25th, 26th & 27th April 2012at ESDi Campus (Sabadell)

Organizers

BOOK OFPROCEEDINGS

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BOOK OFPROCEEDINGS

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© texts & images: the authors

Coordination: Llorenç Guilera, Isona Ten & Carlos Jiménez

Translation: Isona Ten, Miriam Millán, Luís Calvo, Elisabeth Flores & Enityaset Rodriguez

Graphic design: Astrid Alonso

Layout: Albert Cano

FUNDIT

Sabadell, April 2012

ISBN: 978-84-936165-8-8

Dipòsit legal: B-2570-2013

25th, 26th & 27th April 2012at ESDi Campus (Sabadell)

Organizers

BOOK OFPROCEEDINGS

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Golden Sponsors

Honor committeePRESIDENT

Andreu Mas Colell Minister of Economy and Knowledge

of Generalitat de Catalunya

VICEPRESIDENTS

Esther Giménez-Salinas: Rector of Ramon Llull University.

Josep Bombardó: President of FUNDIT.

Manuel Bustos: Mayor of Sabadell.

MEMBERS (in alphabetical order)

Antoni Maria Brunet Berch: President of the Cambra de Comerç de Sabadell.

Ferran Rodés: Member of the consulting group for the Sustainable Development of Catalonia.

Josep Maria Recasens i Soriano: General Director of Comerç CCAM

of Generalitat de Catalunya

Sr. Josep Maria Tost i Borràs: Director of Agència de Residus de Catalunya

Joan Llivina: President of the Grup Estambril S.A.

Joan Planes & Vila: President of Fluidra.

Josep Maria Martorell i Rodon: General Director of Research

of Generalitat de Catalunya.

Joan Torres & Carol: President of Associació d’Enginyers Industrials

de Catalunya.

Josep Casas i Bedós: President of the Gremi de Fabricants de Sabadell.

Dr. Lluís Comellas Riera: Vice Chancellor of Research and Innovation

in Ramon Llull University (URL).

Dr. Josep Maria Garrell i Guiu: Vice Chancellor of Política Universitària

i Secretari General in Ramon Llull University (URL).

Josep Oliu i Creus: President of Banc de Sabadell.

Josep Piqué & Camps: President of PANGEA 21 Consultora Internacional.

Manuel Branera: President of the Grup DATOPACK.

Manuel Royes i Vila: President of the Consorci de la Zona Franca.

Miquel Espinet Mestre: President of FAD.

Pau Herrera: President of BCD.

Pere Pardo i Sabartés: Director of Fundació Institució Catalana

de Suport a la Recerca i la Innovació

Xavier Bigatà i Ribé: President of the Grup CASSA of Sabadell.

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Summary

About the Congress

FUNDIT & ESDi: The commitment work

Welcome to discuss & reflect

Keynote speakersNani Marquina

Quim Larrea

Robert Punkenhofer

Josep Congost

Norberto Chaves

Papers

New technologies

Design Thinking

Design as a factor of competitiveness

Ecodesign

Local development

Design for all

Pedagogical challenges in design

Branding

Design of interfaces and interactiveness

Author index

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11

12

13

14

15

16

17

18

21

23

115

199

343

411

519

617

733

763

807

Director: Llorenç Guilera.

Coordinator: Isona Ten.

Arts designer: Albert Cano.

Communication: Miriam Millán.

Collaborators: Lourdes Baena, Luis Calvo, Elisabeth Flores and Cristina Sánchez.

Organizing commitee

CHAIRMAN

Uli Marchsteiner: industrial designer.

MEMBERS (in alphabetical order)

Albert Esplugues: Director of the Innovation Center in Business

Productivity of Microsoft.

Alberto Sanfeliu: Director of Informatics & Robotics Institute (IRI)

of the UPC.

Felipe César Londoño: Dean of Art’s Faculty in Caldas

University, Colombia.

Francesc Aragall: President of “Disseny for All Foundation”, DfA.

Isabel Roig: General Director of “Barcelona Centre de Disseny”, BCD.

Javier Nieto: designer, President of Santa & Cole brand.

Jesús Martinez-Pujalte: President of the Excecutive Council of

FUNDIT-ESDi.

Joan Rieradevall: member of the Science and Environmental

Technology Institute, ICTA, of the UAB.

Jordi Montaña: head of departament of Design Management

of ESADE.

Josep Pallarès: member of ROCA enterprise.

Llorenç Guilera: Director of the Theory & Developement Area in ESDi.

SECRETARY

Dra. Gemma Gómez: academic coordinator in ESDi.

