Master Postgrado en Interactive Space Design For Brands en Barcelona

Masters y Formación de ISTITUTO EUROPEO DI DESIGN - BARCELONA

  • Dirección:Calle Biada 11 (Barcelona)
  • Tipo de Master:Postgrado
  • Modalidad:Presencial
  • Fecha inicio: 09/04/2018
  • Fecha fin:Matrícula Abierta
  • Precio: 5900 €
  • Horario del Master:lu-ju 18.30-22.40 + vi 16.40-22.40
  • Lugar: Barcelona (Barcelona)

Introduccion
Piensa en un recuerdo que tengas de un lugar e imagina ese momento en las montañas o en una playa desierta. Sumérgete en ese recuerdo y verás cómo te rodea un espacio repleto de sonidos, luces, colores, sabores y olores.

Ahora piensa en un espacio diseñado que te permita vivir esa nueva experiencia que todo el mundo querrá compartir en las redes sociales. Es agradable e interactivo transformar un vestíbulo, un centro comercial o una estación de metro. Una experiencia para los sentidos que provocará interés sobre su construcción, dimensión y nivel de complejidad. Se trata del Interactive Space Design, una instalación de experimentación que transforma su entorno. Representa una visión del futuro en el que las nuevas tecnologías y la investigación formal se convierten en las herramientas con las que innovar y generar emociones y experiencias. El Disruptive Space Design (diseño innovador de espacios) es una oportunidad para interpretar los límites internos que la arquitectura establece con su entorno y un pretexto para pensar en nuestro propio mundo interior. Un mundo que es privado, creativo, sensual y poético.

El Postgrado Intensivo en Interactive Space Design for Brands es una experiencia didáctica que da lugar a un vocabulario innovador en el que se entremezclarán simplicidad y complejidad, arte y ciencia. El curso consiste en un taller continuo cuyo objetivo es aprender, experimentar y probar nuevas situaciones utilizando herramientas de vanguardia, gráficos dinámicos, proyecciones en 3D y sistemas de iluminación con LED sincronizados.

Eye-catching branding (Creación de marca atractiva)

El comercio físico y las tiendas por Internet compiten continuamente en busca de clientes. Al compararlos como polos opuestos, el comercio tradicional ocupa un espacio físico, mientras que el comercio electrónico ocupa una propiedad digital, así como una presencia física oculta. Esta tensión entre lo físico y lo digital puede dar lugar a la creación de un nuevo paradigma físico en el que el espacio tangible debe reformular su propio paradigma para competir con la cultura digital. Se trata de fusionar ambas dimensiones en una nueva experiencia multidimensional. Todo ello se enmarca en una instalación sorprendente que puede involucrar al público mediante efectos y materiales deslumbrantes y estrategias interactivas.

Temario
A. Theory
1. Brand emotion research
Interactive and disruptive installations are directly associated with the Brand in order to achieve visual attraction and an implicit effect on sales.
This course is designed to develop the ability to understand the principles of branding and it’s application within the project. During the programme, aspects of subjective brand sentiment will be explored, with the aim of encouraging the students to make a critical evaluation of the brand and its purpose.
The emotional involvement of consumers is crucial to brand success. Brand emotional research (BER) will guide the design concept strategy in coordination with the brands vision statement.
Disruptive Installations must generate a profound emotional link with consumers, which evoke the brand style, concept and meaning. The course will address the topic within the context of design framework rather than marketing, nevertheless, BER contemplates concepts of consumer psychology and the search for new trends.

2. Critical and design culture
The postgraduate provides an opportunity to research theoretical aspects of the practice whilst developing a critical approach. Critical and design culture must encourage and support the project’s direction in order to generate critical thinking, establishing a continual dialogue between practice and theory.
For this to happen, a series of lectures will address the following topics:
- Contemporary art
- Digital art
- Art installation
- Brand installations
- Interaction design
Moreover the tutors will support the development of a dissertation (3.000 words), which outlines the conceptual foundations of the Disruptive design studio. With the dissertation forming part of the final thesis project.

