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Senses&Sensibility’13Proceedings BookUNIDCOM/ IADE 7th international conference Florianópolis, Brazil | UFSC | November 2013
TITLE: Senses & Sensibility in Florianópolis: Advertising, Design, Fashion, Marketing, Photography and Visual Culture in the Right
Place. Proceedings book of the UNIDCOM/IADE’s 7th International Conferece
AUTHORS: Luiz Salomão Ribas Gomez, Amanda Queiroz Campos (Coord.)
COLLECTION: Proceedings das Conferências Internacionais da UNIDCOM/IADE
FIRST PUBLISHED: November 2013
EDITOR: IADE - Creative University/Edições IADE
ISBN: 978-989-8473-11-0
PRINTED IN BRAZIL BY: Gráfica da Universidade Federal de Santa Catarina (UFSC)
CONFERENCE ORGANIZATION: Amanda Queiroz Campos, Eduardo Côrte-Real, Fernando Carvalho Rodrigues, Luciane Maria
Fadel, Luiz Salomão Ribas Gomez, Marília Matos Gonçalves, Sarah Schmithausen Schmiegelow
CONFERENCE PROJECT MANAGER: Fernando Carvalho Rodrigues
VISUAL IDENTITY: Fernando Oliveira
BOOK LAYOUT: Sarah Schmiegelow
Apoio
Contents
6 Organizing Committee
7 Scientific Committee
8 Foreword
11 Brand and Dynamics: an Analysis of Suggested Movement in Olympic Brands Amanda Machado Zwirtes, Amanda Queiróz Campos. Cristina Colombo Nunes and Richard Perassi Luiz de Sousa.
20 The Online Broadcast of Fashion Trends: MPDClick WebsiteAmanda Queiroz Campos and Richard Perassi Luiz de Sousa
29 The Reshape of Meaning: Design Innovation Grounded in Culture Amanda Queiroz Campos, Sarah Schmiegelow and Luiz Salomão Ribas Gomez
38 Flagship or Concept Store: the DNA of Space Determined by the Sales Point AtmosphereAndré Luis Carrilho, Amanda Queiróz Campos and Luiz Salomão Ribas Gomez.
45 From Branding to Point of Sale: the Importance of Promoting Multisensory Experiences Carine Adames Pacheco, Luiz Salomão Ribas Gomez, Patrícia Biasi Cavalcanti and Vera Helena Moro Bins Ely
54 External Environment: Discovering Branding OpportunitiesDaniele Vasques Dutra and Luiz Salomão Ribas Gomez
62 Digital Children’s Books: An Analysis of the eBook-app,
The Numberlys from the Perspective of Game DesignDeglaucy Jorge Teixeira and Berenice S. Gonçalves
72 Conceptual Project for an Interactive Environment
which Creates the “Brasilidade” Experience Dinara Pereira Lima, Igor Drudi, Iuri Alencar and Marcelo Knelsen
80 Package Design Compounding the Brand Imaginary AcquisEduardo Napoleão, Richard Perassi Luiz de Sousa, and Luiz Salomão Ribas Gomez
90 Wine Consumer Behavior Profile: A Quantity Approach In FlorianópolisÉrico Fernando Baran Gonçalves
99 Formula of Innovation: Contributions of Methodologies for
Construction of a Tool for Innovation in CorporationsFrancieli Balem and Luiz Salomão Ribas Gomez.
108 Development of 3D Animations to Teach Resistance of
Materials – The Impressions of Design StudentsGabriel de Souza Prim, Fernando Sharp Jeller, Edmilson Rampazzo Klen
118 Sensory Design Used in Fashion CatalogsJessica Siewert, Msc. Mary Meürer Lima Vonni
128 A Innovation Model of Visual Management for Projects Applied to the Design Practice Julio Monteiro Teixeira, Eugenio Andrés Díaz Merino, and Giselle Schmidt A. Díaz Merino
137 When I Pop the Top: The Sensibility of ThingsKeith Russell
145 The Use of Place Branding Practices as a Means of Entering
Florianopolis in the Global Innovation ContextLaryssa Tarachucky, Douglas Menegazzi, and Luiz Salomão Ribas Gomez
154 Spatiality, Mobility and Technologies: Smart Societies and Collective ActionLucas Franco Colusso and Alice Theresinha Cybis Pereira
164 Graphiatypes: Font Design from Life to Language Luiz Vidal Gomes, Marcos Brod Junior, Ligia Sampaio Medeiros
179 Expanding the Senses of Drawing Through Colour Natacha Antão Moutinho, Maria João Durão
188 Responsive AestheticsNil Santana
197 The Continuous Exchange of Past-Present in Videosthetics: An
Investigation of Art Video Installations, from Dan Graham to Ahmed Basiony.Nil Santana
205 Design and Consumption: the Nostalgic Relationship amongst the Consumption
Habits of the Past and Present in the Day-by-day Higher Education AcademicsPablo Eduardo Frandoloso; Daniel Augusto Soares; and Hilário Jr. Dos Santos.
