This thesis is based on design theory about how to build an application for the mobile platform, a scientific analysis and an application for grocery shopping and meal planning. The thesis also contains a valuation of the research and of the application. The valuation of the application was done by a usability test and an analysis of the results of the test. The application of the thesis has an easy navigation system, which is time saving and simple to use. Finding recipes with the associated ingredients is a quick fix. The search function can be used for searching freely after recipes as well as for separate ingredients. That makes it possible for the user to create own recipes from available ingredients. One can also compose a recipe from scratch and add to the recipe bank. It´s also possible to see which ingredients that is needed for a certain recipe. The application is direct and easy to use and because of that it can be used outside the home in environments where there are a lot of distractions, for example in the food store, where all the ingredients is purchased and checked off from the list. The application is competent. The user can save recipes and create own recipes without having to login. From the added information the app is able to suggest menus, at the same time it enables for the user to compose his or her own menus with lunch and dinner. Gradually a big and varying recipe bank is built which is formed after the family´s specific priorities of good, easy to cook, healthy food and it also sends a warning if a recipe contains food that someone in the family is allergic to. Each and every recipe can also be illustrated with drawings which could improve the overview. The application can be synced with a web site where more information can be extracted. / Den här uppsatsen består av en designteori för hur en applikation för den mobila plattformen ska byggas, samt en vetenskaplig analys och en färdig applikation som ska användas vid inköp av mat och planering av måltider. Uppsatsen innehåller också en utvärdering av forskningen och av applikationen. Utvärderingen av applikationen utfördes genom en användarbarhetstestning och en analys av testningens resultat. Uppsatsens applikation en har smidig navigering, som är tidseffektiv och enkel att använda. Det går snabbt att ta fram recept och vilka ingredienser som krävs för receptet. Det är möjligt att söka fritt både på recept och enskilda ingredienser. Det innebär att användaren kan forma egna recept utifrån tillgängliga ingredienser. Man kan även komponera egna recept och lägga in i receptbanken. Det är också möjligt att se vilka ingredienser som behövs för att ett visst recept ska kunna tillagas. Applikationen är tydlig och lättanvänd och fungerar därför i miljöer med många distraherande inslag utanför hemmet, exempelvis direkt i butiken, där alla ingredienser kan köpas in och bockas av från en lista. Applikationen är kompetent. Användaren kan spara recept och lägga till egna recept utan att behöva logga in. Med utgångspunkt från inlagd information kan applikationen föreslå menyer, samtidigt som den möjliggör komposition av egna menyer för lunch och middag.  Efter hand byggs det upp en stor och varierande receptbank som formas efter familjens egna prioriteringar av god, lättlagad, nyttig mat och även varnar för exempelvis mat som kan framkalla allergireaktioner om allergi förekommer i familjen. Vart och en av recepten kan också illustreras med tecknade bilder vilket skulle kunna förbättrar överblicken. Applikationen kan samsynkas med en hemsida där mer utförlig information kan hämtas.

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Des premières fascinations des graphistes pour les notions de systèmes, en passant par l’introduction des approches liées au « corporate design » et à la « corporate identity », le renforcement progressif du « marketing », puis le basculement vers le « branding » et la mise en valeur artificielle des marques, la recherche rend compte de l’évolution des représentations d’institutions, d’événements et de collectivités publics, entre les années 1970 et 2010. Cette chronologie des approches dominantes est analysée en écho à celle d’une série d’expérimentations personnelles liées à une approche qui se veut plus civique du design et qui permet de penser de réelles méthodes alternatives. En analysant les relations entre identification et identité, est proposé un déplacement du focus des questions de visibilité et de mise en valeur des marques vers des approches qui, à l’aide de langages visuels partagés, placent en leur centre : - l’intelligibilité des structures complexes, - la représentation des pluriels, des évolutions et des relations, - l’intégration au contexte, - la coordination des expressions multiples. / Research documenting the evolution of visual representations of institutions, events and public bodies between 1970 and 2010, from designers’intitial fascination with the concept of « corporate design » and « corporate identity » systems, the progressive reinforcement of « marketing », then the switch to « branding » and the artificial values attached to brands is chronologically analysed through a series of personal experiments related to an intentionally more civic design minded approach that permits the creation of real alternative methods. Analysing the relationship between identification and identity sees a proposed shift in focus concerning brand visibility and enhancement towards approaches that, with the help of shared visual languages, places at the centre – the intelligibility of complex structures – the representation of plurality, trends and relationships, - the integration of context – the coordination of multiple expressions.

