SID & Companies |  The brand design day in Paris

“Our” Alessandro Barison and Eva Tenan participate in the debate

PARIS, FRANCE.  Last April 18th a meeting on the theme of Brand Design took place in Paris at the Institut Universitaire  Technologique de Ville d’Avray. The seminar,  which reached its sixth edition, has been organized by the Professor of economics and marketing Kamel Ben Youssef and coordinated by the Department of Mechanics and Productions of the University Paris Ouest Nanterre La Défense.

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The day developed through several debates on themes related to marketing and in particular to brand design, proposing an interesting mix of personalities who formed a dynamic working group, with expert lecturers, established professionals, young designers and students.

Saverio Sbalchiero (Sbalchiero and Parners) described what brand design and corporate identity mean in the B2B market, highlighting the strategic value of design in the world of business between companies too.

Angelica Longo, Architect and Tenant of Appartamento Lago Alto Salento, told the fundamental role of the method in the development of large-impact creative projects, in particular in the field of interior design: they may be very effective tools to improve the image of a brand.

Eva Tenan (MaTech - PST Galileo) presented new materials and some example of technology transfer which bought to interesting results in both the design and the brand perception by the market fields. The creative use of technologically advanced materials can then be a growth driver of great impact for the competitiveness of a company.

Giuseppe Marinelli (ISIA Rome) showed the value of design in everyday life by capturing the present around us (city planning, architecture, design) and proposing views and solutions for future inclusive design.

Riccardo Palmierini introduced the theme of experience design and innovative communication, highlighting the holistic features of contemporary design.

Stefano Bader (Oikos Fragrances) captured the audience with the theme of senses, in particular with the topic of “olfactory logo” and the creation of marketing experiences through the stimulation of the senses.

Alessandro Barison (Emme Italia - SID graduate) told his experience of entrepreneur and designer, in particular by showing the possible results if we use design management in SMEs. The useful case history of Emme Italia highlighted how the creative methodologies and techniques of product management, learned at Scuola Italiana Design and wisely elaborated in a design management project, led to important competitive achievements in the difficult field of office furniture.

Francesco Giganti (IDA), finally, told some case histories where engineering and design, in particular by the use of technology transfer, can find common solutions of optimization, which make an industrial project more competitive.

The audience, compounded by students, teachers and professionals, actively participate in the debate, creating a climate of lively and proactive dialectic. Finally, the meeting underlined the more and more important role of design in engineering and commercial areas, showing its task of coordinator among production and marketing; the designer must also improve the strategic features of brand image through the use of both the cultural tools and his predisposition to search, but also by applying his design method and his aptitude for problem solving in a holistic way.


Know more:

• Università Paris Ouest Nanterre La Défense

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Alessandro Barison
Read the previous SID & Companies: News for SMEs and industrial protection

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Different Media Lab: creativity at the service of video

Coppiello and Padovani, two SID graduates become video-makers

PADOVA.  I reach via Algarotti in Padua under a spring drizzle. It’s a quiet residential neighbourhood. There’s a condominium, and old man turns the key before coming in and disappearing from my sight. I continue through a back entrance: surprisingly, here I find a big room where a lot of creativity applied to the video making is bubbling.

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Nicolò Padovani and Diego Coppiello welcome me in this multimedia studio. They’re SID graduates and also valued product designers, as well as tutor to the last SID Rovinj Workshops.

They show me their new project: Different Media Lab, a studio of audiovisual productions. They’re not alone: the team is complete with Marco Peruzzo and Stefano Pagura.

They have the technique because they come from the world of photography. We have the creativity thanks to the methods learned at Scuola Italiana Design. Together we made a clip for designer Alessandro Busana at Salone del Mobile 2012, which was appreciated. So last summer we asked ourselves: why not to combine creativity and video technique?

Different Media Lab was born, what’s the meaning of the name?

We want to be different from the big reality of this field. We can provide a major creativity, that means more quality even if we’re only four. We have what it takes to get out of traditional video communications.

What have you already added to your portfolio?

Mainly institutional and corporate videos for the web, but we don’t exclude also other areas: during this first year of life we’re in the experimental stage. And things are working well.

Next project?

