O texto que segue apresenta, em perspectiva, a trajetória de atuação de Percival Lafer - designer e industrial brasileiro. Apesar de ter ficado à sombra da historiografia, o designer contribuiu enormemente para a formação do que podemos considerar hoje o mobiliário nacional, dentro do âmbito comum das definições sobre design ligado à produção industrial. A pesquisa lança bases para novos pensamentos acerca do modernismo e sua duração no tempo, bem como sobre a atuação de profissionais da arquitetura e desenho industrial durante os anos da ditadura militar brasileira. Delineia-se assim, um período da historiografia do design que pode ser considerado transitório - salto das bases produtivas artesanais ao movimento desgovernado da industrialização nacional. A organização de um panorama iconográfico, detalhadamente comentado, enseja delinear o processo de criação de Lafer e sua relação com outras instâncias de atuação. A reflexão sobre a especificidade da linguagem projetual voltada à indústria coloca frente a frente a concepção de Percival Lafer às demais tentativas, ainda atuais, de organização de um desenho propriamente industrial e moderno. Por último, apresentamos impressões sobre a falência do movimento moderno no Brasil e sua persistência discursiva frente as urgências e necessidade de um país que exige outra lógica de ordenação do mundo material. / The following text presents, under perspective, the work trajectory of Percival Lafer, brazilian designer and industrial. Despite having remained in the shadows of historiography, the designer have enormously contribute to the formation of what we today consider the \"national furniture\", within the scope of conceptual definitions about the design related to industrial production. The research lays foundations to new considerations regarding modernism and its endurance over time, as well as to the role of architecture and industrial design professionals during the years of the brazilian military dictatorship. It is therefore outlined a period of the design historiography that might be considered transitory, a moment of leap from the primary productive basis towards the unbridled movement of our national industrialization. The organization of a iconographic panorama, commented in details, aspire to outline the creative process of Lafer and its bonds with other instances of work. The reflexion about the specificity of a project language turned to the industry, confronts Percival Lafer conceptions to the other attempts, still very current, of organization of a design properly modern and industrial. At last, we present impressions over the failure of the modern movement in Brazil and its discursive persistence front the urgencies and needs of a country that demands a different logic of organization of the material world.

O texto que segue apresenta, em perspectiva, a trajetória de atuação de Percival Lafer - designer e industrial brasileiro. Apesar de ter ficado à sombra da historiografia, o designer contribuiu enormemente para a formação do que podemos considerar hoje o mobiliário nacional, dentro do âmbito comum das definições sobre design ligado à produção industrial. A pesquisa lança bases para novos pensamentos acerca do modernismo e sua duração no tempo, bem como sobre a atuação de profissionais da arquitetura e desenho industrial durante os anos da ditadura militar brasileira. Delineia-se assim, um período da historiografia do design que pode ser considerado transitório - salto das bases produtivas artesanais ao movimento desgovernado da industrialização nacional. A organização de um panorama iconográfico, detalhadamente comentado, enseja delinear o processo de criação de Lafer e sua relação com outras instâncias de atuação. A reflexão sobre a especificidade da linguagem projetual voltada à indústria coloca frente a frente a concepção de Percival Lafer às demais tentativas, ainda atuais, de organização de um desenho propriamente industrial e moderno. Por último, apresentamos impressões sobre a falência do movimento moderno no Brasil e sua persistência discursiva frente as urgências e necessidade de um país que exige outra lógica de ordenação do mundo material. / The following text presents, under perspective, the work trajectory of Percival Lafer, brazilian designer and industrial. Despite having remained in the shadows of historiography, the designer have enormously contribute to the formation of what we today consider the \"national furniture\", within the scope of conceptual definitions about the design related to industrial production. The research lays foundations to new considerations regarding modernism and its endurance over time, as well as to the role of architecture and industrial design professionals during the years of the brazilian military dictatorship. It is therefore outlined a period of the design historiography that might be considered transitory, a moment of leap from the primary productive basis towards the unbridled movement of our national industrialization. The organization of a iconographic panorama, commented in details, aspire to outline the creative process of Lafer and its bonds with other instances of work. The reflexion about the specificity of a project language turned to the industry, confronts Percival Lafer conceptions to the other attempts, still very current, of organization of a design properly modern and industrial. At last, we present impressions over the failure of the modern movement in Brazil and its discursive persistence front the urgencies and needs of a country that demands a different logic of organization of the material world.

