Conceptual Project for an Interactive Environment which Creates the “Brasilidade” Experience

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


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,


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


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


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:


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.


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,


“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.


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).


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.


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.

Conceptual Project for an Interactive Environment which Creates the “Brasilidade” Experience

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