[pt] O Ensino e a prática em áreas tão próximas como Design e Arquitetura apresentam aspectos comuns e aspectos específicos de cada uma das áreas. Os depoimentos e opiniões deste trabalho foram obtidos em levantamentos bibliográficos, estudos de caso e entrevistas realizadas junto a profissionais que atuam em Design e Arquitetura. Como projetistas iniciam e desenvolvem seus projetos, se relacionam com os clientes, as prescrições e necessidades, locais e o trabalho em equipe. A união das áreas de conhecimento e os processos de produção, a tecnologia e os materiais e suas importâncias para designers e arquitetos. O ensino em Design e Arquitetura, profissionais que ensinam e estudos de caso de disciplinas de Projeto nas duas áreas. As interações nas formas de ensinar e de projetar em Design e Arquitetura. / [en] Teaching and best practices in Design and Architecture introduce common and specific aspects related to these areas. The testimonials and opinions in this work were obtained through bibliographic, cases studies and interviews conducted with professionals in the Design and Architecture field. As project leaders they develop their projects, interact with clients, define project requirements and the team dynamics. The unification of: knowledge, production processes, technology, required resources and their importance to Designers and Architects. This work addresses the academic approaches applied by lecturers, case studies and best practices adopted by active professionals in Design and Architecture. As well as the interactions between Design and Architecture academic and practical approaches.

Com o estabelecimento do Conselho de Arquitetura e Urbanismo do Brasil (CAU/BR), no final de 2011, a categoria profissional dos Arquitetos e Urbanistas conquistou a formação de seu órgão regulador, voltado somente a esse profissional. Diante de tal fato, a necessidade de formulação e implantação de um novo Código de Ética e Disciplina para a profissão, junto com seus procedimentos disciplinares tornou-se evidente. Com isso, a tese buscou, primeiramente, acompanhar e registrar o processo de elaboração do Código, ressaltando a metodologia utilizada e destacando as principais discussões que envolveram a consolidação do texto final do primeiro Código de Ética e Disciplina voltado somente aos profissionais de arquitetura e urbanismo no Brasil. Tal investigação não só possibilitou o levantamento das principais discussões voltadas à estrutura do texto do Código, como também, as discussões que envolveram os conflitos predominantes que ocorriam na prática profissional do arquiteto e urbanista naquele momento. Em seguida a tese se concentrou na demonstração do levantamento e classificação das decisões publicadas pelos CAU/UF da Região Sudeste referente às sanções aplicadas às infrações ocorridas às regras do Código a partir de sua implementação no início de 2014 até o final de 2017, procurando destacar quais infrações se apresentarem recorrentes. Ainda, com a intenção de fornecer uma descrição do processo histórico do desenvolvimento da profissão do arquiteto e urbanista no Brasil, enfocado na evolução de seu comportamento profissional baseado nos códigos de conduta estabelecidos pelos órgãos reguladores, seguiu-se a elaboração de um estudo comparativo dos resultados alcançados no decorrer das investigações colocadas acima, com os resultados obtidos em pesquisa anterior, no período em que a classe profissional se encontrava sob vigência do então Código de Ética do Sistema CONFEA/CREA. / With the establishment of the Architecture and Urban Design Council of Brazil (CAU/BR), by the end of 2011, the professional category of architects and urban designers attained the formation of its regulatory entity, exclusively dedicated to its professionals. Therefore, the need to formulate and implement a new Code of Ethics and Discipline for the profession, along with its disciplinary procedures became evident. With that in mind, the thesis aimed, in the first place, to follow and record the elaboration process of the Code, explaining its methodology and highlighting the main discussions that took place to achieve the consolidation of its final draft, with the first Code of Ethics dedicated solely to the field of Architecture and Urban Design in Brazil. The research made possible the survey of the main topics regarding the Code contents structure, and also, discussions that encompassed the predominant conflicts that occurred within the professional practice of Architecture and Urban Design at that time. Subsequently, the thesis focuses on the demonstration of the survey and classification of the decisions published by CAU/UF1, from the southeast