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[pt] Esta dissertação é um estudo sobre o designer empreendedor e os modelos de processo de design e inovação no contexto das startups com base de design. Em um momento em que as tecnologias de manufatura digital e os meios digitais permitem ao designer projetar, produzir e distribuir de forma independente seus produtos, as possibilidades de sua atuação se transformam. O interesse pelo tema deste trabalho e pela relação entre empreendedorismo e design visa contribuir para o campo e preencher uma lacuna existente na formação dos designers no que toca as diferentes maneiras de atuação no mercado hoje. Assim, essa dissertação pesquisou os processos de design e de inovação descritos na literatura e as formas de estruturação de processos utilizados na prática diária do empreendedorismo em design.Esta pesquisa se organizou através de revisão bibliográfica sobre modelos de processo de design e modelos de processo de inovação. Posteriormente, foram realizadas entrevistas semiestruturadas com designers empreendedores para compreender como sua atuação na prática social e a vivência do empreendedorismo em design moldam os processos destes profissionais. Como resultados são elencados modelos de processo de referência e feitas considerações sobre as características deste designer empreendedor e suas formas de estruturação de processos no que toca as formulações de estratégias de negócios, esquemas produtivos, esquemas de viabilização econômica dos projetos e saídas comerciais para os produtos. São assim levantados pontos a serem considerados para uma discussão alicerçada naquilo que guia os designers na realização de seus projetos, os modelos de processo de design de produto no contexto do empreendedorismo. / [en] This dissertation is a study on the entrepreneurial designer and the design and innovation process models in the context of design intensive startups. At a time when digital manufacturing technologies and digital media allow the designer to independently design, produce and distribute their products, the possibilities of their performance are transformed. The interest in the theme of this work and the relationship between entrepreneurship and design aims to contribute to the field and fill a gap in the training of designers in what concerns the different ways of acting in the market today. Thus, this dissertation investigated the processes of design and innovation described in the literature and the forms of process structure used in the daily practice of entrepreneurship in design. This research was organized through a literature review on models of the design process and innovation process models. Subsequently, semi-structured interviews were conducted with entrepreneurial designers to understand how their work in social practice and the experience of entrepreneurship in design shape the processes of these professionals. As results are listed reference process models and made considerations about the characteristics of this entrepreneurial designer and its forms of process structuring in what concerns the formulations of business strategies, productive schemes, schemes of economic feasibility of the projects and commercial outlets for the products . Thus points are raised to be considered for a discussion based on what guides designers in the realization of their projects, the product design process models in the context of entrepreneurship.

För att nå framgångsrika offentliga upphandlingar inom exempelvis IT är det viktigt att förbereda upphandlingsprocessen genom att planera resurser, kartlägga och analysera behov, marknad och risker (Upphandlingsmyndigheten, u.å.). En litteraturstudie på området visar att UX designers roll i upphandlingsprocesser är otydligt beskriven. Istället har fokus traditionellt sett handlat om användbarhet inom it-produkter, och ansvariga för användarcentrerade designansatser har systemleverantören varit. Lite eller inget ansvar för användarnas behov har legat på den offentliga organisationen. Men litteraturen visar även att upphandlaren bör vara aktiv genom en användarcentrerad designprocess både i kravställningen och genom hela projektet för att nå lyckade offentliga upphandlingar. För att undersöka hur UX designers arbetar i offentliga upphandlingsprocesser idag har följande frågeställningar besvarats: 1. Vilken roll och vilket inflytande har UX designers på upphandlingsprocessen i offentliga upphandlingar idag? 2. Vad karaktäriserar UX designers arbete på anbudsgivarsidan respektive anbudstagarsidan i upphandlingsprocessen för offentliga organisationer? Resultatet från en intervjustudie och en dokumentgranskning visar att UX designers har en tydlig roll på båda sidor om upphandlingsförfarandet. Inflytandet på upphandlingssidan var stort men begränsat till val av lösningsförslag på anbudstagarsidan. Att se över arbetsprocesser i grunden, se till användarnas behov, kravställa efter funktion och behov istället för tekniska krav och vikten av tydlig kommunikation var det som karaktäriserade UXdesigners arbete på båda sidor om upphandlingsprocessen. / To reach successful public procurements in the IT area it’s important to prepare the procurement process by planning resources, to map out and analyze needs, markets and risks (Upphandlingsmyndigheten, u.å.). A study of the literature in the area shows that the role of the UX designer is vaguely described. Instead the focus has traditionally been on usability in IT products and those responsible for user-centered design approaches have been the system suppliers. Some or none of the responsibility for the user needs has belonged to the public organization. But the literature also shows that the procurer needs to be active through a user-centered design process both in the requirements phase and throughout the entire project to reach successful public procurements. To explore how UX designers work in public procurement processes today the following framing of questions have been answered: ● What role and what kind of impact have UX designers on the procurement process inpublic procurements today? ● What characterizes the work of UX designers on the procurer’s side respectively the tenderer's side in the procurement process for public organizations? The results of an interview study and a document review shows that UX designers have a clear role on both sides of the procurement procedure. The impact on the procurer side was great but limited to the choice of solution proposals on the tenderer side. Fundamentally reviewing work processes, looking after the needs of the users, setting requirements according to function and needs instead of technical requirements and the importance of clear communication were what characterized the work of UX designers on both sides of the procurement process.

