Winnipeg is a spatially, culturally, psychologically and visually fragmented city, particularly due to the vehicular-oriented growth which has engendered segmented land-use, dismantled walkable networks and provoked disconnection between culture and nature as well as within nature itself. In particular, the displacement of daily life from the complex web of interrelationships in ecosystems, which are essentially the mechanisms supporting our existence, should be the primary concern of urban design. In order to resolve this critical issue, this practicum will isolate and examine a problematic site while deconstructing fragmentation into specific causes, namely pollution, habitat degradation, placelessness and lack of urban ecological education. Concluding that this condition is ultimately created by our own fragmented thinking, the production of pragmatic solutions which continually evoke further fragmentation, I present a series of solutions to these challenges in the form of a landscape architectural design proposal for the City of Winnipeg.

To compete, manufacturing companies need production systems that quickly can respond to changes. To handle change drivers such as volume variations or new product variants, reconfigurability is advocated as a competitive means. This implies an ability to add, remove, and/or rearrange the structure of the production system to be ready for future changes. Still, it is not clear how the production system design process can capture and support the design of reconfigurable production systems. Therefore, the objective of this thesis is to increase the knowledge of how to support the design of reconfigurable production systems. Reconfigurability could be defined by a number of reconfigurability characteristics including convertibility, scalability, automatibility, mobility, modularity, integrability, and diagnosability. In eight case studies, reconfigurability characteristics in production system design were studied in order to investigate reconfigurability needs, knowledge, and practice in manufacturing companies. In three of the case studies reconfigurable production systems were studied to identify the links between change drivers and reconfigurability characteristics. In the remaining five case studies, reconfigurability in the production system design processes was addressed in terms of needs, prerequisites, and consideration. Based on the literature review and the case studies, support for reconfigurable production system design is suggested including two parts. The first part comprises support for analyzing the need for reconfigurability. Based on relevant change drivers the need for reconfigurability must be identified to enable selection of right type and degree of reconfigurability for each specific case of application. A comprehensive view of the reconfigurability characteristics is presented and links between change drivers and reconfigurability characteristics are described. The characteristics are divided into critical characteristics, that lead to a capacity or functionality change of the production system, and supporting characteristics, that reduce system reconfiguration time but do not necessarily lead to a modification of functionality or capacity of the production system. The second part provides support in how to consider reconfigurability in the production system design process. A holistic perspective is crucial to design reconfigurable production systems and therefore constituent parts of a production system are described. According to their character physical, logical, and human reconfiguration must be considered through the whole production system design process.

THE THESIS STUDY AIMS TO UNDERSTAND AND INVESTIGATE THE ARCHITECTURAL DESIGN PROCESS BY UTILIZING THE CHARACTERISTICS AND TYPES OF ANOTHER FIELD, GAME. THE STEPS TAKEN IN ORDER TO ACCOMPLISH THIS AIM ARE &#039 / ANALYZING GAME, ITS PROPERTIES, AND TYPES&#039 / , &#039 / RE-READING AND UNDERSTANDING ARCHITECTURAL DESIGN PROCESS BY INVESTIGATING THE SIMILARITIES AND DIFFERENCES WITH GAME TYPES IN ORDER TO END UP WITH INFORMATIVE, UNDERSTANDABLE TABULAR RESULTS&#039 / , RESPECTIVELY.

Designers are challenged to manage customer, technology, and socio-economic uncertainty causing dynamic, unquenchable demands on limited resources. In this context, increased concept flexibility, referring to a designer s ability to generate concepts, is crucial. Concept flexibility can be significantly increased through the integrated design of product and material concepts. Hence, the challenge is to leverage knowledge of material structure-property relations that significantly affect system concepts for function-based, systematic design of product and materials concepts in an integrated fashion. However, having selected an integrated product and material system concept, managing complexity in embodiment design-processes is important. Facing a complex network of decisions and evolving analysis models a designer needs the flexibility to systematically generate and evaluate embodiment design-process alternatives. In order to address these challenges and respond to the primary research question of how to increase a designer s concept and design-process flexibility to enhance product creation in the conceptual and early embodiment design phases, the primary hypothesis in this dissertation is embodied as a systematic approach for integrated product, materials and design-process design. The systematic approach consists of two components i) a function-based, systematic approach to the integrated design of product and material concepts from a systems perspective, and ii) a systematic strategy to design-process generation and selection based on a decision-centric perspective and a value-of-information-based Process Performance Indicator. The systematic approach is validated using the validation-square approach that consists of theoretical and empirical validation. Empirical validation of the framework is carried out using various examples including: i) design of a reactive material containment system, and ii) design of an optoelectronic communication system.