Klimatförändring är något som sker naturligt på vår planet. Vad man dock har upptäckt under de senaste 100 åren, är att vi människor har påskyndat denna process och därmed satt planetens naturliga cykel ur balans. Forskare förutspår drastiska förändringar i framtiden. Torka och begränsad åtkomst till dricksvatten. Höjning av havsnivån. Extremaväder. M.m. Ändå händer det inte så mycket som man tycker att det borde göra. En förändring måste ske. Så vad kan jag, som grafisk designer, göra för världen? Ett av de stora problemen inom detta ämne är attdetta är något man inte vill tala om i samhället. Det är ett tungt ämne och det är förståeligt att mangärna vänder ryggen till. Därför har jag anpassatmitt projekt till att tackla detta dilemma genom attutnyttja ett medium som har möjlighet att fångauppnärksamhet på ett öppensinnat sätt. Genom rolig aktivitet och lättsam stämning hoppas jag att fler ska vara öppna till förändring. För att uppnå detta har grafisk formgivning använts för att gestala projektets identitet med stöd från färgteori och beteendevetenskap. Även teorierna om nudging och learning by doing har spelat en rolli arbetet som mynnat ut i ett  brädspel med fokus på användarupplevelsen. / Climate change is something that happens naturally on our planet. What has been discovered over the last 100 years, however, is that us humans have accelerated this process and put the planet’s natural cycle out of balance. Researchers predict drastic changes in the future. Drought and limited access to drinking water. Increasing sea level. Extreme weather. Etc. Despite this not as much happens as you think it should. A change must happen. So what can I, as a graphic designer, do for the world? One of the big problems about this topic, is that this is something people avoid talking about in society. It’s a heavy subject and it’s understandable that people would rather turn their back on it. Therefore, I have adapted my project to tackle this dilemma by using a medium that has the opportunity to capture attention in an open minded way. Through fun activity and light-hearted atmosphere, I hope that more people will be open to change. To achieve this, graphic design has been used to shape the project’s identity with the support of color theory and behavioral science. The theories of nudging and learning by doing have also played a role in the work, which resulted in a board game with a focus on user experience.

[pt] As redes sociais digitais apresentam novas possibilidades de ação dentro do campo do design gráfico. Uma delas é incentivar novas formas de participação cidadã em interesses civis e sociais através das ORGANIZACOES DA SOCIEDADE CIVIL (OSC) no México. O espaço digital,transformou a forma de comunicação em um locus democrático que demanda conceitualizações sintetizadas nos processos de comunicação visual e que, pelas características das redes sociais digitais, permite a hiperconetividade, junto sobre-informação da mídia. As informações competem umas com as outras pela atenção dos usuários graças a rapidez e a indexação dos motores de busca. No caso do facebook, a carga visual impera, devendo provocar ao cidadão com a finalidade de que pare seu tour na rede e enxergue, leia para se sensibilizar, se conscientizar, e, sobre tudo, para ser participante através da interação, primeiro no espaço on-line, com o potencial de participar no espaço off-line, a fim de gerar ações coletivas para a mudança. Sob esta premissa, a presente pesquisa parte de um estudo exploratório de corte qualitativo. Para a exploração foi escolhido /selecionaram as OSC s focadas no tema da segurança publica, particularmente o facebook como rede social digital, e o design gráfico que pressupõe uma ação transformadora na sociedade para um bem comum. Cada um dos atores interpretam um papel, as OSC s geram os conteúdos, o facebook éa mídia e o design gráfico concretiza para comunicar o cidadão. A tese apresenta um olhar de acrônimoque inicia com uma aproximação teórica das OSC s no México, para dar seguimento para a sua conformação histórica entrelaçada com a contribuição do design gráfico, desde o seu material original, permitindo evidenciar o seu papel, valor de identidade cultural neste espaço no país. Assim mesmo, uma revisão teórica é apresentada sobre as diferentes questões do design gráfico no âmbito social. A partir do marco teórico, uma pesquisa é realizada com um olhar sincrônico, ou melhor, uma fotografia do momento, baseada em entrevistas com uma seleção de organizações da sociedade civil (dedicadas ao tema da segurança publica) e recopilações de imagens publicadas nos perfis do facebook de ditas organizações, durante o período de 2015 - 2016, com o objetivo de realizar um estudo e organizar certas categorias de analise gráficabaseadas nas características da mídia e referenciadas com o mar co teórico. Isto para detectar uma seria de aproximações que contribuem para novas praticas e contextos do design social. Da mesma maneira é questionado se a conexão imagem-cidadã permite criar uma seria de reações para promover a participação cidadã. Nesse trabalho um exercício de observação éapresentado a categorização e analise a fim de estabelecer o potencial do vinculo entre do design gráfico e as OSC s no espaço digital do facebook. / [en] The digital social networks present new possibilities of action in the field of graphic design to foment new forms in the citizen participation in civic and social interests through the Organizations