Diseño Estratégico

Dream Team

2008-01-21T18:05:49+00:00

Objetos únicos y a la medida

2007-11-22T01:44:32+00:00

Los consumidores acaudalados buscan más que artículos de lujo.
Lo mejor de la música
Qué: Un equipo de sonido a la medida, hecho por Peter Qvortrup, un danés de 57 años dueño del fabricante Audio Note. Qvortrup y sus 22 empleados ocupan una fábrica de un solo piso cerca de Brighton, un pueblo a la orilla del mar en Inglaterra (www.audionote.co.uk).
Audio Note no tiene líneas de montaje que produzcan en masa tarjetas de circuitos digitales. En su lugar, técnicos con destornilladores y soldadoras construyen componentes análogos: tocadiscos, preamplificadores y amplificadores de poder, parlantes y hasta convertidores de digital a análogo para los reproductores de CD. Qvortrup también puede armar una combinación específica de componentes a su gusto.
Precio: Un sistema de sonido hecho recientemente a la medida para un banquero londinense incluyó un tocadiscos con aguja de diamante y cartucho de oro (para mejorar la calidad del sonido), un preamplificador, un amplificador de poder, parlantes y cableado de
plata, todo por un total de casi US$600.000.
Para quién: Qvortrup argumenta que todas las grabaciones musicales son diferentes, afectadas por la atmósfera del estudio, las decisiones técnicas de un productor y la destreza y estado de ánimo de un músico. Por lo tanto, dice, ¿por qué escuchar música en formatos digitales como CD y MP3 que, “debido a la compresión de datos, homogeneizan el sonido”?. Ponga dos antiguos discos de vinilo de dos orquestas diferentes interpretando el Concierto de Brandemburgo No. 3 de Bach, dice Qvortrup, y escuchará las diferencias. “Escuche las mismas grabaciones en CD y las diferencias se desvanecerán”, asegura. “Mi objetivo principal es devolverle el equilibrio a las cosas”.
—Michael Clerizo
Sobre dos ruedas
Qué: Una bicicleta hecha a la medida por Seven Cycles, de Watertown, Massachusetts. A diferencia de los modelos de bicicletas que se compran en cualquier tienda, las cuales sólo se ajustan a la altura del conductor, las bicicletas hechas a la medida pueden abarcar una gran variedad de tamaños, formas y preferencias.
(www.sevencycles.com). La compañía fue fundada por el ingeniero de diseño Rob Vandermark en 1997. En 1980, fue parte de un equipo que diseñó bicicletas para el ganador del Tour de Francia, Greg LeMond. Después utilizó sus conocimientos de ergonomía para construir una silla de ruedas ultraligera para competencias de
velocidad.
El proceso de adaptación comienza con un cuestionario que indaga la forma en la que los clientes montan en bicicleta, administrado por los distribuidores de Seven Cycles, presentes en varios países de Latinoamérica. Las respuestas, combinadas con mediciones precisas del cuerpo del cliente y una entrevista telefónica, ayudan a la empresa a determinar sus necesidades.
La construcción del cuadro se hace en Estados Unidos y lleva entre tres y cuatro semanas. Una vez terminado, se envía al distribuidor, que agrega los componentes de otros proveedores.
Precio: Las bicicletas, incluyendo el cuadro y los componentes, empiezan en US$3.500, aunque muchas personas gastan hasta US$8.000 en un modelo.
Para quién: Vandermark dice que un ajuste más cómodo fomenta viajes más largos y reduce el riesgo de lesiones y, para competidores, una mejor mecánica corporal significa un mejor desempeño.
—Adam Cohen
Una esencia propia