213 Development of Personas as the Basis for Positioning ProcessesPaulo Fernando Crocomo dos Reis, Dayane Alves Lopes, Sarah Machado
Wagner, Luiz Salomão Ribas Gomez, Marilia Matos Gonçalves
220 Symbiosis Between Born and Fabricated Beings: Computing CreativityPedro Marques
226 Drawings Made by Visually Impaired Persons: an
Essential Strategy on Haptic Graphic Design PhD. Gloria Angélica Martínez de la Peña
235 Audiovisual Design: Sound, Visual and Verbal Matrixes in Complex SignsRaquel Ponte, Lucy Niemeyer
244 Editorial Design in Translation from Portuguese to BSLRenata Krusser
253 Innovation by Design – a Case Study of a Leisure Furniture Company from Santa Catarina Roger C. Pellizzoni, Laryssa Tarachucky, Francisco A. P. Fialho and Luiz Salomão Ribas Gomez
261 Emotion, Advertising and Branding: the Identity of Brands Built by Advertising DiscourseSandra Regina Ramalho Oliveira, Alvaro Dias and Richard Perassi
270 Interior Design Contributions for Well-being and
Sustainability: Case Study of Hostels in LisbonSanta Klavina, Ana Margarida Ferreira, and Manuel Duarte Pinheiro
279 Meme Aware: The Influence of Brand Management in the CultureSusana Vieira, Graciela Sardo Menezes, Richard Perassi, Luiz Salomão
288 From Tailors to Gardeners: Shifting Roles for the Design ProfessionalsT. García Ferrari
297 High-Tech Innovation: A Case Study in Made-To-Order Furniture Tatiane De Cássia Ortega Rausch
307 Made In Guarda: Fighting Seasonality Tiago R. Mattozo and Julio M. Teixeira
315 The Use of Augmented Reality For the Sake Of Accessibility Viviane Pellizzon Agudo Romão and Marília Matos Gonçalves
323 The Rules of the Game - Gamification Processes in Building BrandsWalter F. Stodieck, Carolline Müller Chaves, and Luiz Salomão Ribas Gomez
333 Index of Authors
6 Senses&Sensibility’13
Organizing Committee
ORGANIZER / GENERAL CHAIR
Professor Luiz Salomão Ph.D. in Industrial Engineering, Universidade Federal de Santa Catarina, UFSC, Brazil
Amanda Queiróz CamposPh.D. Student, Master in Strategic Design Management, Universidade Federal de Santa Catarina, UFSC, Brazil
Sarah SchmiegelowUndergraduate Student in Design, Universidade Federal de Santa Catarina, UFSC, Brazil
CONFERENCE CHAIR
Professor Carlos DuartePh.D., Associate Professor, Executive Director, IADE, Creative University
Professor Eduardo Côrte-RealPh.D. in Visual Communication in Architecture, Associate Head Department IADE, Creative University
Fernando Carvalho RodriguesPh.D. Distinguished Professor, Scientific Coordinator of UNIDCOM / IADE, IADE, Creative University
ORGANIZING ASSISTANTS
Diego Piovesan MedeirosPh.D. Student, Master in Design and Technology, Universidade Federal de Santa Catarina, UFSC, Brazil
Sabrina Marcon CostaUndergraduate Student in Fashion Design, Universidade do Estado de Santa Catarina, UDESC, Brazil
BOOK PUBLISHER
Fernando MartinsMS in Design, UNIDCOM / IADE, IADE, Creative University
WEBSITE
Pedro MarquesMS in Human Computer Interaction, UNIDCOM / IADE, IADE, Creative University
Senses&Sensibility’13 7
Scientific Committee
UNIVERSIDADE FEDERAL DE SANTA CATARINA
• Alice Theresinha Cybis Pereira
• Berenice Santos Goncalves
• Eugenio Andres Diaz Merino
• Francisco Antonio Pereira Fialho
• Gilson Braviano
• Luciane Fadel
• Luiz Fernando Goncalves de Figueiredo
• Luiz Salomão Ribas Gomez
• Maria José Baldessar
• Marilia Matos Gonçalves
• Richard Perassi Luiz de Sousa
IADE CREATIVE UNIVERSITY
• Ana Margarida Ferreira
• Armando Vilas Boas
• Carlos Alves Rosa
• Carlos Duarte
• Eduardo Côrte Real
• Emília Duarte
• Helena Pereira
• José Ferro Camacho
• Maria Helena Souto
• Paula Trigueiros
• Rodrigo Cunha
• Sílvia Rosado
• Theresa Lobo
8 Senses&Sensibility’13
Foreword
The Senses and Sensibility. The seventh. They went across the Atlantic and the Equator.
