The process of museum exhibit design includes a variety of activities, including collaboration on teams, consulting learning theories, following process models, brainstorming, performing evaluations, and using visuals. Although some articles mention these topics, very few provide specific details about these practices. This dissertation, which includes three articles, explores how design and visual communication occur in exhibit design. The first article examines how exhibit design teams function. The second article describes how they use visual representations to engage team members in ideation and concept development as they planned for new exhibits. This is based on the assumption that designers need to be actively engaged in the design process to truly be creative and develop innovative ideas. Building off the second article, the third article provides practical implications and examples for professionals in the field. These articles seek to add insight on the design process and use of visuals in museum exhibit design.

Объектом работы является мотивация трудовой деятельности. Предмет – трудовая мотивация дизайнеров с разным стажем работы и уровнем обучения. Цель данной работы – изучить трудовую мотивацию дизайнеров. Для эмпирического исследования использовались методики: такие как: А. Маслоу «Пирамида А. Маслоу», Ф. Герцберг «Методика определения мотивации в работе», К. Замфир «Методика изучения мотивации профессиональной деятельности» и Д. Макклелланда «Теория мотивации». В результате проведенного исследования были получены следующие результаты. Первостепенную роль у дизайнеров играют: внутренняя мотивация, содержание работы, финансовые мотивы и тенденция к аффилиации (групповому признанию и уважению). Внутренняя мотивация и содержание работы это может быть, как непосредственно результат труда, получаемый опыт и навык, как и фактическое выполнение заказа. Финансовые мотивы, чем меньше интереса у дизайнеров возникает к содержанию работы и внутренней мотивации, тем меньше дизайнеры считают нужным вкладываться в работу и с кем-либо взаимодействовать, при выполнении работы, например, если придется с кем-то делить ставку. Из этого можно составить следующий вывод: дизайнеры или недовольны тем, что происходит на работе/своими навыками, или так сказывается обучение на этих пунктах. Если фактор Тенденция к аффилиации (групповому признанию и уважению) ярко выражен это может быть связано с тем, что работающие дизайнеры больше склонны к тому чтобы удостаиваться уважению со стороны коллег. Если дизайнер уже нашел достойную работу, то для него становится менее важна Внутренняя мотивация и Содержание работы. Из этого можно сделать вывод, когда он был студентом для него было наиболее важным содержание работы и найти свой стиль выполнения работы. Дизайнер при изменении фокуса своего внимания на внешние переживания, либо при уходе в посторонние размышление вне работы, не имеющих отношения к актуальной жизненной ситуации, подвергают себя проявлению негативных эмоциональных проявлении. Имеет большое значение выполнять работу «для себя», чем ради карьеры или группового признания так же, как и обратно пропорционально. / The object of work is the motivation of work. The subject is labor motivation of designers with different work experience and level of training. The purpose of this work is to study the motivation of designers. For the empirical study, methods were used: A. Maslow "Pyramid A. Maslow", F. Herzberg "Methodology for determining motivation in work", K. Zamfir "Methodology for studying the motivation of professional activity" and D. McClelland "Theory of motivation". As a result of the study, the following results were obtained. Primary role for designers is played by: internal motivation, work content, financial motives and the tendency towards affiliation (group recognition and respect). Internal motivation and content of work can be, as the result of work itself, the experience and skill gained, as well as the actual performance of the order. Financial motivations, the less interest designers have for the content of work and internal motivation, the less designers consider it necessary to invest in work and interact with someone, while doing work, for example, if you have to share someone's bet. From this we can draw the following conclusion: the designers are either unhappy with what is happening at work / their skills, or the training on these points affects. If the tendency towards affiliation (group recognition and respect) is strongly pronounced this may be due to the fact that working designers are more likely to be awarded the respect of their colleagues. If the designer has already found a decent job, then the inner motivation and content of the work becomes less important for him. From this one can infer, when he was a student for him, was the most important content of the work and find his own style of doing the work. The designer, by changing the focus of his attention to external experiences, or by going into extraneous meditation outside of work that is not relevant to the actual life situation, subject themselves to the manifestation of negative emotional manifestations. It is of great importance to do the work "for yourself", than for the sake of career or group recognition as well as inversely.

