Nada se cria, nada se perde, tudo se tranforma

Ou pelo menos assim deveria ser. Hoje, 35% de todo o lixo que é gerado na Terra é proveniente de embalagens descartadas. Não temos mais espaço no planeta para o 'lixo burro' e a reciclagem é fundamental para o nosso futuro. Desenhar uma embalagem nesse contexto é uma enorme responsabilidade.

Além dos critérios clássicos que definem um bom projeto de embalagens - como capacidade de proteçao, impacto visual, originalidade de formas e abordagens gráficas - o impacto ambiental gerado é hoje pedágio para garantir o mérito de um projeto. Estão com os dias contados as embalagens excessivamente extravagantes, que abusam da mistura de materiais, muitas vezes mesclados de forma definitiva, inviabilizando a reciclagem.

Ano passado fui jurado na categoria Packaging Design do D&AD Global Awards - uns dos prêmios mais tradicionais e conceituados do mercado internacional de design e comunicaçao. Para minha surpresa, no meio da pré-seleção dos projetos que passariam para a fase seguinte, percebi que estavam sendo selecionadas muitas dessas soluções equivocadas, como a inútil e cara embalagem de acrílico do iPod.

Eu, representante do Terceiro Mundo, me senti obrigado a levantar o dedo e questionar tais critérios. Felizmente, todos acabaram concordando que o impacto ambiental realmente deveria ser considerado. Mas a reação dos jurados foi surpreendente - me olharam como se nunca tivessem pensado na questão. Em todo caso, a embalagem do iPod dançou e não levou nada.

Agora, lendo os critérios de avaliação de Cannes, onde Design estréia como categoria este ano, voltei a me surpreender. Citam "grau de inovação", originalidade, mas nada de ACV (Avaliação do Ciclo de Vida) nem de impacto ambiental.

Lá vou eu de novo lembrar para a turma a Lei de Lavoisier...

Texto: Fred Gelli / Tátil Design http://www.tatil.com.br/

Fonte: http://www.bluebus.com.br/

Let's define Green Design

DESIGN21 is proud to support DESIGN GREEN NOW, a touring series of free panel discussions exploring the integration of innovative tools in the greening of consumer products. These sessions will inspire and empower emerging designers to build a sustainable future NOW!

To mark this event, DESIGN21 would like you to define what green design means to you. Add your definition to the DESIGN GREEN NOW blog. The best definitions will win their Allumonde charity ring by Richard Hutten.But wait, there's more! Even if you can't make it any of the panels you can still participate remotely: Post a question that you would like to ask the DESIGN GREEN NOW panel of experts, which include members of Frog Design, Fuseproject, Art Center College of Design and more. Your question could get picked!

Click here Define "Green Design"

Click here to Ask the Experts

For more info, visit DESIGN21's website.About DESIGN21DESIGN 21: Social Design Network’s mission is to inspire social consciousness through design. We connect people who want to explore ways that design can positively impact our communities – ways that are thoughtful, informed, creative and responsible.

Sex in design / Design in sex

Design has the power to shape experience; lending intensity to sexual encounters and adding a sensual thrill to everyday objects. From subtle manifestations to overt declarations, sexual imagery appeals to the universal human desire for pleasure. Sex in Design/Design in Sex highlights the best and most compelling sexually inspired contemporary designs from around the world.

Design is a conscious process that encompasses the traditions and aesthetics of fine arts, architecture and engineering. Everything in our world is designed, from the homes we live in, the cars we drive, the clothing we wear, down to the way our food is laid out on a plate. Elements of shape, texture and color interact with varying intensity to either take our senses by storm or quietly fuel our perceptions of erotica.

The selected artifacts in this exhibition will explore the dynamic relationship between sex and design, with a focus on trends from the close of the world war era to contemporary times. The appreciation of form will be examined in historical context with an emphasis on prevailing sexual attitudes and the development of material technology.

Sex in Design/Design in Sex will present a spectrum of sexual imagery, from the blatant to the subtly sensual, leading patrons through the nuances of the powerful and ever-present relationship between sex and design. Featured artifacts range from the objects that enhance our sexual exploits and play, to the suggestive utilitarian and decorative pieces that construct our environments, elucidating the power of design to trigger our erotic imaginations. From digital design to clothing design and from product design to “green” design, sex has served as a potent muse for designers and an indisputable obsession for consumers.

More: http://mos.dreamhosters.com/exhibit/sex-in-designdesign-in-sex

DMI’s Brand/Design 20 Conference

Brand and design are evolving into a unifying element, creating synergy across the enterprise, a synergy that is imperative to business success. Design, brand, and business are a powerful combination, representing the entire customer experience—connecting customers, companies, and innovation. Together, they make the promise, set the expectations, affect every experience.

At DMI’s Brand/Design 20 Conference, leading experts will explore synergy, collaboration, and strategy. Learn best of class methods and tactics to achieve organizational success through effective integration, cross-disciplinary communication, and management. Meet and interact with your peers from around the world. Experience three days of learning, inspiration, community, and sharing. For two decades, this conference has presented the best in identity, design, and innovation. To celebrate this 20-year milestone, DMI returns to Cincinnati, a capital of branding, at the historic, art-deco-themed Hilton Netherland Plaza.

