[pt] A presente pesquisa se situa na confluência entre essa presença multimodal para o desenvolvimento de uma consciência crítica sobre o caráter ideológico na trajetória formativa do Ensino Superior em Design. Com o objetivo de contribuir para uma reflexão sobre os processos formativos dos futuros designers na sociedade, este estudo faz uma investigação sobre a presença multimodal em experiências de sala de aula, enfatizando-a enquanto estruturadora de práticas discursivas com reflexos no âmbito social. A pesquisa explora em que medida a formação em Design incorpora uma reflexão sobre os objetos de uso, sistemas de informação em serviços no domínio da pragmática, debatendo sobre o objeto em uso como mediador de significados individuais e coletivos. O contexto de observação se dá em um curso de Bacharelado em Design com habilitação em Comunicação Visual de uma instituição de Ensino Superior do Rio de Janeiro, e se fundamenta nos princípios da pesquisa qualitativa e da observação participante. Nos aproximamos da abordagem teórico-metodológica da Sociolinguística Interacional como base para a interpretação dos dados. A ponte da multimodalidade como condição propulsora dos processos de construção de sentidos sociais está fundamentada na obra de Fairclough. Bomfim, Couto, Farbiarz e Novaes são os autores que sustentam a construção epistemológica do Design como campo produtor de sentidos a partir de atos de linguagem. Entre os achados e reflexões da pesquisa, encontram-se esquemas de conhecimento nas interações inerentes a uma práxis analítica e crítica, e identifica-se uma diversidade de ocorrências de perspectivas pragmáticas nas práticas pedagógicas. / [en] The present research is placed at the confluence between this multimodal presence for the development of a critical awareness about the ideological character in the formative trajectory of Higher Education in Design. In order to contribute to a reflection on the training processes of future designers in society, this study investigates the multimodal presence in classroom experiences, emphasizing it as a structuring of discursive practices with reflections in the social sphere. The research explores the extent to which Design training incorporates a reflection on the objects of use, information systems in services in the domain of pragmatics and debating on the object in use as a mediator of individual and collective meanings. The observation context takes place in a Bachelor s Degree in Design with a degree in Visual Communication from an institution of Higher Education in Rio de Janeiro, and is based on the principles of qualitative research and participant observation. The use of theoretical-methodological approach of Interactional Sociolinguistics is the base for the interpretation of the data. The bridge of multimodality as a driving force in the processes of construction of social meanings is based on the work of Fairclough. Bomfim, Couto, Farbiarz and Novaes are the authors who support the epistemological construction of Design as a field that produces meanings based on acts of language. Among the findings and reflections of the research, it is found knowledge schemes in the interactions inherent to an analytical and critical praxis, and it is identified a diversity of occurrence of pragmatic perspectives in pedagogical practices.

[pt] O presente estudo propõe uma metodologia interdisciplinar para a criação de objetos óticos, que possa ser utilizada como material didático no ensino de Design. O uso de novas tecnologias em sala de aula permite questionar sobre que tipos de objetos estimulantes e atraentes podem ser desenvolvidos para o aprendizado do aluno nascido de uma geração imersa no meio digital. Uma das hipóteses seria o desenvolvimento da releitura dos chamados brinquedos óticos criados entre os séculos XVII e XIX e que são considerados os antecedentes do Cinema de Animação. No entanto, muitos são os desafios para que o novo material seja criado a partir de uma metodologia colaborativa recente, sem se caracterizar como apenas uma nova roupagem para antigos modelos. Fundamentada em conceitos como os fatores educativos de Luigi Giussani, a pedagogia das coisas de Pier Paolo Pasolini e a teoria de simetria de Bruno Latour, esta tese faz um levantamento histórico desses objetos óticos e analisa situações de ensino aprendizagem utilizando recursos didáticos a partir de tecnologias analógicas. Uma análise desses recursos, uma discussão e aprofundamento em questões como, interdisciplinaridade e Cinema de Animação são apresentadas. Por fim um estudo de caso de produção interdisciplinar de objetos óticos criados por alunos em sala de aula foi realizado. / [en] The essay presents an interdisciplinary methodology with the creation of optical toys for pedagogical purposes in Design teaching. In digital era, the use of new technologies in classroom favors speculation about what fascinates the students nowadays and what would be useful to their learning. One hypothesis is the recreation of the then-called optical toys, originally created in XVIII-XIXth centuries, considered the forefathers of Animation Cinema. However, there are many challenges to create new material originating from a recent colaborative methodology, instead only rehashing the old models. This thesis is based on Luigi Giussani s educative factors, Bruno Latour s simetry theory and Pier Paolo Pasolini s pedagogy of things, bringing a historical survey of the optical objects and analyzes cases of teaching learning with didatic resources from analogical technologies. It concludes an interdisciplinary case of optical objects producted by students in class.

