Each year in the UK (United Kingdom) hundreds of millions of consumer products are sold, leading to many millions of tonnes of waste being buried or burned annually. While there are many large businesses that produce consumer products, in the UK small product design consultancies (SDCs) make up approximately half of all employed designers. This thesis outlines an investigation into the absence of an EcoDesign agenda in product design briefs and how this might be changed in the future. In order to best establish the theoretical basis of the research, a comprehensive literature review was conducted into the practice of product designers, their relationship to society and the wider environment. In addition, existing tools and resources purporting to support product designers, with the implementation of EcoDesign projects, were analysed to understand the challenges associated with their design. Following this review, and the development of relevant research questions, a series of semi-structured in-depth interviews were conducted to understand SDCs better, how these organisations conduct their business, and how familiar they are with EcoDesign. A series of semi-structured in-depth interviews were conducted with 26 participants from 22 different consultancies. As a result of these interviews, a greater understanding of the barriers and drivers SDCs face in the practice of EcoDesign was established. This led to the creation of d.eco a web-based resource, to facilitate the implementation of EcoDesign principles in SDCs. This resource was evaluated in the final stage of the research. The majority of product designers had an awareness of EcoDesign and considered that they would be able to use their skills to find the information necessary to create products with a reduced environmental footprint. A significant barrier was that EcoDesign principles could only be legitimately applied when the design brief required their use. However, briefs are not created solely by clients; they were found to be much more collaborative, thus offering designers an opportunity to influence their own briefs. So, the role of an EcoDesign resource is less about assisting the design process, like most existing tools, and more to do with the providing designers with a wellspring of inspiration. However, the resource stimulates more than just creativity. It also provides peer recommended examples of existing EcoDesign products, materials and processes, facilitating the long-term absorption of relevant information. By presenting relevant material, in an appropriate way, designers can be more confident when including EcoDesign criteria and associated principles within their briefs.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T19:52:31Z No. of bitstreams: 1 450119.pdf: 96592199 bytes, checksum: 044d7cd5934645f57ee115ac9bc0d440 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:26:37Z (GMT) No. of bitstreams: 1 450119.pdf: 96592199 bytes, checksum: 044d7cd5934645f57ee115ac9bc0d440 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-21T13:15:00Z (GMT) No. of bitstreams: 1 450119.pdf: 96592199 bytes, checksum: 044d7cd5934645f57ee115ac9bc0d440 (MD5) / Made available in DSpace on 2018-08-21T13:15:26Z (GMT). No. of bitstreams: 1 450119.pdf: 96592199 bytes, checksum: 044d7cd5934645f57ee115ac9bc0d440 (MD5) Previous issue date: 2017-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis investigates the possible use of infographics and data visualization as new alternatives to display information in packaging graphic design, in order to prove that these resources can influence consumers and make easy their choices at the moment of purchase. This proposed exploration was based on the observation that the back area of packagings, especially in food and beverages, usually presents a poor quality design, indi- cating that information plays a secondary role in the project concerns (Calver, 2009). As theoretical scope, the main definitions and concepts of information design and their rela- tionship to packaging design were raised. Based on authors like Flusser (2013), Barthes (2004) and Lévy (2004), it was also addressed the issue of linearity. Likewise, the princi- ples of infographics and data visualization were investigated and related to packaging that make use of these representations to communicate information. The user point of view was considered, applying a survey with a comparative of labels of the same product, one of them designed with the use of the infographics, and the others presenting infor- mation mainly with blocks of texts. In addition, interviews were conducted with experts, including professionals from packaging design agencies. In general, it was possible to verify that the frontal area is usually privileged in the packaging graphic design objecti- ves, and the back area doesn’t receive the same attention, as well as that the resources of information and data visualization, applied to packaging, can influence consumer deci- sion making. / Esta dissertação investiga a perspectiva de uso da infografia e visualização de dados como novas alternativas para a disposição de informações no design gráfico de embalagem, com o objetivo de demonstrar que estes recursos podem influenciar e facilitar as escolhas do consumidor no momento da compra. A proposta de explorar esta temática surgiu a partir da observação de que a área do verso das embalagens, especialmente na categoria de alimentos e bebidas, costuma apresentar um design de baixa qualidade, indicando que as informações