Cette étude analyse la place de l’artisanat et des artisans dans les villes antiques de l’Algérie en faisant le point sur la documentation disponible – archives, rapports de fouilles, plans, photos et publications. S’appuyant sur un travail de terrain, les données mises à jour ont apporté des précisions ou des éléments nouveaux sur les ateliers urbains découverts entre le XIXe s. et la seconde moitié du XXe s. : les vestiges de chaque installation sont localisés, décrits et documentés ; une datation est proposée quand cela est possible. Ce travail conduit à nuancer ou à réfuter plusieurs interprétations de nos prédécesseurs puisqu’après examen, des vestiges signalés comme des ateliers s’avèrent finalement avoir eu une autre fonction. En revanche, les installations artisanales identifiées avec certitude permettent d’étudier plus en détail les caractéristiques typologiques et techniques propres à chaque spécialité attestée : les artisanats alimentaires, la production et le traitement des textiles, la production de céramique, d’objets en verre et en métal, et les métiers de la construction. La comparaison entre les spécificités techniques des ateliers antiques algériens et celles des ateliers d’époque romaine découverts ailleurs en Méditerranée permettent de reconnaître des similitudes très fortes mais également quelques différences locales, africaines. Dans un second temps, l’étude de la répartition et de la localisation des ateliers dans le tissu urbain conduit à préciser les raisons de l’implantation des lieux de métier dans un lieu donné notamment selon leur spécialité. Il apparaît que les choix de l’implantation étaient davantage guidés par les besoins d’approvisionnement en matières premières que par les nuisances que ces activités pouvaient éventuellement occasionner : les ateliers étaient localisés aussi bien dans les quartiers périphériques que dans les quartiers résidentiels. D’autre part, l’analyse des inscriptions permet de faire le point sur les informations qu’elles transmettent au sujet des artisans et de leur statut social. / This study analyzes the place of crafts and the craftsmen in the antique cities of Algeria by reviewing the available documentation - archival, reports of excavations, plans, photos and publications. Leaning on a field work, the updated data brought precision or new elements on the urban workshops discovered between 19th and second half of 20th centuries: the remains of each installation are located, described and documented; a dating is proposed when it is possible. This work of analysis leads to qualify or to refute several interpretations of our predecessors because after consideration, vestiges indicated as workshops finally appear to have not been correctly identified. On the other hand, the craft installations identified with certainty allow studying more in detail the typological and technical characteristics of every attested speciality: the food crafts, the production and the processing of textile industries, the production of ceramic, glass and metal objects, and the crafts of building. The comparison between the technical specificities of the antique algerian workshops and those roman workshops discovered somewhere else in the Empire bring us to recognize very strong similarities but also some local, african differences. Secondly, the study of the distribution and the location of workshops in the city leads to specify the reasons of the presence of the officinae in a specific place according to their speciality. It seems that the choices of establishment were more guided by the needs for supply of raw materials and not by the nuisances which these activities could possibly cause: workshops were located as well in the suburbs as in the residential districts. To finish, the analysis of the inscriptions brings some information about craftsmen and about their social status.

New research has shed light on the origin of the Danish glass beads dating to the BronzeAge and the increase in long-distance exchange during this period. This has provided newknowledge about glass beads during the Bronze Age, which unlocked the question of whatit looks like in the rest of Scandinavia. To get a broader perspective I have chosen to studythe first evidence of early craft sites where glass beads were made in Scandinavia. Then acomparison is made between the Bronze and Iron Ages from a broader perspective, whichincludes both the use of glass beads and the glass productions sites. I have therefore chosento study glass beads from a long-term perspective, from the introduction of the first glassbeads in Scandinavia during the Early Bronze Age until the Vendel period when the firstglass beads were manufactured in Scandinavia. By studying glass beads from a long-termperspective, we can learn more about the significance of glass beads in society.