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This study was conducted to explore interior design students' perceptions and attitudes toward creativity in design problem solving using CADD versus conventional drafting tools and to research whether CADD stifles or encourages students' creativity in that manner. Students' level of CADD perf onnance, past experience with CADD or other microcomputer software and level of CADD problems were used as the independent variables for this study. During the last two weeks of the spring semester 1989, 32 interior design students, who comprised the population for this study, were given two design problems, one to be done with CADD and the other with conventional drafting tools. After that period students were asked to fill out a survey questionnaire and participate in a group discussion. The collected data then was a subject of a descriptive and analytical statistical study. Findings of this study showed no relationship between students' level of CADD experience and their attitudes toward using CADD in creative design problem solving. On the other hand, a significant relationship was found between the level of CADD problems that students had and their attitudes toward CADD. As a result, although students liked using CADD in design and 78% of them did not feel intimidated by it, more than 65% of the students felt that they could come up with more design ideas with conventional drafting tools than with CADD. Most of the students attributed this attitude to their long experience with design and drafting tools. Other problems that caused discomfort to students when using CADD in design were lack of knowledge of DOS commands, unfamiliarity with computer hardware and software problems, and their limited time to work on computers. / Master of Science

This research investigates the key characteristics of design leaders in the context of New Product Development (NPD) at the Fuzzy Front End (FFE) or early stage of this process. It particularly focuses on how design leaders communicate design to non-designers. It is often observed that designers struggle to communicate design to non-designers. Previous research has identified design leaders as competent design communicators. However, the definition and key characteristics of design leaders remain unclear. By reviewing the literature on leadership studies, design leadership and project leadership, it is evident that no single universal definition of leadership exists. The most common definition is that leaders apply their knowledge and skills to conduct activities and use their traits to influence other people’s actions. Leadership requires different characteristics for different tasks. To understand the characteristics of design leaders, triangulated research was employed at a real-life NPD project involving young designers and non-designers at early stages of NPD as part of the first study. All participants (N=32) were directly observed, interviewed in semi-structured interviews and administered with assistive questionnaires to compare design and non-design participants’ leadership and communication styles. The second study was in-depth, focusing on UK design leaders (N=11) through semi-structured interviews and based on deficiencies in leadership and communicating design, identified from the first study and the literature review. Comparative studies indicate that designers and design leaders vary their attitudes towards non-designers, motivation and communication style. This study highlights the key characteristics of design leaders: an epiphany by experiencing the entire NPD process, interest in the benefits of NPD stakeholders, a good understanding of design competency, reflectively flexible working attitude and strong, active listening. Thus, a conceptual model was formulated and evaluated, able to guide designers who wish to become design leaders and help to enhance design communication and relationships with non-designers.

Made available in DSpace on 2014-07-29T16:27:47Z (GMT). No. of bitstreams: 1 Maristela Abadia Fernandes Novaes.pdf: 1239708 bytes, checksum: f5acc60fb2c956df61fdf777aa95ec56 (MD5) Previous issue date: 2011-03-28 / In this research, I analyze a process of a teaching/learning activity in modeling on stones developed with Fashion Design students of the School of Visual Arts of The Federal University of Goiás as part of the signature Plane and Tridimensional Modeling I. This activity is intended to offer the students an opportunity to experiment and reflect on the modeling process and its relationship with support (body/stone), material and methods in the construction of clothes. The research presents a historical overview of methods for plane and Tridimensional modeling, describes the construction of pedagogical clothing objects - modeling of fabric in stones and reflects on the perceptions and meanings of this experience for future designers. The methodology used is action research, a perspective that guided the understanding and interpretation of these perceptions examining its impact and contribution to the training of designers. / Nessa pesquisa, analiso o processo de desenvolvimento de uma atividade de ensinoaprendizagem de modelagem de tecido em pedras, realizada com alunos do Curso de Design de Moda da FAV/UFG, na disciplina de Modelagem Plana e Tridimensional I. Essa atividade tem o intuito de levar o aluno a experimentar e refletir sobre o processo de modelagem e sobre relações entre suporte (corpo/pedra), material e métodos na construção de roupas. A pesquisa apresenta uma revisão histórica dos métodos de modelagem plana e tridimensional, descreve a proposta pedagógica de construção de objetos vestimentários modelagem de tecido em pedras - e reflete sobre percepções e sentidos dessa experiência para futuros designers. A metodologia usada é a pesquisa-ação, perspectiva que orientou a compreensão e interpretação destas percepções examinando sua contribuição e impactos para a formação de designers.