It’s HP Race clip, where we show the making of a go kart engine. The idea was born at Christmas and now you can see the final result!

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Why do you make mainly clips for the web?

Today web design means also making videos. In several websites, clips begin to have more weight than photos.

Well, these videos must be suitable for the web...

Of course, the goal of these videos is to create a little initial wait, endearing without being too long, just giving a quick smattering of that you’ll find then on the website. In our opinion, this is the trend for the next years, except the case of macro-productions.

Diego and Nicolò, you work also at Alternativa Standard, your product design studio. Can you reconcile the several work commitments?

Yes, the two studios are separated and we work in both, as well as Marco and Stefano continue to operate in the world of photography. For example, our new lamp Bunker has just been produced by P&V Light and exposed at Euroluce - Salone del Mobile 2013.
We’re always running, we change clothes in telephone booths. You know what we discovered?

Tell me.

We’re the only creative people who still have hair!

We stand up and take a tour of the studio. Two rooms are dedicated to editing and post-production, then there is the set, where I see the equipment. How do you do in case of special shoot?

We often think of a shot we never made before. The solution is easy: we build the supports on our own: mechanical sliders, cable cams, motorized stands... We are creative in the mechanical part too!

Can you tell us an example?

We’re building a remote-controlled flying ball, on which we’re putting a camera for aerial shots. It should work!

A coffee together and a couple of pictures conclude the visit to Different Media Lab. While I leave, the four people are already on the computer to load their last creation.


Fabio Cappelletto

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Saloni 2013 |  The full interview with Patrizia Moroso

The owner of the company: Students, get your hands dirty!

MILANO.  At the stand of Moroso we took an interview with the owner of the company. It’s a great opportunity for our young designers, who will shortly join the world of work, to get a few tips.

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Patrizia, have we done a good choice to study design?

It depends on how much you love this world. The work is hard, not easy at all, it requires a lot of passion and commitment. If you accept, you’re welcome.

What are the first steps we should make?

I suggest you to look around, outside Italy too because there are important schools. Don’t stop at the education you learn within the school, because a single person can also grow and make several things autonomously.

Foreign institutes, you say...

Yes, there are high quality teachers because they’re the best designers of that place, the deans are not traditional academic lecturers. It’s a different approach. It’s different to be Master or professor: in fact, the schools should be as the old schools of Renaissance, where you were able to go to a workshop and learn from a Master.

There’s a lot of Scuola Italiana Design style in Patrizia Moroso’s words: here you learn soon to work with the tools and the materials of the designer profession. A new validation comes soon:

Learn to do. The theory is taken for granted, you need to put your hands in the matter, to get dirty wearing your apron. Every student should have not a desk, but a workbench with all the tools and surrounded by chaos. No more clean tables: you need to be surrounded by creative stimuli.

Is design a world that is growing?

Design is getting more and more important. Useless objects without a project don’t deserve to exist, especially in such a crisis period. The winning things come from an idea, a project, a path. When there is a crisis, only what is very good can work and beat the others.

Who is the designer you work well together?

It’s a difficult question because I work with more than 50 people. Well, the working relationship with Patricia Urquiola has turned into friendship because we’ve made together the most important productions of the company for 15 years. However, regardless of the name, working with a designer is always a great experience, an exchange of knowledge that allows to increasingly grow.

One last suggestion?

Go and see a museum per day, watch carefully what the artists are doing and why: they have the antennas to grasp the reality in advance.

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Saloni 2013 |  Lago and Moroso's tips for young designers

Video report and interviews by SID at Design Week 2013

MILANO.  The Design Week 2013 in Milan came to an end, now it’s time for the analysis. Waiting for our special magazine on the event, here’s the video-report, with special interviews with Douglas Pastori (Universidad Caxias do Sul), Daniele Lago and Patrizia Moroso.

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• Pictures from Salone del Mobile (Facebook)
• Pictures from FuoriSalone (Facebook)

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Vecellio: it's up to us to prove the force of design

From SID student to designer at Samsonite: here's his path

VARESE.  Let’s continue our research around Italy and the world about successful SID graduates (for example our recent interview with New Yorker Antonio Padovan). Today we’re in Varese, where we meet “our” creative designer Corrado Vecellio.

