Made available in DSpace on 2016-03-15T19:22:07Z (GMT). No. of bitstreams: 1 Bruno Silva Dias.pdf: 13548713 bytes, checksum: f97ade8cd4ab541c85454dbab272b6ed (MD5) Previous issue date: 2013-07-29 / Fundação de Amparo a Pesquisa do Estado de São Paulo / This research provides an overview of the architecture and the furniture produced in Brazil since the early twentieth century, giving prominence to the modern mobile Brazilian produced between the 1950s and 1970s and the bourgeois residential architecture. It also has as a basis to analyze production articulated this same furniture and modern residential architecture in São Paulo. At that time, the company formed by architects Store Branco & Preto and the new political moment that permeated the national scene encouraged the insertion and led to the consolidation of the modern ideas in São Paulo. This production meant by the contribution of the furniture store Branco & Preto, a synonym of partnership and cooperation, to act as a mediator of the interrelationship between the mobile and residential architecture itself. The overall goal is to demonstrate and characterize the necessary relationship between modern architecture and furniture produced during the stated period, which was provided by the dissemination and assimilation in Brazil's modernist ideas and practices. The furniture designed these years came from a line produced with refinement and excess ornaments and consisted of an inseparable element of the expression of that architecture. Thus, the research assumes that the relationship between the interior spaces and architectural shell found in the furniture of the main supports of expression forefront. Moreover, it is inevitable considering the fact that the furniture expresses cultural values, aesthetic, economic and social aggregates, themes that enrich and make it complex to its specific characteristics and artistic influences, as well as production techniques. The issues raised will be evidenced by reconstituting, through drawings and models Branco & Preto Store located in Rua Vieira de Carvalho, the reconstructions of the halls of residence and the residence of Roberto Aflalo Pacaembu - designs of architects Plinio Croce and Roberto Aflalo 1955 in reconstructions of the living room of the house Maria Luisa and Oscar Americano 1952 and the first floor of the residence, 1956 Jardim America - both designs of architect Oswaldo Arthur Bratke, besides the development of drawings and models of mobile unpublished authored by members of store. / A presente pesquisa traça um panorama da arquitetura e do mobiliário produzido no Brasil desde o início do século XX, dando destaque para o móvel moderno brasileiro produzido entre as décadas de 1950 e 1970 e para a arquitetura residencial burguesa. Tem também como base analisar a produção articulada desse mesmo mobiliário e da arquitetura residencial moderna paulistana. Naquele período, a sociedade formada pelos arquitetos da loja Branco & Preto e o novo momento político que permeava o cenário nacional incentivaram a inserção e levaram à consolidação do ideário moderno em São Paulo. Essa produção significou, mediante a contribuição da loja de móveis Branco & Preto, um sinônimo de parceria e cooperação, ao atuar como mediadora da inter-relação entre o móvel e a arquitetura residencial propriamente dita. O objetivo geral é evidenciar e caracterizar a relação necessária entre a arquitetura moderna e o mobiliário produzido no período supracitado, que foi proporcionada pela disseminação e assimilação no Brasil do ideário e das práticas modernistas. O mobiliário projetado nesses anos vinha de uma linha produzida com requinte e excesso de ornamentos e consistia em elemento indissociável da expressão daquela arquitetura. Sendo assim, a pesquisa parte do pressuposto de que a relação entre os espaços internos e a casca arquitetônica encontrava no mobiliário um dos principais suportes de expressão de vanguarda. Ademais, é inevitável considerarmos o fato de que o mobiliário expressa valores culturais, estéticos, econômicos e sociais agregados, temas que o enriquecem e tornam complexas as suas características específicas e influências artísticas, bem como as técnicas de produção. As questões levantadas serão evidenciadas com a reconstituição, através de desenhos e maquetes da loja Branco & Preto localizada na Rua Vieira de Carvalho, nas reconstituições das salas da residência de Roberto Aflalo e da residência Pacaembu projetos dos arquitetos Plínio Croce e Roberto Aflalo de 1955, nas reconstituições da sala de estar da residência Maria Luisa e Oscar Americano de 1952 e do primeiro pavimento da residência Jardim América de 1956 ambos projetos do arquiteto Oswaldo Arthur Bratke, além do desenvolvimento de desenhos e maquetes de móveis inéditos de autoria dos membros da loja.

