Com o intuito de estudar a industrialização da arquitetura nas décadas de 1950 e 1960, definimos como objeto de estudo a FAUUSP e o que era debatido por sua comunidade, professores e estudante, sobre o tema durante os anos que vão desde sua fundação em 1948 até 1970. Por meio da Reforma Curricular de 1962, que marcou o amadurecimento da proposta do ensino de arquitetura orientado pelo movimento moderno, e estimulados pelo período desenvolvimentista por que passava o Brasil no final dos anos 1950, a comunidade docente implantou um Sequência de Disciplinas de Desenho Industrial que resultou, ainda que numa proposta legítima, na formação de profissionais da arquitetura com perfil para o trabalho na indústria de bens de consumo. Por comparação, e entendendo que a industrialização da arquitetura é um importante componente da origem da arquitetura moderna, desejamos compreender se o desenho industrial, da mesma maneira, havia penetrado também no ensino de projeto de arquitetura. Portanto, as disciplinas de projeto de arquitetura incorporaram essas ideias depois da reforma, até o final dos anos 1960? Se sim, como o desenho industrial para a produção de componentes e sistemas construtivos de arquitetura era trabalhado em sala? Havia ainda um imaginário sobre a industrialização da arquitetura, latente nas revistas e nas memórias de viagem, incentivado principalmente pelos esforços de reconstrução do pós-guerra. A imagem do grande painel de concreto, içado por grua, representando um canteiro mecanizado e avançado (ou pouco precário) era um paradigma a ser alcançado. Ao mesmo tempo, os mesmos docentes da escola debatiam nas instituições da categoria, como o IAB, nos congressos brasileiros de arquitetos e nas revistas a necessidade de industrializar a arquitetura para a produção de habitação. Parecia que a industrialização da arquitetura, a ser alcançada pela ação político-profissional do arquiteto no desenvolvimento nacional, ainda estava longe de se concretizar. / In order to study the industrialization of architecture in the 1950s and 1960s, We defined FAUUSP as the object of study and what was discussed by its community, Teachers and students on the subject during the years since its founding in 1948 through 1970. Through the Curricular Reform of 1962, which marked the maturation of Of the teaching of architecture guided by the modern movement, and stimulated By the developmental period through which Brazil passed in the late 1950s, the The teacher implemented a sequence of Industrial Design Disciplines that resulted, In a legitimate proposal, in the training of Profile for work in the consumer goods industry. By comparison, and understanding That the industrialization of architecture is an important component of the origin of architecture Modern, we want to understand if industrial design, in the same way, Had also penetrated the teaching of architectural design. Therefore, the Architectural design incorporated these ideas after the reform, until the end of the 1960? If yes, how the industrial design for the production of components and systems Constructive architecture was worked in the room? There was still an imaginary about Architecture, latent in journals and travel memories, encouraged Mainly through post-war reconstruction efforts. The image of the great Concrete panel, hoisted by crane, representing a mechanized and advanced (Or rather precarious) was a paradigm to be achieved. At the same time, the same Teachers of the school, such as the IAB, in the congresses Brazilians of architects and in the magazines the need to industrialize architecture for The production of housing. It seemed that the industrialization of architecture, to be achieved By the architect\'s political-professional action in national development, was still Far from materializing.

