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Module 01 • Design: The Origin of the Story1.1 • First Period: The Logic of the Industrial Age1.2 • Second Period: The Logic of the Commercial Age1.3 • Third Period: The Logic of the Digital Age1.4 • So What Is Design? A Definition
Module 02 • Design and Strategy: Visualizing a Concept2.1 • The Disciplines of Design2.2 • Design: An Economic Weapon2.3 • The Art of War
Module 03 • Methodology and Case: Translating a Concept3.1 • The Brand: A State of Mind3.2 • The Design Approach3.3 • Business Toolkit
3.3.1 • Creative Business Idea (CBI)3.3.2 • Business Approach
3.4 • Strategical Toolkit3.4.1 • Semiology3.4.2 • Anthropology3.4.3 • Culture
3.5 • Case Study: Air France3.6 • Case Study: Sulwhasoo
Summary
• 1851: The Great Exhibition (World Fair) - Crystal Palace in London
• Design was born from the confrontation between “Art” (decoration) and “Industry” (manufacturing)
• Our notion of design today was brought forth by the Industrial Revolution
• It was the beginning of mass production and the first consumer brands
1.1 First Period: The Logic of the Industrial Age
The Industrial Revolution
• The Industrial Revolution took place in the late 18th and early 19th centuries
• It was a period where major changes in agriculture, manufacturing, mining, and transport had a profound effect on the socioeconomic and cultural conditions in the U.K.
• Changes spread throughout Europe, North America, and eventually the rest of the world, marking a major turning point in human society
• Almost every aspect of daily life was influenced in some way
1.1 First Period: The Logic of the Industrial Age
The Industrial Revolution
• Some of the most notable inventions were:
The Steam Engine (1775) The Automobile (1885) The Airplane (1903)
MOBILITY
The Telegraph (1863) The Telephone (1876)
COMMUNICATION
The Cotton Gin (1775) The Sewing Machine (1844) The Assembly Line (1913)MASS PRODUCTION
1.1 First Period: The Logic of the Industrial Age
The Industrial Revolution
The Industrial Revolution / The Concept of Mass Production
• The sewing machine is a textile machine used to stitch fabric or other material together with thread.
• Since its creation, the sewing machine has vastly improved the efficiency and productivity of the fabric and clothing industries, enabling the production of clothes en masse and later giving birth to the idea of fashion.
Arts & Crafts Usability- Functional + Ornamental - Manual-Strength
- Technique
- Modern- Electric / Automatic-Ease- Guide
1910 -1930 1990 - 2000 2009
1.1 First Period: The Logic of the Industrial Age
Performance
Decorative Machine
Hyper MachineSuper Machine
Critical Thinking
1) What does this object represent for you?- A machine?
- A piece of art?
2)What is the perceived function? Explain why?
3)What is the design language behind the object? Describe.
4) What is the symbolic dimension behind its shape?
1.1 First Period: The Logic of the Industrial Age
Art + Technology / BelOga Concept Sewing Machine by Kristine Brückner, Münich
• As a device for communication, the telephone has become one of the most common household appliances in the world as well as an indispensable part of our lives.
• Today, mobile phones seem to be the logical result of our evolving system of communication.
The Industrial Revolution / The Concept of Communication
I Dial + I Speak + I See + I Move + I Play- Functions: Split - Condesned - Fully Integrated- Multiple Components - Monoblock- Analog - Dual - Digital- Rotary Dial - Keypad - LCD Panel- Collective - Individual- Static - Dual - Mobile
1.1 First Period: The Logic of the Industrial Age
Critical Thinking
1.1 First Period: The Logic of the Industrial Age
Future Concept Nokia Morph
1) What does this object represent for you?- A machine?
- A piece of art?
2)What is the perceived function? Explain why?
3)What is the design language behind the object? Describe.
4) What is the symbolic dimension behind its shape?
• The car, or automobile, is a quintessential symbol of modern transport and travel.
