Design brief is the descriptive and connective medium of design competitions. The main aim (design problem) of the design competition is explained by means of design brief which is setting up all needs and requirements or design program (specification) which is explaining the requirement list. The definition of design problem should be formulated to make clear statements in order to avoid misapprehensions by forming creative environment to enable creation of new ideas. The communication processes are composed between the participants of the competition, which are the client, competitors, jury and the public, by means of the formulation of design problem by the design brief. This thesis aims to understand the role of design brief as different from design program (specification) in the process and result of the urban design competitions by studying the nature and effects of design brief as the main communication tool in the design and evaluation processes in design competitions. Three urban design competitions are chosen as the main study areas of the thesis because of their different processes and results.

Att äta är en av de mest centrala funktionerna för varje individ och att själv kunna genomföra processen – med eller utan hjälpmedel – upplevs av alla vara av största vikt för den personliga integriteten. För de allra flesta räcker det med kniv, gaffel och sked som hjälpmedel. En liten grupp behöver ytterligare hjälpmedel för att föra maten till munnen. Syftet med Bestic är att användaren ska kunna känna den frihet som ligger i att kunna äta själv. Det nyuppstartade företaget Bestic AB är i dagsläget i en fas där de behöver introducera sin produkt för allmänheten. Målet med examensarbetet är att ge företaget en grafisk profil att bygga upp sitt varumärke på. Uppdraget är slutfört då företaget vid tre mässor hösten 2006 kan visa upp sig själva och sin produkt med ett enat grafiskt utseende. Tidigare erfarenhet av att ta fram en grafisk profil saknas inom gruppen. Då företaget är nyuppstartat finns det inte något befintligt varumärke eller liknande att basera det nya arbetet på. Det nya materialet kommer därför att byggas upp från grunden. Detta innebär att en undersökning av företagets värderingar och mål är oumbärlig. Metoder som användes var bland annat fallstudier, brainstormingsessioner och allmän informationssökning. I slutet av denna rapport redovisas det framtagna materialet. Arbetet resulterade i en Design Brief, en logotyp, en hemsida, ett produktblad samt visitkort för de två anställda i företaget.

Construction projects experience design changes and much time and effort is put into trying to address fluctuations in client and project requirements; however, in many cases, insufficient value is delivered to the client. The successful use of Lean Management in the construction stage has opened up the possibility of using it in the design stage – thus helping to establish a systematic approach to managing construction projects and business. Attention is turning towards Lean Design Management to address deficiencies in the design phases that many would argue should have been dealt with in the early project delivery stages. Aspects of ineffective briefing process practice have been shown to have negative consequences and implications for the efficient performance of design management. The client is asked to provide requirements without ensuring that they have established sufficient knowledge of the project to do so. These requirements, most likely, will change then over time, because in most cases the initial decision was not made based on sufficient project knowledge or a well-established vision. The client needs to be made smarter and to learn about the building early on in the project, long before the architect sketches the concept design.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-05-07T12:31:21Z No. of bitstreams: 1 Marcelo Vianna Batista_.pdf: 3994978 bytes, checksum: b85db163349c1fce17129d095339eadf (MD5) / Made available in DSpace on 2018-05-07T12:31:21Z (GMT). No. of bitstreams: 1 Marcelo Vianna Batista_.pdf: 3994978 bytes, checksum: b85db163349c1fce17129d095339eadf (MD5) Previous issue date: 2018-03-20 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / No senso comum, o briefing é entendido como um componente importante em qualquer projeto por conter elementos necessários que explicitam o problema e orientar os envolvidos na ação projetual. Mesmo que os estudos em design o compreendam como algo que gera diálogo entre os atores envolvidos no projeto (ZURLO, 2010), não sendo restritivo ou vago demais (BROWN, 2009) e auxiliando no enquadramento dos problemas (BUCHANAN, 1992) tornando, desta forma, o processo de projeto mais criterioso (Associação dos Designers Gráficos do Brasil, 2004), tais concepções não parecem acompanhar as movimentações teóricas sobre o processo de projeto, entendido como transdisciplinar, não-linear e coevolutivo. (MAURI, 1996, FINDELI, 2001, DORST, 2003). Chega-se, desta forma, ao problema de pesquisa: quais são as competências do briefing no processo de projeto? Com o