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Fundação de Amparo a Pesquisa do Estado de Alagoas / As galerias configuram espaços de transição entre o exterior e interior do edifício capazes de promover uma adaptação gradual entre os diferentes ambientes térmicos e favorecer a sensação de conforto térmico dos usuários dos espaços externos. Em cidades de clima tropical quente-úmido, como o Recife, isso dependerá, entre outros fatores, do desempenho das galerias no bloqueio da radiação solar incidente sobre o passeio de pedestres. O objetivo deste trabalho é discutir o papel das galerias no conforto térmico nos espaços de uso público da Avenida Guararapes, no Recife. Para isto, foram realizadas simulações computacionais no programa Ecotect 2010 a fim de avaliar o sombreamento produzido pelas galerias do conjunto arquitetônico da Avenida Guararapes no passeio de pedestres e o sombreamento do passeio de pedestres por uma galeria com a mesma secção transversal das galerias da Guararapes, em dezesseis orientações. As avaliações foram baseadas na análise do desempenho das galerias no que diz respeito ao sombreamento dos passeios de pedestres localizados na cidade do Recife (latitude 8°7 S). O desempenho das galerias da Avenida Guararapes foi avaliado em cinco horas do dia (8, 10, 12, 14 e 16h) e três períodos do ano (solstícios de verão e inverno e equinócios). Os resultados demonstraram a relevância da orientação e da disposição das galerias no conjunto, assim como, da sua configuração e dimensionamento, na eficácia do sombreamento do passeio. Nas horas do dia onde o sombreamento foi considerado mais necessário, 10, 12 e 14h, as galerias apresentaram-se mais eficazes, especialmente às 12h, quando as alturas solares no Recife estão mais próximas a 90°.

Ma thèse s'inscrit dans le domaine de l'ingénierie de l'interaction homme-machine. Elle traite de la conception d'interfaces hommes machine (IHM). La créativité n'y est souvent considérée que de manière marginale. Pourtant l'effervescence technologique et la diversité résultante des contextes d'usage appellent à de plus en plus de créativité. Ma thèse soutient le principe que l'innovation passe par l'application de processus créatifs. Dès lors, le défi est de savoir explorer largement et efficacement l'espace de conception dès les phases amont du processus. Il convient donc d'intégrer et d'enseigner la créativité dans les processus de conception d'IHM, en particulier pour les concepteurs débutants.Ce positionnement sur le sujet provient d'une double approche : d'une part théorique, avec un état de l'art explorant les dimensions de la créativité et les outils informatiques de support à la créativité ; d'autre part empirique, avec quatre mises en pratique de la créativité dans des domaines de conception différents comme l'architecture, la conception de produit et la conception de systèmes interactifs. Je construis ma contribution sur les principes suivants : (1) la créativité n'est pas réservée à une élite, mais peut être travaillée et renforcée par des outils informatiques ; (2) ces outils doivent soutenir la motivation, la recherche d'inspiration, l'exploration en largeur, et les connaissances relatives au domaine et aux processus de conception. Selon une démarche réflexive, j'applique ces mêmes principes dans ma thèse. Je propose une exploration en largeur du support à la créativité via cinq contributions logicielles complémentaires : Maestro et Bank pour la capitalisation des connaissances ; WebGallery, BrianStorming et Magellan pour l'inspiration et l'exploration de l'espace de conception. Plus précisément, Maestro traite de la capitalisation des processus de conception tandis que BANK assure la structuration et la capitalisation des connaissances en IHM via un graphe de modèles. WebGallery est une galerie de sites web pour inspirer les concepteurs : je conduis une expérimentation sur la perception humaine du style d'un site web. BrianStorming est un assistant au brainstorming : il fournit des suggestions pendant une séance de brainstorming électronique. Magellan est un environnement interactif à base d'algorithmes génétiques qui génèrent et transforment automatiquement des IHM pour un problème de conception donné. Par ce positionnement et ces contributions logicielles, l'ordinateur change de statut : de simple outil, il devient un concepteur assistant, partenaire du processus de créativité. / My PhD thesis contributes to the engineering of Human Computer Interaction (HCI). It deals with the design of User Interfaces (UI). I claim that creative processes should be better considered, and supported by tools especially for novice designers. The challenge is to speed up the exploration of the design space at the early stages of the process. This claim is grounded in both a theoretical state of the art in creativity and creativity support tools, and in practice of the topic with four hands-on experiences of creativity in different areas of design such as architecture, product design and UI design. I build my contribution on the following principles: (1) creativity is not reserved for the elite, but can be tailored and fostered by software tools; (2) the tools must leverage motivation, inspiration, wide exploration, and knowledge in UI and design processes. Through a reflective process, I apply these principles to my thesis. I explore a wide range of creativity support tools through five complementary software contributions: Maestro and Bank for supporting knowledge capitalization; WebGallery, BrianStorming and Magellan for fostering inspiration and exploration of the design space. Maestro addresses the capitalization of design processes whilst BANK gathers knowledge in HCI as a graph of models. WebGallery is a gallery of websites to inspire designers: I report an experiment on human perception of websites styles. BrianStorming is a brainstorming assistant: it provides suggestions in a electronic brainstorming session. Magellan is an interactive environment based on genetic algorithms that automatically generate and transform UIs for a given design problem. This changes the role of the computer: from a simple tool, it becomes a designer's partner in the creative process.

