Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-17T12:32:43Z No. of bitstreams: 1 Silvia Bahia Monteiro.pdf: 20152089 bytes, checksum: dbf21866cbdf4e4066140a9e90e940ab (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-17T18:27:04Z (GMT) No. of bitstreams: 1 Silvia Bahia Monteiro.pdf: 20152089 bytes, checksum: dbf21866cbdf4e4066140a9e90e940ab (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-17T18:29:32Z (GMT) No. of bitstreams: 1 Silvia Bahia Monteiro.pdf: 20152089 bytes, checksum: dbf21866cbdf4e4066140a9e90e940ab (MD5) / Made available in DSpace on 2018-10-17T18:29:54Z (GMT). No. of bitstreams: 1 Silvia Bahia Monteiro.pdf: 20152089 bytes, checksum: dbf21866cbdf4e4066140a9e90e940ab (MD5) Previous issue date: 2018-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aims to analyze the beginning of the process of residential verticalization in the city of São Paulo, since its origin in the mid-1920s until the 1940s. The choice of this period was determined by the changes in legislation regarding constructions in the city, articulated to the dissemination of the modernist culture in Brazil. Three different aspects were considered: a geographic point of view, in which we mapped the origins of the vertical development of the city in these decades; the point of view of the agents that enabled not only the verticalization but also the interior design of these spaces; and the study of mixed use buildings of the period, with their façades, floor plans and interiors. The apartment plants analyzed here were found in the archives of the Acropolis Magazine, as well as in the Iconographic Materials Section, both belonging to the Library of the Faculty of Architecture and Urbanism of the University of São Paulo; these plants were then compared to the possible uses of these spaces. / Esta pesquisa tem como objetivo analisar o início do processo de verticalização residencial na cidade de São Paulo, desde sua origem, em meados dos anos 1920, até a década de 1940. A escolha desse período foi determinada em razão das alterações na legislação relativa às construções na cidade, articuladas à história da disseminação da cultura modernista no Brasil. Foram considerados três pontos de vista distintos: um geográfico, em que mapeamos as origens do desenvolvimento vertical da cidade nessas décadas; o ponto de vista dos agentes que possibilitaram tanto a verticalização como o design de interiores desses espaços; e o estudo de edifícios mistos da época, com suas fachadas, plantas e interiores. Foram analisadas plantas de apartamentos desse período encontradas nos arquivos da revista Acrópole, bem como na Seção de Materiais Iconográficos, ambos pertencentes à Biblioteca da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo, plantas estas que foram confrontadas com os possíveis usos desses espaços.

abstract: "Too often, people in pain are stuck in limbo. With no diagnosis there is no prognosis. They feel that without knowing what is wrong, there is no way to make it right" (Lewandowski, 2006, p. ix). Research has shown that environmental factors, such as views of nature, positive distractions and natural light can reduce anxiety and pain (Ulrich, 1984). Patients with chronic, painful diseases are often worried, anxious and tired. Doctor's appointments for those with a chronic pain diagnosis can be devastating (Gilron, Peter, Watson, Cahill, & Moulin, 2006). The research question explored in this study is: Does the layout, seating and elements of positive distraction in the pain center waiting room relate to the patients experience of pain and distress? This study utilized a mixed-method approach. A purposive sample of 39 individuals participated in the study. The study employed the Positive and Negative Affect Schedule (PANAS), the Lewandowski Pain Scale (LPS) and a researcher developed Spatial Perception Instrument (SPI) rating the appearance and comfort of a pain center waiting room in a large metropolitan area. Results indicated that there were no significant correlations between pain, distress and the waiting room environment. It is intended that this study will provide a framework for future research in the area of chronic pain and distress in order to advance the understanding of research in the waiting area environment and the effect it may have on the patient. / Dissertation/Thesis / M.S.D. Design 2012