Qué: Un perfume hecho según el gusto del cliente producido por Roja Dove en Londres. Dove, un inglés en una industria dominada por franceses, pasó 20 años en Guerlain de Francia antes de lanzar su propio servicio a la medida hace tres años.
Dice que abrió su negocio “en respuesta a la globalización que la industria del perfume estaba experimentando. No había otra opción” (www.rojadove.com).
Dove explica que la diferencia entre un perfume hecho a la medida y una fragancia de diseñador es como la diferencia entre la alta costura y las marcas de lujo. “Cada persona que hace perfumes
tiene su estilo personal”, dice. “Creo que una buena fragancia debería ser lujosa, pero no llamativa”.
Dove cree que tenemos recuerdos que se activan con olores.
Para él, crear fragancias personales se trata de entender la firma olfativa de los clientes, o la forma en que asocian ciertos olores con experiencias positivas o negativas en su vida. En reuniones que pueden durar hasta 18 meses, Dove somete al cliente a varias consultas y pruebas de olfato, buscando ensamblar las fragancias
que evoquen sus recuerdos más positivos.
Precio: El paquete empieza en US$39.360 e incluye la creación de la fragancia especial. El producto final se entrega en una botella de 75 mililitros de cristal Baccarat estilo Art-Deco. Las botellas de 250 mililitros se pueden comprar por entre US$9.840 y US$19.680.
Para quién: Dove explica que sus productos son para clientes muy exitosos en su campo que pueden pagar hasta US$100.000 por una fragancia única. Dice que una casa francesa de moda (cuyo nombre no revelará) pidió su propia fragancia para su boutique en París.
—Jessica Powel
Auto fantástico
Qué: Un automóvil de lujo creado especialmente para cada cliente por el diseñador italiano Ercole Spada, dueño de SpadaConcept (www.spadaconcept.com).
Spada ha sido famoso durante más de cuatro décadas por sus diseños de autos deportivos para Ferrari, Maserati y otras marcas.
Entre sus clásicos está el Aston Martin DB4 GT Zagato de 1960 y la serie BMW E32 7. En 1999 se unió a su hijo, el diseñador Paulo Spada, para diseñar autos hechos a la medida. Así, crearon el O.S.C.A. 2500 GT Dromos en 1999 para el empresario japonés Shozo Fujita. El año pasado, lanzó el TS Codatronca bajo la marca SpadaConcept.
“El padre es probablemente el mejor diseñador de autos de toda la historia”, declaró Philip Rathgen, un experto en autos clásicos y editor de la revista alemana en Internet Classic Driver.
Precio: El precio de una carrocería única de SpadaConcept construida a partir de un chasis existente (el cuadro, motor, transmisión, suspensión, todo lo que necesita un auto para funcionar) de un Corvette o Viper, empieza en US$400.620. Para un auto totalmente nuevo, el precio oscila entre US$667.700 y US$2,7 millones, dependiendo del material del chasis y el tamaño del motor.
Los clientes pueden elegir detalles como la forma de la carrocería, el material que se usará (aluminio o fibra de carbono, que es más cara), además de elementos decorativos como telas y colores.
Para quién: Los clientes usualmente coleccionan autos raros y tienen una pasión por los deportivos, especialmente modelos de época, y quieren algo único. “La gente busca nuestra empresa porque no quiere el mismo Porsche que tienen sus vecinos”, dice Paulo Spada. “Pero también vienen porque conocen la historia de los autos de mi padre. Quieren un nuevo modelo con una interpretación del pasado”.
—Jabeen Bhatti
Tomado de Portafolio