Program commitee

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When an institution like ours organizes an interna-tional conference, it is to secure the presence of ex-perts from around the world, to share views in real live, experiences, successes and knowhow.

Today, many market analysts have diagnosed to trust in design as a great way to break the economic and financial stagnation where many countries (including Spain) have fallen. It is not the only way, of course, but it is one of the most important.

Everyone knows that companies need to become more competitive. There are many factors that in-crease the competitiveness of a company: improv-ing productivity, reducing production costs (highly frequented in our country in recent times), better funding, better marketing, growing exports, etc.

Nevertheless, where all the experts agree on is that the substantial improvement in competitiveness comes from innovation. And innovation needs de-sign just as a plant needs water.

Because of that, this 2nd edition of the International Design and Innovation of Catalonia Congress has chosen the motto: “design: driver of competitive-ness.”

We are aware that several thematic lines converge towards this great theme and we have held them open to provide a multifaceted view of the funda-mental objective we are seeking: that attendees of all kinds (design professionals, entrepreneurs, public administration members, design researchers, teachers and students) get to enrich their personal knowledge about the close ties that have always existed and will always exist between competitiveness, innovation and design.

Llorenç Guilera Director of the Organizing Comitee

From the hand of employers in the textile sector, led by the Manufacturers Association of Sabadell, in March 1989 arose the Textile Design Founda-tion (FUNDIT), few months after was created the School of Design ESDi for the purpose of training design professionals in a university as it happened with the most advanced countries of Europe and America. Designers with a high capacity for observa-tion and tests, capable to put their creative abilities in the service of economic and social development in a world that draws on the horizon even more open, multipolar and highly competitive. Design studies that were fully light in September 1992 due to the as-sociation agreement with the Ramon Llull University (URL). For the first time, there were design studies in Spain. Some pioneering studies in the country that marked the culture and values of ESDi, it explains that in 2008 ESDi would again be the first pioneer center in Spain teaching design in all disciplines, the Official Undergraduated University Degree in ac-cordance with the guidelines established by the Eu-ropean Higher Education Area (EHEA).

Since the birth of FUNDIT, thus ESDi, the impor-tance of design has increased significantly, designers of today are needed in all business organization that wants to compete with innovative products, quality, and put the technical and scientific progress to the service of human development. The design is not only an aesthetic value, is an essential and strategic value that requires us to have a look exogenous for integrate fully into productive activities, all working methodically and with scientific rigor.

Designers can not work alone. They require syner-gistic work with other professionals (using the sci-entific method and sharing the knowledge) and they need to know how to work closely with to enable the continuous flow of research, development and innovation. It is in this context that emerged from our Foundation and ESDi, the 2nd International

About the Congress

Congress of Design and Innovation in Catalonia to be held on 25th, 26th and 27th April 2012 at ESDi campus, under the slogan “The design: motor of the competitiveness.” A Congress that will help to boost R+D+i activities in design and innovation as a way to improve competitiveness in international markets.

Some objectives will meet giving the quality of presentations and rigor of the papers being pre-sented, and central papers issued by internationally renowned professionals. 81 papers written by 141 re-searchers and professionals from 12 countries: Ger-many, Argentina, Brazil, Chile, Colombia, Canada, England, Italy, Mexico, Turkey , Portugal and Spain

To all of them attendees who have completed the registration, and the thousands that will follow the result of the congress through telematic networks, the gratitude of our foundation, because the wealth of ideas that bring their papers make us look for-ward to the horizon and bring light to issues and problems world faces on it’s way towards the future. In this gratitude we can not forget the profession-als who daily make possible ESDi, their students, the thousands of designers who have trained at ESDi, the businesses and institutions taking part in activities, ultimately those who make possible co-operation to compete in an increasingly global and more challenging world, and they know that the design working symbolically with technical and scientific progress is the engine of innovation and social progress.

Josep Bombardó President of FUNDIT and ESDi

FUNDIT & ESDi: The commitment work

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Welcome to the 2nd Congress of Design and Innovation of Catalonia!

KEYNOTE SPEAKERS

Innovate in order to compete – that’s how we could resume the formula we follow when we design. We know that a properly canalized creativity can stimulate the increase of sales and a position in the market. However, we keep taking about innovation and competition from the point of view of an economic system in deep identity crisis and with an undeni-able necessity of change.

While the predictions of the experts are still contradicting themselves about the future of our country, in Europe the most distinctive value will be charged on the creative professions. For the modern industrial times of the XX century “innovating” meant creating something completely new, revolutionary. Today, the value of innovation does not lie in this “clean slate”, but in humanizing the technology, recuperating qualities and defining products because of their effective durability and vital cycle.