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Corrado Vecellio, let’s start from your graduation at SID. The year was...?

2006.

Did you immediately go at Samsonite or have other experience before it?

During the last months of the Master I had the opportunity to work with SID in a couple of extra-formative projects.
From August to November 2006 I moved to Milan for an internship at B-On Design studio of the former SID lecturer Daniele Testa. This experience was fundamental to consolidate my three educational years at SID, and helped me to improve a method, an attitude and dedication I hadn’t already developed for this work.

Was it the definitive start of your career?

It wasn’t: I rested for some months looking for a job. The enthusiasm wasn’t enough to console me from the negative outcome of my research. You know, those are the times when you start to doubt of your choices, your skills, and overall of the effective role you can have in the world of work...

When did the turning point arrive?

In February 2007 I got in touch with Valigeria Roncato, and they hire me as a designer. I worked for three years in the development of new collections, and rarely in graphics and advertising. It was my first experience in such a big company, so I learned a lot on the internal dynamics that distinguish it, how to deal with the different stakeholders, how to handle the different deadlines.
Then a call arrived...

So you “joined” Samsonite...

After a huge restructuration, Samsonite needed to expand its design office. They contacted a headhunters company, that simply started to look for candidates among the competitors.
They found me, I had two phone interviews in English language, then one in person with my current boss. They made me an offer, and I accepted.
In a couple of months I resigned, organized myself, said hello to friends and moved to Varese to start my new adventure at Samsonite.

What do you do in particular?

Two years and a half later, I’m a Design Manager. Actually I feel as a designer. I manage the work of me and the three guys of my working group.

Any example?

We deal with the new collections, in particular of the categories travel, business and kids. We begin with the marketing brief and 9 months later the new collections go into production. Every month we show the progress of each project to the leadership, deciding whether and how to proceed.

What was the most satisfying product you designed and why?

This year I collaborate in a project that won the Red Dot Design Award. They are computer bag sleeves with a special heat sealing technology that completely excludes the seams.
Beyond this price, shared with my colleagues, sincerely I think I haven’t already made something truly special, but I hope to do it soon.

Really, nothing?

Well, of course it’s a satisfaction for a designer to see in the store or on the streets the products he designed, but it becomes a habit soon because I work in a company dealing with consumer goods... I work on a dozen projects every year, at 3 or 4 at least go into catalogue the following year.
Personally, I’m very fussing and it’s hard for me to be fully satisfied with my products. I hope it’s normal: in my sector, and not only mine, your ideas are gradually smoothed to meet the production requirement, so the final product is always a bit different from what you had in mind.
It’s not a drama, it depends on your point of view, but also on the sensitivity of our self-criticism.

What’s your design “idea”? Do you get inspiration from any designer? (Corrado smiles before answering)

Sore point! I think I’m a bit ignorant in this field... I’m not inspired by anybody in particular, just my conscience.
Often I don’t remember who did what, but it doesn’t mean I can’t appreciate the value of a product or the style of a designer.
Rather than memorize the association product/designer, I like to observe and study what surround me every day: products, images, styles, not necessarily in line with my taste or ideas.

As we always ask to our graduates, is there a tip you’d give to current SID students?

I suggest them not to underestimate the potentialities of this work, but remember they’re strictly related with dedication and attitude of your educational term and your first working experiences. Ending trivially: you never stop learning.

Finally, a look to the future: how do you see the future of the designer job?

It depends on us. To me, for some years design has become more appearance than substance, as it’s happening also in other fields.
Companies, especially in Italy, often struggle to reap the benefits of our support. It’s up to us demonstrate that design is not just a name, a charge or a niche product, but an essential role with a precise position within the path that leads to the development of new products.

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Carlo Ratti: Here's the future of smart cities

From MIT he told us about real-time cities and new technologies

BOSTON, USA.  Carlo Ratti is founder of MIT Senseable City Lab, a research group that studies the development of technologies for citizens. Parco Scientifico e Tecnologico Galileo general manager, Massimo Malaguti, spoke with him in Boston.

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The video-interview has been recorded for the presentation of the project Stage It, on March 19th. They talked about the development of smart cities in the world and in Italy: «There are interesting future scenarios for our Country, in particular for craft and small companies.» Carlo Ratti told us why.

