Esta pesquisa se propôs a construir uma breve cronologia da evolução do desenho industrial no estado do Rio de Janeiro, tendo como fio condutor três linhas de atuação do design: prática profissional (profissionais, escritórios, empresas, produtos e projetos), ensino e promoção/divulgação (eventos, conferências, exposições, premiações e concursos). Estas informações hoje se encontram dispersas ou são de todo desconhecidas do grande público. A pesquisa então procurou levantar, organizar e analisar criticamente esse volume de dados e informações, de modo a documentar e resgatar o desenvolvimento do design industrial no Rio de Janeiro. Este trabalho concentrou o foco do estudo histórico no design de produto, visto que uma série de trabalhos recentemente publicados já iniciou o processo de prospecção histórica do design gráfico no Brasil. Em que pese, além disso, que um estudo regionalizado do design de produto, centrado no Rio de Janeiro, ser uma contribuição relevante à historiografia do design brasileiro. A pesquisa fez uso de técnicas qualitativas de obtenção e tratamento de dados, destacando-se a pesquisa bibliográfica (sempre que possível fazendo uso de fontes primárias); o contato (via cartas, entrevistas e/ou acesso a websites) com as personalidades envolvidas nos eventos citados no texto; e, finalmente, a consulta a arquivos (públicos e privados). Ao se concluir a pesquisa, foram organizadas três cronologias independentes relativas a cada um dos subproblemas propostos a partir da questão central. Essas cronologias identificaram e contextualizaram as diferentes áreas de atuação do design de produto, descreveram o processo de implantação e desenvolvimento do ensino do design e documentaram as iniciativas no âmbito da divulgação e promoção do design de produto no Rio de Janeiro. O capítulo cinco apresenta as conclusões da análise da pesquisa. / This research intends to build up a brief chronology of product design development process in the state of Rio de Janeiro, following its three main areas of influence: professional practice (designers, offices, companies, products and projects), design promotion (events, conferences, exhibitions, awards and competitions) and design tuition (the formative path of product design college education). As today this information is either dispersed or unknown to the public, this work intends to uncover, organize and eventually analyse this amount of data in order to provide documentation and also rescue the development of industrial design in Rio de Janeiro from its oblivion. This work focused on the historical development of product design, as long as previous works have already started out the research on the history of graphic design in Brazil. Qualitative techniques were mainly used to obtain and process data such as the search into the actual bibliography (recurring to primary sources whenever possible), the contact (by letter, interviews and/or access to websites) with professionals involved in the events mentioned in the text and the search into public or private files. The research outcome was organized into three independent chronologies which identified and related the different areas of influence of product design that were documentary in the design college tuition evolutionary process. This brought evidence to initiatives in the scope of design diffusion in Rio de Janeiro. The last chapter presents conclusions pertaining to the analysis of the main line of design evolutionary process. Being a regional oriented research, concentrated in Rio de Janeiro, it may turn out to be a relevant contribution to Brazilian design historiography.

This thesis examines the ways in which the Daily Mail Ideal Home Exhibition educated (, and entertained the public in the first half of the twentieth century by promoting a modern way of life, helping to establish a commercial culture of homemaking. By exploring the ways in which the Exhibition represented popular conceptions of the 'modern' within their social and historical contexts, the thesis challenges the dominance of Modernist aesthetics and values on writing on design, architecture and consumption. Chapter one explores the unease felt by a particular group of writers towards the Ideal Home Exhibition, which it locates in relation to a wider intellectual condemnation of modernity and suburbia. Chapter two looks at the founding of the Exhibition by the Daily Mail in 1908. Chapter three analyses how the Daily Mail and the Exhibition constructed an 'ideal audience' and why the idea of an 'ideal home' was so appealing. Chapter four looks at the ways in which ideas about 'labour-saving', which were part of a concern with national efficiency that drew on the doctrines of scientific management, have constructed the 'ideal home' as a site of change and experimentation. Chapter five explores how the 'Tudorbethan' semi and the popular appropriation of the Modern Movement in the Exhibition represented tensions between the longings for the past and aspirations for the future. Chapter six investigates the representation of non-English peoples and places and the display of Empire in the Exhibition. Chapter seven looks at how the Exhibition addressed the question of the 'house that women want', focusing on the actual participation of women in the Exhibition, as 'natural' experts and paid professionals. Chapter eight makes some conclusions on the ways in which the audience's experience of 'suburban modernity' in the Exhibition was dependent on the interaction of the themes outlined in the earlier chapters. The thesis ends with a review of the past, present and future of the Ideal Home Exhibition.