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No. of bitstreams: 1 ALBERTO LARRAT - DISSERTAÇÃO.pdf: 1910695 bytes, checksum: e0a3263b94d694ae675e4b0f55f7bdf5 (MD5) Previous issue date: 2017-12-19 / The quality management in services has been becoming one of the most relevant areas of research in Production Engineering. Given this, the services sector has been assuming an important role for the development of the economy, since it is inserted in a highly competitive business environment. This is due to the sharp increase in the sector, taking the leading position in the generation of formal jobs in the country, surpassing the industries, thus generating employment and income. It is believed that it is necessary to seek improvement in all its processes, since in the production of services there is the inseparability of the productive process of the final product. Service management becomes a relevant differential and always requires evaluating the satisfaction of those involved. In this way, satisfaction can be regular, but quality is particularized as a long-term parameter, since it needs tools that allow measurement and monitoring constantly. The present study dealt with the evaluation of the services provided by a popular gallery in Manaus and had as a problem to analyze the impacts generated by the process of transfer of street vendors from the streets to the Espirito Santo gallery. In this context, we tried to answer the following question: How to evaluate and measure the quality of services perceived by the permission holders allowing their continuous improvement? In view of the foregoing, this dissertation had as general objective to analyze how the licensees evaluate the quality of the services, based on the Likert scale, to measure the perceived quality, that helps to its continuous improvement. In order to do so, the following specific objectives were established: to demonstrate the dimensions of quality, to analyze the socioeconomic impacts generated by the licensees installed in the Espírito Santo Gallery, to map the obstacles that hamper the quality of the gallery services and to evaluate the results found in the study of cases, proposing actions for improvements based on the gap identified by the SERVQUAL model. The methodology used to carry out the case study consisted of field research in which the application of structured questionnaires composed of 18 questions for the 200 gallery licensees applied in the months of February and March of 2015 were also carried out. Documentary analyzes provided by the research organization. The results of this field survey provided an overview of the quality of the services and the obstacles that hamper the provision of the services offered / A gestão da qualidade em serviços vem se tornando a cada dia uma das áreas mais relevantes nas pesquisas em Engenharia de Produção. Diante disso, o setor de serviços vem assumindo importante papel para o desenvolvimento da economia, uma vez que está inserido em um ambiente de negócios altamente competitivo. Isto se deve ao nítido aumento do setor, passando a ocupar a principal posição na geração de empregos formais no país, superando as indústrias, gerando assim, ocupação e renda. Acredita-se que seja necessário buscar a melhoria em todos os seus processos, uma vez que na produção de serviços há a inseparabilidade do processo produtivo do produto final. A gestão de serviços passa a ser um relevante diferencial e requer sempre avaliar a satisfação dos envolvidos. Dessa forma, a satisfação pode ser regular, mas a qualidade se particulariza como um parâmetro de longo prazo, uma vez que, ela necessita de ferramentas que possibilitem mensurar e acompanhar constantemente. O presente estudo abordou o tema avaliação dos serviços prestados por uma galeria popular de Manaus e teve como problemática analisar os impactos gerados pelo processo de transferência dos camelôs das ruas para a galeria Espírito Santo. Nesse contexto, buscou-se responder a seguinte questão: Como avaliar e medir a qualidade dos serviços percebido pelos permissionários permitindo a sua melhoria contínua? Frente ao exposto, esta dissertação teve por objetivo geral analisar como os permissionários avaliam a qualidade dos serviços, baseado na escala Likert, para mensurar a qualidade percebida, que auxilie a sua melhoria contínua. Para tanto, estabeleceu-se como objetivos específicos: demonstrar as dimensões da qualidade, analisar os impactos socioeconômicos gerados para os permissionários instalados na galeria Espírito Santo, mapear os obstáculos que prejudicam a qualidade na prestação de serviços da galeria e avaliar os resultados encontrados no estudo de caso, propondo ações de melhorias com base na lacuna identificada pelo modelo SERVQUAL. A metodologia utilizada para a realização do estudo de caso consistiu em pesquisa de campo em que foi realizada a aplicação de questionários estruturados compostos de 18 perguntas destinadas à 200 permissionários da galeria, aplicados nos meses de fevereiro e março de 2015. Também foram realizadas análises documentais fornecidas pela organização pesquisada. Os resultados desta pesquisa de campo proporcionaram um panorama da qualidade dos serviços e os obstáculos que prejudicam a prestação dos serviços ofertados.