Skizzen spielen im Designprozess als Denkwerkzeuge und Kommunikationsmittel eine wichtige Rolle. Im professionellen Designdiskurs im Social Web sind sie jedoch kaum sichtbar. Der vorgestellte Skizzenblog könnte die visuelle Diskussionskultur unter Designern befördern, indem er die Technik des Bloggens auf das Skizzieren überträgt.

Submitted by Paula Mesquita Melques null (paulamelques@gmail.com) on 2017-08-21T16:57:41Z No. of bitstreams: 1 Tese_Paula_Melques.pdf: 2538504 bytes, checksum: bc9ef094f671e3470db2e3ade0466c95 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-08-23T19:06:38Z (GMT) No. of bitstreams: 1 melques_pm_dr_prud.pdf: 2538504 bytes, checksum: bc9ef094f671e3470db2e3ade0466c95 (MD5) / Made available in DSpace on 2017-08-23T19:06:38Z (GMT). No. of bitstreams: 1 melques_pm_dr_prud.pdf: 2538504 bytes, checksum: bc9ef094f671e3470db2e3ade0466c95 (MD5) Previous issue date: 2017-07-22 / A presente pesquisa de Doutorado pertence à linha de pesquisa “Práticas e Processos Formativos em Educação” do Programa de Pós-Graduação em Educação da Faculdade de Ciências e Tecnologia da Universidade Estadual Paulista “Júlio de Mesquita Filho” (FCT/UNESP). Parte-se da hipótese de que o designer educacional (DE) tem papel fundamental quando se propõem abordagens de educação centradas na construção do conhecimento, para que não seja realizada a transposição de práticas de transmissão de informações, presentes historicamente na educação, para o contexto da Educação a Distância (EaD). Diante da complexidade envolvida nas atribuições desse profissional, apresenta-se a pergunta da pesquisa: como a atuação do DE em um contexto de elaboração e execução de cursos na modalidade a distância concebidos a partir das abordagens Estar Junto Virtual (EJV) (VALENTE) e Construcionista, Contextualizada e Significativa (CCS) (SCHLÜNZEN) pode permitir que as características do público-alvo, as especificidades da EaD e os objetivos dessas abordagens de educação sejam alcançados? Assim, como objetivo geral, buscou-se conceituar o designer educacional no contexto de cursos na modalidade a distância segundo as abordagens CCS e EJV. Para tanto, a partir de uma abordagem qualitativa do tipo investigação-ação, estudou-se a elaboração e a execução de um curso de especialização do Programa Rede São Paulo de Formação Docente (Redefor) Educação Especial e Inclusiva, no qual a pesquisadora atuou como designer educacional. A seleção e a coleta de dados ocorreram por meio de instrumentos como arquivos de roteiros, matriz e agenda, e e-mails enviados e recebidos entre a equipe multidisciplinar, professores autores, especialista e coordenação, além das atividades propostas e da produção dos cursistas no Ambiente Virtual de Aprendizagem (AVA) Moodle. Com categorias de análise pré-definidas, analisou-se os dados a partir do confronto entre o que foi pensado inicialmente pelo professor autor e o resultado final após as intervenções realizadas e, também, da identificação dos elementos das abordagens CCS e EJV na proposta pedagógica do curso e na produção dos cursistas. Observou-se que o designer educacional contribuiu para o estabelecimento da base de conhecimentos tecnológicos e pedagógicos do conteúdo (TPACK) (MISHRA; KOEHLER) a partir da articulação dos saberes e das ações das equipes pedagógica e multidisciplinar, e ainda, a proposta pedagógica do curso permitiu que os cursistas construíssem produtos, por meio de atividades contextualizadas, com alto nível de interação e mediação pedagógica efetiva, permitindo assim a construção do conhecimento à medida que atribuíam significado aos conceitos apreendidos. / This Doctoral research belongs to the research line "Practices and Formative Processes in Education" of the Graduate Program in Education of the Faculty of Sciences and Technology of Sao Paulo State University "Júlio de Mesquita Filho" (FCT / UNESP). It starts with the hypothesis that educational designer has fundamental role when proposing education approaches centered on the construction of knowledge, so that the transposition of information transmission practices is not carried out into the context of Distance Education. In view of the complexity involved in the assignments of this professional, the research problem is presented: how the educational designer performance in a context of elaboration and implementation of courses in the distance education modality conceived