The document discusses the design process from observation to production. It begins by explaining the importance of observation to understand user needs. Ideas are then developed through planning, innovation and sketching. Ideas are refined and prototypes are created. The process concludes with presenting the final design and bringing it to production. Technical specifications ensure the design can be manufactured. Observation, idea development, prototyping and production are the key stages of the design process discussed.
Complete portfolio ivan pecorari
update until september 2011
WHO I AM?
Meeting in the middle
I’m curious designer pursuing the holistic approach to design and to life
I’m exploring the intersection between interaction design and architecture creating systems, spaces, installations, events, that are hybrid, poetic and playful.
Every project is a world itself and each game has its own rules but no project is an island so my hand is on detail but my eyes see the bigger picture.
My formal training is in architecture, interaction design and also include graphic design and events production in a kaleidoscopic mix of skills.
I recently earned an MFA degree from Domus Academy, Milan and also hold an M. arch II degree from Biagio Rossetti University school of Architecture,Ferrara and a course in Digital Architecture from Inarch Rome.
Este documento presenta una lección sobre ecodiseño aplicado. Introduce conceptos clave como el análisis del ciclo de vida de un producto y la matriz MET. Luego, utiliza un ejemplo práctico de una cafetera eléctrica para demostrar cómo estas herramientas pueden usarse para evaluar los impactos ambientales a lo largo del ciclo de vida de un producto y encontrar oportunidades de mejora.
El documento describe las 8 estrategias del ecodiseño. Explica que estas estrategias se relacionan con las diferentes etapas del ciclo de vida de un producto y proveen principios para reducir el impacto ambiental en cada etapa. Las primeras tres estrategias discutidas son la selección de materiales de bajo impacto, la reducción en el uso de materiales, y la optimización de las técnicas de producción.
Welcome to Design For Non Majors. In this course, you'll learn what design is and the major concepts involved in the domain. This is the first presentation of the course. It helps define what we'll be talking about for the semester.
“Design is a potent strategy tool that companies can use to gain a sustainable competetive advantage. Yet most companies neglect design as a strategy tool” writes Phillip Kotler. This presentation gives an introduction to what design is and what the some of the business benefits are. It also introduces the Norwegian Design Council, our history and what we do.
Originally created for students who visit the design council in Oslo.
This document provides an overview of the Industrial Design program at KAIST (Korea Advanced Institute of Science and Technology). It discusses the history and founding of the program, current student and faculty demographics, recognition in design rankings and awards, academic activities, alumni careers, and key features of the undergraduate and postgraduate programs. The program takes an interdisciplinary approach to design education and emphasizes hands-on learning through projects, research, internships, and international experiences to cultivate designers that can drive innovation.
Complete portfolio ivan pecorari
update until september 2011
WHO I AM?
Meeting in the middle
I’m curious designer pursuing the holistic approach to design and to life
I’m exploring the intersection between interaction design and architecture creating systems, spaces, installations, events, that are hybrid, poetic and playful.
Every project is a world itself and each game has its own rules but no project is an island so my hand is on detail but my eyes see the bigger picture.
My formal training is in architecture, interaction design and also include graphic design and events production in a kaleidoscopic mix of skills.
I recently earned an MFA degree from Domus Academy, Milan and also hold an M. arch II degree from Biagio Rossetti University school of Architecture,Ferrara and a course in Digital Architecture from Inarch Rome.
Este documento presenta una lección sobre ecodiseño aplicado. Introduce conceptos clave como el análisis del ciclo de vida de un producto y la matriz MET. Luego, utiliza un ejemplo práctico de una cafetera eléctrica para demostrar cómo estas herramientas pueden usarse para evaluar los impactos ambientales a lo largo del ciclo de vida de un producto y encontrar oportunidades de mejora.
El documento describe las 8 estrategias del ecodiseño. Explica que estas estrategias se relacionan con las diferentes etapas del ciclo de vida de un producto y proveen principios para reducir el impacto ambiental en cada etapa. Las primeras tres estrategias discutidas son la selección de materiales de bajo impacto, la reducción en el uso de materiales, y la optimización de las técnicas de producción.
