The Transportation Designer is a professional mainly concerned with designing the primary means of transport and capable of designing a number of different kinds of vehicle, such as motorbikes, yachts and trains.
The Transportation Designer is able to reconcile aspects of style, aerodynamics, feasibility, design and ergonomics. This kind of designer must have a profound understanding of the product and the functions that the consumer is looking for, so as to be able to have a clear idea about the relationship between design and marketing, innovation and commercial requirements.
This BA is taught both in English (1st year) and Italian (2nd and 3rd year) and awards 60 Credits.
Career opportunities - Transportation Designer, Car Designer, Bike Designer, Yacht Designer.
Context - Anticipator of future market trends, processes innovator as per cultural aptitude, the contemporary designer is more and more involved in the strategic decisions of a company: he represents a key factor speaking of enrichment and progress of a brand values. The course is focused on design experimentations in different fields and always in concert with big local companies.
Methodology and structure - Methodology deals with a daily comparison between theoretical skills techniques and real applications based on projects. Students are spurred to acquire operative autonomy, make coherent and sustained choices, establish relationships with real customers and take on specific responsibilities. This semi-professional experience represents a winning card for graduates when they enter the working world. Students gain operational autonomy, managing independently a designing path, in particular the step dedicated to concept development meant as creative and formal synthesis of the project idea. Students have also the chance to deepen technical and instrumental tools connected to bike design and yacht design through a partially custom made study plan. Students can develop a Final Project in bike design or yacht design, alternatively to car design.
The educational offer is enriched by a series of meetings dedicated to the preparation of a personal portfolio.
The essentials about the most important artistic movements and their leading personalities in the modern and contemporary age. In addition to describing how art has developed in the course of history, it aims to develop a critical understanding of art’s codes and of the work of art as a complex visual text and as a phenomenon that narrates cultural, social and aesthetic evolutions, perceived in particular in terms of its relations with other forms of expression and communication (photography, advertising, cinema etc.).
How an idea was conceived and successively transformed is the field studied in Design Methodology. This course provides students with the tools they need to examine the connection between a product and the processes behind its creation. The design process is a combination of functional, technological, formal and ergonomic issues. The course also develops elements of methodology and analysis: the functional, ergonomic, formal and technological issues at stake when developing a project.
Materials Typology 1
The teaching is approached from a technical and scientific standpoint and one of the history of technology. This course examines materials’ physical, chemical and morphological characteristics (the latter relating to their forms, finishes and colors) in theoretical lessons, which also test the methods used to transform them and the industrial and craft processes used to work with them on an industrial scale, in craftsmanship and for conservation.
History of Design 1
The convention is that the study of design history starts from the second half of the nineteenth century, when the social, technological and industrial factors - necessary for developing the first serial productions - were first consolidated. This course analyses the leading Italian and international movements in design culture. With its heritage of visual knowledge, design history confers the ability make a critical interpretation that underlies the process of designing a work.
A study of principles and procedures underlying descriptive geometry, projections and perspectives is the basis for freehand and technical drawing, providing students with the tools for communicating their work and representing how its design develops. The lectures in technical drawing develop on the orthogonal projections of flat figures, solids and complex and sectioned solids, culminating in plans of form.
Modeling Techniques 1
This course provides students with the theoretical and practical tools they need to build visual and expressive models, using the materials most suitable for the scale of the project and the various phases of study. A 3D overview enables shapes and volumes to be examined and a check to be run on their feasibility in terms of the laws of physics and techniques of elaboration.
Teaching the use of the leading 2D and 3D image processing programs enables students to maximize the impact of a concept, manage 2D images and modify their contents, as well as to create renderings. The course in graphic design provides students with the tools for making a clear, personal presentation of their creativity and skills. Students now learn the latest new techniques of graphic representation, studying the methods for representing and communicating ideas and projects using digital sketching software.
The aim of this course is to put basic design methods into practice and to draw up the roadmap for creating a work, from the concept to the hypothesis of the production process, complete with related techniques. The aim of the application workshops is to design a car or another one of the leading means of transport, taking its complexity into account and providing input about its proportions and the type of its components. The project is conducted by means of diagrams, exercises in free perspective, coloring and intuitive sketches.
