su propia Identidad (eje temtico de todo el proceso formativo), factor importante para encontrarse con un camino claro y firme, y para hacer frente a las inevitables incertidumbres a las que el diseador de hoy en da se enfrenta.
esde el Master of European Design Labs entendemos la investigacin y el aprendizaje como un proceso experimental, tanto para los alumnos como para los profesionales que estamos involucrados. Durante el ao acadmico, no slo hay que demostrar ser buenos a la hora de disear un objeto, es mucho ms: es un aprendizaje a travs del anlisis y de la coherencia del camino que cada uno de ellos debe elegir desde el principio del curso. Dedicar casi un ao a depurar, filtrar y centrar la propia conciencia creativa es una oportunidad que se da en pocas ocasiones. La reflexin profunda que supone mirar y descubrir la propia identidad va asociada con un momento que requiere exclusividad y concentracin. Este mster genera las condiciones, el espacio y el tiempo suficiente para desarrollar, de una forma meditada y analizada, los conocimientos adquiridos, consiguiendo as que cada uno de los estudiantes haya
t the Master of European Design Labs we see research and learning as experimental processes, both for the students and for the professionals who are involved in teaching them. During the academic year, it is not just a matter of proving that one can design an object. There is a lot more to it: it involves learning through analysis and with the consistency of a path which each student must choose at the start of the course. Devoting almost a year to distilling, filtering and centring ones own creative awareness is an opportunity not often given to people. The profound reflection entailed by looking at and discovering ones own identity is linked to a time which requires exclusiveness and concentration. This MA offers the conditions, the space and time needed to develop, in a thoughtful and aware way, the knowledge acquired, so that each student can identify and develop their thesis
subject with a certain understanding. Once the creativity and design phase is over, they come to the production phase. With the collaboration of some of the best professionals in the sector, students will develop their ideas, choosing the right materials and executing the pieces by means of an artisan process. Through this path, the MA seeks to teach students to learn how to think, so that they can arrive at an idea and develop their own equation. Each of these personal equations will allow the students to forge a future for themselves, opening up a world of professional opportunities. I am convinced that this experience has reinforced in each of the students their own Identity (a thematic axis of the whole training process), an important factor required to identify a clear and firm path, to face the inevitable uncertainties that all designers today must deal with.
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Alejandro Tapias
Colombia Diseador de Producto / Product Designer alejotapias@hotmail.com CALCANTITA | CuSO45H2O CALCANTITA | CuSO45H2O es el resultado de la experimentacin con Sulfato de Cobre (II), un compuesto qumico de cristalizacin rpida en una solucin sobresaturada de agua, en reaccin con distintos materiales de uso cotidiano como el vidrio y la cermica. Est inspirado en la formacin de los cristales y la transformacin que producen en su entorno natural, y busca encontrar un nuevo material a travs de una reaccin qumica. Interesado en la produccin de piezas de manera artesanal, decid traspasar el proceso de reaccin qumica a una produccin nica de objetos en donde cada pieza responde a distintas variables tales como temperatura, saturacin, luz, tiempo y material. Mezclando qumica y diseo obtengo como resultado tres series de objetos, los cuales reaccionan y son transformados por el sulfato, de modo que ninguna pieza es igual a otra, pues el proceso es nico e irrepetible en cada elemento de la coleccin. Los objetos son terminados con una resina transparente para proteger los cristales y con etiquetas personalizadas en cobre como identificacin del tiempo que estuvo bajo reaccin. CALCANTITA | CuSO45H2O es un trabajo de experimentacin en constante evolucin con distintos materiales y objetos para crear. CALCANTITA | CuSO45H2O CALCANTITA | CuSO45H2O is the result of experimentation with copper sulphate (II), a quick crystallisation chemical compound in a solution oversaturated with water, reacting with a range of day-to-day materials such as glass and ceramic. It is inspired by the formation of crystals and the transformations they induce in their natural environment, and seeks to find a new material through chemical reactions. Because of my interest in the artisan production of pieces, I decided to apply the process of chemical reactions to a unique production of objects where each piece responds to a range of variables, such as temperature, saturation, light, time and material. By combining chemistry and design I obtained three series of objects, which react and are transformed by copper sulphate, so that each is unique, as the process is different for each piece in the collection. The objects are finished with a transparent resin to protect the crystals, with personalised copper labels to state the time of reaction. CALCANTITA | CuSO45H2O is a constantly developing experimentation work with a range of materials and objects.
Esta silla representa lo que es el diseo: esttica, funcionalidad y atemporalidad // This chair represents design: aesthetics, functionality and timelessness
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"A travs de los ritmos y la naturaleza, el diseo se convierte en una extensin de la propia expresin // "Through rythms and nature, design becomes an extention of ones expression"
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El verdadero valor de las cosas est en la historia que cuentan // The real value of things lies in the stories they tell
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Ingrid Neurohr
Costa Rica Diseadora de Interiores / Interior Designer ingridneurohr@gmail.com ingridneurohr.com OROPNDOLA Para m la experiencia del diseo tiene que ver con un enfrentamiento entre lo que es natural y lo que es controlado, una parte que fluye y una parte que es guiada. Me encanta el color, la textura, entender los materiales y trabajar con ellos. Trato de que mis diseos sean simples, francos, que tengan diferentes opciones de uso y de interaccin con el usuario. Habindome trasladado a Europa desde Costa Rica, quera explorar materiales y procesos locales, mantenindome fiel a m misma y a mi experiencia. A raz del viaje con el curso a Portugal, decid trabajar con corcho, un material que es sostenible, da muchas opciones y, en cierta manera, es similar a la madera, a la que ya estaba acostumbrada. En la fbrica de Atlantis sent un profundo inters hacia un segundo material, el vidrio, tras ver todas sus posibilidades. Como concepto tom el nido de un pjaro de mi pas llamado oropndola y lo incorpor de dos maneras al proyecto: la primera como inspiracin para la forma del vidrio y, la segunda, en cmo las diferentes partes de la pieza anidan una dentro de la otra. Trabajar con una escala tan diferente a la que estaba acostumbrada en interiorismo fue un desafo. Quera mantener en mi objeto la versatilidad que un espacio puede brindar, por lo que dise una pieza que funciona como lmpara, bandeja, banco y mesa auxiliar, dependiendo de cmo se acomoden las partes. Agregar la estructura metlica me ayud a darle altura sin tener que aadir peso visual. La pieza puede ser reproducida en diferentes colores y acabados, dndole al diseo toda una gama de posibilidades de contraste y uniformidad. OROPNDOLA For me, the design experience has to do with a clash between what is natural and what is controlled, a part that flows and a part that is guided. I love color, texture, understanding materials and working with them. I try to make my designs simple, straightforward, to have different options of use and interaction with the user. Having moved to Europe from Costa Rica, I wanted to explore local materials and processes, while trying to keep true to myself and to my experience. Around the time we went to Portugal I started working with cork, a sustainable material, offering a lot of options and fairly similar to wood, which I was already used to. The second material I chose was glass, since I was very intrigued by it, after seeing all its possibilities at the Atlantis factory. I took as a design concept the nest of a bird in my country called Oropendola and I incorporated it in two different ways into the project. The first is in the inspiration for the glass shape and the second in how the different parts of the piece fit together. Working on such a different scale than the one I was used to in interior design was a challenge. I wanted to maintain versatility of space in my object, so I designed a piece that works as a lamp, tray, stool and side table depending on how you arrange its parts. Adding the metal structure helped me to add height to the project without having to add visual weight. The piece can be reproduced in different colors and finishes, giving the design a broad spectrum of possibilities of contrast or uniformity.
