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A presente dissertação estuda a relevância das padronagens como elemento compositivo no Design de Interiores contemporâneo. O campo de observação compõe-se da inter-relação entre o Design de Interiores e o Design de Superfícies, presente nos revestimentos e acabamento dos objetos. O desenvolvimento desta pesquisa teve como ponto inicial a constatação da autora, a partir da experiência profissional, da importância da padronagem na definição da identidade do ambiente e à forma intuitiva que se dá o processo de escolha desse elemento compositivo pelo profissional da área. A discussão do tema fundamenta-se teoricamente na investigação de autores como Ching e Binggeli, Gibbs, Gurgel, Rüthschilling, Lupton e Phillips, Savoir e Vilaseca, entre outros. O estudo está estruturado a partir de uma abordagem qualitativa de caráter exploratório e descritivo, utilizando as técnicas de pesquisa bibliográfica, documental, estudo de campo e estudo de caso. Com o intuito de verificar a importância das padronagens no Design de Interiores, a pesquisa tem como base conhecer a atividade de Design de Interiores, o desenvolvimento do projeto, observação de campo e estudo de caso de projeto específico. Apresenta o estado da arte do Design de Superfície sob o aspecto conceitual e compositivo no desenvolvimento das padronagens aplicadas em ambientes, por meio do estudo das “Visualidades Contemporâneas”. Na discussão dos resultados identifica a presença das padronagens no campo da pesquisa – Design de Interiores e Design de Superfície aborda os aspectos considerados na utilização da padronagem como elemento compositivo no ambiente. Conclui que a padronagem é um elemento compositivo relevante na construção da identidade do ambiente. Evidencia a presença do Design de Superfície no desenvolvimento das padronagens observando os aspectos técnicos e conceituais aplicados aos revestimentos identificados em ambientes contemporâneos. Destaca a crescente e expressiva a utilização das padronagens, sendo quase impossível presenciar uma superfície sem tratamento. / This dissertation examines the relevance of patterns as a compositional element in contemporary interior design. The field of observation consists on the inter-relationship between interior and surface design, present in the coatings and finishing of objects. The development of this research has as starting point the acknowledgement from the author, based on her experience, of the importance of the participation of patterning in defining the identity of the environment in contrast to the intuitive way of choosing this compositional element made by the professional of the area. The discussion of the topic is based on theoretical research of authors such as Ching and Binggeli, Gibbs, Gurgel, Rüthschilling, Lupton and Phillips, Savoir and Vilaseca, among others. The study is structured on a qualitative exploratory and descriptive approach in order to find indicators, taking advantage of the techniques of the bibliographical research, as well as a field and a case study. In order to verify the importance of patterns in Interior Design, the search is based on known activity of Interior Design, design development, field observation and case study of a specific project. Displays the state of the art design area under the aspect of conceptual and compositional patterns in the development of applied indoors, through the study of "contemporary visuality". In discussing the results of the study identifies the presence of patterns in research - Interior Design and Surface Design and observes the aspects considered in the use of pattern as a compositional element in the environment. It comes to the conclusion that the pattern is a relevant compositional element in constructing the identity of the environment. The work highlights the surface design in the development of patterns when it observes the technical and conceptual aspects applied to the identified coatings in contemporary environments. The use of patterns is significant and growing in the field, being almost impossible to see a surface without it.

AN ABSTRACT OF THE THESIS OF Mary Katherine Hughes, for the Masters of Fine Art degree in Theater, presented on March 30, 2015, at Southern Illinois University Carbondale. TITLE: BEHIND THE CURTAIN: A SCENIC DESIGN OF RUPERT HOLMES' CURTAINS MAJOR PROFESSOR: Wendi Zea This paper covers the design and production process of the musical Curtains as produced by Southern Illinois University in October of 2014. Chapter One is an initial analysis of the play and design goals. Chapter Two is a description of the design processes and incarnations of the play over the course of several months. Chapter Three is a description of the build process for the production. Chapter Four is an analysis of the entire design and build process and its factors with a conclusion based on this analysis. The subsequent appendices contain additional charts and images of and for the design and build processes.

