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Esta dissertação tem por objetivo tratar do problema de encaixe de moldes da indústria do vestuário. O problema consiste no encaixe bidimensional de itens pequenos (moldes), que possuem formas irregulares, dentro de um material que será cortado, que possui forma retangular com largura fixa e comprimento variável. O principal objetivo do encaixe é minimizar o desperdício do material que será cortado, neste caso, o tecido. Para tratar o problema do encaixe bidimensional de moldes propõe-se, a partir do desenvolvimento de uma técnica de encaixe, um protótipo funcional.A concepção da técnica foi realizada com as informações obtidas nas etapas de coleta de dados: dados indiretos (Fundamentação Teórica) e dados diretos (Observações Diretas e Entrevistas com especialistas no encaixe manual). Os dados obtidos nessas etapas e, principalmente, a triangulação dos mesmos, permitiram o desenvolvimento da técnica de encaixe de moldes, que consiste em três partes: representação gráfica do tecido e dos moldes, critérios de ordenamento e construção do layout. A técnica proposta está implementada no protótipo funcional Riscare através da linguagem Delphi. Para construir a interface do Riscare, realiza-se uma avaliação da usabilidade de um software comercial com a mesma função. Os conceitos avaliados auxiliaram no desenvolvimento da interface do Riscare. A criação do protótipo funcional possibilitou a comparação da técnica proposta para o encaixe de moldes com encaixes realizados manualmente, com um software comercial e com problemas considerados benchmarks da literatura. Na maioria dos testes comparativos realizados, o Riscare obteve resultados com rendimentos superiores. Os resultados alcançados mostram a qualidade da técnica proposta e, consequentemente, do protótipo funcional desenvolvido. / The objective of this work is to deal with pattern fitting problem in garment industry. The problem is two-dimensional fitting of small items (patterns) that have irregular shapes, within a material to be cut, which has a rectangular shape with fixed width and variable length. The main purpose of fitting is to minimize the material waste, in this case the fabric to be cut. To address the problem of two-dimensional pattern fitting, a functional prototype is proposed based on the fitting technique developed. The design technique is done with the information obtained in data collection: indirect data (theoretical basis) and direct data (observations and interviews with experts in manual fitting). Data obtained in data collection and its triangulation enabled the development of the pattern fitting technique, which consists of three parts: the graphical representation of the fabric and the pattern, the ranking criteria and layout construction. The proposed technique is implemented in Riscare functional prototype, developed using Delphi programming. An usability evaluation of a similar commercial software is performed to build the Riscare interface. The criteria evaluated helped the development of Riscare interface. The development of a functional prototype allows the comparison of the proposed technique for pattern fitting with fitting performed manually, with a commercial software and literature benchmark problems. In most comparative tests, the Riscare obtains results with higher yields. The results show the quality of the proposed technique and the functional prototype developed.

