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COLOURS - Politecnico Di Milano COLOURS - Politecnico di Milano 5 Dicembre 2016 Un laboratorio di design primario Baolab è un Design primario laboratorio che Cosa significa indagare un lavora nel mondo del oggetto partendo dalle disegno industriale e sue qualità sensoriali. si occupa di tutto ciò che non riguarda la forma degli oggetti. La ricerca di variabili non oggetivvabili L’identità emozionale CMF di un prodotto è L’analisi delle qualità di data dalla somma un prodotto si sviluppa di elementi molto principalmente in 3 ambiti differenti tra loro. principali: il colore, i Alcuni sono materiali e le finiture quantificabili, altri no ma sono altrettanto determinanti. MOLESKINE Design del materiale Accessories - Stationery Moleskine è un’azienda Qualificazione sensoriale produttrice di taccuini, La variazione dell’aspetto agende, borse, tattile di un prodotto iconico strumenti per scrivere molto noto prende le sue e per leggere. mosse anche dall’analisi Cultura, immaginazione, dei nuovi target viaggio, memoria e identità personale sono le parole chiave in cui si identifica. MOLESKINE Design del materiale Accessories - Stationery Ad ogni mondo identificato pertengono specifici materiali e precise palette cromatiche MOLESKINE Design del materiale Accessories - Stationery Una volta identificate le principali sensazioni sinestetiche che si voglio raggiungere il lavoro si concentra sulla messa in atto delle possibilità materiche MOLESKINE Design del materiale Accessories - Stationery Un momento importante per il progetto è capire se il prodotto viene poi scelto dall’intelocutore presunto. A volte accade, altre invece prende strade inaspettate LUXOTTICA Trend forecasting Fashion accessories Luxottica è una Ricerca transdisciplinare azienda che disegna, La ricerca dei trend è il primo produce e distribuisce passo per la definizione occhiali in tutto il di linee guida condivisibili mondo. Lavora con all’interno di gruppi molti brand diversi tra industriali molto ampi loro il che permette esplorazioni stilistiche molto ampie LUXOTTICA Trend forecasting Fashion accessories L’analisi e la ricerca di assetti attitudinali, di mercati meta geografici o di appartenenze culturali crea cluster valoriali entro i quali si individuano i linguaggi estetici nascenti LUXOTTICA Trend forecasting Fashion accessories I trend si strutturano attingendo a fonti molto diverse tra loro, ma tutte collegate all’azienda per cui si lavora. In questo caso si 2 2 analizzano i mondi della moda, lo street colour PALETTE style, il furniture C SKIN-LIKEC SKIN-LIKE SURFACES SURFACES sophisticated | delicate | deep Body Sensation is expressed through a delicate and sophisticated design il food design palette with tones that recall skin, veins, arteries and in addition other alchemical and alien elements, for instance bright greens which give a certain freshness and originality to a composition. Colours are chosen in a specific way to recreate as vividly as possible e lo sport system. the subtle nuances and the overlaying of organic tissues. 2330 c 2139 c 7520 c white c 337 c 7642 c 19 D THIN DSEMI-TRANSPARENTTHIN SEMI-TRANSPARENT LAYERS LAYERS E BODY-AUGMENTATIONE BODY-AUGMENTATION A “TOUCHA THAT“TOUCH TASTE!” THAT BITTER TASTE!” SLIPPERS, BITTER SLIPPERS, MARTYNA MARTYNA BARBARA BARBARAGOLIK, 2015 GOLIK, 2015 B BIOLOGICALB BIOLOGICAL ATELIER : ATELIERSS 2082 :‘EXTINCT’ SS 2082 ‘EXTINCT’ COLLECTION COLLECTION BY AMY GONGDON BY AMY GONGDON C GIGI BARKER,C GIGI STUDIO BARKER, 9191 STUDIO 9191 D WARRIORSD WARRIORS OF DOWNPOUR OF DOWNPOUR CITY. A POETIC CITY. PROSPECTIVE,A POETIC PROSPECTIVE, OF SILHOUETTES OF SILHOUETTES IN THE RAIN IN THE RAIN E BY ANNEE KNITBY ANNE PROJECT KNIT BYPROJECT JESPER BY DANIELSSON, JESPER DANIELSSON, 2013G.F.HAWTHORNE 2013G.F.HAWTHORNE AW 2015/2016 AW 2015/2016 LUXOTTICA Trend forecasting Fashion accessories E CELLULAR TRANSPARENCIES design HINTS 2 E’ sempre molto textures | patterns | details F SEMI-TRANSPARENT SURFACES importante riuscire a tradurre le informazioni che A SEMI-TRANSPARENT DECORATIONS arrivano dai vari ambiti in materiali e superfici presenti sul mercato. B SMOOTH ELASTICITY G ORGANIC MESH Non necessariamente devono essere prodotti H BODY-ALIKE DETAILS industriali, sono sempre interessanti C BOTANICAL INSERTS ad esempio le sperimentazioni in campo artistico D AGING LEATHER I BIONIC INSERTS A COLLECTION INLAID FANTASIES BY ANDREEA MANDRESCU B MOON-JELLY BY EVA WALKUSKI C BLOOM MAGAZINE ISSUE 12 D GRADUATION PROJECT AT ARTEZ 2014 BY RENEE VERHOEVEN E EXHIBITION ULTRABODY, BRAND MELANGE.LAB, 2012 F WARRIORS OF DOWNPOUR CITY BY ANNE VAN GALEN G RUBBER COLLECTION MAN AND IDENTITY, BY FLOOR VAN DOREMALEN H SENSATIONS THROUGH TOUCH AND HUMAN BODY BY GIOELE ANTONELLO I RUBBER COLLECTION MAN AND IDENTITY, BY FLOOR VAN DOREMALEN 13 LUXOTTICA