from the approaches Being Together Virtually (known as EJV) (VALENTE) and Constructionist, Contextualized and Meaningful (known as CCS) (SCHLÜNZEN) can enable that the target audience characteristics, distance education specificities and the objectives of these education approaches to be achieved? Therefore, as general objective, it was sought to conceptualize the educational designer in the context of distance education courses according to the CCS and EJV approaches. To do so, based on a qualitative approach of action-research type, it was studied the elaboration and implementation of a specialization course belonging to the Sao Paulo Network Program of Teacher Training (Redefor) Special and Inclusive Education, in which the researcher acted as educational designer. Selection and collection of data occurred using tools as script files, matrix and agenda, e-mails sent and received between the multidisciplinary team, teacher authors, specialist and coordination, as well as the proposed activities and production of the students in the Virtual Learning Environment (VLE) Moodle. With predefined categories of analysis, the data were analyzed from confrontation between what was initially thought by the teacher author and the final result after the interventions carried out and, also, the identification of elements from the CCS and EJV approaches in the course pedagogical proposal and in the students’ production. It was observed that the educational designer contributed to establish the technological and pedagogical knowledge base of the content (TPACK) (MISHRA; KOEHLER) from articulation of knowledge and actions of the pedagogical and multidisciplinary teams, and also, the pedagogical proposal of the course allowed the students to construct products, through contextualized activities, with a high level of interaction and effective pedagogical mediation, allowing thereby, the construction of knowledge insofar as they were attributing meaning to the concepts seized.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper discusses the practice and theory of expography an art exhibition and digital technology. It is based on the experiences of this author, as an exhibitions designer, in conjunction with the research on the history, theory and criticism of art. It presents the development of a design through procedural strategies, techniques and exhibition to discuss exhibition with digital technology in the field of art. This research analyzes some pioneering exhibitions in art and digital technology, takes some practice and conceptions in the area from experience and analysis to perform the expography FACTORS 1.0 and FACTORS 2.0. / Esta dissertação aborda a prática e a teoria da expografia em mostras de arte e tecnologia digital. Fundamenta-se nas vivências desta autora, como designer de exposições, em articulação com a pesquisa em história, teoria e crítica da arte. Apresenta o desenvolvimento de um projeto expográfico, através de estratégias processuais, técnicas e expositivas para problematizar as mostras com tecnologia digital no campo da arte. Esta investigação analisa algumas exposições pioneiras em arte e tecnologia digital, retoma algumas práticas e concepções na área a partir de vivência e análise, para realizar a expografia do FACTORS 1.0 e FACTORS 2.0.

G-protein signalling is an evolutionary conserved concept highlighting its fundamental impact on developmental and functional processes. Studies on the effects of G protein signals on tissues as well as an entire organism are often conducted in Caenorhabditis elegans. To understand and control dynamics and kinetics of the processes involved, pharmacological modulation of specific G protein pathways would be advantageous, but is difficult due to a lack in accessibility and regulation. To provide this option, we designed G protein-coupled receptor-based designer receptors (DREADDs) for C. elegans. Initially described in mammalian systems, these modified muscarinic acetylcholine receptors are activated by the inert drug clozapine N-oxide, but not by their endogenous agonists. We report a novel C. elegans-specific DREADD, functionally expressed and specifically activating Gq-protein signalling in vitro and in vivo which we used for modulating mating behaviour. Therefore, this novel designer receptor demonstrates the possibility to pharmacologically control physiological functions in C. elegans.