O estudo a seguir mostra como a arqueologia industrial pode ser utilizada para resgatar ícones, mais especificamente, de Design. Esta dissertação aborda, especificamente, o caso do Design de móveis, num período compreendido entre as décadas de 40 a 80. Trata-se de todo o histórico, desde o nascimento da idéia, sua implantação no mercado e venda da empresa de mobiliário para escritório das linhas MaGnalínea e MaGnaspazio, que acabaram por se tornar os carros chefe da empresa Manlio Gobbi & Cia Ltda. A empresa veio a se tornar líder do mercado no Rio Grande do Sul a mercê do Design diferenciado de seus produtos e da seriedade da política de marketing, pois se tratava de um produto honesto, transparente e de uma modulação inusitada, no qual havia se conseguido a eliminação do supérfluo em prol da utilização de formas simples, num conceito totalmente inovador para a área de móveis para escritórios. Tal conceito agradou plenamente aos seus usuários, transformando-se num verdadeiro ícone e é utilizado largamente até os dias de hoje. Nesta dissertação é feita uma apreciação profunda do Cenário específico e até político da época. Perpassa-se também a realidade histórica da área moveleira, bem como conceitos dos mais variados que auxiliaram na consecução do projeto. A arqueologia industrial realizada neste estudo possibilitou o entendimento do êxito obtido pela empresa, através de características como diferenciação na padronagem de cores, versatilidade dos móveis (possibilitando ao usuário montar diferentes combinações), utilização de diferentes espécies de madeira e de peças nobres (como madeira mássica, alumínio, cubos em zamac). Além disso, é mostrado como surgiu e se desenvolveu a idéia inovadora que acabou por transformar a empresa num verdadeiro núcleo de inovações, devido ao fato do grupo de trabalho ser altamente categorizado e entusiasmado com a repercussão positiva de seu trabalho.Como resultado são gerados subsídios importantes para contribuir com a moderna ciência que trata da Arqueologia Industrial. / The project, described below in all its particulars to assess the possibility of developing a product that actually had a promising impact in the decades of 70/80/90. This is all history from the birth of the idea until its market presence, product MaGnalínea and MaGnaspazio, which eventually became the head of the company cars Manlio Gobbi & Cia Ltda. The company went on to become the market leader in Rio Grande do Sul Design mercy of differentiated products and the seriousness of the marketing policy, because it was an honest product, transparent and an unusual modulation, which had achieved the elimination of the superfluous, in a completely new concept for the area of office furniture, a concept that fully pleased its users, becoming a true icon. The project is made a thorough examination of the specific scenario and even political season, it is shown how it emerged and developed the innovative ideas that have transformed the company into a real core of innovation, because the working group was categorized and highly enthusiastic about the positive impact of their work. It covers also the historical reality of the furniture area, as well as a variety of concepts that helped in achieving the project. As a result, are generated substantial subsidies to contribute to modern science that deals with the Industrial Archeology.

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Sustainable product design is a challenge that must be met by industrial designers. Over the history of the discipline there are numerous occasions where industrial design has contributed to the pollution and degradation of the environment, and at this time they must take the responsibility of educating and encouraging both consumers and business to move to more sustainable consumption and production cycles. This thesis investigates communication of sustainable product attributes through product semantics. The goal of converging these two fields is to make sustainable products more visible in the marketplace and to educate and capture the interest of consumers. The research investigates various consumer product categories and how consumers react to them, with specific emphasis on the products' sustainable qualities. The end result of the research effort is a set of general guidelines for the sustainable designer to use in their design efforts.

Emotional design addresses peoples needs and desires which is at the center of product or technology development. Currently, there is no established process of emotional design in the field of industrial design to address research and design issues. A five step emotional design process is proposed in this thesis. Research theories and methods on emotional design were reviewed. Existing pantry storage products were evaluated. User research was targeted on women between age 45 and 60. Research data were collected through interviews and surveys. Research findings were produced by analyzing the data using a proposed data analysis method called Product Emotion Baseline. Product function design, product interface design and user experience study on smart pantry were presented. All five steps of emotional design process were applied to smart pantry design to illustrate in detail how the proposed process works.

Materials have traditionally been selected for the design of a product; however, advances in the understanding of material processing along with simulation and computation techniques are now making it possible to systematically design materials by tailoring the properties of the material to achieve the desired product performance. Material design offers the potential to increase design freedom and enable improved product performance; however, this increase in design freedom brings with it significant complexity in predictive models used for design, as well as many new design variables to consider. Material selection, on the other hand, is a well-established method for identifying the best materials for a product and does not require the complex models needed for material design. But material selection inherently limits the design of products by only considering existing materials. To balance increasing design costs with potentially improved product performance, designers must have a method for assessing the value of material design in the context of product design. In this thesis, the Design Space Expansion Strategy (DSES) and the Value of Design Space Expansion (VDSE) metric are proposed for supporting a designer s decision between material selection and material design in the context of product design. The strategy consists of formulating and solving two compromise Decision Support Problems (cDSP). The first cDSP is formulated and solved using a selected baseline material. The second cDSP is formulated and solved in an expanded material design space defined by material property variables in addition to other system variables. The two design solutions are then compared using the VDSE metric to quantify the value of expanding the material design space. This strategy is demonstrated in this thesis with an example of blast resistant panel design and is validated by application of the validation square, a framework for the validating design methods.

