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Notre recherche s’inscrit dans le domaine du génie industriel et se positionne plus précisément dans le design. L’objet général de cette thèse est d’intégrer la Réalité Virtuelle immersive comme outil de représentation dans le processus de conception des produits nouveaux, afin d’améliorer la boîte à outils du designer, de le comparer et d’analyser son influence par apport aux outils de représentation Traditionnels (T) et Numériques (N), d’aide à la création et à la communication des idées utilisés en Design. Pour les outils T et N, nous analyserons plus particulièrement le dessin, la maquette physique et les logiciels de Conception Assisté par Ordinateur (CAO). Notre but est de proposer une méthode destinée à aider plus particulièrement deux acteurs de la conception (le designer et l’architecte) à mieux choisir leur outil de représentation durant le processus de design. Nous montrerons l’utilité d’intégrer la Réalité Virtuelle RV comme une nouvelle technologie à leur démarche de travail. Les expérimentations menées nous permettent ainsi de dégager les rapports de la RV dans le processus de design. Ainsi, de montrer : - une influence positive de la RV sur l’évaluation esthétique (selon la vision du designer) et technique (selon la vision des acteurs de la conception) du produit nouveau. - une meilleure compréhension de l’objet par les intervenants spécialistes (industriels, décideurs..) et les non-spécialistes (utilisateurs, consommateurs..). Notre recherche ouvre des perspectives pour élargir l’application de la RV dans d’autres projets et d’améliorer l’outil à travers de la naissance d’une série d’applications réservées au designer / Our research is in the field of industrial engineering and it is positioned specifically in the design. The general purpose of this thesis is to integrate the immersive Virtual Reality as a tool of representation in the process of new products design to enhance the toolkit of the designer, to compare and analyze its influence by providing the tools of traditional (T) and digital (N) and to support the creation and communication of ideas used in Design. For these tools of T and N, we will analyze in particular drawing, mock-up and software for computer aided design (CAD). Our goal is to propose a method to help especially the two actors of design (the designer and the architect) to choose the best tool for representation during the design process. We show the usefulness of integrating Virtual Reality VR technology as a new approach to their work. The experiments conducted allow us to identify the relationship of VR in the design process. Thus, to show: - A positive influence of VR on the aesthetic evaluation (according to the vision of the designer) and technology (according to the vision of those involved in design) of new product. - A better understanding of the subject specialists by stakeholders (industry, policy makers ...) and non-experts (users, consumers ...). Our research offers a potential to broaden the application of VR in other projects and improve the tool through the birth of a number of applications available to the designer

Em fases transformadoras como a que se vive na atualidade com as tecnologias que impactam os processos produtivos de moda, os papéis desempenhados pelos designers se alteram. Neste contexto, o designer de moda parece se deparar entre as narrativas da cultura maker (influenciados por movimentos de contra-cultura, ao clamar por autonomia como o Arts & Crafts, DIY, movimento do software livre e open-source) e, por outro, os direcionamentos tomados pela indústria 4.0. (produção em escala, ultra-personalizadas, distribuída e com uso de dados). Estes dois âmbitos têm em comum interesse o uso de ferramentas de fabricação digital, por isso, os conhecimentos necessários para projetos desenvolvidos nestes espaços se difundem rapidamente. Contudo, ímpetos, narrativas, valores iniciais e interesses de diversas origens se mesclam de um modo difícil de distinguir (NASCIMENTO, S.; PÓLVORA, A.; 2016), mas que continuam a gerar agenciamentos. Esta investigação tem como objetivo apresentar um panorama dos percursos do designer de moda em meio ao contexto cultural e operacional da fabricação digital afim de destacar pontos de tensão e de disparidades sociais que passam pelo campo produtivo, afim de encontrar quais os próximos e melhores passos a serem dados. Deste modo, busca-se utilizar ferramentas digitais como impressoras 3D, escaners 3D e máquinas de corte a laser na com a intenção de