Skizzen spielen im Designprozess als Denkwerkzeuge und Kommunikationsmittel eine wichtige Rolle. Im professionellen Designdiskurs im Social Web sind sie jedoch kaum sichtbar. Der vorgestellte Skizzenblog könnte die visuelle Diskussionskultur unter Designern befördern, indem er die Technik des Bloggens auf das Skizzieren überträgt.

Although accessibility benefits all users of the web, irrespective of their abilities and disabilities, many web applications fail to fulfill basic accessibility requirements. Designers and developers need to improve their work with accessibility in order for digital inclusion to be possible. This thesis investigated how a design system can support them in producing accessible applications. It used a design approach to formulate an accessibility methodology for creating and maintaining a design system. Interviews and ideation workshops were held to understand the problem and generate solutions. A methodology was put together and evaluated through expert reviews, focus grouping, and user testing. The thesis resulted in 10 guidelines for how to promote accessibility through a design system. Central to the guidelines was that companies adapt the work with accessibility to their specific situation, by setting their own goals and creating tools for the different stages of the employees' work processes. The thesis concluded a design system can help designers and developers not feel overwhelmed by accessibility requirements, and focus on what is relevant to the task they are currently performing. A design system that is merely a storage for components can only assist designers and developers with a fraction of the accessibility requirements. Greater potential is held by a design system that is made into a platform for accessibility, by providing guidance on how to use components and being referenced in testing procedures. / Trots att tillgänglighet gynnar alla användare, oavsett förmåga eller funktionsnedsättning, uppfyller många webbapplikationer inte grundläggande tillgänglighetskrav. För att digital inkludering ska vara möjlig, behöver designers och utvecklare förbättra sitt arbete med tillgänglighet. Detta examensarbete undersökte hur ett designsystem kan stötta dem med att producera tillgängliga applikationer. Med ett angreppssätt vanligt för design, tog det fram en tillgänglighetsmetodik för att skapa och underhålla designsystem. Intervjuer och idéworkshops hölls för att förstå problemet och generera lösningar. En metodik sammanställdes och utvärderades genom expertutvärderingar, fokusgrupp och användartester. Examensarbetet resulterade i 10 riktlinjer kring att främja tillgänglighet genom ett designsystem. Centralt för riktlinjerna var att företag ska anpassa tillgängligh-etsarbetet till deras specifika situation, genom att sätta egna mål och skapa verktyg för de olika stadierna av medarbetarnas arbetsprocess. Examensarbetet kom till slutsatsen att ett designsystem kan hjälpa designers och utvecklare undvika att överväldigas av tillgänglighetskrav, och fokusera på vad som är relevant för den aktuella uppgiften de utför. Ett designsystem som enbart är ett förvar för komponenter kan bara stötta designers och utvecklare med en bråkdel av tillgänglighetskraven. Ett designsystem som blir en plattform för tillgänglighet, genom att ge handledning för hur komponenter ska användas och genom att refereras till i testrutiner, har högre potential.

[pt] Essa tese analisa a narrativa da toy art, com foco na sua história e relações com a cultura Pop. A análise propõe questões sobre seu papel no enfrentamento aos mi-tos urbanos contemporâneos, assim como dialoga e se relaciona com a manifesta-ção dos Bate-bolas dos subúrbios do Rio de Janeiro. A toy art é um suporte ex-pressivo contemporâneo que contém elementos do grafite, do design, e da street art. Apresenta uma narrativa da cidade com violência e humor ácido. O consu-mismo e a pós modernidade são necessariamente investigados ao se estudar o uni-verso da toy art, ou designer toy, assim como as tribos urbanas. Sua forma é a de um brinquedo e sua narrativa é explicitamente adulta. A pesquisa aplicada produz uma linha de toy arts baseados na estética dos Bate-bolas do subúrbio carioca, uma manifestação cultural tradicional do carnaval. O intuito é conhecer os processos que envolvem a produção do objeto assim como as possibilidades de conexões entre o universo pop e a cultura urbana em uma dimensão regional e nacional. / [en] This thesis analyzes the narrative of toy art, focusing on its history and relations with Pop culture. The analysis proposes questions about its role in confronting contemporary urban myths, as well as dialogues and relates to the manifestation of the Bate-bolas in the suburbs from Rio de Janeiro. Toy art is a contemporary expressive medium that contains elements of graffiti, design, and street art. It pre-sents a narrative of the city with violence and acid humor. Consumerism and postmodernity are necessarily investigated when studying the universe of toy art, or designer toy, as well as urban tribes. Its shape is a toy shape and its narrative is explicitly adult. The applied research produces a line of toys based on the aesthetics of Bate-bolas in the suburb of Rio, a traditional cultural manifestation of carnival. The aim is to know the processes that involve the production of the object, as well as the possi-bilities of connections between the pop universe and urban culture in a regional and national dimension.

