Sobre as fronteiras e territórios do design e do marketing pesam a influência de fatores endógenos, provenientes de novidades e controvérsias inerentes aos campos, e exógenos, advindos da atual conjuntura socioeconômica, cultural e ambiental. Isto, além impactar o contexto do mundo globalizado, representa novos desafios práticos e teóricos que, sugerem um novo nível de atuação das áreas, bem como mudanças no futuro deste relacionamento, que ainda hoje é tratado de forma hierarquizada. Posto isso, questiona-se: quais as consequências práticas e epistemológicas advindas do relacionamento entre o design e o marketing sobre os respectivos campos e a conjuntura atual, considerando-se os interesses, as características e a inevitável coexistência das áreas no complexo ambiente globalizado? Com efeito, analisando-se a questão central, tendo como base, os panoramas passado, atual e futuro deste relacionamento, decidiu-se pelo uso de duas técnicas de coletas de dados. Esta pesquisa baseou-se em métodos qualitativos, por isso, primeiramente, optou-se pelo uso de uma abordagem teórica, à luz da revisão bibliográfica, com o intuito de situar o problema e apresentar os principais eventos e conceitos relacionados ao tema. Em segundo lugar, optou-se pelo uso de entrevistas semi-estruturadas com respondentes da área de design, em busca de dados pertinentes e relevantes sobre o panorama da interação entre o design e o marketing e suas consequências. A presente pesquisa tem caráter exploratório, não exaustivo e pretende colaborar com o campo do design, como subsídio para a reflexão de outros pesquisadores. Por este motivo, optou-se pela pesquisa qualitativa, que propicia, dentre outras coisas, a reflexão mediante a correlação entre a teoria e prática. Posto isso, conclui-se que há uma expressiva relação entre a interação dos campos do design e do marketing que projeta novos cenários e novas perspectivas futuras. / On the borders and territories of design and marketing, weigh the influence of endogenous factors, from novelties and controversies inherent areas, and exogenous, caused by the current conjuncture socioeconomic, cultural and environmental. This, in addition to impacting the context of a globalized world, poses new practical and theoretical challenges the suggest a new level of performance areas, as well as changes in the future of this relationship, today is still is treated in a hierachical way. That said the question is: What are the practical and epistemological consequences arising from the relationship between design and marketing on their respective areas and current situation, considering the interests, characteristics and inevitable coexistence of areas in the complex globalized environment? This research was based on qualitative methods, so first, we opted for the light of the literature review, in order to situate the problem and the present the main concepts and events related to the theme. Secondly, we chose to use semi- structured interviews with respondents from the design area, looking for pertinent and relevants data panorama of the interaction between design and marketing and it consequences. This research is exploratory, not exhaustive and intends to collaborate with the design area , as a subsidy for the reflection other stakeholders. For this reason, we chose to qualitative research, which provides, among other things, a reflection upon the correlation between theory and practice. That said, it is concluded that there is a significant relationship between the interaction of the fields of design and marketing designing new scenarios and new prospects.