More: www.dmi.org/dmi/html/conference/branddesign08/conference.htm

This Brand Makes You More Creative

By Beth Snyder Bulik Published: March 24, 2008 YORK, Pa. (AdAge.com)

What does your brand do for consumers? If you're Apple, you make them more creative, and if you're Disney, you make them more honest.

So says research published in the April issue of the Journal of Consumer Research that found test subjects who were shown a logo for 30 milliseconds -- a subliminal flash that was not actually "seen" -- were much more likely to be creative or candid in the cases of Apple and the Disney Channel, respectively.

"Brands are almost human in representation in people's minds," said Gavan Fitzsimmons, professor of marketing and psychology at Duke University, and one of three authors of the 52-page study. "We started out discussing the fact that we now know about all the social influences on us. Why wouldn't it then logically be that brands have the same impact?"

So he, along with his wife, Tanya Chartrand, also a professor of marketing and psychology at Duke, and his sister, Grainne Fitzsimmons, research chair in social cognition at University of Waterloo in Ontario, set out to tackle the question. They pretested hundreds of brands, looking for pairs in similar categories that were equally liked by consumers but also had distinctly different and acknowledged brand attributes. They wound up pairing Apple with IBM and Disney with the E! Channel.

They also took into account that consumers are exposed to hundreds of brands every day, but in a "super-liminal" way -- that is, in a way that can be seen, such as a logo on a friend's shirt. What they wanted to test was the effect of subliminal exposures.

Flash of inspiration

For the Apple-IBM test, 341 subjects were presented with a split screen and asked to push either a right- or left-hand button when they saw a box flash. What they didn't see -- and couldn't possibly have seen in just 30 milliseconds -- was the flash of the Apple or IBM logo while the box was on the screen.

Afterward, the subjects were given a creative challenge: Write down as many uses for a brick as you can think of, besides creating a building. The researchers then asked an independent group of judges to rank the answers for creativity.

The results: The group that had been subliminally primed by the Apple logo came up with 15% to 30% more uses for the brick than the control group. And the independent judges more often rated them as more unique and creative.

For the Disney-E! Channel test, they did the same thing. Some 63 participants instead saw the Disney or E! logo flash while the box was onscreen. Their test was different, though. This group was asked to honestly respond to true/false statements such as "I can remember playing sick to get out of something" or "I do not find it difficult to get along with loud-mouthed, obnoxious people." (Those who agreed with the latter flunked on honesty.)

Again the results showed the group exposed to the Disney Channel logo was more honest in its answers than the E! Channel-exposed group.

Replicable results

Note that neither group exposed to IBM or E! Channel became less creative or less honest because of the exposures. They stayed the same -- their answers were statistically similar to the control group.

It's not likely to have been a fluke. The research group got similar results in more than 10 replications of the test with a variety of subject groups.

So what does it mean for marketers? The research purports to prove that brands can subliminally inspire or create certain kinds of feelings in consumers -- potentially valuable information for marketers.

For instance, marketers doing product placement may want to go with shorter exposures rather than longer ones that draw consumers' ire, Mr. Fitzsimmons said. Or marketers could sell the notion of those positive associations to consumers. "All day, every day, we're changing who we are -- becoming more honest, becoming more creative -- as the function of the brands that surround us," he said.

And that may be the way to change consumers' buying behavior. Mr. Fitzsimmons said two of the three researchers (himself included) have switched to Apple computers. "In part because we thought it can't hurt and maybe strategic brand exposure might be a good thing."

Font: http://adage.com/

Kyoto Design Declaration 2008

A statement of commitment, by the members of Cumulus: www.cumulusassociation.org to sharing the global responsibility for building sustainable, human-centred, creative societies.

Proposing New Values and New Ways of Thinking
All the people of the world now live in global and interdependent systems for living. We continue to enhance the quality of our lives by creating environments, products and services utilizing design. Design is a means of creating social, cultural, industrial and economic values by merging humanities, science, technology and the arts. It is a human-centred process of innovation that contributes to our development by proposing new values, new ways of thinking, of living, and adapting to change.

The Imperative for Designers to Assume New Roles
A paradigm shift from technology driven development to human centred development is under way. The focus is shifting from materialistic and visible values to those, which are mental, intellectual and, possibly, less material. An era of "cultural productivity" has commenced, where the importance attributed to modes of life, values and symbols may be greater than that attributed to physical products. Design thinking stands steadfastly at the centre of this continuum. Simultaneously, this development highlights the importance of cultural traditions and the need to extend and revitalize them.

Seeking Collaboration in Forwarding the Ideals of Sustainable Development
Global development, and an awareness of the growth of related ecological and social problems are posing new demands and offering new opportunities for design, design education and design research. Design is challenged to redefine itself and designers must assume new roles and commit themselves to developing solutions leading to a sustainable future.Seeking Collaboration in Forwarding the Ideals of Sustainable DevelopmentThe members of Cumulus, representing a global community of design educators and researchers, undertake the initiative, outlined in this, 'THE KYOTO DESIGN DECLARATION', to commit themselves to the ideals of sustainable development. Furthermore, the members of Cumulus, have agreed to seek collaboration with educational and cultural institutions, companies, governments and government agencies, design and other professional associations and NGOs to promote the ideals of, and share their knowledge about, sustainable development.