The purpose of this thesis was based on visual rhetoric theory to examine how design agencies experience the design of over-the-counter drug packaging, what challenges they face, and with which rhetorical appeals they convince consumers, while they relate to the non-art-related conditions, the Swedish Medical Products Agency’s regulations (SMPA). The objective was based on previous research that has begun a discourse on the phenomenon and that designers previously has expressed a lack of dialogue in the graphic expression of over-the-counter drug packaging with the SMPA. To investigate the phenomenon semi-structured interviews was conducted with six professions of five different design agencies whose area of expertise was health and pharmaceutical communication. The results showed that the designers' biggest challenges was to find the balance between the visually attractive as well as the patient safe and reliable graphic expression. The results also showed a challenge in the absence of direct communication with the SMPA in the design process. Such communications had facilitated the process as a dialogue for the graphic expression and its effect on a patient safe packaging, had been possible. The elements in the design process that the respondents considered most essential to persuade the consumers were colors and illustrations. These elements could be widely applied without violating the rules.

Construction activity is known to have a major impact on the environment and is a major consumer of a wide range of naturally occurring and synthesized resources. Despite the recognition that environmental issues are important to the survival of the construction industry, the industry continues to degrade the environment, exploiting resources and generating waste, and is slow to change its conventional practices to incorporate environmental matters as part of its decision making process. With increased awareness and knowledge of these impacts, efforts are being made to avoid these adverse effects and to work towards impact mitigation. Among these is sustainable building material selection. Building material selection is an important issue in building design and construction decision-making and environmental issues need to be incorporated into the evaluation process. The research reported in this thesis was initiated to address these issues in the UK, towards developing an assessment model for incorporating sustainability into building material selection process. A questionnaire survey was conducted to investigate the level of awareness, knowledge and implementation of sustainable practices among architects and designers and how this impacts on their design decisions. To facilitate the implementation of sustainable practices into building material selection, a set of sustainable assessment criteria (SAC) for modeling and evaluating sustainability performance of building materials was developed. Building material can be assessed using an index system that combines the principal criteria of sustainable development. The derived criteria were assessed and aggregated into a composite sustainability index using the Analytical Hierarchy Process (AHP) technique which has been praised for its ability to incorporate both objective and subjective considerations in the decision process. The development of a sustainability index is a way of supporting decision makers faced with making numerous and sometimes conflicting evaluation as with building material selection. The methodology adopted in undertaking this research was the mixed method approach involving a detailed review of the relevant literature, followed by an industry-wide survey of UK architects and designers. Following this, case study was conducted to collect data for sustainability criteria used in the assessment model. The data collected were analyzed, with the aid of SPSS, Excel and expert choice software using a variety of statistical methods including descriptive statistics analysis, relative index analysis, Kendall’s concordance and factor analysis. The key finding was the existing gap between awareness and implementation of sustainable construction practices, which has led to failure of realizing the benefits of a sustainable approach to construction. The study showed a discrepancy between what architects and designers claim to be convinced about, and knowledgeable in, and their commitment and practices; they seem to be unable to translate their environmental awareness and knowledge into appropriate design decisions and are in need of a decision support system that can aid the incorporation of sustainability into building design. The model developed satisfy this gap and was validated by application to a roof covering material selection decision process for a case study building project by means of experts’ review via a survey and the findings obtained suggest that the model is valuable and suitable for use in practice. Finally, areas for further research were identified.

In recent years the fashion industry has experienced a high frequency of famous Creative Directors departing the companies for unknown reasons. The same problem does not seem to occur in the Scandinavian fashion industry. This study’s purpose is to explore why Scandinavia does not experience the same problem, contribute a deeper understanding of the leader-designer relationship in the Swedish fashion industry, and to examine how the Scandinavian Cooperative Advantage is applicable in the Swedish fashion industry. Three case studies were conducted at the Swedish fashion companies TRIWA, Baron and Weriseg where both leaders and designers were interviewed. The findings showed that the leaders view their designers as an essential part of the organisation but how they are prioritised depend on the situation. Further more, this study indicates that all of the studied companies have a stakeholder approach, uses a value creating strategy based on cooperation with their stakeholders, are aligned with a typical Swedish organizational culture, and has a Swedish Management Style. Thus this study indicates that the notion of Scandinavian Cooperative Advantage is applicable at the Swedish fashion industry and that this might be a factor for their success.