ficam em segundo plano nas considerações de projeto (Calver, 2009). Como escopo teórico, foram levantadas as principais definições e conceitos de design de informação e sua relação com o design de embalagem. Fundamentado em autores como Flusser (2013), Barthes (2004) e Lévy (2004), também se abordou a questão da linearidade. Igualmente, foram pesquisados os princípios da infografia e visualização de dados e relacionados com embalagens que fazem uso destas representações para comunicar informações do produto. Considerou-se a perspectiva do usuário, por meio de questionário com o comparativo de rótulos de um mesmo produto, sendo um deles elaborado com o recurso da infografia, e os demais com informações do produto apresentadas principalmente em blocos de textos. Somado a isso, foram realizadas entrevistas com especialistas, incluindo profissionais de agências de design de embalagem. De um modo geral, foi possível verificar que a face frontal é privilegiada nas considerações de um projeto de design gráfico de embalagem, enquanto o verso recebe uma dedicação menor, bem como que os recursos de infografia e visualização de dados, aplicados ao design gráfico de embalagem, podem influenciar a tomada de decisão de consumidores.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-18T19:27:05Z No. of bitstreams: 1 Grace Kishimoto.pdf: 4704560 bytes, checksum: 2e7707bf9c5b85b89e5bc87b92d915a1 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-18T19:55:08Z (GMT) No. of bitstreams: 1 Grace Kishimoto.pdf: 4704560 bytes, checksum: 2e7707bf9c5b85b89e5bc87b92d915a1 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-18T19:59:35Z (GMT) No. of bitstreams: 1 Grace Kishimoto.pdf: 4704560 bytes, checksum: 2e7707bf9c5b85b89e5bc87b92d915a1 (MD5) / Made available in DSpace on 2016-10-18T20:01:09Z (GMT). No. of bitstreams: 1 Grace Kishimoto.pdf: 4704560 bytes, checksum: 2e7707bf9c5b85b89e5bc87b92d915a1 (MD5) Previous issue date: 2015-03-31 / This research addresses packaging as an area of design, as well as an expansion of the wrapping concept. The act of wrapping in various situations occurs as a function, and presents itself with similarity in the arts. Therefore, for a better understanding of the object, the text presents a dialogue between the areas, highlighting some similarities and differences - to confirm their close relationship - and the importance of wrapping for both. The observation of perceptual experience of the wrapping in design and in the arts contributes to new perspectives and relations between the subject and the object. / Esta pesquisa aborda a embalagem enquanto, área do design, e a ampliação do conceito de invólucro. O ato de envolver ocorre em diversas situações como uma função, e na arte apresenta-se com afinidade. Portanto, para uma melhor compreensão do objeto, o texto apresenta um diálogo entre as áreas, destacando algumas aproximações e distanciamentos – que confirmam as suas relações estreitas – e a importância do invólucro para ambas. A observação da experiência perceptiva do invólucro do design e o da arte colabora para novos olhares e relações entre o sujeito e o objeto.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-06-27T23:38:41Z No. of bitstreams: 1 Geraldo Coelho Lima Júnior.pdf: 12870371 bytes, checksum: 6f5ca82eeceeb84a90f9a0a63819d609 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-07-07T18:43:59Z (GMT) No. of bitstreams: 1 Geraldo Coelho Lima Júnior.pdf: 12870371 bytes, checksum: 6f5ca82eeceeb84a90f9a0a63819d609 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-07-07T18:45:29Z (GMT) No. of bitstreams: 1 Geraldo Coelho Lima Júnior.pdf: 12870371 bytes, checksum: 6f5ca82eeceeb84a90f9a0a63819d609 (MD5) / Made available in DSpace on 2017-07-07T18:47:41Z (GMT). No. of bitstreams: 1 Geraldo Coelho Lima Júnior.pdf: 12870371 bytes, checksum: 6f5ca82eeceeb84a90f9a0a63819d609 (MD5) Previous issue date: 2016-11-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of this thesis is to determine whether it is possible to establish a method based on a project-oriented development in fashion design, which takes account of the cognitive processes of people with visual impairment (PcDV) This method should also both allow them to be trained as fashion designers, while at the same time, fostering the learning of students with sight, and enable them to carry out collective projects. With this in mind, an investigation was undertaken of the Curricular Guidelines for Design Courses in Brazil. This was based on an analysis of the curricular benchmarks for Bachelor Degrees in Fashion Design, which were drawn up in accordance with pre-established parameters. The purpose of this was to establish a framework and explore the feasibility of admitting students with visual impairment. There was found to be a gap with regard to the teaching methods employed when carrying out projects related to PcDV. In another area, the study conducted a review of the literature with regard to the inclusion of this group in higher education and the availability of suitable teaching materials. In addition, the ¨inclusive¨ Program and the Brazilian Law for the Inclusion of Handicapped People were examined with the aim of establishing the rights of this group with regard to higher education. Running in parallel with this, the investigation was extended to the Neurosciences and the cellular basis of brain function, which is involved in teaching-learning processes, and likely to lead to the development of Fashion Design projects for students with or without