Trend forecasting Fashion accessories La raccolta di materiali attinenti ai singoli trend serve a rendere evidenti le qualità indagate, sia a livello cromatico ma soprattutto per quanto riguarda tattilità, pesi e temperature. BORMIOLI Product revamping Tableware - Glass Rocco Bormioli fonda Rinnovamento di gamma la sua azienda all’inizio Per creare una nuova dell’800 fa e da allora identità a oggeti presenti da è presente sul mercato molto sul mercato si passa di massa con un attraverso lo studio del innumerevole numero materiale e delle tecnologie di prodotti di vetro per con cui sono costruiti. la tavola e la casa. BORMIOLI Product revamping Tableware - Glass I prodotti molto conosciuti hanno bisogno di una nuova identità per riposizionarsi sul mercato. Fondamentale è capire a chi ci si vuole rivolgere e che canali distributivi utilizzare. BORMIOLI Product revamping Tableware - Glass Pantone Pantone Pantone Pantone Pantone Pantone 7450 C 548 C 467 C 7717 C 259 C 2167 C La calibrazione di una palette cromatica emergente deve tener presenti la qualità del materiale che la supporta e le possibili variazioni in termini di decorazioni e creazioni di pattern. BORMIOLI Product revamping Tableware - Glass Nella selezione del cluster più appropriato all’azienda intervengono molte figure: il brand management, il marketing, l’ufficio stile e lo sviluppo prodotti... BORMIOLI Product revamping Tableware - Glass I criteri meta progettuali, una volta definiti, funzionano come linee guida condivise e possono essere estesi a una famiglia di prodotti coesi tra loro. ///////////// Colour and Trim Automotive Uno dei pochi Costruzione dell’identità ambiti lavorativi in Il progetto dell’identità cui il progetto del dell’auto parte da un brief colore è gestito da tematico tradotto in immagini figure professionali e board, fino ad arrivare specifiche è quello all’identificazione di materiali dell’automotive. specifici e relativi produttori Nel 99% dei casi il gruppo di lavoro è formato da donne. ///////////// Colour and Trim Automotive Sviluppo del brief consegnato dal cliente. La comunicazione tramite immagini e materiali fisici chiarisce fin dai primi momenti le differenti possibili identità del futuro prodotto. ///////////// Colour and Trim Automotive I materiali sono in questa fase ancora ispirazionali, solo successivamente si definiscono le specifiche appropriate (trasformabilità, reperibilità, costi...). ///////////// Colour and Trim Automotive Il prodotto poi fa suoi i materiali selezionati, li integra e a sua volta ne viene plasmato. Il risultato finale è sempre un a sè, diverso dall’immaginato e sorprendente. DESIGN PRIMARIO Perception haptic perception The body, in its psychosomatic unity, is the privileged instrument of relationship with the external and internal world. Until the Renaissance, was absolutely shared the unitary conception of the person. Leonardo Da Vinci, studies and tables on physiognomy that represent the “movements of the soul” in his portraits DESIGN PRIMARIO Perception haptic perception Haptic comes from Haptisch, a greek word, and means “touch” or “tangible” in a better shape: it involves not only the localization of the sense of touch, but also the tactile feel with your whole body. The word haptic was introduced by Erwin Panofsky (1892- 1968) and used also by Maurice Merleau- Ponty, the philosopher of phenomenology of perception. Bruno Munari, Pre Libri, 1980 DESIGN PRIMARIO Perception haptic perception “The haptic sense is something more than just tactile sensations (rough, smooth, warm, cold, etc..) because it does not refers only to touch, but implies to feel and to perceive with “everything”, with the prehensile, with the contact of the outer and inner body, with the dy- namics of movement of the body structures“ A. Marcolli, “Image-ac- tion. Design”,Sansoni Makiko Shinoda, Material Teddy, 2011 1983 DESIGN PRIMARIO Perception sensoriality The primary design is a particular approach to the discipline of industrial design: it is an approach to design that pays attention to all those who are the intangible values of the environment. It derives from all the sensory experiences that form the human experience in the artificial environment. Vitruvian man,Leonardo da Vinci, 1490 Sapta Chakra, from a Yoga manuscipt, 1899 DESIGN PRIMARIO Perception space perception The starting point of the primary design derived from the wrong observation on which the industrial design based its foundamental quality, namely the standard correctness. compare to this tradidion, the primary desig shifts its attention to the sensory and perceptive values of space. The human body is considered an active tool capable of processing sophisticated levels of environmental Andrea Branzi, Cattedrale Sensoriale, 1992. Theorical model of a Perceptive
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