El presente trabajo de emprendimiento está elaborado con el propósito de solucionar una problemática, la cual es el mercado de las Artesanías peruanas, siendo este uno de los rubros que se ha visto afectado por la emergencia sanitaria vivida en el Perú y el mundo a causa del Covid -19. Cultural Legacy es una plataforma virtual que busca poder conectar a los maestros artesanos con compradores que realmente valoran su trabajo, dedicación, detalle y sobretodo la cultura que posee cada pieza y está dirigida a los sectores A y B de Lima Metropolitana. El propósito principal de este emprendimiento es lograr ayudar a reactivar el sector de las artesanías y a difundir la importancia y riqueza de la cultura peruana, ya que después de la pandemia vivida hay brechas económicas y culturales de las que será difícil recuperarse y más aún cuando muchos de los artesanos no saben cómo aprovechar los recursos tecnológicos para extender sus canales de venta a varias partes del país. Para validar este modelo de negocio, se han realizado diversas entrevistas y encuestas con usuarios y expertos del mercado de artesanías los cuales se contacto vía redes sociales y correos. Para lograr el principal objetivo del emprendimiento se ha elaborado un extenso análisis, a partir del cual se han formulado planes estratégicos que abarquen temas importantes de marketing, operaciones, recursos humanos, responsabilidad social y financiamiento para poder evaluar la empresa y el desarrollo óptimo del proyecto. / The present work of entrepreneurship is elaborated with the purpose of solving a problem, which is the market of Peruvian handicrafts, being this one of the items that has been affected by the sanitary emergency experienced in Peru and the world because of the Covid -19. Cultural Legacy is a virtual platform that seeks to connect master craftsmen with buyers who really value their work, dedication, detail and above all culture that each piece has and is aimed at sectors A and B of metropolitan Lima. The main purpose of this venture is to help reactivate the handicrafts sector and to spread the importance and richness of our culture. After the pandemic there are economic and cultural gaps from which it will be difficult to recover and even more so when many of the artisans do not know how to take advantage of technological resources to extend their sales channels to various parts of the country. To validate the business model, it has been conducted several interviews and surveys with users and experts in the handicrafts market, which we contacted via Facebook, email and video calls. To achieve the main objective, it has been made an extensive analysis from which it has formulated strategic plans covering important issues of marketing, operations, human resources, social responsibility and financing to assess the company and the optimal development of the project. / Trabajo de investigación

O objetivo deste trabalho é a discussão sobre a dinâmica política e alguns dos fatores econômicos julgados relevantes e que juntos contribuíram na decisão do Governo da União em criar um sistema federal de escolas profissionais, as Escolas de Aprendizes Artífices (E.A.As), durante o curto mandato presidencial (1909/1910) do líder fluminense Nilo Procópio Peçanha, sob o comando do Ministério da Agricultura. A referida escola instituída por este presidente foi parte concreta de um projeto político alternativo ao do liberalismo predominante do eixo São Paulo-Minas durante a Primeira República brasileira. As EAAs foram iniciadas por uma liderança representativa de uma fração da oligarquia brasileira cujo projeto político-administrativo além de ter surgido num polo econômico secundário do país, representava também o desejo daquele grupo político de tornar o papel da União mais protagonista frente ao atraso econômico e alguns dos problemas sociais do país, apesar de compartilhar dos mesmos valores e fazer uso das mesmas estratégias da República oligárquica e da sua cultura clientelística. De certa forma, não eram adeptos de um federalismo irrestrito e, sentindo-se prejudicados pelo predomínio dos interesses políticos e econômicos da oligarquia paulista e dos seus associados de momento, propuseram um Estado federal mais intervencionista inclusive no campo da Educação, esfera até então de domínio quase que exclusivo dos Estados. Verificaremos o percurso inicial das Escolas de Aprendizes de Artífices até a década de 1930, incluindo a finalização deste sistema federal de ensino com a inclusão da Escola Normal de Artes e Ofícios Wenceslau Braz. Também destacaremos as transformações institucionais que as EAAs experimentaram ao longo deste tempo, tal como o Serviço da Remodelação chefiado pelo engenheiro João Lüderitz, o qual se propôs a modernizar a instituição. Analisaremos algumas das suas dificuldades políticas, administrativas e econômicas no contexto da sociedade brasileira da Primeira República, além de discutir determinadas características enquanto instituição que propunha o ensino profissional para as classes populares e, finalmente, se houve algum legado para a educação brasileira. / The objective of this work is the discussion about the political dynamics and some of the economic