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SID & Companies |  News for SMEs and industrial protection

Design confirmed as a corporate value to overcome the crisis

ASOLO (TREVISO).  A meeting about Industrial Protection for SMEs, in particular on public financing instruments to support innovative and creative projects, organized by Treviso Tecnologia, took place on March 13 at spazio Hangar of Fondazione La Fornace in Asolo (Treviso).

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The meeting was part of the project IP-SMEs, which works to improve the competitiveness of European small and medium enterprises through intellectual property instruments. Speakers included representatives of the Ministry of Economic Development, Fondazione Valore Italia, Invitalia, ADI.

The speakers presented the specific measures of financing available for SMEs in the field of intellectual property, but also highlighted the importance for SMEs to adopt a system of research, development and protection of innovation and creativity. They also highlighted the extraordinary competitive value of design and invention to overcome the crisis.

The first interesting finding from the conference is the increasingly attention given to system projects, where each innovative, creative project or invention becomes the final result of a larger and more structural project.
The second interesting fact comes from a study on the value of corporate assets. The corporate asset, including SME’s, has changed the balance over the years, moving from a predominant importance of real estate values to a real and strategic importance of the knowhow, brand, design and innovation capacity values.

Looking more in detail the possibilities of public funding for research, development and protection of innovative and creative projects in SMEs activities, I noticed a reassuring institutional attention to the companies already practicing these activities, but there’s a doubt too, concerning the awareness of the institutions on the need to create an ecosystem which allows the emancipation of a lot of companies that are neither ready nor organized to add innovation in their business processes.
The signals from the institutions are positive, we can and must do more.

The meeting ended with the interesting speech by Alex Terzariol, chairman of ADI Veneto/Trentino, who showed some revolutionary innovative projects because of their aesthetic and functionality, but also because they influenced men’s behavior, including Olivetti Sivisumma 18, Solari Cifra3, Brionvega Doney, Piaggio Vespa, Dyson DC22, Apple iPhone, Ikea Billy.
The importance of design is highlighted by these case studies. This is not a trivial fashionable speculation: design gives propelling energy to the companies, offering growth prospects which make the path out of this crisis less inaccessible.


Know more:

• Fondazione Valore Italia
  
• Agenzia Nazionale per gli investimenti e lo sviluppo d’impresa
  
• Associazione per il Disegno Industriale
  
• Fondazione la Fornace dell’Innovazione

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Alessandro Barison
Read the previous SID & Companies: The trends of paper at Paperworld

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SID & Companies |  The trends of paper at Paperworld

“The paper tells about us, it's a pleasure to live and share”

FRANKFURT, GERMANIA.  Paperworld! In Frankfurt we found a very complex system of objects and tools, from notes to automatic binding machine, but the synthesis of all can be found in the simple day: in fact, Paperworld is home, school, office.

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The world of paper takes us through the gestures and the places where we live every day, the world of paper tells a lot about us and our habits, Paperworld trends are interesting because they may anticipate other worlds, telling attitudes.

On the one hand, the paper becomes more and more precious and elaborated, on the other it simplifies itself and gives the raw sensations of the past. Sustainability and ecology stop being buzzwords and become real collective values. The paper is a pleasure to live and share, pens and pencils are tools of the soul.

Within the office furniture we can find some good stylish choice, some trendy color, pleasant materials to touch, to see, sometimes to smell, but there’s nothing really innovative. Thanks to the collaboration with Studio Bora - Herke - Palmisano, Paperworld gives us its interpretation and offers Paperworld Inspiration, that is both a selection of meaningful products and a very interesting proposal of trend.

The three proposed mood are Exceptional style (photo 1), Formal style (photo 2), Modern view (photo 3). They’re very personal and distinctive, but related by clean lines. The colors are soft and delicate or intense and contrasting, but never rowdy and irreverent. The materials are raw or refined, but never aggressive. The shapes are geometric or soft, but never excessive.

Even at Paperworld, we breathe understatement.


