Från början hade vi ställt in oss på att vi ville hitta ett nytt sätt på hur man kan designa IT-relaterade produkter med ungdomars välmående och hälsa i tanke. Detta visade sig inte vara den lättaste uppgift två interaktionsdesigners, utan någon som helst bakgrund eller insyn om människors välmående, kunde tänka sig. Efter mycket efterforskning både i böcker och på Internet började vi förstå att vi inte var ensamma i vårt mål att motverka att stress uppstår i relation till dagens informations teknik. Flera andra forskare med bakgrund inom sjukdomar, rehabilitering och medicin hade varit aktiva inom fältet men bara ett fåtal interaktionsdesigners innan oss hade försökt sig på något liknande. Vi fick mycket inspiration från deras tidigare projekt och vi har försökt använda oss utav deras kunskaper och resultat. Våra kunskaper inom ämnet teknik och design visade sig inte vara särskilt användbara så vi fick komma på nya sätt att tänka på som de innan oss hade fått göra. Det här handlade om människor som lider av en sjukdom som är allmänt känd och kan i värsta fall leda till döden men som det, enligt oss, läggs för lite vikt på och aktörerna inom fältet var för få i förhållande till hur farlig sjukdomen är. I vår iver att börja på själva designen av den gestaltande produkten kom vi ibland på villospår eftersom vi var oförberedda på problem som kunde uppstå. Inspirerade från projekt såsom Brainball, Rewind och Virus, och efter en noggrann analys av vår förstudie fick vi flera vägar att välja bland och vi hoppas att vi valde rätt eftersom ämnet känns viktigt för oss. Sättet vår gestaltning är utformad på känns tillfredställande i förhållande till informationen vi fick fram efter analys av våra användarstudier. Vi hade inte marknaden som mål när vi skapade vår produkt utan försökte istället tillämpa vissa av Slow Design- och Flow filosofierna som vi kommit i kontakt med. Deras synsätt handlar mycket om att man som designer först och främst ska sätta användaren i fokus när man designar och sedan se till att man producerar. I dagens företag ägnas inte tillräckligt mycket tid till att skapa bra och användarvänliga produkter för slutanvändaren. Med vårt arbete hoppas vi kunna öppna upp vägen för andra designers som vill fortsätta forska om detta viktiga och intressanta ämne. Självklart lyckades vi inte göra just det vi hade satt upp som mål från början men vi båda är nöjda med resultatet ur ett perspektiv som interaktionsdesigners. Vårt koncept är inte på något sätt revolutionerande men vi tror på att folk kan komma att uppskatta det för själva enkelhetens skull. Keep it simple, keep it clean. / This essay will focus on the growing stress in our society in relationship to the increasing consumption of IT-related products. Stress is in out culture a well spread illness and we have tried to find the connection between people’s bad physical condition and the large escalation of information technology. The word stress can be defined as the reaction of maladjustment between the individual’s capabilities and the outer world’s demands and needs. We asked ourselves how extensive information technology contributes to stress in our society in our day of age. Present research shows that technology which is not user-friendly and rather difficult to manage contributes in large extent on work places to long term stress. In intent to obtain a greater knowledge of how stress exists and forms all around us, we made a survey which did not contradict earlier research results in the same subject. The survey itself discusses the relationship between stress, relaxation and the everyday usage of IT-products. The survey consisted of personal interviews that were performed in a, for the persons interviewed, natural environment – the school. The answers on our questions are divided in different categories and we have drawn some conclusions about when, how and why information technology stresses individuals in common life. Before we actually began with the survey itself, we had to understand deeper what stress is and the different stress theories that exist around the subject. The concept of Flow attempts to explain how one can use positive stress to enhance his own life. Today there are IT-products everywhere around us and many of these products are developed without actually taking time to consider people’s health in relation to them. Slow Design is on the contrary a design philosophy which implicates that products should be designed with the human in mind. With help from all our information and our surveys, our gestalt product became in some degree what we had planned from the beginning. The core in our original idea was to somehow integrate stress and IT.

Closer to the walker is a project exploring different needs connected to the walker. Based on a human-centered design approach it includes methods such as observation, embodied experiences, workshops, interviews with users and stakeholders. Within this project different aspects are touched upon, such as posture, visual appearance, vibration and breaks. Resulting in a redesign of a walker for outdoor use, situating the product in an urban setting, exploring methods of manufacturing and needs of the users in today’s society.