trazer mais autonomia, acessibilidade, igualdade nas relações para designers de moda no Brasil. / In a phase of deep transformations with new technologies that impact the productive processes in the fashion field. In this context, the fashion designer finds himself between narratives devired from the the maker culture (following counter-culture movements, claiming for autonomy with the Arts & Crafts movement, DIY, later the free software movement, open-source) and the 4.0 industry (scale, ultrapersonalized, distributed production based on data). Both areas have the interest on digital fabrication in common, therefore, the required knowledge for projects developed in these spaces spreads rapidly. Yet, impulses, narratives and initial values cultuated by the maker movement seems to be mixed and dispersed (NASCIMENTO, S.; PÓLVORA, A.; 2016) while agency keep happening. The present investigation\'s aim is to present the paths followed by the fashion designer immersed in a cultural context and in the operational digital fabrication\'s context in order to find which are the best actions to be taken. In this sense, digital fabrication tools such as 3D printers, 3D scanners, laser cutter machines can be used to bring more autonomy, accessibility, equality in the relations and in the ways of producing for fashion designers in Brasil.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-05T12:59:08Z No. of bitstreams: 1 Annye Cristiny Tessaro.pdf: 2558658 bytes, checksum: 6ae482af1522ccf49fba1f5b8ed87511 (MD5) / Made available in DSpace on 2018-11-05T12:59:09Z (GMT). No. of bitstreams: 1 Annye Cristiny Tessaro.pdf: 2558658 bytes, checksum: 6ae482af1522ccf49fba1f5b8ed87511 (MD5) Previous issue date: 2018-09-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Humanity has always used narratives to communicate. Over the years, theorists have realized that there was a common basic structure and formulation in the narratives that allowed stories to perpetuate and adapt in order to form new stories. The contributions of Aristotle, Vladimir Propp and Jung, based on the observation of a varied corpus of tales and fables, enabled the scholar Joseph Campbell to elaborate a narrative structure called “Hero’s Journey”, an elliptical and evolutionary cycle in which the central axis is the hero (and also its variations, such as the anti-hero). This structure is widely used in the construction of contemporary narratives which paved the way for writers such as Vogler and Mckee allowing them to propose it’s adaptation centered on the protagonist-hero for literature and cinema. From the 1970s, with the evolution towards an interactive possibility, the entertainment industry began to incorporate, although modestly, the narrative as a possibility to improve the immersion in games using, most of the time, the Writer’s Journey (structure adapted by Vogler) as a parameter for the construction of narratives in games. However, it is essential to realize that games have specific peculiarities, besides a high content of interaction differing from other media and, therefore, its structure can not be conceived in the same way as it was proposed by Vogler, requiring an adaptation which addresses such particularities. In addition, usually professionals who engage in storytelling for games are screenwriters (which does not seem to be the most appropriate because the art of narrative goes beyond the script), or are writers (who mostly lack specific knowledge and qualification in the games area). Considering what was stated above, we argue for the adoption of a Narrative Designer (term created in 2006 by Game Designer Stephen Dinehart) to designate this professional whose knowledge involves multiple skills – such as programming, art and writing – combining the areas of Narratology, Ludology, and Game Design. Thus, the purpose of this thesis is to investigate conventional narrative structures and how they are presented in games, which are the elements and tools that can help the narrative designer in the creative process / A humanidade sempre se utilizou de narrativas para se comunicar. Ao longo dos anos, os teóricos perceberam haver nas narrativas uma estrutura e uma formulação básica comum que propiciava que as histórias se perpetuassem e se adaptassem formando novas histórias. As contribuições de Aristóteles, Vladimir Propp e Jung, fundamentadas com base na observação de um corpus variado de contos e de fábulas, possibilitaram ao estudioso Joseph Campbell elaborar uma estrutura narrativa denominada “Jornada do Herói”, um ciclo