Design should always be dynamic, simple and colorful. It shouldn't be a complicated process but a joyful one // El diseo debera ser dinmico, simple y colorista. No debera ser un proceso complicado, sino uno alegre
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Una libreta, un simple objeto donde se plasman las ideas y se generan hasta los diseos ms complejos // A notebook, a simple object where ideas are stored and where even the most complex designs can be generated
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Sergio Guijarro
Espaa / Spain Diseador industrial / Industrial Designer hello@sergioguijarro.com sergioguijarro.com @sergioguijarro REVERIE Toda imagen existente es, a la vez, una imagen libre y diferente en cada uno de nosotros, que se refleja en nuestro pensamiento personal. El proyecto Reverie se basa en dos principios: la geometra y la ausencia; y parte de la cita: A state of being pleasantly lost in one's thoughts; a daydream (El placer de estar perdido en tus propios pensamientos una fantasa). Se trata de una serie de luminarias formada por 25 varillas (lneas) cuya forma se ha trascrito de la geometra aleatoria que se puede trazar sobre cualquier objeto y el vaco que queda en su interior. Las lneas de la pieza cambian segn el punto de vista desde el que se observe, obteniendo infinitas y nuevas formas de contener la luz. Contenedor y contenido se han hecho fsicos mediantes dos materiales fundamentales: el metal (encargado de trazar y contener de manera fsica la luz, aparte de conducir la corriente mediante el tacto) y el vidrio (encargado de contener de una manera invisible pero fsica a su vez). Dos materiales fros en apariencia que albergan una luz sin llegar a ocultarla, con la posibilidad de graduarla en intensidad y dejando entrever la belleza de la bombilla incandescente. El proyecto ha significado la bsqueda de nuevos materiales con los que trabajar, partiendo de la reflexin sobre diferentes imgenes convertidas en ilustraciones mediante tcnica libre: un atlas personal que deja en evidencia mi identidad, mis obsesiones y el amor por el objeto. REVERIE All existing images are, at the same time, a free and different image in each of us, one that is reflected in our personal thinking. The Reverie project is based on two principles: geometry and absence, and part of the quotation: A state of being pleasantly lost in one's thoughts; a daydream. It is made up of a series of lamps made up of 25 rods (lines), whose form has been taken from the random geometry that can be traced on any object, and the void left within it. The lines of the piece change depending on the point of the view from which it is observed, with infinite and new ways of containing light. Container and content are made physical through two essential materials: metal (in charge of tracing and physically containing light, as well as conducting electricity through tact) and glass (in charge of containing, in an invisible yet physical way). Two seemingly cold materials that contain light without hiding it, making it possible to vary its intensity and allowing a glimpse of the beauty of the incandescent light bulb. The project has involved a search for new materials with which to work, on the basis of the reflection on a range of images turned into illustrations through free techniques: a personal atlas that reveals my identity, my obsession and my love of objects.
Un sketchbook es la herramienta ms sincera que posee un diseador: capaz de desnudarte dejando en evidencia la esencia del proyecto y de uno mismo // A sketchbook is a designers most honest tool: it can lay you bare, revealing the essence of the project and of yourself
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Este objeto representa la convergencia entre mis dos reas de trabajo en este momento: el diseo grfico y de producto // This object represents the combination of the two areas on which I am working at present: graphic and product design
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El color es mi obsesin, mi medio de expresin y la estrategia para traducir mis ideas en diseos" // Colour is my obsession, my way of expressing myself and my strategy to translate my ideas into designs
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Johanna Tammsalu
Estonia Diseadora de Accesorios / Accessories Designer johannatammsau@me.com www.johannatammsalu.com www.behance.net/johannatammsalu SOLID SPIN. LAMP COLLECTION La coleccin de lmparas Solid Spin naci de una serie de experimentos que realic con objetos cotidianos presentes en cualquier hogar. Los elementos eran zapatos, gafas de leer, libros, tazas, jarras, tenedores, mandos, etc. Me qued fascinada por las formas que se podan crear simplemente girando esos objetos. Saqu fotos y un vdeo a cmara lenta. Estos experimentos se transformaron en frgiles formas fantasmagricas construidas a base de capas. Como no estaba del todo satisfecha con los resultados, empec a preguntarme cmo podra hacer que las lneas fueran ms claras y las formas ms slidas. Me interesaba la fuerza, no la fragilidad, as que decid comprobar qu pasara si mova un objeto sobre su propio eje y, despus, sobre un eje de mi eleccin. Prob con los objetos por separado y tambin con grupos en los que se apilaban unos encima de otros. El resultado fueron interesantes y revolucionarias formas con un mayor nivel de detalle en el perfil. Si los slidos se cortaran y abrieran desde el medio, el objeto original utilizado sera visible. Me emocion con los resultados, porque me di cuenta de que haba infinitas posibilidades. Poda realizar boles de fruta a partir de fruta, tulipas de lmparas a partir de bombillas, un taburete a partir de zapatos y mucho ms. Despus de crear las formas, busqu las que mejor se relacionaban entre s, pero que estaban hechas de elementos diferentes. Quera que hablaran el mismo idioma para obtener un pequeo grupo. Modifiqu la escala de cada pieza para crear el grupo perfecto. As, las lmparas de llaves, zapatos y gafas nacieron de jugar a girar objetos cotidianos. SOLID SPIN. LAMP COLLECTION The Solid Spin Lamp collection grew out of a series of experiments that I made with everyday household objects. These were shoes, reading glasses, books, mugs, jugs, forks, remotes controls, etc. I was fascinated with the shapes that could be created just by spinning these objects. I took photographs and videos with slow shutter speeds in order to capture these new shapes. These experiments resulted in fragile, ghost like shapes built up of layers. I wasnt quite satisfied with the results and started to wonder how could I make the outlines more defines and the shapes more solid. I was interested in strength, not fragility, and therefore I decided to see what happened if I moved an object around its own axis and the axis of my own choice. I tested objects by themselves and also in groups where they were stacked on top of each other. This resulted in interesting solid revolutionary shapes with great outer detail. If the solids were cut open down the middle, the original object used would become visible. I was excited anout the results because I realized that there are endless possibilities. I could make fruit bowls out of fruit, lamp covers out of light bulbs, a stool out of shoes and much more. After the shapes were created I looked for the ones that matched best but were made from different elements. I wanted them to speak the same language in order to obtain a small group. I altered the scale of each piece to create the perfect group. The Keys, Shoes and Glasses lamps were born out of a simple game spinning everyday objects.
"La raqueta representa el diseo perfecto, donde la fuerza y la elegancia se combinan" // The racket represents the perfect design, where strength and elegance are combined
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Nikita Bhate
India Diseadora de Interiores / Interior Designer nikitabhate@gmail.com www.nikitabhate.com
"Diseo tangible, lneas puras, simple... Cuidando los detalles" // Tangible design, Clean lines, simple.. Having an eye for detail
CHAI Cuando empec a explorar mi cultura y mis races, comenc a comprender algunas de las sencillas actividades locales de la gente de a pie de la India. Esto cambi mi modo de verme a m misma, y potenci mi identidad. Era una epifana. Ahondando en estos pensamientos, comenc a trabajar en la idea de miles de millones de personas bebiendo t; una actividad extranjera introducida hace 150 aos. Desde entonces, pas por varios cambios y todava se sigue preparando para adaptarse a los gustos locales de la India. Mi inspiracin para CHAI fue la cultura paralela india en torno al t: simple, desnuda, austera. Chai se convierte as en una experiencia, no adscrita a ningn estrato social y casi una tradicin tcita. El set CHAI se ha diseado a partir de un desarrollo posterior de la idea original de destreza, conectando de manera consciente cuerpo y mente. Elaborado en porcelana blanca pura, consiste en una tetera, una azucarera, una jarra para la leche y tazas de t, con diseos sencillos y coloristas. La bandeja de estructura metlica, junto con el asiento de madera, expresan el concepto de transporte y servicio fciles. El objetivo de mi proyecto es dar valor a objetos no reconocidos, que son simplemente una parte de nuestra rutina. Al aprovechar la oportunidad de expresar el diseo como una va para el intercambio cultural, espero reavivar el diseo local y llevarlo a un mercado global.
