Este trabalho trata do entendimento das atividades dos profissionais de design participantes da gestão de design e tem como objetivo geral estudar e compreender a atividade desses profissionais, almejando a melhoria dos processos de trabalho desses indivíduos nas empresas. Para alcançar o objetivo geral, foram estipulados objetivos específicos, que correspondem aos três artigos constituintes desta dissertação. O primeiro artigo propõe o desenvolvimento de uma revisão sistemática da literatura brasileira, no que tange à gestão de design, buscando identificar o estado da arte do tema em questão. O segundo foca a revisão sistemática de literatura no profissional de design participante da gestão de design, em nível nacional e internacional. Já o terceiro artigo apresenta um estudo de caso com três profissionais de design, mapeando a atividade interna e externa desses profissionais nas empresas e, assim, esclarecendo a estrutura e os fatores intervenientes dessa atividade, bem como as relações com seus principais interlocutores nas organizações. A metodologia utilizada neste trabalho tem caráter exploratório. Em um primeiro momento, foi realizada uma revisão sistemática de literatura, de natureza aplicada e, em um segundo momento, uma pesquisa qualitativa, a partir de um estudo de caso, com realização de entrevistas em profundidade. Como resultado, pôde-se perceber a estrutura e os fatores intervenientes da atividade do profissional de design, bem como suas relações com seus principais interlocutores nas organizações. / This document is about the understanding of the activities of design professionals participating in the design management and aims to study and understand the activity of these professionals, targeting the improvement of the work processes of these individuals in the companies. To achieve the overall objective, specific goals were set, corresponding to the three articles of this dissertation. The first article proposes the development of a systematic review of Brazilian literature, regarding the design management, seeking to identify the state of the art of the theme. The second one focus on the systematic review of the literature of the design professional participating in the design management, in national and international levels. The third article presents a case study with three design professionals, mapping the internal and external activities of these professional in the companies, and, this way, clarifying the structure and intervenient factors of this activity and its relations with its main coworkers in the organizations. The methodology used in this study is exploratory. At first, it was performed a systematic review of the literature, of an applied nature, and, in a second moment, a qualitative research, from a case study, with in-depth interviews. As a result, it was possible to see the structure and intervene factors of the activity of the design professional as well as its relations with its main coworkers in the organizations.

Submitted by Isaac Francisco de Souza Dias (isaac.souzadias@ufpe.br) on 2015-10-21T17:59:22Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) 201505 - Dissertaçao - Mariana Bezerra.pdf: 3401115 bytes, checksum: 010b831840b8d329a30f6ffe7b14d778 (MD5) / Made available in DSpace on 2015-10-21T17:59:22Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) 201505 - Dissertaçao - Mariana Bezerra.pdf: 3401115 bytes, checksum: 010b831840b8d329a30f6ffe7b14d778 (MD5) Previous issue date: 2014-07-21 / CAPES / Abordar o design de produtos e sua evolução é falar, também, da evolução dos processos produtivos e tecnologia, do usuário e do designer. Antes da Revolução Industrial, o designer era caracterizado por um funcionário capacitado para adaptar projetos para a capacidade fabril, enquanto o usuário era visto como um comprador final, sem aspirações e necessidades. Após a Revolução Industrial, a produção de bens de consumo assumiu uma escala ascendente e as indústrias se viram forçadas a se adaptar para acompanhar o ritmo de consumo do mercado, bem como a atividade do designer. O usuário, com mais opções de compra, passou a ser considerado relevante no processo de desenvolvimento, e foco dos objetivos de projeto. O surgimento de novas tecnologias como a prototipagem rápida e a realidade virtual, permitiu uma diminuição no tempo e custo gastos durante a validação de projetos de produto, influenciando diretamente a forma como os produtos passaram a ser desenvolvidos. A impressão tridimensional, assim como a realidade virtual, surge como alternativa viável para a avaliação do projeto, devido à rapidez de execução e baixo custo. Este estudo tem como principal objetivo analisar a utilização das tecnologias citadas no processo de análise de projeto de produto junto ao usuário final. Para tanto, se faz necessário abordar a forma como os artefatos vêm sendo desenvolvidos, a relação entre usuário e produto, além das técnicas de representação tridimensional.