Welcome to Design For Non Majors. In this course, you'll learn what design is and the major concepts involved in the domain. This is the first presentation of the course. It helps define what we'll be talking about for the semester.
“Design is a potent strategy tool that companies can use to gain a sustainable competetive advantage. Yet most companies neglect design as a strategy tool” writes Phillip Kotler. This presentation gives an introduction to what design is and what the some of the business benefits are. It also introduces the Norwegian Design Council, our history and what we do.
Originally created for students who visit the design council in Oslo.
This document provides an overview of the Industrial Design program at KAIST (Korea Advanced Institute of Science and Technology). It discusses the history and founding of the program, current student and faculty demographics, recognition in design rankings and awards, academic activities, alumni careers, and key features of the undergraduate and postgraduate programs. The program takes an interdisciplinary approach to design education and emphasizes hands-on learning through projects, research, internships, and international experiences to cultivate designers that can drive innovation.
Linda Kwon discussed the need to re-evaluate the role of design and identify systems undermining health and happiness. She believes a synchronized approach is needed to both expose invisible systems and provide a way to re-vision the world through living by design rather than by default.
Dr. Joonsang Baek spoke about the limitations of user-centered design approaches for sustainable product-service systems and the importance of considering stakeholders.
Seewon Hyun investigated how design found in public and daily life relates to happiness and labor, discussing perspectives of visual culture and possibilities for progress, happiness, and satisfaction to coexist.
1.2 evolution of sustainability within design vezzoli 09-10 (51)vezzoliDSS
This document discusses the evolution of sustainability within design. It describes how the role of design has increasingly expanded from focusing on low environmental impact materials and energies, to considering the full product life cycle through ecodesign, to designing entire product-service systems for eco-efficiency. The document also notes how design has begun to consider social equity and cohesion. It argues that while the design community has become more aware of sustainability, few within the field currently have the solid knowledge and tools needed to properly design for sustainability.
This document summarizes a presentation on sustainability awareness in design. It discusses the expanding role of design and initial findings from a survey on how designers consider sustainability. The survey looked at designers' competence on responsibility issues, ethics, attention to value chains, and consideration of user needs. Findings indicate a gap between a sense of global responsibility and focus on users. There is potential to lose sight of products and production if design focuses only on product-service systems. The designer's perceived role is smaller than it could be to address macro needs of ecosystems and societies.
Atbasta slaidi 1h prezentācijai "Design Drive" pasākumā Cēsīs, kas bija veltīts dizaina domāšanai, ka arī dizaina šodienai un nākotnei.
Presentation in "Design Drive" micro-conference in Cesis devoted to Design Thinking. In Latvian with few slides and translations in English.
The document discusses human centered design and ethnographic design. It provides an overview of key aspects of these approaches including design thinking processes, fieldwork methods, modeling techniques, and case studies. The latter part focuses on applying human centered design and ethnographic methods to design products for people at the Base/Bottom of the Pyramid through a needs-based and culturally sensitive approach.
1.2 evolution of sustainability within design vezzoli 12-13 (41)LeNS_slide
The document discusses the evolution of sustainability within design. It describes how approaches to sustainability in design have shifted over time from:
1) Using low environmental impact materials and energies in the 1970s.
2) Considering the full product life cycle and ecodesign in the 1990s.
3) Designing product-service systems for eco-efficiency since the 2000s.
It argues that while interest in design for sustainability is growing, most design communities still lack solid knowledge and tools for designing with sustainability in mind and are more part of the problem than the solution. The document traces how understanding and practices around sustainable design have progressed over several decades but still have further to evolve.
About design (and disruptive technologies) Teemu Leinonen
This document discusses design and disruptive technologies from the perspective of Teemu Leinonen, an Associate Professor of New Media Design and Learning. It outlines Leinonen's background and areas of expertise, which include education theory, new media, design, and design methods. The document then covers two main topics: 1) technology and media, discussing how new technologies are experienced over time from experimental art to domestication, and providing examples. 2) design as research, outlining Leinonen's research-based design process which takes a user-centered approach through methods like contextual inquiry, participatory design, and prototyping to create products and services that meet real human needs.