No description available.

[pt] A presente pesquisa trata da concepção de uma proposta pedagógica, denominada Ensino Ágil, e sua implementação na disciplina Projeto Básico Desenvolvimento DSG1003, nas turmas da habilitação de Mídia Digital e Comunicação Visual, do curso de Design da PUC-Rio. Tem por objetivo discutir a pertinência do Ensino Ágil em situações de ensino aprendizagem inseridas no contexto da Cibercultura levyniana, presente na atual Era da Informação Móvel. Como arcabouço teórico da pesquisa, foi estabelecida uma relação entre a Teoria Geral de Sistemas, de Ludwig Von Bertalanffy, e o Estruturalismo, de Jean Piaget, bem como seus reflexos nos princípios do Manifesto Ágil para desenvolvimento de software, que, por sua vez, inspiraram a concepção do Ensino Ágil. No desenvolvimento da presente dissertação, foram contempladas questões relativas ao processo de aprendizagem significativa e o papel das emoções nas relações de ensino aprendizagem, dentre outros conceitos atinentes à Psicologia da Educação. A pesquisa realizada traz como principal conclusão que a flexibilidade e a agilidade do Ensino Ágil possibilitam sua adaptação a diferentes perfis cognitivos, sociais e emocionais de alunos. Como resultado da pesquisa, constatou-se o desenvolvimento de habilidades e competências planejadas para a disciplina DSG1003. / [en] The present research deals with the conception of a pedagogical proposal, which is called Agile Teaching, and its implementation in the discipline Basic Project Development DSG1003, in the Digital Media and Visual Communication classes, in the Design course at PUC-Rio. The research aims to discuss the relevance of Agile Teaching in teaching learning situations inserted in the context of Levynian Cyberculture, present in the current Mobile Information Age. As a theoretical framework for the research, was established a relationship between Ludwig Von Bertalanffy s General Systems Theory and Jean Piaget s Structuralism, as well as their reflections on the principles of the Agile Manifesto for software development, which, in turn, inspired the concept of Agile Teaching. In the development of this dissertation, it was addressed issues related to the meaningful learning process and the role of emotions in teaching learning relationships, among other concepts pertaining to educational psychology. The research has as its main conclusion that the flexibility and agility of Agile Teaching enable its adaptation to different cognitive, social and emotional profiles of students. As a result of the research, it was verified the development of skills and competencies planned for the discipline DSG1003.