La expansión de Lima y el centralismo han generado el aumento de universidades, es por eso que muchos jóvenes deciden dejar sus provincias y buscar mejores oportunidades en la capital, sin embargo muchos estudiantes al no tener un lugar donde vivir, tienen la necesidad de buscar alojamientos que no cumplen con las necesidades básicas. Este trabajo tiene como objetivo principal desarrollar un proyecto de rehabilitación de la Residencia universitaria de la Universidad Nacional Mayor de San Marcos con la finalidad de crear espacios de habitad y condiciones adecuadas para el buen desenvolvimiento del universitario. Por otro lado se buscará rediseñar las áreas comunes, proponiendo nuevos espacios como: salas de estudio, de visitas y de entretenimiento con el fin de fomentar la socialización entre estudiantes, así mismo se diseñarán las habitaciones con todas las comodidades logrando que estos espacios sean aptos para el descanso de los residentes. También se plateará espacios relación interior – exterior para romper con el lugar cerrado así los estudiantes logren tener contacto con la naturaleza. Para lograr el objetivo, se utilizaran estrategias de diseño como: aperturas y volúmenes por dentro y fuera de la edificación con el fin de generar una distribución dinámica y diferentes experiencias espaciales para los residentes. También se propone paneles con persianas corredizas en la fachada con el propósito de controlar el ingreso del calor y la luz solar a la residencia, igualmente brindar una estética arquitectónica a la fachada. / The expansion of Lima and centralism have generated the increase of universities, that is why many young people decide to leave their provinces and look for better opportunities inthe capital, however, many students do not have a place to live, they need to look for accommodations that don't meet basic needs. This work aims to develop a project to rehabilitate the University Residence of the UNIVERSIDAD NACIONAL MAYOR DE SAN MARCOS in order to create spaces of habitat and conditions suitable for the good development of the student. On the other hand, we will redesign the common areas, proposing new spaces such as study rooms, visitors and entertainment to promote socialization among students. Likewise, the design of the rooms will provide all the comfort needed, making this spaces suitable for residents. The protect also proposes spaces with indoor-outdoor relationship spaces to break with the enclosed place so that students can have contact with nature. To achieve the goal, design strategies such as the following will be used: openings and volumes inside and outside the building will be used to generate a dynamic distribution and different spatial experiences for students. Panels with sliding shutters are also proposed on the facade to control the ingress of heat and sunlight to the residence, also providing an architectural aesthetic to the facade. / Tesis

Master´s thesis was developed as interior design of Roman spa and sauna world. Roman spa and sauna world are located on the third floor of the Aquacentrum building, a draft of which was prepared in a specialized studio of the 2nd year master´s program. Part of the composition was also design of the layout on the third floor, in which the spa and sauna world are located. Object Aquacentrum is designed to lucrative tourist spot, close to the banks of the Brno reservoir, which lies in the northwestern part of the city of Brno near Brno-Bystrc district.

Home/work: objekt för hemmet att interagera, leka och träna med. I Sverige sitter vi i genomsnitt 10h/dag, vilket är associerat med en lång rad risker, så som kardiovaskulära sjukdomar, högt blodtryck, högt blodsocker, övervikt, onormala kolesterolnivåer etcetera. Home/work är ett försök att knuffa i gång oss som sitter för mycket att få in mer rörelse i vardagen. Objekten är inspirerade av klättergrepp, crashpads och bouldering. Projektet ifrågasätter begreppet ergonomi och dess inneboende positiva konnotation. / Home/work: piece of furniture for the home to interact, play and exercise with. In Sweden we sit in average 10H/day. This is associated with a lot of risks, such as cardiovascular diseases, increased blood pressure, high blood sugar, excess body fat and abnormal cholesterol levels. Home/work tries to nudge us (who sit too much) to move a little bit more in our everyday life. The objects are inspired by climbing holds, crash pads and bouldering. The project questions the concept of ergonomics and its inherent positive connotation.

During the shift from the rule of Joseph Stalin to that of Nikita Khrushchev, people in the Soviet Union witnessed dramatic political, economic, and social changes, evident even in such private aspects of life as residential home interiors. The major architectural style of Stalin's era, known as Stalin's Empire Style, was characterized by grandeur and rich embellishments. The buildings' interiors were similarly grandiose and ornate. By endorsing this kind of design, Stalin attempted to position himself as an heir of classical traditions, to encourage respect for his regime, and to signal his power. When Nikita Khrushchev became the country's leader shortly after Stalin's death in 1953, he proclaimed that "excessive decorations" were not only unnecessary, but harmful. As a result, the standardized panel buildings produced at his initiative were defined by straight, plain lines, and were devoid of literally any architectural details that were not considered functional. These changes in Soviet architecture were reflected in interior design and furnishings: the minimalist aesthetic became their defining characteristic. The purpose of this study is to gain, through examination of existing literature, new insight into why a transition to a minimalist aesthetic was happening in the 1950s and 1960s in Soviet urban interior design. To achieve this goal, the present thesis analyzes works by contemporary scholars on the subject and examines statements the Soviet government as well as Soviet architects and interior decoration specialists made regarding the state's views on architecture and interiors during the period of 1950-1960. While research has been published that explores some aspects of this stylistic transition, the present work is unique in that it identifies and focuses on three distinct reasons for the change to minimalism in Soviet urban residential interiors under Khrushchev: the deficit of apartment space, reduction of construction costs, and ideological motives.