This course teaches students about the tools, the means, the supports and the materials for traditional and digital drawing, training them to practice observation and represent their subjects correctly. Students learn how to use color as the basic tool of visual communication, to highlight information and make the message intelligible. Similarly, the construction of a 3D environment enables them to describe the relationships between volumes, surfaces and the play of light and shadow.
Perception Theory and the Psychology of Form
This course aims to provide students with an understanding of sensory perceptions and cognitive processes, illustrating the scientific theories that explain how our senses function and correlating those functions with research into the psychology of form.
The course develops students’ analytical skills and understanding of materials in the framework of a project. It examines the physical and mechanical properties of several families of materials in relation to the technologies that can be used to work with them and to related advantages and risks.
Drawing Techniques and Technologies
Starting out from the drawing techniques learned in Technical and Design Drawing, this course implements the practices of illustration, from freehand drawing to multimedia tools, to facilitate fast, effective communications when presenting a job. The approach is to use the most suitable methods to describe every phase of the project: preliminary sketches, the pantone technique, refinements of style using digital programs and the creation of rendering and photo-realistic images.
History of Design 2
The course stimulates students to adopt a critical approach to expressions of design, so as to furnish them with the cognitive and methodological tools they need to locate works not only in a chronological framework, but more significantly to convey the relations between expressive idioms, the requirements of the automotive industry, clients and end users.
Modeling Techniques 2
This development on the practices of model-making is designed to support the courses in design, which need models to study and present, culminating in the construction of prototypes. Students now learn the more complex techniques of model-making, combining familiarity with the most sophisticated software digital modelling packages with the practices of craftsmanship.
The purpose of this course is to raise students’ awareness and build on their creativity by means of exercises that give them an opportunity to work on individual and group design experiences to give tangible shape to their ideas. This course takes a closer look at car designs in a given market segment and at designs for another means of transport.
The course develops on issues related to the car package and to its habitability, ergonomics and functionality. Students get to grips with progressively more difficult design exercises, working to assigned briefs and using 3D modelling software. Students now acquire skills in the perspective representation of various kinds of automobile interiors and the techniques of graphic representation, learning about the relationships between the types and the dimensions of an interior’s components.
Sociology of Culture
This course provides students with the fundamental principles of sociology, illustrating the discipline’s historical origins, its various schools of thought and, as a consequence, the different methods and approaches of analysis adopted. The aim of the course is to develop students’ ability to read and interpret the behaviors and social dynamics where a creative work intervenes.
This course provides students with the skills for planning, promoting and managing cultural and design activities, with a special focus on the market. The strategic principles of marketing, which aim at identifying, developing and launching every product, are adapted here to the specific field of the creative industries, for the purpose of understanding and anticipating the expectations and needs of consumers and users
In this course, students are called on to tackle a project of increasing complexity. The aim of this course is to undertake every phase of the design of a car or of another leading means of transport, from the sketch to the modeling, to the rendering and the visualisation, of both interiors and exteriors, complying with the nomenclature applied to the vehicle and the restrictions imposed by its category and by the requirements of safety. They now develop on their stylistic and technical research. The design process is supported by 3D modeling software.
3D Rendering Technologies
This course develops on the material taught in the course on Digital and 3D Computer Modeling Techniques, focusing on using special software packages to produce renderings. By developing on the expressive and design potential of these digital tools, the course imparts the methods that students need to master for 3D modeling and, above all, for managing the entire process of communicating about their work.
Phenomenology of Contemporary Arts
The purpose of this course is to convey an understanding of the dynamics that lead to the birth of new trends from an artistic and sociological standpoint: what are they? Where do they come from? How do they spread? And how are they expressed in a globalised world?
Modeling Techniques 3
This third course in model making is a practical workshop development of increasing complexity, whose purpose is to impart to students the principles governing the physical modeling of design projects. From the first drawing to using specific modeling materials to make an object, they learn to express the project’s complexity of volumes.
In IED Turin, Model Labs are: Clay Laboratory, Thesis Laboratory and Light Laboratory. Inside them there is an important part of the practical didactic of the courses because students can verify the hypothesis from their work and learn the use of the necessary tools for experimentation, representation and communication of the projects. Activities can count on machines and equipment, under the guidance of technicians and lab assistants.
