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Die surface shape may improve the flow of materials, reduce stress concentration of the products, and decrease the processing load to extend the life of die. The objective of this paper is to show that how to design the die surface shape of T-shape protrusion hydroforming with different diameters. A finite element code DEFORM 3D is used to simulate the process of THF, including adaptive simulation to predict the internal pressurization in the tube, and utilize flow net distribution to predict the axial feeding stroke and counter punch (CP) movement. After the amendment to the loading path, the flowability and appearance of the product quality will achieve the best results. Experiments of T-shape warm hydroforming of magnesium alloy AZ61 tubes are. The forming temperature is set as 250¢J. The simulated loading paths are used. From the comparisons of product shape, thickness distribution between analytical and experimental values, the validity of this analytical model is verified.. Keywords: Tube hydroforming, Finite element simulation, Die surface design.

This project is about exploring a textile surface with the design elements of sound, physical contact and tactility. It is interesting to analyse how audio and physical elements can help stimulate the human senses. The aim is to bring these elements into a design context and create a textile surface that can give people a sensory and spatial experience. Through tufting it is possible to work with long and short pile, which adds tactile values in the material. The outcome of this exploration is a vast tufted landscape that partly covers the wall and continues out on the floor. The surface has an abstract visual appearance with irregular shapes that defines the different material. The large scale has an overwhelming effect and invites people to interact and explore the surface. This challenges the fundamental structures of architecture and increases the importance of tactile and human senses, such as curiosity in spatial environments

A presente dissertação estuda a relevância das padronagens como elemento compositivo no Design de Interiores contemporâneo. O campo de observação compõe-se da inter-relação entre o Design de Interiores e o Design de Superfícies, presente nos revestimentos e acabamento dos objetos. O desenvolvimento desta pesquisa teve como ponto inicial a constatação da autora, a partir da experiência profissional, da importância da padronagem na definição da identidade do ambiente e à forma intuitiva que se dá o processo de escolha desse elemento compositivo pelo profissional da área. A discussão do tema fundamenta-se teoricamente na investigação de autores como Ching e Binggeli, Gibbs, Gurgel, Rüthschilling, Lupton e Phillips, Savoir e Vilaseca, entre outros. O estudo está estruturado a partir de uma abordagem qualitativa de caráter exploratório e descritivo, utilizando as técnicas de pesquisa bibliográfica, documental, estudo de campo e estudo de caso. Com o intuito de verificar a importância das padronagens no Design de Interiores, a pesquisa tem como base conhecer a atividade de Design de Interiores, o desenvolvimento do projeto, observação de campo e estudo de caso de projeto específico. Apresenta o estado da arte do Design de Superfície sob o aspecto conceitual e compositivo no desenvolvimento das padronagens aplicadas em ambientes, por meio do estudo das “Visualidades Contemporâneas”. Na discussão dos resultados identifica a presença das padronagens no campo da pesquisa – Design de Interiores e Design de Superfície aborda os aspectos considerados na utilização da padronagem como elemento compositivo no ambiente. Conclui que a padronagem é um elemento compositivo relevante na construção da identidade do ambiente. Evidencia a presença do Design de Superfície no desenvolvimento das padronagens observando os aspectos técnicos e conceituais aplicados aos revestimentos identificados em ambientes contemporâneos. Destaca a crescente e expressiva a utilização das padronagens, sendo quase impossível presenciar uma superfície sem tratamento. / This dissertation examines the relevance of patterns as a compositional element in contemporary interior design. The field of observation consists on the inter-relationship between interior and surface design, present in the coatings and finishing of objects. The development of this research has as starting point the acknowledgement from the author, based on her experience, of the importance of the participation of patterning in defining the identity of the environment in contrast to the intuitive way of choosing this compositional element made by the professional of the area. The discussion of the topic is based on theoretical research of authors such as Ching and Binggeli, Gibbs, Gurgel, Rüthschilling, Lupton and Phillips, Savoir and Vilaseca, among others. The study is structured on a qualitative exploratory and descriptive approach in order to find indicators, taking advantage of the techniques of the bibliographical research, as well as a field and a case study. In order to verify the importance of patterns in Interior Design, the search is based on known activity of Interior Design, design development, field observation and case study of a specific project. Displays the state of the art design area under the aspect of conceptual and compositional patterns in the development of applied indoors, through the study of "contemporary visuality". In discussing the results of the study identifies the presence of patterns in research - Interior Design and Surface Design and observes the aspects considered in the use of pattern as a compositional element in the environment. It comes to the conclusion that the pattern is a relevant compositional element in constructing the identity of the environment. The work highlights the surface design in the development of patterns when it observes the technical and conceptual aspects applied to the identified coatings in contemporary environments. The use of patterns is significant and growing in the field, being almost impossible to see a surface without it.