Waterworks typically refer to a system or facility for supplying, storing, and treating water. It encompasses the infrastructure and machinery used to collect, purify, and 
distribute water to homes, businesses, and other users. The term can also mean starting to cry, especially to gain sympathy or attention. Additionally, it can refer to the organs of the body through which urine is passed. The climate crisis presents significant challenges to water filtration. Extreme weather events can contaminate sources. Harmful algal blooms, saltwater intrusion and toxins further complicate filtration. We might have to rethink how we take clean tap water for granted. This home water filtration unit that via acoustics filters the water, reimagines our relationship to drinking water and the habits around it, and the new behaviors and rituals that would emerge from this new normal. / Waterworks avser vanligtvis ett system eller en anläggning för att tillhandahålla, lagra och behandla vatten. Det omfattar infrastrukturen och tekniken som används för att samla in, rena och distribuera vatten till hem, företag och andra användare. Termen kan också betyda att börja gråta, särskilt för att få sympati eller uppmärksamhet. Dessutom kan det referera till kroppens organ genom vilka urin passerar. Klimatkrisen innebär betydande utmaningar för vattenfiltrering. Extrema väderhändelser kan förorena dricksvattentäkter. Skadlig algblomning, saltvattenintrång och gifter försvårar filtreringen ytterligare. Vi kanske måste tänka om kring hur vi idag tar rent kranvatten för givet. Denna filtreringsenhet, som via akustik filtrerar vattnet, belyser vårt förhållande till dricksvatten och de nya beteenden och ritualer som skulle uppstå ur en ny klimatmässig normalsituation.

<p dir="ltr">In response to the need for a modernized platform in the medical device industry, this thesis introduces the design of a comprehensive digital B2B (business to business) marketplace. The objective is to provide buyers with a user-friendly interface for streamlined purchases and communication with sellers, while empowering sellers with tools to expand their reach and simplify operations. The methodology involved a combination of on-site case studies, literature reviews, industry research, and user surveys to inform the design process. Through the use of wireframing and user interface design, a cohesive two-part digital service was developed to meet the specific needs of both buyers and sellers effectively.</p><p dir="ltr">The results demonstrate a successful integration of buyer-centric features for enhanced purchasing and seller-centric tools for efficient order fulfillment. For buyers, the marketplace offers an easy-to-navigate interface, transparent pricing, and improved communication channels with sellers. For sellers, it provides a platform to showcase products, manage inventory, and engage with potential buyers. The practical implications of this marketplace highlight the current lack of transparency in pricing and the potential benefits for both buyers and sellers through increased control and direct sales opportunities. By enabling manufacturers to market their products directly, the marketplace offers a solution to reliance on third-party sellers, ultimately enhancing efficiency and transparency in the medical device procurement process.</p>

The biggest shift in the automotive industry lies ahead. Autonomous vehicles create both curiosity and skepticism among drivers and people around. Autonomous vehicles, more specifically trucks, will not be utterly self-driving overnight. The whole transformation will take place in different phases. When a vehicle does not need a driver behind the wheel, new needs will arise. This is where this project comes into play. On behalf of Scania, a new driver’s seat shall be developed for new needs from the drivers for autonomous trucks of type 4. The project was carried out at Scania’s design department for cabin interiors. The project aimed to develop new needs for the future autonomous level 4 trucks in order to develop a driver’s seat that meets these needs. The project began with a planning phase in which the goals and the time frame for the project were set up. The project was then implemented in four different phases inspired by CDIO (n.d.). The work began with a benchmarking on existing trucks and passenger cars, but also on the future visions of different competitors regarding autonomous vehicles. Much work was put into understanding theories and interpreting relevant information. The users were used early in the project in the form of interviews, observations, and a survey that reached 299 truck drivers. The work then continued with various forms of brainstorming both within the project group and together with engineers from the group at Scania. The final work contained a CAD model of both prototype, CAID models of the final design, and a prototype scale of 1:1. The final result of the project is a new driver’s seat with the possibility of pushing the seat almost three times further back than the current seat. It can now be done when the driver’s seat is part of the bed. During the user study and the brainstorming, new needs were taken from the perspective of the sun being able to adapt to three different positions; rest, drive, work. The new driver’s seat now gives the drivers this opportunity. The result of this project may be more effective in driving the driver, which benefits both Scania and the customers in the form of the drivers being able to drive longer than previously allowed. / Det största skiften inom fordonsbranschen ligger framför oss. Autonoma fordon skapar både nyfikenhet och en skepsis bland förare och människor runt omkring. Autonoma fordon, mer specifikt lastbilar, kommer inte bli helt självkörande under en natt. Hela för- vandlingen kommer ske i olika faser. När ett fordon inte behöver en förare bakom ratten kommer nya behov uppkomma. Det är här det här projektet kommer in i bilden. På uppdrag av Scania, ska en ny förarstol utvecklas för nya behov från förarna för autonoma lastbilar av typen nivå 4. Projektet är ett examensarbete gjort av två studenter vid utbildningen civilingenjör inom teknisk design med inriktning produktutveckling, vid Luleå tekniska universitet. Projektet genomfördes på Scanias konstruktionsavdelning för hyttint- eriör. Målet för projektet var att ta fram nya behov för framtidens autonoma nivå 4 lastbilar för att sedan utveckla en förarstol som uppfyller dessa behov. Projektet började med en planeringsfas där målen och tidsramen för projektet sattes upp. Projektet genomfördes sedan i fyra olika faser inspirerade av CDIO (n.d.). Arbetet började med att en benchmarking gjordes på befintliga lastbilar och personbilar men även på olika konkurrenters framtidsvisioner gällande autonoma fordon. Mycket arbete lades på att förstå teorier och tolka relevant infor- mation. Användarna användes tidigt i projektet i form av intervjuer, observationer och en enkät som nådde ut till 299 lastbilsförare. Arbetet fortsatte sedan med olika former av brainstorming både inom projektgruppen och tillsammans med ingenjörer från gruppen på Scania. Slutgiltiga arbetet innehöll CAD-modeller av både prototyp, CAID-modeller av slutgiltig design samt en prototyp i skala 1:1. Det slutgiltiga resultatet av projektet är en ny förarstol med möjligheten att skjuta bak stolen nästan tre gånger längre än vad som tidigare var möjligt. Det kan nu göras då förarstolen är en del av sängen. Under användarstudien och brainstormingen togs nya behov fram i from av att solen ska ha möjlighet att anpassas till tre olika lägen; vila, köra, arbeta. Den nya förarstolen ger nu förarna den här möjligheten. Resultatet av det här projektet kan komma att effektivisera föraryrket, vilket gynnar både Scania och kunderna i form av att förarna kommer kunna köra längre än vad tidigare varit tillåtet.