CHAI It was an epiphany, as I had started exploring my culture and roots; I began understanding some of the simple, local activities in the lives of the common man in India. This changed how I viewed myself and fostered my identity. Narrowing down on these thoughts, I started working on the idea of a billion people drinking tea; a foreign activity introduced 150 years ago. Since then, it underwent changes and still continues to brew to adapt to the local tastes of India. My inspiration for CHAI was the roadside tea culture in India; simple, stripped down, austere. Chai becomes an experience, moments of respite; unconfined to any strata and almost an unsaid tradition. The CHAI set is designed by further developing the original idea of dexterity, consciously connecting the body and mind. Made in pure white porcelain, it consists of pots for tea, sugar, milk and the teacups with simple colourful patterns. The structured metal tray with a wooden base conveys the concept of easy transportation and service. My project aims to impart values to objects which are unrecognised, just a part of our routine. By taking the opportunity to express design as a vehicle for cultural exchange, I hope to revive local design and carry it onto a global market.
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Yuri Sviridov
Rusia / Russia Diseador Multidisciplinar / Multidisciplinary Designer www.yurisviridov.com yurisvir@me.com @yurisvir LIFETIME LAMP El tiempo es un tema que siempre me ha interesado: qu es? Para m, es un enigma. Intent dar respuesta a esta pregunta hace unos meses, cuando estaba haciendo footing en la orilla del mar, rodeado por la naturaleza y un magnfico paisaje. Tambin investigu a travs de la Historia y del Arte cmo pintores y escultores (Richard Serra, Dal y otros) han tratado el tiempo y cmo lo han "materializado" en sus obras de arte. Despus realic entrevistas a pie de calle, preguntando qu era el tiempo. Nadie pudo definirlo, pero en sus respuestas haba mensajes comunes: abstraccin y vida. Y esto ltimo me dio la pista clave para disear mi lmpara: la vida. Adems de la naturaleza y el movimiento. Tres "dimensiones" que quera reunir en un objeto. Pero era esto posible? Por qu no? En general, las lmparas son objetos estticos con una nica misin: iluminar. Pero mi lmpara est "viva". Con su juego de luces y sombras, suavizado por la porcelana traslcida de la pantalla, crea una agradable atmsfera en la que relajarse: en casa, en la oficina, en cualquier lugar. Y por qu utilic una piedra como interruptor? Porque esta piedra, que encontr en la desembocadura de un ro, representa el paso del tiempo, el modo en que la energa del agua le ha dado forma y la ha redondeado. Adems, realic tres orificios en una cubierta de nogal sobre la lmpara, para ayudar a agarrarla con los dedos y poder moverla con facilidad. Como ya he dicho, cualquiera que desee crear un ambiente relajante puede utilizar mi lmpara. Y, al mismo tiempo, este objeto dinmico recordar a las personas que estn vivas. LIFETIME LAMP I find inspiration in going about my normal tasks in life. And the issue of time I've always been interested in: what is it? Its enigmatic for me. I tried to elaborate answers to this question a few months ago when I was jogging near the seaside, surrounded by nature and a magnificent landscape. I also researched through history and art, how painters and sculptors like Richard Serra, Dal and others dealt with time and how they "materialized" it in their works. I then started interviewing people in the street, asking what they think time is. Not all of them could define it, but there was a common message in their replies: abstraction and life. And the latter provided the key to designing my lamp: life. And then nature and movement. Three "dimensions" which I wanted to bring together in an object. But is it possible? Why not? Usually lamps are static objects which only have one purpose: to light up the room. But my lamp is "alive". With its play of light & shadow, smoothed out by the translucent porcelain lampshade, it creates a pleasant, relaxing atmosphere: at home, at the office, anywhere. And why did I use a stone for the switch? Because this stone, which I found in the mouth of a river, represents how time pass by, how the energy of water has shaped and rounded it. Also, I created three holes in a walnut cover on top of the lamp to help grab it with your fingers and move it easily. As I said before, my lamp can be used by anyone who wants to create a relaxing ambience. And at the same time, this dynamic object will act as a reminder that the person is alive.
"Me encanta el diseo, y esta es una de mis creaciones" // "I enjoy design and this is one of my creations"
Tesis
Thesis
El proceso de trabajo se estructura en las siguientes fases: 1) Identificacin de oportunidades y generacin de ideas de negocio; 2) Investigacin sobre las ideas seleccionadas; 3) Desarrollo del modelo de negocio y la visin estratgica; 4) Definicin e investigacin de los usuarios; 5) Investigacin de la competencia y definicin de oportunidades; 6) Diseo e implementacin de prototipos; 7) Anlisis de la viabilidad del proyecto; 8) Desarrollo de planes operativos. Intensidad, Imaginacin, Inspiracin y Potencia de Diseo al servicio de conceptos dinmicos e innovadores. Ha pasado un ao en un suspiro. Un ao en el que los alumnos del Master of Strategic Design Labs han desarrollado conceptos hasta convertirlos en modelos de negocio. Conceptos dinmicos y visuales, virales e impactantes en un formato en red. El proceso ni ha sido obvio ni sencillo, pero combinando inspiracin, diseo y disciplina han emergido ideas con un potencial de futuro impresionante.
n un entorno cambiante como el que vivimos, lleno de inseguridades pero tambin repleto de oportunidades, se vislumbran algunos nuevos valores. Entre ellos destacar la innovacin como valor global y una nueva forma de hacer, de relacionarse, de enfocar los problemas y sus soluciones, lo que podramos denominar como conocimiento transversal. En el Master of Strategic Design Labs dotamos a los alumnos de esos valores, y para lograrlo desarrollamos los proyectos basndonos en las metodologas del Design Thinking y del Diseo Estratgico. Durante el proceso, los alumnos desarrollan la visin estratgica y las competencias que les permitirn abordar tanto la creacin de nuevos proyectos creativos y empresariales, como la transformacin de las organizaciones. Adems, los propios proyectos demuestran su viabilidad durante el mster y pueden convertirse en realidades empresariales en el corto plazo.
n a changing environment such as the one we live in, full of insecurities but also brimming with opportunities, new values can be glimpsed. Among them it is worth noting innovation as a global value and a new way of working, of relating to others, of dealing with problems and their solutions, in what could be described as transverse knowledge. At the Master of Strategic Design Labs we instil these values in our students, by means of the development of projects based on design thinking and strategic design methodologies. During the process, the students will develop their strategic vision and the skills that will allow them to carry out new creative and business projects, such as the transformation of organisations. Additionally, the projects themselves prove their viability during the MA and can turn into business realities in the short term.
The work process is structured around three phases: 1) Identification of opportunities and the creation of business ideas; 2) Research into the selected ideas; 3) Development of the business model and the strategic vision; 4) Definition and research of users; 5) Research into the scope and definition of opportunities; 6) Design and implementation of prototypes; 7) Analysis of the viability of the project; 8) Development of operative plans. Intensity, imagination, inspiration and design power at the service of dynamic and innovative concepts. The year has gone by incredibly fast. A year during which the students of the Master of Strategic Design Labs have developed concepts to turn them into business models. Dynamic and visual, viral and impacting concepts in a network format. The process has not been obvious or simple, but by combining inspiration, design and discipline, a series of ideas with great future potential have emerged.
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"Hay tantas cosas que podemos compartir" // There's so much that we can share
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"El hogar est donde est el corazn, con la coleccin de robots de mi pap!" // Home is where the heart is, with my daddy's robot collection!