of the Civil Society (OSC) in Mexico. The digital space transformed the form of communication into a democratic space that demands synthesized conceptualizations of graphic design in the processes of visual communication, and which, due to the characteristics of digital social networks, allows hyper connectivity, along with media over-information. The information competes with each other for the attention of users, along with the speed and indexation of search engines (which make it easy to reach users). In the case of Facebook, the visual burden prevails, this should provoke the citizen: stop, look, see, read to raise awareness, become aware, to be a participant through interaction, first in online space, with the potential to participate in the off-line space, in order to generate collective actions for change. Under this premise, the research starts from an exploratory qualitative study. For its exploration were chosen::the CSOs focused on the issue of public safety, Facebook as a social digital network, and graphic design that presupposes a transforming a common good. Each of the actors plays a role: CSOs generate content, Facebook is the medium and graphic design concretizes to communicate to the citizen. The thesis presents a diachronic view that begins with a theoretical approach of the CSOs in Mexico, to give way to their historical conformation interlaced with the contribution of graphic design: original material that allows to show its role, identity and cultural value in this space in the country. Also, a theoretical review is presented on the different issues of graphic design in the social field. From the theoretical framework, a synchronous look at the state-of-the-art based on interviews with a selection of civil society organizations (dedicated to the topic of public safety) and compilations of images published in the Facebook profiles of the organizations selected during the period 2015-2016, to carry out a study based on categories of graphic analysis based on the characteristics of the medium and referenced to the theoretical framework to evidence a series of approaches that contribute to new praxisand contexts of social design. It is also questioned whether the image-citizen connection allows creating a series of reactions to promote citizen participation. This research presents an exercise in observation, categorization and analysis in order to establish the potential of the link between graphic design and CSOs in Facebook s virtual space. / [es] Las redes sociales digitales presentan nuevas posibilidades de acción dentro del campo del diseño gráfico. Una de ellas es incentivas nuevas formas de participación ciudadana en intereses cívicos y sociales a través de las Organizaciones de la Sociedad Civil (OSC) en México. El espacio digital transformó la forma de comunicación en un locus democrático que demanda conceptualizaciones sintetizadas en los procesos de comunicación visual y que, por las características de las redes sociales digitales, permite hiperconectividad, junto con sobre-información del medio. Las informaciones compiten unas con otras por la atención de los usuarios gracias a la rapidez y la indexación de los motores de búsqueda. En el caso de Facebook, la carga visual impera, ésta debe provocar al ciudadano con el fin de que pare su recorrido en la red y mire, lea para sensibilizarse, concientizarse, y, sobre todo, para ser partícipe a través de la interacción, primero en el espacio on-line, con el potencial de participar en el espacio off-line, a fin de generar acciones colectivas para el cambio. Bajo esta premisa, la presente investigación parte de un estudio exploratorio de corte cualitativo. Para la exploración se eligió/seleccionaron las OSC s enfocadas al tema de seguridad pública, particularmente Facebook, como red social digital, y el diseño gráfico que presupone una acción transformadora en la sociedad para un bien común. Cada uno de los actores juega un rol; las OSC s generan los contenidos, Facebook es el medio y el diseño gráfico concretiza para comunicar al ciudadano. La tesis presenta una mirada diacrónica que inicia con una aproximación teórica de las OSC s en México, para dar paso a su conformación histórica entrelazada con la contribución del diseño gráfico, desde sus material original, que permiten evidenciar su rol, valor de identidad y cultural en este espacio en el país. Asimismo, se presenta una revisión teórica sobre las diferentes cuestiones del diseño gráfico en el ámbito social. A partir del marco teórico, se realiza una investigación con una mirada sincrónica, es decir, una fotografía del momento, basada en entrevistas con una selección de organizaciones de la sociedad civil (dedicadas al tema de seguridad pública) y recopilaciones de imágenes publicadas en los perfiles de Facebook, de dichas organizaciones, durante el periodo de 2015-2016, con el objetivo de realizar un estudio a partir de categorías de análisis gráfico basadas en las características del medio y referenciadas con el marco teórico Esto, para detectar una serie de aproximaciones que contribuyen a nuevas praxis y contextos del diseño social. De igual modo se cuestiona si la conexión imagen-ciudadano permite crear una serie de reacciones para promover la participación ciudadana. En este trabajo se presenta un ejercicio de observación, categorización y análisis a fin de establecer el potencial del vínculo entre el diseño gráfico y las OSC s en el espacio digital de Facebook.