Since the establishment of the first European fashion houses in the nineteenth century the male wardrobe has been continually appropriated by the fashion industry to the extent that every masculine garment has made its appearance in the female wardrobe. For the womenswear designer, menswear’s generic shapes are easily refitted and restyled to suit the prevailing fashionable silhouette. This, combined with a wealth of design detail and historical references, provides the cyclical female fashion system with an endless supply of “regular novelty” (Barthes, 2006, p.68). Yet, despite the wealth of inspiration and technique across both male and female clothing, the bias has largely been against menswear, with limited reciprocal benefit. Through an exploration of these concepts I propose to answer the question; how can I use womenswear patternmaking and construction technique to implement change in menswear design?

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-06-10T18:34:58Z No. of bitstreams: 1 LAMUNYEL LUIS DE SOUZA - DISSERTAÇÃO PPGDesign 2017..pdf: 6283631 bytes, checksum: 28699dd7b30358bc11fb8536e77284fe (MD5) / Made available in DSpace on 2018-06-10T18:34:58Z (GMT). No. of bitstreams: 1 LAMUNYEL LUIS DE SOUZA - DISSERTAÇÃO PPGDesign 2017..pdf: 6283631 bytes, checksum: 28699dd7b30358bc11fb8536e77284fe (MD5) Previous issue date: 2017-07-26 / O presente estudo teve como objetivo analisar o Processo de Design de artefatos projetados por Negócios de Impacto a partir das fases projetuais da abordagem Design Thinking, no intuito de caracterizar como se dá o processo de desenvolvimento de produtos, serviços e artefatos digitais em Empresas do Setor 2,5 (dois e meio). Com abordagem qualitativa e finalidade exploratória e descritiva, esta pesquisa foi realizada por meio de estudos de casos múltiplos, os quais foram suportados por levantamento bibliográfico e documental. Para isso, desenvolveu-se um framework do processo de Design Thinking, composto por 6 (seis) fases: Contexto, Empatia, Insights, Ideias, Protótipos e Artefatos. A elaboração deste modelo de referência teve como fundamento 8 (oito) processos, publicados entre os anos de 2007 e 2014. A amostra investigada foi composta por 5 (cinco) Negócios de Impacto, os quais foram identificados, mapeados e selecionados de acordo com os critérios delimitados neste trabalho. Os dados foram coletados virtualmente em 3 (três) etapas, por meio de 2 (dois) questionários publicados no Formulários do Google, entrevistas semiestruturadas realizadas via Skype™ e levantamento documental e bibliográfico sobre cada negócio. Os instrumentos utilizados nesta pesquisa foram apreciados e aprovados pelo Comité de Ética em Pesquisa do Hospital Universitário Alcides Carneiro (HUAC/UFCG), tendo como Certificado de Apresentação para Apreciação Ética (CAAE) o registro n° 63084316.7.0000.5182. Os dados obtidos foram registrados, organizados e categorizados com o suporte dos softwares MP3 Skype Recorder v.4.29 e Microsoft® Groove, Word® e Excel®, assim como foram transcritos, revisados, codificados e interpretados à luz da abordagem de Creswell (2010) para estudos qualitativos. Como resultados, viu-se que cada negócio possui uma configuração processual bastante singular, influenciada pelas particularidades do projeto, pela cultura organizacional e experiência da empresa, bem como pelo repertório, expertises e aporte metodológico da equipe. Assim como o Design Thinking, o processo projetual nos Negócios de Impacto se caracteriza principalmente pelo foco no ser humano, pela colaboração multidisciplinar e pela experimentação de soluções. Isto posto, concluiu-se que o Processo de Design de Artefatos em Negócios de Impacto não somente se assemelha com o Design Thinking, mas que este é também utilizado deliberadamente como metodologia projetual pela maioria dos empreendimentos investigados. Ademais, viu-se que algumas de suas características se revelam difusas, em maior ou menor intensidade, de maneira consciente ou não intencional, entre os estágios projetuais das empresas pesquisadas, até mesmo naquelas que não utilizam o pensamento de design como método ou que não possuem um processo metodológico mais rigoroso. / This study aimed to analyze the Design Process of artifacts designed by Social Business through the design phases of the Design Thinking approach, in order to characterize how the development process of products, services and digital artifacts in Sector 2.5's Companies occurs. With a qualitative approach and exploratory and descriptive goal, this research was carried out through multiple case studies, which were supported by a bibliographical and documental research. For this, a framework of the Design Thinking process was developed, composed of 6 (six) phases: Context, Empathy, Insights, Ideas, Prototypes and Artifacts. The elaboration of this reference modelwas based on 8 (eight) processes, published among the 2007 and 2014 years. The sample investigated was composed of 5 (five) Social Business, which were identified, mapped and selected according to the criteria delimited in this study. The data was virtually collected through 3 (three) steps: 2 (two) surveys published in Google Forms, a semistructured interview via SkypeTM, and the documental and bibliographical research. The data was recorded, organized and categorized with MP3 Skype Recorder v.4.29 and Microsoft® Groove, Word® and Excel®, as well as transcribed, revised, codified and interpreted through CreswelLs (2010) approach for qualitative studies. This research was appreciated and approved by the Research Ethics Committee of the University Hospital Alcides Carneiro (HUAC / UFCG), having as Certificate of Presentation for Ethics Assessment (CAAE) the number 63084316.7.0000.5182. As a result, each business has a singular process configuration, influenced by the particularities of the project, organizational culture and company experience, and the know-how of the team. As Design Thinking, the Social Business design process is characterized mainty by the human-centered approach, the multidisciplinary collaboration and the experimentation of solutions. Therefore, it was concluded that the Social Business design process not only resembles the Design Thinking approach, but that it is also deliberately used as a design methodology by the most of the enterprises investigated. Thus, some of its characteristics have been diffused, to a greater or lesser intensity, in a conscious or unintentional way, between the design stages of the companies researched, even by those that do not use Design Thinking as a method, or that do not have a more rigorous methodological process.