This thesis deals with the six Czech regional institutions, which aimed at unofficial art during 1980s, thereby created an alternative to Prague's galleries, which were refusing such type of an art. Among them belongs Galerie 55 (Gallery 55) in Kladno, Městské kulturní středisko (Municipal culture centre) in Dobříš, Letohrádek (Summer residence) Ostrov nad Ohří, Galerie ve věži (Gallery in the tower) in Mělník, Alšova jihočeská galerie (Aleš's South Bohemian gallery) in Hluboká nad Vltavou along with Malá scéna Domu kultury (Culture centre's Small scene) in České Budějovice and, as the only private gallery, Galerie H (Gallery H) in Kostelec nad Černými lesy. Based on period documents and memorial texts, this thesis characterize each and every art space, the groups of people who were gathering around them, the exhibition program and the most important exhibitions. It introduces these "galleries" to the period cultural-politics context and to relations with other galleries and important exhibitions of the Czech unofficial art during the eighties.

Unique layered structure with excellent electrical, mechanical, thermal, and optical properties gives graphene widespread application. Graphene based materials are extensively studied in the field of energy storage such as batteries, hydrogen storage and supercapacitors (SC’s). High surface area, electrical conductivity and mechanical flexibility are notable properties for the materials used in energy conversion systems. Porous spaced graphene oxide (PGO) structures were synthesized by hydrothermal and solvothermal reaction between GO and various pillaring molecules include Tetrakis (4-aminophenyl) methane (TKAm), Ethylenediamine (EDA), 2-Amino-5-diethylaminopentane (ADAP) and 2-Aminoethyl trimethylammonium chloride hydrochloride (ATA). Pristine GO shows interlayer distance of 7.2 Å. Characterisation techniques such as XRD, SEM, FTIR, BET and TGA were used understand the properties of these PGO. In contrast, these pillared structures show interlayer distance greater than of the pristine GO. Notably, GO/TKAm show interlayer distance of 14.30 Å. These pillared structures are considered to solve the restacking and aggregation issues found in 2D porous structures. Since these pillaring molecules help to achieve 3D porous network. Pristine GO shows only surface area of 14 m2/g whereas these materials also show excellent surface area as well. GO/TKAm shows high surface area of 450 m2/g. Followed it GO/ATA shows surface area of 106 m2/g. GO/pillared structures show low sheet resistance which means good electrical conductivity. Ultimately, these pillared structures not only solve the issues in 2D porous systems but also improve the surface area, mechanical stability, and electrical conductivity of those systems by means of 3D porous interconnected structures. All these excellent properties make them a great candidate for the energy conversion systems. / Unik skiktad struktur med utmärkta elektriska, mekaniska, termiska och optiska egenskaper ger grafen en utbredd tillämpning. Grafenbaserade material studeras omfattande inom området energilagring såsom batterier, vätelagring och superkondensatorer (SC). Hög yta, elektrisk ledningsförmåga och mekanisk flexibilitet är anmärkningsvärda egenskaper för de material som används i energiomvandlingssystem. Porösa grafenoxidstrukturer (PGO) syntetiserades genom hydrotermisk och solvotermisk reaktion mellan GO och olika pelarmolekyler inkluderar tetrakis (4-aminofenyl) metan (TKAm), etylendiamin (EDA), 2-amino-5-dietylaminopentan (ADAP) och 2 Aminoetyltrimetylammoniumkloridhydroklorid (ATA). Pristine GO visar mellanskiktsavstånd på 7,2 Å. Karakteriseringstekniker som XRD, SEM, FTIR, BET och TGA användes för att förstå egenskaperna hos dessa PGO. Däremot visar dessa pelarstrukturer mellanskiktsavståndet större än det för den orörda GO. Noterbart visar GO / TKAm mellanskiktsavstånd på 14.30 Å. Dessa pelarstrukturer anses lösa omstaplings- och aggregeringsproblemen som finns i 2D-porösa strukturer. Eftersom dessa pelarmolekyler hjälper till att uppnå 3Dporöst nätverk. Pristine GO visar endast en yta på 14 m2 / g medan dessa material också visar utmärkt yta också. GO / TKAm visar hög yta på 450 m2 / g. Följde den visar GO/ATA en yta på 106 m2/g. GO / pelarstrukturer visar lågt plåtmotstånd vilket innebär god elektrisk ledningsförmåga. I slutändan löser dessa pelarstrukturer inte bara problemen i 2D-porösa system utan förbättrar också ytarean, den mekaniska stabiliteten och den elektriska ledningsförmågan hos dessa system med hjälp av 3D-porösa sammankopplade strukturer. Alla dessa utmärkta egenskaper gör energiomvandlingssystem.