Made available in DSpace on 2014-06-12T16:25:21Z (GMT). No. of bitstreams: 2 arquivo13_1.pdf: 9729098 bytes, checksum: 8cebcf2a1aba691916e7cc27b8ae896a (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2010 / Faculdade Marista / O presente estudo aponta se há vantagens na utilização das técnicas explícitas de geração de alternativas no projeto de produtos. Através de projeções gráficas geradas por métodos de análise de criatividade em produtos, CPSS Escala Semântica de Produtos Criativos, é possível verificar se há aumento da qualidade dos projetos de produtos com o uso das técnicas explícitas de geração de alternativas em relação às técnicas tácitas ou não estruturadas. Esta observação fora realizada tanto com designers experientes quanto com designers em formação acadêmica, sendo possível considerar a real contribuição das técnicas criativas na geração de alternativas de projeto em detrimento do talento ou experiência do designer. Para tal, através de procedimentos metodológicos, foram geradas 60 alternativas de produtos com e sem técnicas criativas sendo posteriormente essas alternativas avaliadas por especialistas através do CPSS. Ao findar a pesquisa podem-se observar projeções gráficas com os resultados dessas avaliações

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The purpose of this explorative field study using elements of case study design was to understand how DIY (Do It Yourself) fashion designers learn to engage in entrepreneurship. DIY fashion designers in this study refers to designers who personally design and make each garment without relying on manufacturers. These fashion designers all have design skills, but as they transition from designer to designer-entrepreneur with existing skills, they realize an additional set of skills is needed. To understand why they started the business and how they learned the skills necessary to maintain this dual role, the researcher interviewed 20 designer-entrepreneurs with different levels of experience: novice (3-5 years), middle-level (6-10 years), and seasoned (11 plus years). A selected literature review was conducted to shed light on the work of other researchers related to fashion entrepreneurship, entrepreneurship, and adult learning. The researcher used a qualitative methodology to explore how the designer-entrepreneurs learned and what they learned to maintain their dual role. A purposeful sample was drawn from a group of designer-entrepreneurs with different educational backgrounds and professional experiences. Data were collected through individual interviews followed by two focus group discussions. Data were examined to understand why certain DIY fashion designers chose to become designer-entrepreneurs, what challenges they faced in the dual role, how and what they learned, and which learning strategies they used. All designer-entrepreneurs in this study indicated that the motivation for becoming a designer-entrepreneur was to address their inner needs, which required both intrinsic reward and extrinsic validation. An overwhelming majority of them stated that most of the challenges stemmed from the entrepreneurial half of their dual role because they lacked the information needed to sustain it. All designer-entrepreneurs in this study learned through experiential and self-directed learning. A majority of them indicated that their main learning strategies consisted of finding or forming social networks for their design and business needs and developing their own learning habits. Based on these findings, the researcher made recommendations for educators teaching fashion or entrepreneurship and for current designer-entrepreneurs.