The document discusses the relationship between industrial design engineers and designers. It states that engineers care about making things work, while designers focus on creating things that people care about. It explores various frameworks for understanding meaning, purpose, function and form in product design. Key concepts discussed include semantic differential analysis, perceptual mapping, kansei engineering, and analyzing how purpose, behavior, function and form relate to convey meaning.
The document discusses the changing relationship between the digital and physical worlds in product design. It notes that older students followed a process from physical to digital, while newer "digital native" students go from digital to physical. This can result in unrealistic designs that ignore physical constraints. The document questions whether educators should encourage digital natives to take a more traditional, hands-on approach or explore new design processes, and whether this will impact education standards.
This document summarizes a report on collaboration and business models in the creative industry. It identifies important stakeholders in the creative industry through interviews. It also examines best practices and challenges related to collaboration and business models through case studies. A literature review provides background on the creative industry, collaboration, and business model frameworks. Key findings include the importance of networks for collaboration, challenges around formalization and intellectual property, and how open and co-development models can benefit the creative industry.
El documento introduce el concepto de ecodiseño. Explica que el ecodiseño incorpora un enfoque de sostenibilidad al diseño tradicional, abarcando factores ambientales, económicos y sociales. Sin embargo, aplicar principios de sostenibilidad requiere conocimientos y habilidades más allá de lo que tradicionalmente se usa en el desarrollo de productos.
El documento describe cómo la crisis global económica, medioambiental y social ha creado una oportunidad para encontrar soluciones como el comercio justo, los humedales artificiales y las fábricas recuperadas. También detalla una serie de hitos internacionales clave que han contribuido al surgimiento del ecodiseño como enfoque, incluyendo informes en 1973, 1980, 1987, la Cumbre de Río de 1992 y normas posteriores.
El documento describe la evolución de los modelos de producción hacia un enfoque de sistema-producto que considera el ciclo de vida completo de un producto. Explica que la sostenibilidad se basa en tres pilares: economía, medio ambiente y comunidades. También presenta un ejemplo de sistema-producto mejorado para la crianza de cerdos.
El documento presenta un curso de introducción al ecodiseño dictado por Alejandro Chacón y Camilo Potocnjak. El curso consta de tres módulos que buscan comprender el impacto ambiental de los productos, aplicar herramientas de ecodiseño y promover el consumo responsable. El documento también describe la problemática del desarrollo insostenible a nivel global y la oportunidad que existe para encontrar soluciones locales de manera sostenible.
Este documento presenta el curso de Ecodiseño de la Universidad de Chile. Explica los objetivos de los tres módulos que cubren los conceptos de sistema producto, ecodiseño y consumo responsable. También introduce a los profesores Alejandro Chacón y Camilo Potocnjak y describe los problemas actuales como el calentamiento global, la contaminación y el agotamiento de recursos. Finalmente, sugiere que cada problema representa una oportunidad para desarrollar soluciones más sostenibles.
El documento presenta una introducción al diseño como disciplina, proceso y producto. Explica que el diseño es una profesión científica que integra conocimientos de diversos ámbitos, un proceso de creación de nuevos productos y sistemas, y un sustantivo que se refiere al plan o propuesta resultante de aplicar dicho proceso, además del objeto producido. También describe cómo el diseño satisface necesidades humanas y contribuye al desarrollo social, económico y cultural.
Linda Kwon discussed the need to re-evaluate the role of design and identify systems undermining health and happiness. She believes a synchronized approach is needed to both expose invisible systems and provide a way to re-vision the world through living by design rather than by default.
Dr. Joonsang Baek spoke about the limitations of user-centered design approaches for sustainable product-service systems and the importance of considering stakeholders.
Seewon Hyun investigated how design found in public and daily life relates to happiness and labor, discussing perspectives of visual culture and possibilities for progress, happiness, and satisfaction to coexist.