elíptico e evolutivo no qual o eixo central é o herói (e também suas variações, tal como o anti-herói). Essa estrutura é amplamente utilizada na construção de narrativas contemporâneas e abriu o caminho para que roteiristas como Vogler e Mckee propusessem sua adaptação centrada no protagonista-herói para a literatura e o cinema, Com a evolução das possibilidades interativas, a indústria de entretenimento passou a incorporar, a partir da década de 1970, ainda que modestamente, a narrativa como possibilidade de refinar a imersão nos games utilizando, na maioria das vezes, a Jornada do Escritor (estrutura adaptada por Vogler) como parâmetro para construção das narrativas em games. No entanto, é essencial que se perceba que os games possuem particularidades específicas, além de um alto teor de interação diferenciando-se das outras mídias e, portanto, sua estrutura não pode ser concebida da mesma forma como foi proposto por Vogler, requerendo uma adaptação que contemple tais particularidades. Além disso, geralmente os profissionais que se dedicam à arte narrativa para games ou são roteiristas (que não parece ser o mais adequado, pois a arte narrativa vai além do roteiro), ou são escritores (que em sua maioria não possuem conhecimento e qualificações específicas na área de games). Diante do exposto, defende-se a adoção de Designer de Narrativas (termo criado, em 2006, pelo Game Designer Stephen Dinehart) para designar esse profissional cujo conhecimento envolve múltiplas habilidades – como programação, arte e escrita – combinando as áreas da narratologia, da ludologia e do Game Design. Sendo assim, a proposta desta tese é investigar as estruturas narrativas convencionais e como elas se apresentam nos games, quais são os elementos e as ferramentas que podem auxiliar o designer de narrativas no processo criativo

Em fases transformadoras como a que se vive na atualidade com as tecnologias que impactam os processos produtivos de moda, os papéis desempenhados pelos designers se alteram. Neste contexto, o designer de moda parece se deparar entre as narrativas da cultura maker (influenciados por movimentos de contra-cultura, ao clamar por autonomia como o Arts & Crafts, DIY, movimento do software livre e open-source) e, por outro, os direcionamentos tomados pela indústria 4.0. (produção em escala, ultra-personalizadas, distribuída e com uso de dados). Estes dois âmbitos têm em comum interesse o uso de ferramentas de fabricação digital, por isso, os conhecimentos necessários para projetos desenvolvidos nestes espaços se difundem rapidamente. Contudo, ímpetos, narrativas, valores iniciais e interesses de diversas origens se mesclam de um modo difícil de distinguir (NASCIMENTO, S.; PÓLVORA, A.; 2016), mas que continuam a gerar agenciamentos. Esta investigação tem como objetivo apresentar um panorama dos percursos do designer de moda em meio ao contexto cultural e operacional da fabricação digital afim de destacar pontos de tensão e de disparidades sociais que passam pelo campo produtivo, afim de encontrar quais os próximos e melhores passos a serem dados. Deste modo, busca-se utilizar ferramentas digitais como impressoras 3D, escaners 3D e máquinas de corte a laser na com a intenção de trazer mais autonomia, acessibilidade, igualdade nas relações para designers de moda no Brasil. / In a phase of deep transformations with new technologies that impact the productive processes in the fashion field. In this context, the fashion designer finds himself between narratives devired from the the maker culture (following counter-culture movements, claiming for autonomy with the Arts & Crafts movement, DIY, later the free software movement, open-source) and the 4.0 industry (scale, ultrapersonalized, distributed production based on data). Both areas have the interest on digital fabrication in common, therefore, the required knowledge for projects developed in these spaces spreads rapidly. Yet, impulses, narratives and initial values cultuated by the maker movement seems to be mixed and dispersed (NASCIMENTO, S.; PÓLVORA, A.; 2016) while agency keep happening. The present investigation\'s aim is to present the paths followed by the fashion designer immersed in a cultural context and in the operational digital fabrication\'s context in order to find which are the best actions to be taken. In this sense, digital fabrication tools such as 3D printers, 3D scanners, laser cutter machines can be used to bring more autonomy, accessibility, equality in the relations and in the ways of producing for fashion designers in Brasil.

