CONCEPT DESIGN - LABORATORY
Academic year and teacher
If you can't find the course description that you're looking for in the above list,
please see the following instructions >>
- Versione italiana
- Academic year
- 2016/2017
- Teacher
- GIAN CARLO TINTORI
- Credits
- 13
- Didactic period
- Primo Semestre
- SSD
- ICAR/13
Training objectives
- This workshop wants to become an instrument of approach to the Design profession, focusing on the part relating the stage of Concept.
With a program of frontal lessons and exercises, marked by a schedule of revisions, by adopting whenever possible, the same methods of work, that are used in professional activity.
The main terget of the course is to provide students, the skills necessary for the production of a Concept Design, from the briefing until the final stage.
The main knowledge gained will be:
_ Capacity of analysis and processing of requests coming from the market or from other areas.
_ Knowledge of business processes inherent a Concept Design
_ Integration capacity and relationship processes, described in the previous point.
_ Development of verbal and graphic capabilities for the submission of a Concept Design Prerequisites
- _ To convey their ideas through the hand drawing and other free techniques of representation.
_ Sufficient capacity to use computer programs for writing, graphics and layout.
_ Ability to organize creative and ideational processes in a system design, through logical analytical process. Course programme
- The course includes:
A_ 84 hours module of teaching activity by the Coordinator of the Course on specific issues about Concept Design .
b_ 48 hours module of teaching activity by a teacher that integrates the main themes of the course with Graphic Design skills.
84 hours Module
1_ Introduction
2_ Definition
3_ Main areas of action
Design based un user-specific, design on activities, design on systems, design artist, free inspiration.
4_ Description of the process for the development of a Concept Design
Identification of the needs, problems, functions, use, services, etcc ...
Brief
Research and analysis
Brainstorming methods and creative approach
Choosing the best solution
Development of the solution
Improvement / integration of the solution
Drafting / final design concept
Executive phases
5_ Study cases
Braille printer – Mobile platform – Portable induction plate – Swarovsky Exibition Museo Triennale Milano – Light Equipment UMA Cassina
48 hours Module
The hours of the module will be divided into a theoretical part and a practical part with exercise and review of the work with the teacher. The aim of this method is to provide students with tools that they can use in the design of the final project so that they will develop proposals for visual communication checking languages, tools and technologies.
Lectures will address, in particular, issues related to packaging design in a comprehensive view of the approach to food design, meaning the design of food as an integral design of the "artifact"-food.
Reflection on the advent of the industrial method and its implications in the nineteenth and twentieth centuries on the project and dissemination of the packaging design. Case studies and evolution steps.
Performative, operational and communicative features of packaging.
Types of packaging.
Commercial spaces and design scales.
Materials for packaging.
Environmentally sustainable solutions of packaging.
Functional packaging: intelligent, active and smart packaging.
Packaging: project paths through form, color, material.
Possible approaches to graphic design.
Each of the above items will be accompanied by appropriate examples and case studies treated in depth.
Reflections on the use of fonts. Didactic methods
- The teaching will consist of lectures, practical exercises during the course and final exam.
The lessons provide technical and analytical tools for the solution of problems in the field of conceptualization and genesis of the projects. The right presentation of the work, as well as awareness of market strategies of the business world.
Guests will be invited from the world of professional designers and the companies to provide real examples.
We will be displayed and analyzed several case studies. Learning assessment procedures
- Written exams will be made by Students on exercises focused on the course, in order to check the level of learning of different topics.
Following, a final examination marked on a whole process of Concept Design in order to verify and evaluate the training aspects acquired by students.
The final examination involves, the delivery and discussion, with the teacher of a series of drawings on the theme of the final project.
The final grade is given mainly by the Final Exam outcome, partially interpolated with the intermediate tests and exercise results .
To pass the exam Students must obtain a minimum score of 18 / 33
If the total score is less than 18, Student must repeat the final exam. Reference texts
- Concept Design:
Gio Ponti, Un'altra architettura - Rizzoli, 1957
Young Designers americas - Daab, 2006
Marco Cardillo, Materiali Intelligenti, sensibili, interattivi - Lupetti, 2008
Bruno Munari, Da cosa nasce cosa – La terza, Bari 1993
David Ogilvy, Ogilvy on advertising – Prion, 1983
Edward De Bono, Il pensiero laterale – BUR Rizzoli, 2000
Michael Erlhoff, Design Dictionary - Birkhäuser Architecture, 2003
Graphic design:
AA.VV., Graphic design for wine, Lettera Ventidue, Siracusa, 2015, pp. 160.
AA.VV., Ridiculous Design rules (collana), BIS Publishers, Amsterdam.
Gavin Ambrose & Paul Harris, The Visual Dictionary of graphic design, AVA publishing, New York, 2006, pp. 287.
Laura Badalucco, Il buon packaging. Imballaggi responsabili in carta, cartoncino e cartone, Edizioni Dativo, Milano, 2011, pp. 2011.
Valeria Bucchetti, “Superfici profonde”, pp. 60-77, in Alfonso Acocella, a cura di, Paper design, Altralinea, Firenze, 2014, pp. 208.
Alberto Bassi, Food design in Italia, Electarchitettura, Milano, 2015, pp. 272.
Erik Ciravegna, La qualità del packaging – Sistemi per l’accesso comunicativo-informativo dell’imballaggio, Franco Angeli, Milano, 2010, pp. 160.
Claudia De Giorgi (a cura di), Sustainable Packaging?, Umberto Allemandi, Torino, 2013, pp. 160.
Riccardo Falcinelli, Critica portatile al Visual Design, Eiunaudi, Milano, pp. 322.
Simon Garfield, Sei proprio il mio Typo, Ponte alle Grazie, Milano, 2012, pp. 368.
Bruno Munari, Fantasia, Editori Laterza, Roma-Bari, 2010 (I ed. 1977), pp. 224.
Bruno Munari, Good dseign, Corraini Editore, Mantova, 2006 (I ed. 1963), pp. 32.
Mario Piazza, “Imballaggi”, pp. 268-289, in AA.VV., TDM 5: Grafica italiana, Catalogo della mostra, Corraini edizioni, Milano, pp. 392.
Massimo recalcati, L’ora di lezione, Einaudi, Milano, pp. 162.
Paola Yacomuzzi, Progettare un logo, Logos, Milano, 2011, pp. 320.