1.2 evolution of sustainability within design vezzoli 09-10 (51)vezzoliDSS
This document discusses the evolution of sustainability within design. It describes how the role of design has increasingly expanded from focusing on low environmental impact materials and energies, to considering the full product life cycle through ecodesign, to designing entire product-service systems for eco-efficiency. The document also notes how design has begun to consider social equity and cohesion. It argues that while the design community has become more aware of sustainability, few within the field currently have the solid knowledge and tools needed to properly design for sustainability.
This document summarizes a presentation on sustainability awareness in design. It discusses the expanding role of design and initial findings from a survey on how designers consider sustainability. The survey looked at designers' competence on responsibility issues, ethics, attention to value chains, and consideration of user needs. Findings indicate a gap between a sense of global responsibility and focus on users. There is potential to lose sight of products and production if design focuses only on product-service systems. The designer's perceived role is smaller than it could be to address macro needs of ecosystems and societies.
Atbasta slaidi 1h prezentācijai "Design Drive" pasākumā Cēsīs, kas bija veltīts dizaina domāšanai, ka arī dizaina šodienai un nākotnei.
Presentation in "Design Drive" micro-conference in Cesis devoted to Design Thinking. In Latvian with few slides and translations in English.
The document discusses human centered design and ethnographic design. It provides an overview of key aspects of these approaches including design thinking processes, fieldwork methods, modeling techniques, and case studies. The latter part focuses on applying human centered design and ethnographic methods to design products for people at the Base/Bottom of the Pyramid through a needs-based and culturally sensitive approach.
1.2 evolution of sustainability within design vezzoli 12-13 (41)LeNS_slide
The document discusses the evolution of sustainability within design. It describes how approaches to sustainability in design have shifted over time from:
1) Using low environmental impact materials and energies in the 1970s.
2) Considering the full product life cycle and ecodesign in the 1990s.
3) Designing product-service systems for eco-efficiency since the 2000s.
It argues that while interest in design for sustainability is growing, most design communities still lack solid knowledge and tools for designing with sustainability in mind and are more part of the problem than the solution. The document traces how understanding and practices around sustainable design have progressed over several decades but still have further to evolve.
About design (and disruptive technologies) Teemu Leinonen
This document discusses design and disruptive technologies from the perspective of Teemu Leinonen, an Associate Professor of New Media Design and Learning. It outlines Leinonen's background and areas of expertise, which include education theory, new media, design, and design methods. The document then covers two main topics: 1) technology and media, discussing how new technologies are experienced over time from experimental art to domestication, and providing examples. 2) design as research, outlining Leinonen's research-based design process which takes a user-centered approach through methods like contextual inquiry, participatory design, and prototyping to create products and services that meet real human needs.
The document discusses the relationship between industrial design engineers and designers. It states that engineers care about making things work, while designers focus on creating things that people care about. It explores various frameworks for understanding meaning, purpose, function and form in product design. Key concepts discussed include semantic differential analysis, perceptual mapping, kansei engineering, and analyzing how purpose, behavior, function and form relate to convey meaning.
The document discusses the changing relationship between the digital and physical worlds in product design. It notes that older students followed a process from physical to digital, while newer "digital native" students go from digital to physical. This can result in unrealistic designs that ignore physical constraints. The document questions whether educators should encourage digital natives to take a more traditional, hands-on approach or explore new design processes, and whether this will impact education standards.
This document summarizes a report on collaboration and business models in the creative industry. It identifies important stakeholders in the creative industry through interviews. It also examines best practices and challenges related to collaboration and business models through case studies. A literature review provides background on the creative industry, collaboration, and business model frameworks. Key findings include the importance of networks for collaboration, challenges around formalization and intellectual property, and how open and co-development models can benefit the creative industry.
Similar to Design for Humans_ANUV8_Kinloch Lodge_2010 (11)
El documento introduce el concepto de ecodiseño. Explica que el ecodiseño incorpora un enfoque de sostenibilidad al diseño tradicional, abarcando factores ambientales, económicos y sociales. Sin embargo, aplicar principios de sostenibilidad requiere conocimientos y habilidades más allá de lo que tradicionalmente se usa en el desarrollo de productos.
