abstract: The contemporary architectural pedagogy is far removed from its ancestry: the classical Beaux-Arts and polytechnic schools of the 19th century and the Bauhaus and Vkhutemas models of the modern period. Today, the "digital" has invaded the academy and shapes pedagogical practices, epistemologies, and ontologies within it, and this invasion is reflected in teaching practices, principles, and tools. Much of this digital integration goes unremarked and may not even be explicitly taught. In this qualitative research project, interviews with 18 leading architecture lecturers, professors, and deans from programs across the United States were conducted. These interviews focused on advanced practices of digital architecture, such as the use of digital tools, and how these practices are viewed. These interviews yielded a wealth of information about the uses (and abuses) of advanced digital technologies within the architectural academy, and the results were analyzed using the methods of phenomenology and grounded theory. Most schools use digital technologies to some extent, although this extent varies greatly. While some schools have abandoned hand-drawing and other hand-based craft almost entirely, others have retained traditional techniques and use digital technologies sparingly. Reasons for using digital design processes include industry pressure as well as the increased ability to solve problems and the speed with which they could be solved. Despite the prevalence of digital design, most programs did not teach related design software explicitly, if at all, instead requiring students (especially graduate students) to learn to use them outside the design studio. Some of the problems with digital design identified in the interviews include social problems such as alienation as well as issues like understanding scale and embodiment of skill. / Dissertation/Thesis / Ph.D. Design 2012

abstract: Much of the literature and many of the studies surrounding brainstorming focus on the performance and the quantitative aspects of the process in comparing the efficacy of individual versus group settings, specifically the benefits and pitfalls associated with each. This study looked at using alternate combinations of both individual and group styles of brainstorming to most efficiently maximize production of ideas and satisfaction of participants, while minimizing obstacles and shortcomings typically seen in brainstorming sessions. This research was designed to compare results of three different aspects of these sessions: real efficacy, perceived efficacy, and participant satisfaction. Two cohorts of eight student volunteers each were used to participate in and evaluate the specific session sequence they attended, either that of group then individual or individual then group. Each cohort consisted of four introverts and four extroverts, and the results and responses of each were then compared against each other in the same session and then against the results of the other session to see if there was a difference between the two personality types. The findings of this research revealed that the brainstorming session sequence of group then individual generated a larger quantity of solutions to the given problem and was perceived as more effective by both introverts and extroverts. The study also showed that introverts self-reported a higher satisfaction for the session ending in individual brainstorming, while the extroverts preferred the session ending with the group brainstorming. / Dissertation/Thesis / M.S.D. Design 2013

<p> Inspired by the heightened representation of reality in early twentieth century art, the costume design for <i>Machinal</i> utilizes techniques found in Cubism, Futurism, and Vorticism to reveal the principle character&rsquo;s inner experience and communicate her state of mind to the audience. Modifying traditional twenties&rsquo; dress with these aesthetic practices provided an opportunity to emphasize aspects of each character in relation to the protagonist, Helen. Additionally, by seamlessly including moments of modernity, the costumes emphasize the relevance of <i>Machinal</i>&rsquo;s themes to today&rsquo;s social and political environment. In fusing the aesthetic practices that contextualize Sophie Treadwell&rsquo;s play with historical fashion, a visual language developed that successfully meets Expressionist goals of communicating interior human reality while also remaining faithful to the twenties&rsquo; aesthetic and reinforcing the constraints of the patriarchal machine of society. </p><p>

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.

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.

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Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-04-29T14:40:21Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERTAÇÃO - NATHALIE BARROS DA MOTA SILVEIRA.pdf: 4264108 bytes, checksum: bfdefe2ed53469a09679bfb3fcb8bab9 (MD5) / Made available in DSpace on 2016-04-29T14:40:21Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERTAÇÃO - NATHALIE BARROS DA MOTA SILVEIRA.pdf: 4264108 bytes, checksum: bfdefe2ed53469a09679bfb3fcb8bab9 (MD5) Previous issue date: 2015-07-31 / CAPEs / As formas antropomórficas, ou artefatos configurados para refletir características humanas, fazem parte do universo das linguagens estéticas que se destacam no âmbito do design contemporâneo brasileiro, principalmente entre os anos de 2000 e 2014. Com a ideia de compreender a linguagem e o potencial comunicativo desses artefatos, a pesquisa se desenvolve a partir da tríade antropomorfismo-design-estética, grandes áreas que se interseccionam para fundamentar o objetivo principal desta pesquisa, que consiste em analisar a linguagem estética dos artefatos e categorizá-los de acordo com as soluções projetuais encontradas. Os resultados indicam que as formas antropomórficas proporcionam interações de nível objetivo, psicológico e sociológico com seus espectadores, estimulando atitudes e comportamentos. / The anthropomorphic forms, or the artifacts designed to reflect human features, are a part of the universe of aesthetic languages that stand out in the Brazilian contemporary design, especially between the years 2000 and 2014. From the idea of comprehend the language and the communicative potential of such artifacts, this research is developed from the triad anthropomorphism-design-aesthetics, intersecting fields that fundament the aim of this research which is to analyze artifacts aesthetics language and to categorize them according to the found projectual solutions. The results point that the anthropomorphic forms provide interactions in a objective, psychological and sociological level with its users, stimulating attitudes and behaviors.

