Made available in DSpace on 2016-03-15T19:24:21Z (GMT). No. of bitstreams: 1 Alessandra Marcia de Freitas Stefani.pdf: 3196213 bytes, checksum: da3548a1ae5d5dbe211382b2e0998be7 (MD5) Previous issue date: 2014-08-20 / Fundo Mackenzie de Pesquisa / This research takes place in the context of FAU-Mackenzie and from the author's experience as Computer Graphic Professor of Designer, who proposes a reflection on the academic discussion about the impact of digital tools in the design process. Having as main objective to identify factors in academic discourse to help understanding in what extent digital tools are effectively shaping a new paradigm or if what is new lately is the construction of a discourse configuring and defining a research field aiming to add value to players and agents who would not deserve within the scene of traditional academic discourses the same spotlight in design process. It uses as theoretical foundation Pierre Bourdieu´s thinking tools - habitus, field and capital - as well as the notion of paradigm shift by Thomas Kuhn in order to map design research field and to investigate the digital design model presented by Rivka Oxman in her article Theory and Design in the First Digital Age', published in Design Studies Magazine, 2006. In order to analyze academic context for design process this thesis focus on textual production of two authors considered references in the field of design research - Rivka Oxman and Nigel Cross - who are elected by this study as spokespersons of their fields and their scientific communities. This theoretical research was based on an extensive bibliographic survey of intellectual production made by the referenced authors and it considers their texts as narratives and discourses to understand our studied object the digital design process within its social context of their scientific and cultural production. Among the contributions belonging to this study there is one table with some unanswered questions about left over blanks in digital design by Oxman which can function as themes for future research and investigations with regards to digital design model. In addition, another benefit of this study was the presentation of the full translation of the article 'Theory and Design in The First Digital Age' (2006), by Rivka Oxman, which fills a gap in the Brazilian research as there are only a few texts translated about digital design in the academic production. / Esta pesquisa se dá no contexto da FAU-Mackenzie, a partir da experiência da autora como professora de Computação Gráfica no curso de Design, e propõe uma reflexão sobre a discussão acadêmica acerca do impacto das ferramentas digitais no processo de projeto. Tem como objetivo principal identificar fatores presentes no discurso acadêmico, que ajudem a compreender em que medida as ferramentas digitais estão efetivamente moldando um novo paradigma de processo de projeto ou se, em última análise, o que há de novo é a construção de um discurso, que ao configurar e delimitar um campo de pesquisa busca valorizar protagonistas e agentes que na cena tradicional dos discursos acadêmicos acerca do processo de projeto não mereceriam o mesmo destaque. Utiliza como fundamentação teórica as ferramentas de pensamento habitus, campo e capital - tal como construída por Pierre Bourdieu e a noção de transição de paradigmas, definida por Thomas Kuhn, para mapear o campo de pesquisa em projeto e investigar o Modelo de projeto digital apresentado por Rivka Oxman, no texto Theory and Design in the First Digital Age , publicado na revista Design Studies, 2006. A fim de analisar o processo de projeto em âmbito acadêmico, a tese faz um recorte de estudo sobre a produção textual de dois autores considerados referências no campo de pesquisa em projeto - Rivka Oxman e Nigel Cross, que são aqui eleitos como porta-vozes de seus campos e respectivas comunidades científicas. Esta pesquisa teórica baseou-se em um levantamento bibliográfico extenso da produção intelectual publicada pelos autores referenciados e considera tais textos como narrativas e discursos dos autores para ambientar o objeto de estudo processo de projeto digital - no contexto social de sua produção científica e cultural. Entre as contribuições presentes neste estudo estão um quadro de questões sobre as lacunas não respondidas no modelo de projeto digital de Oxman, contribuição que pode servir de base para futuras pesquisas e investigações sobre este tema. Além disso, outra contribuição deste estudo foi a apresentação integral da tradução do texto Theory and Design in the First Digital Age (2006), de Rivka Oxman, que preenche uma lacuna na pesquisa em projeto digital no Brasil, já que existem poucos textos traduzidos desta produção acadêmica.