region, concerning the applied sanctions regarding infractions committed against the Code after its implementation in the beginning of 2014, until the end of 2017, seeking to highlight the more recurrent ones. With the intention to provide a description of the historical process of the development of the profession of Architect and Urban Designer in Brazil, focused on the evolution of its professional behavior, based on the Conduct Codes established by the regulatory entities, the next step was the elaboration of a comparative study of the obtained results during the investigations mentioned above, containing the data of a previous research, conducted in a period in which the professional category was still under the regulation of the past Code of Ethics, under the CONFEA/CREA System.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-07-05T12:45:44Z No. of bitstreams: 1 Daniela Sperb Moraes_.pdf: 1024413 bytes, checksum: 25c5583050cefd4d67d916e00bb4a38d (MD5) / Made available in DSpace on 2016-07-05T12:45:44Z (GMT). No. of bitstreams: 1 Daniela Sperb Moraes_.pdf: 1024413 bytes, checksum: 25c5583050cefd4d67d916e00bb4a38d (MD5) Previous issue date: 2016-03-22 / Nenhuma / O processo projetual pode ocorrer em meio a negociações, conversações, trocas de valores e conflitos entre cliente e designer. Nessas negociações, o designer busca compreender e atender as expectativas dos atores envolvidos na rede em que o projeto se desenvolve, objetivando a aceitação de suas proposições. Dentre tais atores, entende-se que o cliente desempenha um papel fundamental no processo projetual, pois sem a aprovação do cliente, o artefato é impedido de desempenhar seus papéis na sociedade. Identificada tal importância, o objetivo desse estudo é compreender a perspectiva do cliente sobre o processo de validação no design, no segmento moveleiro. O termo validar, que tem o significado associado a “demonstrar a existência ou verdade de algo por evidências” (MERRIAM-WEBSTER, 2014a, tradução nossa), é utilizado em diferentes contextos no campo do Design. No presente estudo, o emprego do termo parte da ideia de Krippendorff (2006), que explica que como o projeto não é um futuro observável, como ocorre em outras áreas, o designer precisa argumentar e convencer os atores envolvidos sobre o potencial de suas ideias para, então, fazer com que estes validem suas proposições. Para atingir o objetivo almejado no estudo, foi realizada uma pesquisa exploratória, na qual a coleta de dados ocorreu por meio de entrevistas em profundidade com clientes. Foram considerados “clientes”, as pessoas responsáveis por fazerem a aprovação das proposições de design em empresas do setor moveleiro, localizadas na Serra Gaúcha e que, normalmente, contratam escritórios externos para o desenvolvimento de seus artefatos. Os resultados das entrevistas foram tratados por meio da Análise de Conteúdo e mostram alguns aspectos presentes no processo de validação: 1) grupos heterogêneos, compostos por participantes de diferentes áreas das organizações, são formados para as avaliações das novas proposições de design; 2) a validação não ocorre em um momento específico, mas ao longo de todo o processo projetual e em diferentes etapas; 3) alguns aspectos da relação entre o cliente e o designer, bem como os motivos pelos quais o designer é contratado podem influenciar consideravelmente na validação do projeto; 4) a validação de uma proposição independe da linearidade do processo projetual do designer; 5) o processo de validação ocorre por meio de uma espécie de coalescência, ou seja, pela combinação de seus componentes. A pesquisa alcançou, portanto, uma aproximação dos motivos que fazem o cliente validar uma proposição, ampliando o tema da validação no design e contribuindo para os campos teórico e prático dessa disciplina. / The design process can take place between negotiations, conversations, exchanges of values and conflicts between client and designer. In these negotiations, the designer seeks to understand and meet the expectations of the actors involved in the network where the project is developed, aiming the acceptance of his proposals. Among these actors, it is understood that the client plays a key role in the acceptance the design process, because without the client approval, the artifact is unable to perform their roles in society. Identified such importance, the aim of this study is to understand the client perspective on the validation process in design. The term validate, that has meaning associated with "demonstrate the existence or truth of something by evidence" (MERRIAM-WEBSTER, 2014a), is used in different contexts in the field of Design. In this study, the use