Submitted by Marcia Barana (m_barana@hotmail.com) on 2018-05-16T16:00:07Z No. of bitstreams: 1 Mestrado - Marcia Barana.pdf: 2952356 bytes, checksum: 44135a5ad343275ba05a9b59a152d41a (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-05-16T20:03:48Z (GMT) No. of bitstreams: 1 barana_m_me_bauru.pdf: 2873535 bytes, checksum: 6b0b7ecbf65d3b7700e5a71721882f19 (MD5) / Made available in DSpace on 2018-05-16T20:03:48Z (GMT). No. of bitstreams: 1 barana_m_me_bauru.pdf: 2873535 bytes, checksum: 6b0b7ecbf65d3b7700e5a71721882f19 (MD5) Previous issue date: 2018-03-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta Dissertação de Mestrado demonstra, em sua análise inicial, um balizamento de conceitos de Design de Superfícies (DS) estabelecidos no Brasil por sua expressividade na atividade acadêmica e atuação no Mercado, considerando-se principalmente as publicações a partir dos anos 2000. Tal delimitação se dá por proximidade local e interesse da autora. Identificou-se, em primeira análise, complementação conceitual acerca do tema envolvendo a principais referências no Brasil, como Rubim (2005) e Rüthschilling (2008), Barachini (2002) e Schwartz (2008). Esta última explicitando o quanto as superfícies e o Design de Superfícies podem ser explorados tridimensionalmente e reforçam o âmbito projetual, fornecendo ainda os conceitos de Superfície-objeto e Superfície-envoltório, acrescidos de sua caracterização de acordo com as abordagens: Representacional, Constitucional e Relacional, estabelecidas por Schwartz (2008). Com os conceitos propostos pelas referências, foi possível apontar, como resultado parcial, a complementação do conceito tomado como inicial sobre o do Design de Superfícies, trazendo notoriedade e observação da superfície como componente de um objeto, seja ela aparente ou não. Fazendo uma analogia com área médica, trata-se não só a função “pele” por vezes associado à superfície, mas a possibilidade de funcionar como “epiderme”, camadas internas, que podem ter funções diversas como estruturante, filtrante, isolante, por exemplo, podendo oferecer uma experiência mais que estética, sobretudo funcional, mesmo que ainda oculta no resultado final do produto. O termo componente é tratado como parte que comporá um produto final. Assim, o escopo estabelecido tem o intuito de acrescentar um olhar sobretudo de aspecto técnico-funcional que os produtos do Design de Superfícies, seja de origem bidimensional ou tridimensional, possam acrescentar aos campos tradicionalmente conhecidos, como o design têxtil e de revestimentos. Enfatiza-se sua interação e participação no Design de Produto e o Design de Materiais, considerando que o resultado de um projeto de Design de Superfície, nem sempre será apresentado na superfície em sua configuração final. Para esta realização, a pesquisa se deu por meio de entrevistas abrangendo instituições de Ensino e do mercado potencial de uso do Design de Superfícies. Devido ao significado da palavra superfície restringir-se à superfície, o trabalho resultou com a proposição de uma abordagem complementar do Design de Superfícies, a partir da caracterização de Schwartz (2008), complementando-a como Design de Superfícies como componente, superfície-componente. / ABSTRACT This Master's Dissertation demonstrates in its initial analysis a beaconing of Surface Design (DS) concepts, established in Brazil, for its expressivity in academic activity and performance in the Market, mainly considering publications from the 2000s. Su ch delimitation is due to local proximity and author’s interest. A conceptual complementation on the theme involving the main references in Brazil, such as Rubim (2005) and Rüthschilling (2008), Barachini (2002) and Schwartz (2008) were identified in the f irst analysis. The latter explains how surfaces and Surface Design can be explored three - dimensionally and emphasize the project scope, providing the concepts of Surface - object and Surface - wrapping, plus their characterization according to the approaches: Representational, Constitutional and Relational, established by Schwartz (2008). Considering concepts proposed by the references, it was possible to point out, as a partial result, the complementation of the concept taken as initial on the one of the Desig n of Surfaces, bringing notoriety and observation of the surface as component of an object, be it apparent or not. Analogous to the medical field, it is not only the function "skin" sometimes associated with the surface, but the possibility of functioning as an "epidermis", internal layers, which can have diverse functions as structuring, filtering, insulating, for example, and can offer a more than aesthetic experience, especially functional, even if still hidden in the final product result. The term compo nent is treated as part that will make up an end product. Thus, the purpose of the scope is to add a technical - functional look that Surface Design products, whether of two - dimensional or three - dimensional origin, can add to the traditionally known fields, such as textile design, of coatings. It emphasizes their interaction and participation in Product Design and Materials Design, considering that the result of a Surface Design project will not always be presented on the surface in its final configuration. F or this realization, the research was conducted through interviews involving teaching institutions and the potential market for the use of Surface Design. Due to the meaning of the word surface, it is restricted to the surface, the work resulted in the pro position of a complementary approach to Surface Design, based on the characterization of Schwartz (2008), complementing it as Surface Design as component, surface - component / 330045056082PO

