Interferências Digitais Nos Modelos Tridimensionais Do Design De Automóveis

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Interferências Digitais Nos Modelos Tridimensionais Do Design De Automóveis Silvio Kimura INTERFERÊNCIAS DIGITAIS NOS MODELOS TRIDIMENSIONAIS DO DESIGN DE AUTOMÓVEIS Dissertação apresentada como requisito à obtenção do título de Mestre, no programa de Pós‐Graduação da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo Área de Concentração de Design e Arquitetura. Orientador: Prof. Livre‐Docente Alessandro Ventura São Paulo 2013 2 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL OU PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. E‐MAIL AUTOR: [email protected] Kimura, Silvio K49i Interferências digitais nos modelos tridimensionais do design de automóveis / Silvio Kimura. -- São Paulo, 2013. 255 p. : il. Dissertação (Mestrado - Área de Concentração: Design e Arquitetura) – FAUUSP. Orientador: Alessandro Ventura 1.Desenho industrial 2. Design de produtos 3.CAD 4.Projeto automotivo 5.Indústria automobilística I.Título CDU 7.05 3 Nome: Silvio Kimura Título: Interferências Digitais nos Modelos Tridimensionais do Design de Automóveis Dissertação apresentada como requisito à obtenção do título de Mestre, no programa de Pós‐Graduação da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo, Área de Concentração de Design e Arquitetura. Aprovado em: Banca Examinadora Prof. Dr. ______________________________________ Instituição: ______________________________ Julgamento: __________________________________ Assinatura: ______________________________ Prof. Dr. ______________________________________ Instituição: ______________________________ Julgamento: __________________________________ Assinatura: ______________________________ Prof. Dr. ______________________________________ Instituição: ______________________________ Julgamento: __________________________________ Assinatura: ______________________________ 4 5 À minha esposa Tatiana, com amor, admiração e gratidão por sua compreensão, carinho, presença e apoio ao longo do caminho. 6 7 Agradecimentos Agradeço: Inicialmente, à minha origem, meus antepassados. Aos meus pais e minha família, que me prepararam para a vida. Ao Sensei Jorge Kishikawa por ensinar‐nos generosamente cultura e não somente arte. Ao meu orientador, Prof. Livre‐Docente Alessandro Ventura, de reconhecida sapiência, que muniu‐se de paciência e guiou‐me pelos meandros do mestrado. Aos colegas, professores e funcionários da FAU, por tudo que aprendi nos muitos e longos anos de graduação e nos rápidos semestres da pós‐graduação. À FAU, pela oportunidade de realizar o curso de mestrado. Ao meu amigo Paulo Andrade e aos colegas de trabalho que me apoiaram incondicionalmente. Aos colegas Fabrício Toscano e Frederico Laguna pelos muitos esclarecimentos sobre o concorrido mundo dos designers de automóveis. E finalmente, ao Universo, porque no fim, tudo dá certo. 8 9 “Entretanto, mesmo trilhando caminhos diferentes, com um estudo mais profundo é possível compreender a verdade. O importante é que cada um em sua área busque sempre o aperfeiçoamento.” Sensei Shinmen Musashi‐no‐Kami Fujiwara‐no‐Genshin “Ao ouvir histórias de homens bem sucedidos, deve‐se escutar com muita atenção, mesmo que seja algo já conhecido. Se escutarmos a mesma coisa dez ou vinte vezes e acabarmos compreendendo algo inesperado, esse momento será muito especial. Em meio à conversa tediosa dos mais velhos existem os feitos dignos de mérito.” Yamamoto Tsunetomo “Você não conseguiu nada sozinho. Não se iluda pensando que tudo o que você conseguiu ou possui em sua vida se deve somente ao seu esforço ou capacidade. Três fatores são importantes para o samurai vencer: a sua capacidade; as suas origens; os colegas de treinamento.” Sensei Jorge Kishikawa 10 11 Resumo O sucesso na indústria automobilística está intrinsecamente associado à sua capacidade de apresentar rapidamente novos produtos ao mercado. Foram fundamentais para reduzir o tempo de desenvolvimento de novos veículos a utilização de sistemas de projeto auxiliado por computador, ou CAD, para substituir o modelamento tridimensional físico pelo digital. Buscamos inicialmente apresentar os aspectos históricos da produção industrial do automóvel no início do século XX para compor um panorama com os personagens e os fatos relevantes que influenciaram o processo de projeto de veículos. Destacamos a criação do Art & Color Section da GM porque foi neste estúdio que modelos de projeto representando a carroceria de automóveis foram construídos pela primeira vez utilizando clay industrial. Descrevemos o fluxo de trabalho do processo de projeto no design automotivo e investigamos adicionalmente as possíveis interferências dos programas de modelamento digital no desenvolvimento criativo de projetos de design de automóveis. Complementarmente, analisamos a influência das ferramentas digitais na formação dos futuros designers de automóveis, os futuros desenvolvimentos de interface dos programas CAD/CAS e o panorama atual dos principais programas utilizados no design industrial de automóveis. Palavras‐chave: Desenho industrial; Design de produtos; CAD; Projeto automotivo; Indústria automobilística. 