of the term comes from the idea of Krippendorff (2006), who explains that as the project is not an observable future, as in other areas, the designer needs to argue and convince stakeholders about the potential of his ideas to make them validate their proposals. To achieve the intended objective in the study, an exploratory survey was conducted, in which the data was collected through in-depth interviews with clients. Were considered "clients", the people responsible for making the approval of the design proposals in the furniture sector companies, located in Serra Gaucha region, and that normally hire outside firms to develop their artifacts. The results of the interviews were processed through Content Analysis and show some aspects present in the validation process: 1) heterogeneous groups composed of participants from different areas of organizations are formed for evaluation of new design proposals; 2) the validation does not occur at a specific time, but along the entire design process at different stages; 3) some aspects of the relationship between the client and the designer, as well as the reasons why the designer is hired can influence considerably in the project validation; 4) validation of a proposition is independent of the linearity of the design process of the designer; 5) The validation process occurs through a kind of coalescence, or by the combination of its components. The survey reached therefore an approximation of the reasons that make the client validate a proposition, expanding the theme validation in design and contributing to the theoretical and practical fields of this discipline.

Le jeu casual est un phénomène majeur de l’industrie vidéoludique, pourtant il reste peu étudié et mal considéré. Les quelques définitions scientifiques recensées présentent des divergences importantes, ainsi qu’un décalage par rapport aux jeux produits. Les modèles théoriques en design de jeu, centrés sur le gameplay, semblent inadéquats face à ce phénomène. En utilisant le modèle du praticien réflexif de Donald Schön, l’objectif de notre recherche est d’apporter un nouvel éclairage sur le jeu casual grâce au savoir professionnel des designers de jeux. Notre approche est qualitative, d’inspiration phénoménologique : nous avons recueilli l’expérience de huit designers de jeux par l’intermédiaire d’entretiens semi-dirigés proches du récit de pratique. Nos résultats montrent que les concepts utilisés dans les modèles vidéoludiques traditionnels restent pertinents pour définir le jeu casual, mais demandent à être retravaillés afin de rendre compte des mutations de l’expérience de jeu. Ainsi, un challenge dans un jeu casual n’est pas un obstacle mais une opportunité d’action pour le joueur. De plus, la progression se fait par la variation des challenges plutôt que par l’augmentation de la difficulté. Ensuite, certains concepts qui semblaient pertinents pour définir les jeux casual, tels que la fiction positive, ont été rejetés par nos participants. Enfin, notre étude a permis de rassembler des informations sur le rôle du designer de jeu casual et le contexte dans lequel il exerce, ce qui permet d’expliquer certaines causes de la vision péjorative du jeu casual. / Casual games are one of the main phenomena in the video game industry, but remain under-explored and are not highly regarded. Scientific definitions are scarce, inconsistent, and often disconnected from actual games. Further, theoretical models for game design, centered on gameplay, often fall short in defining casual games. The objective of this study is to use Donald Schön's model of the reflective practitioner to shed a new light on casual games through the collection of professional knowledge of game designers. This study follows a qualitative approach with phenomenological inspiration. Eight one-on-one semi-structured interviews were conducted with casual game designers who were asked to provide a narrative of their professional practice. Results show that traditional game design concepts remain relevant for understanding and defining casual games, but need to be reworked in the light of new experiences and contexts in gaming. Namely, challenge is no longer synonymous with obstacle, but should be considered as an opportunity of a player’s action. Progression should be based on the variation of challenges instead of increasing difficulty. In addition, participants rejected some concepts that were previously considered appropriate for defining casual games, like positive fiction. Finally, this study provides insight into the role of casual game designers and the context of their work, which can help explain the often negative perception of casual games.