The design process of a production system referred to as the production system design process (PSDP) impacts on the operational performancethroughout the lifecycle of the production system, especially on the rampupand operation phases. Despite the impact of activities of PSDP on the operational performance, how to manage the PSDP is still a challenge for manufacturing companies. Earlier research urged to develop a systematic PSDP concerning its impact on the operational performance. This thesis aims to contribute with knowledge of how manufacturingcompanies can manage the PSDP by investigating 1) the enablers in thePSDP that impact on operational performance in ramp-up and operation phases, and 2) how the lean production concept could be adopted tomanage the activities during the PSDP. A case study was conducted in aprocess type manufacturing company, where empirical data were collectedfrom three new production line launching projects by qualitative means. This thesis identifies a set of enablers in the PSDP that potentiallyimpact the operational performance after launching the productionsystem. Empirical findings demonstrate that ensuring proper actions onthe identified enablers in the PSDP could lead to higher operationalperformance of the designed production system. These enablers rangefrom the company´s internal boundary to external vendors, requiring asystematic way to manage these diverse aspects. Adopting the lean production concept in the PSDP context, this thesis proposes a model of Lean Production System Design Process, containing 13 principles andrelevant practices. The proposed model of lean PSDP could be used as a systematic processto manage the activities in the PSDP that would ensure proper actions related to the identified enablers. Empirical findings indicate that adoptionof lean in the PSDP could result in reducing lead time of launching a new production system, and achieving fast ramp-up and desired operational performance considering sustainability aspects. Finally, this thesis demonstrates how the lean PSDP could be a means to achieve a sustainable competitive advantage based on the resource based view theoretical perspective. / Utformningsprocessen av ett produktionssystem, i denna avhandlingkallad produktionssystemets utformningsprocess (PSUP), påverkar denoperativa prestandan under hela produktionssystemets livscykel, särskilt iupprampnings- och driftsfasen. Traditionellt sett ligger fokus underutformningsprocessen på att lansera det nya produktionssystemet vidplanerad tidpunkt och enligt budget. Trots att de aktiviteter somgenomförs i utformningsprocessen påverkar den operativa prestandan idriftsfasen, ägnas ofta mindre uppmärksamhet åt designfasen än vad somvore önskvärt. Tidigare forskning har argumenterat för att utveckla ensystematisk designprocess för framtagning av produktionssystem medsyfte att nå en positiv påverkan på den operativa prestandan. Forskningen i denna avhandling bidrar till att öka kunskapen om hurPSUP kan hanteras och förbättras genom att identifiera: 1) möjliggörare i PSUP som påverkar den operativa prestandan i upprampnings- ochdriftfasen, och 2) hur lean konceptet skulle kunna användas för att hanteraaktiviteterna under PSUP. Resultatet är identifieringen av ett antal faktorer/möjliggörare iproduktionssystemets utformningsprocess (PSUP) som potentiellt kanpåverka den operativa prestandan efter lansering av produktionssystemetoch produktionsstart. Dessa möjliggörare handlar om alltifrån frånföretagets interna gränser till externa leverantörer och kräver ensystematisk procedur för att dra nytta av faktorernas potential. Genom attanvända lean även i PSUP-sammanhanget, föreslås här konceptet Lean PSUP (produktionssystemsutformningsprocess), som innehåller 13 principer och relevanta praxis. Den föreslagna modellen för lean PSUP skulle kunna användas och gestruktur till hanteringen av aktiviteterna i utformningsprocessen.Forskningen indikerar att lean inte bara kan användas i driftsfasen utanäven i utformningen av ett produktionssystem, vilket skulle kunnaresultera i bättre integration mellan olika funktioner, minska ledtiden förutformning och lansering av ett nytt produktionssystem, och uppnå snabbupprampning och önskad operativ prestanda, både avseende produktionoch hållbarhet. Slutligen visar denna avhandling hur lean PSUP kan varaett sätt att uppnå konkurrensfördelar ur ett resursbaserat teoretiskt perspektiv.

Die psychische Belastung im Arbeitsprozess wurde international und national zu einem Kernproblem für den Arbeitsmarkt. Das deutsche Arbeitsschutzgesetz fordert nunmehr ausdrücklich auch das Vermeiden von Gefährdungen durch psychische Belastung. Diese Checkliste hilft als Orientierungsverfahren zu ermitteln, ob in Betrieben und Einrichtungen eine eingehendere Untersuchung psychischer Belastung erforderlich ist und welche Schwerpunkte gegebenenfalls vorliegen. Für eingehendere Untersuchungen existieren zahlreiche Verfahren. Die Checkliste ist branchenübergreifend einsetzbar, nicht zutreffende Sachverhalte sind gegebenenfalls zu überspringen.