I remember as a young child being fascinated with all forms of transportation: from the Walt Disney World monorails and shuttle buses, to Busy Boats, my favorite library picture book, to my first train ride, a 20-mile one-way trip on Amtrak that became the subject of my second-grade book fair masterpiece, The Great Day. Now, quite a number of years later, that fascination remains, manifesting itself in different ways, like getting excited when I get stopped by a passing train at a railroad crossing or riding the city bus to campus every day. Being an avid newspaper reader, I followed the long public process in the winter and spring of 2006–2007 as the Port Authority of Allegheny County, the public transit entity in Pittsburgh, identified ways to reduce costs to meet a multi-million dollar budget shortfall. Being a designer, one of the things that struck me was the Port Authority’s use of visuals to communicate what routes they proposed for elimination. These diagrams, one of which is shown in Figure 1, left something to be desired. It didn’t seem to communicate a clear message amidst all the visual clutter. I spent a few weeks trying out different variations and revisions of the diagram for a class in mapping and diagramming and thought that this area of design—user experience and complex information systems for transit—would be perfect for further study. In my preliminary review of current literature, I found studies of specific design improvements, such as a new bus map system in London (Horne, Roberts & Rose, 1986), historical reviews of iconic documents such as the London Underground diagram (Garland, 1994) and surveys of current practices by organizations such as the American Public Transportation Association (2007), an industry trade group, and the Transportation Research Board (1999). However, this research focused primarily on the document or artifact in question and only tangentially on rider information needs from an abstract perspective while ignoring the user experience. This essay will present the results of my observations and thoughts about the user experience of riders in public transportation systems. I will begin by defining a public transportation system and describing its various components and integration into the city’s transportation infrastructure. In the second section, I’ll describe users of these transit systems—the riders—and offer a series of categories and characteristics we can use to understand why they use public transportation. I’ll discuss how these riders use a public transportation system in section three, by offering a five-part model for a trip. Finally, in section four, I will analyze various aspects of the physical, printed artifacts transit systems distribute to the public to communicate what services they provide.

<p> What do product design teams value in sustainable design methods? Specifically, what kinds of activities and mindsets comprise different design methods, and which ones do design teams believe drive sustainability, innovation, and other value? How could they be combined to improve sustainable design&rsquo;s value to companies? This study was the first to deconstruct green product design practices into their constituent activities and mindsets to characterize them and hypothesize their potential synergies. It was also the first to empirically test and compare what practitioners value within three of these sustainable design practices&mdash;The Natural Step, Whole System Mapping, and Biomimicry. </p><p> Others have identified mindsets in sustainable design practices, or have identified activities in general engineering design practices, but none have done both for sustainable design practices. Such analysis is important, because most designers do not follow design methods like tunnels of process to pass through completely, but like toolboxes to draw from opportunistically. Here, fourteen design methods, guides, and certifications were deconstructed to categorize their component activities and mindsets, and hypothesize what designers, engineers, and managers would consider useful tools to select for different purposes, or could combine to multiply their value. It also hypothesized some green design methods might be preferred by designers, while others might be preferred by engineers or managers. </p><p> Empirical testing of the activities and mindsets within The Natural Step, Whole System Mapping, and Biomimicry measured their value for general purposes, sustainability, and innovation. It did so by providing 29 workshops on these design methods to 520 participants, with 376 survey respondents: 172 professionals from over 30 different companies and 204 Berkeley students, totaling 1,432 pre- and post-workshop survey responses, due to many people participating in multiple workshops. This testing of multiple design methods was new because most literature on sustainable product design either treats all sustainable design the same, or proposes a specific new design method and studies it. Quantitative and qualitative analysis of survey results validated the earlier deconstruction and found &ldquo;golden tools&rdquo; in each design method: In The Natural Step, Backcasting was most valued, largely for its strategic benefit of focusing thought to accomplish goals, and providing a new lens. In Whole System Mapping, Draw System Map was most valued, largely for broadening scope, visually showing the larger system, and aiding collaboration. In Biomimicry, Nature as Mentor was highly valued as a new lens to approach problems, and for being inspiring; AskNature.org was greatly valued for providing new ideas and for being interesting / engaging. Some of these and other components of the design methods were valued for sustainability, innovation, or both, and some for neither. Results were broken down by demographics (job role, company type, company size, industry sector, and gender) to see if different groups valued different things, as hypothesized above. However, differences were generally too small to be statistically significant at these sample sizes, which implies that sustainable design methods can be taught and used universally between all these groups, even though individuals vary in what they most value and why. </p><p> In addition to these theoretical analyses and empirical tests, 42 professional designers, engineers, and managers were interviewed at the beginning and end of the study to help establish background context for the research, recommend what green design methods to analyze, validate survey responses, and test for longer-term impact of workshops. They valued a wide range of design practices for several different reasons; some design practices were valued for both sustainability and innovation. Differences in responses from sustainable design experts versus traditional design practitioners showed how specialized skills help sustainable design; this implied design teams should not merely use standard design practices while thinking green thoughts. Multiple respondents mentioned the value of combining green design practices with both each other and traditional design practices. The interviews also investigated how design professionals measure innovation, though they were surprisingly resistant to the idea of quantifying it. Interviews also investigated who can best lead sustainability in design teams, why sustainability might provide business value, and how adoption of sustainability might best be driven in design teams. </p><p> This study&rsquo;s results should help designers, engineers, product managers, and others who create our material world to practice sustainable design more effectively. It can help practitioners mindfully choose and combine golden tools from various green design toolboxes to build a better world while building business value.</p><p>

A double standard has permeated all of Indian society throughout its history. Persecution is part of everyday life though routinely ignored. This abuse of power has led to identity-based politics, which harms members of non-dominant groups. My work is an expression of my personal experiences within the social and cultural landscape of India. I externalize this embodied experience through text, video, and ambient sound creating an environment of the pressures of the expectations of others. The videos follow the cycles of my thought and open up an examination of culture and society. To enter the space is to enter a mindscape and see Indian society through the eyes of its own alienated citizenry.