Despite advances in nuclease-based genome editing technologies, correcting human disease-causing genomic inversions remains a challenge. Here, we describe the potential use of a recombinase-based system to correct the 140 kb inversion of the F8 gene frequently found in patients diagnosed with severe Hemophilia A. Employing substrate-linked directed molecular evolution, we develop a coupled heterodimeric recombinase system (RecF8) achieving 30% inversion of the target sequence in human tissue culture cells. Transient RecF8 treatment of endothelial cells, differentiated from patient-derived induced pluripotent stem cells (iPSCs) of a hemophilic donor, results in 12% correction of the inversion and restores Factor VIII mRNA expression. In this work, we present designer-recombinases as an efficient and specific means towards treatment of monogenic diseases caused by large gene inversions.

Syftet med denna uppsats är att undersöka vilka värden som skapas i modehus marknadsföring på sociala medier samt vilken betydelse de värden som skapas har för varumärket. För att besvara syftet undersöks i denna uppsats det franska modehuset Balmain som en fallstudie. Balmains egna- samt huvuddesignern Olivier Rousteings konton på de populära sociala medie-plattformarna Twitter och Instagram analyseras med semiotisk bildanalys baserat på forskningsfrågor om vilka bilder som förekommer, hur relationen mellan bild och text ser ut samt vilka värden som skapas genom inläggen. Som en av forskningsfrågorna lyder, “Hur ser förhållandet mellan bild och text ut enligt Barthes skrivna mode?” så baseras analysen till stor del på Roland Barthes teorier om det skrivna modet i boken The Fashion System (1967/1990). Det skrivna modet är relationen mellan modebild och dess tillhörande bildtext och är till stor nytta vid analysen av det franska modehusets sociala medie-kanaler som till övervägande del består av just modebilder med text till. Resultaten som framkommit är att de fyra flödenas innehåll följer sex övergripande teman: celebritetsstöd, den självständiga kvinnan, relationer, estetik, Olivier Rousteing som maktfull samt gemenskap/inkludering. Genom att anspela på dessa teman i sina inlägg på Instagram och Twitter skapar Balmain sociala-, kulturella-, estetiska och ekonomiska värden. Dessa värden utgör grunden för hur Balmain framställer sig självt som varumärke; ett nytänkande och inbjudande varumärke som fokuserar på att skapa sociala och kulturella värden vilket genererar ekonomiska värden.