Cette recherche porte sur des questions relatives à la conception des interfaces humain-ordinateur. Elle s’inscrit dans le courant des recherches sur l’utilisabilité et elle s’intéresse particulièrement aux approches centrées sur l’utilisateur. Nous avons été très souvent témoin des difficultés éprouvées par les utilisateurs dans l’usage de certaines interfaces interactives et nous considérons que ces difficultés découlent d’un problème de design. Le design d’interface doit être basé sur les besoins de l’utilisateur dans le cadre de ses activités, dont les caractéristiques devaient être bien comprises et bien prises en considération pour mener à la conception d’interfaces qui respectent les critères d’utilisabilité. De plus, la communauté des chercheurs ainsi que l’industrie admettent maintenant que pour améliorer le design, il est crucial de développer les interfaces humain-ordinateur au sein d’une équipe multidisciplinaire. Malgré les avancées significatives dans le domaine du design centrées sur l’utilisateur, les visées annoncées sont rarement réalisées. La problématique étudiée nous a conduit à poser la question suivante : En tant que designer d’une équipe multidisciplinaire de conception, comment modifier la dynamique de collaboration et créer les conditions d’une conception véritablement centrée sur l’interaction humain-ordinateur ? Notre démarche de recherche a été guidée par l’hypothèse voulant que l’activité de design puisse être le moyen de faciliter la création d’un langage commun, des échanges constructifs entre les disciplines, et une réflexion commune centrée sur l’utilisateur. La formulation de cette hypothèse nous a mené à réfléchir sur le rôle du designer. Pour mener cette recherche, nous avons adopté une méthodologie mixte. Dans un premier temps, nous avons utilisé une approche de recherche par projet (recherche-projet) et notre fonction était celle de designer-chercheur. La recherche-projet est particulièrement appropriée pour les recherches en design. Elle privilégie les méthodes qualitatives et interprétatives ; elle étudie la situation dans sa complexité et de façon engagée. Nous avons effectué trois études de cas successives. L’objectif de la première étude était d’observer notre propre rôle et nos interactions avec les autres membres de l’équipe de projet pendant le processus de design. Dans la seconde étude, notre attention a été portée sur les interactions et la collaboration de l’équipe. Nous avons utilisé le processus de design comme méthode pour la construction d’un langage commun entre les intervenants, pour enrichir les réflexions et pour favoriser leur collaboration menant à redéfinir les objectifs du projet. Les limites de ces deux cas nous ont conduit à une intervention différente que nous avons mise en œuvre dans la troisième étude de cas. Cette intervention est constituée par la mise en place d’un atelier intensif de conception où les intervenants au projet se sont engagés à développer une attitude interdisciplinaire permettant la copratique réflexive pour atteindre les objectifs d’un projet de construction d’un site web complexe centré sur l’utilisateur. L’analyse et l’interprétation des données collectées de ces trois études de cas nous ont conduit à créer un modèle théorique de conception d’interface humain-ordinateur. Ce modèle qui informe et structure le processus de design impliquant une équipe multidisciplinaire a pour objectif d’améliorer l’approche centrée sur l’utilisateur. Dans le cadre de ce modèle, le designer endosse le rôle de médiateur en assurant l’efficacité de la collaboration de l’équipe. Dans un deuxième temps, afin de valider le modèle et éventuellement le perfectionner, nous avons utilisé une approche ethnographique comportant des entrevues avec trois experts dans le domaine. Les données des entrevues confirment la validité du modèle ainsi que son potentiel de transférabilité à d’autres contextes. L’application de ce modèle de conception permet d’obtenir des résultats plus performants, plus durables, et dans un délai plus court. / In complex design projects, problems typically arise when the design process is undertaken by multi-disciplinary groups of experts as well as non-experts because they do not share a common vision about the user’s needs, do not have identical goals related to the task, and do not have a common language to have productive dialogues as the design process progresses. This research addressed issues related to the human-centered design approach within the context of human-computer interfaces (HCI). It explored ways in which a designer can