being alive

2007-11-22T01:44:42+00:00

People say that what we’re all seeking is
a meaning for life. I think that
what we’re seeking is an experience of
being alive, so that our life experiences
on the purely physical plane will have
resonances within our innermost being
and reality, so that we actually feel the
rapture of being alive.

- Joseph Campbell

Pasarela Eje Warming Up

2007-11-22T01:45:02+00:00

A continuación se irá publicando la información relevante a medida que se origine.

Localización:

Bar de Eje Records

Fotos del Bar

Planta y cortes con cotas

Archivos para VJ Otto:

Plantilla Flash 8

Imagenes guardadas dentro de SWF de 800x600
12 imagenes de menos de un mega cada SWF. Cada proyecto puede tener entre 4 y 5 SWF

Si quierenusar clips de video:

425 x 350 videos avi o mov de maximo 100 megas y sin sonido
de 15 a 30 seg de duracion idealmente. sigan las instrucciones de render de youtube.

Seismic Shift: Rethinking the Design Industry.

2007-11-22T01:45:08+00:00

Graphic by: Dave Gray

By now, you've seen the business media talking about design with every second breath—"design thinking" will lead the way to innovation, growth, and new products. Outsourcing and consolidation of design, engineering and R&D will cut costs and increase profit margins. The 21st Century will be a "Conceptual Age"—a society of creators and empathizers, pattern recognizers and meaning makers. Companies must connect with their customers—offer products and services that resonate on an emotional level—to be successful you must evoke the "warm fuzzies".

In these stories, and more, two broad themes emerge. One is that given the technology and communication systems available today, most components of traditional design services will be commoditized to the point where price is the only differentiator. The other is that these very same cost cutting and efficiency measures, while disruptive to the design industry in its current form, will ultimately transform the industry for the better. Tomorrow's clients will seek to apply design skills and methods much earlier and more significantly in the product development cycle, while research will focus on the customer, not the marketplace, and strategy will focus on growth and innovation, not the cheapest vendor.

Bruce Nussbaum, design champion and editorial page editor at BusinessWeek observes that design studios at the forefront of this revolution are evolving their "core competencies from drawing to thinking, from styling to innovating, from shaping things to visualizing new business paradigms." He continues by suggesting that corporations look to the design industry as a "resource to help with the broad array of issues that affect strategy and organization—creating new brands, defining customer experiences, understanding user needs, changing business practices."

A report on the APDF study "State of the Design Industry-2004" states "Beyond the conventional parameters of design, creatives are stepping-up to fuller problem solving roles, offering perspective and innovative thinking—work done away from the Mac." While the design industry is gaining awareness of this shift in their business, their roles relative to their clients and their future growth opportunities, the fact remains that the nature of the trend is of an order of magnitude much greater than imagined. History shows that once industries disappear, they are gone for good, along with the expertise and way of life they entailed.

So how exactly do you evolve and retool your design business? What are designers doing once they have redefined their role? Conversations with practicing professionals revealed quite a few insights.

Stone Yamashita Partners is a San Francisco based consulting firm founded in 1994 that embraced this way of thinking from the start. Their philosophy is that an integrated whole-brain approach combining the intuition and empathy of the "creative" side with the logic and analytical ability of the "business" side is an extremely versatile and powerful tool for facilitating growth and change for their clients. According to Greg Parsons, a principal at SY[P] who holds an MBA from the University of Chicago, "if we don't have one person with both sides in their background, we create teams with business oriented thinkers who understand design and designers who think like businesspeople." Another principal, Liz Sutton, adds "Design thinking allows us to observe, deconstruct, understand the problem and then present an elegant solution. Business allows us to put the dollars and the numbers in place."

Jump Associates is another West Coast consultancy that has been practicing in this space for the past seven years. Alonzo Canada, an associate with a background in architecture, interaction design and business development, states that their clients are seeking "actionable roadmaps to growth." To provide these, his firm uses social research techniques to unearth unmet needs. Employing proprietary frameworks—one is called an "opportunity map"—they identify opportunities for their clients and then develop compelling solutions that speak to their customer's needs. The end results are actionable recommendations backed by clear depictions of where the client will be in one year, in three years, or more, supported by the metrics that a business plan requires. Their team members typically have at least two of the three core skills—social research, design and business strategy.

The majority of those reaching out to embrace this trend have their roots in the UI industry rather than industrial design. While traditional product and graphic design practitioners enter the field with a foundation based on design history, emphasis on form, method and process, those in the UI field come from myriad backgrounds such as software engineering, marketing, and brand strategy. Without a common heritage and education, these designers are more comfortable working with disparate client groups and in interdisciplinary teams.

Furthermore, the interaction design and user experience field is such that a successful end result frequently requires an in-depth study of the client's business strategy, marketing and corporate objectives. Thus, from the very beginning, these design professionals have been closely involved in the tangible manifestation of corporate strategy to a far greater degree than most product designers. Until recently, industrial design teams were typically called in much later in the process, after key decisions—what to make, whom to make it for, and why—have been taken. Design strategy in this context has had implicit reference to either a specific member of a product family or a range of products, integrating with the company's brand, rather than the evolution and definition of the brand and the strategy—the positioning of the company—and then making it tangible through product design.

