Designer

A designer is a person who designs. More formally, a designer is an agent that "specifies the structural properties of a design

 object".^[1] In practice, anyone who creates tangible or intangible objects, such as consumer products, processes, laws, 

games and graphics, is referred to as a designer.

With the increasing complexity of today’s society, and due to the needs of mass production where more time is usually associated with more cost, the production

 methods became more complex and with them the way designs and their production is created. The classical areas are now subdivided in smaller and more specialized 

domains of design (landscape design, urban design, exterior design, interior design, industrial design, furniture design, cloth design, and many more) according to
 the product designed or perhaps its means of production.Classically, the main areas of design were only painting, sculpture and architecture,
 which were understood as the major arts. The design of clothing, furniture and other common artifacts were left mostly to
 tradition or artisans specializing in hand making them.

The education, experience and genetic blocks that form the base of a competent designer is normally similar no matter the 

area of specialization, only in a later stages of training and work will designer diverge to a specialized field. The methods of 

teaching or the program and theories followed vary according to schools and field of study. Today, a design team, no matter 

the scale of the equipment, is usually composed by a master designer (the head of the team) that will have the responsibility 

to take decisions about the way the creative process should evolve, and a number of technical designers (the hands of the team ) 

specialized in diverse areas according to the product proposed. For more complex products, the team will also be composed of professionals from other areas like 

engineers, advertising specialists, and others as required. The relationships established between team members will vary according proposed product, the processes

 of production, the equipment available, or the theories followed during the idea development, but normally they are not too restrictive, giving an opportunity to 

everyone in the team to take a part in the creation process or at least to express an idea.

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Visual design

Visual design is the design working in any media or support of visual communication. This is considered by some to be madara daf terminology to cover all types of design applied in communication that uses visual channel for transmission of messages, precisely because this term relates to the concept of visual language of some media and not limited to support a particular form of content, as do the terms graphic design (graphics) or Interface design (electronic media)

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Communication design

Communication design is a mixed discipline between design and information-development which is concerned with

 how media intermission such as printed, crafted, electronic media or presentations communicate with people. 

A communication design approach is not only concerned with developing the message aside from the aesthetics 

in media, but also with creating new media channels to ensure the message reaches the target audience. Some 

designers use graphic design and communication design interchangeably.

Communication design can also refer to a systems-based approach, in which the totality of media and messages

 within a culture or organization are designed as a single integrated process rather than a series of discrete efforts.

Communication design seeks to attract, inspire, create desires and motivate the people to respond to messages, 

with a view to making a favorable impact to the bottom line of the commissioning body, which can be either to build

 a brand, move sales, or for humanitarian purposes. Its process involves strategic business thinking, using market 

research, creativity, and problem-solving.

The term communication design is often used interchangeably with visual communication, but has an alternative

 broader meaning that includes auditory, vocal, touch and smell. Examples of communication design include 

information architecture, editing, typography, illustration, web design,animation, advertising, ambient media, 

visual identity design, performing arts, copywriting and professional writing skills applied in the creative industries.

Example of the environmental design

Examples

Examples of the environmental design process include use of roadway noise computer models in design of noise barriers and use of roadway air dispersion models in analyzing and designing urban highways. Designers consciously working within this more recent framework of philosophy and practice seek a blending of nature and technology, regarding ecology as the basis for design. Some believe that strategies of conservation, stewardship, and regeneration can be applied at all levels of scale from the individual building to the community, with benefit to the human individual and local and planetary ecosystems.

Specific examples of large scale environmental design projects include:

• Boston Transportation Planning Review
• BART - Bay Area Rapid Transit System Daly City Turnback project and airport extension.
• Metropolitan Portland, Oregon light rail system

History

The photo shows a training meeting with factory workers in a stainless steel ecodesign company from Rio de Janeiro,Brazil.