El documento describe cómo la crisis global económica, medioambiental y social ha creado una oportunidad para encontrar soluciones como el comercio justo, los humedales artificiales y las fábricas recuperadas. También detalla una serie de hitos internacionales clave que han contribuido al surgimiento del ecodiseño como enfoque, incluyendo informes en 1973, 1980, 1987, la Cumbre de Río de 1992 y normas posteriores.
El documento describe la evolución de los modelos de producción hacia un enfoque de sistema-producto que considera el ciclo de vida completo de un producto. Explica que la sostenibilidad se basa en tres pilares: economía, medio ambiente y comunidades. También presenta un ejemplo de sistema-producto mejorado para la crianza de cerdos.
El documento presenta un curso de introducción al ecodiseño dictado por Alejandro Chacón y Camilo Potocnjak. El curso consta de tres módulos que buscan comprender el impacto ambiental de los productos, aplicar herramientas de ecodiseño y promover el consumo responsable. El documento también describe la problemática del desarrollo insostenible a nivel global y la oportunidad que existe para encontrar soluciones locales de manera sostenible.
Este documento presenta el curso de Ecodiseño de la Universidad de Chile. Explica los objetivos de los tres módulos que cubren los conceptos de sistema producto, ecodiseño y consumo responsable. También introduce a los profesores Alejandro Chacón y Camilo Potocnjak y describe los problemas actuales como el calentamiento global, la contaminación y el agotamiento de recursos. Finalmente, sugiere que cada problema representa una oportunidad para desarrollar soluciones más sostenibles.
El documento presenta una introducción al diseño como disciplina, proceso y producto. Explica que el diseño es una profesión científica que integra conocimientos de diversos ámbitos, un proceso de creación de nuevos productos y sistemas, y un sustantivo que se refiere al plan o propuesta resultante de aplicar dicho proceso, además del objeto producido. También describe cómo el diseño satisface necesidades humanas y contribuye al desarrollo social, económico y cultural.
RPWORLD offers custom injection molding service to help customers develop products ramping up from prototypeing to end-use production. We can deliver your on-demand parts in as fast as 7 days.
2. who
is ?
Born in Santiago, Chile...
(dramatized for humorous purposes)
Kinloch UniLodge
28th October 2010
3. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
(...but he didn’t like the beach)
Kinloch UniLodge
28th October 2010
4. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
Studied Industrial Design...
(that’s him on the left)
Kinloch UniLodge
28th October 2010
5. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
Studied Industrial Design...
Did a bunch of Stuff...
(some logos)
Kinloch UniLodge
28th October 2010
6. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
Studied Industrial Design...
Did a bunch of Stuff...
(some graphics)
Kinloch UniLodge
28th October 2010
7. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
Studied Industrial Design...
Did a bunch of Stuff...
(some packaging)
Kinloch UniLodge
28th October 2010
8. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
Studied Industrial Design...
Did a bunch of Stuff...
(some events)
Kinloch UniLodge
28th October 2010
9. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
Studied Industrial Design...
Did a bunch of Stuff...
(some events)
Kinloch UniLodge
28th October 2010
10. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
Studied Industrial Design...
Did a bunch of Stuff...
(some games)
Kinloch UniLodge
28th October 2010
11. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
Studied Industrial Design...
Did a bunch of Stuff...
came to ANU to get his Masters (of MGMT)...
Kinloch UniLodge
28th October 2010
12. who
is ?
Born in Santiago, Chile...
Grew up in Sydney...
Studied Industrial Design...
Did a bunch of Stuff...
came to ANU to get his Masters (of MGMT)...
...and here we are now.
Kinloch UniLodge
28th October 2010
16. What is Design? first of all, design is a profession
that integrates knowledge from
Discipline Process Product a wide range of fields.
Kinloch UniLodge
28th October 2010
17. What is Design? secondly, design is a verb that
refers to the act of developing
Discipline Process Product plans, projects and products.