Inhalt dieser Arbeit ist die Design-Studie für einen kompakten Niederenergie-Elektronenspeicherring für die Radiometrie. Im Ring sollen Elektronen mit Energien im Bereich von 200 MeV bis 600 MeV gespeichert werden können, wobei die Emittanz möglichst klein und die Strahllebensdauer über den gesamten Energiebereich bei einem Strom von 100 mA mindestens eine Stunde sein sollten.Diese Vorgaben wurden in Abstimmung mit einem der potentiellen Hauptnutzer, der Physikalisch-Technische Bundesanstalt (PTB), festgelegt und sollen den Speicherring zu einer optimalen Synchrotronstrahlungsquelle für die Radiometrie im ultravioletten und vakuumultravioletten Spektralbereich mit Photonenenergien zwischen etwa 5 eV und 200 eV machen. Im Rahmen dieser Arbeit werden die aus physikalischer Sicht wichtigsten Teilsysteme eines Speicherringes konzeptioniert: Magnetoptik, Hochfrequenz-, Vakuum-, Diagnose- und Injektionssystem sowie die Magnetauslegung. Außerdem werden die zu erwartenden Synchrotronstrahlungsspektren berechnet. Der entworfene Speicherring hat einen Umfang von 34.2 m und besteht aus zwei "Triple Bend Achromat"-Bögen, die durch gerade Strecken miteinander verbunden sind. In eine dieser geraden Strecken kann ein maximal 5.6 m langes "Insertion Device" eingebaut werden, die andere ist durch die Injektionselemente und das Hochfrequenz-Cavity belegt. Insgesamt können mit dem Design des hier vorgestellten Speicherringes alle gestellten Anforderungen erfüllt werden: die natürliche Emittanz ist vergleichsweise niedrig und liegt bei günstigen linearen und nichtlinearen Eigenschaften der Magnetoptik nah an ihrem minimal möglichen Wert. Mit der gewählten Auslegung von Magnetoptik, Hochfrequenz- und Vakuumsystem beträgt die Strahllebensdauer mit einem Speicherringstrom von 100 mA bei niedrigen Elektronenenergien zwischen (200...300)MeV etwas über eine Stunde und steigt auf mehr als sechs Stunden bei der Maximalenergie von 600 MeV. Die Strahllebensdauer übertrifft damit im gesamten Energiebereich die Vorgabe. / The subject of this work is the preparation of a design study for a compact low energy electron storage ring for radiometry in the ultraviolet and vacuum ultraviolet spectral range. Electrons with energies between 200 MeV and 600 MeV are to be stored. A small natural emittance is desired and the lifetime of a stored electron beam of 100 mA should not be less than one hour in the considered energy range. These major guidelines have been fixed in cooperation with one of the potential main users, the Physikalisch Technische Bundesanstalt (PTB), to optimize the storage ring for radiometric applications in the ultraviolet and vacuum ultraviolet spectral range with photon energies from approximately 5 eV to 200 eV. In this work the physical layout for the most important subsystems is given: magnet optics, rf-, vacuum-, diagnostic and injection system as well as the main magnet design. Additionally the expected synchrotron radiation spectra are calculated. The storage ring has a circumference of 34.2 m and consists of two Triple Bend Achromat cells, connected by two long straight sections. In one of these straight sections a 5.6 m long insertion device can be build in. The other one is occupied by the injection elements and the rf-cavity. All aspired guidelines are feasible with the presented storage ring design: the natural emittance is comparably small and with good linear and nonlinear optical properties close to its minimum value. With the presented solution (magnet optics, rf- and vacuum-system) the electron beam lifetime with 100 mA ring current is slightly above one hour at energies between (200...300) MeV and increases to more than 6 hours at the maximum energy of 600 MeV. Thus beam lifetime exceeds the guidelines at all energies.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-17T13:19:34Z No. of bitstreams: 1 Marcelo José Oliveira de Farias.pdf: 52680541 bytes, checksum: 4f867136a9456d7cc8df5aeb0b6cfb04 (MD5) / Made available in DSpace on 2018-08-17T13:19:34Z (GMT). No. of bitstreams: 1 Marcelo José Oliveira de Farias.pdf: 52680541 bytes, checksum: 4f867136a9456d7cc8df5aeb0b6cfb04 (MD5) Previous issue date: 2018-06-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Design is a creative, projective and strategic activity aimed at offering the best adaptation and interaction of the human being with himself, with others and with the world. A interdisciplinary and transdisciplinary area of knowledge that integrates both theoretical and practical knowledge, as well as concrete and abstract concepts, by means of projects, which involve processes of observation, imagination, analysis, configuration and representation, intended to develop technical and formal solutions to enable its production, commercialization and use. Design teaching means the context in which the construction of this way of thinking is build up. From this premise comes the restlessness and central issue that moves and drives this scientific research within the program of postgraduate studies in communication and semiotics: "How does a design project interact with the student's actions in their creative strategies in network strategies in the domain of education?" Therefore, the empirical object that emerges from this dynamic between the variable and the invariable of the question are the interactions and connections between the design project and the student's projective activities in their creative networked strategies. In order to develop this research, we defined the case-exploratory and ethnographic study based on the observation and analysis of two undergraduate design courses located in the city of São Paulo: design course at the University of São Paulo / USP and design course of University Senac, through observation in the classroom, recording of the creation process documents and interviews with teachers of design and other correlated subject areas. The set objectives are to understand the paradigmatic, detonating, organizing, directional and communicational aspects of creation, which activate thought and act as lines of forces, establishing unstable connections and interconnections through dialogues and interlocutions that produce interactions, influences, mutual exchanges and shared, between elements and individuals, making arise and unleash the maneuvers and articulations of thought in the process of creation / Design é uma atividade de natureza criativa, projetual e estratégica, orientada para oferecer a melhor adequação e interação do ser humano consigo, com o outro e com o mundo. Um campo de conhecimento interdisciplinar e transdisciplinar que integra tanto conhecimentos teóricos e práticos, quanto conceitos concretos e abstratos, por meio do projeto, que envolve processos de observação, imaginação, análise, configuração e representação, com o propósito de desenvolver soluções técnicas e formais, a fim de viabilizar sua produção, comercialização e uso. O ensino do design, por sua vez, é o contexto onde se realiza a construção desse modo de pensar. Diante dessa premissa surge a inquietação e questão central que move e impulsiona essa pesquisa científica no âmbito do programa de estudos pós-graduados em comunicação e semiótica: “Como projeto de design interage com as ações do aluno em suas estratégias processuais criativas em rede no âmbito do ensino?”. Portanto, o objeto empírico que emerge dessa dinâmica entre a variável e invariável da questão, são as interações e conexões entre o projeto de design com as atividades projetuais do aluno em suas estratégias processuais criativas em rede. Para desenvolver essa pesquisa definimos pelo estudo de caso-exploratório e etnográfico a partir da observação e análise de dois cursos de graduação em design localizados na cidade de São Paulo: curso de design da Universidade de São Paulo/USP e curso de design industrial do Centro Universitário Senac, por meio da observação em sala de aula, do registro dos documentos de processo de criação e entrevista com os professores das disciplinas de projeto ou afins. Tendo como objetivos, compreender os aspectos paradigmáticos, detonadores, organizadores, direcionadores e comunicacionais da criação, que acionam o pensamento e agem como linhas de forças, estabelecendo conexões e interconexões instáveis por meio de diálogos e interlocuções que produzem interações, influências, trocas mútuas e compartilhadas, entre elementos e indivíduos, fazendo surgir e desencadear as manobras e articulações do pensamento no processo de criação