La compétitivité toujours plus importante et la mondialisation ont mis l'industrie manufacturière au défi de rationaliser les différentes façons de mettre sur le marché de nouveaux produits dans un délai court, avec des prix compétitifs tout en assurant des niveaux de qualité élevés. Le PDP moderne exige simultanément la collaboration de plusieurs groupes de travail qui assurent la création et l’échange d’information avec des points de vue multiples dans et à travers les frontières institutionnelles. Dans ce contexte, des problèmes d’interopérabilité sémantique ont été identifiés en raison de l'hétérogénéité des informations liées à des points de vue différents et leurs relations pour le développement de produits. Le travail présenté dans ce mémoire propose un cadre conceptuel d’interopération pour la conception et la fabrication de produits. Ce cadre est basé sur un ensemble d’ontologies clés, de base d’ingénierie et sur des approches de cartographie sémantique. Le cadre soutient les mécanismes qui permettent la conciliation sémantique en termes de partage, conversion et traduction, tout en améliorant la capacité de partage des connaissances entre les domaines hétérogènes qui doivent interopérer. La recherche a particulièrement porté sur la conception et la fabrication de produits tournants en plastique et explore les points particuliers de la malléabilité - la conception et la fabrication de moules. Un système expérimental a été proposé à l’aide de l'outil Protégé pour modéliser des ontologies de base et d’une plateforme Java intégrée à Jena pour développer l'interface avec l'utilisateur. Le concept et la mise en œuvre de cette recherche ont été testés par des expériences en utilisant des produits tournants en plastiques. Les résultats ont montré que l'information et ses relations rigoureusement définies peuvent assurer l'efficacité de la conception et la fabrication du produit dans un processus de développement de produits moderne et collaboratif / Global competitiveness has challenged manufacturing industry to rationalise different ways of bringing to the market new products in a short lead-time with competitive prices while ensuring higher quality levels. Modern PDP has required simultaneously collaborations of multiple groups, producing and exchanging information from multi-perspectives within and across institutional boundaries. However, it has been identified semantic interoperability issues in view of the information heterogeneity from multiple perspectives and their relationships across product development. This research proposes a conceptual framework of an Interoperable Product Design and Manufacturing based on a set of core ontological foundations and semantic mapping approaches. This framework has been particularly instantiated for the design and manufacturing of plastic injection moulded rotational products and has explored the particular viewpoints of moldability, mould design and manufacturing. The research approach explored particular information structures to support Design and Manufacture application. Subsequently, the relationships between these information structures have been investigated and the semantics reconciliation has been designed through mechanisms to convert, share and translate information from the multi-perspectives. An experimental system has been performed using the Protégé tool to model the core ontologies and the Java platform integrated with the Jena to develop the interface with the user. The conceptual framework proposed in this research has been tested through experiments using rotational plastic products. Therefore, this research has shown that information rigorously-defined and their well-defined relationships can ensure the effectiveness of product design and manufacturing in a modern and collaborative PDP