Dieser Aufsatz ist auf der Grundlage des Vortrags auf der GeNeMe Tagung des Medienzentrums an der Fakultät für Informatik der TUD am 01.10.2014 entstanden, welcher unter anderem als Wissenstransfer im Rahmen des Projektes „Arbeitslebensbegleitendes Lernen im Betrieb und mitarbeiterorientierte Förderung der Arbeitsfähigkeit“ (ALBAf) stattfand.

Dieser Aufsatz ist auf der Grundlage des Vortrags entstanden, der auf der Auftaktveranstalung des Projektes "Arbeitslebensbegleitendes Lernen im Betrieb und mitarbeiterorientierte Förderung der Arbeitsfähigkeit" (ALBAf) am 01.04.2015 vom Autor gehalten wurde.

Les projets interdisciplinaires constituent rarement le terrain des études 
sur le processus de conception en design. Les théories générales du design, en tentant de définir ce qui est commun à toutes les disciplines du design, ont davantage étudié les cas typiques que les cas atypiques. Or, nous croyons qu’il existe dans les projets interdisciplinaires une négociation argumentative et une ouverture vers l’autre, propice à l’analyse du processus de conception en design. Pour réaliser l’étude de ce processus, la stratégie empruntée a été la «recherche-projet» qui propose une participation active sur le terrain. 
À l’intérieur de cette stratégie méthodologique, nous avons réalisé l’étude de cas d’un projet hybride, une signalétique identitaire destinée à marquer les écocentres montréalais et orienter leurs usagers. Comme plusieurs autres pratiques du design, la complexité des projets interdisciplinaires demande l’apport de plusieurs acteurs dans le processus. 
Ces personnes conçoivent le projet à travers des représentations visuelles et des échanges verbaux, nous avons choisi de faire porter notre étude principalement sur le second. Pour ce faire, nous avons choisi comme cadre théorique le Traité de l’argumentation de Chaïm Perelman et Lucie Olbrechts-Tyteca en nous intéressant plus spécifiquement aux concepts d’«accord» et d’«auditoire». Parce que le véhicule de l’action en design est la notion de «projet», l’Anthropologie du projet de Jean-Pierre Boutinet sera notre guide à travers cette conduite. L’objet de recherche de ce mémoire sera donc le processus de conception en design qui sera étudié à travers le regard de l’argumentation. L’argumentation s'est révélée la clé du problème que posent les jugements de valeur, commune à toutes les disciplines du design. Qu’est-ce qu’un «bon» projet réalisé? Est-il possible de répondre à cette question, sans tomber dans un cadre argumentatif, sans devoir révéler les arguments qui nous permettent de croire vraisemblable une telle proposition? C’est en mettant en lien la théorie du projet en design et la théorie de l’argumentation que nous avons éclairé la pratique du designer, sa relation à ses collègues et ultimement avec lui-même. L’argumentation s’est avérée un outil permettant la construction de la réalité dans le projet interdisciplinaire. / Interdisciplinary projects rarely constitute a field of research on design process. The general theories of design, while trying to define what is common amongst all disciplines of design, have a tendency to study typical cases rather than atypical cases. Hence, we believe that within interdisciplinary projects live an argumentative negotiation and openness towards others, relevant to analyse the design process. To study the design process, we used a project-grounded research strategy, which proposes an active participation in the field. Within this methodology, we conducted our research during a hybrid project: an identity signage destined to brand the “écocentres” of the city of Montreal while orienting its users. Like many other practices of design, the complexity of interdisciplinary projects demands the contribution of many actors in the process. Theses people envision the project with visual representations and verbal exchanges. We chose to direct our attention principally to the latter. In order to do so, we followed the theoretical framework of Chaïm Perelman and Lucie Olbrechts-Tyteca called “The New Rhetoric: A Treatise on Argumentation” while focusing more specifically on the concepts of agreement and audience. Because the vehicle for action in design is the notion of projet1, “Anthropologie du projet” by Jean-Pierre Boutinet will be our guide to conduct this study. The object of research of this thesis will therefore be the process of design through the lens of argumentation. Argumentation has revealed itself as the key to the problem of value judgements, common to all design disciplines. What is a good completed project? Is it possible to answer this question without falling in an argumentative framework and without having to reveal the arguments that allow us to believe true such a proposition? It is by linking the design theory of projects and the theory of argumentation that we have shed light on the practice of the designer, his relationships with his clients, his colleagues, and ultimately, with himself. Argumentation is a tool that enables the construction of reality in the interdisciplinary project.