create conditions whereby various contributors involved in the design process can benefit from the potential that the multi-disciplinary context afford to enrich their personal knowledge and reflection and at the same time work efficiently and collaboratively to design an interface that is user centered. The research used a mixed methodology. In the first instance, a project-grounded research (research through design) was used in three successive case studies with increasing degrees of intervention and control by the researcher. Project-grounded research involves the development of knowledge and theory related to the design activity in an authentic design project. The focus of the first case was for the designer/researcher to observe her role and interaction with others during the design process. In the second case, the focus shifted to the collaborative interactions. The design process was used as a method to foster consensus building and the adoption of a common language to communicate and mutual goals to aim for. Limitations identified in these two cases led to the design of an intervention that was implemented in the third case. This intervention comprised an intensive workshop whereby team members engaged in an interdisciplinary attitude building exercise leading to joint-reflective practice toward achieving the goal which was to create a website. Data generated from these three cases informed the development of a theoretical model that represents steps of “optimal” collaborative design process, focusing on user-centeredness. In this model, the designer is attributed the additional and central role of mediator (designer as mediator) that facilitates the convergence of disparate foci and ways of thinking. In the second instance, the model was presented to three design experts individually for validation purposes. Interview data collected from this process affirmed the validity of the concepts and relations depicted in the model as well as its transferability potential to other complex contexts. The proposed model has the promise of structuring design activities to unfold in a more efficient and timely manner while being sustainable.

The coastal fox or Sechura’s fox, whose scientific name is Lycalopex sechurae, is distributed among the areas of Ecuador’s northwest and the central coast of Peru. There is still little information about the biology of coastal fox and its role in ecosystems that are part of its habitat. Today the coastal fox habitat is under a state of fragmentation by human intervention. In this research, synthesized information about biological, ecological and geographical distribution of coastal fox is presented; with the status of threat and persecution, so conservation strategies are required, and this research focused on propose ecological corridors. The Corridor Designer, an extension of ArcGIS tools, could standardize the resolution of natural, anthropogenic, trophic and protective variables, and with those variables an habitat suitability between the ACP Chaparrí and the ACR Huacrupe La Calera was obtained, which are connected from the design of two different ecological corridors, concluding that both are functional, although the first result of corridor would become more efficient and potential to put into the practice and reality. / El zorro costeño o zorro de Sechura, cuyo nombre científico es Lycalopex sechurae, se distribuye entre las zonas del noroeste de Ecuador y la costa central del Perú. Aún existe poca información sobre la biología del zorro costeño y su papel dentro de los ecosistemas que forman parte de su hábitat. En la actualidad el hábitat del zorro costeño está bajo una situación de fragmentación por la intervención antrópica. En esta investigación se presenta la información sintetizada de las características biológicas, ecológicas y distribución geográfica del zorro costeño, dentro de la cual se conoció su estado de amenaza y persecución, por lo cual se requieren estrategias de conservación, siendo el enfoque central la propuesta de corredores ecológicos. A partir de la herramienta Corridor Designer, una extensión de ArcGIS, se pudo uniformizar la resolución de las variables naturales, antrópicas, tróficas y de protección, con las cuales se obtuvo una aptitud de hábitat entre el ACP Chaparrí y el ACR Huacrupe La Calera, las que se conectaron a partir del diseño de dos diferentes corredores ecológicos, llegando a la conclusión de que ambos son funcionales, aunque el primer resultado de corredor vendría a ser más eficiente y potencial para llevarlo a la práctica y a la realidad.