Esta tese é um panorama da história gráfica brasileira de 1837 até 1931, visto pela ótica da representação cômica, do design gráfico e da mentalidade. A idéia principal foi partir de um plano geral para encontrar na década de 1920 a obra conjunta do humorista Aparício Torelly, o Barão de Itararé, e do artista gráfico paraguaio Andrés Guevara. Passando pelos autores mais relevantes deste período, a inspiração rizomática é a própria cronologia, onde os assuntos relacionados a humor, design e mentalidade trepidam e se desdobram em conexões pertinentes e interessantes para o próprio tema. A tese foi concebida em três partes, a saber: A primeira versa sobre o objeto de conhecimento, objeto de estudo, metodologias e fontes; assim como fala brevemente sobre os autores principais Barão & Guevara , mote da estratégia de abordagem do assunto. A segunda parte destrincha os antecedentes históricos sob as óticas propostas através de uma amostragem de fontes primárias (imagens & autores) em contraponto com trechos de importantes fontes secundárias, costurado com comentários que vão propondo novas interpretações e olhares para os mesmos temas e objetos, sem aplicação de juízos de valor, mas apenas mostrando que foi assim que as coisas se passaram. A terceira parte está focada na década de 1920, e é onde encontro os autores alvo e aplico um detalhamento maior, evidenciando um momento de forte gênese e experimentação no design gráfico brasileiro frente à mudança completa de paradigmas com a introdução da estética modernista, e a assimilação e difusão acentuada dos valores burgueses no campo social. / This thesis is an overview of the Brazilian graphic history from 1837 to 1931, seeing by comic graph representations, graphic design and historical mentalities. The main idea was start from a general plan to reach in the 1920s the four hands works of the humorist Aparício Torelly (Barão de Itararé) and the Paraguayan graphic artist Andrés Guevara. Passing by the more relevant artists of this period, the root inspiration is the chronology itself, were the subjects related to humor, design and mentality tremble and unfolding pertinent and interesting connections for the own theme. The work was conceived in three parts: The first one runs upon the knowledge subject, application subject, methodologies and the wellspring of informations; as well as talk briefly about the main authors Barão de Itararé & Guevara , reason of the strategy subject approach. The second part clear up the historical foregoings under the proposed look through an stamp of original wellsprings (images and authors) put against extracts of the more important Brazilian bibliography, sewed with comments that proposes new interpretations and new looks over the same themes and subjects, without judgements, but just showing that was the way the things took place. The third part is focused on 1920 decade, and is where I meet the target authors and apply for more details, making evident the moment of strong creation and experimentation in the Brazilian graphic design face to the complete change of paradigms in order of the introduction of modernist esthetics and the assimilation and great dissemination of burgess values in the social field.

Design is reemerging again as an active system of enquiry for cultural production with a wide ranging set of methods - not only to address short-term formal problems and limited functions, but as a discipline that is uniquely placed in its relations to other fields of visual culture, special settings and textual production. A new generation of designers are currently reassessing the positions within graphics, product design and architecture and picking up loose ends of progressive historic developments.