Este trabajo de investigación tiene como objetivo principal analizar la participación de la mujer tejedora en el proceso de producción de arte textil en el Perú. Asimismo, busca analizar el contexto en el que se desarrolla esta labor, y por último comparar la contribución de los centros de emprendimiento y difusión entre Bolivia y el Perú, países con mayor actividad textil y contextos similares, y posteriormente, entre los principales departamentos del Perú con mayor cantidad de artesanos textiles. Para ello, se utilizaron métodos de investigación cuantitativos y cualitativos. En el primero, se recopiló información de tesis, diarios, e informes de instituciones públicas. Y, en el segundo, se realizó un análisis de manera descriptiva y evaluativa, a un grupo de tejedoras perteneciente a una ONG “Ayllu Ruwasunchis”, ubicada en Pachacámac, a través de una investigación de campo. Por último, se encontró que, en el Perú, las tejedoras se muestran como una incógnita para el consumidor final debido a la presencia de intermediarios. Estos se aprovechan de sus carencias y les proponen precios bajos para luego difundirlos en espacios lujosos, a un consumidor de nivel socioeconómico “A” a precios elevados. Por otro lado, los espacios para promover su emprendimiento y venta están centralizados en las regiones de Cusco y Puno, debido al su gran alcance de materia prima, artesanos textiles, y alto flujo turístico. Sin embargo, Huancavelica, el tercer departamento con mayor cantidad de artesanos, no cuenta con espacios emprendimiento permanentes para la promoción y desarrollo de sus capacidades, y tiene casi en su totalidad espacios de venta informales, y los que son formales se alejan del trato directo entre tejedora y consumidor final. / The main focus of this research is to analyze the participation of women weavers in the textile art production process in Peru. It also seeks to analyze the context in which this work is developed, and finally to compare the contribution of the centers of entrepreneurship and diffusion between Bolivia and Peru, countries with greater textile activity and similar contexts,and later, between the main departments of Peru with the greatest number of textile artisans. As well, quantitative, and qualitative research methods were used. At first, information was gathered from theses, newspapers, and reports from public institutions. And then, a descriptive and evaluative analysis was made of a group of weavers belonging to an NGO "Ayllu Ruwasunchis", located in Pachacámac, through field research. Finally, it was found that, in Peru, weavers are an unknown quantity for the final consumer due to the presence of intermediaries. These people take advantage of their shortcomings and propose low prices and then sell them in luxurious spaces to a consumer of socioeconomic level "A" at high prices. On the other hand, the spaces to promote their entrepreneurship and sale are centralized in Cusco and Puno, due to their large supply of raw materials, textile artisans, and high tourist flow. However, Huancavelica is the third department with the largest number of artisans and doesn’t have permanent spaces for the promotion and development of their skills, and only has informal sales spaces. / Trabajo de investigación

No description available.

Inspiration The project explores the possibility of using the car as a social communication space, providing an opportunity for users to make more new friends during their daily commute. With the popularization of mobile media, nowadays people are more and more like to communicate with people on social platforms, and virtual network social needs have been deeply rooted in people’s daily life, so how to use technology to help people walk out from this small screen is the initial motivation of the project.Everyone stays inside their vehicle and even if they are close, they rarely have the opportunity to communicate with people next to them. The car looks like a closed moving box where everyone hides inside. The project takes this as a starting point to consider how to break this status and provide users with an opportunity to express themselves and find friends on the daily commute. Therefore, the author believes that the car, as a personal mobile space, can also be turned into a social platform with the help of technology. Process During the design process, the author divides the whole project into two parts for thinking. On the one hand, the author has been thinking about how to provide a more interesting way of socializing in a limited space like a car, just like using social software, users can pay attention to the interesting people passing by and have the opportunity to have face-to-face communication. On the other hand, in the whole process, users can use a more abstract Avatar to show their characteristics or hobbies, as well as protect their privacy. The author combines these two core issues, and after the process of research, ideation, and sketch, the entire interior frame is determined on the 3D software, after which the final design is obtained. Result The final result is the ZEEKR 00+, a small two-seater electric car, which encourages users to actively express themselves on a daily car journey and make more friends in the real world. The core circular rotating structure of the cockpit can achieve the discovery, communication, and interaction process between users. With this as the core, the author also designed a series of related visual images, creating a new concept of the car as a personalized and social communication space in the future.1

Seeking a valuable and relevant topic for the future of mobility. the author came across the pain point trust in relation to artificial intelligence. Advances in the creation of artificial intelligence and deep learning ensure that our everyday lives are increasingly shaped by algorithms, sometimes consciously, sometimes unconsciously.For many people, this idea causes discomfort, and especially in situations of one‘s own vulnerability, the question of how an AI will handle more responsible tasks in the future will be essential. The automotive industry will also be shaped by this issue. In the intelligent car of the future, people will at least partially relinquish both control and privacy. Autonomous driving will be a test of trust for future users, as will the question of digital ethics and the collection of private data. In this thesis, a possible answer to the question was explored, how we can shape the approach and interaction with technology - especially artificial intelligence - in the future in order to create trustf uluser experiences. For this purpose, beyond the formal-aesthetic elaboration, the main focus was on interactive solutions and communication with AI, how an AI behaves in the vehicle and how it can contribute to making users feel comfortable in such a context. BMW Me&AI describes a scenario in which potential customers get to know an intelligent vehicle for the first time and are carefully introduced to its processes and possibilities. Inspired by soft robotics, the presented interior design is mainly defined by a holistic concept of soft interaction surfaces. Three basic scenarios are described in which passengers have the freedom to either look over AI‘s shoulder, sit back and focus on other things, or be completely on their own. This created a result that became unique in its dynamics and degree of adaptability and posed a real challenge, especially for the creative process, which in retrospect clearly paid off.