This licentiate thesis is based on visual art didactics and the school subject visual art, but focuses on the design process in a college design education. The aim is to explore and understand the innovative and exploratory learning processes and the importance of visual mediation in this context. With a phenomenological approach the study focuses on design students experiences in this context. These experiences are made subject on reflection and formulation, through phenomenology and visual semiotics. The empirical materal of the study consists of interviews and sketches and images collected from student workbooks. The results of the study show that the design process does not occur by itself among the students. It must be learned. The need for learning probably also applies to the processes of creative learning in other fields. Furthermore, the results indicate that the process is best understood and appropriated in pragmatic learning situations. Three kinds of visual representations of the basic aims of process work are identified in the analysis: images for communicative purposes, images for reference and discussion purposes and images as a support for one's own thinking. From the perspective of visual art dididactics the results of the study reveals four important dimensions, wich may be of relevance as a fundamental didactic structure in efforts to promote understanding of a practice-oriented learning in context of visual mediations. Together with a split vision guiding principles, existing premises and action-based learning processes may provide a supporting unit in this structure. Based on the results, it seems important that pupils and students have the opportunity to learn to master and appropriate the creative process in order to use it in an investigative purpose. Considering the structure of the process, a didactic model can facilitate learning and at the same time provide a valuable complement to the subjective approach of inspiration in the aestetic learning process. In summary, the results of the study indicate that the fields of design and didactics are related to each other and that the field of design training can bring knowledge and experience of exploration and creative learning processes to the school subject visual art.

Este trabalho tem como principal objetivo a proposição de um processo para o desenvolvimento de infográficos interativos com fins educacionais. Em função da carência de publicações sobre esse assunto, a pesquisa bibliográfica buscou conceitos de áreas do design que, interligadas aos conceitos encontrados sobre infografia estática, pudessem nortear a construção de um processo e, ao mesmo tempo, argumentar a sua pertinência. Num primeiro momento, foram abordados os conceitos e processos das áreas do design que poderiam auxiliar na construção de um processo para o desenvolvimento dessa ferramenta: design instrucional, design de informação, design de interação e infografia. A partir daí, foi caracterizado o aprendiz do século XXI, apresentando as mudanças comportamentais trazidas pelo uso constante da tecnologia na busca de informações, e como essas mudanças interferem no processo de aprendizagem. A Teoria da Aprendizagem Multimídia e os conceitos de Gráficos para Aprendizagem ajudaram a identificar aspectos que poderiam ser melhorados na percepção dos aprendizes sobre os conteúdos, com a utilização de uma ferramenta visual e interativa. No desenvolvimento da pesquisa, foram analisados e estruturados os processos dessas áreas pesquisadas, buscando identificar as etapas mais relevantes para um processo de design de infográficos interativos com fins educacionais. Depois de definidas as etapas mais importantes, foi realizada uma pesquisa qualitativa, através de entrevistas com profissionais das áreas do design, da educação e da infografia, com a finalidade de verificar a pertinência e usabilidade do conjunto de etapas proposto. A partir dos resultados obtidos nessas entrevistas, foi realizada uma triangulação entre o referencial bibliográfico, resultados obtidos na pesquisa qualitativa e conhecimentos adquiridos pela autora, durante a pesquisa. Com base nessa triangulação, foi proposto o processo final. Por fim, foram feitas as considerações finais acerca da pesquisa desenvolvida e da verificação do processo. / The main objective of this project is to propose a process for the development of interactive infographics with educational purposes. Considering the lack of publications about this topic, the bibliographic research sought concepts of design areas that linked with the concepts of static infographics could help on the construction of the method and, at the same time, argue its relevance. At first, the concepts and processes of design areas that could help in a design process construction for the development of this tool were approached: instructional design, information design, interaction design and infographics. During the research process, the existent processes of the studied areas were analyzed and, in order to identify the most relevant steps for a design process of interactive infographics with educational purposes. From there, the XXI century learner was characterized, showing the behavioral changes brought by the constant use of technology in searching of information and how these changes affect the learning process. The Theory of Multimedia Learning and the concepts of Graphics for Learning helped to identify aspects on the students perception about the lesson which could be improved by the use of a visual and interactive tool. After defined the most important steps, a qualitative research was realized, through interviews with professionals in the fields of design, infographics and education, in order to verify the relevance and usability of the proposed set of steps. From the results obtained in these interviews, a triangulation was carried out between the bibliographic reference, results of the qualitative research and knowledge acquired by the author during the research. Based on this triangulation, the final process has been proposed. Finally, the final considerations about the research developed and process verification were made.

