A tese discute os mecanismos de seleção e apropriação dos espaços da cidade e a subsequente construção imagética da favela em Cidade de Deus. A partir da análise da narrativa visual da favela fílmica, o trabalho propõe a denominação da direção de arte realizada como invisível. Tal termo expressa o conceito de um cinema que tem na arte um critério importante de verossimilhança que, por fim, leva o espectador a crer que não houve manipulação do espaço filmado. A proposição da nomenclatura direção de arte invisível ampara-se no entendimento do conceito estético de Cidade de Deus e em uma incursão no modus operandi dos enunciados da arte que se articulam na construção das imagens: cenografia, produção de objetos, figurino e maquiagem. A fim de um maior entendimento formal da favela carioca, Rio, 40 graus e 5x Favela se juntam à análise. Dessa forma, o trabalho faz uma leitura de filmes nos quais a cidade é também um dos personagens. Se Rio, 40 graus e 5x Favela tomam emprestado determinados ícones urbanos e geográficos para estruturar seus roteiros, é através de Cidade de Deus que vamos buscar articular o paradoxo em torno de uma direção de arte que se efetiva ao se fazer invisível. / This thesis concerns the mechanisms of selection and appropriation of urban spaces and the further construction of a slum\'s imagery in the film City of God. From the analysis of the visual narrative of the cinematic slum, this dissertation intends to describe a production design achieved as invisible. The term expresses a concept of filmmaking which carries in the craft significant criteria of verisimilitude, which finally leads the viewer to believe that there was no manipulation of the set. The subject of the term invisible production design is supported by the understanding of the aesthetic concept of the film City of God, and by the study of the modus operandi of the art premises which articulate the construction of images: set design, set dressing, costume design and makeup. For a deeper formal understanding of slums in Rio, the films Rio, 40 Graus and 5x Favela are part of this analysis. Thus, this essay depicts films where the city is also perceived as a character. In the sense that Rio, 40 Graus and 5x Favela borrow certain urban and geographic icons in order to structure their scripts, it is through City of God that we may articulate the paradox around an production design that is effective in making itself invisible.

O trabalho trata da relação entre arquitetura moderna e cinema brasileiro, tendo como objetos os filmes Flores raras (2013), Eu sei que vou te amar (1986) e Insolação (2009), nos quais obras da arquitetura moderna foram utilizadas como cenário. Este usual procedimento do cinema, também denominado produção de locação, consiste na apropriação de lugares existentes para filmagens, valendo-se de seus espaços e atmosferas. Flores raras teve como cenário a Residência Edmundo Cavanelas (1954); Eu sei que vou te amar, a Casa da Lagoa (1942), ambas projetadas por Oscar Niemeyer; e Insolação foi filmado em diversos edifícios inseridos na paisagem de Brasília, tais como a concha acústica e a curia metropolitana. Identifica-se, de forma geral, o aspecto cenográfico destas obras de arquitetura, a fim de compreender os fatores que contribuiram para sua escolha como locação; para tal, toma-se como referencial teórico o estudo de Eric Rohmer sobre a organização do espaço no cinema; textos de Juhani Pallasmaa sobre a arquitetura do filme; Bernard Tschumi e a dimensão sensual da arquitetura; e Peter Zumthor, sobre a questão da atmosfera na arquitetura. Utiliza-se o conceito semiótico de visualidade e visibilidade, de Lucrécia Ferrara, assim como o procedimento metodológico de leitura de textos não verbais proposto pela autora; realizam-se, então, leituras de sequências dos filmes, considerando seu roteiro e outros materiais como contextualização. A partir dos filmes, identificam-se três aspectos distintos da arquitetura moderna localizados na historiografia da arquitetura. A dimensão cenográfica da arquitetura nos três filmes é apresentada tanto nas leituras quanto nas sequências ilustradas compostas por fotogramas dos mesmos. / The present thesis consists of the relation between modern architecture and the Brazilian movies Flores raras (2013), Eu sei que vou te amar (1986) and Insolação (2009), on which modern architecture is taken as set. At cinema, this is an usual procedure called production of locations: real places and buildings are used as sets, counting with their spaces and ambience. Flores raras was shot at Edmundo Cavanelas\'s house (1954); Eu sei que vou te amar, at Lagoa\'s house (1942), both designed by Oscar Niemeyer; Insolação was shot on several buildings and landscapes in Brasilia, such as the concert hall and the metropolitan curia. The scenographic dimension is identified on these buildings, in order to comprehend the factors which were taken in consideration to be chosen as location; for this reason, some theoretical references are taken: Eric Rohmer\'s study about the organization of space on cinema; Juhani Pallasmaa\'s texts about the architecture of films; Bernard Tschumi and the sensual dimension of architecture; and Peter Zumthor, about athmosphere issues on architecture. It is also considered the semiotic concept of visuality and visibility, conceived by Lucrecia Ferrara, as well as her non verbal method of analysis. Then, movie sequences analysis are carried out, considering the screenplay and other contextualization materials. Based on these movies, three distinct aspects of modern architecture are spotted on the historiography of architecture. The scenographic dimension of architecture on the films mentioned above is presented on analysis and on ilustrated sequences composed by their own frames as well.