A partir de 2004, no Brasil, com autorização do Ministério da Educação, cursos de nível superior voltados para formação do profissional da área de criação em moda passaram a ser amparados nas diretrizes curriculares do campo do design. Desta forma, a recente integração entre elementos do campo do design e elementos do campo da moda proporcionou o surgimento e compartilhamento desta nova subárea, o design de moda, e uma nova categoria profissional foi estabelecida, o designer de moda. A presente pesquisa analisa possíveis relações entre referenciais teóricos do campo do design e do campo da moda a partir da perspectiva do design de moda. Investiga, também, como tais referenciais interagem e são articulados na consolidação de um repertório teórico próprio do design de moda e que outras possíveis relações emergem deste momento de transição e integração de conteúdos, sobretudo no âmbito nacional. Tem como propósito norteador promover o aprofundamento da discussão sobre as confluências e dissonâncias entre os campos de design e de moda intrínsecas ao design de moda, na tentativa de contribuir para a integração entre os campos por meio da articulação de conceitos e conteúdos teóricos. E compreende, por fim, os campos de design e de moda como equivalentes na possibilidade de gerar, reciprocamente, críticas construtivas. / Since 2004, with authorization from the Ministry of Education, higher education courses for training the professional creative field in fashion are now supported in the curriculum guidelines of the design field. Thus, the recent integration between the elements of the design field and elements of the fashion field provided the emergence and sharing of this new sub-area, fashion design, and a new category was established, the fashion designer. This research analyzes possible relations between theoretical frameworks of the design field and the fashion field from the fashion design perspective. It also investigates, as such references interact and are articulated in the consolidation of its own theoretical repertoire of fashion design and other possible relationships emerge from this time of transition and integration of content, especially at the national level. Its purpose is to promote further discussion of the consensus and dissent between design and fashion fields, intrinsic to fashion design in an attempt to contribute to the integration between the fields through the articulation of concepts and theoretical contents. And understand, finally, the design and fashion fields as equivalent in the possibility of generating, conversely, constructive criticism.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-04-12T12:53:55Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese de doutorado - Ana Andrade - 2015.compressed.pdf: 9490756 bytes, checksum: 5028371acae7ee46385e03b49844b1c5 (MD5) / Made available in DSpace on 2016-04-12T12:53:55Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese de doutorado - Ana Andrade - 2015.compressed.pdf: 9490756 bytes, checksum: 5028371acae7ee46385e03b49844b1c5 (MD5) Previous issue date: 2015-02-25 / Estudiosos e pesquisadores são atraídos pelo tema design–artesanato e seus achados revelam perspectivas nem sempre convergentes. Reconhecendo a importância e provocações que o tema suscita, o interesse desta pesquisa é compreender a relação design–artesanato sob a ótica da gestão, mais especificamente da Gestão de Design, a partir do pressuposto de que os conhecimentos de Gestão de Design podem ser vantajosos para o artesanato. Esse pressuposto norteia a hipótese de que os modelos de gestão de design podem ser adaptados para auxiliar a atuação do designer no ambiente artesanal, desde que valorize a cultura local e contribua para a sustentabilidade ambiental, econômica e social de comunidades produtoras de artesanato. A atuação da pesquisadora no Laboratório de Design da Universidade Federal de Pernambuco O Imaginário junto a comunidades artesãs motivou a pesquisa na busca de um modelo de gestão de design adequado à realidade das comunidades produtoras de artesanato, observando questões relacionadas à sustentabilidade ambiental, social e econômica, a partir da análise de modelos de gestão do design utilizados no ambiente industrial. A pesquisa considerou as vantagens da metodologia de abordagem dialética para compreender a dinâmica das relações nos diferentes contextos (comunidade artesã, mercado e gestores públicos) e utilizou o estudo de caso como método de procedimento. O modelo de intervenção de design no artesanato desenvolvido pelo Laboratório O Imaginário foi tomado como objeto de estudo, enquanto as comunidades artesanais atendidas pelo Laboratório, no Cabo de Santo Agostinho e em Ponta de Pedras, foram selecionadas como unidades de análise. A partir da crítica aos modelos de gestão de design e de atuação no artesanato, a pesquisa sugere adaptações que fomentam a gestão de design, a visão empreendedora e o negócio na proposta de adaptação do modelo de gestão de design para o artesanato. A associação ensino-pesquisa-extensão e o papel da Universidade na articulação dos setores público e privado se revelaram indutores importantes para o fomento do desenvolvimento local e, inovação ão social1 e sustentabilidade de comunidades, municípios e regiões. / Scholars and researchers are attracted by the design-crafts theme and their findings reveal perspectives that are not always convergent. Recognizing the importance and provocations that the issue raises, the interest of this research is to understand the design-crafts relationship from the management perspective, more specifically the Design Management, from the assumption that its knowledge can be advantageous to crafts. This assumption guides the hypothesis that design management models can be adapted to support the work of the designer in the craft environment, provided that it values local culture and contributes to environmental, economic and social sustainability of craft producing communities. The role of the researcher at the Federal University of Pernambuco Laboratory of Design The Imaginarium, along with artisan communities, motivated the study in search of a design management model appropriate to the reality of craft producing communities, noting issues related to environmental, social and economic sustainability, from the analysis of design management models used in the industrial environment. The research considers the advantages of dialectical approach methodology to understand the dynamics of relationships in different contexts (artisan community, market and public administrators) and used the case study as a method of procedure. The design intervention model in crafts developed by The Imaginarium Laboratory was used as an object of study, and the artisanal communities served by the Laboratory, in Cabo de Santo Agostinho and Ponta de Pedras, were selected as units of analysis. Based on the criticism of design management models and performance in crafts, this research suggests adaptations that promote design management, entrepreneurial vision and business in the proposal to adapt the design management model for the craft sector. The association teaching-research-extension and the role of the University in the articulation of public and private sectors have revealed themselves important guidelines for the promotion of local development and social innovation and sustainability of 2 f communities, municipalities and regions.