B. Technology
3. Prototyping: Digital-craft manufacturing
The use of Computer Numerical Controlled machines (CNC) and other digital production systems have played a key role in the computational design of projects. Digital fabrication methods provide a physical output to digital design strategies, their advantages and constraints forming a feedback loop to inform design strategies.
In particular, the introduction to the machines which directly produce part of the project, involves several aspects to be considered:
− Thinking in regards to its possible rationalisation and digital construction. This phase often involves re-thinking and re-defining of initial conceptual design. For example the configuration and the approximation of a surface.
− The preparation of a specific manufacturing file. A reassessment of project components oriented towards the direct production of the project components.
− In this situation the gap between architect and constructor is reduced with construction files prepared at 1:1 scale.
In addition digital-craft manufacturing provides the possibility to combine digital complexity with craft capacity. In other words, the relationship between machine and hand tools can alter the dynamics of manufacturing and assembled. In doing so, simple technical devices can become instruments of projects ability to reveal multiple layers of meaning such as structural, programmatic, aesthetic and environmental to it’s fabrication.
By understanding the machine in depth, we are required to decrypt all phases of assembly and translate them for the machine, maintaining absolute control over construction process. The advantage here is to become actively and creatively engaged in a process that usually separate from the designers mandate. However it is important not to neglect or underestimate the specialist contribution of other professionals and potential contributions of manual craft. Prototyping is one of the core outcomes of the final thesis project. (Carmelo Zappulla, UPC "Palimpsesto", 2014)

4. Material research
Material research is strongly related to the prototyping course, focusing on material research investigating material synthesis, processing and the properties of both new and traditional materials.
This course will help students leverage material innovation to create stronger projects and experiences.
Innovative materials and processes across all disciplines of design are highlighted through a structured examination process, seeking to inspire the design practice. The course endeavours to categorise solutions that can be successfully applied to different design applications. Material research utilises a technical approach to examine both global and local resources and expertise. From direct material solutions to manufacture, it helps students ensure that the projects concept is constantly maintained throughout all design phases including manufacturing.

5. Introduction to cyber-physical systems
This course deepens the relationship between computational and physical elements to produce an embedded system. Looking at how can we program active physical installations, and with what stimuli does our installation to interact. Selecting a set of sensors and actuators to achieve a specific effect/goal. This study broadens the student’s mind and sets up the technical foundation for the projects development.
In this introductory course a set of tools and methods will be provided, acting as a creative toolbox:
− Solution research, understanding how to autonomously find the direction for the project development within a line of investigation.
− Open source development platforms such as Arduino (https://www.arduino.cc/).
− Design communication, producing diagrams and drawings capable of communicating concepts and projects through various media.
− Prototyping techniques to formulate ideas and clearly communicate meaning. Utilising electronics breadboards, a wide suite of sensors and actuators.

C. Project
6. Disruptive space design studio
The disruptive design studio becomes the focal point for the postgraduate course around which the seven other courses will connect in order to construct a compelling final thesis. The students will have the unique opportunity to work on a project with a ‘real client’ engaged through the different phases of design.
The Design methodology is pattern-based. If we define design as a complex system in which key factors are interconnected, or rather, the result of the interaction between endogenous and exogenous levels, Pattern can be the instrument that allows these levels to interact. As endogenous characters we intend the geometrical, spatial, artistic, technical and functional aspects of the architectural work, which altogether represent the groundwork of the design process. By exogenous characters we mean all the factors, which bear on the process from outside, such as the social / environmental context and programmatic aspects.
Disruptive Design is always the outcome of an effort to make both endogenous and exogenous characters interact with each other. The project may be individual or group.

7. Computational design
Computational design is a methodology for solving design problems, utilising the logics of computer science. Leveraging computational tools power to work with large amounts of data, repetition of functions and speed. New design options are opened up within analysis and design. For example collecting geo located social data from around a site in real time, to linking solar analysis to form, generating higher performance structures.
Parametric tools such as Grasshopper for Rhino, open up these computational tools to designers. Grasshopper is a visual programming language perfect for those without a background in coding. Working with set parameters to generate new designs and possibilities. Within the course students will learn to use computational tools such as Grasshopper at each design phase from research to design, generating innovative solutions.

8. Interactive lighting and media
Interactive art uses real-time sensory input to inform light/ sound/ physical actuations to generate immersive environments. This attractive and intriguing visual experience is pervasive in design from entertainment and retail. This course is aimed to manipulate lighting according to the users experience.
Once an advanced technology it has progressively become more user friendly, designers can now rapidly integrate interactive lighting within their installations creating stunning and enchanting dynamic spaces that respond to people and other stimuli.
Several interactive tools will be explored within the course, utilising motion tracking and the integration of various sensors & cameras, to control lighting, video, audio and interact with cameras and sensors.
This course is directly ties to the project domain and prototyping to further the development of interactive prototypes.

9. Project management
This course is necessary to prepare students for the world of work.
For this reason PM is aimed to plan and organize project/prototype construction and delivering costeffective results.
Providers seeking and cost estimation will be important tasks of the learning process. 

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Postgrado en Interactive Space Design For Brands


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