In my eleven years of teaching graphic design at Tshwane University of Technology, I have come to realise that education is more than just teaching a student the fundamentals, techniques and new technologies, it is also about their personal development. I conducted this study to ensure that my educational practices challenge my graphic design students to acquire the essential characteristics – or more profoundly, the essential human qualities -­‐ required for a contemporary graphic design career through which the quality of life for all will be enhanced. The study is a participatory action research study involving the second and third year graphic design students at Tshwane University of Technology. It involved five action intervention cycles. In the first cycle I explored the current graphic design education practices in order to determine whether these practices ensure the acquisition of such essential human qualities that a graphic designer should posses. The acquisition of such human qualities has become paramount because of the ethical imperative that graphic designers can change the world (Berman, 2009). I found that my current graphic design education practices as they relate to the commonly most dominant practices are not sufficient to accomplish this purpose. During the research I was exposed to a paradigmatically innovative education practice that focuses on maximizing human potential and it was adopted to improve my existing education practice. Through four additional action intervention cycles I provided evidence that indicated that my improved education practice contributed to my students’ acquisition of an identified four sets of essential human qualities: the artistic quality of creativity; the professional quality of continuous, independent, increasing expertise in creativity within an interdependent, co-­‐operative value based community of graphic design practitioners; the personal quality of maximizing human potential; and the leadership quality of an enlightened change agent. The primary focus on the acquisition of these essential human qualities through the proposed method of graphic design education, also allows for the gaining of the necessary graphic design knowledge and skills (Barnett, 2007:101). / Thesis (PhD)--University of Pretoria, 2013. / gm2013 / Humanities Education / Unrestricted

[pt] A possibilidade de aproximação entre a prática da arte e a prática do design decorre do fato de que todas as ações do Homem relativas ao seu entorno natural ou aos demais seres humanos são formas de trabalho, ou práticas sociais. Assim, compartilham semelhanças. Desde o Renascimento, certos artefatos ganharam uma aura de superioridade em relação aos demais artigos manufaturados. Nascia o conceito de arte e neste contexto emergiria a figura do artista. O Humanismo transfigurou os habitus do período. A utilização da técnica do desenho, etapa intelectual prévia à materialização da produção artística ou criativa, serviu como pedra angular para justificar a diferenciação entre artesanato e arte. Seguiu-se a institucionalização do ensino da teoria do desenho pelas Academias de Arte e a concomitante legitimação da maior hierarquia da atividade intelectual comparada à manual. Aos poucos, tais instituições, inicialmente criadas para libertar o artista das guildas medievais, as superaram em restrições, regulamentando em pormenores a atividade da arte e julgando a boa e a má prática criativa. O desgaste e a revolta da classe artística conduziram ao enfraquecimento ou mesmo ao ocaso das referidas Academias, a partir do século XVIII. A compreensão das transformações do contexto sócio-econômico é essencial para a análise das mudanças na produção criativa. A passagem para uma economia monetária e urbana foi determinante para o início da Idade Moderna ocidental e mercantilista. A seguir, a Revolução Industrial principiada na GrãBretanha setecentista foi o motor para a implementação do sistema capitalista de produção em massa, que introduziu um novo padrão de consumo. Neste contexto, os empresários da indústria convidaram os artistas para trabalhar em parceria, a fim de tornar a forma e a aparência dos produtos industriais mais atrativas comercialmente. Escolas de artes e ofícios foram criadas a partir do século XIX, na Europa, e formavam profissionais criativos para o trabalho na indústria. A fusão que se deu entre escolas de belas artes e escolas de artes e ofícios, na Saxônia e em Moscou, deu origem a Bauhaus e Vkhutemas, respectivamente. Tais instituições do século XX legitimaram a noção construída da autonomia da prática hoje chamada design em relação à prática da arte. O design emergiu como um suposto novo Campo de conhecimento. A afirmação de que a prática do design é herdeira da prática da arte se confirma: pelo passado em comum que compartilham e pela similitude dos caminhos de luta percorridos em busca de autonomia. Posto também que a prática do design ainda não logrou êxito em definir seu objeto e seus princípios, o Design poderia ser percebido como uma espécie, atividade integrante de um gênero mais amplo, o Campo da Arte. A asserção expressa não reivindica para si qualquer sorte de infalibilidade, antes deseja servir como uma hipótese de trabalho a ser considerada no esforço de se pensar a ontologia e a epistemologia do Design. Bibliografia crítica e oficial sobre o tema informou a presente pesquisa. / [en] The possibility of a semblance between art and design practices stems from the fact that all human interactions with their natural surroundings or with other human beings are forms of work or social practices. Therefore, they do have similarities. Since the Renaissance, some artifacts have gained an aura of superiority over other manufactured articles. The concept of art was born, and within this context the figure of the artist emerged. Humanism transformed the habits of the period. The use of pre-project drawings as the intellectual stage for art, prior to the materialization of artistic or creative production, served as the cornerstone to justify the differentiation between craft and art. This was followed by the institutionalization of the teaching of drawing theory by the Academies of Art and the concurrent legitimization of the higher hierarchy of intellectual activity compared to manual work. Gradually, these institutions which were initially created to free the artist from the medieval guilds, surpassed them in restrictions by regulating in detail Art and judging the good and the bad creative practice. The wear and tear of the artistic class led to the weakening or even to the demise of the said Academies starting from the eighteenth century. Understanding the transformations of the socioeconomic context is essential for the analysis of the changes in creative production. The transition to a monetary and urban economy was decisive for the early modern Western and mercantilist age. Then, the Industrial Revolution began in Britain in the 18th century as the engine for the implementation of the capitalist system of mass production, which introduced a new consumption pattern. In this context, industrial entrepreneurs invited artists to work in partnership to make the shape and appearance of industrial products more commercially attractive. Schools of arts and crafts were created during the nineteenth century in Europe to train creative professionals to work in the industry. The merger between fine arts schools and arts and crafts schools, in Saxony and Moscow, gave rise to Bauhaus and Vkhutemas, respectively. These twentieth century institutions legitimized the notion of the autonomy of what is called design today in relation to the practice of art. Design emerged as a supposedly new field of knowledge. The statement that the practice of design is heir to the practice of art is confirmed: by the common past they share and by the similarity of their struggle to search for autonomy. Additionaly, since the practice of design has not yet succeeded in defining its objectives and its principles, Design can be perceived as a species, part of a broader genus, the Field of Art. This statement is not immune to constructive criticism, but aims to serve as a working hypothesis to be considered in the effort to think about the ontology and epistemology of Design. Critical and official bibliography on the subject informed the present research.