Orientador: Mônica Cristina Moura / Resumo: A presente pesquisa partiu da necessidade de explorar projetos Open Design dentro da moda contemporânea brasileira, visto que inúmeros autores apontam que os projetos abertos ainda são escassos no setor. Dessa forma, buscou-se saber quantos e quais foram as marcas e profissionais contemporâneos inseridos no setor de moda do país que já executaram vertentes do design aberto em suas empresas. Para tanto, utilizou-se o método hipotético-dedutivo cuja abordagem dos dados se deu de maneira quali-quantitativa de modo que a pesquisa valeu-se da metodologia da Revisão Bibliográfica que, por sua vez, foi empregada em três modos de prática distintos: Revisão Bibliográfica Assistemática, Revisão Bibliográfica Sistemática e Revisão Agregativa. Tal metodologia possibilitou a descoberta das publicações mais relevantes a respeito do tema, permitindo inteirar-se sobre a história do open design, conceituá-lo e compreender melhor seus pontos positivos e negativos quando praticado no setor de moda. Além disso, a partir dos dados obtidos, foi possível realizar o levantamento e a sistematização dos projetos contemporâneos brasileiros, o que evidenciou a baixa quantidade de iniciativas open design, bem como a quantidade significativa de projetos que se encontram estagnados. Acredita-se que a pesquisa resultou em dados interessantes para o esclarecimento do assunto: contribuindo com as pesquisas sobre o tema (que ainda são escassas), corroborando com certos autores do assunto, atualizando dados apr... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present research started from the need to explore Open Design projects within contemporary Brazilian fashion, since numerous authors point out that open projects are still scarce in the sector. Thus, it was sought to know how many and what were the brands and contemporary professionals inserted in the fashion sector of the country who have already carried out strands of open design in their companies. For that, we used the hypothetical-deductive method whose approach to the data was made in a quali-quantitative way so that the research made use of the methodology of the Bibliographic Review that, in turn, was used in three different modes of practice: Unsystematic Bibliographic Review, Systematic Bibliographic Review and Aggregative Review. Such methodology made it possible to discover the most relevant publications on the subject, allowing to learn about the history of open design, conceptualize it and better understand its positive and negative points when practiced in the fashion sector. In addition, from the data obtained, it was possible to carry out the survey and systematization of contemporary Brazilian projects, which evidenced the low number of open design initiatives, as well as the significant number of projects that are stagnant. It is believed that the research resulted in interesting data to clarify the subject: contributing to research on the topic (which is still scarce), corroborating with certain authors of the subject, updating data presented by previo... (Complete abstract click electronic access below) / Mestre

This project is initiated based on observations from me and other people in the design/technology community. Products and services are optimised for efficiency and standardisation caring more for profit than privacy. We, humans, are becoming the product to be consumed by our technologies. However I believe that good interaction design can also be the remedy to this issue created by it. Celebrating fluidity, creating interactions that trigger reflection and empower users. Designing things away and creating hacks.  This initiated the research question of this thesis: How do we design interactions that empower people in their engagements with the digital so a balanced relation can be formed? This thesis is approaching this issue through a process I call co-reflection through disruptive design. This is a hands on design methode that use experiments as contextualisations of the reflections done by the designer. The experiments are shared with people in order to reflect upon as well. The returning reflections are used to continue the project and often lead to a reframing of it. The big fluctuating issue being targeted in this project called for a process inline with this nature. Throughout this process three design principles and three design handles are initiated.  This project is finalised with a last experiment Huddle. This is a nomad server where the digital design manifesto is kept and collectively written. The proposed design principles and handles are a small stab at the bigger issue. Looking at the fluidity of the process and the community involvement I chose to not deliver a final solution but another experiment that is in flux. Through reading, signing and contribution on the website the manifesto is crafted. So this thesis report is a finalisation of the Undermine_Through_design thesis but the start of the live of _Huddle.  All photographs in this report which are uncited have been taken by the author, Ilse Pouwels.