Activities in these laboratories allow the acquisition, both theoretical and practical, of the notions necessary for completing the course of studies. IT Labs are equipped with computers with OS and Windows operating systems, videoprojector and graphic tablets. Wacom Cintiq workstations allow the exploration of the most recent digital painting techniques, the creation and the modeling of characters and objects. Computers have installed and constantly updated the most advanced international softwares, necessary for developing projects and preparing exams. Labs are at the students’ disposal even extra lesson time.
Remarkable is that teacher who accomplishes himself what he teaches to others. (Italian proverb)
IED faculty are professionals that daily face the market. Here you can read their bios.
Fulvio Fantolino - Course Coordinator
Fulvio Fantolino - Course Coordinator
Degree in Architecture at the Polytechnic in Turin, after several experiences in important architecture, engineering and design studios, he founded in 1998 his own design and architecture studio in Turin. He’s been teaching at IED since 1996 and from 2002 he has been Coordinator of the Transportation Design course. He collaborated with many important car companies: for example Fiat, Lancia, Hyundai, Volkswagen and Ferrari.
Graduated in BYT Design at IED Torino (Bike, Yacht & Train Design) he collaborated with Atlantis, Harrauer, Joker Boat and Ducati. He has been working as Transportation & Yacht Designer freelance (Interior and Exterior) at Pininfarina Extra since 2011. Owner of Mazzon daniele Design Studio, he also collaborated with C3 Studio, Creative Apps and Gloria Cars.
Graduated in Automotive Engineering in 2009, after a working experience as designer for the naval industry, he works as CAS Designer at Torino Design in car body virtual modeling. Since 2010 he has been taking part of FIAT Design Centre in Turin, where he collaborated in creating business vehicles interiors and exteriors. He’s currently involved in an interior design project for a spider.
He has been working for Fiat Auto for a long time. Since 2001 he has been Director and Administrator of the Automotive National Museum in Turin. He coordinated the Museum’s restructuring, amplification and setup until the reopening in 2011.
He began his career with a concept car project in collaboration with Kia Motors Korea in Milan. He joined Fiat Advance Design Team in Turin in 2005, where he currently collaborates in style researchers for 500 Abarth, Lancia Delta and Lancia Ypsilon. After a working experience in Pininfarina as 3D Designer, he went back in Fiat for following the interiors development of the new Panda and 500 gamut. He thereafter was added in the UX Design LAB of FCA Group, where he improved as Interaction Designer.
Graduated in Industrial Metal-mechanic, he gained working experience in interior and exterior design projects. Chief Modeler and Prototipe Manager for the company Stile Bertone since 2006, he has also been teaching at IED Torino since 2015. He previously worked for Alfa Romeo, Citroen, Opel, Fiat, LandRover, BMW e Ferrari.
After several experiences in companies such as Fiat Design Center, Form Design Center Italdesign, Idea Institute and Nucleo Design Factory, he joined Kiska’s transportation design department. In 2006 he founded ESSERE Group, multidisciplinary company engaged in external consultancy for the transportation and product design, but also for marketing, brand and product strategy, architecture and POS design. He has been teaching at the University of Applied Sciences FHS Salzburg Kuchl since 2006.
Rodriguez Plata Guillermo Andres
Rodriguez Plata Guillermo Andres
Graduated in Mechanical Engineering in Bogotà, he achieved a Master in Transportation & Automotive Design at the Polytechnic in Milan. He’s involved in product design development project for companies such as The Coca-Cola Company, Digare Design, Cabko SA, Terpel SA and airline companies Avianca. In the automotive design sector he collaborated with Volkswagen Group, also working in modeling for Porsche, Kia, Honda and Suzuki.
Senior Designer at Pininfarina Extra. Among his projects: Head for ski, helmet and ski bindings, Riva for table and chair made of wood, Motorola for a mobile phone USA, Studioplast for yacht interior and exterior, Design Top only Button for Lavazza LB1100. In 2016 he was the only designer who took part in Expo 2015-Martini Terrace, where he designed a yacht for Fincantieri Montecarlo Yatch Club and publicly unveiled the watch he created for Bovet.
Graduated in Transportation Design in IED Torino, he achieved a Master in Transportation Interface Design at IED Madrid-Torino with a sponsorship from Pininfarina. He worked at Motorola USA in 2004 as Pininfarina Spokesman and began his freelance career in 2005. He’s currently Teacher in IED Torino and Senior Design at Pininfarina.