Com o intuito de estudar a industrialização da arquitetura nas décadas de 1950 e 1960, definimos como objeto de estudo a FAUUSP e o que era debatido por sua comunidade, professores e estudante, sobre o tema durante os anos que vão desde sua fundação em 1948 até 1970. Por meio da Reforma Curricular de 1962, que marcou o amadurecimento da proposta do ensino de arquitetura orientado pelo movimento moderno, e estimulados pelo período desenvolvimentista por que passava o Brasil no final dos anos 1950, a comunidade docente implantou um Sequência de Disciplinas de Desenho Industrial que resultou, ainda que numa proposta legítima, na formação de profissionais da arquitetura com perfil para o trabalho na indústria de bens de consumo. Por comparação, e entendendo que a industrialização da arquitetura é um importante componente da origem da arquitetura moderna, desejamos compreender se o desenho industrial, da mesma maneira, havia penetrado também no ensino de projeto de arquitetura. Portanto, as disciplinas de projeto de arquitetura incorporaram essas ideias depois da reforma, até o final dos anos 1960? Se sim, como o desenho industrial para a produção de componentes e sistemas construtivos de arquitetura era trabalhado em sala? Havia ainda um imaginário sobre a industrialização da arquitetura, latente nas revistas e nas memórias de viagem, incentivado principalmente pelos esforços de reconstrução do pós-guerra. A imagem do grande painel de concreto, içado por grua, representando um canteiro mecanizado e avançado (ou pouco precário) era um paradigma a ser alcançado. Ao mesmo tempo, os mesmos docentes da escola debatiam nas instituições da categoria, como o IAB, nos congressos brasileiros de arquitetos e nas revistas a necessidade de industrializar a arquitetura para a produção de habitação. Parecia que a industrialização da arquitetura, a ser alcançada pela ação político-profissional do arquiteto no desenvolvimento nacional, ainda estava longe de se concretizar. / In order to study the industrialization of architecture in the 1950s and 1960s, We defined FAUUSP as the object of study and what was discussed by its community, Teachers and students on the subject during the years since its founding in 1948 through 1970. Through the Curricular Reform of 1962, which marked the maturation of Of the teaching of architecture guided by the modern movement, and stimulated By the developmental period through which Brazil passed in the late 1950s, the The teacher implemented a sequence of Industrial Design Disciplines that resulted, In a legitimate proposal, in the training of Profile for work in the consumer goods industry. By comparison, and understanding That the industrialization of architecture is an important component of the origin of architecture Modern, we want to understand if industrial design, in the same way, Had also penetrated the teaching of architectural design. Therefore, the Architectural design incorporated these ideas after the reform, until the end of the 1960? If yes, how the industrial design for the production of components and systems Constructive architecture was worked in the room? There was still an imaginary about Architecture, latent in journals and travel memories, encouraged Mainly through post-war reconstruction efforts. The image of the great Concrete panel, hoisted by crane, representing a mechanized and advanced (Or rather precarious) was a paradigm to be achieved. At the same time, the same Teachers of the school, such as the IAB, in the congresses Brazilians of architects and in the magazines the need to industrialize architecture for The production of housing. It seemed that the industrialization of architecture, to be achieved By the architect\'s political-professional action in national development, was still Far from materializing.