The initial gesture One response An instant of recognition The manifestation of an idea Another reality THE SKETCH / Master of Architecture

Buying and viewing art has gone from being a traditionally physical experience to becoming digital. Due to limitations in today's two-dimensional e-commerce websites, 3D technology can be used to simulate the physical experience as much as possible. This thesis studies which factors can potentially play an important role in online art purchases, of which trust on the artist, familiarity to the artist and understanding more in depth the painting techniques were found to be the most influential on enhancing the viewers experience and engagement with a painting viewed online. These factors were later implemented in a 3D exhibition. Interaction, video, light, spatial perception and interior design contributed to a more holistic experience of art in a 3D environment. A conceptual model is then proposed to offer users as realistic and applied experience as possible that can also contribute to a greater willingness to buy art online. / Att köpa och uppleva på konst har gått från att vara en traditionellt fysisk upplevelse till att bli en digital. På grund av begränsningar i dagens tvådimensionella e-handelswebbplatser kan 3D-teknik användas för att simulera den fysiska upplevelsen så mycket som möjligt. Den här avhandlingen studerar vilka faktorer som potentiellt kan spela en viktig roll i onlineköp av konst, varav tillit till konstnären, kännedom om konstnären och en djupare förståelse av målartekniken visade sig vara de mest inflytelserika för att förbättra deltagarnas upplevelse och engagemang av konst som visas online. Dessa faktorer implementerades senare i en 3D-utställning. Resultaten visade att interaktion, video, ljus, rumslig uppfattning och interiördesign bidrog till en helhetsupplevelse av konst i en 3D-miljö. En konceptuell modell föreslås sedan för att erbjuda användare en så realistisk och tillämpad upplevelse som möjligt som också kan bidra till en större vilja att köpa konst online

Cette recherche interroge le champ des objets ethnographiques au prisme de leur circulation entre deux médiateurs situés entre leur production et leur réception : les musées d’ethnographie et les marchés de l’art. Aucune recherche scientifique ne s’est jusqu’à maintenant penchée en profondeur sur les relations entretenues entre ces deux intermédiaires dans le champ de l’art africain et océanien, si ce n’est pour décrire ou critiquer le cas précis de la fondation du Musée du quai Branly-Jacques Chirac.Mobilisant l’anthropologie et la muséologie, ma recherche est basée sur un travail de terrain intensif auprès des galeries, des maisons de ventes aux enchères et des musées en Suisse, en France et en Belgique entre 20013 et 2017. L’analyse, fondamentalement compréhensive, montre les enjeux territoriaux à l’œuvre et souligne l’impact d’une montée de l’événementiel tant du côté des musées que des marchés. Ma recherche dresse un portrait du marché, de son fonctionnement et de ses hiérarchies à l’heure actuelle et propose une typologie des différentes relations et acteurs afin de comprendre le processus de fixation de la valeur des objets. Sur un marché où domine la spéculation et une grande part d’arbitraire, je montre que cette valeur est intimement liée à la maîtrise de l’information. Finalement, l’analyse met en évidence les « prêts-à-penser » et processus développés par l’entier des acteurs du champ pour rationaliser une partie de ces pratiques spéculatives. J’espère souligner dans cette recherche les formes nouvelles de production, d’appropriation, de consommation et de valorisation de l’altérité par notre société aujourd’hui. / This PhD thesis presents the valuation of ethnographic object through the prism of their circulation between two stakeholders : art markets and ethnographic museums. No scientific research has so far looked in depth at the relation between this two actors in the tribal art’s field, except to describe or criticise the specific case of the Musée du quai Branly-Jacques Chirac’s foundation.My research mobilising anthropology and museology is based on intensive fieldwork with galleries, auction houses and museums in Switzerland, France and Belgium between 2013 and 2017. The comprehensive analysis shows the territorial issues between this different stakeholders and highlights the increase in events both in museums and markets. My research also draws a portrait of the market, its functionning and its hierarchies and proposes a typology of the different relations and actors. The main objective was to understand the process of fixing an object’s value. In a market dominated by speculation and a lot of arbitrariness, I highlight that this value is intrinsically linked to the control of information. Finally, the analysis shows the « how-to-think » and processes developped by all the actors in the field to rationalise some of these speculative practices. I hope I have emphasised in this work the new forms of production, appropriation, consumption and the valorisation of otherness by our society today.