Inom utveckling av mjukvaruprodukter kan samarbete ofta ske mellan designers och andra tekniska intressenter, såsom utvecklare. En förekommande process under samarbetet är en s.k. handoff, där design överlämnas från designers till utvecklade för att implementera denna i kod. Samarbetet mellan designers och utvecklare kan nuförtiden ske mer tillsammans och vara iterativt. Trots detta kan det finnas flera utmaningar inom samarbetet, såsom att försöka genomföra en exakt omvandling från design till kod. Andra sammanbrott (breakdowns) kan riskera att ske i samarbetet. Ett verktyg som kan användas inom design men som även erbjuder exportering av element och omvandling till kod är Figma. Verktyget beskrivs vara lämpligt för kollaboration, bland annat för designers och utvecklare. Figma menar att designer-utvecklare handoffs kan bli så lätt som en “handskakning”. I det här examensarbetet undersöks vilket roll Figma kan spela i samarbetet mellan just dessa två grupper, och huruvida Figmas verkliga användning skiljer sig från den som beskrivits. Studien försöker besvara hur Figma används i designer-utvecklare samarbetet i slutet av designprocessen och under konstruktionsprocessen, där konstruktionsprocess innebär där implementationen sker, detta enligt egen uppfattning. Semistrukturerade, digitala intervjuer genomfördes med tre designers och fyra utvecklare från företag i Sverige. De flesta deltagarna arbetade på olika företag. Affinitetsdiagram användes för analys. Resultatet visade att designers och utvecklare brukar använda Figma genom designprocessen, men även i skärningspunkten mellan design- och konstruktionsprocessen; designers skapar guidelines i designsystemet och kommentarer för att dela information med utvecklarna. Utvecklarna granskar och godkänner designers skapelser innan de läggs in i designsystemet, eller skapar komponenter själva. Designsystemet kan i sin tur fungera som en mall för utvecklarna när de ska börja koda. Det framgick även att andra faktorer kan spela roll i samarbetet, såsom mänskliga faktorer. Båda parterna använder Figma för att kommunicera med varandra skriftligt och visuellt, bland annat genom kommentarsfunktionen, prototyper och designsystem. Efter diskussion om resultaten visar det sig att Figma används under handoffs, men inte exklusivt. Verktyget kan dessutom användas för mer än att skapa gränssnitt. Det visar sig även att Figma på olika sätt kan främja designers och utvecklare i att tala samma språk; till exempel finns en del namn i Figma som liknar kodspråk. Å andra sidan såg deltagarna rum för förbättring i detta område då det fortfarande finns en del namn och funktioner i Figma som skiljer sig från kodspråk. En annan förekommande utmaning med samarbetet i Figma var synkronisering mellan designers och utvecklares representationer, det vill säga det som designers skapar och det som utvecklare skapar. Med andra ord upplevdes det svårt att fånga upp förändringar som gjorts i Figma eller i kodmiljön, och se till att det finns endast en sanningskälla. Slutsatsen är att Figma används i en kollaborativ designprocess för att kommunicera hur designen bör fungera och se ut visuellt. I konstruktionsprocessen används Figma för att granska olika designartefakter och inspektera designsystemet i Figma, vilka agerar utgångspunkter vid implementation. / In the field of software development, collaboration between designers and other technical stakeholders such as developers is common. During the collaboration, one occurring process is the so-called handoff, in which designers hand over a design to developers in order to implement the design into code. Today, designers and developers can often work together in an iterative fashion. Despite this, challenges may occur during the collaboration, such as when trying to transform design to code. Other breakdowns may also occur during the collaboration. One tool, that is used for design but can also offer exporting of elements and transforming to code, is Figma. The tool is described as being convenient for collaboration, such as designers and developers among other groups. According to Figma, using the tool may transform a designer-developer handoff into a “handshake”. In this thesis, the role of Figma in the designers-developer collaboration and its usage is studied. The goal of the study is to provide an answer to how Figma is used in the collaboration between designers and developers at the end of the design process and during the construction process. The construction process describes the process where the implementation is done, according to the authors' own understanding. Semi-structured digital interviews with