Database modeling is a complex conceptual topic often taught through the use of project-based teams. One of the problems with the use of project-based teams in university courses is the determination of whether this is the most effective use of instructor and student time involvement and effort level. Therefore, this study investigated the impact of providing team dynamics training prior to the commencement of short-duration project-based team conceptual data modeling projects on individual data modeling task performance (DMTP) outcomes and team cohesiveness. The literature review encompassed conceptual data design modeling, the use of a project-based team approach, team dynamics and cohesion, self-efficacy, gender, and diversity. The research population consisted of 75 university students at a North American University (Canadian) pursuing a business program requiring an information systems course in which database design components are taught. Analysis of the collected data revealed that there was a statistically significant inverse relationship found between the provision of team dynamics training and individual DMTP. However, no statistically significant relationship was found between team dynamics training and team cohesion. Therefore, this study calls into question the value of team dynamics training on learning outcomes in the case of very short duration project-based teams involved in conceptual data modeling tasks. Additional research in this area would need to clarify what about this particular experiment might have contributed to these results.

The instruction of computer assisted drafting (CAD) in the high school classroom presents unique problems and challenges that typical colleges, technical schools, and industry do not address. Including issues such as cross curriculum instruction, beginning and advanced students in the same class, several courses in the same room, CAD and manual drafting taught concurrently.

The purpose of this project is to create and implement a web page design curriculum for the secondary level.

The Web Based Query Optimization Simulator (WBQOS) is a software tool designed to enhance understanding of query optimization with a Relational Database Management System (RDBMS). WBQOS allows the user to visualize and participate in query optimization, which enhances the learning process.

This diploma thesis serves as a constructional study of an axial pump with a tandem arrangement of impellers. It may also be perceived as proposal of possible constructional variants that could be used as cardiac replacements. The thesis offers several conceptual variants, while the selected ones are elaborated in detail. Drawing documentation and 3D models are included in the attachment. The components were dimensioned according to the parameters necessary for proper heart function.

Over the course of the Coronavirus pandemic, works of art explored social isolation, abolition, and climate crisis. The pandemic had ruptured normative curricular practices in schools and learning discourses focused on minimizing those interruptions. Meanwhile, works such as Ellen Reid’s SOUNDWALK, Kamau Ware’s Fighting Dark, and Maya Lin’s Ghost Forest crafted relationships to knowledge through site-specific sounds, familiar materials, and sensory experiences of their environments. A group of curriculum designers, researchers, and educators, including the author of this study, affiliated with a university-based Curriculum Lab engaged with these artworks, while processing the pandemic’s effects on their own curricular practices. Situated within the Lab, this project used ethnographic and speculative methods to research how the artworks’ aesthetic and sensory strategies activated curricular contact zones and contributed to artful practices for curriculum theory and design. This study built on the work of critical curriculum scholarship which has demonstrated that significant forms of knowledge and belonging are produced through informal and null curriculum, and outside of schools entirely. Drawing on aesthetics, affect, and vital materialisms, this study theorized ambient curriculum: a surround through which any variety of onto-epistemological practices might cohere into relationships of knowing and becoming. At the same time, this study recognized that formal curriculum exerts a large influence on the daily lives of teachers and students, and that there are educators searching for forms of curriculum more aligned to their commitments to social and ecological justice; beliefs about the complexity of knowledge and learning; and approach to design as a creative process. This project considers the implications of such creative processes for curriculum design as a nomadic practice and curriculum designers as nomadic becomings, making and made by their creations.