Which are the qualities a product must have in order to be more competitive in the future markets? What role should design and creativity play in the definition of new industries in Europe? Both questions are interesting for debate and answer. I wish that in this congress we could define some lines of thought that contribute trustworthy data about how to un-derstand innovation and competition in years to come.

Uli MarchsteinerChairman

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Abstract

MIND’s goal is to implement strategies and shared policies so that a single well-structured network can present itself on an international level and attract the best talent and capital. The Milano Municipal Councilor’s Office for Research, Innovation and Human Capital promotes MIND in conjunction with the offices of: Tourism, Marketing of the Region and Identity; Culture; and Business and Labor Policy. The aim is to consolidate Milan’s role as a global point of reference for education and research in design, thereby promoting the city as an international “brand for excellence.

Keywords: Design Management Education - Knowledge exchange network - design driven innovation - human capital, growth, creative community

1. Introduction

The MIND, Milano Network Design, program was devised to enhance the ability of Milan to guarantee the continuity of its creative tradition, from its craftsmanship to the products of research and development; a continuity able to take objects from their initial concept through to world markets through design.

The aim of the program was to couple training in design with the corporate heritage of firms in Milan and Lombardy so as, through different training courses, to attract young foreign designers and create a new network within the Milan design system. This is a unique entity at international level since it consists of schools, firms, publishing houses, design studies and thought communities.

MIND has been funded by the Milan city council Department of Innovation and includes all the universities, schools and city academies that offer training courses in design. The desire to promote the “Milan” brand is very important for all who back the project uniting cultural excellence and high professional profile through design, training, enterprise and government bodies to foster the formation of human capital, inter-university relations and intercultural exchange between Italy and abroad.

Lastly, but no less important, the financial investment by Milan city council has fostered a real, fully fledged internationalisation process facilitating the introduction of young participants into the local industrial system by granting study bursaries and easier financial terms.

MIND - MILAN NETWORK DESIGN

Innovative International Design Network Management

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Giovanni Maria Conti1, Francesco Galli2

1 Dept. Industrial Design, Arts, Communication & Fashion. Politecnico di Milano - Design. Durando 38/A - 20158 Milan (ITALY)

email:

giovanni.conti@polimi.itfrancesco.galli@polimi.it

2. Design creativity and innovation

Until now “design innovation” has been a synonym for other concepts. For example, Leonard and Swap study Innovation in connection with a creativity that they define as “…a process of developing and expressing novel ideas that are likely to be useful”1. In this case creative activity is connected with the concepts of novel, i.e. new and unusual, and useful. Creativity is a dynamic, qualitative concept and it is difficult to define. The classic model is based on the romantic notion that creativity is a sign of genius, a “…superior aptitude of the human spirit that makes people capable of creations and inventions that appear to be extraordinary2”.

In reality, creativity is a way the mind operates, “ ...the process with the means of which the mind transforms information into combinations of concepts and produces new ideas” (Goleman, 1997). Innovation in design is therefore the synthesis and combination of different kinds of knowledge in the realisation of new products, processes and services that are significant and of value. (Penati 1999). Another element of scientific interest is Herbert Simon’s thesis-definition that creativity consists in good problem- solving: “Actions can be considered creative when they produce something that is original, interesting or has social value. An original element that is interesting and of social value is the basis of creativity” (Simon, 1986).

Today, training in design leads to professional figures whose final aim is not only the creation of a product but also to “solve” through design. Innovation that is design driven, or has a strong design content, is innovation that is not only functional/or performance linked, but that also and above all concerns meaning3. Every design action, simple or complex as it may be, bases all its innovative force on the capacity to envisage future solutions to today’s problems, fully aware of the fact that its impact will go far beyond the problem that generated it4.

So design and its actions are endowed with the enormous responsibility of being first and foremost a cognitive process5, but it does not stop here. By its very nature, design is the exchange of more or less differing elements of knowledge that are brought into contact to reach a solution.