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The challenge of interoperability is to retain model integrity when different software applications exchange and interpret model data. Transferring CAD data between heterogeneous CAD systems is a challenge because of differences in feature representation. A study by the National Institute for Standards and Technology (NIST) performed in 1999 made a conservative estimate that inadequate interoperability in the automotive industry costs them $1 billion per year. One critical part of eliminating the high costs due to poor interoperability is a neutral format between heterogeneous CAD systems. An effective neutral CAD format should include a current-state data store, be associative, include the union of CAD features across an arbitrary number of CAD systems, maintain design history, maintain referential integrity, and support multi-user collaboration. This research has focused on extending an existing synchronous collaborative CAD software tool to allow for a neutral, current-state data store. This has been accomplished by creating a Neutral Parametric Canonical Form (NPCF) which defines the neutral data structure for many basic CAD features to enable translation between heterogeneous CAD systems. The initial architecture developed begins to define a new standard for storing CAD features neutrally. The NPCF's for many features have been implemented in a multi-user interoperability program and work between NX and CATIA CAD systems. The 2D point, 2D line, 2D arc, 2D circle, 2D spline, 3D point, extrude, and revolve NPCF's will be specifically defined. Complex models have successfully been modeled and exchanged in real time and have validated the NPCF approach. Multiple users can be in the same part at the same time in different CAD systems and create and update models in real time.

This is a study of the intersection between art historical theory and practice, and cultural heritage, where the revivals and mediations of the neoclassical Gustavian style have been used as a platform for further exploration. In relation to this, the use and changing meanings of the concepts authenticity and style have been examined. The research has a historiographical and multidisciplinary character, drawing on the fields of art history, critical heritage studies and design history. The study shows how the Gustavian style has been routinely used when Swedish culture has been staged, nationally and internationally, but also when shaping ideas of the ideal home and good taste. The focus is placed on three periods – the 1890s, the 1930s-40s and the 1990s – during which the Gustavian style was defined, revived and mediated in different modes of representation such as textbooks, exhibitions, period furniture and historically informed performances. In the study we meet the actors, human and non-human, that have contributed to the resilient position of the Gustavian style in the public consciousness and in a commercial context. The Gustavian style, perhaps like no other, has been systematically embraced by the official heritage institutions in Sweden, including the academic discipline of art history, which has been an important influence on the way the past has been presented, valued, categorised, preserved and re-used. The author argues that the style has been able to maintain its relevance due to its ability to embody many different prevailing aspects across the 20th century, for example tradition and modernity, nationalism and internationalism, but also the past, present and visions of retro-utopia.

There are many different programs that can perform Computer Aided Design (CAD). In order for these programs to share data, file translations need to occur. These translations have typically been done by IGES and STEP files. With the work done at the BYU CAD Lab to create a multi-engineer synchronous heterogeneous CAD environment, these translation processes have become synchronous by using a server and a database to manage the data. However, this system stores part data in a database. The data in the database cannot be used in traditional Product Lifecycle Management systems. In order to remedy this, a new database was developed that enables every edit made in a CAD part across multiple CAD systems to be stored as well as worked on simultaneously. This allows users to access every action performed in a part. Branching was introduced to the database which allows users to work on multiple configurations of a part simultaneously and reduces file save sizes for different configurations by 98.6% compared to those created by traditional CAD systems.