Kinloch UniLodge
28th October 2010
18. What is Design? finally, design is a noun, used
to describe the output of the
Discipline Process Product aforementioned process.
Kinloch UniLodge
28th October 2010
19. What is Design? is design ART?
Discipline Process Product
Kinloch UniLodge
28th October 2010
20. aesthetics
drawing
What is Design? is design ART?
composition
Discipline Process Product sculpture
Kinloch UniLodge
28th October 2010
21. aesthetics
drawing
What is Design? is design ART?
composition
Discipline Process Product sculpture
manufacturing
lifecycle analysis
ENGINEERING
structures
Kinloch UniLodge
28th October 2010
22. marketing aesthetics
management drawing
What is Design? BUSINESS is design ART?
composition
Discipline Process Product entrepreneurship
sculpture
manufacturing
lifecycle analysis
ENGINEERING
structures
Kinloch UniLodge
28th October 2010
23. onthology ethnography
research
marketing aesthetics
management drawing
What is Design? BUSINESS is design ART?
composition
Discipline Process Product entrepreneurship
sculpture
communication social
manufacturing psychology
ergonomics lifecycle analysis
ethics
I.C.T.
ENGINEERING
structures
Kinloch UniLodge
28th October 2010
24. What is Design? BUSINESS is design ART?
Discipline Process Product
ENGINEERING
Kinloch UniLodge
28th October 2010
28. Colour
shape
The Design Object.
Form Function Usability Context
What is it?
Size
“Gel Containment Capsule...
Materials
& Processes
Kinloch UniLodge
28th October 2010
29. The Design Object.
Form Function Usability Context
What’s it for?
Identifies the Company
(and that it’s Patent Pending!)
“Gel Containment Capsule
that Reduces spoilage of Grapes…
Holds Nutrients
Plugs on to the Stem
Kinloch UniLodge
28th October 2010
30. Here come the Fingers!
The Design Object.
Form Function Usability Context
How is it used?
“Gel Containment Capsule
that Reduces spoilage of Grapes,
and is applied during Harvest…
Here come the Grapes!
Kinloch UniLodge
28th October 2010
31. The Design Object.
Form Function Usability Context
Where & Why?
“Gel Containment Capsule
that Reduces spoilage of Grapes,
and is applied during Harvest
In the Chilean Agro-Industry”
Kinloch UniLodge
28th October 2010
32. Context
Usability
Human
cto c
C u ct o r
Fa omi
The Design Object. Factors
rs
Fa
l tu s
on
r al
Ec
Form Function Usability Context
A good Design Object recognizes its User, Design Form
and equally addresses all four aspects. Function Aesthetic
Technical & Symbolic
Factors Factors
Technological
Factors
Kinloch UniLodge
28th October 2010
33. The Design Object. So, what were we
Form Function Usability Context talking about?
Kinloch UniLodge
28th October 2010
35. Design for Humans observation allows you to
identify needs, which are the
Observe Project Produce starting point for innovation.
Kinloch UniLodge
28th October 2010
36. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
Look at how the need has been solved previously.
Kinloch UniLodge
28th October 2010
37. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
…And all the possible substitutes.
Kinloch UniLodge
28th October 2010
38. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
Understand how they solve the problem…
Kinloch UniLodge
28th October 2010
39. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
…And what alternatives you have.
Kinloch UniLodge
28th October 2010
40. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
How do your customers use your product?
Kinloch UniLodge
28th October 2010
41. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
What are their physical capabilities?
Kinloch UniLodge
28th October 2010
42. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
What challenges do they face day-to-day?
Kinloch UniLodge
28th October 2010
43. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
What are they thinking?
Kinloch UniLodge
28th October 2010
44. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
Will they use your design in the same way?
Kinloch UniLodge
28th October 2010
45. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
Look at this context…
Kinloch UniLodge
28th October 2010
46. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
Look at this context… and this one…
Kinloch UniLodge
28th October 2010
47. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
Look at this context… and this one… and that.