This double S of Senses and Sensibility was the shape of the Maritime route from
Florianopolis to Lisbon. That was in the days of sail. That was the sign that was to be written
again by the University of Santa Catarina (UFSC) and IADE for the seventh Senses and Sensibility.
The winds and currents drew Senses and Sensibility through the Ocean. Since then we have
continued to develop the Art of Science and the Science of Art into Design. We have done so to
take out the fog, the midst in the Ocean of Life.
In Life we are always in the face of the unknown variables. Forever we shall be guessing
about the… future. Design is about how we can deal with the unknown. How we are stuck in
the Present. No one can take away from any of us the Past or the Future. But if we do not Design
it, the Present can be stolen from us. That can only happen to the Present. Thus, keep it under
control, make it safe. Carpe Diem. Design It.
That is the goal and the thread that weaves the themes of this VIᵗʰ Senses and Sensibility.
You may call it fashion design, visual culture, meaning full design, you may add aesthetics,
innovation, creativity. You may, even, go about in life in symbiosis between those, like us, that
were Born and those that are Made. As a matter of fact, we are learning just how to deal with
that. It is so much at its onset that we even call it augmented reality and other nonsensical
names. The name, the hidden and true name will be given by the new entity: partly Born, partly
Made. We, the Born, are acquainted with that new, that novel Being but we are in all truth far
removed cousins. Let these novel Beings evolve both in the Darwinian and Kropotkian sense. If
we go down that path, in the end, they will generate their own Senses and Sensibility. They will
do it for exactly the same reason we, the Born, do Design: to clarify reality.
Sometimes it has very short characteristic times and we call it fashion. Others the
characteristic times are so much longer that we have Designed a Culture.
Sometimes it is space dependent and we will call it local. When combined with time it
becomes global.
At that moment the Designer becomes the Maestro: both the Master of Space, the one
that sets what materials or whatever are to be placed, and the Marker of the beginning of time,
Senses&Sensibility’13 9
ordering the entrance of the different colours, tones, voices. The Designer is the Integrator.
The search for its Principia has been always present in every Senses and Sensibility. In
Florianopolis, in its seventh gathering, we are giving it a new go with a new twist. The double
S imprinted in wind and waves of long ago is the very shape that made Design the integrator
of global knowledge and the adaptor to the peculiarities of every individual. The dealer, the
provider of fashion, where you are, instantaneously, either very right or utterly wrong. But, since
changes are so fast, you are bound to be truly right at some instance.
The constructor of a Culture that last millennia and it is both individually and collectively
driven.
In all cases the Integral sign, the letter of Sum, of addition, the S, of Senses and Sensibility,
will drive you all to weave both a Great event of Discovery and networking where it could only
happen in Florianopolis.
UNIDCOM/IADE, Viseu, 27 October 2013
F. Carvalho Rodrigues
72 Senses&Sensibility’13
Conceptual Project for an Interactive Environment which Creates the “Brasilidade” Experience
Dinara Pereira Lima, Igor Drudi, Iuri Alencar and Marcelo Knelsen UFSC, FLORIANOPOLIS, SANTA CATARINA, CEP: 88040-900, BRASIL
Abstract - This article presents a conceptual project for an interactive environment which
creates the “brasilidade” - the brazilian way of life - experience. This experience was molded
from factors that defines various brazilian cultural aspects like the brazilian biodiversity and
economics, sociological, political, demographical, international and ecological data. This
factors were organized into categories and mapped from patterns and dimensions observed by
the researchers about “brasilidade”. The dimensions which the factors were organized around
are, on the positive side, resilience and sustainability and, on the negative side, misery and
ostentation.
The project was developed from one of this dimensions, in this case, resilience was chosen.