Comparé à l’art contemporain chinois qui ne cesse de caracoler en tête du marché de l’art, le design graphique est un objet artistique, industriel et populaire, modeste dans ses ambitions culturelles. Toutefois ses enjeux présentent un important intérêt scientifique dès lors que toutes les productions spécifiques du design s’adressent davantage au peuple chinois qu’aux étrangers. Soumis à des commanditaires économiques et politiques, le design graphique en tant qu’objet de recherche témoigne non seulement des luttes existant à l’intérieur du champ du design chinois mais également de celles qui se livrent en pleine Chine postmoderne. Dans le cadre théorique des Etudes Culturelles, cette thèse considère que le design graphique recèle une fonction sociale et politique significative en Chine, dont les enjeux excèdent ceux que l’on pense être susceptibles de répondre à une simple fonction de communication commerciale. A partir d’analyse de quelques productions graphiques emblématiques historiques, cette recherche s’interroge sur la réactualisation de l’identité culturelle chinoise, en crise aujourd’hui. Au cours des périodes moderne, maoïste et postmoderne, le design graphique n’a cessé de participer à l’esprit du temps dominant. En tant que dispositif actif, socio-formant l’esprit et relevant de la culture, le design graphique intervient dans les processus de construction identitaire individuelle et collective. Cette recherche, après avoir rendu compte des rapports parfois ambigus ou incertains, exercés par les modèles graphiques hégémoniques et concurrentiels, s’attache à décrypter les actuelles tensions révélatrices de valeurs et visions du monde contradictoires. / Comparing to the Chinese contemporary art which constantly prance at the head of the art market, the graphic design is an artistic object, industrial and popular, and modest in its cultural ambitions. However, its stakes present a scientific interest important because all of the specific design productions direct to the Chinese people than the foreigners. Subject to the economic and political partners, the graphic design, as the object of research, attest the existing conflicts not only inside the field of Chinese design, but also engaged in the full postmodern China. In the theoretical frame of the Cultural Studies, this thesis considers that the graphic design receives a significant social and political function in China, those stakes exceed its simple function of commercial communication which we are likely to think. From analysis of some historic and symbolic graphic productions, this research examines the updating of the Chinese cultural identity, in crisis today. In modern times, Maoist and postmodern periods, the graphic design has continued to participate in the dominant spirit of the times. As an active device, socio-forming the spirit and arising from the culture, the graphic design intervenes in the processes of individual and collective identity construction. After reported the reports sometimes ambiguous or uncertain, which were exercised by the hegemonic and competitive graphic models, this research attempts to decipher the current revealing tensions of the values and visions in the contradictory world.