<p>U okviru istraživanja na predmetnoj disertaciji prikazana je analiza stanja i pravci razvoja u oblasti simultanog projektovanja proizvoda i tehnoloških procesa. Detaljnije su opisane tehnike CAD/CAPP integracije na bazi tehnoloških tipskih formi i vještačke inteligencije. Na bazi ovih analiza razvijen je model simultanog projektovanja proizvoda i tehnoloških procesa. Na osnovu modela sistema, razvijen je programski sistem za simultano projektovanje proizvoda i tehnoloških procesa. Prikazani su rezultati primjene razvijenog sistema na primjeru hidraulične prese za ugaono savijanje lima, kao proizvoda, i hidrauličnog cilindra, kao dijela proizvoda. Disertacija obuhvata i moguće pravce budućeg istraživanja.</p> / <p>The research in this dissertation encompassed state-of-the-art and future development in the field of simultaneously product and process planning design. Technics of CAD/CAPP integration based at manufacturing features and artificial intelligence are described in detail. Based on this analysis it was developed a model of simultaneously product and process planning design. Based on this model, program system for simultaneously product and process planning design was developed. Case studies were presented at the example of hydraulics press brake for sheet metal bending, as products, and hydraulics cylinder, as part of the product. In dissertation it was also suggested directions of future investigation in this field.</p>

Den här uppsatsen undersöker hur språket kan hjälpa att beskriva den kvalitet hos en produkt som utgör dess identitet, det som ligger inbäddat i formspråk och det en designer gör när hen ger form. För detta har jag tagit avstamp i forskning kring de neurologiska fenomenen synestesi och ideastesi vilka hjälper oss översätta abstrakta koncept sinnen emellan. Mot bakgrund av detta har jag genomfört en undersökning i användande av personliga egenskaper för att beskriva färg samt form och sedan använt datan för att beskriva tre olika designföretags formgivning. Jag har funnit att det här språket inte går att göra objektivt, som en kan använda för att stoppa in data och få ut en färdig produkt, där form a plus färg b är lika med respons c, utan att det krävs en designer som tar subjektiva beslut för att fånga upp de små detaljerna. Samtidigt har jag kunnat se att det verbala språket är en riktigt bra grund för mig som designer att tänka över mina formbeslut och göra mig klarsynt i min process. / This paper investigates how language can help describe the quality within a product that make up it's identity, what's embedded in design aesthetics and what designers do when they give shape to objects. For this I have looked into research in the neurological phenomena synesthesia and ideasthesia which help us translate abstract concepts between our different senses. With this in mind, I have conducted a test in using personal traits to describe colors and shapes, later using the data to to describe three different design companies' design aesthetics. What I've found is that this language can't be objective and therefore cannot be used as a way of putting data in to get a finished product, where shape a plus color b equals response c. All without requiring a designer to make subjective decisions to make sure the tiny details and nuances get picked up. At the same time I've realized that this language is a good foundation for me, as a designer, to stand on and use to reflect on my decisions and give me clarity in my process.