Resilience is to come up with solutions with limited resources. In this project, the V.I.P (Visions
in Design) method developed by Paul Hekkert and Mathijs van Dijk (2011) was chosen to guide
the design process by establishing it’s very own reason of existence by putting the user and
it’s interactions at the center of the system. The method reinforce the idea that the work of a
designer is beyond solving today’s problems: the paramount goal is to find possibilities and
possible futures and, for that, is necessary to analyze today’s products and contexts. For that
matter, the “Favela Chair” (1991), from the Campana brothers, was deconstructed in a symbolic
and semiotic way, due to the fact that it represents “brasilidade” with it’s intuitive creativity,
originated from the everyday difficulties lived by the residents of a “favela” community, which
without a logical project, builds their homes with discarded materials.
This article presents the chosen alternative and describes how it supports the materialization of
the human-product interactions which build the “brasilidade” experience.
Index Terms — brasilidade, cadeira favela, ux design
I. INTRODUCTION TO VIP METHOD
Developed by Paul Hekkert and Matthijs van Dijk, the ViP model (Vision in product design)
[1] aims to establish a final product’s reason for existence. The method, which is user centred
Senses&Sensibility’13 73
and context-driven has 3 basic principles that should be considered:
1) The designer’s job is to look for possible futures, and not simply solve present-day
problems.
2) The product only has a meaning when it interacts with people.
3) The interaction developed by the designer is determined by the context for which it was
designed, either today, tomorrow or in the future.
The ViP model is separated into two major stages: preparation and design, where the initial
goal is to deconstruct an existing design product, understand the product’s interaction level
with the user and context in which it operates, in order to make it possible to structure the
desired context for the product, your statement, the interaction qualities of the product, and
finally develop the concept.
Fig. 1. The ViP model
Following this model, a concept was developed, keeping in mind show Brasilidade abroad
who visit Brazil in 2014.
Deconstructing the Brasilidade element: Favela chair
For us to find the elements that represents the desired brazilian characteristics, the Favela
Chair was chosen, designed by the Campana brothers, and the following aspects were found:
74 Senses&Sensibility’13
Physical Aspects and perceived qualities
Fig. 2 The Favela Chair
The Favela Chair is made with small chunks of wood, fixed randomly in a metal base and
varies in width and length and their placement appears disorganized suggesting some fragility
and instability and raise a question: is it safe to sit? It supports a person’s weigth? This chair
does not appears to be comfortable and it’s safety is not perceived at first sight and only the
reputation of the internationally acclaimed designers can assure the safety and construction
quality; sitting is believing.
Context
Designed by the Campana brothers in 1991 the Favela Chair bears this name as an homage
to the houses poorly built on top of Rio de Janeiro’s hills and represents the brazilian ingenuity
to overcome the odds with few resources. A chair, in the industrial society, is an object with
many significancies and often associated with prestine finish and mass production, however,
the favela chair represents the opposit: misery, scarcity, low resources, features that represents
the way people lives in those poor areas and have to improvise and adapt things to built their
homes.
Senses&Sensibility’13 75
The Favela Chair gained international notoriety because it represents the opposite of a
product designed to have a small prodution and it’s value is higher than one suspects.
II. DECLARATION AND ANALYSIS OF INTERACTION
Of the four developed quadrants, we concluded that the top left one – the resilience – is
that which best represents the “brasilidade” in the Favela chair. Adding our definition of the
targeted public to this, the following declaration was stated: “We want the traveling tourist
to recognize that the ‘brazilidade’ is in its resilience”. That is, the ability to find solutions to a
problem from scarce resources.
Fig. 3. The project’s stated declaration
In the analysis of interaction qualities, we needed to evaluate possible situations of which
interactions can relate to our stated declaration, considering that it is through such interaction
that the project’s intended objective will take form. Thus, the analogous situations were meant
to describe other means to perceive the resilience as a quality of “brasilidade”.
Among the explored analogous situations, we included: camping / scouting, war survival,
informal work, homelessness and artisan crafts. Out of these, we chose informal sector as most
relevant, considering the various situation in which informal workers (e.g.: street vendors,
76 Senses&Sensibility’13
“camelôs”) must recur to improvisation, such as the scarce or lack of adequate instruments,
the centralized tasks and the required knowledge and skills in all steps throughout their work
processes, being most of this knowledge acquired empirically.
The result of our analysis of interaction qualities define the product requirements, such
as its personality and the necessary perceived qualities to produce the intended interactions.