12 13 Abstract The ability to offer new products to the market is the key to success in auto industry. New vehicles are developed with Computer‐Aided Design (CAD) programs, resulting in great development time reduction where digital models replaced traditional clay models. By researching historical facts about the auto industry production in early 20th century, this research focused on building a background where the design processes were developed, including relevant biography and facts about the people who created the modern car. We highlighted the creation of GM Art & Color Section due to its relation with the first use of car body models modeled with industrial clay. To find possible interferences caused by the use of digital modeling within the creative phase of car design processes, we described and analyzed the car design process workflow. Furthermore, we analyzed how digital tools can influence new designers education, looked for future CAD/CAS software interface development and an overview on the main high‐end software for car design. Keywords: Industrial design; Product design; CAD; Automotive design; Automotive industry. 14 15 Lista de ilustrações Figura 1: Sketch digital ou em papel. As ferramentas digitais são tão eficientes quanto as tradicionais na criação de ilustrações. Fonte: Car Design News. .............................................................................. 27 Figura 2: Modelo virtual e diversas formas de apresentação. Fonte: PI‐VR ......................................... 29 Figura 3: Henry Ford em 1919. Fonte: Library of Congress, Washington. ............................................ 34 Figura 4: Henry Ford, Thomas Alva Edison e Harvey Samuel Firestone, os pais da modernidade. 11 fev. 1929. Fonte: Herbert Hoover Library. ............................................................................................ 35 Figura 5: Henry Ford em seu Quadricycle em 1896. Fonte: Newsweek ............................................... 36 Figura 6: Ford Modelo T, fotografado em 11 abr. 1910. Fonte: Utah State Historical Society............. 37 Figura 7: Fazendeiros no Nebraska vistoriando campos de trigo em 1916. Fonte: Western Heritage Museum, Omaha, Nebraska. ................................................................................................................. 38 Figura 8: Linha de produção na Ford, 1913. Fonte: Ford Wiki .............................................................. 39 Figura 9: Linha de montagem final, Ford Modelo T. Fonte: Library of Congress. ................................. 40 Figura 10: Preços do Ford Modelo T por ano. Fonte: The Model T Ford Club International, Inc. ........ 41 Figura 11: Alfred Sloan na capa da revista Time de 27 dez. 1926. Fonte: Time Magazine. .................. 43 Figura 12: Fotografia oficial na General Motors de Harley Earl. Fonte: GM Heritage Center. ............. 48 Figura 13: Fachada da Earl Automobile Works em 1911. Fonte: LAMM, 1998. ................................... 49 Figura 14: Harley Earl (esq.) e Don Lee (dir.) em 1925. Fonte: LAMM, 1998. ....................................... 49 Figura 15: Buick Y‐Job Concept Vehicle e Harley Earl em 1938. Fonte: GM Heritage Center. ............. 50 Figura 16: Cadillac Sedanette 1948. Fonte: GM Heritage Center. ........................................................ 50 Figura 17: Detalhe do Cadillac Deville 1958. Fonte: GM Heritage Center. ........................................... 51 Figura 18: Modelos em clay do Cadillac 1933‐1936. Fonte: Clay Modelers. ........................................ 52 Figura 19: Bill Mitchell. Fonte: GM Heritage Center. ............................................................................ 54 Figura 20: Irvin Rybicki. Fonte: GM Heritage Center. ............................................................................ 56 Figura 21: Chuck Jordan. Fonte: National Corvette Museum. .............................................................. 58 Figura 22: Patrick Le Quément, na época da aposentadoria em 2009. Fonte: Car Design News. ........ 60 Figura 23: Chris Bangle. Fonte: Car Body Design. ................................................................................. 63 Figura 24: Carro conceito BMW GINA. Fonte: BMW of North America. .............................................. 64 Figura 25: Alfred Sloan e Harley Earl na aposentadoria de Earl em 1958. Fonte: General Motors Archive..................................................................................................................................................
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