If this is indeed the dawning of a conceptual era, where the skills and abilities needed to be successful are the very cornerstone of the design profession, then designers cannot afford to continue wearing blinders in the face of the opportunities available. Chris Conley, assistant professor at the Institute of Design, Chicago writes how "the application of this expertise beyond what is normally considered a "design project" is accelerating design professional's relevance to business. Understanding the broad relevance and power of these skills, distinct from traditional business skills, makes it possible to break down the barrier between the designer and the business person." Firms that expect to prosper in this evolving arena cannot wait for outside influences to define their future structure and strategy. They must take an active role in re-inventing themselves and their business. Designers are uniquely positioned to take on an introspective project like this, possessing the very skills needed to transform products, services and businesses, even their own.

This is not an easy proposition, and there will be bumps in the road. Jump's Canada cautions "It's an emerging market and a certain amount of expansion will take place with a number of different firms entering to offer these services. They'll see that it's not as simple as it sounds to get real results. I'm already starting to see this now, neophytes getting in the game, who think it's just a matter of getting a videotape recorder and following people around and coming up with cool designs. It's not that easy. It's offering clever, compelling solutions combined with business planning so that competition cannot come in and clock you. This needs the multidisciplinary team I mentioned to do it. It's a major opportunity for the design industry to raise its value, to offer compelling solutions that allow differentiation."

For designers, managers, and design firm owners who want to take the initiative and begin moving towards the new model of design teams described above, there are a few specific things you can do to get the ball rolling.

Engage your client in your process. They know their business best, and by collaboration you are enhancing the level of discourse and flow of information, rather than accepting the project as a simple design task. Ideally, this leads to an expansion of the range of services you can provide for your client. Their participation will also increase their buy in on your final concepts.

Understand the context in which the final product has to reside. Cordy Swope, design strategist and founder of normal life, puts it this way; "Understand and respect all other disciplines. Engineering, Marketing, Design, Advertising, Branding, Media, Finance...these are established disciplines with their own terminologies, theories and sets of best practices. It is a big (and arrogant) mistake to declare war on them or their practitioners. You will not win if you do. They are all components of your client's business."

Develop an understanding and appreciation for user research and ethnographic studies. If you don't have in-house talent in this area, hire or partner with specialists in this field. Research is a specialized field, and not everyone is suited for this task. Don't try to force someone on staff already into this area if they don't have the inclination.

Expand your knowledge base to include business strategy. If you read only design magazines, materials catalogs and general news websites, increase your subscriptions to include multiple business magazines, newspapers, and blogs. An understanding of the market forces shaping your client's decisions and the ability to present in language used by business will go a long way when pitching your solutions.

Form partnerships with other firms and professionals to jointly offer integrated solutions that go beyond the traditional product design deliverables. Make sure that these partnerships benefit and are a good fit for both sides. Future turnkey service offerings must go beyond sourcing and manufacturing.

In essence, the design industry must respond to their customer's needs, retool and reconfigure their offerings, and structure engagements based on value rather than cost. Firms that can design compelling solutions to meet these needs will gain clients and take advantage of emerging business opportunities, growing into the leaders for the next phase of professional design practice.

Niti Bhan is a global nomad, neither fully immersed in the West nor entirely at home in the East. With background spanning engineering, business and design, Niti is most adept doing what no one does best. Her present incarnation is as Director of Admissions at the Institute of Design, IIT. She can be reached at 'niti-at-nitibhan-dot-com'

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Style Vision

2007-11-22T01:45:16+00:00

www.style-vision.com

Test de estilos de consumo: www.moodcheck.com
Clip explicativo de los Estilos de Consumo: Mood Movie

The consumer has evolved! Did you notice?

Luxury brands are selling to secretaries, mobile phone companies are hiring fashion designers, seniors are acting like teenagers, young men are spending more time on their looks than girls, expensive mass advertising has lost it’s edge, consumers are fed up with choosing from a hundred types of toothpaste... need we say more?

Behind the Mood Consumption© theory is a simple challenge: to understand consumers better; to create more successful products and services!

You may have experienced that traditional demographic criteria such as age, gender and income no longer accurately explain buying attitudes. You may also be aware that cool branding does not automatically trigger purchasing or loyalty. The world of the consumer has changed. So our methods of consumer analysis must change too. But do companies actually know what to do?