factors judged relevant and that together contributed in the decision of the Government of the Union to create a federal system of professional schools, the Apprentices Craftsmen Schools (EAAs), during the short Presidential term (1909/1910) of the leader from Nilo Procópio Peçanha, under the command of the Ministry of Agriculture. The said school instituted by this president was a concrete part of a political project alternative to that of the predominant liberalism of the São Paulo-Minas axis during the First Brazilian Republic. The EAAs was initiated by a representative leadership of a fraction of the Brazilian oligarchy whose political-administrative project, besides having emerged in a secondary economic pole of the country, also represented the political group\'s desire to make the Union\'s role more protagonist in the face of economic and some of the country\'s social problems, despite sharing the same values and making use of the same strategies of the oligarchic Republic and its clientelistic culture. In a sense, they were not adept at unrestricted federalism and, feeling prejudiced by the predominance of the political and economic interests of the São Paulo oligarchy and its associates at the time, proposed a more interventionist federal state, including in the field of Education. States. We will review the initial course of the Apprentices Craftsmen Schools until the 1930s, including the completion of this federal education system with the inclusion of the Wenceslau Braz Normal School of Arts and Crafts. We will also highlight the institutional transformations that the EAAs have experienced over the years, such as the \"Remodeling Service\" led by the engineer João Lüderitz, who proposed to modernize the institution. We will analyze some of its political, administrative and economic difficulties in the context of the Brazilian society of the First Republic, besides discussing certain characteristics as an institution that proposes professional education for the popular classes and, finally, if there was any legacy for Brazilian education.

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-04-15T18:44:21Z No. of bitstreams: 1 Tese de Rebeca da Rocha Grangeiro.pdf: 2711849 bytes, checksum: d274804f02b7ec0a5f05d44dce327080 (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2016-04-28T17:28:51Z (GMT) No. of bitstreams: 1 Tese de Rebeca da Rocha Grangeiro.pdf: 2711849 bytes, checksum: d274804f02b7ec0a5f05d44dce327080 (MD5) / Made available in DSpace on 2016-04-28T17:28:51Z (GMT). No. of bitstreams: 1 Tese de Rebeca da Rocha Grangeiro.pdf: 2711849 bytes, checksum: d274804f02b7ec0a5f05d44dce327080 (MD5) / CAPES / Esta tese está dividida em quatro estudos. No primeiro, as definições de artesanato abordadas estão organizadas a partir de três grandes eixos: artesanato como modelo de trabalho (ou metáfora); como produto; e como processo. O eixo que considera o artesanato como modelo de organização social do trabalho toma o artesanato como paradigma do que seja um trabalho de qualidade, considerando que ele: envolve o fim da clivagem cabeça-corpo, além da lentidão e rotinização que asseguram um trabalho reflexivo e imaginativo (Sennett, 2009). Já o eixo que analisa o artesanato como produto promove a exaltação do objeto em si e adota postura descritiva em relação a ele. Canclini (1983) esclarece que este é um posicionamento científico perigoso, pois nos remete a explicações exclusivamente folclorista ou econômica do artesanato. Assim, o autor propõe o estudo do artesanato como processo, como práticas cotidianas nas quais os objetos são elaborados, a partir de uma visão global: social, econômica e cultural. A análise da literatura científica brasileira sobre artesanato foi realizada a partir de um conjunto de 22 artigos disponibilizados pela plataforma Capes e revisados pelos pares. Estes estão organizados a partir dos três grandes eixos apresentados acima. Os 45 artigos científicos franceses sobre artesanato foram acessados através da base de dados CAIRN.INFO e são em sua maioria do domínio da administração e das ciências sociais. Considerando nesta tese o artesanato como processo, buscamos elementos históricos da atividade artesanal na região do Cariri cearense para compreender o contexto hodierno no qual investigamos práticas e significados do trabalho artesanal. Assim, o segundo estudo destaca a florescência do artesanato entre 1900 e 1960, seguida de um processo de sua fragilização engendram o contexto complexo e paradoxal do artesanato do Cariri cearense. O terceiro estudo analisa as práticas atuais da atividade de trabalho artesanal, quanto a 1) aspectos relativos à organização do trabalho e características econômicas da atividade laboral; 2) diferenças entre artesãos e artesãs, quanto à organização do trabalho; e 3) empreendemos caracterização dos artesãos em perfis que consideraram, simultaneamente, o nível de visibilidade do artesanato e as inovações nos processos de trabalho. Os principais resultados encontrados indicam a baixa escolaridade destes trabalhadores que exercem a atividade em média, há 22,18 anos e adota a própria residência é o principal local de trabalho. Quanto à renda, pouco mais da metade da amostra não