Made available in DSpace on 2016-04-29T14:22:56Z (GMT). No. of bitstreams: 1 Pedrina Rosa Araujo.pdf: 492932 bytes, checksum: 06ab85ccd689f34df582f7d388fa154a (MD5) Previous issue date: 2011-07-07 / This dissertation presents a study about human learning, especially about its new culture, which is used increasingly as a facilitator of technological strategies in online spaces. The aim of this research was limited in the role of educational designer for the learning of students from distance education online courses which was investigated that knowledge these professionals have about learning to develop multimedia educational resources whose intentionality is to help to learning in these spaces. The qualitative research was developed through field study where some interviews were made with selected educational designers as strategy to collect datas. These interviews allowed to emerge from their speeches their conceptions, practices and perceptions about their professional tasks. The studies developed based on the biological and cultural conceptions of learning, conceptions of multimedia learning and cognitive load revealed that these professionals have diverse knowledge about learning, especially in the field of multimedia. However, it was possible to notice that these knowledge are mostly empirical, resulting from their observations and experiences in daily life of their profession which confirmed the premise proposed in this research. As a complex process which involves aspects of diverse natures, the learning is inherent from owner history of mankind, and therefore, it independent on the way that the learning happens, it should always be in focus from all the professionals who involved in the design of educational strategies, among them, the educational designer / A presente dissertação apresenta um estudo sobre a aprendizagem humana, em especial sobre sua nova cultura, que se utiliza cada dia mais de estratégias tecnológicas como facilitadoras em ambientes online. O objetivo desta pesquisa foi delimitado em qual o papel do designer educacional para a aprendizagem dos alunos de cursos a distância online, na qual foi investigado que conhecimentos esses profissionais possuem sobre aprendizagem para elaborar recursos educacionais multimídia que contribuam com a aprendizagem nesses ambientes. A pesquisa qualitativa se desenvolveu por meio de estudo de campo se utilizando de entrevistas como estratégia para coleta de dados com os designers educacionais selecionados. Isso possibilitou que emergisse dos discursos seus conceitos, práticas e percepções sobre seus afazeres profissionais. Os estudos desenvolvidos sob as concepções biológicas e culturais da aprendizagem, as concepções da aprendizagem multimídia e da carga cognitiva revelaram que esses profissionais possuem conhecimentos diversos sobre a aprendizagem, principalmente no campo da multimídia. Entretanto, foi possível constatar que esses conhecimentos são, em sua maioria, de natureza empírica, resultantes de suas observações e experiências adquiridas no dia a dia da profissão, o que confirmou a premissa proposta nesta pesquisa. Como um processo complexo e que envolve aspectos de naturezas diversas, a aprendizagem é inerente à própria história da humanidade e, por isso, independentemente do meio a que se propõe, ela deverá sempre estar no foco de todos os profissionais envolvidos no desenho das estratégias educacionais, entre eles, o designer educacional

Made available in DSpace on 2016-04-29T14:23:06Z (GMT). No. of bitstreams: 1 Adriane Gomes de Brito.pdf: 4972642 bytes, checksum: f08cf2497914be3327c3f381317ab0a8 (MD5) Previous issue date: 2012-05-17 / The objective of this work is to research and produce a critical thinking about the use of technological apparatus to produce the technical image. The proposal of this research is to create and experiment a digital and technological game using the body and the technical basis of theatre and circus as receptive and interactive environments, through multimedia equipments for the setting of the corporal/performative system and its relations with technology. Some authors were fundamental in this research process: it is necessary to talk about Vilém Flusser e Marshall McLuhan, that present a critical and contemporary thinking about the body and its relations with the technological apparatus, and about Ivani Santana, Henri-Pierre Jeudy, Antonio Damásio, Arlindo Machado e Renato Cohen, authors that grounded the idea of performance art and technical image in the relations with the creative body.The work draws attention to the vulnerability of digital art, to how the body has turned away or has set down in this new digital context, to how