<p>”The language of management is money”, har någon sagt. I affärslivet gäller det att veta vilka åtgärder som lönar sig. Vi har i vår uppsats fokus på design som en strategisk resurs; skapande av mervärde. Kunskapsbaserade tillgångar, är mycket viktiga för företagens framgång i dagens hårda konkurrenssituation. Mer än 75% av det genomsnittliga företagets marknadsvärde kommer från immateriella tillgångar som traditionella redovisningssystem inte klarar av att värdera. Vilka resurser har företag i form av kapital, fysiska tillgångar, människor, teknik, varumärke och relationer?</p><p>Den ökade fokuseringen på immateriella tillgångar förändrar synen på ekonomi och utmanar inrotade lednings- och organisationssynsätt. Som en följd av globalisering och hårdare konkurrens blir det svårare för företag att differentiera sig. Nya mervärden måste adderas till produkten eller tjänsten för att locka kunden och möta förändrade behov som uppstår.</p><p>Att implementera design på en strategisk nivå handlar först om att fastställa ansvaret och ledarskapet som har hand om design. Därefter kommer sökandet efter det design kan göra för organisationskulturen; möjligheterna till nyskapade produkter och ökat identitetsskapande.</p><p>För att uppnå framgång i ett företag krävs det idag mer än att styra med ekonomiska mål och nyckeltal. Det behövs en balans mellan finansiella- och ickefinansiella mått. Vi vill ta reda på hur design och designers kunskap bidrar strategiskt och skapar konkurrensfördelar — designens förmåga att differentiera, anpassa sig, förändra och bidra till ett företags ”bottom-line”-resultat. Vi har fördjupat oss i detta och vill undersöka om det går att arbeta med något gemensamt konkret och visuellt verktyg för att förstärka designens roll som strategisk resurs. En hjälp att överbrygga klyftan mellan designers och företagsledares skilda världar.</p>

”The language of management is money”, har någon sagt. I affärslivet gäller det att veta vilka åtgärder som lönar sig. Vi har i vår uppsats fokus på design som en strategisk resurs; skapande av mervärde. Kunskapsbaserade tillgångar, är mycket viktiga för företagens framgång i dagens hårda konkurrenssituation. Mer än 75% av det genomsnittliga företagets marknadsvärde kommer från immateriella tillgångar som traditionella redovisningssystem inte klarar av att värdera. Vilka resurser har företag i form av kapital, fysiska tillgångar, människor, teknik, varumärke och relationer? Den ökade fokuseringen på immateriella tillgångar förändrar synen på ekonomi och utmanar inrotade lednings- och organisationssynsätt. Som en följd av globalisering och hårdare konkurrens blir det svårare för företag att differentiera sig. Nya mervärden måste adderas till produkten eller tjänsten för att locka kunden och möta förändrade behov som uppstår. Att implementera design på en strategisk nivå handlar först om att fastställa ansvaret och ledarskapet som har hand om design. Därefter kommer sökandet efter det design kan göra för organisationskulturen; möjligheterna till nyskapade produkter och ökat identitetsskapande. För att uppnå framgång i ett företag krävs det idag mer än att styra med ekonomiska mål och nyckeltal. Det behövs en balans mellan finansiella- och ickefinansiella mått. Vi vill ta reda på hur design och designers kunskap bidrar strategiskt och skapar konkurrensfördelar — designens förmåga att differentiera, anpassa sig, förändra och bidra till ett företags ”bottom-line”-resultat. Vi har fördjupat oss i detta och vill undersöka om det går att arbeta med något gemensamt konkret och visuellt verktyg för att förstärka designens roll som strategisk resurs. En hjälp att överbrygga klyftan mellan designers och företagsledares skilda världar.