chega a ganhar um salário mínimo através do trabalho artesanal. Apesar da evidente dificuldade econômica enfrentada pelos artesãos, o artesanato ainda é para a maioria dos trabalhadores a única atividade produtiva exercida. No que tange às possíveis diferenças entre artesãos e artesãs, quanto à organização do trabalho, pudemos perceber que a média de horas trabalhadas pelos homens é maior que a média de horas trabalhadas pelas mulheres e que e em geral os artesãos trabalham na oficina ou associação, enquanto a maior parte das artesãs trabalha no próprio domicílio. Em relação ao nível de visibilidade e de inovação alcançados pela amostra estudada, os resultados indicaram que 54,8% da amostra se concentra no segundo cluster, onde estão os artesãos que alcançaram baixos escores de inovação e visibilidade e são denominados artesãos tradicionais não-reconhecidos. O segundo perfil com maior quantidade de artesãos é aquele dos artesãos tradicionais-reconhecidos, seguido dos artesãos de referência cultural não reconhecidos e, por último, o perfil com menor quantidade de artesãos representa o quarto cluster e diz respeito aos artesãos de referência cultural reconhecidos. No quarto estudo, o significado do trabalho foi analisado a partir das três dimensões propostas no modelo teórico elaborado pela equipe MOW (1987). Quanto ao instrumento de coleta de dados, utilizamos uma versão reduzida do questionário criado pela mesma equipe e validado por Soares (1992). Analisamos os dados relativos a amostra total de artesãos investigados, mas também comparamos as médias dos quatro perfis de artesãos, considerando o nível de visibilidade e inovação alcançados pelo artesão. Os resultados encontrados permitem configurar a profissão de artesão como marcada por uma atribuição de alta centralidade do trabalho. Também identificamos diferenças entre artesãos dos quatro perfis quanto à centralidade relativa do trabalho e aos construtos que integram as motivações para o trabalho. This thesis is divided into four studies. In the first of one, the craft definitions discussed in this thesis are organized from three main axis: crafts like working model (or metaphor); as a product; and as a process. The axis that considers the craft as a working model takes the craft as a paradigm of what a quality job, considering he involves the end of disconnextion between head-body, also the slowness and routinization ensuring a reflective and imaginative work (Sennett, 2009). The axis that analyzes the craft as product promotes the appreciation of the object itself and adopts descriptive attitude towards it. According to Canclini (1983), this is a dangerous scientific position since it refers to the explanations exclusively folklorist or economic crafts. Thus, the author proposes the craft study as a process, as everyday practices in which the objects are drawn from a global view: social, economic and cultural. The analysis of the scientific literature on craft was carried out from a set of 22 articles provided by Capes and reviewed by peers. These are organized from the three main axis listed above. The 45 french scientific articles on crafts were accessed through CAIRN.INFO database and most of them are from the field of administration and social sciences. In this thesis we assume crafts as process, so we seek historical elements of craft activity in Cariri/ Ceará to understand the present-day context in which we investigate practices and meanings of craftswork. Thus the second study highlights the growth of the craft between 1900 and 1960, followed by a process of weakening engender a complex and paradoxical context of the crafts in Cariri. The third study analyse the current practices of craftsmanship activity as: 1) aspects related to work organization and economic characteristics of labor activity; 2) differences between craftsmen and craftswoman, as the organization of work; and 3) characterize the artisans in profiles that considered both the craft level of visibility and innovations in work processes. The main results indicate a low level of education of these workers engaged in the activity for an average of 22.18 years and adopts their home as workplace. As for income, just over half of the sample make less than a minimum wage through handmade work. Despite the economic difficulty faced by artisans, handicraft is still for most workers the only productive activity exercised. With regard to possible differences between craftsmen and artisans, as the organization of work, we realized that the average hours worked by men is greater than the average hours worked by women and that in general and the artisans in the workshop or association, while most of the artisans working in the household. Regarding the level of visibility and innovation achieved by this sample, the results indicated that 54.8% of the sample is concentrated in the second cluster, where are the craftsmen who achieved low scores for innovation and visibility and they are called non-recognized traditional craftsmen . The second profile with higher number of artisans is that of traditional-recognized artisans, followed by culture reference artisans not recognized and, finally, the profile with less artisans