The European Union (EU), in 1992, issued the Temporary or Mobile Construction Sites (TMCS) Directive, which requires EU members to introduce specific law to improve health and safety (H&S) performance outcomes by placing specific duties on key stakeholders. This Directive led to the introduction of the first Construction (Design and Management) (CDM) Regulations in the UK construction industry on 31 March 1995 and since their introduction, the overall performance of construction H&S has improved gradually. However, despite this positive outlook, there are still significant concerns surrounding the implementation of the CDM Regulations, a subject on which empirical research has been very scanty. It is against such a background that this study investigates the practical implementation of the CDM Regulations and extends current knowledge and understanding, and develops a framework for appropriate remedial action by industry. The research method involved a thorough critical review of literature, semi-structured interviews, and two postal questionnaire surveys, using as research informants, practitioners with experience of the Designer, CDM Coordinator (CDM-C), and Principal Contractor (PC) roles under the CDM Regulations. Primary data were collected and analysed from in-depth interviews with six organisations purposively selected based on their construction design expertise and 122 questionnaires returned in total. The finding regarding lack of collaborative working amongst duty holders is a significant outcome of this study; a requirement expressed explicitly within the CDM Regulations, yet questionable in terms of its implementation. Further, the study reveals a number of statistically significant correlations between the extent of discharge of duties and their perceived degree of importance. However, the strength of the majority of these correlations is weak. In particular, the evidence indicates that 50% of the duties of the CDM-C are misaligned in terms of extent of discharge and perceived degree of importance, whereas 25% of the PC duties are also misaligned. This signals a lack of understanding regarding the importance of duties, towards achieving improved H&S management. Surprisingly, a comparison between extent of discharge of duties and their perceived degree of difficulty reveals that all the duties of the PC are statistically significant, meaning that the perceived degree of difficulty does not impede their extent of discharge. While 90% of the CDM-C duties are also statistically significant, again the same interpretation applies. Further, a consensus reached by Designers supports the view that CDM-Cs provide insufficient input throughout the planning and construction phase, raising doubt as to whether the duty holder is fit for purpose. Overall, the results confirm that interdependent working of duty holders is still a challenge, demonstrated by the Designer duty to ensure appointment of the CDM-C (Regulation 18(1)), the CDM-C duty to ensure Designers comply with their duties (Regulation 20(2)(c)), and the PC duty to liaise with the CDM-C and Designer (Regulation 22(1)(b)). Three recurring themes emerge from the results, that is: (i) collaboration, (ii) accountability and compliance, and (iii) facilitation, which in turn inform the remedial action framework comprising 13 remedial actions and 8 change drivers. Validation of the remedial action framework by 15 study participants reveals that, at least 10 remedial actions and 7 change drivers are considered likely to improve CDM implementation. The top three remedial actions are: (i) ensuring adequate arrangements for coordination of H&S measures; (ii) including provisions within the regulations specifying the stages for the appointment of duty holders; and (iii) amending the ACoP to provide guidance on determining what resources are adequate for a particular project. Whereas, the top three change drivers are: (i) management leadership; (ii) the proactive participation of duty holders; and (iii) training to equip duty holders with sufficient knowledge on provision of timely and adequate preconstruction information. Based on these outcomes, conclusions, recommendations, and further areas of research are drawn.

Intern interior designer leadership skills, expected by practitioners in Canada, were explored in this thesis to identify implications for interior designer education. Employment of a 16 question quantitative, online survey, examined National Council of Interior Design Qualification (NCIDQ) certified practitioners beliefs about intern leadership skills. A majority of the 116 participants agreed a leader skill set, that includes authentic and design leadership skills, is valuable for interns to have in practice. Six authentic leadership skills: self-improvement, self-monitoring, goal-commitment, openness, positivity, and composure alongside four design leadership skills: adaptability, professional, building-relationships and collaborative rank as the top ten skills. Respondent practitioners also hold post-secondary interior design educators, interior designers, and interns most accountable for leadership education. Recommendations for interior designer education include increasing authentic leadership development opportunities and practitioner involvement. Further, unification of leadership perceptions and consistent leadership language, along the full interior designer education path, is encouraged for programmatic success. / October 2016

Purpose – Web is no longer solely about functionality and information as it used to be. Nowadays the aesthetic aspects, including creativity, could be considered just as important. However, web designers still need to fulfil the needs of clients and users in the design process which causes various design constraints. Therefore, this study aims to investigate how web designers’ creativity is affected by various design constraints. This is explored by one main research question and a sub-question: 1.) How is web designers’ creativity affected by design constraints?; 1.1) What could cause web designers to break web design guidelines? Method – This research applied an inductive, qualitative approach with an exploratory view. In order to find answers for the research questions, semi-structured interviews were conducted with 8 participants from the field of web design. The data gathered was later analysed and evaluated through thematic analysis Conclusions – The findings of this study suggest that while there are some positive effects, web designers’ creativity is mostly negatively affected by design constraints. Furthermore, it seems web designers break web design guidelines due to finding them irrelevant and/or to get a more creative outcome as well as breaking them unintentionally. Delimitations – This study only covers how web designers reason regards the research questions and does not include the perspective of web developers. Moreover, this thesis focuses solely on website design and does not involve design for mobile applications.