Um equipamento sinalizador luminoso de faltas foi desenvolvido pela Companhia Paulista de Força e Luz (CPFL) em parceria com a Escola Politécnica da USP e a empresa Expertise Engenharia Ltda., através de uma série de projetos de pesquisa incluídos no programa de pesquisa e desenvolvimento (P&D) regido pela Agência Nacional de Energia Elétrica (ANEEL) brasileira. Neste trabalho é feita uma análise crítica da rota tecnológica adotada no desenvolvimento do sinalizador de faltas, apontando detalhes e justificativas das escolhas tecnológicas adotadas, além de novas possibilidades de melhoria do equipamento face aos avanços tecnológicos detectados nos últimos anos. Para tanto, é proposto e aplicado um novo método, associado a uma sistematização, para análise comparativa de tecnologias, que considera dados quantitativos, qualitativos e estratégicos diretamente comparáveis entre si. Ao longo do trabalho são analisados as escolhas dos princípios de detecção de faltas e funcionalidades agregadas, o desenvolvimento da eletrônica e dos circuitos integrados do detector de faltas, a fonte de alimentação, a sinalização luminosa e o gabinete do equipamento. Como resultado da linha de pesquisa do sinalizador luminoso de faltas foram obtidos protótipos de prova de conceito, cabeça-de-série e de lote pioneiro, estes últimos prontos e certificados para inserção no mercado. Obtiveram-se também diversas publicações em congressos nacionais, a geração de dois pedidos de patentes e um sistema computacional de alocação otimizada de sinalizadores de faltas em redes de distribuição aérea de energia elétrica. / Within the R&D program governed by the National Agency of Electric Energy of Brazil, a luminous faulted circuit indicator equipment (FCI) was developed by the Companhia Paulista de Força e Luz (CPFL) in partnership with the Escola Politécnica da USP and the company Expertise Engenharia Ltda. In this work it is presented a critical analysis of the technological route adopted for development of this new FCI, indicating details and justifications of technological choices adopted, and new detected possibilities for improvements, taken into account the technological advances in recent years. For such purpose, it is proposed a new method, associated to a practical systematization, for comparative analysis of technologies that accounts for quantitative, qualitative and strategic data directly comparable. The work presents analyses on the choices of fault detection principles and related functions, the development of integrated circuits and fault detector electronics, the power supply, the luminous signaling and the equipment case. As results of the research and development of the FCI there were obtained proof of concept, prototype and pilot equipments, the last ones certified and ready for sale. There were also obtained several publications in national conferences, submission of two patent applications and a software for optimization of FCIs allocation on overhead power distribution networks.

[pt] A partir dos anos 80, de forma cada vez mais freqüente, um fenômeno social passou a fazer parte do cotidiano brasileiro: o uso de peças de design gráfico e de produto criados sob inspiração da bandeira nacional. Embora este tipo de apropriação da bandeira não seja permitido por lei, sua recorrência motivou, nos anos 90, a criação de um processo, ainda em andamento no Senado, visando à mudança na legislação. A presente dissertação, como pesquisa qualitativa, propõe a busca das razões sociais e históricas que resultam neste fenômeno, priorizando a análise através do design. Revelando os atributos gráficos da bandeira brasileira, que estimulam sua utilização como base de criação para comunicação visual, a pesquisa promove os debates em torno de símbolos nacionais e reafirma a participação do design nos estudos sociais brasileiros. / [en] A social phenomenon has become current in Brazil in the past twenty years: the use of items focusing on the Brazilian flag as created by designers. Considering that this kind of appropriation of the Brazilian flag is not allowed by law, its recurrence motivated, in the 90s, a plea for change in this law, still running in the Senate for approval. As a qualitative type of research, the present thesis proposes a search for the social and historical reasons that made this phenomenon to occur. It shows the graphic attributes of the Brazilian flag, which somehow stimulate its use by visual communicators. This research also fosters debates around our national symbols, and reaffirms design as an issue in the Brazilian Social Studies.