Com o estabelecimento do Conselho de Arquitetura e Urbanismo do Brasil (CAU/BR), no final de 2011, a categoria profissional dos Arquitetos e Urbanistas conquistou a formação de seu órgão regulador, voltado somente a esse profissional. Diante de tal fato, a necessidade de formulação e implantação de um novo Código de Ética e Disciplina para a profissão, junto com seus procedimentos disciplinares tornou-se evidente. Com isso, a tese buscou, primeiramente, acompanhar e registrar o processo de elaboração do Código, ressaltando a metodologia utilizada e destacando as principais discussões que envolveram a consolidação do texto final do primeiro Código de Ética e Disciplina voltado somente aos profissionais de arquitetura e urbanismo no Brasil. Tal investigação não só possibilitou o levantamento das principais discussões voltadas à estrutura do texto do Código, como também, as discussões que envolveram os conflitos predominantes que ocorriam na prática profissional do arquiteto e urbanista naquele momento. Em seguida a tese se concentrou na demonstração do levantamento e classificação das decisões publicadas pelos CAU/UF da Região Sudeste referente às sanções aplicadas às infrações ocorridas às regras do Código a partir de sua implementação no início de 2014 até o final de 2017, procurando destacar quais infrações se apresentarem recorrentes. Ainda, com a intenção de fornecer uma descrição do processo histórico do desenvolvimento da profissão do arquiteto e urbanista no Brasil, enfocado na evolução de seu comportamento profissional baseado nos códigos de conduta estabelecidos pelos órgãos reguladores, seguiu-se a elaboração de um estudo comparativo dos resultados alcançados no decorrer das investigações colocadas acima, com os resultados obtidos em pesquisa anterior, no período em que a classe profissional se encontrava sob vigência do então Código de Ética do Sistema CONFEA/CREA. / With the establishment of the Architecture and Urban Design Council of Brazil (CAU/BR), by the end of 2011, the professional category of architects and urban designers attained the formation of its regulatory entity, exclusively dedicated to its professionals. Therefore, the need to formulate and implement a new Code of Ethics and Discipline for the profession, along with its disciplinary procedures became evident. With that in mind, the thesis aimed, in the first place, to follow and record the elaboration process of the Code, explaining its methodology and highlighting the main discussions that took place to achieve the consolidation of its final draft, with the first Code of Ethics dedicated solely to the field of Architecture and Urban Design in Brazil. The research made possible the survey of the main topics regarding the Code contents structure, and also, discussions that encompassed the predominant conflicts that occurred within the professional practice of Architecture and Urban Design at that time. Subsequently, the thesis focuses on the demonstration of the survey and classification of the decisions published by CAU/UF1, from the southeast region, concerning the applied sanctions regarding infractions committed against the Code after its implementation in the beginning of 2014, until the end of 2017, seeking to highlight the more recurrent ones. With the intention to provide a description of the historical process of the development of the profession of Architect and Urban Designer in Brazil, focused on the evolution of its professional behavior, based on the Conduct Codes established by the regulatory entities, the next step was the elaboration of a comparative study of the obtained results during the investigations mentioned above, containing the data of a previous research, conducted in a period in which the professional category was still under the regulation of the past Code of Ethics, under the CONFEA/CREA System.