communication and continuous use of internet change the everyday and people's life and how this reflects in art and in the life of people that belong to this new generation on which technology is omnipresent. Accordingly, it ends recognizing the existence of new rites and myths in this contemporary bodies, realizing that the games are using the myths to compose its stories the japanese always used some western myth to create their games.The perspective of the methodology used along the experiencing process was a documentary about the setting process and the realization of the show Rainha de Copas e suas 7 primas invejosas (The Queen of Hearts and her 7 envious cousins). The documentary will have at most 20 minutes and will be accompanied by verbal-visual images and photographies, captured along the research. Moreover, were included in the work actions in shape of happening, performances and open experiences, finally resulting in the multimedia show Rainha de Copas e suas 7 primas invejosas.It is important to affirm that the practical and philosophical experience promoted not just the development of a techno-performance's product or a digital designer's technique, but also promoted a critical thinking about the body in contact with images and the idea of how bodies turn into dragonflies when in contact with the spotlight / O presente trabalho tem como objetivo pesquisar e produzir um pensamento crítico em torno da utilização de aparatos tecnológicos para a produção da imagem técnica. Para desenvolver essa pesquisa, a proposta é criar e experimentar um jogo digital e tecnológico usando o corpo e as bases técnicas do teatro e do circo como ambiente receptivo e interativo por meio de equipamentos multimídia para a montagem do sistema corporal performático e suas relações com a tecnologia. Alguns escritores foram fundamentais neste processo de pesquisa, é necessário falar inicialmente de Vilém Flusser e McLuhan, que fundamentalmente apresentam um pensamento crítico e contemporâneo sobre o corpo e suas relações com os aparatos tecnológicos, e de Ivani Santana, Henri-Pierre Jeudy, Antonio Damásio, Arlindo Machado e Renato Cohen, autores que fundamentaram a ideia de performance art e imagem técnica nas relações com o corpo criativo.O trabalho se debruça sobre a vulnerabilidade da arte digital, em como o corpo tem se afastado ou se colocado nesse novo contexto digital e como a comunicação e o uso contínuo da internet modificam o cotidiano e a vida das pessoas e como isso se reflete na arte e na nova geração em que a tecnologia é onipresente. Dessa forma é possível reconhecer que existem novos ritos e mitos desses corpos contemporâneos A metodologia utilizada ao longo do processo de experiência teve como perspectiva um documentário sobre os processos de montagem e execução do espetáculo A Rainha de Copas e suas 7 Primas Invejosas. O documentário terá um tempo máximo de 20 minutos e virá acompanhado por imagens verbo-visuais e fotografias, captadas ao longo da pesquisa. Além disso, foram incluídas no trabalho ações em forma de happening, performances e experiências abertas, resultando finalmente no espetáculo multimídia Rainha de Copas e suas 7 primas invejosas.É importante afirmar que a experiência prática e filosófica promoveu o desenvolvimento não só de um produto da tecno-performance ou de uma estética do designer digital, mas também de um pensamento crítico, em torno do corpo em contato com as imagens, e a ideia de como os corpos se transformam em libélulas em contato com a luz dos projetores

In this study, we focus primarily on the importance of organisation and UX-maturity for applying user experience (UX). What does this mean for designers when maturity is low or high? The study shows that the user is an expert based on his/her personal experience of a product, allowing the user to select and influence solutions that best meet his/her needs. UX maturity is a highlighted concept in this UX study. If UX maturity of an organisation is low then UX is likely only applied by few or no one within the design team. If the maturity on the other hand is high, the organisation and its design team work with an UX-approach. The approach therefore becomes a part of the organisational culture and through this shows how the business benefits of UX. This then creates a win-win situation for the user, designer and organisation. If however everybody practices UX, what will then happen to the UX-role? Is it however reasonable that only one person should be responsible for UX? We gathered 12 experts from companies in Gothenburg and talked about how it has been, present challenges and together we speculated about the future UX role. We also discussed the significance