Made available in DSpace on 2015-03-05T17:04:35Z (GMT). No. of bitstreams: 0 Previous issue date: 27 / Nenhuma / Este trabalho teve o propósito de desenvolver um método que possibilitasse a redução do tempo de desenvolvimento de produtos com ciclo de vida curto, como é o caso dos produtos da indústria calçadista. O método de pesquisa utilizado foi o Design Research, e a etapa empírica do trabalho foi realizada em uma empresa de calçados infantis do pólo do Vale dos Sinos. Esse método teve como base três fontes de informação. A primeira fonte é a conceitual, que foi embasada pelas teorias pertencentes ao paradigma da melhoria dos processos, como o Lean Project, a Engenharia Simultânea, a Teoria das Restrições e o Gerenciamento de Projetos. A segunda fonte foi fornecida pelo conhecimento empírico dos profissionais da empresa objeto de estudo e do próprio pesquisador. A terceira e última fonte foram os próprios dados gerados e as observações realizadas durante o processo, que serviram de realimentação e auxiliaram no aprimoramento do método, que foi aplicado e avaliado. Ao término da pesquisa, chegou-se a um método que int / This work aims to develop a theoretical method which allows companies that work with products with a short life cycle, such as the footwear industry, can reduce the time for development of new products. The research method used is the Design Research and the work´s empirical stage was be developed into a children shoes’ company in the cluster of Vale dos Sinos. The theoretical method was formed through three sources of information. The first is conceptual, which was embased in theories of the Paradigm of improving processes, like as Lean Project, Concurrent Engineering, Theory of Constrains and Project Management. The second was provided by empirical knowledge of professionals of the company and the researcher. Finally, the actual data generated and observations made in the process served as feedback and improvement of the method, that was be applied and evaluated. The result of this work was a method that integrates several techniques, which can reduce the total time of development of new products. The meth

Made available in DSpace on 2015-03-05T17:05:26Z (GMT). No. of bitstreams: 0 Previous issue date: 4 / Nenhuma / O posicionamento estratégico dos Programas de Pós-Graduação (PPGs) stricto sensu brasileiros, em Instituições de Ensino Superior (IES) privadas confessionais, apresenta desafios frente à complexidade dinâmica do setor acadêmico privado. Essa complexidade explica-se diante da necessidade de compreensão da inter-relação de indicadores de avaliação da CAPES e de indicadores de sustentabilidade desses PPGs. Este trabalho propõe um método, baseado em referenciais da dinâmica de sistemas, visando apoiar a elaboração do posicionamento estratégico de PPGs dessa natureza. O método de pesquisa utilizado é o design research, tendo sido estruturado em nove etapas de trabalho, nas quais foram desenvolvidas duas versões do método proposto, em função de sucessivos refinamentos. As etapas de desenvolvimento (ou seja, a aplicação do método) foram realizadas em um PPG da área de concentração Engenharia III da CAPES. O trabalho limita-se a analisar o aprendizado sobre o processo de elaboração, com base em apenas um caso selecio