visual impairment. The application of an Experimental Protocol emerged from these studies, which was subdivided into modules. These provided guidance for the way the Project-Oriented Development Methodology was conducted and allowed an assessment to be conducted of three groups of people, the first comprising porPcDV and the others formed of students with sight, who are doing Fashion Design courses at the University of Anhembi Morumbi. Among the results that validate the proposed thesis, the following stand out: (1) evoking memories potentiate the assimilation and learning of contents by students both visually impaired or not; (2) somatosensory stimulation provide access to courseware by students that are visually impaired, while enlarge the interest of the students with no impairements about the taught contents; (3) personal repertoires, when associated to the method of projective development, potenciate the learning for the enhancement of the skills of students with and without visual impairment. / Essa tese apresenta como objetivo verificar a possibilidade de se estruturar um método voltado ao desenvolvimento projetual em design de moda que considere o processo cognitivo de pessoas com deficiência visual (PcDV), e propicie sua formação como designer de moda e, concomitantemente, venha a potencializar o aprendizado do estudante vidente e, sua capacitação para o desenvolvimento de projetos de coleção. Para tanto, empreendeu-se uma investigação às Diretrizes Curriculares do Curso de Design no Brasil, de modo a fundamentar uma análise das matrizes curriculares de Bacharelados em Design de Moda, selecionados segundo parâmetros pré-estabelecidos, com o propósito de verificar suas estruturas e a factibilidade de ingresso de estudantes com deficiência visual. Identificada a existência de lacuna, referente aos métodos de ensino destinados ao desenvolvimento de projetos junto a PcDV, em outro âmbito, investiu-se em uma revisão da literatura relativa à inclusão deste grupo no ensino superior, e a existência de material didático acessível. Ainda, estudou-se o Programa INCLUIR (BRASIL, 2005) e, a Lei Brasileira de Inclusão da Pessoa com Deficiência (BRASIL, 2015), com o intuito de localizar os direitos desse grupo referente à educação superior. Em concomitância, a investigação estendeu-se às Neurociências e as bases de funcionamento do cérebro, envolvidos nos processos de ensino-aprendizagem, passíveis de contribuir para o desenvolvimento de projetos em Design de Moda, por pessoas com ou sem deficiência visual. Desses estudos procedeu-se à aplicação de um Protocolo Experimental, subdividido em módulos, os quais orientaram a condução de uma Metodologia de Desenvolvimento Projetual e avaliação de três grupos de pessoas, o primeiro composto por PcDV e os demais formados por estudantes videntes que cursam Design de Moda, na Universidade Anhembi Morumbi. Dentre os resultados que validam a tese proposta, destacam-se: (1) a evocação de memórias potencializa a assimilação e o ...

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To be able to create quality software system, one need to analyse it well, design, program and test it. The whole process is called software life-cycle and is studied by software engineering. Today, there are many tools making this process easier. For analysing and designing software UML language became favourite. It enables programmers to describe different aspects of software by graphical diagrams and enables them to comprehend them better. Some of them can be translated into source code in chosen programming language. Problem is maintaining those diagrams during later phases when source code was already generated and is used exclusively. This problem is trying to be solved by Model-Driven Development, where programmer is working with well-defined models that can be automatically transformed into the source code that don't have to be edited by hand. Unfortunately this approach is not universal. This work tries to design and create tool that can work with use case diagrams, class diagrams and object-oriented Petri nets. This tool should allow designing those diagrams and be able to synchronise information between them to make the software design easier.

Climate change is one of the biggest issues that the world faces today, and one of the biggest contributors to climate change are groceries. This paper aims at using digital artefacts to create a product or design that will encourage the user to shop more environmentally friendly. To achieve this, I have tried to identify the major hindrances today that grocery shoppers are faced with through the user centered method Contextual Inquiry.  I have then presented the results from the inquiry to students at KTH Royal Institute of Technology during workshops. During these workshops, the students have conceptualized ideas and designs for different solutions. Based on their results, I have created a prototype design that I call the SmartCart. This cart consists of a regular shopping cart with a screen similar to an iPad attached to the handlebars. This screen then delivers easily apprehensible information about different grocery products environmental impact in real time. The design has not been tested in a live environment, but initial testing indicates that a live application could give satisfying results in lowering the sales of grocery products with a high environmental impact, while the design also could simultaneously improve the shopping experience for the customers in the grocery store.