Kinloch UniLodge
28th October 2010
48. Design for Humans
Observe Project Produce
Form
Function
Usability
Context
Are they similar or different? How so?
Kinloch UniLodge
28th October 2010
49. Context
Usability
Design for Humans
Observe Project Produce Design
Form Observation allows you Fu
nc r m
Function to make informed decisions tio
n Fo
Usability while satisfying the need
Context you’ve identified.
Kinloch UniLodge
28th October 2010
50. Design for Humans analyze what you’ve observed, and
apply methodical creativity to develop
Observe Project Produce ideas that satisfy your user’s needs.
Kinloch UniLodge
28th October 2010
51. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
52. References
& Current
Situation
Assessment
Design for Humans & Revision Vision &
Objectives
Observe Project Produce The Need
Planning Tasks Indicators
Innovation & Timeline & Outcomes
Sketching
Strategies
Evaluation & Method
Kinloch UniLodge
28th October 2010
53. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Brainstorm, anyone?
Kinloch UniLodge
28th October 2010
54. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
???
Kinloch UniLodge
28th October 2010
55. Creativity
User Needs
& Benefits
Design for Humans
Observe Project Produce Innovation
Planning Te l
ch cia
er y
Innovation Vi nolo m ilit
ab gi m b
Sketching ili ca
ty l Co easi
Evaluation F
Observation
Kinloch UniLodge
28th October 2010
56. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
57. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
58. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
59. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
60. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
61. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
62. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
63. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
64. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Kinloch UniLodge
28th October 2010
65. Feasibility
End-User
Requirements
Design for Humans
Observe Project Produce Project
Objectives
Planning
Pr uire
Re
od m
ts
Innovation
re e t
q
en
uc e n
ui rk
m
eq Ma
tio ts
Sketching
n
Evaluation
R
Originality
Kinloch UniLodge
28th October 2010
66. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Form-related problems.
Kinloch UniLodge
28th October 2010
67. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Function-related problems.
Kinloch UniLodge
28th October 2010
68. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
Usability-related problems.
Kinloch UniLodge
28th October 2010
69. Design for Humans
Observe Project Produce
Planning
Innovation
Sketching
Evaluation
…And of course, the Context.
70. Design for Humans
Observe Project Produce
Planning Before you move on, verify the following:
Innovation - The End-User’s need is satisfied.
Sketching - The product is Technologically Feasible.
Evaluation - The product has some degree of Commercial Viability.
Kinloch UniLodge
28th October 2010
71. Design for Humans bringing an idea into the real world,
through technical information that
Observe Project Produce makes it possible to manufacture.
Kinloch UniLodge
28th October 2010
72. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
73. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
74. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
75. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
76. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
77. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
78. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
79. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
80. Input
Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Output
Kinloch UniLodge
28th October 2010
81. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
82. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
83. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
84. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
85. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
86. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
87. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
88. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
89. Design for Humans
Observe Project Produce
Specifications
Technology
Prototyping
Presentation
Kinloch UniLodge
28th October 2010
90. Component Parts
+
Cost Estimates
Design for Humans Materials
+
Manufacturing Processes
Observe Project Produce
Specifications
Final Test
Technology (First of Run)
Prototyping
Presentation Branding
+
Business Model
Kinloch UniLodge
28th October 2010
91. Design for Humans Wrapping up…
Observe Project Produce (some projections)
Kinloch UniLodge
28th October 2010
92. Design for the Future
Co-Creation Services Sustainability
Kinloch UniLodge
28th October 2010
93. Design for the Future
Co-Creation Services Sustainability
From Manufacturing… …to Knowledge-based economies.
Kinloch UniLodge
28th October 2010
94. Design for the Future
Co-Creation Services Sustainability
From Manufacturing… …to Knowledge-based economies.
From Product Development… …to Value Co-Creation.
Kinloch UniLodge
28th October 2010
95. Design for the Future
Co-Creation Services Sustainability
From Manufacturing… …to Knowledge-based economies.
From Product Development… …to Value Co-Creation.