This research aims to contribute to knowledge about the design of interactive systems sited in public spaces. In particular, the study concerns "optional interactions" where systems invite interaction from passers-by. These systems are action-orientated ratherthan goal-oriented, are designed to encourage engagement, and offer positive and rewarding experiences through the activity of interaction. This is in contrast to systems that provide functional services that are actively sought out by people, such as ticketvending machines or cash dispensers. This thesis asserts that this kind of optimal, designed experience can be examined and understood through comparisons with approaches taken by new-media artists working in interactive, technological media. Artists have different priorities, and use different methods to those employed by Human-Computer Interaction researchers, and this study aims to further understanding of the potential of these artistic approaches for interaction designers. The setting for these optional interaction systems is any public or semi-public environment, including museums, galleries, shopping centres, foyers and urban settings. As well as understanding the public and social context of these interactions, the experiential aspects of interaction are of primary importance in this study. The work is conducted with the aim of providing practical and theoretical resources to interaction designers tasked with creating engaging interactive systems that initiate and sustain experiences that are highly regarded by the participant. The thesis presents a designframework titled the Optional Interactions Design Framework.

Green Relationship is a design solution attempting to raise awareness toward the environment and reduce consumerism. Waste generation and pollution have become major concerns of many governments, municipalities, organizations and individuals around the world since they are affecting human wellbeing and the environment. As an MFA student with VCUQatar, I chose to use design to contribute in protecting the environment hoping to make a difference in life. The thesis includes a research and a design component. The research explores the recycling programs and facilities in Qatar, the governmental and private sector actions toward waste generation and collection, as well as precedent solutions applied around the world. Furthermore, it includes a survey on recycling to gather and analyze the community’s feed back in order to come up with a solution that aims to change people’s behavior toward waste generation and to promote green lifestyle. The design component defines the Green Relationship as the personal connection between the individual and the silent partner, “the environment.” It fulfills the basic survival needs, “food and water,” and the one and only independency need, “oxygen.” The elements of the Green Relationship are the projection of the generic relationships elements we know of through the theory of “Humimicing” that I introduce in my thesis. Humimicing is the design theory that mimics human innate attributes and behaviors to develop design concepts to be applied in different industries. Every element of the Green Relationship is visualized through a different design discipline similar to its nature. Therefore, interactive, product and critical designs are the mediums used to represent Green Communication, Care and Ethics respectively through public installation, experimentation and conceptual design definition. The thesis methodology, which is “Make it Personal,” concludes in creating the Green Relationship that aims to change the behavior of individuals and ultimately to reach out to the wider community. Under the maxim, “Green is not just a color; it is a Lifestyle,” the thesis promotes the use of design to inspire people, designers and manufacturers to consume less and generate less waste in order to save natural resources and the environment.