This statement gives an overall summary of the aims and achievements of the research work and scholarship carried out by the author during her time at The University of Manchester (and UMIST - now part of The University of Manchester) for which the publications presented give evidence. The research has been about exploring the design process, the activities and issues, and elements involved - from both an industry and student point of view. The publications explore design pedagogy, the skills required by designers and how these might fit into a curriculum for design today.In three parts it summarises the publications presented, reviews the main aspects of design and the current state of knowledge and research in design and summarises the core aspects as distilled from over 36 years practice, research and scholarship.The driver for much of the research undertaken has been to gain a better understanding of the core aspects of design - what key knowledge and skills are required by designers to allow the consistent design of better products and services which enhance the experiences of users. The work presented investigates design and design methods: the activities and processes and the elements involved. It considers responses to designs, the emotional aspect of design - why some designs are preferred over others, why some colour combinations are more desirable, and why repetition is so important to the human psyche. Underpinning the work presented are three research questions. • Are design rules and processes generic for whatever is being designed? • Can a better understanding of design theory and the emotional response to designs ensure a more effective process and thus lead to stronger designs? • Can students be educated to be better design thinkers and ultimately better designers? It concludes that: • 'design' is a process; • design is a problem-solving process and problem-solving is a design process; • for the most effective outcomes a creative and structured approach is required; • this process is based on generic rules and principles which are applicable across all discipline areas; • collaborative/cross disciplinary elements reinforce the concept that there are processes involved that are not unique to individuals or discipline specific; • a greater understanding of the process is of benefit to all individuals and organisations; • any design/problem solving activity will normally result in more than one solution option. The results of the research have informed the author's teaching practice and have been disseminated through publications to benefit the wider education arena. The work presented aims to inform students and design education practitioners.

Growing recognition of the profound topics affecting society; including population changes, social issues, and environmental crisis; is emphasising the need for industrial designers to address additional goals beyond those associated with purely commercial targets. Industrial design consultants, however, have a myriad of complex and inter-related elements influencing their work. This thesis investigates those influences and offers a portrayal of what affects industrial design consultants addressing more responsible design goals within their commercial remits. It reviews the literature relating to the nature and role of industrial design, and its relationship with society s larger needs. From this, it expounds the methodology underpinning the investigation, and describes the phases involved. Two main studies were undertaken to pursue the research objectives: an explorative workshop involving 19 participants from design practice and academia; and a series of semi-structured in-depth interviews involving a total of 31 industrial design consultants, leading academics, and design-related strategic consultants. From the analysis of the data, three sets of key observations and theory are presented in the thesis. The first set of findings examines the range of influencing factors acting on the consultant and their work by depicting the characteristics of the main elements constructing the product creation context. The second and principal set of findings identifies what determines the possibility for consultants to incorporate responsible design goals within their work. Using a framework derived from the analysis, and drawing on interview data for empirical backing, it expands on six key areas, identifying a critical determining factor for each. The third set of outcomes combines the findings from the primary data with existing knowledge on design actions and behavioural theory, to depict the formation of an industrial design consultant s behaviour and their tendencies towards responsible design. In this way, the research offers a thorough investigation of what affects industrial design consultants addressing more responsible design goals, by considering the characteristics of their circumstances; the determination of their possibility to act; and what shapes their individual behaviour.

User-Centred Design (UCD) was proposed in the 1980s and, since then, its philosophy has helped to solve design problems, regardless of the advances in technology over time. The standard ISO 9241:210 (2010), formerly ISO 13407, provides guidance in human-centred design principles and activities undertaken throughout the design lifecycle to further support UCD. In addition, since it was mentioned in ISO 9241:210, UCD has also utilised User Experience Design (UXD) in recent years. There are many approaches that support UCD to ensure it is more attainable when designing. In addition, large firms, such as HP, IBM and Microsoft, use anthropologists in their user research in order to make products more user-centred. However, the concept of UCD should, theoretically, be more widely used in all product design and it is intriguing as to why it is not as popular as it should be. As noticed in the real world, imperfect designs still frustrate us everywhere. The aims of this thesis were to investigate the difficulties of practicing a UCD approach in idea generation and to design solutions for idea generation that would encourage further practice of UCD/UXD. In the first part of the thesis, there is an exploration of the problems encountered when practicing UCD idea generation. When examining the process, a multitude of problems were found, with most blamed as being costly, time consuming and requiring complex skills. In addition, it was suggested that a systematic solution was required to overcome such difficulties. Therefore, later in this research, a systematic model is proposed and evaluated using participants (both designers and target users). Due to the fact that design practitioners are not usually researchers, further help to implement the model in the form of persona application software is needed. Hence, the concept of service design was employed to further assist with the use of the model. In the end, computer-aided development was introduced, together with the integration of the systematic UCD model. The UCD model and the software have been evaluated as effective from both the responses of product design practitioners and end-users. Future recommendations and the research limitations are also discussed in each chapter and the overall results are given in the last chapter. This thesis successfully provided the complete process during the exploration of the low usage problems of UCD, and solutions were presented to assist designers with their UCD/UXD in the future.