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Patricia Solomka
Espaa / Spain CG Artist & 3D Animator p.solomka@gmail.com patriciasolomka.com @patriciasolomka CUSTOMIZED PRODUCTS FOR AN IDEAL LIFESTYLE Durante el desarrollo de mi proyecto he descubierto que la clave del xito del diseador es entender al usuario final. Viniendo de un perfil creativo, me qued fascinada tras descubrir la impresin 3D, y todas las posibilidades que sta podra haberme abierto durante mi carrera de haber existido entonces: poder producir mis propias creaciones 3D, en el tamao y material que me conviniese mejor, y a un coste asumible incluso para un estudiante. Y es que la produccin en masa ha permitido abaratar costes de produccin, de manera que todos los estratos sociales han podido incorporarse al estilo de vida del consumismo. Sin embargo, la consecuencia fue la perdida de poder de decisin sobre las caractersticas del producto, sin ms opcin que la de amoldarse a lo que el mercado ofrece. Tras varios meses dndole vueltas al impacto que podra suponer esta tecnologa como medio de consumo, me decid a desarrollar I-deal: un servicio de modelado 3D completamente online dirigido al pblico general, eliminando las barreras tcnicas y permitiendo el acceso a un mundo antao econmicamente inalcanzable, el de los productos a medida. I-deal se basa en una web de e-commerce con un amplio abanico de diseos disponibles, todos ellos preparados para ser customizados por el usuario. El resultado es un proceso de compra bajo demanda que supone una produccin ecolgica y eficiente en el uso de materiales, y una libertad absoluta para el consumidor, quien por primera vez en la Historia puede adquirir productos adaptados a s mismo a un precio accesible, anticipando la llegada de la Tercera Revolucin Industrial. CUSTOMIZED PRODUCTS FOR AN IDEAL LIFESTYLE As my project has developed I have discovered that the designers key to success is understanding the final user. Coming from a creative profile, I was fascinated by my discovery of 3D printing, and all the possibilities that this could have opened up for me during my career if it had existed then: being able to produce my own 3D creations, in the size and material that suited me most, and at an acceptable cost even for a student. Mass production has permitted cheaper production costs, so that all social classes have been able to take part in the consumer lifestyle. However, the result was the loss of decisionmaking power over product features, with no other option than to adapt to what the market offered. After several months turning over in my mind the impact that this technology could have as a consumer resource, I decided to develop I-deal: a completely online 3D modelling service aimed at the general public, eliminating technical barriers and permitting access to a formerly unattainable world, that of made-to-measure products. I-deal is based on an e-commerce website with a wide range of available designs, all of them prepared for customization by users. The result is an on-demand buying process that results in a production which makes an ecological and efficient use of materials, with absolute freedom for consumers, who for the first time in history can acquire products adapted them at an affordable price, anticipating the arrival of the Third Industrial Revolution.
"El error ms grande en la vida es estar constantemente temiendo el cometer uno" (de Elbert Hubbard) // "The greatest mistake you can make in life is continually fearing that you'll make one" Elbert Hubbard
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Rafael P. Campoamor
Espaa / Spain Consultor de Estrategia Digital / Digital Strategy Consultant about.me/rafacampoamor CHIMP PUNCH Chimp Punch introduce una metodologa y analtica potentes en el da a da de los trabajadores, relacionadas con contenidos en redes sociales y a travs de tres reas principales: 1. Creacin de contenidos sencilla y amigable desde cualquier plataforma: e-mail, web o dispositivos mviles. 2. Difusin . Permite crear patrones para controlar las horas de publicacin en las diferentes redes sociales. 3. Analtica. Una vez publicados estos contenidos en los perfiles, Chimp Punch recoge todos los datos posibles, tanto propios como de APIs de terceros, y los muestra de manera grfica y fcil de comprender. El proceso de creacin de esta herramienta se ha basado principalmente en dos reas: Tecnolgica: conocer el funcionamiento de las APIs de terceras partes para saber qu es o no posible y qu riesgos conlleva para la compaa. Usuarios: aportar nuevos insights a travs de entrevistas personales y test de uso. La estrategia a seguir ser la internacionalizacin y la mejora. Esto significa que, cuando se lance una versin, se desarrolla o prueba la siguiente. Para internacionalizar la herramienta, se documenta ntegramente en ingls, incluyendo un plan comercial de forma mensual. La comunicacin se centra principalmente en medios online y redes sociales, as como mailings que recogen las novedades. El plan contempla que los usuarios sean partcipes del modelado y la comunicacin de la compaa. CHIMP PUNCH Chimp Punch introduces a powerful methodology and analytics of users everyday life, linked to the contents of social networks through three main areas: 1. Creation of simple, friendly content from any platform: email, web or mobile devices. 2. Diffusion: Chimp Punch permits the creation of rules to control publication times on the different social networks. 3. Analytics: once these contents are published on the profiles, Chimp Punch collects all possible data, both their own and that of third party APIs, and shows them in a graphic and easily understood way. This tools creation process has been based on two areas: Technology: in-depth knowledge of the functioning of third party APIs in order to know what is and what is not possible and what risks are involved for the company. Users: contributing new insights through personal interviews and user tests. The strategy to be followed from day one will be internationalization and improvement. This means that when one version is launched the next is being developed and tested. In order to internationalize the tool, it was documented entirely in English, including a monthly business plan. Communication is mainly focused on online media and social networks, as well as mailings which include the most important news. The plan aims for users to be participants in the modelling and communication of the company.
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Mara Roman
Brasil Arquitecta y diseadora grfica / Architect and Graphic Designer roman.maira@gmail.com DEXTHINK Este proyecto surge tras darme cuenta de que la actual crisis en que se encuentra sumida la Unin Europea puede ser una oportunidad empresarial, y capaz de promover el intercambio de conocimiento con pases en desarrollo. El hecho es que en el momento actual existe una falta de personal cualificado en pases que cuentan con mucho dinero y se han embarcado en numerosos proyectos. Por otro lado, hay un exceso de trabajadores en pases donde la crisis es ms acuciante. Por qu no compartir este capital a distancia para establecer una situacin en la que todas las partes se vean beneficiadas? El objetivo de esta tesis es proponer un nuevo modelo de relacin laboral en un territorio muy especfico: la consultora de service design. Con un target formado por pequeas y medianas empresas, este proyecto es capaz de desarrollar herramientas de colaboracin con las empresas, para que stas puedan ser ms competitivas en un mercado global en el que los grandes suelen ganar. La consultora de service design requiere equipos multidisciplinares, y es muy importante que cada uno de ellos est en contacto directo con el entorno de los clientes. As, sera posible crear varios equipos a travs de esta plataforma, dependiendo de la zona y los conocimientos ofertados, para despus trasladarlos a espacios reales. De este modo, cada proyecto contara con un equipo multidisciplinar e internacional creado en base a sus necesidades especficas. DEXTHINK This project was born from the realization that the current crisis in the European Union may be more than a business opportunity; it might be an opportunity for the exchange of knowledge with developing countries. The fact is that there is a lack of qualified personnel in countries that now have a lot of money and projects going on. And on the other hand, there is a labour surplus in the countries where the crisis is at its worst. Why not share this capital in a remote way to establish a "win-win" situation for both sides? The goal of this thesis is to propose a new model for labour relations in a specific niche, i.e. consultancy "service design". With the target audience of small and medium enterprises this project can develop tools with these companies, enabling them to be more competitive in a worldwide market in which the big ones usually win. A service design consultancy requires multidisciplinary teams, and it is very important that one of those is in direct contact with the customer environment. That way it would be possible to create several teams through this platform depending on the location and area of expertise, to be organised in real spaces. Thus, every project will have a multidisciplinary and international team, in a country chosen depending on its needs.