• They symbolize society’s technological progress over the past century and have become extensions of ourselves, forever changing the way we live, work, and travel.
The Industrial Revolution / The Concept of Mobility
1.1 First Period: The Logic of the Industrial Age
From Horse Power to Mechanical Power
Usability / Space to Live
Performance
Machine Ergonomic Machine / Monocoque
Super Machine
- Wood / Steel- Rudimentary, Practicality- Ornamental
-Manual-The form expresses the
origin
- Streamlined / “Bolidisme”
- The form expresses the performance of the
function
- Composite- Simplified: From an object to a space
- Comfort / Secutiry- Hybrid /
Electric/Automatic-The form expresses a pholosophy of mobility
01• Design: The Origin of the Story
Critical Thinking
Peugeout BB1
1) What does this object represent for you?- A machine?
- A piece of art?
2)What is the perceived function? Explain why?
3)What is the design language behind the object? Describe.
4) What is the symbolic dimension behind its shape?
Second Period: The Logic of the Commercial Age
A • Distribution
B • Packaging
1.2 Second Period: The Logic of the Commercial Age
Second Period: The Logic of the Commercial Age
A • Distribution
• A System of Images (Identity)
• A System of Sales (Function)
1.2 Second Period: The Logic of the Commercial Age
• A retail concept is based on:
Second Period: The Logic of the Commercial Age
A • Distribution
• 1st Evolution (1950s – 1960s) - Mass Distribution Hypermarkets Category Killers
Flagships
• 2nd Evolution (1960s – 1990s) - Retail Network Retail Thematic
Distribution Brand Shops
• 3rd Evolution (1990s – ….) - Motion Distribution Showrooms Ephemeral Stores Concept Stores
- Distribution of Entertainment Entertainment-Themed Restaurants
Boutique Hotels
1.2 Second Period: The Logic of the Commercial Age
Mass Distribution
Is the large scale distribution of consumer goods and serivces to the market with the objectives of:
Being cheap in terms of cost / price
Being universal in terms of selling everything to everyone (targeting the most number of customers)
1.2 Second Period: The Logic of the Commercial Age
COSCO, U.S.
- Became commonplace in the early 20th century when the demand for food and other perishable goods grew sharply.
- It is an effective strategy if production capacities are tested.
- With mass distribution, companies shouldn’t take more orders for products if they cannot deliver.
- Through mass distribution, wholesalers and retailers were able to rapidly and effectively sell their goods .
Mass Distribution ≠ Specialized Distribution
- On the opposite end, specialized distribution focuses on limiting the target audience. As an exclusive distribution strategy, it is developed to create and enhance a certain image for products.
- By limiting distribution, the concept of exclusivity can be created. This cannot be acheived through mass distribution.
1.2 Second Period: The Logic of the Commercial Age
Mass Distribution
1.2 Second Period: The Logic of the Commercial Age
A superstore which combines a supermarket and a department store.
Hypermarkets
- The result: a very large retail facility which carries an enormous range of products under one roof , including full lines of groceries and general merchandise.
- Hypermakets are like ‘Big Box Stores’ (Category Killers); they pursue business models that focus on high-volume, low-margin sales.
- These stores leave large footprints with retail spaces usually starting at 5,000 m2. E.g. A typical Carrefour store can cover a surface are of 20,000 m2.
- Through mass distribution, wholesalers and retailers were able to rapidly and effectively sell their goods .
- Due to their large size, they are usually built in out-of-town locations which are accessible by automobile.
1.2 Second Period: The Logic of the Commercial Age
Hypermarkets
1.2 Second Period: The Logic of the Commercial Age
Before: One brand, One Format
- Large size plays a key dominating factor along with a large store capacity to carry more brands.
- Average sizes: Carrefour – 18,000 m2 Auchan – 13,200 m2 Wallmart – 24,000 m2
Hypermarkets
1.2 Second Period: The Logic of the Commercial Age
After: One brand, Multiformat
- We now see a reduction in size and increased segmentation.