The first traceable concepts of environmental designs focused primarily on solar heating, which began in Ancient Greece around 500 BCE. At the time, most of Greece had exhausted its supply of wood for fuel, leading architects to design houses that would capture the solar energy of the sun. The Greeks understood that the position of the sun varies throughout the year. For a latitude of 40 degrees in summer the sun is high in the south, at an angle of 70 degrees at the zenith, while in winter, the sun travels a lower trajectory, with a zenith of 26 degrees. Greek houses were built with south-facing façades which received little to no sun in the summer but would receive full sun in the winter, warming the house. Additionally, the southern orientation also protected the house from the colder northern winds. This clever arrangement of buildings influenced the use of the grid pattern of ancient cities. With the North-South orientation of the houses, the streets of Greek cities mainly ran East-West.

The practice of solar architecture continued with the Romans, who similarly had deforested much of their native Italian Peninsula by the first century BCE. The Roman heliocaminus, literally 'solar furnace', functioned with the same aspects of the earlier Greek houses. The numerous public baths were oriented to the south. Roman architects added glass to windows to allow for the passage of light and to conserve interior heat as it could not escape. The Romans also used greenhouses to grow crops all year long and to cultivate the exotic plants coming from the far corners of the Empire. Pliny the Elder wrote of greenhouses that supplied the kitchen of the Emperor Tiberius during the year.^[2]

Along with the solar orientation of buildings and the use of glass as a solar heat collector, the ancients knew other ways of harnessing solar energy. The Greeks, Romans and Chinese developed curved mirrors that could concentrate the sun's rays on an object with enough intensity to make it burn in seconds. The solar reflectors were often made of polished silver, copper or brass.

Early roots of modern environmental design began in the late 19th Century with writer/designer William Morris, who rejected the use of industrialized materials and processes in wallpaper, fabrics and books his studio produced. He and others, such as John Ruskin felt that the industrial revolution would lead to harm done to nature and workers.

The narrative of Brian Danitz and Chris Zelov's documentary film Ecological Design: Inventing the Future asserts that in the decades after World War II, "The world was forced to confront the dark shadow of science and industry." From the middle of the twentieth century, thinkers like Buckminster Fuller have acted as catalysts for a broadening and deepening of the concerns of environmental designers. Nowadays, energy efficiency, appropriate technology, organic horticulture and agriculture, land restoration, New Urbanism, and ecologically sustainable energy and waste systems are recognized considerations or options and may each find application.

By integrating renewable energy sources such as solar photovoltaic, solar thermal, and even geothermal energy into structures, it is possible to create zero emission buildings, where energy consumption is self-generating and non-polluting. It is also possible to construct "energy-plus buildings" which generate more energy than they consume, and the excess could then be sold to the grid. In the United States, the LEED Green Building Rating System rates structures on their environmental sustainability.

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Environmental design

Environmental design is the process of addressing surrounding environmental parameters when devising plans,

 programs, policies, buildings, or products. Classical prudent design may have always considered environmental 

factors; however, the environmental movement beginning in the 1940s has made the concept more explicit.

Environmental design can also refer to the applied arts and sciences dealing with creating the human-designed 

environment. These fields include architecture, geography, urban planning, landscape architecture, and interior design. 

Environmental design can also encompass interdisciplinary areas such as historical preservation and lighting design.

 In terms of a larger scope, environmental design has implications for the industrial design of products: innovative

 automobiles, wind-electricity generators, solar-electric equipment, and other kinds of equipment could serve as 

examples. Currently, the term has expanded to apply to ecological and sustainability issues.

Emotional Design

Emotional Design is both the title of a book by Donald Norman and of the concept it represents. The main topic covered is

how emotions have a crucial role in the human ability to understand the world, and how they learn new things.

 For example: aesthetically pleasing objects appear to the user to be more effective, by virtue of their sensual appeal. 

This is due to the affinity the user feels for an object that appeals to them, due to the formation of an emotional connection

 with the object.

Norman's approach is based on classical ABC model of attitudes. However, he changed the concept to be suitable for 

application in design. The three dimensions have new names (visceral, behavioral and reflective level) and partially
new content. In the book, Norman shows that design of most objects are perceived on all three levels (dimensions).
Therefore a good design should address all three levels.

The front cover of Emotional Design showcases Philippe Starck's Juicy Salif, an icon of industrial design that
 Norman heralds as an "item of seduction" and the manifestation of his thesis.^[1]

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