Last modified: 2021-10-12
Abstract
Abstract
Design today assumes a decisive role in making business decisions and has increasingly relied on data to search for its answers. Designers who used to be based on past experiences or non-tangible and measurable aspects, today turn to scenarios closer to reality. Much of this change is due to the advancement of the creative industry, which has propelled the design area to new scenarios and paths. When observing the evolution of the industry and marketing until today, there are notable changes in behavior and performance in the area of design. The creative industry is one of those that best reflects this panorama and the exchange of information between a new future for the design area and the union with the industry. In this article we seek to explore more about the area already lived by the industries and how they interacted with the design area, our main objective is to conceptualize new co-relational aspects between the area of the creative industry, sustainable business and Design 5.0.
The Industrial Revolution opened new paths in the conversion of energy, in the production of goods and also in consumption. It can be said that it gradually began to “free” people from the ecosystem around them. Aspects of this evolution are currently presented in four industrial cycles: Industry 1.0, 2.0, 3.0 and 4.0 (SCHWAB, 2019). The main objective of this study is to point out new advances in the area of design and what are the main attributions of design in each of the moments mentioned above, as well as in the performance of sustainability in new businesses with the creative industry.
Design is, by vocation, one of the areas most qualified to make this alliance between sustainable businesses, technologies and people (MOZOTA, 2011), until Industry 3.0 its performance basically consisted of idealizing, embellishing, optimizing and materializing solutions, often unheard of for people. In addition to benefiting the product, the industry also demanded that the solutions be reproducible in series. To meet these requirements, the designer started to improve methods and techniques that sought more intimate connections between products and people (VERGANTI, 2012). In addition, its modus operandi has been increased with techniques that are useful today, such as prototyping, experimentation and validation. In today's industry, reproduction and scale come much more from network connection than from shop floor reproduction. This condition greatly facilitates the launch of digital products and services. On the other hand, it imposes greater agility and requires greater competitiveness.
The first great evolution made by human beings was called the Industrial Revolution, which began in the mid 18th century and had as its main engine the invention of steam engines and the mechanization of production. This was the first major Industrial Revolution that would emerge, before this period the entire process of manufacturing materials was done by hand, not being able to be manufactured on a large scale.
In this period, also named Industry 1.0, the artisan also began to focus his efforts on humanizing the aesthetics of machines for products that would be produced on a scale (JOHNSON, 2011), in this sense it was possible to observe that the artisan starts to think and act as a designer.
With the arrival of electricity, the Second Industrial Revolution, or Industry 2.0, begins. In this scenario, the massification of products on a large scale was already possible (SCHWAB, 2019). The highlight of this new cycle was precisely the new model of thought, now centered much more on the mass commercialization of products than on its aesthetic form (VERGANTI, 2012).
Still in Industry 2.0, there are models of business administration and management, such as the entrepreneurs of the time Henry Ford, Taylor, Fayol and Drucker. These models had several characteristics and metrics to be followed, but all favored the same concept, speeding up the manufacturing process. The Ford T model revolutionized transport and industry at the time, in addition to their contributions to manufacturing processes.
Design takes on a new role that, in addition to seeking to improve the aesthetic aspect of machines, also tried to reduce the impersonality of industrial products. Even if the industry was still acting against this thought, such as the Arts and Crafts movement that had a principle of refusal to industry, design started to gain space on the scene, but it was still operational and focused on optimization (VERGANTI, 2012 ).
With the arrival of the techno-scientific revolution, Industria 3.0, design started to assume a more tactile role in the entire chain, now combining its experience with the segment's marketing and focused on the process.
Industry 3.0 promoted the advancement of electronic technologies, industrial robotics and the miniaturization and popularization of circuit boards, which enabled the insertion of logic controllers in the industry. With these new technologies, now operationalized, design has its work bias focused precisely on joining efforts with marketing and no longer thinking only about the aestheticization or sale of the product, but about the process chain (KOTLER 2021).
With the arrival of industrial 4.0, where connectivity and the internet are the main agents of this change, the “fourth industrial revolution is systemic, broad and considers as many technological and economic aspects as social” (PADILHA 2020, p.23). Design starts to focus its efforts in another area, now it has its role in the human being and its relations with products, companies and services.
The relationship that was previously conducted by the internet and its overvaluation starts to focus on the human being and his personal relationships. It is noted that the explosion of social networks begins to lose the trust of society, which in turn also aims for more sincere and real relationships, for Schwab (2019, p.32) "what happened in the last 18 months with the media platforms in terms of the erosion of consumer confidence was surprising, even if it was late”.
Design 5.0, which is entirely connected with the new industry that is emerging, will be closely linked to the human potential that is already seen in people, creativity and other areas will be increasingly explored and enhanced, the interaction between man and machine will be because of human benefit. Design 5.0 is a metaphor used in this research to represent a new design cycle. This cycle, in turn, goes hand in hand with the concepts of Industry 5.0 coined by Schwab (2020) and Marketing 5.0 coined by Kotler (2021).
There is a clear definition presented by Kotler (2021, p.32) to better clarify marketing 5.0, the author presents that marketing 5.0 "by definition, is the application of technologies that imitate the human being to create, communicate, deliver and increase the value throughout the customer journey”. When analyzing the new types of industries emerging, the advancement of new technologies, the notorious administrative and marketing change in the corporate segment, it can be said that Design 5.0 is moving in an increasingly strategic and sustainable direction, as it has been presenting itself before, but now more participatory, inclusive, creative, data-based and human.
To better contextualize Design 5.0 and its interaction with the Creative Industry, it was decided to conduct an exploratory research based on books and materials already published and available for wide access (GIL, 2008). In this sense, research on issues is also of a qualitative nature, using the observational method as a data collection instrument. This method “can be a valuable way of collecting data because, what you see with your eyes and perceive with your senses, is not filtered by what others may have reported to you, or what the author of some document may have seen” (YIN 2016, p.127). This method of data collection is based on the knowledge and ease with which researchers have with the area, both academically and in the market.
In the creative industry, design 5.0 also takes on the role of bringing together the responsible actors and the use of measurable and co-creative methods for building the business. The function of design 5.0 is to guide the actors throughout the creative process to reach innovation, according to the vision of Govindarajan and Trimble (2012), innovation would be the sum of creativity and leaders.
If we look at the concept of creative industry presented by Florida (2011), design 5.0, has the function of being the connector between agents and increasingly humanizing processes. In this way, design 5.0 can act as an agent for transforming creativity into innovation, connecting the actors responsible for the business, using methodologies that promote interaction between all, it becomes a profession that can categorize the creative industry.
The main finds of this research are related to conceptualizing new co-relational aspects between the area of the creative industry, sustainable business and Design 5.0. Due to the pandemic of the new Corona Virus, this process has been accelerated and is gaining more traction over time. The relationship between Industry 5.0, Design 5.0 and Marketing 5.0 exists to value businesses and make them more and more sustainable. The creative economy, described by Florida (2011); Howkins (2007), in turn, has the potential to be the most affected by this transformation, while it could also be the guiding principle of this process. Finally, when observing the formula proposed by Govindarajma and Trimble (2012), where innovation would be the result between the sum of creativity and leaders, it can be concluded that creativity would be the co-creative processes used in Design 5.0 and leaders would be the designers themselves who are able to bring about this change.