-Superstores such as Tesco and Carrefour are slowly penetrating into urban areas with their own smaller versions.E.g. Sainsbury’s Local, TESCO Express, Carrefour Market, Carrefour Contact, Carrefour City
Hypermarkets
Supermarkets, Convenience Stores
1.2 Second Period: The Logic of the Commercial Age
A supermarket is a self-service store offering a wide variety of food and household merchandise, organized into departments. Also known as grocery stores in the U.S.
Convenience stores are small stores or shop that sells items such as candy, ice-cream, soft drinks, lottery tickets, newspapers and magazines, along with a selection of processed food and perhaps some groceries.
1.2 Second Period: The Logic of the Commercial Age
Large companies that put less efficient and highly specialized merchants out of business.
Category Killers
BEST BUY, U.S.
THE HOME DEPOT, U.S.
1.2 Second Period: The Logic of the Commercial Age
- They offer an extensive and comprehensive range of products of a particular type at discounted prices.
- Strategically attain their status by being cheaper, easier, bigger, or more popular than the competition, eventually eliminating the competition.
- They dominate their product category. e.g. IKEA with stylish, affordable furniture and home accessories.
Also Known As: Big Box Stores
Category Killers
1.2 Second Period: The Logic of the Commercial Age
- Organization
- Signage
- Animation
- Catergory Management
DESIGN STAKES
Category Killers
1.2 Second Period: The Logic of the Commercial Age
Flagship stores, or flagships, are main stores from retailers (usually a ‘mono brand’) designed to serve a mainstream of customers.
Flagships
Louis Vuitton FlagshipChamps-Élysées, Paris
Louis Vuitton FlagshipGinza, Tokyo
1.2 Second Period: The Logic of the Commercial Age
- They are found in prominent shopping districts (e.g., Ginza, Madison Avenue, Champs-Élysées etc.)that are targets for a main set of worldwide high-income shoppers.
- Flagships are larger in retail size then normal stores or boutiques and hold the most volumes in merchandise.
- They serve as the brand’s emblem – helping represent and increase the value of the brand.
- Shopping at an upscale flagship is oftentimes seen as high social / economic status.
In French: ‘Magasins Phares’
Flagships
A Place of Trade and Communication
A place which gives more impact to the purchase made A place that allows the brand to communicate with a multitude of
publics
An Ideal Retail Store, which serves as a theater for the brand to display its true essence
A place that further promotes publicity
A Place of Renewable Experiences
A place which gives people the desire to come again and again Capable of attracting all publics - first-timers and repeat customers A premium address, a premium destination in the city
1.2 Second Period: The Logic of the Commercial Age
The flagship store, a retail store like nothing else…
Flagships
1.2 Second Period: The Logic of the Commercial Age
A UNIQUE OPPORTUNITY TO CREATE A NEW OPINION ON THE BRAND
TO MAKE A FLAGSHIP STORE EXEMPLARY OF THE BRAND IMAGE AND BUSINESS
TO ADDRESS A BRAND STRATEGY SHIFT
The Brief: Renovation of the Champs-Élysées Retail Store
Critical Thinking / Petit Bateau Case Study
1.2 Second Period: The Logic of the Commercial Age
• Embody the new brand positioning via two essential elements of the brand platform:
Being Multigenerational
Being Fashionable
• Recruit new publics, new targets
• Emerge among the noise and customer traffic of the Champs-Élysées
• Counter offensive on competitors of the core business
The Brief: Renovation of the Champs-Élysées Retail Store
Critical Thinking / Petit Bateau Case Study
1.2 Second Period: The Logic of the Commercial Age
• Develop the brand’s level of profitability
• Increase the brand’s attractiveness towards a mostly international audience
• Improve the commercial functions Product presentations / Merchandise displays Turn offers into events Encourage impulse purchases
The Brief: Renovation of the Champs-Élysées Retail Store
Critical Thinking / Petit Bateau Case Study
Petit Bateau exemple : Simple, Playful, Soft, Smart, Timeless, Qualitative
1.2 Second Period: The Logic of the Commercial Age
The Brief: Brand Image
Critical Thinking / Petit Bateau Case Study
1.2 Second Period: The Logic of the Commercial Age
Petit Bateau exemple : Basic Essentials, Multigender, Modernity, Qualitative Simplicity
The Brief: Recent Ad Campaign
Critical Thinking / Petit Bateau Case Study
1.2 Second Period: The Logic of the Commercial Age
QUESTIONS
1)Define the core target of the brand.1) Already existing one2) New one to be acquired
2) Define the core image, values (core values, peripherical values), vision of the Brand and style of the offer.