The main goal of this thesis is the development of a novel methodology to generate creative solutions at functional level for design tasks without binding solution spaces with designers&rsquo / individual experiences and prejudices. For this purpose, an evolutionary methodology for the conceptual design of engineering products has been proposed. This methodology performs evaluation, combination and modification of the existing solutions repetitively to generate new solution alternatives. Therefore, initially a representation scheme, which is generic enough to cover all alternatives in solution domain, has been defined. Following that, the evolutionary operations have been defined and two evaluation metrics have been proposed. Finally, the computer implementation of the developed theory has been performed. The test-runs of developed software resulted in creative alternatives for the design task. Consequently, the evolutionary design methodology presents a systematic design approach for less experienced or inexperienced designers and establishes a base for experienced designers to conceive many other solution alternatives beyond their experiences.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T19:19:00Z No. of bitstreams: 1 448318.pdf: 3539278 bytes, checksum: 5788c880da85992f605ba82b35ee6d39 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:26:09Z (GMT) No. of bitstreams: 1 448318.pdf: 3539278 bytes, checksum: 5788c880da85992f605ba82b35ee6d39 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:30:50Z (GMT) No. of bitstreams: 1 448318.pdf: 3539278 bytes, checksum: 5788c880da85992f605ba82b35ee6d39 (MD5) / Made available in DSpace on 2018-08-21T13:35:03Z (GMT). No. of bitstreams: 1 448318.pdf: 3539278 bytes, checksum: 5788c880da85992f605ba82b35ee6d39 (MD5) Previous issue date: 2017-03-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The return of exhibitions at the São Paulo Art Museum “Assis Chateaubriand” - MASP from the year 2015 is a review of the museological program with ways to outline the next Maspian actions. The Italian exhibition design, delineated from the influence of El Lissitisky and the production within the European vanguards, had in Brazil MASP as a space for its expression through mainly the performance of Lina Bo Bardi. From this context, the present research aims to highlight aspects of Italian exhibition design, influenced by the premises of modern Italian architecture and art. The exhibition Fashionable art: collection MASP Rhodia (2015-2016) presents 79 pieces of clothing that were donated by Rhodia to the MASP collection in the year 1972, and this exhibition, through the analysis of its exhibition devices, the object of this research. Here we made use of the bibliographical and documentary techniques, if the latter stopped the analysis of documents, texts, drawings and images related to the exhibition Fashionable art: MASP Rhodia collection, held at the MASP Documentation Center. The exhibition presents a different display from those that marked the Italian production in the field of exhibition design. / O retorno de exposições no Museu de Arte de São Paulo "Assis Chateaubriand" – MASP a partir do ano de 2015 é uma revisão do programa museológico com vias a delinear as próximas ações maspianas. O design expositivo italiano, delineado a partir da influência de El Lissitisky e da produção no âmbito das vanguardas europeias, teve no Brasil o MASP como espaço para sua expressão através, principalmente, da atuação de Lina Bo Bardi. A partir desse contexto, a presente pesquisa tem por objetivo pontuar aspectos do design expositivo italiano, sob influência das premissas da arquitetura e da arte modernas italianas. A exposição Arte na moda: coleção MASP Rhodia (2015-2016) apresenta 79 peças do vestuário que foram doadas pela Rhodia para o acervo do MASP no ano de 1972, sendo essa mostra, através da análise de seus dispositivos expositivos o objeto desta pesquisa. Aqui se fez uso das técnicas bibliográfica e documental, detendo-se esta última da análise de documentos, textos, desenhos e imagens relacionadas à exposição Arte na moda: coleção MASP Rhodia, realizada no Centro de documentação do MASP. A exposição apresenta um display distinto daqueles que marcaram a produção italiana no campo do design expositivo.