La moda se mantiene en un cambio constante debido al entorno. Cada temporada los diseñadores crean colecciones y proponen nuevas tendencias que buscan responder las exigencias del público. A lo largo de los años, se ha notado un incremento significativo en el uso de la tecnología por parte de las personas. Es por ello que las nuevas tecnologías se han comenzado a fusionar con el indumento tradicional. En los últimos años, los diseñadores están cada vez más dispuestos a optar por este tipo de técnicas en sus colecciones. Pese a esto, aún se desconoce cómo es que la impresión 3D ha impactado en la industria de la moda en nuestro país. Por consiguiente, la presente investigación tiene como fin responder la siguiente pregunta: ¿Cuál es el impacto de la impresión 3D en la moda en Lima entre el 2016 y 2020? Para resolverlo, se debe conocer el desarrollo de esta tecnología y su definición de manera detallada. De igual manera, se busca describir cómo se aplica la impresión 3D en la moda en Lima. Para ello, se entrevistarán a 8 diseñadores peruanos que han realizado colecciones de moda utilizando esta tecnología. Para esta investigación se utilizará el método cualitativo con enfoque fenomenológico. Dicha información se obtendrá mediante entrevistas semiestructuradas con preguntas abiertas. Cabe mencionar que la presente investigación aportará un punto de partida como fuente de estudio para diversos proyectos académicos. / Fashion is constantly changing due to the environment. Each season designers create collections and propose new trends that seek to meet the demands of the public. Over the years, there has been a significant increase in the use of technology by people. That is why new technologies have begun to merge with traditional clothing. In recent years, designers are increasingly willing to opt for this type of technique in their collections. Despite this, it is still unknown how 3D printing has impacted the fashion industry in our country. Therefore, this research aims to answer the following question: What is the impact of 3D printing on fashion in Lima between 2016 and 2020? To solve it, you must know the development of this technology and its definition in detail. In the same way, it seeks to describe how 3D printing is applied in fashion in Lima. To do this, 8 Peruvian designers who have made fashion collections using this technology will be interviewed. For this research, the qualitative method with a phenomenological approach will be used. This information will be obtained through semi-structured interviews with open questions. It is worth mentioning that this research will provide a starting point as a source of study for various academic projects.

In the beginning of the 20th century, there were 87 million elderly people aged 65 and older. However, by the years 2030 and 2050, elderly people in China will rapidly growth to 243–252 million and 352–398 million, respectively. (Zeng, Y., 2010) The population aging transition will take place in China with this staggering rapidity, compared to European societies. Predictably, as for this aging pressure, Chinese society still needs more time to react to it. Ageing is not only a challenge for the society but also a big challenge for design. Along with the increasing numbers of the elderly, they cannot be ignored by design any more. The discussion here aspires to move the design mindset beyond accessibility or in other words ‘Design for disability’, and introduce ‘Design for capability’ as a process of social innovation. In the paper, the design research will focus on meta-design, as well as participatory design and social innovation as auxiliary research, for designing a ‘seed’ as a change agent. The ‘seed’, as a meta-design solution, can be described as ‘a shared design endeavor aimed at sustaining emergence, evolution and adaptation’ (Giaccardi, E., 2005). It offers a framework for both designers and users to change original mindsets in the practice. (Giaccardi, E., 2005) Furthermore, the following question will be carried through the whole research: how to reposition ourselves as designers on the intersection of meta-design, design for social innovation and participatory design? What is the design approach to generate tools that can encourage inactive elderly citizens as ‘passive receivers’ to transform as ‘active participants’? How can the tools studied here contribute in a synergic relationship within stakeholders as a mean to make elderly citizens’ urban living more sustainable in terms of participating, learning and expressing actively?

This dissertation in practice utilized a sequential mixed methods research design to investigate the performance or exclusion of instructional design activities commonly prescribed by instructional design models during a typical instructional design project. The purpose of this study was to compare the performance of instructional design activities by practicing instructional designers with the performance of an experienced instructional designer to determine if instructional design models are being used to guide the practice of instructional design. In this study, quantitative data was collected from a sample of 224 instructional designers to determine the activities routinely performed and excluded from typical projects. Qualitative data was collected from a single case study of an instructional design project to assess whether or not the performance or exclusion of the same instructional design activities were identified in the work of an experienced instructional designer. Analysis of the data revealed the activities that are not routinely performed by instructional designers, reasons for the exclusion of activities, and possible factors for the decisions to exclude activities. The findings of this study indicate instructional designers may be sacrificing the quality and effectiveness of instruction in an attempt to increase the pace and reduce the cost of the instructional design process. The study concluded that instructional designers are not following the prescriptions of instructional design models during the practice of instructional design by routinely eliminating the fundamental activities involving the development of learner assessments, the performance of formative evaluations during the instructional design process, and summative evaluations after the implementation of the instruction.

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