La riqueza y el misterio de la selva tropical definen mis pasiones: los colores y el arte (Peridico con dibujo de una selva) // The richness and the mistery of the tropical rain forest defined my passions: colors and art. (newspaper with a forest drawing)
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Margarita Kartashova
Rusia / Russia Diseadora de producto / Product Designer kartashovamargarita@gmail.com cargocollective.com/margaritakartashova LinkedIn: Margarita Kartashova BUSINESS OF YOUR LIFE Alguna vez has pensado en el tiempo que invertimos en nuestro trabajo? Consumimos, al menos, una tercera parte de nuestra vida en trabajar. Pensemos ahora en cuntas personas estn descontentas con lo que hacen, pero siguen acudiendo a la oficina, da tras da. Esta actitud parece bastante insostenible, no? Haz lo que te gusta, y no trabajars ni un da de tu vida. BYL es una herramienta off y online cuyo objetivo principal es ayudar a la gente a organizar su vida. Cmo? A travs de un sencillo proceso: Primer paso. Entender cul es el negocio de tu vida. En esta fase, BYL te muestra los detalles de todas las profesiones del mundo, a travs de vdeo entrevistas. Segundo paso. Aprender ms sobre tu negocio. BYL te ayuda y te muestra los modos en que puedes hacerlo, a travs de un news feed de artculos con observaciones procedentes de las mejores universidades y talleres, para que puedas educarte t mismo en la red. Tercer paso. Desarrollar tu negocio. Durante esta fase puedes practicar lo que has aprendido. Te ofrecemos la oportunidad de realizar breves prcticas como becario. Este es el momento de sumergirte en todo tipo de industrias para entender mejor lo que implica el trabajo que te gustara realizar. Adems, de este modo, la red creada promover la conexin entre dos entidades: el estudiante y la empresa, ofreciendo experiencia real y directa a los estudiantes, y permitiendo a las empresas beneficiarse de trabajadores de bajo coste. BUSINESS OF YOUR LIFE Have you ever realised how much time work takes from your whole life? The answer is at least a third. And now lets think: how many people are not happy about what they do, but still are going to the office everyday? It is quite an unsustainable approach to life, no? Do what you love and you will never work a day all your life. BYL is an on- and offline tool, whose main goal is to help people to make their life a business. How? By following a certain process: First step: identify the business of your life. At this point, BYL tells you about all the professions in the world through aspirational video interviews. Second step: learn about your business. BYL will help you to discover all the ways in which you can carry it out, by creating a news feed of articles with observations from the best universities, workshops and all the ways to learn and educate yourself online. Third step: Do your business. At this stage you can practice your skills. We provide an opportunity to enjoy a series of short internships. There is a chance to try a range of completely different industries in a short period of time in order to understand the reality of the work you would love to do. Additionally, in this way the network will empower the connection between two entities, the students and the enterprises. This will give the students a chance to gain first-hand experience, while offering the companies affiliated a low-cost workforce.
Los diamantes son los mejores amigos de las mujeres // "Diamonds are a girl's best friend"
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"Tienes que darte la libertad suficiente para ser capaz de ver lo que no ests buscando" // "You have to give yourself the freedom to see what you are not looking for"
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Tesis
Filsofos de lo mezquino
Thesis
Para conseguirlo pretendemos dotar al curso de un desorden fundamental que reproduzca esa fragmentacin en la que habitamos. No slo porque es el contexto en el que nos vemos forzados a desarrollar nuestro trabajo, tambin porque nos obliga constantemente a la mezcla, a la apertura a otras disciplinas, a otros puntos de vista. Seguimos intentando inocular en ellos una irrefrenable curiosidad global, porque creemos que es el motor esencial para desaprender. Y mantenemos la pretensin de acostumbrarles a la identificacin y desarrollo de conceptos: esa quimera. ste ha sido nuestro segundo ao pilotando una nave que intenta llegar a un puerto an cubierto por una bruma espesa. Por eso la habilidad para encontrar rumbos cuando se difuminan los referentes nos parece decisiva. Si hemos trasladado esa inquietud a quienes nos han sufrido como alumnos consideraremos el trabajo cumplido.
gustn Fernndez Mallo, durante su seminario en el Master of Communication Design Labs 2012, volvi a insistir en una idea que podra explicar correctamente lo que intentamos trasladar a nuestros alumnos: la idea de que un mundo fragmentado no es comprensible sin una constante, sin un hilo que rena los fragmentos y los dote de algn sentido. La comunicacin, de algn modo, sera la bsqueda de esas constantes. Salvador Pniker afirma que el filsofo tiene que trazar mapas de la realidad. En palabras de Platn, el filsofo sera quien tiene la visin de conjunto, quien organiza lo ms relevante de la informacin almacenada y esboza nuevas cosmovisiones, provisionales pero coherentes. Al final, lo que intentamos es que nuestros alumnos sean capaces de encontrar ese hilo, o trazar esos mapas, en el minsculo universo de las productos y las marcas: el mundo del consumo. Un mundo mezquino, irrelevante.
gustn Fernndez Mallo, during his seminar at the Master of Communication Design Labs 2012, once again insisted on an idea which could explain what we should convey to our students: the idea that a fragmented world cannot be understood without a constant, without a guiding thread that joins the fragments and lends them some meaning. Communication, in a way, is the search for these constants. Salvador Pniker claims that philosophers must draw maps of reality. In the words of Plato, philosophers have a vision of the whole, and are the ones who can organise the most relevant aspects of stored information, drawing new cosmovisions, provisional yet coherent. At the end, what we must try to accomplish is for our students to be able to find that thread, and draw those maps, in the minuscule universe of products and brands: the world of consumption. A contemptible and irrelevant world.
To do so we aim to lend the course an essential chaos, in order to reproduce the fragmentation we inhabit. Not only because it is the context in which we are forced to develop our work, but also because it forces us to constantly combine things, opening up to new disciplines and points of view. We continue to try to inoculate our students with an unstoppable global curiosity, because we think it is the essential engine to unlearn things. And we maintain the pretension of helping them get used to the identification and development of concepts: that chimera. This has been our second year at the mast of a ship that is trying to reach a port still submerged in fog. Because of this, it is essential to be able to find a path as soon as we can glimpse our landmarks. If we have conveyed this interest to those who have tolerated us as their teachers, we feel we have fulfilled our obligations.
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"El vdeo mat a las estrellas de la radio" // Video killed the Radio Stars
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Francisco Flores
Mxico / Mexico Diseador industrial / Industrial Designer www.franciscoflores.com.mx sillanegra.wordpress.com ORANGE Creo en la revolucin del aqu y ahora de nuestra sociedad. En esta bsqueda, procuro enfrentar cada reto con una perspectiva innovadora sustentada en la investigacin, creatividad y estrategia. La telefona est cambiando la manera en que acta el mundo, pese a esto, las compaas de telecomunicaciones siguen atascadas en dilemas de precio y servicio, generando confusin y desconfianza por parte de sus usuarios. En el caso de Orange (Espaa) desarroll el concepto Primario, que retoma el valor de lo sencillo y elemental. Con este enfoque, las tarifas sern esenciales, claras, y los servicios eficientes. El precio se mantendr genrico y estable. Los servicios podrn ser adquiridos por separado, y se contar con contratos mnimos de un mes. Asimismo, planteo desarrollar una plataforma virtual amigable, donde el usuario sea capaz de ingresar y administrar de manera inmediata informacin, contrato y pago de servicios. Apostando por una revolucin en los hbitos de organizacin y consumo. En el plano fsico, se actualizarn los espacios comerciales hacindolos ms experienciales e interesantes, donde tambin se podr acceder a las plataformas virtuales y obtener servicios y asesora. Este cambio filosfico de la compaa se comunicar de forma clara y contundente siguiendo con el hilo del concepto, mediante grficas, copies y piezas audiovisuales. Lo principal es dar prioridad a los elementos bsicos y vitales, retomando un lenguaje simple que invite a la reconciliacin entre el usuario y la compaa, dando valor a lo primordial. ORANGE I believe in the revolution of the here and now of our society. In this search, I try to face each challenge with an innovative perspective based on research, creativity and strategy. Telephone communications are changing the way in which the world works, yet, despite this, telecom companies continue to be stuck in a rut of price and service, generating confusion and distrust in their users. For Orange (Spain) I developed the Primary concept, which returns to the value of the simple and elemental. With this in mind, the rates will be essential and clear and the service efficient. The price will remain generic and stable. The services may be purchased separately, and minimum contracts will last for only a month. In the same way, I propose the development of a friendly virtual platform, where users can manage their information, contract and payments directly, to support a revolution in consumer and organisation habits. On the physical plane, commercial spaces will be updated, so that they become more experiential and interesting, and it will also be possible to access virtual platforms and to obtain services and guidance. This philosophical change in the company will be clearly communicated, continuing with the guiding thread of the concept, through graphics, copy and audiovisual pieces. The aim is to prioritise basic and essential elements, returning to a simple language that encourages reconciliation between users and companies, to give value to what is important.