three designers and four developers from companies in Sweden were conducted in this study. The majority of the participants worked at different companies. Affinity diagram were used to analyze the collected data. The results indicated that designers and developers usually use Figma throughout the design process, but also in the intersection of the design- and construction process; designers create guidelines in the design system and use comments to share information with developers. The developers review and approve designers’ creations before inserting them into the design system, or they just create the components themselves. Developers can also use the design system as a foundation for coding. Another interesting find was that other aspects outside of Figma, such as human factors, could impact the collaboration as well. Both designers and developers use Figma to communicate by text and through visuals, such as via the comment feature, prototypes and design systems. After discussing the results, it became clear the Figma is used during handoffs but not exclusively so. The tool can also be used for more than just creating interfaces. In many ways Figma can support designers and developers in speaking the same language, such as by having similar names to the ones found in code. On the other hand, the participants saw room for improvement in this area since some features and names in Figma differ from code. Another frequent challenge when collaborating in Figma was the synchronization between designers’ and developers’ representations, where representations are the things that designers and developers create respectively. In other words, designers and developers described challenges in picking up the changes made in Figma or in the development environment, and maintaining a single source of truth. The conclusion is that Figma is used in a collaborative design process to communicate the behaviour and visual aspects of the design. During the construction process, Figma is used to review design artefacts and inspect the design system in Figma, which acts as foundations for implementation.

[pt] As transformações na sociedade contemporânea ocasionadas pelas tecnologias da informação aproximaram o designer de produtos do empreendedorismo independente. A partir delas, Designers Empreendedores de Produtos Autorais (DEPAs) se tornaram curadores do seu próprio risco, em processos criativos autorais e em tomadas de decisões que envolvem uma nova forma de atuar nos ecossistemas criativos de design, no qual o design passa a ser o foco do ecossistema. Um contexto que traz desafios na capacitação de novos saberes e um acúmulo de atividades e funções organizacionais, por esses designers, além da necessidade de novos conhecimentos sobre esses modelos de negócios, que são baseados em design. O levantamento de experiências e boas práticas de ecossistemas criativos integrados relacionados com o campo do design irá determinar características deste ecossistema que sejam adequadas para DEPAs, que apoie a gestão interdisciplinar e transdisciplinar de negócios centrados no empreendedorismo em design de produto. Esta pesquisa se empenhou em diversas revisões bibliográficas determinando oito características para um ecossistema criativo integrado, organizadas em quatro eixos temáticos: (i) comunidade, (ii) plataforma física, (iii) suporte e (iv) gestão e modelo de negócios. / [en] The contemporary society has changes caused by the information technologies that have brought product designers closer to independent entrepreneurship. From them, Entrepreneurs Designers of Authorial Products (DEPAs) became curators of their own risk, with authorial creative processes and decision-making that involve a new way of acting in the creative ecosystems of design, in which design becomes the ecosystem focus. A challenger context for these designers, by the learning of new knowledge and an accumulation of activities and organizational functions. In addition, the design research needs new knowledge about these business models, which are design based. The survey of experiences and good practices of integrated creative ecosystems related to the field of design will determine characteristics for this ecosystem that will be suitable for DEPAs, on supporting the interdisciplinary and transdisciplinary management of businesses centered on entrepreneurship in product design. This research has made several bibliographic reviews, determining eight characteristics for an integrated creative ecosystem, organized in four thematic axes: (i) community, (ii) physical platform, (iii) support and (iv) management and business model.