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-03T18:06:08Z No. of bitstreams: 1 Engracia Llaberia.pdf: 8316341 bytes, checksum: 8fb64baf42978a36905a5d6cad165fae (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-03T18:16:09Z (GMT) No. of bitstreams: 1 Engracia Llaberia.pdf: 8316341 bytes, checksum: 8fb64baf42978a36905a5d6cad165fae (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-03T18:18:11Z (GMT) No. of bitstreams: 1 Engracia Llaberia.pdf: 8316341 bytes, checksum: 8fb64baf42978a36905a5d6cad165fae (MD5) / Made available in DSpace on 2018-10-03T18:18:51Z (GMT). No. of bitstreams: 1 Engracia Llaberia.pdf: 8316341 bytes, checksum: 8fb64baf42978a36905a5d6cad165fae (MD5) Previous issue date: 2016-12-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis presented to the PhD Program of Design at Anhembi Morumbi University, deals with the importance of drawing as a tool for jewelry design, considering its typology applied to different stages of development process, from creation to production, in the jeweler sector, devoting special attention to the industrial segment. This study analyzes the different activities related to the creation of the jewel, such as the High Jewelry and the Contemporary Jewelry, in relation to the use of drawing in different moments. Searching for basis in the drawings of Architecture as reference to studies of forms, volumes and spatial vision development, in the transposition of mental images of three-dimensional objects to the two-dimensional representation. It presents the works of designers and jewelers/artists through interviews and visits to their ateliers as a way of illustrating, also with their drawings, the relevance of this technique representing their ideas. Those professionals were selected for the relevance of theirs works and the attention dedicated to the form research through drawing, since roughs and sketches. Their production and reports are inserted through the chapters, to clarify the approach of each subject. It aims, therefore, to enhance and encourage the teaching of drawing in the training of design professionals and others who dedicate themselves to the production of jewelry in Brazil. / Esta tese apresentada para o Doutorado em Design da Universidade Anhembi Morumbi, no Programa de Pós-Graduação em Design, trata da importância do desenho como ferramenta do projeto de design de joias, considerando sua tipologia aplicada a diferentes etapas do desenvolvimento do processo, da criação à produção, no setor joalheiro, dedicando especial atenção ao segmento industrial na contemporaneidade. Além deste, analisa as distintas atividades relacionadas à criação da joia, como a Alta Joalheria e a Joalheria Contemporânea, em relação ao uso do desenho em diferentes momentos. Buscou embasamento nos desenhos da Arquitetura como referência de estudos da forma e volumetria, além do desenvolvimento de visão espacial, na transposição de imagens mentais para a representação bidimensional de objetos tridimensionais. No percurso, apresenta os trabalhos de designers e artistas/joalheiros por meio de entrevistas e visitas realizadas a seus ateliês como forma de exemplificar, também com seus desenhos, a importância desta técnica como meio de representação de suas ideias. Os profissionais aqui apresentados foram selecionados pela relevância de seu trabalho nos diferentes segmentos, bem como por se dedicarem ao ensino do desenho de joias e da joalheria artesanal, em alguns casos, além da importância que dedicam no percurso de seu próprio processo de elaboração da forma através do desenho, desde os estudos iniciais, através de rascunhos, até os esboços ou croquis nos seus processos criativos. Suas produções e relatos estão inseridos nos diferentes capítulos, oportunamente, de modo a esclarecer as questões ali abordadas. Objetiva, dessa forma, a valorização e o incentivo ao ensino do desenho na formação dos profissionais de design e outros que se dediquem à produção de joias no Brasil.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-03T21:02:33Z No. of bitstreams: 1 Jose Neto de Faria.pdf: 17062766 bytes, checksum: 1659485ffb025186791c5015c7bb71f2 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T14:51:32Z (GMT) No. of bitstreams: 1 Jose Neto de Faria.pdf: 17062766 bytes, checksum: 1659485ffb025186791c5015c7bb71f2 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T14:51:51Z (GMT) No. of bitstreams: 1 Jose Neto de Faria.pdf: 17062766 bytes, checksum: 1659485ffb025186791c5015c7bb71f2 (MD5) / Made available in DSpace on 2018-10-04T14:52:04Z (GMT). No. of bitstreams: 1 Jose Neto de Faria.pdf: 17062766 bytes, checksum: 1659485ffb025186791c5015c7bb71f2 (MD5) Previous issue date: 2017-03-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis tried to investigate and study the cycles of design reorganization with respect to the programs of the main design education institutions to delimit both the thinking that constitutes the cultural object and the very field of design knowledge using the philosophical categories of Gilbert Simondon. In other words the main objective of this research was to deal with the cultural object of the design field aided by the philosophical categories of Gilbert Simondon to reconstruct the forms of analysis and the understanding models needed to describe the operations and the functions of the supra-structural components of "information systems" as design cultural objects. The methodology sought to provoke the rise of different sets of explanations in order to stimulate processes of differentiation, integration and dedifferentiation capable of elucidating both the dynamic nature of the design