[pt] O trabalho apresenta um modelo de ensino de métodos de projeto de produto elaborado de modo a facilitar o trabalho docente nas disciplinas de metodologia de projeto e projeto de produto. A pesquisa vem ao encontro da necessidade de, durante o processo projetual, lidar com vários saberes que deverão estar presentes não apenas na fase de projeto abstrato, como também na concretização do objeto. Sustenta-se na investigação que cabe ao docente ser um facilitador da aprendizagem do futuro designer, demonstrando conhecimento profundo da disciplina a ser ministrada, de forma a ressaltar seus aspectos fundamentais e esclarecer acerca de suas aplicações práticas. O aporte teórico do trabalho mostra que a atividade cientifica do design, que estuda métodos e determina a lógica e processos sequenciais se mostra adequada para tornar o design uma prática reflexiva. Entre as habilidades e competências, o designer deve ter capacidade criativa para propor soluções inovadoras, utilizando-se do domínio de técnicas e do processo de criação, assim como domínio das diferentes etapas do desenvolvimento de um projeto, a saber: definição de objetivos, técnicas de coleta e análise de dados, geração e avaliação de alternativas, configuração de solução e comunicação de resultados. As duas habilidades e competências são básicas, pois é isso que se deseja do formando. Assim, o ensino de design deve ser de qualidade e os conhecimentos de métodos projetuais devem ser apreendidos pelo futuro designer para que possa exercer a sua profissão com segurança. O método não garante a solução nem a eficácia do projeto e da sua concretização, pois está relacionado à aproximação com os saberes sendo apenas uma garantia de consecução da finalidade. Dessa forma, o trabalho aqui apresentado tem como objetivo propor o Modelo de Ensino de Métodos de Design de Produto (MEM), apoiado na teoria da aprendizagem significativa. O MEM visa que o professor use estratégias diferenciadas para alcançar a aprendizagem significativa, a partir de um guia que se apóia nos conhecimentos da pedagogia por meio da metodologia do ensino superior. O trabalho propõe estratégias de aprendizagem, estratégias de avaliação e recursos como instrumentos capazes de proporcionar uma aprendizagem mais eficaz de 40 métodos de projeto de produto. Finalmente, o trabalho apresenta a aplicação do MEM pelo período de um semestre na disciplina de Metodologia de Projeto da Univille. A partir dos resultados da avaliação conclui-se sobre a eficácia do modelo, recomendando-se seu uso por outros docentes das disciplinas de Metodologia de Projeto e Projeto de Produto em cursos de design. / [en] This study presents a teaching model for product design methods. It was developed in order to assist the teacher in subjects such as Project Methodology and Product Design. The research aims to attend the necessity, during the product design process, in dealing with all kind of information to be considered not only during the abstract project phase, but also at the moment of the project achievement. During the study the author affirms that the teacher should be a facilitator in the learning process of the future designer, while showing thorough knowledge of the subject to be taught, in a way to emphasize its fundamental aspects and enlighten its practical applications. The theoretical contribution of this study shows that the scientific activity of design, which investigates methods and determines the logic and sequential processes, has demonstrated to be suitable to transform design into a reflective practice. Beyond abilities and competence, a designer should possess creative capacities in order to propose innovative solutions, by means of mastery of the process designing techniques, as well as mastery of the different development steps of a project, namely: object definition, data collection and data analysis techniques, generation and evaluation of alternatives, solution configuration and communication of the results. These two abilities and competences are fundamental, and are required of a graduate student. Therefore, education in design should possess quality and the knowledge regarding project design methods should be learned by the future designer so he or she will be able to face his profession with confidence. This method neither guarantees the solution nor the project’s effectiveness and its achievement since it is related to the approximation of knowledge, being only a guarantee of the attainment of the project s aim. Thus, this study aims to propose a Teaching Model for Product Design Methods (TMM), based on the theory of meaningful learning. The method proposes that the teacher should use differentiated strategies to achieve meaningful learning, based on a guide, which relies on pedagogic knowledge by means of the methodologies of higher education. This study proposes learning strategies, evaluation strategies and 40 product design methods as tools capable of providing a more effective learning process. At last, this work presents the application of the method to the subject Project Methodology during a semester at the Univille University and from the analysis of the results, the effectiveness of the model is found, thus recommending its use by other teachers of the subjects Project Methodology and Project Design of industrial design courses.

Research by design refers to the design of architectural research as an integral part of architectural design processes. In 1980s, it emerged as a third way in design research that was dominated until then by the methods of natural sciences and humanities. With this new formulation of design research, a methodological and epistemological transformation occurs, leading to the integration of practical knowledge into architectural research. The primary epistemological question transforms from knowing what design is and knowing how to design to knowing what through the act of design. The integration of the act of design in research transforms the status of design in design research from being an object of inquiry to being a research approach. In the literature on research by design, this transformation is often related with Donald Sch&ouml / n&rsquo / s conceptualization of &ldquo / reflective practice.&rdquo / The main discussion of reflective practice is primarily methodological rather than epistemological. Although it provides methodological insights, it is not sufficient to constitute an epistemological basis for research by design. Thus, the epistemological basis of research by design has not yet been adequately defined. In this study, the notion of &ldquo / reflective practice&rdquo / is investigated in a broader context relating it to its sources in the concepts of &ldquo / tacit knowledge&rdquo / and &ldquo / action research.&rdquo / A conceptual framework for research by design is constructed by relating these concepts with the discussions on research by design and with practical philosophy, the implications of which has remained rather uninvestigated in this context. Aristotle&rsquo / s elaboration of knowledge generation in action and the concept of phron&amp / #275 / sis (practical knowledge, prudence, or practical wisdom) constitute the underpinning of this conceptual framework. The conceptual framework that is constructed on the basis of the key concepts in practical philosophy is discussed in the context of architectural design education. When architectural design education is formulated as a process of research by design within this framework, knowledge generated in the educational design processes promises not only to improve the particular educational context and architectural education but eventually to contribute to architectural knowledge.