AN ABSTRACT OF THE THESIS OF George J. Murphy, for the Master of Science degree in Plant, Soil and Agricultural Systems, presented on April 3, 2009, at Southern Illinois University Carbondale. TITLE: COMPARING THE USE OF COMPUTER GENERATED AND HAND-DRAWN DESIGNS AMONGST LANDSCAPE DESIGNERS AND LANDSCAPE ARCHITECTS MAJOR PROFESSOR: Karen Midden Landscape designers and landscape architects design landscapes in a way that integrates people and the outdoor environment in a manner beneficial to both. Traditionally, landscape designers/architects have produced their designs by hand. During the last twenty years a shift towards the use of computer aided design (CAD) software has occurred. It is unknown how many designers have made the transition and what their reasons for doing so are, as well as, why certain designers choose to hand-draw their designs. A survey was developed to 1) determine sample representation of professional, landscape designers and landscape architects using computer-aided design software as a design and communication tool, 2) determine sample representation of professionals, landscape designers and landscape architects using hand-drawn graphics as a design and communication tool and 3) evaluate why each has selected the design and communication tool of choice. Results indicate that overall the majority of landscape designers and landscape architects are creating their designs by hand. Specifically, more designers/architects from nearly every background and demographic category create their designs by hand, rather than by computer. There were three categories that did express a greater number of designers/architects that design primarily with computers 1) those whose projects are primarily non-residential, 2) those who are a part of a design department with greater than four employees and 3) those who primarily learned computer design in school. Landscape designers/architects who hand-draw their designs indicated "comfort level" as their most popular choice as to why they design by hand. Whereas, a majority of designers/architects who design with computers chose "save time" as their reason for using computers, rather than hand-drawing. However, when asked what is the average amount of time spent designing each project, the responses were nearly identical, thus using computers does not appear to save time. Results also indicate that a majority of computer designers produce some hand drawings prior to completing the final design on the computer. Whereas, very few designers/architects who hand-draw produce any computer generated drawings prior to finishing the final design by hand. Designers/architects who hand-draw and those who use computers produce the different types of drawings associated with the different stages of the design process in equal amounts, meaning that both types of designers/architects are still following the same design process. Dynascape, AutoCAD, and LandCAD are the more popular computer design programs being used by computer designers. A majority of the designers/architects who use these programs rated theirs as excellent, and a majority of these software programs also assist with cost estimation.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A revista Senhor foi publicada de 1959 a 1964, e até hoje é lembrada por seu layout e conteúdo, então inovadores no país. Nesta dissertação analisamos o uso de cores nos dezesseis primeiros números desta revista. Iniciamos como uma breve contextualização político-históricosocial, seguida de um panorama das revistas no Brasil na época em que Senhor era publicada. Seguimos com a história da revista Senhor, uma análise do perfil do seu consumidor e uma descrição das ferramentas utilizadas na análise de cor e da metodologia desenvolvida para esta análise. Por fim, apresentamos a análise de cor e outras estratégias gráficas, que colaboram na coesão e ritmo visual da Revista. / The magazine Senhor was published in Brazil, between 1959 and 1964. It has become a sign of that age and that country due to its innovative layout and content. This work analyses the color usage in the first sixteen numbers of Senhor. It begins explaining the socio-political and historic context in which the magazine was published. An overview of the magazine market in Brazil on the first half of the 20th century follows a brief history of the magazine Senhor and an analysis of its consumer profile. We describe the tools we used to analyze the magazine and the methodology we developed for the color analysis. Finally, we present how the color usage, as well as other graphic strategies, gives the magazine graphic cohesion and visual rhythm.