CONCLUSION (WHAT YOU LEARN FROM THE ANALYSIS AND WHAT IS YOUR RECOMMANDATION OF EVOLUTION)
3) Define a new concept of space for the brand in terms of: - Key words (Text)- Image (Concept Boards and Mood Boards)- Drawings - Offer organization and Client Track
Critical Thinking / Petit Bateau Case Study
1.2 Second Period: The Logic of the Commercial Age
The Brief: A flagship exemplary of the brand’s business
Critical Thinking / Petit Bateau Case Study
Design is a practice between marketing and culture
To be both universal and intimate
It is at the crossroads of a dual approach:
Marketing: A quest for universality, linking the rational and the systematic
Culture: A quest for intimacy, linking the emotional and the individual
03 • Methodology and Case: Translating a Concept
3.2 The Design Approach
Having a cultural approach is the fundamental basis of imagination for a brand as well as its origin (the Myth)
•Design serves as the essence of a brand; it has the ability to manipulate its DNA•The issue is that design must resonate with the other media of the brand•Therefore, it must act synergistically with the brand’s language
Design is a practice between marketing and culture
To be both universal and intimate
03 • Methodology and Case: Translating a Concept
The Design Approach
03 • Methodology and Case: Translating a Concept
The Design Approach
Designing a range of mediaCreating a virtuous synergy
Design is a medium: • of form and depth• of persistence
Prosumer
BrandCategory
Creative Business Idea
03 • Methodology and Case: Translating a Concept
3.2.1 Creative Business Idea (CBI)
Business Toolkit
A Marketing Approach
• Brand Vision / Brand Philosophy:
What a brand wants to bring and contribute to human society
• The manner of imagining its business in the market• The expression of what the company wants to achieve in the long-term• The personal and specific way the company wants to address its business stakes• A vision is an ambitious and idealistic way to express the foundation of the company’s strategy.
• Brand Mission / Brand Vocation:
What a brand wants to achieve for each customer
• The role the company wants to play in the market• The way the company is going to achieve its vision• The description of the global assignment that the company gives to its team
03 • Methodology and Case: Translating a Concept
Business Toolkit
3.2.2 Business Approach
• Brand Positioning:
How the brand targets its core audience
• It involves the application of the 4 P’s of the Marketing Mix
• Product• Price• Place (Distribution)• Promotion
• Audience:
• Target / customers, influencers, analyses, use what you learn in the ‘Prosumer Presentation of Marianne Urstel’
03 • Methodology and Case: Translating a Concept
3.2.2 Business Approach
Business Toolkit
03 • Methodology and Case: Translating a Concept
Strategical Toolkit
• Culture:
• This is the whole realization; the know-how related to the brand• The agglomeration of all the artistic, domestic, scientific, and political achievements of a society
3.3.3 Culture
• CORE VALUES
• PERIPHERAL VALUES
• VALUES OF PROGRESS / EVOLUTION
VALUES / KEY WORDS:
03 • Methodology and Case: Translating a Concept
Strategical Toolkit
3.3.3 Culture