Welcome the Mood Consumption© theory. With innovative tools from disciplines like Sociology, Psychology, Trend-research, Market-research, Advertising, Branding and Design, the Mood Consumption© Theory is creative. It's different. It works.

Mood Consumption© Theory - a human-focused marketing tool
The Mood Consumption© theory provides a deeper understanding of consumer behavior in a post-industrial world. In today's service economy products are personifying emotions and consumers spend according to their mood and the situation at hand. In today's landscape companies will benefit from using human-focused marketing tools, based on a more holistic vision, combining personal drivers such as psychological profiling, sensorial preferences and communication patterns.

The Mood Consumption© theory provides essential knowledge in the transition phase towards a more human-focused, dynamic and service-oriented economy. As simple as that!

Curious?
We have created an interesting white paper available explaining the methodology in two simple, but illuminating, chapters...

1.The consumer has evolved! Did you notice?
The 3 major shifts of Consumption
The consumer is a person

2. Segmenting in a world of Mood Consumption©
Where do the mood segments come from?
Mood & Psyche
Mood & Senses
Mood & Semantics
The advantages of Mood segmentation

Link-o-rama

2007-11-06T07:46:23+00:00

Trends

TREND HUNTER - Trend Spotting, Cool Hunting and Innovation Trends
Trend Hunter is an explosion of cool fueled by a global network of 8955 trend hunters. Collectively, we publish 13 online magazines dedicated to trend spotting and cool hunting.

World Future Society
The future doesn't just happen: People create it through their action -- or inaction -- today.

Trendwatching
Observatorio de tendencias muy centrado en nuevos conceptos de consumo y de negocios. Muy muy útil. Consumer trends and insights from around the world

Future Concept Lab
Future Concept Lab is a research Institute that stands out on the international landscape as one of the most advanced research centres specialized in marketing issues and trends in consumption.

Genius Loci Lab
Laboratorio de conceptos de consumo de Italia, hijo del Future Concept Labs y la Domus.

Fashion

Fashion Trendsetter
Excelente sitio de tendencias en color, moda y accesorios.

Style.com
Style.com: the online home of Vogue and W -- Features fashion show coverage, celebrity style, fashion trend reports, party and award show coverage, shopping guides, and more.

Renie
Fashion Illustration and Design by Renie

Coolhunting

Cool Hunting
El equipo de corresponsales coolhunters de Josh Rubin busca manifestaciones nuevas y fascinantes en los campos del diseño, la moda, la comida, e incluso los tenis.

lastnightsparty
Coolhunting en la vida Nocturna de Nueva York.... Tiene un feeling a crónica

Artilugios
Blog de diseños y nuevas curiosidades con visión femenina. Muy bonito.

Face Hunter
Street Vision en Nueva York, el lugar donde estan todos los que no pertenecen a ningún lugar.... (revisen los links desde ese blog, hay de todas las ciudades importantes).

Exactitudes
Rotterdam-based photographer Ari Versluis and stylist Ellie Uyttenbroek have worked together since October 1994. Inspired by a shared interest in the striking dress codes of various social groups, they have systematically documented numerous identities.

hips
patrick roddie photography

Producto Versión mas o menos Dos

2007-11-22T01:45:28+00:00

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Adidas Mi Innovation Center

2007-11-22T01:49:54+00:00

Adidas new mi Innovation Center, an interactive retail space in Paris designed by Hamburg's Mutabor Design, brings full customization to the masses. Located on the Champs-Élysées, the flagship store integrates a fully computerized experience into a matte black interior.

With just a few steps walking and running on a catwalk-style scanner, foot and pressure sensors analyze shape, size and pressure points. Customers enter details like color and accents on a large touch screen. An interactive "virtual mirror", allows the user to try on their personalized shoe (or any other shoe) without taking off their own. And last but not least, the new scan table picks up RFID technology embedded in the shoes to display specific product information.

Via Coolhunting and Luisa Timekeeper

The Power Of Design

2007-11-22T01:50:19+00:00

IDEO is a design consultancy based in Palo Alto, California, with other offices in San Francisco, Chicago, Boston, London, Munich and Shanghai. The company helps design products, services, environments, and digital experiences.

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Fuente: Nussbaum, Bruce. "The Power of Design", Business Week, 2004-5-17.