represents the fourth cluster, they are called recognized culture reference artisans. In the fourth study, the meaning of work was analyzed from the three dimensions proposed in the theoretical model developed by the team MOW (1987). As for the data collection instrument, we use a reduced version of the questionnaire created by the same team and validated by Soares (1992). We analyze data on the total sample of surveyed craftsmen, but also compared the average of the four profiles of artisans, considering the level of visibility and innovation achieved by the artisan. It was possible to set up artisan profession as marked by an assignment of high centrality of work. Also we identified differences between craftsmen of four profiles on the relative centrality of work and constructs that comprise the motivations for work.

O objetivo deste trabalho é a discussão sobre a dinâmica política e alguns dos fatores econômicos julgados relevantes e que juntos contribuíram na decisão do Governo da União em criar um sistema federal de escolas profissionais, as Escolas de Aprendizes Artífices (E.A.As), durante o curto mandato presidencial (1909/1910) do líder fluminense Nilo Procópio Peçanha, sob o comando do Ministério da Agricultura. A referida escola instituída por este presidente foi parte concreta de um projeto político alternativo ao do liberalismo predominante do eixo São Paulo-Minas durante a Primeira República brasileira. As EAAs foram iniciadas por uma liderança representativa de uma fração da oligarquia brasileira cujo projeto político-administrativo além de ter surgido num polo econômico secundário do país, representava também o desejo daquele grupo político de tornar o papel da União mais protagonista frente ao atraso econômico e alguns dos problemas sociais do país, apesar de compartilhar dos mesmos valores e fazer uso das mesmas estratégias da República oligárquica e da sua cultura clientelística. De certa forma, não eram adeptos de um federalismo irrestrito e, sentindo-se prejudicados pelo predomínio dos interesses políticos e econômicos da oligarquia paulista e dos seus associados de momento, propuseram um Estado federal mais intervencionista inclusive no campo da Educação, esfera até então de domínio quase que exclusivo dos Estados. Verificaremos o percurso inicial das Escolas de Aprendizes de Artífices até a década de 1930, incluindo a finalização deste sistema federal de ensino com a inclusão da Escola Normal de Artes e Ofícios Wenceslau Braz. Também destacaremos as transformações institucionais que as EAAs experimentaram ao longo deste tempo, tal como o Serviço da Remodelação chefiado pelo engenheiro João Lüderitz, o qual se propôs a modernizar a instituição. Analisaremos algumas das suas dificuldades políticas, administrativas e econômicas no contexto da sociedade brasileira da Primeira República, além de discutir determinadas características enquanto instituição que propunha o ensino profissional para as classes populares e, finalmente, se houve algum legado para a educação brasileira. / The objective of this work is the discussion about the political dynamics and some of the economic factors judged relevant and that together contributed in the decision of the Government of the Union to create a federal system of professional schools, the Apprentices Craftsmen Schools (EAAs), during the short Presidential term (1909/1910) of the leader from Nilo Procópio Peçanha, under the command of the Ministry of Agriculture. The said school instituted by this president was a concrete part of a political project alternative to that of the predominant liberalism of the São Paulo-Minas axis during the First Brazilian Republic. The EAAs was initiated by a representative leadership of a fraction of the Brazilian oligarchy whose political-administrative project, besides having emerged in a secondary economic pole of the country, also represented the political group\'s desire to make the Union\'s role more protagonist in the face of economic and some of the country\'s social problems, despite sharing the same values and making use of the same strategies of the oligarchic Republic and its clientelistic culture. In a sense, they were not adept at unrestricted federalism and, feeling prejudiced by the predominance of the political and economic interests of the São Paulo oligarchy and its associates at the time, proposed a more interventionist federal state, including in the field of Education. States. We will review the initial course of the Apprentices Craftsmen Schools until the 1930s, including the completion of this federal education system with the inclusion of the Wenceslau Braz Normal School of Arts and Crafts. We will also highlight the institutional transformations that the EAAs have experienced over the years, such as the \"Remodeling Service\" led by the engineer João Lüderitz, who proposed to modernize the institution. We will analyze some of its political, administrative and economic difficulties in the context of the Brazilian society of the First Republic, besides discussing certain characteristics as an institution that proposes professional education for the popular classes and, finally, if there was any legacy for Brazilian education.