Hay que filosofar a martillazos, hay que adoptar una actitud de permanente crtica con lo establecido y desestructurar una realidad que se nos impone como incuestionable", Nietzsche // One has to philosophise with a hammer, adopting an attitude of permanent criticism with the establishment, to destructure a reality that imposes itself as unquestionable Nietzsche
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Martina Orska
Ecuador Diseadora de producto y fotgrafa / Product designer and photographer martinaalvarezorska@gmail.com martinaorska.com FNAC Fnac es una empresa especializada en distribucin de productos tecnolgicos y culturales, formando una alianza nica entre comercio y cultura. Se fund en Francia en 1954, con el objetivo de proporcionar productos asequibles para el trabajador. Con la llegada de Internet y las nuevas tecnologas, la informacin y la cultura se han democratizado, dando como resultado una reduccin de ventas para Fnac. El principal desafo con el que nos encontramos es un consumidor que est cambiando constantemente sus hbitos de consumo, de modo que la empresa es incapaz de adaptarse a tiempo. El contexto de la cultura es un escenario en el que todos los conocimientos y costumbres toman forma. Del mismo modo, responde a aquellas personas inquietas que estn en busca del sentido de pertenencia, y de formar parte de algo ms. Adems de retomar su esencia y filosofa de marca, su principal diferencia ante la competencia, Fnac debe aprovechar el escenario cultural para crear una experiencia de compra memorable. La redimensin de la cultura y su interaccin con los productos son un componente clave para el xito, constituye la oportunidad para que Fnac se posicione en el mercado como el distribuidor y catalizador directo de la cultura. Mi propuesta de tesis busca encontrar un equilibrio entre el escenario fsico y el virtual. Dos elementos indispensables que se retroalimentan para el enriquecimiento del consumidor y de la empresa. Mi objetivo es crear una estrategia que posicione a Fnac como un referente cultural, donde no slo se venden productos, sino que se muestran historias del tiempo, la cultura y el mundo. FNAC Fnac is a company specialising in the distribution of cultural and technology products, forming a unique alliance between commerce and culture. It was founded in France in 1954, with the aim of providing affordable products for workers. The advent of the Internet and new technologies has led to the democratisation of culture and information, leading to a reduction in sales at Fnac. The main challenge it faces are consumers who are constantly changing their habits, so the company cannot adapt in time. The context of culture is a scenario where all knowledge and customs take shape. In the same way, it responds to restless people who seek to belong and be part of something bigger. As well as returning to its brand essence and philosophy, its main difference with regards to the competition, Fnac must take advantage of the cultural scenario to create memorable shopping experiences. The redimension of culture and its interaction with products are key to success, and constitute a chance for Fnac to position itself in the market as a distributor and direct catalyst for culture. My thesis proposal seeks to find a balance between the physical and virtual scenarios. Two essential elements which feed off one another in order to enrich consumers and companies. My aim is to create a strategy that positions Fnac as a cultural landmark, which does not merely sell products, but where histories of time, culture and the world are displayed.
"Levntalo para ver qu puedes ver" // Lift him up to see what you can see
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"Dentro de todo hay cientos de ideas sorprendentes, conexiones y posibilidades esperando ser encontradas" // "Inside everything are hundreds of surprising ideas, connection and possibilities waiting to be found"
Tesis
En el mster no slo buscamos objetos bonitos o soluciones ingeniosas, nos gustara ver el resultado de un proceso de pensamiento crtico que ha considerado todos los aspectos del ciclo de produccin. Los alumnos deben explicar cmo las ideas de nuevos productos impactarn de manera positiva en el mundo, y no slo sern algo que aadir a la maraa que queda cuando dejan de ser tiles. Se les anima a buscar materiales nuevos y alternativos, canales de distribucin innovadores y nuevos modelos empresariales; pero tambin se les hace ser conscientes del difuso lmite entre productos y servicios, de la posibilidad del diseo con materiales reciclables y de la transformacin de productos desechados. El Porqu antes que el Cmo Al mundo no le faltan cosas. Solemos sentirnos culpables cuando creamos nuevos productos de sustitucin que no suponen ninguna mejora con respecto a las soluciones que sustituyen. El planeta est repleto de restos de lo que parecan buenas ideas pero que dejaron una huella duradera sobre el medio ambiente. Creemos que los diseadores deben entender estas implicaciones, y que es importante que expresen sus preocupaciones y objeciones en el proceso de desarrollo de un producto. La formacin de los diseadores para el sector industrial no gira nicamente entorno a destrezas y disciplina, es necesario dedicar un tiempo a pensar en las consecuencias polticas, econmicas, ticas y medioambientales de lo que hacemos. En ltima instancia, el pensamiento crtico ayuda a crear productos mejores a largo plazo. Es, asimismo, imprescindible que los diseadores se adapten a los nuevos procesos industriales, y a las necesidades y deseos del nuevo consumidor. El objetivo de este curso es hacer que los diseadores deseen cambiar el mundo, no slo haciendo que sea bonito y fcil de usar, sino ayudando a asegurar que las cosas que creemos sean necesarias, emocionantes y significativas.
Thesis
This is a course where we are not just looking for beautiful objects or ingenious solutions we would like to see the result of a critical thought process that has considered every aspect of the product lifecycle . Students need to explain how new product ideas will positively impact the world and not simply add to the clutter left when it is no longer seen as useful. They are encouraged to look at new and alternative materials, innovative distribution channels, new business models, the blurred boundary between products and services and the design of material reuse and product transformation when discarded. Why before How The world is not short of stuff we are often guilty of making new replacement products which are no improvement on the solutions they displace. The planet is cluttered with the carcasses of what seemed like good ideas that were not properly considered because they have had a lasting consequence for the environment. Our belief is that designers need to understand these implications and importantly express their concerns and objections in the product development process. Training designers for industry is not simply about skills and discipline its taking the time to think about the political, economic, ethical and environmental consequences of what we make critical thinking ultimately helps make better products in the long run. It is necessary for designers to adapt to new industrial process and new consumer needs and desires. This course aims to produce designers wishing to change the world not only by making it beautiful and easy to use but by helping to ensure that the things we make are necessary, meaningful and exciting.
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Este jarrn de Roger Krasznai representa el valor sentimental que se otorga a un objeto, valor que, hoy en da, por desgracia, se est perdiendo // This vase by Roger Krasznai represents the sentimental value that is lent to an object, a value which, unfortunately, is being lost today
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LIGHTFOLD This project began with the study of Keraflex, a unique kind of extraordinarily translucent porcelain. I was seeking possible applications beyond a decorative use or the design of containers. In this search, I decided to exploit the main quality of the material in the field of lighting, where it would enhance its own natural beauty. When I began to work with Keraflex I wanted to find new processes to transform it, through minimal manual manipulation. To do so, I carried out many tests, researching origami, architecture and even cookery. The selection of forms, techniques and procedures originating from these three areas led me to define a final production method which is divided into four steps:
Laser cut Humectation and modelling Drying and baking Electrical fittings and assembly
Finalmente, obtuve una serie de luminarias que, habiendo pasado por el mismo proceso de produccin, son, no obstante, piezas nicas. De este modo, se consigue una artesana-industrial, una produccin industrial de piezas nicas y la introduccin a la produccin en serie de un material de una belleza y fragilidad generalmente asociadas al mundo artesanal.
At last, I produced a series of lighting pieces which, despite having gone through the same production process, are unique. In this way, I offer industrial craftsmanship, i.e. the industrial production of unique pieces and the introduction to mass production of a material of such beauty and fragility that it is generally associated with the artisan world.