This article is meant to work as a resource for a level designer looking to create a level for a horror game.  To achieve this the article will go through the different components that a level designer needs to keep in mind when designing for the horror genre. But also how to use the design perspective emotional design (Van Gorp & Adams, 2012) to create a level that fulfills the goals a level in a horror game strives to fulfill. This is to build up a feeling of fear and make the player feel the emotion of horror. But how can a level designer with the help of  emotional design create specific moods and emotions in the levels they create? The purpose of this text is to explore how through combining emotional design with methods like Design Pillars, Moodboards and storyboards a level designer can create specific feelings and emotions in their levels. The article will serve as an example for level designers through explaining the components they have to keep in mind and the methods they can use when making levels for horror games. the article is tied to a production created using the methods i go through in the article and it serves as an example of what is written in the article. / Att bygga miljöer och banor för spel är ett område som har utforskats enda sen spel först kom till. Men hur kan man med hjälp av emotionell design (Van Gorp & Adams, 2012) skapa specifika känslor och stämning i de banor och miljöer man skapar i spel? Syftet med denna text är att utforska hur spelutvecklare kan använda sig at emotionell design för att skapa en känsla av skräck i spelets miljöer genom olika metoder som till exempel design pillars, moodboards och storyboards. Vad en level designer kommer behöva hålla i åtanke i sitt designande när det kommer till level design för just skräckspel. I texten kommer jag försöka ge spelutvecklare en resurs de kan använda sig av för att skapa spelmiljöer vars syfte är att ge känslan av skräck och ett stämning av rädsla till spelaren. Samt ge exempel på vilka metoder man kan använda sig av för att uppnå detta. Med denna artikel finns en gestaltning vars syfte är att vara ett praktiskt exempel på de metoder jag demonstrerar i texten.

My degree work has been an exploration in what specific skills, knowledge and understan­dings that are needed in service design as a practice, in order to successfully engage in complex contexts with multiple stakeholders, different relations, structures and regulations. In this investigation, I have been especially interested in the role of physical forms in a process where social structures are discussed and reshaped. With the ambition to create a learning process within this area I have, in collaboration with Förnyelselabbet, been part of a study in Malmö that focus on children and youth with migra­tion experiences living in vulnerable housing situations. The study is done in collaboration with multiple actors such as City of Malmö, The Red Cross, Rädda Barnen, Unicef, Skåne Stadsmission, Sensus etc. These are actors that share the same goal to highlight needs and experiences amongst children and youths. In my work I have designed tools with the ambition to unfold and deepen the under­standing of situations, meetings and objects that could enable a feeling of safety, comfort and joy when living in a vulnerable housing situation. In this context, I have recognized the importance of exploring the role of meeting points. For this purpose, I have used three objects; the slide; the sofa and the set table. As a result of this degree project I created something I call a material probe, a object with the function to visualise needs and trigger responses. This material probe captures three fundamental needs; a slide – the possibility for play and activity, a sofa – the possibility for gaining the feeling of safety and belonging, a table – the possibility for sharing experiences and information. By visualising and materialising these needs, I hope to create a discussion that unfolds challenges and promotes the children’s perspective. My work to narrow down the needs is based on multiple interviews and stories from children, youths and parents. The main question is what happens to the continued development process when research findings, needs and experiences are visualised. The main goal of this degree project has been to articulate and reflect on how service designers can combine knowledge within process design, institutional design and design of physical form. How service design as a practice can develop and if including physical forms and visualisations at a higher level in our work can help the development process forward.

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