[pt] A presente dissertação parte de um estudo de caso para pensar questões mais amplas acerca da História do Design e da História Brasileira. A partir do último quartel do século XIX (do Segundo Reinado até a proclamação da República) quem desejasse registrar e assegurar a exclusividade de sua marca comercial deveria depositá-la nas Juntas Comerciais espalhadas pelo território nacional. Na Corte foi-se formando uma coleção de rótulos impressos em litografia que continham os mais diversos textos, imagens, propósitos, procedências e compromissos. Quando o registro de marcas pela Junta cessou com o advento da República, os livros- registro foram arquivados e posteriormente adquiridos pelo Arquivo Nacional como exemplares da cultura material oitocentista. Apesar de ser fonte rica para diversos estudos históricos, principalmente os interessados em imagem e comunicação visual, a coleção de rótulos esteve por mais de cem anos esquecida e mantida inativa como agente social. Um recorte temático foi imposto sobre os quase mil rótulos encontrados. Foram selecionados para análise gráfica aqueles exemplares que traziam a imagem do indígena (19 no total) e problematizados à luz da questões da identidade nacional e modernidade discutidas no século XIX. Através dos esforços da presente pesquisa procuramos não apenas recuperar parte da nossa cultura material como apontar novas propostas de entendimento e de narrativa para nossa própria história hoje em dia. / [en] The present research begins as a case study to re-think wider subjects concerning Design History and Brazilian History. For the last twenty-five years of nineteenth century (from the Second Reign to the Republic) the one who wanted to register and reassure the exclusivity of his commercial mark should deposit one sample in any Commercial Board established on national territory. In the Court, the gathering of the lithographic labelssample assembled also a vast sort of texts, images, purposes, origins and commitments. When this process finished with the Republic, the registry- books were filed and lately absorbed by the National Archive as components of the nineteenth century material culture. Although it being a rich source for multiple historical studies, especially those regarded with images and visual communication, the collection of labels was for more than a hundred years forgotten and kept inactive as a social agent. One thematic focus was laid over the almost thousand found labels. Were separate for graphic analysis those who carried the image of the Brazilian native (19 in total). They were analyzed concerning the debate around national identity and modernity taken throughout the nineteenth century. Through the efforts of this research we tried not only to recuperate part of our material culture but also to point out new forms of understanding and reporting to our own history nowadays.

This thesis specifically focuses on the professional practices and training of Western industrial designers using postcolonial theory to inform working practices in a complex global ecology. It investigates the culturally hegemonic construction of design solutions in man-made products. By adopting key ideas from postcolonial and cultural studies as a lens to evaluate fields of industrial design discourse, practice and pedagogy, the work proceeds from the premise that design is not intrinsic to a product but the result of a myriad different forces and factors acting on it externally including hegemonic potencies. By reinterpreting technological formations in light of research emerging from post-colonial studies, it attempts to broaden our intellectual understanding of how product design in theory, practice and education can often rely upon western [hegemonic] aesthetic and deep cultural archetypes. The purpose of this enquiry is to highlight the potentials that exist to explore a synergy between east and west in industrial design with a prospective vision for global, trans-cultural design. The research claims that current design practice often leads to culturally determined - rather than universal - conceptions in design and it attempts to re-conceptualise design as practice within a necessarily hegemonic culture. This hegemony needs to be acknowledged and redressed via increased awareness and changes to the intellectual heritage and autonomy of West European and American industrial design, in its dialogue, practice and education. As an epistemological project to identify knowledge within this discourse, it suggests new methodological and strategic approaches to engage with the crisis the discipline faces in light of globalisation so as to open up future discussions in design discourse and give a voice to the many silences that make up the noise of the world. It attempts to: • Further understand the trajectory of hegemony and globalisation in relation to design, technology and culture. • Critically engage with cross- and trans-cultural, global and social design implications. • Address the discrepancies between designers’ culture and users’ culture, to expose the necessity for more culturally-cognizant design practice and pedagogic provision. The research was initiated by identifying a number of questions that designers and users may consciously or subconsciously confront when faced with products that problematise the imagined universal values of designed products in terms of gender and culture. It explores how certain design solutions produced and developed in the west and their diffusion into global, international markets and foreign cultures could affect those cultures by asking in what ways the usability, aesthetic and symbolic characteristics of these artefacts often unwittingly contribute to the privilege or marginalisation of people from particular socio-cultural backgrounds. The thesis intervention is that product designers are neither explicitly trained to comprehend nor surmount their respective cultural constraints and design education both nationally and internationally is not sufficiently equipped with the tools to acknowledge and confront this. The key arguments presented in this thesis are: 1. Products can often be deconstructed to identify cultural connotations or omissions in their design. 2. Global, a-cultural design and universal usability are fallacies that frequently deny the existence of an underlying cultural hegemony at play. 3. Mass-produced products can gradually homogenise and eradicate cultural diversity contributing to the negative effects of colonialist attitudes and/or globalisation. 4. Academia and educational institutions have the potential to extend awareness in this field to inform and train future designers and graduates to better advance design obligations in global, trans-cultural, cross-cultural and multicultural contexts.