Idea y luz se funden en mi proyecto // Idea and light meld together in my project
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Mi objetivo este curso ha sido unir dos de mis grandes intereses: la creacin de espacios y el diseo infantil // My aim this year has been to bring together two of my great interests: the creation of spaces
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Fabio Molinas
Italia / Italy Diseador Industrial / Industrial Designer molinasfabio@gmail.com OLTU STORAGE VEGETABLE OUT OF FRIDGE Estamos seguros estar almacenando bien los alimentos? Cuntas veces hemos tirado a la basura vegetales por una excesiva maduracin? Estas simples preguntas han sido el punto de partida de mi proyecto de tesis. Hoy en da estamos obsesionados en guardar todo en la nevera, lo que poca gente sabe es que no siempre es la mejor forma de mantener los alimentos frescos. Frutas y verduras necesitan de unas condiciones que les ayuden a mantenerse ms frescas por ms tiempo. De ah surgi la idea de desarrollar un objeto que revolucionara totalmente el concepto clsico de nevera, enfrentndome al reto de conseguir crear, con la ayuda de materiales aptos, temperatura y humedad, el ambiente ideal para almacenar estos productos. OLTU es como un organismo que aprovecha el calor producido por su parte posterior, que en las neveras actuales es una energa desperdiciada, para contribuir a enfriar los ttem de hortalizas con la tcnica del enfriamiento por evaporacin. El calor sube y afecta a la doble pared de los contenedores de barro que, con ayuda del agua repartida entre stos, consigue bajar la temperatura gracias al calor que extrae del interior, recreando el clima ideal para cada grupo climtico de vegetales. Se trata, adems, de un producto sostenible porque parte de su funcionamiento no depende de la energa, los gastos son mnimos y, lo ms importante, cada alimento est mejor preservado. Personalmente, creo que es un producto industrial con un fuerte componente educativo para el usuario: cada persona puede conocer las necesidades de los vegetales y conservarlos de una forma ms natural y responsable. OLTU STORAGE VEGETABLE OUT OF FRIDGE Are we sure we are storing our food properly? How many times have we thrown rotting vegetables away? These simple questions were the starting point of my thesis project. Nowadays we are obsessed with storing everything in the fridge, but what few people know is that this is not always the best way to keep food fresh. Fruit and vegetables require a set of conditions which, according to their proportion, help to keep these products fresher for longer. Starting from here, I had the idea of developing an object which will totally revolutionise the classic concept of the fridge, confronting the challenge of managing to create the ideal environment for storing these products, with the help of suitable materials, temperature and humidity. OLTU is like an organism that takes advantage of the heat produced from the back of a fridge, which in todays fridges is wasted energy, and uses it to help to cool the totem of vegetables via cooling by evaporation. The heat rises and affects the double wall of the clay containers, which, with the help of the water contained between their walls, is able to lower the temperature thanks to the heat extracted from their interior, recreating the ideal atmosphere for the needs of each group of vegetables. This is also a sustainable product because, as part of its functioning does not depend on energy, costs are minimal and, most importantly, each item is kept fresher. Personally, I think that this is an industrial product with a strong educational component for the user: each person can now know about the needs of vegetables and preserve them in a more responsible and natural way.
Una polaroid conserva un momento especial de manera irrepetible. Mi proyecto pretende algo parecido: conservar frutas y verduras de forma natural, y con el menor rastro posible // A Polaroid preserves a special moment in an unrepeatable way. My project hopes to do something similar: preserve fruit and vegetables in a natural way, and with the smallest possible footprint
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Lina Giraldo
Colombia Diseadora Industrial y Cocinera Profesional / Industrial Designer and Professional Cook linagir@gmail.com www.innovacioncocina.com @innovacioncocin COL.LECCI Durante mi experiencia como cocinera en diferentes restaurantes, observ que continuamente se rompan platos de cermica durante la jornada. Reciclar cermica es ineficiente e implica un alto gasto energtico. Por ello, uno de los objetivos de mi tesis es proponer un material ms resistente y reciclable. Asimismo, el innovador mundo de la gastronoma actual necesita platos y fuentes que rompan con lo tradicional. En consecuencia, esta coleccin se compone de superficies diseadas para contener comida y, a la vez, impactar visualmente al comensal. En este sentido, el proyecto est dirigido a restaurantes de alta gastronoma, a personas que busquen diferenciarse a travs de la originalidad y, sobre todo, a quienes busquen productos con conciencia ambiental. Inspirada en las creaciones del restaurante Gresca de Barcelona, dise estas superficies en cemento UHPC para platos especficos del men degustacin. Este material tiene una gran durabilidad, debido a su resistencia a impactos y capacidad de compresin y desgaste. El consumo de energa en su fabricacin es mnimo y es un material 100% reciclable. Esta coleccin rene la apariencia burda del cemento y la perfeccin geomtrica del diseo, creando un lenguaje de contrastes entre el material, la forma y el contenido. Son diseos nicos logrados a travs de un proceso artesanal e industrial al mismo tiempo, tras el que sus piezas llevan a la mesa un material mundano e industrial asociado con la construccin, y conocido por su resistencia y durabilidad, pero con una nueva esttica. COL.LECCI During my experience as a chef at different restaurants, I observed that ceramic plates were continually being broken throughout the day. The recycling of ceramics is inefficient and expensive, so one of the purposes of my thesis is to offer a more resilient and recyclable material. In addition, the innovative world of todays gastronomy needs plates and platters which break with tradition. Consequently, this collection is composed of surfaces designed to hold food and, at the same time, have a visual impact on the diner. In this respect, the project is aimed at haute cuisine restaurants, at people who want to be different through originality and, above all, at those who seek environmentally-friendly products. Inspired by the creations of the Restaurante Gresca in Barcelona, I designed these UHPC concrete surfaces for plates to be used for taster menus. This material is very durable, due to its resistance to impacts and its ruggedness. Energy consumption in its production is minimal and it is 100% recyclable. This collection combines the rough appearance of concrete and the geometric perfection of the design, creating a language of contrasts between material, form and content. They are unique designs achieved through both an industrial and craft process, after which the pieces bring to the table a mundane material associated with construction and well known for its resistance and durability, but with a new aesthetic.
Mi proyecto es el resultado de la fusin de mis dos grandes pasiones: el diseo y la cocina // My project is the result of the fusion of my two great passions: design and cooking
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La figura de Yami Yamanchi representa la fusin entre el origami, una de mis pasiones, y mi profesin de diseadora industrial. Fusin que he explorado a lo largo de este mster y que se hace evidente en mi proyecto de tesis / / The figure of Yami Yamanchi represents the fusion between origami, one of my passions, and my profession as an industrial designer. A fusion that I have explored throughout this Masters and which is made evident in my thesis project
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Duygu Azun
Turqua / Turkey Diseadora de Interiores / Interior Designer duyguazun@gmail.com EMERGENCY SHELTER El carcter humanitario de mi personalidad me ha llevado siempre a buscar soluciones a los problemas de las personas. Por ello, en mi diseo de producto he querido ayudar a resolver situaciones tan graves como la falta de hogar y paliar, en la medida de lo posible, las consecuencias que sufren las vctimas de desastres naturales, casos cada vez ms frecuentes en todo el mundo. Todo ello me ha motivado a crear un refugio porttil. El objetivo de mi proyecto ha sido disear un refugio de emergencia individual para ayudar a estas vctimas, ofrecindoles al menos la posibilidad de cubrir sus necesidades bsicas. He querido mejorar sus niveles de vida, proporcionndoles algn tipo de bienestar y privacidad (aspecto que no contemplan los refugios comunes), adems de facilitarles el transporte y almacenamiento de sus pertenencias personales, y ponerles a salvo de las condiciones atmosfricas. El refugio es mvil, fcil de transportar y de construir, resistente al agua y elevado del suelo. Est formado por cinco partes: un almacn (incluye un kit de emergencia), un colchn hinchable, una tienda de campaa, bomba de aire y una mochila transportadora. La tienda, compuesta por dos capas (la red mosquitera y la tela de polister) est unida al colchn, fabricado con tela hinchable de polister. Cuando est desinflado y sin las ruedas de aluminio, todas las telas quedan planas y se puede enrollar fcilmente y guardar en la mochila. Este es mi primer trabajo como diseadora de producto, y creo firmemente que ser uno de los elementos que salve la vida a muchos seres humanos afectados por las catstrofes. EMERGENCY SHELTER This is my first work as a product designer. As a humanistic part of my personality I have always looked towards finding solutions to peoples problems without hesitation. Thats why in my productive designs, I have wanted to contribute to humanitarian issues such as homelessness, and helping the victims of disasters. These are seriously increasing problems all over the world and through this I was motivated to produce a portable shelter which can be used in case of those made homeless by natural disasters. My project objective was to design an individual emergency shelter to help such victims by providing at least some basic needs. I wanted to improve their living conditions, by somehow providing comfort, privacy and much needed transport and storage for their private belongings; also protect them from weather conditions and allowing everyone their own privacy whereas they often cannot feel comfortable in a large communal refugee shelter. This shelter is portable, easy to carry, easy to build, waterproof and elevated off the ground. It consists of 5 parts: a storage (including emergency kit), an inflatable mattress, a tent, air pump and carry bag. The tent section is connected to the mattress. The mattress is made of inflatable polyester fabric and the tent iconsists of two layers; the mosquito net and the polyester fabric. When deflated and taken off the aliminium rods, all the fabrics can be lain flat and easily rolled and put back into the carry bag. I certainly believe in that this product will be one of the life saving items for human beings affected from the disasters.