These aspects are described as follows:
1) The interaction intended by our product should be persuasive and exploratory.
2) The personality of our product should be attractive, theatrical, expressive and practical.
3) The product should incite collaborative usage and reconfiguration.
With the information above, we state that the product to be developed, in order to reach
its goal of communicating “brasilidade” through resilience, should be able to create a simple,
exploratory and persuasive interaction, having an attractive and expressive personality, and
allowing users to engage into collaborative and reconfigurable activities.
IV. SOLUTION GENERATION OF A NEW PRODUCT OR EXPERIENTIAL INTERACTIVE
ENVIRONMENT
Keeping in mind the statement, similar experiences, interaction qualities, qualities of
the product, personas and technology used (augmented reality), an analysis of the consumer
journey (overseas traveler) when you arrive at the airport. The solution interactive environment
was designed to intercept this experience.
The name of the interactive environment is Gambiarra. This is a game for phones and
tablets in augmented reality whose purpose is to show to the foreign people the Brasilidade
through resiliency. The player is motivated to participate through the main interest in his visit
to Brazil: football and pride to their nation. Thus, the player has the goal of making a goal for
his nation by mounting hacks, each goal by a nation is added to a general placement. The more
points a nation has, the more rewards will be received.
The game begins with three preliminary stages to the game in order to attract and retain
the public through appropriate incentives to the context of the game and the environment
surrounding the player can at the moment.
Senses&Sensibility’13 77
Fig. 4. The 3 first stages
The initial stage classified as level 00, so still in the process of checking in, while delivering
the documentation tourists will receive a ticket with a ball. This will have a ball called “Make a
goal for your nation”, the object is somehow intrusive, to remind the visitor that it exists, as well
as a seller.
The next stage, 01, takes place in the waiting room for boarding, where tourists will
encounter a totem that calls for the game. These are tables with touch-sensitive surfaces that
indicate the visitor a place for him to make the goal (the ball position) and another space for him
to put his phone. The ball, as well as the table and the phone have NFC and in that moment, the
mobile device will receive the tourist has the game through an application. When you run the
application, a message appears in the language of the visitor: “Make a goal for your nation! The
Brazil’s love of football that does not need to play many advanced features. Meet the Brazilian
way, make a goal in strings “along with the message, the message” Start the game “.
In step 02 should present the operation of the game with a tutorial. An instruction appears
on the screen for the tourist point the camera of your mobile device to the table. Through
augmented reality, the tourist will see three objects on the table and the tutorial will guide
the tourist to make a “stack” with these objects in order to achieve a goal zone that will be on
top. By making the goal in the tutorial, the tourist is already gaining a point for their nation.
The tutorial motivates him to make new goals, pointing to the screen for setting the departure
lounge of the airport, finding starting points on the ground, scattered objects and goals, which
may be suspended on the walls and ceiling (only in the virtual environment, whereas in the real
environment are just tags, so that the application recognizes the information).
78 Senses&Sensibility’13
Fig. 5. The playfulness process
In stage 03, the process of interaction in the environment of the game begins, using
the qualities of interaction to be configurable and collaborative environments pointing to
the airport, visitors will find objects that are elements of Brasilidade (plants, objects, food,
instruments musical) and objects from airport vendors (such as coffee shops, clothes, food and
shoes), to find them once he clicks on the screen to hold it and places the phone on the start
point by clicking on the screen again it puts the object on the stack.
To form a stable stack of objects, the player needs to think about the placement of objects,
if you put a sofa on a pencil, the first cell will be no stability and after a few warnings, will fall.
People who are playing can help one another in the stack, adding objects.
When the stack achieve the goal, all of which are involved in the creation of the stack get a
goal for his nation, which will appear on a large map of domination that is near the totem. When
you finish the game on mobile also receive real prizes related to the objects they collected, for
example, a coffee at the airport.
Some larger prizes may also be given when the visitor is in flight, so other people will see
the fact and be motivated to play.
Senses&Sensibility’13 79
Fig. 6. Achieve the goal
VII. CONCLUSION
This work shows the importance of understanding the values contained in the contexts,
with emphasis on the interaction between users, processes and environments. Have as main
theme an attribute that characterizes a negative aspect of the Brasilidade and turns it into a
design experience was a requirement that contributed to the article present the main steps of
the methodology VIP.
REFERENCES
[1] P. Hekkert and M. Dijk, Vision in Design, A guidebook for innovators, BIS Publishers, 2011.