knowledge and the renewal dynamics of the design cultural object. The thesis relevance is precisely based on the importance of characterizing and understanding the proper space and time of the becoming of design, seeking to foresee what has previously been announced in the symptoms emitted as signals by the system. It also tries to break with the reading logic of "information systems", which are based on the understanding of the aesthetic qualities of its parts rather than on the supra-structures that articulate and integrate the object constitution. However, the first impression is that the field of design is a passing territory, which reorganizes itself as the caravans pass by, so it should not be surprising that the field of design knowledge is always described through other fields of the knowledge. The focus on the surface of what is visible can not reveal the supra- structure that sustains the skin of the design object. / A presente tese buscou pesquisar e estudar os ciclos de reorganização do design em função dos currículos das principais instituições de ensino do design com o intuito de delimitar o pensamento que constitui tanto o objeto cultural quanto o próprio campo de saber do design através das categorias filosóficas de Gilbert Simondon. Assim, a pesquisa tem como principal objetivo abordar o objeto cultural do campo do design com o auxílio das categorias filosóficas de Gilbert Simondon, a fim de reconstruir as formas de análise e os modelos de compreensão necessários à descrição das operações e das funções das supraestruturas constituintes dos sistemas de informação enquanto objeto cultural do design. A metodologia buscou provocar o surgimento de conjuntos de explicações concorrentes a fim de que pudesse ser instigado o surgimento de processos de diferenciação, de integração e de desdiferenciação capazes de induzir elucidações tanto sobre a constituição dinâmica do campo de saber do design quanto da dinâmica de renovação do objeto cultural do design. A tese tem a sua relevância baseada justamente na importância de se caracterizar e compreender o espaço e o tempo próprios do devir do design, buscando antever aquilo que previamente se anuncia nos sintomas emitidos como formas de sinais pelo sistema, por tentar romper com a lógica de leitura dos sistemas de informação baseada na compreensão mais das qualidades estéticas de suas partes do que propriamente das supraestruturas articuladoras e integradoras de constituição do objeto. No entanto, a primeira impressão é de que o campo do design é um território de passagem, que conforme as caravanas passam, se reorganiza, por isso não se deve estranhar que o campo de saber do design seja sempre descrito a partir de outros campos do conhecimento. O foco na superfície do que se vê não pode revelar a supraestrutura que sustenta a pele do objeto do design.

The object of this thesis is the design of eye measuring equipment, concretely autorefractometer. The proposed solution is based on innovative reorganization parts of this machine. The thesis is based on complex analysis of ophtalmology history, technical data and design of current autorefractometers. The design report contains the identified problems, variant design concepts and final solution. The design report accompained a product mock-up in 1:1 scale.

The aim of my Master's thesis is the design of a scanning electron microscope. The designed concept presents an innovative approach to the problems and respects all technical, ergonomic and aesthetical demands made on it. The main creative part of design process starting from the concept development and ending up with the final solution is preceded by a background research study including a historical, technical and design analysis of the electron microscope. The conclusion of my Master's thesis analyses the final design, its character and its contribution in broader context.

Intro „Sieben von zehn Euro wurden im Jahr 2015 in Deutschland mit Dienstleistung, also Serviceangeboten umgesetzt.“ (Statista, 2015) Was zeichnet das Design einer guten, neuen Dienstleistung aus – Erlebnis, positive Emotion, Zufriedenheit und Vertrautheit, der Wunsch nach Wiederholung? Es geht darum alltagstaugliche Dienstleistungsinnovationen ganz nah am Menschen zu entwickeln. Eine organisatorisch durchgängige, gesamtheitliche Gestaltung von Service-Produkt-Systemen ist dafür notwendig. Gutes Service-Design hat einen markanten Unterschied zu gewohnten und vorherigen Lösungen – es bietet dem Kunden einen hohen Erlebnisfaktor, Neuheitsgrad, spürbaren Mehrwert und darüber nachhaltige Weitererzählungsfaktoren an.

München: Auf dem Messegelände findet eine Audi Management Konferenz (MMK) in statt. Das Audi Journal berichtet zum ersten Mal von der MMK. Der Aufbruch: Rupert Stadler – der Vorstandsvorsitzende der AUDI AG – zeichnet in seiner Rede ein Bild über den Weg in die Zukunft. Die Themenschwerpunkte: digital, global, ultra, premium – was steckt dahinter? (AUDI AG 2014)