Know more:

• Report of Paperworld 2013
  
• Paperworldtrends by Studio Bora - Herke - Palmisano

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Alessandro Barison
Read the previous SID & Companies: Stationery trade fair: Paperworld

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Our graduate Padovan directed a horror movie in NY

He told us about Jack Attack and his American experience

NEW YORK.  Antonio Padovan graduated at Scuola Italiana Design in 2007. He went to the USA, where he’s now finding his fortune in a new creative area: movies. His next work, “Jack Attack”, is coming soon, so we call him for a preview.

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We reached him in the Italian afternoon, while in New York City it’s the time to start the workday. Antonio, straight to the point: what kind of movie is it?

It’s a horror. It takes place over a day in Manhattan, which is original because usually horror movies are set in the suburbs or decrepit houses.

Could you tell us something more on the plot?

It takes place on Halloween, it’s the story of a boy and his babysitter. They’re preparing the traditional pumpkin and everything starts when the boy asks: “Do the pumpkins suffer?”

We’re intrigued, when does the movie come out?

It’s currently in post-production, then you’ll be able to watch it for sure, with Italian subtitles. Perhaps we’ll participate in a Festival in Rome, but it’s still early to tell. However, in October we’re going to LA at the Scream Fest, that is the reference festival in the USA for horror genre.

It’s a good test!

The genre is very popular here in the States: every week there is at least a horror movie in the cinemas. Of course, the genre is not simple and there’s the risk of boring. However, to tell the truth, the period of the shooting if funnier than for the other genres.

It’s not your first movie, we can remind the shorts Tillman and Perry St (we posted the whole film last year): what was the reception of critics and audiences of your previous works?

I feel absolutely satisfied: I’ve always had a warm welcome from both audiences and critics and we must consider that the world of shorts, even in its beauty, remains a niche.

We know you started in New York City within an architectural studio, and then you studied film and changed your job. Is there anything SID left you and that you put into practice in this area too?

First thing: when you leave Scuola Italiana Design you have an open mind and a great respect for ideas, both yours and those of others. I would say these two things are the basis for all the areas I’ve worked in.
I think that when a person tells you an idea, it’s like he’s entrusting a child. If you say “What a stupid idea”, you’re just hurting him.

Anything else?

Ingenuity and spontaneity are other two important lessons: to remain children, without any fear to express your ideas, is the first step towards something important.
In addition, I also use the working techniques learned at SID: the tools, the paths, the working methods can be applied effectively to any creative job.

Do you have any personal memory of our school?

First of all I remember the first meeting with SID manager Giorgio Pellizzaro. It gave me a great passion and to believe in what I’m doing, just as he does. I also remember the various SID Rovinj Workshops - unique experiences!

Will you recommend to our graduates to go abroad?

It depends on the country where you choose to go. In the USA there are some problems with the visa, but then you just need to adapt to life and rhythms. It’s very important to have a little chutzpah: for example, I knocked on doors of strangers trying to find my fortune. I must say I was very lucky!

Is it difficult to search for a job?

It seems to me that USA are a little more meritocratic than Italy: here you’re really judged for your portfolio and not for your title of study. At least, this is what happened to me.
Finally, remember that the kind of city where you’ll live is what really counts. The type of work is secondary.

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The designers' code of professional ethics

SID translated into Italian the principles proposed by ICSID

PADOVA.  Being a designer is not just a profession, but it means having a fundamental role in the development of the society as a whole. In fact, designers not only design objects, but it is reasonable to say that they contribute to the betterment of our lives.

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The design profession aims to satisfy people’s needs: simplify the use of a product, make its experience more pleasant, invent solutions for new requests and needs, and minimize environmental impact. If they don’t respond to this logic, we can’t define then as designers.

For this reason it’s important to have a code of ethics which lays out the guidelines of the profession.
We chose to translate into Italian the code of the ICSID, the most important international association in the field of industrial design, in order to see just how the work of the designer should be recognized and applied throughout the world.

For our students it’s an important document in helping them to become aware of their future profession. Possessing design skills and abilities are not enough to define a designer if they do not design within this ethical code and their impact on society is not taken into account.

• DOWNLOAD THE ITALIAN VERSION OF ICSID CODE OF ETHICS (pdf)
• The ethic code in English (icsid.org)
  

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