1 For further information see Penati A. Mappe dell’Innovazione. Il cambiamento tra tecnica, economia, società, Etas, Milano 1999, Mutlu B., Er Alpay., Design innovation: historical and theoretical perspectives on Product Innovation by design, Working Paper, 5th European Academy of Design Conference, Barcellona – April 20032 Santagata W., (2004) I Beni della creatività tra arte contemporanea e moda, Working paper No. 02/2004, University of Turin3 Zurlo F., Cagliano R., Simonelli S., 2002, op.cit: pag. 114 Penati A., Design come motore di innovazione di sistema, In Bertola P., Manzini E., Design Multiverso, POLI.design, Milano 20045 On this point see Nonaka I., Tackeuchi H., The knowledge creating company. Creare le dinamiche di innovazione, Guerini e Associati, Milano 1997. It is interesting to explore further their distinction between explicitknowledge,meaningknowledgethatiscodifiedandtransmittablethroughformal,systemiclanguage”andknowledgethatistacit“personalandcontextspecificandassuchdifficulttoformalizeandcommunicate[…]. Tacit knowledge includes cognitive and technical elements. The former centre on mental models and schemes,paradigms,perspectives,beliefsandviewpoints,whichhelpindividualstoperceiveanddefinetheworld. On the other hand, the technical element of tacit knowledge concerns knowhow, art and craft, and concreteabilities”.

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This introduces the essential concept of meaning: the result of our observations and our studies will be a product of Design if it makes sense within the context of reference and if it reflects client expectations. In design driven innovation the dimension of meaning therefore dominates over that of function, not so much from an objective as from a subjective point of view, associated with motives and aims6 .

Innovation where design is a major element will be a process driven by “meaning”, while technology will be a possible means to developing new product languages, possibly through radical technological leaps that trigger the innovation itself.

Innovation is not an easily obtainable commodity in general use: it is a highly uncertain process; it shuns any attempt at control or forecasting that relies on the deterministic principle of plain randomness [...] the path of innovation will not necessarily follow an unequivocal development trajectory, but will map out possible events that depend on the way technical and scientific knowledge will intertwine with economic incentives, technology transfer, innovations in the world of market and consumption, new social needs, cultural evolution and so on.7

6 Zurlo F., Cagliano R., Simonelli S., Verganti R., Innovare con il design, ilSole 24ore, Milano 2002: pag. 137 Penati A., Design come motore di innovazione di sistema, 2004, po.cit: pag. 46

3. Creative training in Design

Design didactics have their own prerogatives and are difficult to compare with more structured disciplines. Teaching design requires differing logic and different processes, empirical testing and the use of tools and laboratories etc.

It is still a widely held opinion that Milan is the capital of design. This is because by density and critical mass it is one of the most important centres of design knowledge in the world. In an increasingly international system, where internationalisation has become a very important symbolic value, experiences of systems comprising various operators with different expertise, such as that which generated the Milan design system, become strategic keys: now, not only can active networks be created on the local system, but also and above all on international training systems. Within the various cultures on the current socio-economic panorama, the current issues of delocalisation and the globalisation of markets and commodities have attracted enormous interest. Within the scientific and professional design community such questions are even more important because they pose the problem of what to design and for whom, and how to get users, places and objects to interact.

It is the duty of those who work in design, who work every day with problems relating to people’s needs, to understand who they are working for, what context they are part of, which sensibilities will be touched on. Furthermore, being responsible for design means understanding who will be able to produce the object of design, how and with what guarantees to have it produced, what resources to use and where to find them.

So, in a global context where “place” is a heritage of values and sensibilities, of customs and traditions, we speak more and more often of internationalization.

In this case, internationalisation tends to converge with sharing, putting forward one’s own specificity and placing it at the service of others, believing in effective multidimensional collaboration.

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3.1 Design as cultural value for the Politecnico di Milano

We can say that since there is geographical reference in design there must also be geographical reference in design training. This is because there are profound differences between the Italian approach to training and training with an Anglo-Saxon or Scandinavian stamp – acknowledged as model interlocutors.

Focusing on Italian design is also difficult because it appears in different forms and approaches depending on type of school (private, academies, universities, polytechnics) and sector.

As far as training in Design at the Politecnico di Milano is concerned it is appropriate to start with the “polytechnic” dimension of the school, highlighting its capacity for exchange with different disciplinary and operational environments, and recovering a dimension that is often neglected in a technology centered vision - the humanistic and artistic dimension - which is so fundamental to explaining the peculiarities of the Italian designing process.

It is in this framework that within MIND the Politecnico has taken a leading role in supporting Milan as capital of design.

Another extremely important reason why the Politecnico di Milano became leader of the project MIND was the ambit, or ambits, in which Milan and Italy have achieved international primacy: sectors connected

not only with life-ware products (clothing, transport, home, food) but also automation, publishing, multi-media and music. Furthermore Italian design began its life grafted onto architecture, which as “scientific knowledge” is more of a cultural than technical dimension. Architects and the designers descending from them are real cultural operators, able to work creatively in various sectors and on several levels whether private or public. Finally, another aspect not to be underestimated is that of competitive structures and enterprise: local systems and networks already present in the region of Lombardy have formed the cutting edge of a complex system made up of training, enterprise and local area.