As models and methods of educational pedagogy are altered by social media and digital technology, so too are the spaces where learning takes place. Creative education, particularly the education of design students, does not fit into the “typical” higher education classroom, and therefore requires a different physical setting. Despite changes in learning styles, there are many unchanged traditions and functions of the physical setting of design education. The lack of changes has continued to isolate architectural education from the real, urban experience of the city. This practicum aims to address these issues by proposing a satellite campus in an authentic urban environment for the University of Manitoba’s Faculty of Architecture students and teachers. I will investigate theories regarding emerging trends in higher education, the importance of place in education, and the process of educating designers. Throughout this investigation, emphasis is placed on creativity, collaboration, and flexibility in design education.

As models and methods of educational pedagogy are altered by social media and digital technology, so too are the spaces where learning takes place. Creative education, particularly the education of design students, does not fit into the “typical” higher education classroom, and therefore requires a different physical setting. Despite changes in learning styles, there are many unchanged traditions and functions of the physical setting of design education. The lack of changes has continued to isolate architectural education from the real, urban experience of the city. This practicum aims to address these issues by proposing a satellite campus in an authentic urban environment for the University of Manitoba’s Faculty of Architecture students and teachers. I will investigate theories regarding emerging trends in higher education, the importance of place in education, and the process of educating designers. Throughout this investigation, emphasis is placed on creativity, collaboration, and flexibility in design education.

For many years, and particularly since the 1980s, the state has taken an interest in the curriculum of state-funded secondary schools. This interest has focused largely on utilitarian imperatives for employment and economic sustainability. A consequence of this utilitarian conception of state education is that art viewed, as a less useful subject within the curriculum, is threatened by this. Against an historic discourse about the nature of art itself and why it is taught and its value in society, the question of 'What is art'? and 'What is the role of the art teacher'? continue to defy a consensus that is useful to teachers. Concurrently, these important arguments have inevitably impinged on the practice of art teachers who find themselves distanced from cherished liberal and social imperatives, and confused about what is expected of them. This study looks at how these pervasive arguments make an impact on teachers who, although studied as artists and trained to teach art, now find themselves dubbed 'art and design' teachers as the requirements of the state and its increasingly utilitarian system exerts more control over their working lives. More than twice as many art graduates (3.4% of fine art graduates in 2016) enter teaching than design graduates (1.3% design graduates in 2016) (Logan and Prichard, 2016). A piece of qualitative research was completed with a combined sample of 23 teachers. Building on Efland's streams of influence underpinning the development of art education: Expressionist, Scientific Rationalist and Reconstructivist; and Hickman's rationales for art education: Social Utility, Personal Growth and Visual Literacy, a tentative theory is proposed and hypotheses explored. Some teachers questioned revealed sadness at a perceived reduction in time for lessons devoted to self-expression, art history, cultures, critical evaluation, experimentation, imagination, risk taking, and creativity. Some teachers felt deeply that they and their subject is misunderstood, undervalued and under threat. Many were not comfortable with a role that was at variance with the one they had been trained for. Some teachers suggested their role was no longer concerned with developing children's individual talents but had become too design-based, too predictable, too linear, and too concerned with measurable outcomes and results. Capturing the words of 23 teachers in interviews and surveys contributes to the literature and provides teachers, policy makers and future researchers with vital insights into what an art teacher is and why they teach art, and how this is at variance with National Curriculum aims. These insights are vital because the present lack of consensus about such fundamental arguments has contributed to a devaluing of art in the curriculum to a point where the future of art in state-funded secondary schools is no longer guaranteed.