A presente dissertação estuda a relevância das padronagens como elemento compositivo no Design de Interiores contemporâneo. O campo de observação compõe-se da inter-relação entre o Design de Interiores e o Design de Superfícies, presente nos revestimentos e acabamento dos objetos. O desenvolvimento desta pesquisa teve como ponto inicial a constatação da autora, a partir da experiência profissional, da importância da padronagem na definição da identidade do ambiente e à forma intuitiva que se dá o processo de escolha desse elemento compositivo pelo profissional da área. A discussão do tema fundamenta-se teoricamente na investigação de autores como Ching e Binggeli, Gibbs, Gurgel, Rüthschilling, Lupton e Phillips, Savoir e Vilaseca, entre outros. O estudo está estruturado a partir de uma abordagem qualitativa de caráter exploratório e descritivo, utilizando as técnicas de pesquisa bibliográfica, documental, estudo de campo e estudo de caso. Com o intuito de verificar a importância das padronagens no Design de Interiores, a pesquisa tem como base conhecer a atividade de Design de Interiores, o desenvolvimento do projeto, observação de campo e estudo de caso de projeto específico. Apresenta o estado da arte do Design de Superfície sob o aspecto conceitual e compositivo no desenvolvimento das padronagens aplicadas em ambientes, por meio do estudo das “Visualidades Contemporâneas”. Na discussão dos resultados identifica a presença das padronagens no campo da pesquisa – Design de Interiores e Design de Superfície aborda os aspectos considerados na utilização da padronagem como elemento compositivo no ambiente. Conclui que a padronagem é um elemento compositivo relevante na construção da identidade do ambiente. Evidencia a presença do Design de Superfície no desenvolvimento das padronagens observando os aspectos técnicos e conceituais aplicados aos revestimentos identificados em ambientes contemporâneos. Destaca a crescente e expressiva a utilização das padronagens, sendo quase impossível presenciar uma superfície sem tratamento. / This dissertation examines the relevance of patterns as a compositional element in contemporary interior design. The field of observation consists on the inter-relationship between interior and surface design, present in the coatings and finishing of objects. The development of this research has as starting point the acknowledgement from the author, based on her experience, of the importance of the participation of patterning in defining the identity of the environment in contrast to the intuitive way of choosing this compositional element made by the professional of the area. The discussion of the topic is based on theoretical research of authors such as Ching and Binggeli, Gibbs, Gurgel, Rüthschilling, Lupton and Phillips, Savoir and Vilaseca, among others. The study is structured on a qualitative exploratory and descriptive approach in order to find indicators, taking advantage of the techniques of the bibliographical research, as well as a field and a case study. In order to verify the importance of patterns in Interior Design, the search is based on known activity of Interior Design, design development, field observation and case study of a specific project. Displays the state of the art design area under the aspect of conceptual and compositional patterns in the development of applied indoors, through the study of "contemporary visuality". In discussing the results of the study identifies the presence of patterns in research - Interior Design and Surface Design and observes the aspects considered in the use of pattern as a compositional element in the environment. It comes to the conclusion that the pattern is a relevant compositional element in constructing the identity of the environment. The work highlights the surface design in the development of patterns when it observes the technical and conceptual aspects applied to the identified coatings in contemporary environments. The use of patterns is significant and growing in the field, being almost impossible to see a surface without it.

