Introduction to Design Thinking 1

The Coca-Cola logo is arguably one of the most recognized in the world. A product of consumer society and 20th-century industrialization, its presence is ubiquitous, printed on every product and distributed to every corner of the planet. Having remained nearly unchanged since 1887, it transcends mere product identification and functions as a vehicle for values that builds a sense of belonging and familiarity in the collective imagination.

We observe the logo in its usual context: large-scale urban advertising. We take as an example the historic billboards of Buenos Aires at Diagonal Norte and 9 de Julio, a space where thousands of people interact with the brand daily. At this monumental, luminous scale, constantly competing for attention, Coca-Cola manages to embed itself in the everyday life of the city to the point of conveying an inescapable familiarity.

The logo in this context reveals the brand's rawest side. It's essential to remember that, in modernity, design tends to respond to the vision of a corporate elite rather than to the benefit of humanity. Coca-Cola is, in essence, a corporation that sells carbonated beverages whose prolonged consumption carries serious health risks, conditioning the brain toward instant gratification and undermining the capacity for sustained effort in a world that already demands immediate reward.

In this context, the logo placed on the wall poster works to paper over the negative effects that underlie the brand. Its mere presence evokes that same familiarity and the promise of happiness instilled in the consumer, letting the aesthetics of the design conceal the problem with the product itself.

Our visual search for the infographic leaned toward a collage-like aesthetic, aiming to incorporate real photographs that would add realism and impact. We identified the verticality of Puerto Madero's buildings as a powerful image worth exploiting. In parallel, we worked the chromatic and thematic contrast, confronting architectural opulence with the reality of people experiencing homelessness, and placed a street photograph as a transitional element that clearly divides both sectors.

In the preliminary stages we explored different subdivisions of the plate, settling on a horizontal split through the center and building a specific color palette. As the piece developed, we replaced several of the original graphics and text blocks with more compelling visual components, adjusted the typographic hierarchy to improve readability, added a kicker beneath the title, and used the repetition of architectural silhouettes to build a textured background pattern with depth.

Final infographic, A3 print format. Through a technical layout, it presents data on the housing deficit, the distribution of vacant housing, and housing exclusion in Buenos Aires, articulated through rigorous, synthetic infographic language.

A systematic study of the spatial, temporal, and ideological variables present in the film. The infographic visually synthesizes Lotte's place within the Bauhaus and the tensions around women's role in 20th-century design practice, using a vertical layout that hierarchically orders the information.

The early stages of the compositional search focused on typographic structure and the balance of diagonal tensions. Through these preliminary studies, we explored the contrast of visual weights and the integration of basic geometric elements aligned with the school's formal doctrine.

In this exploratory phase, we tested different arrangements of text and restrained color palettes, aiming for a graphic synthesis that could communicate both the constructive force of the school and the role of women within the Bauhaus.

The alternative that moved forward introduced a three-dimensional material experiment: physical threads stretched across the surface of the piece. The technique reaches back to the weaving and textile workshop of the Weimar school, translating vector tension lines into real, physical paths.

The detail shots show the relief, texture, and precision of the hand-built weave. Where the red and black threads physically cross, they cast subtle shadows and create tangible depth, enriching the otherwise two-dimensional graphic language.

The finished conceptual poster. Using a rigorous constructivist language of primary colors and dynamic diagonal type, the piece pays tribute to the lessons of Herbert Bayer. Asymmetric balance and geometric modulation hierarchically organize the tensions in the piece and consolidate the project's overall aesthetic.

A conceptual and historical rationale for the typographic, chromatic, and compositional decisions made across the deliverables. The document details the modulation criteria, the use of constructive grids, and the reasoning behind the thread as a conceptual connector to the visual language of the period.

A visual essay capturing the textures, light, shadow, and presence of human scale within everyday habitat. The strip above lets you move quickly between shots, while the viewer below offers an uncropped, detailed view of each piece.

A written analytical report compiling the conclusions drawn from the photographic, spatial, and audiovisual records produced for this project. It develops the theoretical rationale behind the approach to habitat and reflects on the field experience itself.

A short documentary piece that records the temporal and sonic perception of a lived-in space. The composition captures movement, ambient sound, and routes through the space. While playing, the rest of the screen dims to focus attention on the cinematic atmosphere.

A conceptual analysis and technical breakdown of the audiovisual piece. The rationale details the three-act narrative structure, the color treatment, the sound design, and the symbolic role of objects in building collective memory within urban dwelling.