Submitted by William Justo Figueiro (williamjf) on 2015-06-29T21:41:13Z No. of bitstreams: 1 55.pdf: 2692429 bytes, checksum: f93c564b596e3eb883b24495f89a5a7c (MD5) / Made available in DSpace on 2015-06-29T21:41:13Z (GMT). No. of bitstreams: 1 55.pdf: 2692429 bytes, checksum: f93c564b596e3eb883b24495f89a5a7c (MD5) Previous issue date: 2011-03-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O fenômeno da “nova economia” – combinação da globalização com a velocidade da alta tecnologia – insere no ambiente empresarial um conjunto de complexidades do ponto de vista da gestão. Primeiramente, com o aumento de competidores (aumento da oferta), em função da globalização, e a não correspondência de aumento em termos de mercado consumidor (demanda), as organizações tendem a ampliar sua gama de produtos ofertados ao mercado para conseguir aumento de escala de produção. Além disso, com a difusão da informação, propiciada também pela ”nova economia”, as melhores práticas, em termos conceituais, estão acessíveis a todos. A diferença, portanto, entre sistemas produtivos e organizações pode não estar nas práticas e técnicas em si, mas, em como essas são entendidas a partir da concepção de distintas estratégias de produção. O referencial teórico busca apresentar os principais aspectos teóricos acerca da estratégia de produção: i) competitividade; ii) estratégia competitiva; iii) níveis estratégicos; iv) estratégia de produção; v) dimensões competitivas; vi) modelos de concepção de estratégia de produção; vii) Fábricas Focalizadas; e viii) Unidades Estratégicas de Negócios (UENs). Visando a enriquecer os conceitos pesquisados, a pesquisa apresenta proposições teóricas a partir da literatura anteriormente analisada: i) Subunidades Estratégicas de Negócios (SubUENs); ii) comparações entre os conceitos de FFs, UENs e SubUENs; iii) análise de resultados por SubUEN; e iv) aspectos econômicos da estratégia. A partir desde cenário, o presente trabalho propõe um método geral para auxiliar na concepção da estratégia de produção das empresas. No entanto, a partir da percepção do aumento da diversificação das linhas de produtos nas empresas e da decorrente ampliação da complexidade de gestão nas mesmas, percebe-se uma lacuna nos conceitos existentes no âmbito da estratégia de produção e se propõe a adoção do conceito de SubUENs. Assim, a proposta desta pesquisa é desenvolver um método que, com a adoção do conceito de SubUEN, possa contribuir para a construção da estratégia de produção alinhando as dimensões econômico-financeira, mercadológica e produtiva das empresas industriais. O método de pesquisa foi o Design Research, e a etapa empírica do trabalho foi realizada em empresa do setor metal-mecânico, localizada em Caxias do Sul (RS). O método proposto teve como base cinco fontes de informação: i) os conceitos existentes no âmbito da estratégia de produção; ii) proposições teóricas da pesquisa; iii) conhecimento empírico de um grupo de especialistas, que avaliou o método antes de sua aplicação; iv) contribuição dos profissionais da empresa e do próprio pesquisador a partir da aplicação do método; e v) a avaliação do método a partir da aplicação do mesmo em ambiente empresarial. Ao término do estudo, chegou-se a uma proposta final de método que está disponível para novas aplicações. / The so-called “new economy” – a combination of globalization with the speed of high technology – enter the business environment a set of complexities in terms of management. First, with the increase of competitors (increasing supply), due to globalization, and the mismatch in terms of increase of consumer market (demand), organizations tend to expand their range of products offered to the market to achieve scale-up production. Moreover, with the dissemination of information, made possible also by the “new economy”, best practices, in conceptual terms, are accessible to all. The difference therefore between systems and organizations may not be in the practices and techniques themselves, but rather in how these are understood from the design of different production strategies. The theoretical framework seeks to present the main theoretical aspects concerning the production strategy: i) competitiveness, ii) competitive strategy, and iii) strategic levels, iv) production strategy; v) competitive dimensions vi) design models of manufacturing strategy; vii) Focused Factories and viii) Strategic Business Units (SBUs). To enrich the concepts surveyed the research presents theoretical propositions from the literature reviewed above: i) Strategic Business SubUnits (SubSUBs), ii) comparisons between the concepts of Focused Factories, SBUs and SubSUBs iii) analysis of results by SubSBU and iv) economic aspects of the strategy. Starting from scenario, this research proposes a general method to assist in designing the production strategy of the enterprises. However, from the perception of increased diversification of product lines within companies and the consequent expansion of the complexity of managing the same, a gap was perceived in the existing concepts in the context of manufacturing strategy and proposes the adoption of the concept of SubSBUs. Thus, the purpose of this research is to develop a method that, by adopting the concept of SubSUBs could contribute to the construction of manufacturing strategy by aligning the economic-financial, marketing and production of industrial companies. The research method was the Design Research, and the stage of empirical research was conducted in a company of the metal-mechanic located in Caxias do Sul (RS). The proposed method was based on five sources of information: i) the existing concepts in the context of manufacturing strategy, ii) theoretical propositions of the research; iii) empirical knowledge of an expert group that evaluated the method before its application; iv) contribution of professionals in the company and the researcher from applying the method and v) the evaluation method from the application of it in a business environment. At the end of the research was a proposal to end the method that is available for new applications.

In the past years, the information was kept on the physical medium and people struggle more to get the right information. Everyone tries to search the information in a smart way using different scenarios. With the passage of time as computer became the essential part of daily life and the search engines came into action. When we talk about the search engines, they are also the part of Information Technology (IT) revolution to find the material or information in a simple and easy way in less time span. These search engine help in finding the information instead of the physical media quickly. By the never ending efforts of the researchers, the information which was available only in physical medium or from other resources has been transferred to a single platform using IT artifacts. Now, the efficient accessibility of this information is an issue. There are a number of e-services available on the computer network around the globe from where the users can get the information according to their needs, but some time these e-services do not provide user demanded results because of the improper implementation of IT artifacts.Our research is focused on the e-Me project i.e. a comprehensive knowledge based Electronic Assistant platform given by Innovation Lab. This project has a number of good e-services to assist the user electronically in course schedules, record of books, planning transportation, course program progress and number of other tasks at one place. This project is also used to co-design approach to initiate the users as a stakeholder. The users create a profile according to the services of the e-Me project and the users can search these services according to their needs. Our research is to provide an efficient smart filter to search information about services according to users needs. We studied the IT Artifacts and adopt the new research methodology called ―Action Design Research‖. This research is specifically adopted by researchers for the IT based system. In our research we cover the core IT Artifacts i.e. human computer interaction, user centered design, interaction design principles. These artifacts are further verified by the documents in the form of interviews and observation. The results were achieved by taken interviews from three interviewers having expertise in IT fields and they are also aware about the users‘ perception. At the end of this research we came up with the design prototype of the smart filter. / Program: Magisterutbildning i informatik