Submitted by Nadir Basilio (nadirsb@uninove.br) on 2016-06-09T16:17:10Z No. of bitstreams: 1 Claudia Dos Santos Almeida.pdf: 2765145 bytes, checksum: a2641b15839aab704f6874430ee3e10a (MD5) / Made available in DSpace on 2016-06-09T16:17:10Z (GMT). No. of bitstreams: 1 Claudia Dos Santos Almeida.pdf: 2765145 bytes, checksum: a2641b15839aab704f6874430ee3e10a (MD5) Previous issue date: 2016-03-29 / The research aims at digital photography in the educational design of the Pedagogy Course at the University Center. From educational design perspective, our goal is to identify the potential of this means of visual communication in order to discuss the environmental routine of Tiete River, in the state of São Paulo, which is highly polluted and contaminated nowadays. The objective is to recognize the problems, needs and expectations regarding the use of the photography applied in the design of the Communication and Language discipline mentioned above at the Pedagogy course. The collected data will provide basis and consolidate the intervention project, with one Public State Elementary School/Secondary Education, Youth and Adult Education - Supplementary, located in the East Zone of São Paulo city. The possibility is that the dynamic digital photography has dialogic potential. However, it is rarely used to discuss daily situations in distance learning. The theoretical framework of the educational field which supports the study derives from Paulo Freire's work (2014, 2014th, 2011, 2011a, 2010) and his followers: Gadotti Moacir (2010) and Paulo Padilha (2002). Similarly, the theoretical framework of the field of communication is provided by Pierre Lévy (2004, 2011, 2011a, 2014) and researchers who gave it continuity: Andrea Filatro (2008); Francisca Severino (2001); João Mattar (2014) and Margarita Gomez (2004). The methodological procedures of a qualitative approach are the documentary analysis, conversation circle and content analysis, based on Eloiza Szymanski (2004). The research results contributed to the use of digital photography as an educational tool in the educational design, thus being able, under certain conditions, to have their use in the Pedagogy course of distance learning. . The research was developed at Basic School research group , Management and Intervention, under the coordination of Professor Dr. Eleodora Francisca Santos Severino, at the Post - Graduate Program in Management and Educational Practices at UNINOVE which was recommended by CNPQ / A pesquisa tem por objeto a fotografia digital no design educacional do curso de Pedagogia de um Centro Universitário. Na perspectiva do design educacional, o objetivo é identificar o potencial deste meio de comunicação visual ao problematizar o cotidiano ambiental do Rio Tietê, no Estado de São Paulo, hoje altamente poluído e contaminado. Busca-se reconhecer as dificuldades, necessidades e expectativas quanto ao uso da fotografia utilizada no design da disciplina Comunicação e Linguagem no curso de Pedagogia. Os dados obtidos servirão de base para consolidar o projeto de intervenção em Escola Pública Estadual de Ensino Fundamental/Ensino Médio, Educação de Jovens e Adultos – Supletivo, localizada na zona leste da cidade de São Paulo. A hipótese é que a fotografia dinâmica digital tem potencial dialógico, porém pouco utilizada para problematizar situações do cotidiano no ensino a distância. O referencial teórico do campo pedagógico que sustenta a pesquisa deriva da obra de Paulo Freire (2014, 2014a, 2011, 2011a, 2010) e seus continuadores Moacir Gadotti (2010) e Paulo Padilha (2002). De igual modo, o referencial teórico do campo da comunicação é fornecido por Pierre Lévy (2004, 2011, 2011a, 2014) e pesquisadores que lhe deram continuidade: Andrea Filatro (2008); Francisca Severino (2001); João Mattar (2014) e Margarita Gomez (2004). Os procedimentos metodológicos de enfoque qualitativo são a análise documental, a roda de conversa e a análise do conteúdo, com base em Eloiza Szymanski (2004). Os resultados da pesquisa contribuíram para o uso da fotografia digital como instrumento didático no design educacional, podendo, em determinadas condições, ser aplicada nos cursos de Pedagogia a distância. A pesquisa desenvolveu-se no âmbito do grupo de pesquisa Escola Básica, Gestão e Intervenção, sob a coordenação da professora Dra. Francisca Eleodora Santos Severino, no Programa de Pós-Graduação em Gestão e Práticas Educacionais da UNINOVE, recomendado pelo CNPQ. / El propósito de este estudio es la fotografía digital en lo diseño instruccional del Centro Universitario en una facultad de pedagogía. Desde la perspectiva