<p>The construction industry contributes significantly to the GDP of the United States, attributing to its growth at an unprecedented rate. Efficient planning on all stages of construction is the only way to combat dynamic obstructions and deliver projects on time. The first element involved in the planning phase deals with the layout of the Construction Site. It significantly regulates the pace at which construction operations function and directly affects the time, cost, and safety linked to the successful delivery of the target project. Hence, it is paramount to ensure that every component of the construction site maneuvers with the utmost productivity. One such equipment that occupies significant attention while carrying out the CSLP process is Tower Crane. Tower crane optimization is pivotal to ensure proper lifting and handling of materials, and warrant conflict-free work zones. This research, therefore, aims to optimize its position by maximizing the lift ability. To achieve the goals, Generative Design- a paradigm that integrates the constructive features of mathematical and visual optimization techniques, is used to develop a relatively comprehensible prototype. The first part of the research, thus, utilized Generative Design on two construction sites- one from the United States and one from India. After implementing the visual programming algorithm, an improvement of 40% was warranted in the lift score. A pool of potential alternatives was explored and supplemented by the trade-off illustrations. The concept of trade-off was substantiated by allowing a framework for prioritization of lift cycles, and facilitating a holistic decision-making process. To evaluate the usability, 12 participants were chosen based on their previous experience with tower crane operations. The participants witnessed a live demonstration of the algorithm, answered a Likert scale questionnaire, and appeared for an open-ended interview to provide feedback about the proposed Generative Design technique. After carrying out narrative analysis for the usability aspect- it has been unanimously observed that the technique has extreme efficiency of usage and can evidently prevent the occurrence of errors. The study concludes by providing recommendations to augment the significance and usability of Generative Design for tower crane position optimization. </p><br>

Aujourd’hui et à l’avenir, nous devrons interagir de plus en plus avec des représentations visuelles nous invitant à poser des gestes d’achat qui contribuent, par exemple, à la lutte contre les changements climatiques. Ainsi une autodéclaration, un écolabel ou une étiquette environnementale multicritères pourront nous inciter (ou non) à recycler un produit, à le choisir ou encore à le comparer avec d’autres produits en fonction de l’information que cette représentation et les signes qui la composent lui feront dire. Ce scénario repose sur l’idée selon laquelle la typographie, les formes, les couleurs et la configuration de cet affichage environnemental possèdent de multiples formes d’agentivité, soit la capacité d'agir, autrement dit, de faire une différence (Castor & Cooren, 2006), une capacité qu’il s’agit donc d’anticiper. La conception de ces représentations visuelles, en apparence inanimées, mais qui néanmoins sont censées faire agir le public auquel elles s’adressent, s’inscrit dans ma pratique professionnelle : le design graphique. En raison de l’information plus ou moins complexe qui doit être véhiculée, ces signes — des icônes, indices et symboles (selon la classification de Peirce) — devront être choisis et conçus par une équipe multidisciplinaire d’experts en anticipant les multiples formes d’agentivité qu’ils pourraient posséder une fois configurés. Or, bien que le processus de conception des représentations visuelles ait été abondamment étudié (Self & Goldschmidt, 2018), nous en savons encore peu sur la manière dont sont anticipées les différentes formes d’agentivité que ces représentations pourront/devront posséder en aval, au terme de la trajectoire. Les études en design suggèrent qu’une « vision professionnelle partagée » du projet à concevoir émerge à travers les représentations visuelles — des objets-frontière et intermédiaires (Vinck, 2009) — rencontrées en amont de la trajectoire (Comi, Jaradat, & Whyte, 2019). Dans ce contexte, je propose de répondre à la question suivante : Quelle est la trajectoire de conception collaborative et multidisciplinaire des multiples formes d’« agentivité anticipée » d’une représentation visuelle ?Pour répondre à cette question, je me suis inspirée de l’ethnométhodologie, (Garfinkel, 1984), de la sociologie des associations (Latour, 2006 ; Callon, 1986) et de l’approche constitutive de la communication organisationnelle (CCO, Schoeneborn et al., 2014), pour étudier les interactions entre les principaux actants — des éléments humains et autres qu’humains — qui agissent lors de la trajectoire de conception d’un affichage environnemental de la durée de vie d’un appareil électronique. La trajectoire en six temps et quatre mouvements (zooming-out et passé/ futur), que j’analyse à travers la plateforme de présentation Prezi®, oscille entre les moments clés de collaboration mobilisant les membres de notre équipe multidisciplinaire de conception et les séances de consultation menées avec un comité consultatif d’experts provenant également de différentes disciplines. Le regard réflexif que je pose sur la conception de « l’agentivité anticipée » des représentations visuelles par les représentations visuelles — première contribution de cette thèse — suggère que l’affichage environnemental s’est matérialisé principalement grâce aux interactions situées avec des actants hétérogènes (in)tangibles relevant du passé, du présent ou du futur. En effet, de multiples porte-parole parlant au nom, par exemple, du public (consommateur ou usager), du fabricant, du réparateur, des autorités politiques ou des (éco)concepteurs de produits se sont ainsi exprimés par l’entremise des représentations visuelles conçues tout au long de cette trajectoire. La configuration de ces signes — lettres, chiffres, formes, etc. — a provoqué de multiples (dés)accords générés par nos visions professionnelles et/ou personnelles respectives. Ces visions « (dé)partagées » de l’« agentivité anticipée » des représentations visuelles ont cependant grandement contribué au processus de conception en dévoilant des actants (in)visibles jusqu’alors ainsi que leurs relations de pouvoir. Cette « compréhension (dé)partagée » collaborative et multidisciplinaire lors du processus de conception — deuxième contribution de cette thèse — pourrait être une voie à suivre pour créer des dispositifs visuels mobilisant davantage les êtres humains et autres qu’humains vers une transition écologique réussie (Brullot et al., 2017). / Nowadays and in the future, we will interact more and more often with visual representations that will invite us to take actions that contribute, for example, to the fight against climate change. Thus, a self-declaration, an eco-label or a multi-criteria environmental label will encourage us (or not) to recycle a product, to choose it or to compare it with other products according to the information that this representation and the signs that constitutes it should convey. In this scenario, the typography, shapes, colors and configuration of this environmental label will possess multiple forms of agency, the capacity to act, that is, to make a difference (Castor & Cooren, 2006), a capacity that has to be anticipated. The design of these visual representations, apparently inanimate but which nevertheless communicate and make people do things, is part of my professional practice: graphic design. Because of the more or less complex information they convey, these signs — icons, index and symbols, according to Peirce’s classification — will often have to be designed by a multidisciplinary team of experts, anticipating the multiple forms of agency they might possess once configured. However, although the process of designing visual representations has been extensively studied, we still know little about the collaborative design of the different forms of agency these representations may (or should) possess at the end of the process. Design studies suggest that a “shared professional vision” of the project to be designed emerges through visual representations — boundary and intermediary objects (Vinck, 2009) — encountered early in the trajectory (Comi, Jaradat, & Whyte, 2019). In this context, I propose to address the following research question: What is the collaborative and multidisciplinary design trajectory of the multiple forms of “anticipated agency” of a visual representation? To answer this question, I drew on ethnomethodology, (Garfinkel, 1984), the sociology of associations (Latour, 2006; Callon, 1986) as well as the communicative constitution of organization approach (CCO, Schoeneborn et al., 2014) to document and analyze the interactions between key actants — humans and other-than-human — that are making a difference during the design trajectory of an environmental label conceived to inform about the life span of an electronic device. The six-beat and four-movement trajectory (zooming-out and past/ future), that I analyse through the Prezi® presentation online platform, oscillates between key moments