El presente trabajo de investigación tiene como propósito evaluar el plan de negocios de Mallqui, Joyería Peruana. Mallqui es una joyería de plata, el cual ofreceré a las mujeres profesionales de 25 a 50 años de joyas de plata de diseño exclusivo, con garantía, elaborados por artesanos peruanos, con un claro compromiso con la comunidad y respecto a las normas de comercio justo. Para ello, Mallqui desarrollara una tienda virtual, que permitirá comprar con absoluta seguridad joyas de plata de diseño exclusivo, las cuales tendrán un certificado que garantice la originalidad del mismo y la fuente de la plata utilizada en su producción. En esta etapa de investigación, el proyecto se basará en la comercialización de aretes y collares al ser las piezas de mayor demanda por parte de las mujeres. Se realizará una inversión total de S/138,312, el proyecto será financiado en un 40% con préstamos bancarios y un 60% con aportes de los socios. Se espera que, dentro de las socias integrantes del grupo, puedan adherirse nuevos inversionistas para que aporten capital al proyecto. El proyecto espera obtener ventas por S/580,848 para el primer año de operaciones alcanzando el 15% de captación de su mercado disponible y al cabo de los 5 años, espera logar una captación de 25% del mismo, logrando ventas por S/980,006. Al cabo de horizonte de evaluación, se espera una rentabilidad promedio anual de 42.89%, esperando que los inversionistas recuperen su inversión al cabo de los 3 años. / The purpose of this research work is to evaluate the business plan of Mallqui, Joyería Peruana. Mallqui is a silver jewelery store, which will offer professional women from 25 to 50 years of exclusive design silver jewelery, with guarantee, made by Peruvian artisans, with a clear commitment to the community and fair trade rules. . For this, Mallqui will develop a virtual store that will allow the purchase with absolute security of silver jewelry of exclusive design, which will have a certificate that guarantees the originality of the same and the source of the silver used in its production. At this stage of research, the project will be based on the commercialization of earrings and necklaces, as they are the pieces of greatest demand by women. A total investment of S / 138,312 will be made, the project will be financed 40% with bank loans and 60% with contributions from the partners. It is expected that, within the members of the group, new investors may join to contribute capital to the project. The project expects to obtain sales for S / 580,848 for the first year of operations, reaching 15% of its available market and at the end of 5 years, expects to achieve a 25% catch, achieving sales of S / 980,006. At the end of the evaluation horizon, an average annual return of 42.89% is expected, expecting investors to recover their investment after 3 years. / Trabajo de investigación

The thesis will focus on the first exhibitions of the industrial goods in Bohemia between the years 1754 and 1836. In every one of the chronologically sorted chapters, including each exhibition, it will focus on themes such as the changeover between manufactures and the industrial production, the role of craftsmen, the role of the emperor and aristocracy supporting the Czech industry, the foundation of Unity for the development of the Bohemian industry. The thesis is also focused on finding the subjects, which were displayed on the first exhibitions.

