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Contributions of design: a tool to improve business performance<br />

ject commissioned. Each particular case, according to product<br />

category and the task developed, will have an optimal moment<br />

to begin to measure its results, which may correspond to either<br />

its upward curve or its peak. Design requires a certain period of<br />

time for the development of strategic solutions. Similarly, these<br />

solutions require a degree of implementation time for the results<br />

to become visible and really successful.<br />

In many cases, the incorporation of design occurs as a<br />

result of a generational change in company management<br />

Generational change in company management – especially in<br />

the case of family owned companies – tends to favor the commissioning<br />

of design services. Younger executives are inclined<br />

to be less tradition minded and more open to change. “There<br />

was a generational conflict in the company and we realized that<br />

something had to change,” explained Jonathan Dayan, Director<br />

of Tonel Privado, upon referring to his preliminary thoughts<br />

about contacting Fontana Diseño to restructure the company<br />

identity.<br />

Design studios are in general structurally small and<br />

flexible, which enables them to a<strong>da</strong>pt to the particular<br />

needs of each project.<br />

The capacity of a<strong>da</strong>ptation of a design team to different company<br />

demands, represents a strength that favors the pertinence of the<br />

results of the projects carried out. Many studios choose a small<br />

and flexible structure, and associate with other teams according<br />

to the needs of each commission they receive. Not all companies<br />

need the same designer, in the same way as not all projects are<br />

solved with the same team. In the cases studied, a scale of micro<br />

and small studios was identified (no case had over 17 employees).<br />

Moreover, the benefits of association between professionals<br />

from different design disciplines was verified.<br />

Designer fees tend to represent a very small amount in<br />

relation to the investment required for the development<br />

of an entire project<br />

As seen in the cases analyzed, the task of a design team is complex<br />

and has a strategic basis. Contracting professionals to meet<br />

these challenges logically represents a corporate investment.<br />

Nevertheless, the fees corresponding to the design team represent<br />

a very small proportion of the entire investment demanded<br />

by the project. On this matter, Carlos Díaz, Director of SigloXXI,<br />

commented: “It was expensive, but I value every cent we put into<br />

it.” Meanwhile, Guido Reizner, Sales Manager of Muresco, stated:<br />

“Insofar as investment is concerned, Vanina’s collection costs<br />

Muresco the same as any other collection, except for the royalties.<br />

But truth to say this difference is recovered in the price.”<br />

The designer transfers methodological habits to the<br />

company, which represent a rarely recognized yet very<br />

significant contribution<br />

In their interaction with design professionals, companies tend<br />

to acquire, at times unconsciously, a working methodology inherent<br />

to design disciplines. A designer’s systemic behavior<br />

tends to be transferred spontaneously both to the client and<br />

the areas with which they interact. This transference is almost<br />

never appreciated, and much less considered in the fees paid<br />

to the design team, yet it becomes installed as an intangible<br />

company asset. As Beatriz Galán explains: “It is natural that it<br />

should be difficult to assess the value of this new articulating<br />

design knowledge, which develops between implicit and explicit<br />

knowledge. The value of investment in design is quantifiable in<br />

the degree to which it can be considered an asset.” Naturally,<br />

when the design team forms part of the company, the transference<br />

is greater and this knowledge is absorbed in a far deeper<br />

and verifiable sense.<br />

References<br />

Arias, F.; Bruera, I.; Mastroscello, L.; Offenhenden, C.; Sanguinetti, M. PyME<br />

+ diseño. Un estudio sobre la deman<strong>da</strong> de diseño por parte de las PyME<br />

industriales del Área Metropolitana de Buenos Aires. Buenos Aires, Centro<br />

Metropolitano de Diseño (CMD) y Fun<strong>da</strong>ción Observatorio PyME (FOP),<br />

2011.<br />

Becerra, P.; Fábregas, S.; Pizzabiocche, G. A través de las experiencias. Valores<br />

y diseño en los sistemas de comercialización y consumo . Buenos<br />

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Bonsiepe, G. Mutaciones del diseño. Buenos Aires, Ediciones Infinito,<br />

1999.<br />

Cervini, A.; Becerra, P. En torno al producto. Diseño estratégico e innovación<br />

PyME en la Ciu<strong>da</strong>d de Buenos Aires. Buenos Aires, Centro Metropolitano<br />

de Diseño (CMD), 2005.<br />

Cervini, A.; Kayser, J. Identi<strong>da</strong>d estratégica. Alternativas locales en mercados<br />

globales. Buenos Aires, Centro Metropolitano de Diseño (CMD), 2004.<br />

Design Industry Insights 2010. London, Design Council, 2010.<br />

Devalle, V. La travesía de la forma. Emergencia y consoli<strong>da</strong>ción del diseño<br />

gráfico (1948-1984). Buenos Aires, Editorial Paidós, 2009.<br />

Diseño en la Argentina, estudio del impacto económico 2008. Buenos Aires,<br />

Instituto Nacional de Tecnología Industrial (INTI), 2009.<br />

Estudio del impacto económico del diseño en España 2005. Madrid, Socie<strong>da</strong>d<br />

Estatal para el Desarrollo del Diseño y la Innovación (DDI), 2005.<br />

Galán, B. Diseño estratégico y autogestión asisti<strong>da</strong> en Buenos Aires.<br />

Primer Congreso de Transferencia de Diseño: Diseño y Territorio. Bogotá,<br />

Universi<strong>da</strong>d Nacional de Colombia, 2006.<br />

Hablando de diseño: ciclo de charlas 2007. Hitos, relatos y vivencias del<br />

diseño en la Argentina. Buenos Aires, Instituto Nacional de Tecnología Industrial<br />

(INTI), 2007.<br />

The Measurement of Scientific and Technological Activities Proposed<br />

Guidelines for Collecting and Interpreting Technological Innovation Data:<br />

Oslo Manual. Organisation for Economic Co-operation and Development<br />

(OECD), 1997.<br />

Design Frontiers: Territiories, Concepts, Technologies 319

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