4. MIND – Milan Design Network

Through the MIND, Milan Network Design, program Milan city council Department of Innovation seeks to foster the promotion and development of the “Milanese design system” at national and international level. It especially wishes to guarantee both the continuity of the creative tradition typical of the city and the development of innovation, product and creative process, by offering 130 students from all over the world the possibility of studying in the city of Milan, choosing one of the courses offered in the city’s 11 design schools. The courses are strategically selected to cover the entire spectrum of research and training, ranging from communication to product, interiors and fashion, to experiment such “vertical” areas as innovative textiles, user - interface interaction, materials design, naval design and the new media.

The first great outcome of the MIND program has been to encourage the creation of a training network. In Italy, Milan is traditionally acknowledged as the capital of design and fashion and is home to various training institutions: state and private Universities, Further Education colleges and Academies that have long been specializing in professional training courses among which design, fashion and communication in its various aspects are the most highly developed and sought after. In spite of the wealth and variety of study paths, there had never been real synergy between the schools such that the cultural offer in design could be seen as an attractive strategy by which to enhance the territory. MIND has therefore led to collaboration between all the Design schools in setting up ad hoc training courses which, when networked together but respecting the specific nature of each, are attracting foreign students interested in studying in Milan.

The second element that has facilitated the creation of a cultural design network has been the strong thrust towards really internationalizing the study courses and the public and private actors involved.

5. Conclusions

Over the past fifty years Milan has made a crucial contribution to Design gaining foothold throughout the world. The “Milan Design System” is today an accumulation of businesses, universities, professionals and students which, in differing shape and extent, have developed into a real and highly active “production sector” for Design Culture. In this sense the “DRM Design Research Map” research project, recently awarded the Compasso d’Oro, conducted by Stefano Maffei, Paola Bertola and other researchers and students largely but by no means exclusively from the Politecnico di Milano, demonstrates Milan’s ability to take a central but also participatory role in an important network of “human design capital”. In their number, size and quality Milan’s Design schools constitute an important phenomenon recognized all over the world and, like any other production sector; this requires strategies, development policies, supporting legislation, and qualifications, incentives and awards.

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Through the MIND program the Milan city council has started up a valuable dialogue for the promotion and development of this “cultural production reality”. It seeks on the one hand to guarantee the continuity of creative tradition, and on the other to foster innovation from didactic experiences as fundamental element for research and development and the ideation of new products.

During the project some of the actors involved (the Politecnico di Milano, Triennale and ADI – the Italian Industrial Design Association) have been looking further into the possibility of consolidating Milan’s image as “capital of Design” by building a Design Centre to supply supporting services such as: ad hoc training, the promotion and organization of cultural events, publicity and communication networks addressing both professionals and companies.

The MID Design Incubator project (Milan Institute for Design), funded by CNR – the Italian National Research Council and the Milan city council, to be based in the Triennale di Milano, and collocates in this perspective. The general aims of the project can be summed up as follows:

- to foster the growth and competitiveness of the “Milanese design system” at national and international level;

- to promote design driven innovation;

- to facilitate relations and dialogue between the actors in the design system;

- to promote the “Milanese design system”;

- to offer designers and new businesses services for the construction of industrial prototypes;

- to carry out research on specific sector issues by granting study bursaries.

References

Bertola P., Manzini E., Design Multiverso, edizioni POLI.design, Milano 2004

Flichy P., L’innovazione Tecnologica, Feltrinelli, Milano 1996

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Kuhn T., La struttura delle rivoluzioni scientifiche, Einaudi, Torino 1978

Maffei S., Simonelli G., I territori del Design , ilSole 24ore, Milano 2002

Maldonado T., Disegno Industriale: un riesame, Feltrinelli, Milano 1991

Mutlu B., Er Alpay., Design innovation: historical and theoretical perspectives on Product Innovation by design, Working Paper, 5th European Academy of Design Conference, Barcellona – April 2003

Orefice P., Lo studio interdisciplinare dell’educazione, Giunti e Lisciani, 1984

Penati A., Mappe dell’Innovazione. Il cambiamento tra tecnica, economia, società, Etas, Milano 1999

Penati A., Seassaro A., Didattica&Design, edizioni POLI.design, Milano 2000

Polanyi M., La conoscenza personale, Rusconi, Milano 1990

Santagata W., I Beni della creatività tra arte contemporanea e moda, Working paper No. 02/2004, università di Torino

Valdani E., Marketing Strategico, Etaslibri, Milano, 1995

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Zurlo F., Cagliano R., Simonelli S., Verganti R., Innovare con il design, ilSole 24ore, Milano 2002

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