abstract: A sample of 127 high school Advanced Placement (AP) Calculus students from two schools was utilized to study the effects of an engineering design-based problem solving strategy on student performance with AP style Related Rate questions and changes in conceptions, beliefs, and influences. The research design followed a treatment-control multiple post-assessment model with three periods of data collection. Four high school calculus classes were selected for the study, with one class designated as the treatment and three as the controls. Measures for this study include a skills assessment, Related Rate word problem assessments, and a motivation problem solving survey. Data analysis utilized a mixed methods approach. Quantitative analysis consisted of descriptive and inferential methods utilizing nonparametric statistics for performance comparisons and structural equation modeling to determine the underlying structure of the problem solving motivation survey. Statistical results indicate that time on task was a major factor in enhanced performance between measurement time points 1 and 2. In the experimental classroom, the engineering design process as a problem solving strategy emerged as an important factor in demonstrating sustained achievement across the measurement time series when solving volumetric rates of change as compared to traditional problem solving strategies. In the control classrooms, where traditional problem solving strategies were emphasized, a greater percentage of students than in the experimental classroom demonstrated enhanced achievement from point 1 to 2, but showed decrease in achievement from point 2 to 3 in the measurement time series. Results from the problem solving motivation survey demonstrated that neither time on task nor instruction strategy produced any effect on student beliefs about and perceptions of problem solving. Qualitative error analysis showed that type of instruction had little effect on the type and number of errors committed, with the exception of procedural errors from performing a derivative and errors decoding the problem statement. Results demonstrated that students who engaged in the engineering design-based committed a larger number of decoding errors specific to Pythagorean type Related Rate problems; while students who engaged in routine problem solving did not sustain their ability to correctly differentiate a volume equation over time. As a whole, students committed a larger number of misused data errors than other types of errors. Where, misused data errors are the discrepancy between the data as given in a problem and how the student used the data in problem solving. / Dissertation/Thesis / Ph.D. Mathematics Education 2012

Dans un contexte réglementaire contraignant (REACh), ce projet a pour but de développer une méthode permettant d'évaluer, le plus amont possible du processus de conception, le risque chimique potentiellement présenté par un équipement aéronautique depuis sa livraison jusqu'à sa fin de vie. Le résultat s'intègre dans l'ensemble des paramètres gérés par les concepteurs, dans un but d'amélioration de la traçabilité des substances dangereuses et de maîtrise du risque chimique présenté par l'équipement. Le développement de la méthode s'appuie tant sur l'analyse des modes d'évaluation classiques de risques chimiques, pour différents périmètres, que sur celle des pratiques de conception aéronautiques. En parallèle, des tests in situ en Bureaux d'Etudes sont réalisés itérativement, permettant de définir des outils d'évaluation et d'aide à la décision adaptés aux besoins identifiés des concepteurs. Les travaux aboutissent à la proposition d'une méthode permettant au concepteur de répondre à la problématique risque chimique à partir des seules données issues du processus de conception, rendant cette nouvelle approche miscible à ses activités quotidiennes. / In a restrictive context (REACh regulation), this project aims at developping a method enabling one to evaluate, as soon as possible in the design process, the potential chemical risk related to any aeronautic equipment' s part during their different life cycle steps (from delivery to end of life). Assesment results is integrated among the numerous data that are by designers, in order to improve hazardous substances traceability and equipment's chemical risk control. The method's development lays on the analysis of different chemical risk assessments modes (different perimeters) and the understanding of aeronautical design practices. In situ tests (design offices) have been run in an iterative way, in order to define assessment ans decision making tools responding to designers identified needs. The work done leads to the proposal of a method which enables the designer to cope with chemical risk problematics, only from the data resulting from design process : this new approach can be considered as miscible in designer's daily activities.