objetivo de compreender suas competências, adota-se a perspectiva teórico-metodológica da Teoria Ator-Rede por entender que seus princípios contribuem no alcançar de outras compreensões acerca das relações estabelecidas nas dinâmicas de projeto, a partir da impossibilidade de distinguir entre humanos e não-humanos ou apontar empiricamente diferenças entre suas actancialidades na construção de fatos e artefatos (LAW, 1992; LATOUR, 1987; CALLON, 1986). Suas agências, enquanto actantes (LATOUR, 1999), mediam e intermediam (SAYES, 2013) a emergência de questões de preocupação (LATOUR, 2008) em uma processualidade que enacta-se (LAW, 2009) no campo das competências ou no ‘poder-fazer’ (FIORIN, 1989), trazendo uma nova luz aos temas do design. A partir análise de conteúdo, realizada sobre a análise documental de 58 briefings enviados por 6 informantes que se denominavam escritórios de design ou se denominam ‘empresas com departamento de design’ e de dois grupos focais compostos por 3 e 4 informantes, respectivamente, seguindo o mesmo critério, esta pesquisa propõe tópicos gerais que compreendem o briefing com competências de 1) enactar a ação projetual, ampliando a capacidade crítico reflexiva ao operar agenciamentos criativos e deslocamentos temporais; 2) mediar interesses relacionados ao processo de projeto (estabelecendo um tipo de nivelamento de ordens distintas que estabilizam da rede formada em torno do projeto), traduzindo a si mesmo (sendo plástico suficiente para moldar-se conforme a necessidade e as naturezas distintas de projeto) e pontualizando e despontualizando os interesses, abrindo competências as quais o projeto deverá estar sensível e atento; 3) inscrever o designer como alguém capaz de tratar destes interesses em jogo, seja numa arqueologia que vai as profundezas do que não é explicitados claramente relacionados a mercado ou a sensibilidades, seja tratando de aspectos puramente técnicos, em um movimento que evidencia 4) o caráter ambíguo e ambivalente do briefing no processo de projeto, de uso plural, orientado pela doma do projeto. / In common sense, design brief is understood as an important component in any project because contains necessary elements that explain the problem, guiding those involved in design process. Going further, design studies understand it as something that generates dialogue among the actors involved in design process (ZURLO, 2010), not being too restrictive or too vague (BROWN, 2009), helping to frame problems (BUCHANAN, 1992) and enabling more criteria to design (Associação dos Designers Gráficos do Brasil, 2004), but these conceptions do not seem to be in tune to theoretical movements about the design process itself. Understood as transdisciplinary, non-linear and coevolutionary (MAURI, 1996, FINDELI, 2001, DORST, 2003), design process seems more open than what their own studies posit about design brief. In this sense, this research proposes to inquiry what are the competencies of the briefing in the design process. To understand their competencies, the theoretical-methodological perspective of Actor-Network Theory is adopted because its principles contribute to achieve other understandings about the relations established on design’s dynamics. That means, for Actor-Network Theory, it is impossible to distinguish between humans and non-human, or empirically point out differences between their actions generating facts and artifacts (LAW 1992, CALLON 1986): they are understood as actants (LATOUR, 1999) with agencies that mediated and intermediated (SAYES, 2013) the emergence of matters of concern (LATOUR, 2008) in a processuality that enacts (LAW, 2009) itself in the realm of competencies or ‘being-able-to-do-something’ (FIORIN, 1989), therefore, bringing a new light to design discussion. Adopting the content analysis method over a documental analysis of 58 briefings (sent by 6 informants that called themselves design offices or 'design department companies') and later over two focus groups composed of 3 and 4 informants, respectively (following the same criteria of data collection), this research proposes general topics that present the briefing with competencies of 1) enact the design action, expanding the critical reflexive capacity when operating creative assemblages and temporal displacements; 2) mediate interests of actants related to the design process (establishing a sort of leveling of distinct orders that stabilize the network formed around the design process), translating itself (being plastic enough to shape itself towards different design process) and emphasizing and clarifying the interests, opening competencies which the design process should be sensitive and aware of; 3) inscribe the designer as someone capable of dealing with the interests at stake through an archeology that goes to the depths that are not explicitly (such as market or sensitivities), or dealing with purely technical aspects, in a movement that evidences 4) the ambiguous and ambivalent use of the briefing, guiding the design process as something that takes in in its account a plural and diverse natures.