organisations maturity has for those who work with UX. The results show that knowledge of UX should be disseminated at all levels and that at a high maturity UX strategy becomes part of the overall plan. When the maturity is high practitioners of UX get the opportunity to narrow and broaden their skills. Is maturation however low more responsibility may be placed upon the individual designer. The designer may not have the same opportunity to become an expert in their field and are instead forced to have a wider and not as deep expertise. / Detta arbete fokuserar främst på organisationens och den upplevda UX-mognadens betydelse för den som tillämpar user experience (UX). Vad innebär det för designers när mognaden är låg respektive hög? Man menar att användaren är expert, detta baserat på sin upplevelse av produkten. Idag kan användare själv välja vilka lösningar som bäst motsvarar önskade behov. I denna studie om UX lyfts begreppet UX-mognad. Om UX-mognaden i en organisation är låg betyder det att eventuellt ingen eller få i designteamet tänker användarcentrerad design. Är mognaden däremot hög innebär det att organisation och designteam gemensamt jobbar med UX som förhållningssätt. Det skapar en win-win-situation för både användare, designer och organisation. Men om alla nu å andra sidan använder termen och jobbar UX, vad kommer då att hända med rollen UX? Är det rimligt att enbart en person skall ansvara för UX? Vi samlade 12 experter från företag i Göteborg och samtalade om vilka utmaningar som funnits, vilka som finns idag och tillsammans talade vi om UX-rollen. Vi diskuterade även om den betydelse som en organisations mognad har för de som arbetar med UX. Resultatet visar att kunskap om UX bör spridas i alla led och att med hög mognad blir UX-strategi en del av den övergripande planen. Utövare av UX får här tillfälle att ge sin kompetens en spets och ett djup. Är mognaden däremot låg kan det ligga mer ansvar på den enskilde designern, designern får heller inte samma möjlighet att bli expert på sitt område, utan tvingas ha en bredare och inte lika djup kompetens.

Relationships between furniture and children s play are examined in this research paper, with the purpose of connecting features in furniture to specific play activities. The focus of the research is children between the ages of 4 to 8 years old in the context of indoor play at home. An image survey of furniture created for children s use displays a range of attributes and aesthetics designed into children s furniture. A collage study conducted with designers, parents and teachers reveals the perception of furniture s use and anticipated attractiveness to children by analyzing each item s characteristics. Trace observation of how children manipulate their home environment and home interviews with parents provide opportunities for a detailed description of children s play activities linked to specific pieces of furniture. Child interviews conducted for a National Institute on Disability and Rehabilitation Research (NIDRR) sponsored research project for the study of Inclusive Indoor Play provided information on children s preferences with respect to indoor play at home. This research paper discusses how the combined data of these four studies links distinct furniture features to specific play activities. The resulting data proposes an informative tool to be used by designers to create furniture more conducive to children s play.

<p>Jewelry designers might not be as customer-centered as Kotler recommend. Additionally, they are not constantly seeking to grow and make the most profit out of satisfying consumer needs better than competitors. However, it is imperative even for an individual designer to examine what the customers want and demand as well as think of a plan to satisfy this demand. Consequently, the purpose of this study is to create a guideline for a marketing plan for a beginning jewelry designers using jewelry designer Anniina Dunder as an example. A qualitative method was chosen for this study in form of interviews and observation. Moreover, secondary data was collected in order to gain a wider and clearer picture of the subject.</p><p>Based on this study an individual actor has every possibility to reach the desired level of profit in the jewelry market in Helsinki by designing and producing jewelry. Reaching this level of profit requires activeness, customer-centered view and productivity from the designer. Consequently, individual designers should start paying more attention to potential customers’ needs and wants even when designing collection jewelry and be constantly aware of changes in these wants in order to satisfy customers even in the future.</p>