Submitted by GABRIEL FERNANDES DOS SANTOS null (gabrielfernandes.cereja@gmail.com) on 2016-04-05T14:33:37Z No. of bitstreams: 1 Dissertação - Santos, Gabriel Fernandes dos.pdf: 11047087 bytes, checksum: f22abce52339cc909a7aadc1614d0946 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-04-07T17:22:55Z (GMT) No. of bitstreams: 1 santos_gf_me_bauru.pdf: 11047087 bytes, checksum: f22abce52339cc909a7aadc1614d0946 (MD5) / Made available in DSpace on 2016-04-07T17:22:55Z (GMT). No. of bitstreams: 1 santos_gf_me_bauru.pdf: 11047087 bytes, checksum: f22abce52339cc909a7aadc1614d0946 (MD5) Previous issue date: 2016-02-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O déficit habitacional atinge milhões de famílias em todo o mundo, inclusive as brasileiras. Este problema, somado ao contexto insustentável do setor produtivo da indústria da construção, evidencia a urgente necessidade de novas propostas para o prosseguimento deste ramo de modo sustentável. Então, as áreas do Design, Arquitetura e Engenharia Civil, cada vez mais, priorizam pelo uso de recursos sustentáveis e por novas abordagens no desenvolvimento de suas atividades. Neste sentido, esta pesquisa teve o objetivo de desenvolver novos componentes construtivos – painéis modulares para fechamentos na construção de ambientes, feitos em bambu associado com terra e resíduos. Sob uma abordagem metodológica articulada pela realização de um Design Participativo, a concepção dos painéis modulares foi realizada em conjunto com duas comunidades locais, uma de área rural e outra de zona urbana. A elaboração de projeto dos painéis utilizou sketches, ilustrações, modelagens em 3D virtual, renderes, desenhos técnicos e modelos em escala 1:2. Na etapa de confecção dos protótipos físicos, primeiramente foi projetado e construído um gabarito para, posteriormente, efetuar-se a montagem dos painéis modulares. Com a confecção dos protótipos físicos dos painéis e do gabarito foi possível identificar possíveis melhorias em ambos os projetos. Neste momento, fez-se a coleta e análise de dados que, futuramente, poderão auxiliar a caracterizar sua viabilidade econômica. No que diz respeito aos materiais empregados e à abordagem metodológica articulada pela realização de um Design Participativo para a criação dos painéis, os resultados alcançados apresentaram efetividade. Tal fato demonstra a capacidade dos painéis modulares desenvolvidos nesta pesquisa em promover ações sustentáveis junto ao ramo da construção. / Housing shortage affects millions of families around the world, including Brazilian ones. This problem, added to the unsustainable context of the construction production sector, points out the urgent necessity of new proposals for a sustainable prosecution of this matter. Therefore, the fields of Design, Architecture and Civil Engineering are increasingly prioritizing the use of sustainable resources and new approaches to the development of activities. In this sense, this research aims to develop new constructive components – modular panels for the closure of construction, built of bamboo associated with soil and residues. In a participatory methodology approach, the production planning of the modular panels was done together with two local communities, one of rural area and the other from urban zone. The elaboration of the panels project used sketches, 3D virtual modelling, renders, technical drawings and models in 1:2 scale. Firstly, at the confection stage of the physical prototypes, templates were projected and build, then the modular panels were assembled. With the physical prototype of the panels and the templates, it was possible to identify possibles improvements in both projects. At that stage, data was gathered and analyzed that, in the future, could help characterize its economical viability. Concerning the used materials and the methodology articulated through the execution of a participatory design, the results achieved were effective. It demonstrates the modular panel´s capacity of promoting sustainable actions in the construction field. / FAPESP: 2015/00782-4

Esta dissertação enfoca as características que um ambiente comercial deve ter para atender as necessidades dos diferentes usuários (cliente e funcionário). Com base na revisão bibliográfica foram pesquisados os métodos de projeto utilizados para o planejamento destes espaços, assim como a forma que os usuários interagem com os diferentes elementos que compõem uma loja. Com base no método Design Macroergonômico (Fogliatto e Guimarães, 1999) foram identificados os itens de demanda ergonômica do funcionário e cliente de cinco lojas franqueadas e dedicadas à comercialização cosméticos e perfumes. Os resultados demonstraram que na maioria das vezes este tipo de espaço preocupa-se tanto com as necessidades de venda que ignora as verdadeiras necessidades dos seus usuários. Verificou-se, também, que o método Design Macroergonômico pode ser utilizado por arquitetos no intuito de enriquecer a avaliação das necessidades dos diferentes usuários de um espaço comercial. / This dissertation focuses on the features that a commercial environment must have to supply the needs of different users (employees and customers). The literature was reviewed on the methods for commercial spaces planning as well as on the user´s behavior in a store. Based on the Macroergonomic Design method (Fogliatto and Guimarães, 1999) the ergonomic demand items were identified according to the employees and customers of five stores of a same beauty goods franchising. The results showed that most of the times the project of this kind of space focuses on sales needs ignoring the real users needs. Magroergonomic Design method showed to be useful for architects aiming to enrich their projects by placing the needs of different users of a commercial space.