" Desarrolla tu potencial, activa tu ingenio..." // "Unlock your potential, rule your ingeniousness..."
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Backstage
Direccin IED Madrid: Riccardo Marzullo Vicedireccin IED Madrid: Jos Piquero Direccin IED Master: Dario Assante Direccin Cientfica IED Madrid: Francisco Jarauta Direccin Acadmica IED Master: Hada Martnez Direccin Relaciones y proyectos internacionales: Marisa Santamara Responsable Prensa y Comunicacin On/Offline: Inma Flor Responsable Marketing IED Master: Luca Baldi rea Cultural IED Madrid: Pedro Medina Servicio de Informacin y Orientacin: Erick Valdivieso Master of Communication Design Labs Direccin: Toni Segarra Coordinacin didctica: Alejandro Norniella Asistente didctica: Claret Pontier Tutores de Tesis: Juan Carlos Monroy y Alejandro Norniella Tutores especficos: Rafa Antn, Jorge Martnez y David Standley Master of European Design Labs Direccin: Jaime Hayon Coordinacin didctica: Luisa Gonzlez-Portillo Asistente didctica: Marta Viturro Tutores de Tesis: Luis rculo y Paloma Uriel Master of Product Design Labs Direccin: Clive van Heerden Coordinacin didctica: Luisa Gonzlez-Portillo Asistente didctica: Marta Viturro Tutor de Tesis: lvaro Cataln de Ocn Master of Strategic Design Labs Direccin: Carlos Barrabs Coordinacin didctica: Alejandro Norniella. Asistente didctica: Claret Pontier Tutores de Tesis: Juan Freire y Luis Martn Tutores especficos: Michael Callas, Xavi Leal, Luis Marijuan, Jos Luis Smano, Francesco Sandulli y Carlos Vivas AGRADECIMIENTOS INSTITUCIONES Y EMPRESAS *S,C,P,F..., AKQA Berln, Alfombras KP, ART+COM, Arteria Grfica, Attention-Design, Audax Textiel Museum Tilburg, Barrabs.biz, Ciball, CIBBVA (Centro de Innovacin BBVA), Ciszak Dalmas, Club de Creativos (Espaa), Copenhagen Institute of Interaction Design, Corticeira Amorim, Danish Centre for Design Research, Dark Horse, DDB Tribal Berln, Designit, Do Design, Domaine de Boisbuchet, Dominique Perrault Architects, cole nationale suprieure d'Art de Limoges, El nombre de las cosas, Emana Green, Escofet, Estudio Museo Achille Castiglioni, Floqq, Foster Studio, Funky Projects, Hayon Studio, Humantific, Kanvas Media, Kontrapunkt, Kvadrat, Limoges, Matadero Madrid, Mischer and Traxler, Mother London, Neck & Neck, NHow Hotel, Nine to Nine, PCM, Pedrita Studio, Real Fbrica de Cristales y Vidrio de La Granja, Real Fbrica de Tapices, ReD Associates, Rogers Stirk Harbour and Partners, Saatchi Gallery, Scale Denmark,
IED Madrid
Steelcase, StepOne, StonePaper, Studio Banana, Studio Lissoni, TBWA London, The Cocktail, The Hong Kong Polytechnic University, The Mill, Vegio, Vista Alegre Atlantis, Vitra, WeissHeiten Design Studio y Workz. PROFESIONALES Alberto Marcos, Ali Ganjavian, Alie Rose, lvaro Sanmartn, Ana Domnguez Siemens, Ana Ferichola, Ana Martnez, Andrea Caruso, Antonio Muoz Molina, Ariadna Cantis, Asier Prez, Axel Kufus, Azucena Elbaile, Begoa Muoz, Bo Christiansen, Carlos Vivas Augier, Cees de Bont, Christian Hanke, Christoph Fahle, Claudia Snchez, Clifton Chestnut, Constanza Algranti, Cristela Domnguez, Cristina Glvez, Dani Garca, Daniel Lumera, David Standley, David Stray Jrgensen, Dimitri Papanikas, Dominique Perrault, Dorthe Mejlhede, Doug Inge, Eduardo Montesinos, Edwin Gardner, Ely Lefvre, Enric Pericas, Fernando Herrero Acebes, Fernando San Martn, Francesco Colombo, Francesco Domenico Sandulli, Gabriele Pezzini, Hans Emborg Bnemann, Henrik Jeppesen, Ignacio Ramos, Iris M. Vodopive, Iris Martn, Isabel Abreu, Ivn Garca, Janana Mendes, Jannie Stenholt, Javier Iglesias, Jeong Hong Oh, Jess Carreras, Jess Iglesias, Jess Sotoca, Jos Aguilar Lpez, Jos Luis Agell, Jos Luis Smano, Jos Mara Piera, Juan Antonio Gonzlez, Juan Freire, Juan Laguna, Juan Pastor, Juan Ugarriza, Line Henriksen, Luca Caro, Luca Ruiz Rivas, Lucie Garca, Mads Quistgaard, Manu Toro, Manuel Laborda, Manuel Toro, Mara Blaisse, Mara Revuelta, Marta Botas, Marta Muoz, Martn Milone, Martina Lindgren, Matteo Zorzenoni, Mauricio Freyre, Mette Klein, Michael Callas, Michael Thomsen, Michele de Lucchi, Miguel ngel Barrera, Miguel Borrego, Miguel Madariaga, Miguel Orense, Mikal Hallstrup, Mikkel B. Rasmussen, Mnica Castiglioni, Natalia Cazcarra, Natalia Figueroa, Nerea Garca, Nicola Cerantola, Pablo Martnez, Paolo Caleo, Pascal Gemmer, Pedro Luis Carretero, Peter Dean, Quique Baeza, Rafa Antn, Rafael G. Fuentes, Rafael Lpez, Raquel Corts, Ral Torres, Rebeca Casillas, Ricardo Fernndez, Riley Maguire, Sacha Bancroft, Sandra Sarasola, Sara Herald, Sara Pizzolato, Sofie Holstein, Stefan Liske, Susana Blzquez, Susana Piquer, Susanne Christoffersen, Tomas Kral, Vanessa Wei, Victoria de Pereda, Victoria Ovin, Xabi Tolosa, Xarly Rodrguez y Xavi Leal EQUIPO IED MADRID: Aitor Uribarri, Alessandra Di Bartolomeo, Alfonso Gallardo, lvaro Ramis, Amelia Pacfico, Barbara Pierpaoli, Chiara Giacco, Chiara Magna, Claudia Garca, Cristina Glvez, Elena Velasco, Ins Wayar, Juana Muoz, Julio Ocaa, Laura Pedroso, Layla Serra, Letizia Gaiuffi, Luix Fernndez, Madalin Ilie, Manolo Jimnez, Mara Grande, Mara Len, Mara Teresa Coradduzza, Miguel Olivera, Pablo Fernndez, Ricardo Andrade, Ricardo Prraga, Ruth Lpez, Sonia beda, Tamara Morera, Tatiana Gutirrez y Yolanda Wayar