A presente dissertação estuda a relevância das padronagens como elemento compositivo no Design de Interiores contemporâneo. O campo de observação compõe-se da inter-relação entre o Design de Interiores e o Design de Superfícies, presente nos revestimentos e acabamento dos objetos. O desenvolvimento desta pesquisa teve como ponto inicial a constatação da autora, a partir da experiência profissional, da importância da padronagem na definição da identidade do ambiente e à forma intuitiva que se dá o processo de escolha desse elemento compositivo pelo profissional da área. A discussão do tema fundamenta-se teoricamente na investigação de autores como Ching e Binggeli, Gibbs, Gurgel, Rüthschilling, Lupton e Phillips, Savoir e Vilaseca, entre outros. O estudo está estruturado a partir de uma abordagem qualitativa de caráter exploratório e descritivo, utilizando as técnicas de pesquisa bibliográfica, documental, estudo de campo e estudo de caso. Com o intuito de verificar a importância das padronagens no Design de Interiores, a pesquisa tem como base conhecer a atividade de Design de Interiores, o desenvolvimento do projeto, observação de campo e estudo de caso de projeto específico. Apresenta o estado da arte do Design de Superfície sob o aspecto conceitual e compositivo no desenvolvimento das padronagens aplicadas em ambientes, por meio do estudo das “Visualidades Contemporâneas”. Na discussão dos resultados identifica a presença das padronagens no campo da pesquisa – Design de Interiores e Design de Superfície aborda os aspectos considerados na utilização da padronagem como elemento compositivo no ambiente. Conclui que a padronagem é um elemento compositivo relevante na construção da identidade do ambiente. Evidencia a presença do Design de Superfície no desenvolvimento das padronagens observando os aspectos técnicos e conceituais aplicados aos revestimentos identificados em ambientes contemporâneos. Destaca a crescente e expressiva a utilização das padronagens, sendo quase impossível presenciar uma superfície sem tratamento. / This dissertation examines the relevance of patterns as a compositional element in contemporary interior design. The field of observation consists on the inter-relationship between interior and surface design, present in the coatings and finishing of objects. The development of this research has as starting point the acknowledgement from the author, based on her experience, of the importance of the participation of patterning in defining the identity of the environment in contrast to the intuitive way of choosing this compositional element made by the professional of the area. The discussion of the topic is based on theoretical research of authors such as Ching and Binggeli, Gibbs, Gurgel, Rüthschilling, Lupton and Phillips, Savoir and Vilaseca, among others. The study is structured on a qualitative exploratory and descriptive approach in order to find indicators, taking advantage of the techniques of the bibliographical research, as well as a field and a case study. In order to verify the importance of patterns in Interior Design, the search is based on known activity of Interior Design, design development, field observation and case study of a specific project. Displays the state of the art design area under the aspect of conceptual and compositional patterns in the development of applied indoors, through the study of "contemporary visuality". In discussing the results of the study identifies the presence of patterns in research - Interior Design and Surface Design and observes the aspects considered in the use of pattern as a compositional element in the environment. It comes to the conclusion that the pattern is a relevant compositional element in constructing the identity of the environment. The work highlights the surface design in the development of patterns when it observes the technical and conceptual aspects applied to the identified coatings in contemporary environments. The use of patterns is significant and growing in the field, being almost impossible to see a surface without it.

Wall-Couture is a project within the textile design field, which aims to explore methods for surface design in digitally printed wallpaper. Through a practice based working method, textile after-treatment techniques have been used to manipulate digitally printed wallpaper with hand-painted motives. Practices borrowed from haute couture have influenced the working method. The result is a range of design examples displaying various expressions of the techniques. The project shows that several surface materials could be applied in ways that enhance tactility and visual depth to digitally printed wallpaper, and also that methods from craftsmanship could be use to design contemporary wallpaper. The combination of techniques increases the designer’s opportunities to design wallpaper by using alternative approaches to material and surfaces. The work also strives to higher the value of handicraft, decoration and ornamentation in the design field. Another value is to strengthen the position of digital printing in the textile industry; the work encourages technical progress for creating digital print in combination with surface treatments.

The impulse to beautifying clothing through acts of adornments or embellishments is an innate characteristic of humans. The added decorative details are used for identification and visual communication by the wearer and comprehension and visual appreciation by the viewer. This thesis investigates the recent attention to female modesty, labeled as the Modesty Movement--the community that has developed around the apparel segment of the Movement and the framework of the behavior encompassing the participants within Movement. Additionally, the thesis focuses on adornment through the lens of textile/surface design (embellishment) specific to the Greater Middle East and the northern provinces of India and its application to modest apparel. Surface design is defined as manipulation of a textile beyond the woven construction, in this context it is applied to women’s apparel that covers the head and chest. Through a series of experiments using light, sound and motion the thesis examines how the use of of adornment simultaneously conveys identity and conceals the wearer.