del diseño educativo, nuestro objetivo es identificar el potencial de este medio de comunicación visual para discutir el día a día del Rio Tietê, en Estado de São Paulo, Brasil, hoy altamente contaminado. Buscase reconocer las dificultades, necesidades y expectativas con respecto a la utilización de la fotografía en el diseño educacional de la disciplina Comunicación y Lenguaje, en la facultad de pedagogía. Los datos obtenidos servirán como una base para sustentar y consolidar el proyecto de intervención en una escuela pública primaria, de educación secundaria y educación de jóvenes y adultos, situada en la región este de la ciudad de São Paulo. La hipótesis es que la fotografía digital dinámica tiene potencial del diálogo, pero rara vez se utiliza para analizar las situaciones diarias en el aprendizaje a distancia. El marco teórico del campo educacional que el estudio se deriva viene de la obra de Paulo Freire (2014, 2014a, 2011, 2011a, 2010) y sus seguidores Moacir Gadotti (2010) y Paulo Padilha (2002). De mismo modo, el marco teórico del campo de la comunicación es fornecido por Pierre Lévy (2004, 2011, 2011a, 2014) y algunos investigadores que le dieron continuidad, como Andrea Filatro (2008), Francisca Severino (2001), João Mattar (2014) y Margarita Gomez (2004). Los procedimientos metodológicos de enfoque cualitativo son el análisis documental, lo grupo de conversación y el análisis del contenido, basado en Eloiza Szymanski (2004). Los resultados de la investigación ayudaron a conocer la fotografía digital como herramienta de la didáctica en el diseño educativo. Pueden, bajo ciertas condiciones, ter su uso en clases de enseñanza a distancia. El estudio ocurrió en el grupo de la Escuela Básica, Gestión y Intervención, coordenado por la profesora Francisca Eleodora Santos Severino, en el Programa de Pos-Graduación en Gestión y Practicas de la Educación de la Universidad Nove de Julho, Uninove, recomendado por la institución CNPQ.

The following diploma thesis deals with the management of asynchronous motor revolutions by a frequency converter MICROMASTER 440 via the programmable controller S7-200. At the beginning, I researched the company documentation of Siemens, which is the producer of the frequency converter and the programmable controller mentioned above. As my work proceeded, I also started to study the company documentation of Mitsubishi Electric, which produces the operating pannel. The first part of my thesis provides a general description of the stated devices and the second part deals with the solution of the task itself. My task was to design a way of communication between the converter and the controller. I chose a USS protocol via serial port RS-485. The operation of the controller was performed by using an operating terminal type GOT1000 which was connected to the controller. In summary, my diploma thesis primarily deals with the construction of an operating programme for the controller and with creating of a graphical control on the terminal. In the end, I evaluated the knowledge gained during the work on this subject and suggested further procedures.

Neuartige funktionsbedingte Bauteilgeometrien in geringen Stückzahlen lassen sich mit verschiedenen Methoden der additiv, generativen Fertigung, populärwissenschaftlich 3D- Druck genannt, effizient herstellen. Für den Konstrukteur solcher Bauteile bedeutet dies ebenfalls neuartige Methoden als bisher anzuwenden. Bauteilgeometrien, die hinsichtlich einer Zielgröße optimiert sind, können mit der Topologieoptimierung auf Basis eines FE- Modells rechnerisch ermittelt werden. Während die Topologieoptimierung schon seit längerem bekannt und etabliert ist, war die durchgängige Nutzung einer gemeinsamen Datenbasis häufig durch Hindernisse geprägt. Im vorliegenden Artikel werden die heutigen Möglichkeiten anhand des FE-Systems ANSYS aufgezeigt und hinsichtlich des effizienten praktischen Einsatzes bewertet. / Innovative function-related component geometries in small quantities can be produced efficiently with different methods of additive, generative manufacturing, in a popular science known as 3D printing. For the designer of such components it also means to use other methods as usual. Component geometries optimized regarding to a target size can be calculated using topology optimization based on a FE model. While topology optimization has been known and established for a long time, the consistent use of a common database was often characterized by obstacles. In this article today's possibilities are shown with the FE system ANSYS and evaluated with regard of the efficient practical use.