A literatura de design e de arquitetura sugere a necessidade de realização de estudos mais aprofundados e capilares junto a usuários de baixa renda a respeito da realidade material interior de suas residências, de como se daria a efetiva utilização de bens e objetos pessoais, além de suas aspirações e preferências quanto aos produtos de uso doméstico. Vários autores, neste sentido, ressaltam que a produção brasileira de mobiliário residencial industrializado, também denominado móvel seriado, sobretudo no segmento do consumo popular, não atenderia, integralmente, a seu público principal, concentrado nestas duas faixas socioeconômicas da população. Este alegado descompasso existiria, parcialmente, em razão de designers e fabricantes de móveis populares seriados supostamente desconhecerem as necessidades efetivas dos usuários e as maneiras de interação com seus bens domésticos. Nesta pesquisa, foram investigadas várias situações de uso do referido mobiliário popular industrializado em moradias de usuários selecionados residentes na Grande São Paulo, abordando aspectos tais como: percepções, significados, preferências, avaliações, apropriações, formas de utilização e adequação aos ambientes. Em termos metodológicos, este estudo qualitativo, de caráter essencialmente fenomenológico, mas também observacional, foi constituído pela sistematização e análise associativa de dados obtidos por meio de entrevistas em profundidade semiestruturadas conduzidas com quarenta usuários e doze vendedores. O trabalho de campo foi complementado por observações diretas, produzidas pela pesquisadora, de móveis, objetos e demais arranjos físicos e visuais encontrados nas moradias visitadas e em lojas de móveis populares, com auxílio de registros fotográficos e gravações em áudio. Na análise do conjunto de dados coletados, foram identificados elementos semióticos, estéticos, funcionais, socioculturais e psicológicos, entre outros. Os resultados obtidos permitem iluminar questões efetivas de uso do mobiliário popular, além de hábitos, costumes, preferências estéticas e condições internas das moradias dos usuários participantes. Observou-se, por exemplo, neste sentido, reduzida adequação de parcela significativa do mobiliário às habitações visitadas, bem como presença de improvisações e adaptações a que os usuários comumente recorrem, mesmo em móveis com pouco tempo de aquisição, para que voltem a desempenhar adequadamente suas funções, além de certa resignação de parte dos usuários quanto a deficiências de projeto e de produção verificadas nos móveis, por vezes justificadas, por eles, pelos baixos preços que pagaram. Tais percepções e outros achados disponibilizam, assim, um corpo de insumos para designers e indústria moveleira em geral, sobre necessidades específicas de famílias de baixa renda que encontram, neste mobiliário popular industrializado, sua principal ou única, mesmo que, em casos, precária, opção de compra para atendimento de necessidades básicas de armazenamento de objetos pessoais e de apoio a tarefas domésticas. Espera-se, com esta pesquisa, contribuir para que o projeto e a produção desta classe de produtos ofereça maior adequação ao efetivo modo de vida e necessidades de seus usuários no interior de suas moradias. / The design and architecture literature suggests the need for more in-depth studies with low-income users regarding the material in their homes and how belongings and personal objects would actually be used, as well as what their aspirations and preferences are with regard to domestic products. Several authors in this context emphasize that Brazilian industrial residential furniture production, also called furniture in series, especially in the budget furniture segment, does not entirely meet the needs of its main public, concentrated in these two socio-economic groups. This alleged misalignment would exist partially because of designers and manufacturers of low-cost furniture supposedly being unaware of users\' real needs and ways of interacting with their domestic objects. In this research, several ways of using industrial low-cost furniture in selected users\' homes in Greater São Paulo were investigated, looking at aspects such as: perceptions, meanings, preferences, evaluations, appropriations, forms of use and adequacy of the environments. In methodological terms, this essentially phenomenological, but also observational qualitative study was done by the systematization and associative analysis of data obtained through in-depth, semi-structured interviews with forty users and twelve salespeople. The field work was complemented by the researcher\'s direct observation of furniture, objects and other physical and visual arrangements in the homes visited and in budget furniture stores, and also with the aid of photographs and audio recordings. In the analysis of the collected data set, semiotic, aesthetic, functional, sociocultural and psychological elements were identified, among others. The results obtained provide information about the use of low-cost furniture, and also about habits, customs, aesthetic preferences and internal conditions of the participating users\' homes. It was observed, for example, that much of the furniture in the homes visited was of limited adequacy, and there were often user improvisations and adaptations, even in furniture purchased recently, so that it would more adequately fulfill its function. In addition, the users had a certain feeling of resignation about the furniture\'s design and manufacturing deficiencies, sometimes justified, for them, by the low price they had paid. These perceptions and other findings make available, then, input for designers and the furniture industry, in general, on specific needs of low-income families that have, in this industrialized low-cost furniture, their main or only, though sometimes precarious, purchase option to meet their basic needs for storage of their belongings and support for domestic tasks. It is hoped that this research will contribute to the design and production of this class of products becoming more suited to the lifestyles and needs of users in their homes.

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.