abstract: ABSTRACT This research investigates the synaesthetic responses consumers have to branded consumer product designs to aid the design development process. Through proper application of synaesthetic responses, companies can create holistic experiences and brand expressions that are loved and trusted by consumers and thus achieve brand loyalty. Capturing the hearts and minds of consumers through exceptional product experiences is one of the primary goals of any design agency, retailer or Consumer Packaged Good (CPG) company today. Thousands of new products launch every year and consumers are bombarded with advertising campaigns, package designs, POP displays, product offerings and new product forms. Breaking through the visual and verbal clutter by designing for the senses is one of the key ways design firms and companies can engage with and create a stronger bond with the consumer. Connecting with consumers can be achieved through the maintenance of a compelling brand positioning and the development of brand expressions (products) that are holistically honest and express their positioning. Holistically honest designs are designs that capture the senses and the essence of the brand. Upon initial impression, the package immediately and innately “feels” right – nothing seems amiss. This includes all of the senses: sight, smell, taste, touch, and hearing combined with what the consumer knows or believes about the brand to create a meaningful gestalt. All design touchpoints should be considered in order to attain the ultimate goal of a holistic design: graphic treatment, typography, words, scent, form, color – any type of sensory stimulator as these all influence perception and ultimately product and brand trust. This study will employ qualitative and quantitative research approaches to understand consumers’ synaesthetic responses to a brand’s expressions. / Dissertation/Thesis / Masters Thesis Design 2015

abstract: This paper discusses the second phase of sustainability in the field of design and identifies the success factors of design innovation in the ethnic craft industry in northern Thailand. This study explored craftspeople’s capital, their means of developing it, and potential routes to sustainable development on the capital. The literature review examines three topics: (1) ethnic identity and craft; (2) northern Thailand and hill tribes; and (3) design thinking, vulnerability, and resilience. Empirical research was conducted with hill tribe craftspeople in northern Thailand. Seven types of capital—human, social, natural, physical, financial, cultural, and emotional capital—were identified through interviews and observation. Those types of capital indicated what the craftspeople wanted and needed. The key findings were as follows: First, social capital has a close relationship with both human capital and emotional capital, indicating that for craftspeople, networks and membership ensure knowledge and increase connections with friends and family. Secondly, emotional capital is affected by financial capital. Financial capital refers to the monetary resources used to achieve craftspeople’s livelihood objectives. The craftspeople required high order volumes to earn to more money and thus improve their economic condition; they experienced more stress when order volumes were low. Third, financial capital is not related to social and cultural capital. Graphs implied certain relationship among them, with the reasons varying depending on the individual craftsperson’s environment. A high level of social and cultural capital does not affect low financial capital, and vice versa. Finally, cultural capital directly influences emotional capital because the happiness of hill tribe craftspeople is related to their identity and dignity as craftspeople. / Dissertation/Thesis / Masters Thesis Design 2017

Teachers, locals, a designer, communities, students, materials and co-design are the resources of this written report. These elements have tried to find a balance between each other during the process to stimulate the core of the project: a sustainable future in the local community of Älmhult. Starting of through of changing the global perspective of education to a more local sharing-learning experiences, the project made a turn to focus more on a problematic community namely that of Älmhult, Sweden. This local community has in the recent years changed dramatically because of growth in population and cultures. The community in which international and local do not mingle enough, has split. Instead of using these possibilities of learning from each other’s cultures and languages they have decided to live in mostly separate communities. Through the course of this project a network was built of people from both these communities to start building a stronger community in Älmhult. Education has been used as tool to stimulate this change, bringing the local community to the students. Teaching the students about strong communities they are the tool to develop this into the future. Thereby the student is the seed of change. The project has worked with co-design, using the tools to connect teachers and local initiators to create these meetings between student and local community. The research can be a learning tool to build communities, by using the knowledge of its inhabitants.