Esta pesquisa analisa e documenta os figurinos criados para o cinema brasileiro na obra O Bandido da Luz Vermelha de Rogério Sganzerla, a qual tem como pano de fundo o Cinema Marginal. Focaliza o trabalho de figurino neste período, com o objetivo de contribuir para a memória coletiva nacional e enriquecer o material de investigação dos profissionais ligados à área. O estudo se faz a partir de um levantamento dos aspectos sócio-político-culturais do país nas décadas de 60 e 70, refletidos num cinema que aparece como uma reação à situação por que passava o país no período de 1964 1968, com a politização das manifestações artísticas face aos fechamentos ocasionados pela ditadura militar. A partir da análise do filme e entrevistas com profissionais participantes ou ligados à obra do autor, como o operador de câmera Carlos Ebert, o qual também atuou como fotógrafo no filme O Bandido da Luz Vermelha; a diretora e atriz Helena Ignez, ícone do Cinema Marginal e esposa de Rogério Sganzerla; e o diretor e produtor Julio Calasso Junior, inicia-se um entendimento do processo criativo utilizado nos filmes produzidos pelo cineasta, num relevante período da história do cinema nacional. Indaga como os trajes colaboram para a construção dos personagens numa obra cinematográfica e a importância do figurino na criação destes personagens, tanto para o diretor como para o próprio ator, e como a escolha dos elementos e materiais corretos compõe plasticamente esta figura e contribuiu na sua gestualidade. Verifica o mérito de uma direção de arte com referências ao Pop, em sua acepção mais verdadeira, a de popular; com uma linguagem de quadrinhos, onde apresenta alguns personagens que são verdadeiras caricaturas do povo brasileiro e, assim, avalia como os elementos visuais se tornam o suporte do discurso / This research verifies and documents costumes created for the Brazilian cinema into the work O Bandido da Luz Vermelha by Rogério Sganzerla, which has as its backdrop the Marginal Cinema. It focuses on the work developed for costumes in this period, aiming at contributing to the national memory and at the improvement of the research material of professionals connected to the area. The study was developed considering a deep investigation of social, political and cultural aspects of the country in the 60`s and 70`s, reflected in a movie that shows up as a reaction to the cultural situation the country was going through in the period between 1964 and 1968, with the politicization of artistic manifestations against the closures imposed by the military dictatorship. Based on the analysis of the film and interviews with some professionals close to the author, as the director of photography Carlos Ebert, who also worked as a photographer in the movie O Bandido da Luz Vermelha; the director and actress Helena Ignez, Cinema Marginal icon and Rogérios Sganzerla wife; and the director and producer Júlio Calasso Junior, it develops a new understanding of the creative process used in films produced by the film-maker Rogério Sganzerla, in this relevant period of the national cinema history. It questions how the costumes may contribute to the characters building in a cinematographic work, its significance for both the director and the actor, and how the chosen elements and right materials shape the image aesthetically and contributes to the artist´s gestures. It verifies the merit of an art direction, with references to Pop, in its most relevant meaning, which is to be ´popular`, with comic book language style, in which some characters who are true caricatures of the Brazilian people are featured, and assesses how well the visual elements become the support for the speech

A partir do século passado a joalheria sofreu uma grande transformação nos valores construídos em torno da joia comumente entendida como ornamento confeccionado em material precioso. O objetivo desta pesquisa foi descrever o perfil de autores de joias de Porto Alegre e seus processos criativos, posicionando seus campos de atuação dentro de categorias da joalheria (Alta Joalheria, Joalheria de Autor, Joalheria de Arte). Na revisão de literatura são descritas as dinâmicas da joalheria a partir do século XX e uma abordagem sobre processos criativos referindo-se a requisitos e fenômenos necessários para a ocorrência da criatividade. Foram entrevistados dez autores reconhecidos na área da joia, sobre suas trajetórias profissionais, seus processos de trabalho e sua visão sobre os seus campos de atuação. Observou-se que os processos criativos entre os autores entrevistados se assemelham na prática entre o campo do design e o das artes. Por outro lado, o uso da nomenclatura “design” foi considerado pelos entrevistados com certa ressalva pelo fato de não possuírem graduação nesse campo. Ficou a percepção de que o produto joia ainda não recebe um claro entendimento como sendo um produto de design. Os campos de atuação que os entrevistados foram classificados neste trabalho diferiram dos campos expressados pelos mesmos. Entretanto, é indiscutível a expressão pessoal observada em seus produtos, característica do campo das artes, mesmo naqueles não inseridos nesse campo. Neste aspecto fica também fortemente identificada a aproximação dos campos da arte e do design na criação da joia. / From the last century jewelry has undergone a major transformation in the values built around the jewel commonly perceived as ornaments made of precious material. The aim of this study was describe the profile of authors of jewels of Porto Alegre and their creative processes analyzing their expertise fields within categories of jewelry (High Jewelry, Author Jewelry, Art Jewelry). On literature review are described the dynamics of jewelry from the twentieth century and an approach to creative process in relation to the requirements and necessary phenomena to the creativity occurrence. Ten recognized authors in jewels were interviewed, about their careers, their work processes and its self-definition of their expertise field. It was observed that the creative processes among the interviewed authors were similar between the field of design and of arts. On the other hand, the use of the nomenclature "design" was regarded by interviewed with certain safeguard because they have no degree in this field. Remains the perception that product jewel does not receive a clear understanding as being a product of design. The fields of action that the interviewed were classified in this study differed from the fields expressed by them. However, it is certain the personal expression observed in its products, a characteristic of the field of the arts, even in those not entered into this field. This aspect is also strongly identified the approximation of the fields of art and design in the creation of the jewel.