Cette recherche s’inscrit dans la continuité de celles entreprises en vue d’éclaircir la question du processus de design, et plus spécialement le design architectural de la maison. Elle cherche aussi à développer la réflexivité du designer sur les actes qu’il pose en lui offrant un point de vue depuis l’angle de la psychanalyse. Elle vient rallonger les initiatives amenées par la troisième génération des recherches sur les méthodologies du design en s’intéressant à un volet, jusque-là, peu exploré : le processus inconscient du design architectural. Elle pose comme problématique la question des origines inconscientes du travail créatif chez le concepteur en architecture. La création étant un des sujets importants de la psychanalyse, plusieurs concepts psychanalytiques, comme la sublimation freudienne, l’abordent et tentent de l’expliquer. Le design étant une discipline de création, la psychanalyse peut nous renseigner sur le processus du design, et nous offrir la possibilité de l’observer et de l’approcher. La métaphore architecturale, utilisée pour rendre la théorie freudienne, est aussi le champ d’application de plusieurs théories et concepts psychanalytiques. L’architecture en général, et celle de la maison en particulier, en ce que cette dernière comporte comme investissement émotionnel personnel de la part de son concepteur, constructeur ou utilisateur, offrent un terrain où plusieurs des concepts psychanalytiques peuvent être observés et appliqués. Cette recherche va approcher l’exemple architectural selon les concepts développés par les trois théories psychanalytiques les plus importantes : freudienne, lacanienne et jungienne. L’application de ces concepts se fait par une "autoanalyse" qui met le designer en double posture : celle du sujet de la recherche et celle du chercheur, ce qui favorise hautement la réflexivité voulue. La libre association, une des méthodes de la psychanalyse, sera la première étape qui enclenchera le processus d’autoanalyse et l’accompagnera dans son développement. S’appliquant sur le discours et la forme de la maison, la libre association va chercher à distinguer plusieurs mécanismes psychiques susceptibles d’éclairer notre investigation. Les résultats de l’application des concepts freudiens viendront servir de base pour l’application, par la suite, des concepts de la théorie lacanienne et jungienne. Au terme de cette analyse, nous serions en mesure de présenter une modélisation du processus inconscient du design qui aurait conduit à la création de la maison prise en exemple. Nous découvrirons par cela la nature du processus inconscient qui précède et accompagne le travail créatif du designer. Nous verrons aussi comment ce processus se nourrit des expériences du designer qui remontent jusqu’aux premières années de son enfance. Ceci permettrait de rendre compte de la possibilité d’appliquer les concepts psychanalytiques sur le design architectural et, par ce fait, permettre de déterminer les éventuels façons de concevoir l’apport de la psychanalyse à la pratique de cette discipline qu’est le design ainsi que son enseignement. / This research is a continuation of those invested in order to clarify the question of the design process, especially the architectural design of the house. It also seeks to develop the reflexivity of the designer on his acts by offering a view from the perspective of psychoanalysis. It extends the initiatives brought by the third generation of design methods researches focusing on an unexplored field: the unconscious process of architectural design. Its’ problematic is the unconscious origins of creative work of the designer in architecture. Creation is one of the important topics of psychoanalysis, several psychoanalytic concepts like Freudian sublimation, try to explore and explain it. The design being a creative discipline, psychoanalysis can lighten us about the design process, and give us the opportunity to observe and approach it. The architectural metaphor, used to express the Freudian theory, is also the scope of several psychoanalytic theories and concepts. Architecture in general, and particularly architecture of the house, offers a field where many of the psychoanalytic concepts can be observed and applied, because of the emotional investigation that the designer, the user, or the builder invest in it. This research will approach the architectural example according to the concepts developed by the three most important psychoanalytic theories of Freud, Lacan and Jung. The application of these concepts will be made through an auto-analysis that puts the designer in a double stance: the research subject and the researcher, which highly promotes the reflexivity that the design researches look for. Free association is the first step that will start the self-study process, and follows its development. Applied to the speech and the shape of the house, free association will seek to distinguish several psychological mechanisms that inform our investigation. The results of the application of Freudian concepts will serve as a basis on which the concepts of Lacanian and Jungian theory will be applied. At the end of this analysis, we would be able to present a model of the unconscious process of design that lead to the creation of the house used as an example. We will discover the nature of the unconscious process that precedes and follows the creative work of the designer. We will also see how this process is fed from designer experiences dating back to the early years of his childhood. This would help to see the possibility of applying psychoanalytic concepts in architectural design and help identifying potential approaches to the contribution of psychoanalysis to the practice of design and it’s teaching.

We are living in an age where the quantity of information has exceeded its quality. No doubt the digital and information revolutions have provided the world with countless positive improvements, but they have also increased the speed at which we live and work to the detriment of the heath of our world. This project explores ways in which designers can aid in an effort to slow down in order to reinvigorate a more sustainable graphic design product.