From Products… …to Product-Service Systems.
Kinloch UniLodge
28th October 2010
96. Design for the Future
Co-Creation Services Sustainability
From Manufacturing… …to Knowledge-based economies.
From Product Development… …to Value Co-Creation.
From Products… …to Product-Service Systems.
From Product Innovation… …to Business Model Innovation.
Kinloch UniLodge
28th October 2010
97. Design for the Future
Co-Creation Services Sustainability
From Manufacturing… …to Knowledge-based economies.
From Product Development… …to Value Co-Creation.
From Products… …to Product-Service Systems.
From Product Innovation… …to Business Model Innovation.
From Intellectual Property… …to Branded Experiences.
Kinloch UniLodge
28th October 2010
98. Design for the Future
Co-Creation Services Sustainability
From Manufacturing… …to Knowledge-based economies.
From Product Development… …to Value Co-Creation.
From Products… …to Product-Service Systems.
From Product Innovation… …to Business Model Innovation.
From Intellectual Property… …to Branded Experiences.
From Design… …to Eco-Design… …to Sustainable Design.
Kinloch UniLodge
28th October 2010
99. Design for the Future Any questions?
Co-Creation Services Sustainability
Kinloch UniLodge
28th October 2010
100. h ing
et
s om
Design for thew for
no Future
ly
te Any questions?
d
Co-Creation n
ple
a Services
nt Sustainability
C o m re
e
d iff
Kinloch UniLodge
28th October 2010
102. once upon a time, I was a design student…
one out of 18.000, spread across 50 schools…
103. once upon a time, I was a design student…
one out of 18.000, spread across 50 schools…
…and I realized that this was not just a problem.
104. once upon a time, I was a design student…
one out of 18.000, spread across 50 schools…
…and I realized that this was not just a problem.
it was also an opportunity.
106. Citizenry
Design Industry
Difficulty to Communicate
Lack of Clarity concerning Design’s true Value to Private Sector
Student’s future career. Society
Lack of Unified Public Sector
Lacking Incentives for Discourse
Professional Association
Lack of Protocols for interaction with other
Sectors of Society
Discipline inhibiting its own Development
Diverse Graduate
Lack of Self-Criticism Profiles
Design Isolated from other
Disciplines
Lack of Cross-Sector Design
Activities Academia en
Academy in Low level of
Contexto de Workforce
Personalized a State of Isolated from Productive Education
Desvinculación Insertion
Curriculum Disconnect Environment inconsistent with
real Market needs.
Diverse
Curricula Lack of Internships
& Traineeships
Diversity of
Disciplinary Focus
Diversity of Non-Practicing
Large number of Methodologies Reluctance to Educators
Design Schools in Chile Join Professional
Associations
Educators with Diverse
Professional and Academic
Backgrounds
108. Incentives for
Professional Design Industry
Association
Establishing
Student-Level
Networks
Design
perceived as
Source of Private Sector
Competitive
Advantage
Understanding
Citizenry of Design’s
Social Role Design
Included
in Government Public Sector
Policy
109.
110.
111.
112. at its peak, the community housed over 15.000 members
113. at its peak, the community housed over 15.000 members
it displayed over 30.000 projects from all areas of design
114. at its peak, the community housed over 15.000 members
it displayed over 30.000 projects from all areas of design
we received 50.000 to 120.000 monthly visitors
115. at its peak, the community housed over 15.000 members
it displayed over 30.000 projects from all areas of design
we received 50.000 to 120.000 monthly visitors
from over 100 countries
116. at its peak, the community housed over 15.000 members
it displayed over 30.000 projects from all areas of design
we received 50.000 to 120.000 monthly visitors
from over 100 countries
reaching a global WWW ranking of 77.000 (which isn’t that bad)
117. at its peak, the community housed over 15.000 members
it displayed over 30.000 projects from all areas of design
we received 50.000 to 120.000 monthly visitors
from over 100 countries
reaching a global WWW ranking of 77.000 (which isn’t that bad)
…and then our server burnt down. literally, up in smoke.