From Education to Global Responsibility
In order to fulfil its declared mission to contribute to sustainable social, environmental, cultural and economic development for current and future generations, and to contribute to an environment and culture that makes harmonious and healthy life possible, the Cumulus members make this declaration. Members will commit themselves to accepting their part in the further education of our youth within a value system where each of us recognizes our global responsibility to build sustainable, human-centred, creative societies.

The Power to Make Fundamental Improvements to Our World
Human-centred design thinking, when rooted in universal and sustainable principles, has the power to fundamentally improve our world. It can deliver economic, ecological, social and cultural benefits to all people, improve our quality of life, and create optimism about the future and individual and shared happiness.

Implementation
The signatories of this Declaration agree to submit annually a Sustainability Report to Cumulus Secretariat informing of the actions they have taken to implement this Declaration. The reports will be published on Cumulus website and through this they are available to all interested parties.

Font: http://www.dexigner.com/

Results of the red dot award: product design 2008

Design is of great significance for a company’s commercial success, because design provides good ideas with a form and is indispensable for differentiation in the global market. Many companies have come to internalise this realisation, as the results of this year’s red dot design award clearly demonstrate.

More: http://en.red-dot.org/index.php?id=2666

Campana Brothers Select: Works from the Permanent Collection

As the seventh curators in this exhibition series, the Brazilian design team of Fernando and Humberto Campana mined the Museum’s collection departments and chose a diverse group of more than thirty objects, dating from the sixteenth to the twentieth centuries. The selected pieces, which range from book illustrations and jewelry, to furniture and wallpaper designs, blend unexpected media, layer varied forms, and weave intricate patterns and lines. The exploration of interwoven ideas and unconventional materials has been a hallmark of the Campana Brothers’ work, and the exhibition will feature a new piece of furniture designed by the brothers specifically for Cooper-Hewitt. The newly commissioned work completes their TransPlastic series, which documents the battle between nature and plastic.

Font: http://campana.cooperhewitt.org/

O Design Brasileiro pela 1a vez em Cannes

Desde que foram anunciados os jurados da categoria Design Lions e meu nome foi incluído no grupo, que não paro de pensar na força da marca 'Cannes Festival'. É incrível a relação emocional entre as pessoas e o Leão de Cannes, principal materialização desse universo. Para um designer que trabalha com comunicação e acredita que o design é a ferramenta mais poderosa para conectar pessoas e marcas, materializar discursos e emocionar, viver a estréia dessa categoria vai ser uma experiência inigualável.A expectativa é grande, já que tudo é novidade neste ano que é de estréia. E as agências que inscreveram seus trabalhos devem torcer para obter bom desempenho nas três dimensões que serão avaliadas - Packaging Design, Brand Identity e Environmental Design.

Na área de Packaging, estamos vivendo um momento especialmente desafiador, e quem conseguir aplicar a fórmula do consumo sustentável vai sair na frente, já que as embalagens são fator decisivo na hora da compra. Isso significa que além de representar o DNA das marcas, informar e despertar desejo, as embalagens precisam ser mais sustentáveis, ocupar menos espaço e entrar num up-cycling que não as transformem em indesejadas vilãs.

Já o Brand Identity, outra dimensão a ser julgada, é muito mais que uma simples linguagem visual e verbal que deriva de um logo. É toda uma cultura, um jeito de ser que deve estar alinhado em todos os pontos de relacionamento das marcas com seus públicos. Além de cores, formas e tipografias, envolve também cheiros, sons, texturas, rituais.

A terceira dimensão, o Environmental Design, está ganhando força com as concept stores, os being spaces, as store in stores e funcionam como laboratórios, onde as marcas podem ser experimentadas e vivenciadas. As regras estao claras. Agora é aguardar a chegada dos trabalhos para ver as surpresas que o Design brasileiro pode nos reservar.

Texto: Fred Gelli, diretor da Tátil Design:www.tatil.com.br
Fonte: www.bluebus.com.br

Maior Prêmio de Design Brasileiro

As inscrições para o Prêmio IDEA/Brasil superaram as expectativas da Objeto Brasil e da Apex-Brasil, sua organizadora e sua promotora, respectivamente. Segundo Joice Joppert Leal, responsável pelo Prêmio, “foram mais de 340 inscrições e, com isso, o prêmio se firma, logo em sua primeira edição, como o maior prêmio de design do país.”.O Prêmio IDEA é promovido há 30 anos pela IDSA (Industrial Designers Society of America) e tem a participação de grandes empresas até projetos de estudantes. No topo da lista dos premiados americanos estão empresas como Apple, BMW e Samsung.O Brasil é o único país a conquistar o direito de realizar uma edição local do IDEA, um claro reconhecimento do potencial e importância do design brasileiro.

www.ideabrasil.com.br

Fonte: www.portaldapropaganda.com.br