For people without speech, voice output communication aids are an assistive technology––but can also be restrictive: whilst Text-To-Speech synthesis can say anything, it affords little choice of how this is spoken. An absence of nuanced tone of voice can inhibit social interaction. This research explores this profound but relatively overlooked issue in augmentative and alternative communication through the lens––with the sensibilities and skills––of interaction design. Tone of voice is such an elusive and intangible quality: difficult for even phoneticians to define, let alone AAC users and carers to discuss in the context of their everyday lives. Therefore the activities of design exploration and design practice have been employed to visualise tone of voice, in order to catalyse new conversations, through two original research projects: Six Speaking Chairs, curated with Andrew Cook, is a collection of interactive artefacts that illustrate alternative models of tone of voice developed by academics and practitioners as diverse as sociolinguists and playwrights;Speech Hedge, created with the assistance of Ryan McLeod, is a visualisation of how someone might interact with nuanced tone of voice using a conventional communication aid in combination with an interface on a smart phone. Audience responses to each project have illuminated the perspectives from which laypeople conceive of tone of voice, challenging the conventional emotional model that dominates speech technology in favour of something more complex and heterogeneous. In order to reconcile such complexity with simplicity of use, design principles have been distilled that could inspire future user interfaces but also inform further research. This research has been published and presented within different academic fields, including design research, interaction design and augmentative and alternative communication.

The increasing prevalence of digital fabrication technologies and the emergence of a novel materiality in contemporary craft practice have created the need to redefine the critical context of digital jewellery and wearable futures. Previous research in this area, such as that presented by Sarah Kettley (2007a) and Jayne Wallace (2007), has provided the foundations for further enquiry but has not been advanced significantly since its inception. The artistic research presented in this thesis focuses on how smart materials and microelectronic components could be used to create synergetic digital jewellery objects and wearable futures that reflect changes in the body of their wearer and their environment through dynamic responses. Laying the foundations for a theory of <i>Interactive</i> <i>Craft</i> through evaluating different aspects of creative practice that relate to responsive objects with a close relationship to the human body is at the centre of this enquiry. Through identifying four distinct categories of wearable object, the <i>Taxonomy of the Wearable Object</i> is formulated and clearly delineates the current existing conceptual, technological and material perspectives that govern the relationships between different types of wearable objects. A particular focus is placed on exploring the concept of <i>Digital Enchantment</i> and how it could be utilised to progress towards developing the <i>Uncanny Object</i> that appears to possess biological characteristics and apparent agency, yet is a fully artificial construct. The potential for the practical application of a design methodology guided by playful engagement with novel materials, microelectronics and digital fabrication technologies is analysed, taking into account Ingold’s concept of the <i>textility of making </i>(Ingold, 2011). Through exploring the notion of the <i>Polymorphic</i> <i>Practitioner</i> in the context of <i>Alchemical Practice</i>, a model for experiential knowledge generation through engaging in cross-disciplinary collaboration is developed. This is supported by a qualitative survey of European materials libraries, including accounts of site visits that evaluate the usefulness of materials libraries for creative practitioners invested in novel materiality as well as visually documenting a selection of the visited libraries’ most intriguing material holdings. Utilising a scientific testing protocol, a practical body of work that centres on conducting extensive experiments with smart materials is developed, with a particular focus on testing the compatibility and colour outcomes of chromic pigments in silicone. The resulting chromic silicone samples are collated, together with sourced smart materials, in a customised materials library. Investigational prototypes and the <i>Microjewels</i> collection of digital jewellery and wearable futures that responds to external and bodily stimuli whilst engaging the wearer through playful interaction are presented as another outcome of this body of research.