of collaboration between members of our multidisciplinary design team and consultation sessions conducted with an advisory committee of experts also from different disciplines. My reflective vision through the design of the “anticipated agency” of visual representations with visual representations — the first contribution of this dissertation — suggests that the environmental label materialized primarily through situated interactions with heterogeneous (in)tangible actants belonging to the past, present, or future. Indeed, multiple spokespersons speaking on behalf of, for example, the public (the consumer or the user), the manufacturer, the repairer, the political authorities or the (eco)designers of products have thus expressed themselves through the visual representations designed. The configuration of these signs — letters, numbers, shapes, colors, etc. — has induced multiple (dis) agreements generated by our respective professional and/or personal visions. However, these (un)shared visions of the “anticipated agency” of those visual representations, however, greatly contributed to the design process by revealing previously unseen actants and their power relations. This collaborative and multidisciplinary “(un)shared understanding” of the design process — the second contribution of this dissertation — could be a way forward to create visual devices that further mobilize human and other-than-human toward a successful ecological transition (Brullot et al., 2017).

Artist's book It is needed is a compilation of interviews with major graphic designers and curators of czech gallery sphere. The interviews show possible methods of this kind interdisciplinary cooperation.

Shimmer, Tangle, Deep, Dark, Wet is an exploration of the possibilities of the publication, the underwater world, editorial work and an investigation in different materials. The work includes among other things, a professional mermaid, a marine geologist, three underwater rugby players, and a poem about the waves in the Persian Gulf. / Skimmer, trassel, djupt, mörkt, blött är ett utforskande av publikationens möjligheter, världen under vatten, redaktionellt arbete och ett experimenterande med olika material. Arbetet innehåller bland annat en professionell sjöjungfru, en maringeolog, tre undervattensrugbyspelare och en dikt om vågorna i persiska viken.

[pt] A pesquisa situa-se no contexto nacional da educação superior em design. Refere-se às formas de representação visual a partir de indagações de Elliot Eisner. Consta de uma série de estudos qualitativos aplicados entre 2011 e 2016 em sala de aula da licenciatura em design gráfico da Universidade Iberoamericana da Cidade do México. Utiliza procedimentos de observação participativa do fenômeno ensino-aprendizagem. Alguns dos objetivos da pesquisa são: identificar as principais características que evidenciam o desenvolvimento de competências, habilidades e capacidades na representação visual através do desenho e do esboço. Os resultados obtidos contribuem para a avaliação de alunos no credenciamento das instituições educativas de nível superior. / [en] This research responds to the national context of higher education in the field of design with respect to the teaching and learning of forms of visual representation. It is based on Elliot Eisner s analytical approach. The thesis consists of a series of qualitative studies applied between 2011 and 2016 in the Universidad Iberoamericana s Bachelor of Graphic Design program, and in which the author engaged in the participant observation of the teaching-learning dynamic in drawing and sketching classes. The dissertation identifies the principal characteristics related to the development of competencies, skills and capacities in the visual representation of drawing and sketching. The evidence obtained is useful for the purposes of student evaluation and for the accreditation of institutions of higher education. / [es] La investigación responde al contexto nacional de la educación superior del diseño sobre las formas de representación visual y se basa en el enfoque de la indagación de Elliot Eisner. La tesis consta de una serie de estudios cualitativos aplicados entre 2011 y 2016 en la licenciatura de diseño gráfico de la Universidad Iberoamericana a través de la observación participativa del fenómeno enseñanzaaprendizaje del dibujo y el bocetaje. La investigación identifica las principales características que evidencian el desarrollo de competencias, habilidades y capacidades en la representación visual del dibujo y el bocetaje. Las evidencias obtenidas sirven para la evaluación de los alumnos y para la acreditación de las instituciones educativas a nivel superior.