The thesis aims to observe the industrial design profession and to study the role of industrial designer in Turkish industry. Through an electronic questionnaire investigating the manufacturers&rsquo / and designers&rsquo / opinions about how industrial design practice is perceived and how industrial designers are utilized in Turkey it was possible to examine the current roles of industrial designers and to evaluate the status of industrial design profession. The survey also investigated how the industrial designer or the design team is situated in new product development process, and in the corporate hierarchy, what kind of investments have been made in the last decades by manufacturers in Turkey on industrial design.

This study examines the birth of television and the modern media corporation that launched it, through the archives of the designer of the "first" set, John Vassos, a Greek-born American industrial designer, interior decorator, and illustrator (1898-1985). Vassos's early career is used as a case study to analyze the historical and cultural forces that shaped the emergence of this new media and the new profession of industrial design, through archival materials housed in the Archives of American Art at the Smithsonian Institution in Washington D.C. and at Syracuse University. Specifically, this thesis unites various parts of Vassos's early career, from his modernist illustrations to industrial design, through the aesthetics and practices of modernism. As RCA's lead industrial designer for over 40 years, Vassos was involved in the design and promotion of RCA's electronic products, including radios and televisions and studio equipment. Vassos also designed the new spaces carved out for their use in the home including the "living room of the future" featured at the 1939 World's Fair. Drawing from his skills as an illustrator, designer and display expert, Vassos helped develop RCA's public image at a time of its greatest expansion in radio and television manufacturing and broadcasting. This reading of Vassos's work is both diachronic, taking into account his work over the early part of his career to analyze his specific contribution and synchronic, in relationship to other designers working contemporaneously. Thus, this thesis explores Vassos's double role as a participant, with active agency within the emergence of the new field and as a subject, constrained by social roles and forces. Ranging from turnstile to the transmitter, Vassos along with other industrial designers used the streamlined aesthetic to create visual unity among mechanical and electronic products, from home to office, from subway to skyline.

According to Dorst and Dijkhuis (1995) the two principal paradigms governing design activity discourse, are Simon's rational problem solving, and Schon's theory of design as a 'reflective conversation with the situation'. The rational problem solving view, that a fixed problem space structures design activity, has reduced the designer to a 'missing person' within design activity research (Dorst & Reymen 2004). This thesis aims to highlight the agency of the designer in structuring and motivating socially situated design activity. Dorst's (2006) framework of 'design paradoxes' suggests that design problems are evolving and unknowable. Design situations are determined through the designer's reinterpretation of the social discourses underpinning design situations, in a similar way to 'problem setting' within 'reflection-in-action' (Schon 1983). While Dorst suggests interpretation relies on intuition, problem setting relies on 'professional artistry' which is 'bounded' by the 'appreciative system' (personal knowledge, values and beliefs) and is essentially 'learnable' (Schon 1983). This thesis explores the correspondence between Schon's theory and contemporary frameworks including 'design paradoxes' (Dorst 2006), 'designerly ways of knowing' (Cross 1982), 'organising principles' (Rowe 1987), and 'creative problem construction' (Mumford et al 2004). It investigates the agency of the designer as evidenced in the use of the 'appreciative system'. This is elucidated using case study analysis of a novice designer, within a tertiary design degree. The case reveals the structured and motivated use of the designer's appreciative system. It indicates the deployment of 'appreciative goals' are fundamental to the 'linking behaviour of designers' (Dorst 2006), enabling design to begin in the absence of 'repertoire' or domain knowledge (Schon 1983), and the acquisition of new repertoire knowledge. These emergent findings offer new pedagogical perspectives both in terms of design expertise, which is normally associated with domain knowledge, and educating domain independent, multidisciplinary designers. Frames or similar 'organising principles' operate in most design fields, and create a 'principle of relevance' for knowledge from multiple domains and disciplines (Buchanan 1992). An awareness and acknowledgement of the objective function of subjective personal and social knowledge is essential in order to locate the 'missing' designer and understand innovative design activity.