Made available in DSpace on 2016-07-27T13:45:13Z (GMT). No. of bitstreams: 1 EDISON DE ALMEIDA MANSO.pdf: 12116629 bytes, checksum: cf6a9d4ca21e822a5b43fa517f4a05ca (MD5) Previous issue date: 2016-02-26 / The Campus Goiania Federal Institute of Goiás (IFG) has a trajectory that begins in 1909 in the city of Goyaz, with the name of School for Craftsmen, marked by historical changes until 2008, when it was renamed Institute Federal Education Science and Technology and remained as such until today. This research aimed to raise the history of this track making an observation about the meaning of these transformations, focusing mainly in student and professors as well as the main implications of each step of the institution during this period. In fact, it is a journey that begins in Goiás and after having your goal in Goiania Technical School in 1943, later as Federal Technical School of Goiás in 1959. In 2008, comes as the Federal Center of Technological Education of Goiás - CEFET-GO and finally in 2008 the last transformation to Federal Institute of Education, Science and Technology Goiás - IFG. Goiânia campus in this this last stage constituted the necessary support for the expansion of the institution, enabling the creation of the entire complex which includes 14 campuses and is called IFG. The main teachers and students characteristics of this period are part of this research, as well as the testimony of some directors who were part of the history of the campus Goiânia and helped set up the same as a reference institution as public, free and quality. / O Câmpus Goiânia do Instituto Federal de Goiás (IFG) tem uma trajetória que se inicia em 1909 na cidade de Goyaz, com o nome de Escola de Aprendizes Artífices, marcada por mudanças históricas até o ano de 2008, quando passou a ser denominada de Instituto Federal de Educação Ciência e Tecnologia, permanecendo como tal até a atualidade. Esta pesquisa teve como objetivo levantar o histórico dessa trajetória fazendo uma observação a respeito do significado dessas transformações, abordando a questão do corpo discente e docente bem como as principais implicações de cada etapa da instituição ao longo desse período. Na realidade, é uma viagem que começa em Goiás, e depois, seu foco é Goiânia com a Escola Técnica de Goiânia em 1943, mais tarde como Escola Técnica Federal de Goiás em 1959. Em 2008, surge como Centro Federal de Educação Tecnológica de Goiás CEFET-GO e, finalmente, em 2008 uma transformação para Instituto Federal de Educação, Ciência e Tecnologia de Goiás IFG. O câmpus Goiânia, nessa última fase, se constitui no suporte necessário para a expansão da Instituição, viabilizando a criação de todo o complexo que engloba 14 câmpus e que se denomina IFG. As principais características docentes e discentes desse período fazem parte dessa pesquisa, assim como o depoimento de alguns diretores que fizeram parte da história do câmpus Goiânia e que ajudaram a configurar o mesmo como uma instituição de referência como sendo pública, gratuita e de qualidade.

The project elaborates design opportunities for a future practice that could promotealternative sustainable lifestyles on waste handling through up-cycling activities. It doesthis on a small scale through engagement in the local communities of the Hildaneighborhood and Segepark students’ accommodations in Sweden. To thesecommunities, creative-up-cycling is explored which it introduced here as an approachwhere neighbors can participate in making new things from leftover materials. Throughthis work creative-up-cycling is a proposed recommendation for a possible service systemon how to share the leftover materials in the local resident’s communities, as well as, howto remake the items no longer needed.The empirical studies explore maker culture lifestyles and include how to find leftovermaterials, tools, space, and skills in order to guide people in creative-up-cyclingalternatives. These creative activities also build social relationship via the integration ofmultidisciplinary citizens who are living in the same community and explorations weredone on how could we elicit the skill sets from those people? What is a useful skill set inthis area today? Values like mutual physical experience, reciprocity, and ownership couldalso be found along the empirical workshops in this project. Additionally, this reportshows some interesting findings pointing towards the design process and the suggestionsof design elements; ‘Co-storage’, ‘Mix and Match furniture shop’, and ‘Renovation andup-cycling’ concept elements.Participatory design (designing with people) has been the core approach in this project.Additionally, I have been influenced by user-centered design, as well as service designapproaches in order to comprehend the services, system and activities of recycling andup-cycling in cities like: SYSAV, STPLN, Cykelköket, Återskapa, Toolpool. The findingpresented here are examples of practices that could make up the composition of recyclingand up-cycling activities in future local communities.