Computer technology is increasingly being implemented into objects other than the standard desktop computer, be it for keeping existing products current in our digital age or simply exploring the possibilities within the field of embodied interaction. The present paper investigates the emotional-motivational state of curiosity by discussing the design process and results from “Quizzerfid”, a design exploration on the use of RFID technology on a tangible puzzle. A short background on curiosity, embodied interaction, RFID technology, and other related projects will be given, to finally investigate the potentialities of the artefact in regards to stimulating student curiosity. A detailed description of the design of the Quizzerfid prototype will be presented, followed by an extensive process description and review of the performed user testing. The aim of this paper is to explore the design of the Quizzerfid puzzle framework in regards to its success in sparking curiosity and exploratory behaviour through embodied interaction, contributing to the design of future tangible interfaces and possibly even pedagogical aids.

This PhD provides insight into designing. It offers a view on the nature and structures of design research proposing that design research occurs within the activity of designing. As a case study, the PhD provides an internal view of the emergent design process of a collaborative architecture design practice terroir. It proposes a way, (the 'design-place'), in which design by collaboration operates within complex and often contradictory contexts. The thesis deals with questions of design in a contemporary, cosmopolitan condition and proposes that within such a condition design is an ethical endeavour. A key underlying proposition of the thesis is that architecture is fundamentally a critical activity. The PhD concludes by demonstrating through design projects how terroir has explored these questions in producing designs that operate at the level of personal and subjective experience in opening up a public, cosmopolitan realm.

Information technology (IT) plays an increasingly important role for individuals, organizations, markets, and society as a whole. IT systems are artefacts (human made objects) designed for various purposes. Given the multiple-purpose characteristics of computers, such artefacts may, for example, support workflows, perform advanced calculations, support human communication and socialization, enable delivery of services and digital products, facilitate learning, or simply entertain. The diverging application areas for IT present a challenge to designers who, as a consequence, have to address increasingly divergent design situations. There have been numerous arguments suggesting that the IT artefact has been 'taken for granted', and needs to be understood and conceptualized better within information systems (IS) research. This thesis is based on the pragmatist notion that one important value of IT resides in its potential to support human collaboration. Such a belief has implications for the development of (1) knowledge aimed for action, change and improvement; (2) knowledge about actions, activities and practices; and (3) knowledge through action, experimentation and exploration. A view of the IT artefact is outlined, showing it as part of a social and technological context. IT artefact design is explained in relation to the induction of social change. The notion of stakeholder-centric design is advocated, along with practical theory to promote a situated understanding of use qualities and design ideals. A set of meta-theoretical implications for design-oriented IS research is proposed. The research process consisted of five inquiries into different IT-reliant social contexts. In the first four inquiries, social and communicative qualities of IT artefacts were assessed, governed primarily by Dewey's notion of inquiry as a theory of knowledge. The fifth inquiry was a large-scale action research project, including interventions into the social setting, and the design and implementation of a new IT artefact into that setting.

Historically, haptics—all different aspects of the sense of touch and its study—has developed around very technical and scientific inquiries. Despite considerable haptic research advances and the obviousness of haptics in everyday life, this modality remains mostly foreign and unfamiliar to designers. The guiding motif of this research relates to a desire to reverse the situation and have designers designing for and with the haptic sense, for human use and looking beyond technical advances. Consequently, this thesis aims to nurture the development of haptics from a designerly perspective, leading to a new field of activities labeled haptic interaction design. It advances that haptic attributes and characteristics are increasingly part of the qualities that make up the interactions and the experiences we have with objects and the interfaces that surround us, and that these considerations can and ought to be knowingly and explicitly designed by designers. The book encompasses an annotated research through design exploration of the developing field of haptic interaction design, building on a considerable account of self-initiated individual design activities and empirical-style group activities with others. This extensive investigation of designing haptic interactions leads to the Simple Haptics proposition, an approach to ease the discovery and appropriation of haptics by designers. Simple Haptics consists in a simplistic, rustic approach to the design of haptic interactions, and advocates an effervescence of direct perceptual experiences in lieu of technical reverence. Simple Haptics boils down to three main traits: 1) a reliance on sketching in hardware to engage with haptics; 2) a fondness for basic, uncomplicated, and accessible tools and materials for the design of haptic interactions; and 3) a strong focus on experiential and directly experiencable perceptual qualities of haptics.  Ultimately, this thesis offers contributions related to the design of haptic interactions. The main knowledge contribution relates to the massification of haptics, i.e. the intentional realization and appropriation of haptics—with its dimensions and qualities—as a non-visual interaction design material. Methodologically, this work suggests a mixed longitudinal approach to haptics in a form of a well-grounded interplay between personal inquiries and external perspectives. The book also presents design contributions as ways to practically, physically and tangibly access, realize and explore haptic interactions. Globally these contributions help make haptics concrete, graspable, sensible and approachable for designers. The hope is to inspire design researchers, students and practitioners to discover and value haptics as a core component of any interaction design activities.