In this thesis, I will detail and analyze the production design processes for National Lampoon's RoboDoc, written by Douglas Gordon M.D., filmed and produced in Orlando, Universal Studios and Ormond Beach, FL, as experienced through the art department. The direction of the thesis will be based on how a background in architecture and theatre guides the design motivation(s) within a production team for film. My documentation will include a process journal written throughout the production of the film to include design meeting topics, research and design inspiration, sketches, budget and location concerns, coordination of scenic elements, crew team coordination, paperwork, and thoughts on working within the art department team as well as working with other teams of production. Photographic records will include pre-production allocation and storage, load-in scenarios, set construction, and final design in set and set dressing. Final comments will be based on a personal evaluation, evidence of my progression throughout the production, and how an advanced focus in design through education and practice affected the project.

The aim of the diploma thesis is to study the possibilities of creating a monitoring system for older production facilities already in operation. Select the necessary components for the nature of the equipment to create a system that is able to capture and provide information about activities on the equipment. The second goal is to design a suitable communication model for clear information about the operation, sending and storing data. The third goal is to analyze the dual-core ESP32 microprocessor against its predecessors in the role of system control unit.

[pt] Esta pesquisa parte do entendimento da Direção de Arte como uma área multidisciplinar de conhecimento capaz de planejar, projetar e construir visualidades tanto para obras narrativas como para ambientações. Tem como objetivo contribuir para o ensino da Direção de Arte de forma ampliada, como um processo de Design. Nessa perspectiva projetual, verifica-se uma série de interseções entre o Design e a Direção de Arte. Uma reflexão sobre a atuação do Designer e do Diretor de Arte como agentes de transformação do espaço e usuários de processos sistemáticos é elaborada na pesquisa. O foco do estudo concentra-se no processo de aprendizagem de estudantes de Direção de Arte. Tem como objeto de estudo uma prática de ensino de Direção de Arte própria e inédita desenvolvida pelo autor da pesquisa, o Tarô da Direção de Arte, na qual os alunos aprendem e elaboram seus projetos de forma lúdica, por meio de uma dinâmica com cartas. Nesta prática, cartas sorteadas pelos alunos fornecem a indicação de um ambiente específico com corte espacial e temporal e o aluno é então estimulado a elaborar um universo visual próprio para a situação, exercitando sua criatividade e seu olhar para a Direção de Arte. A partir de estudo teórico, da análise da experiência de aplicação dessa prática desenvolvida e de entrevistas com alunos e profissionais das áreas envolvidas, pretende-se discutir a prática do Tarô da Direção de Arte, bem como conhecer novas possibilidades para a sua aplicação em outros contextos. / [en] This research starts from the understanding of Art Direction as a multidisciplinary area of knowledge capable of planning, designing and constructing visualities for both narrative works and environments. It aims to contribute to the teaching of Art Direction in an expanded way, as a Design process. In this project perspective, there are a number of intersections in the field between Design and Art Direction. A reflection on the role of the Designer and the Art Direction as agents of space transformation and users of systematic processes is elaborated in the research. The focus of the study is on the learning process of students of Art Direction. Its object of study is an own and unprecedented Art Direction teaching methodology developed by the research author, the Art Direction Tarot, in which students learn and elaborate their projects in a playful way, through a dynamic with letters. In the dynamics, letters drawn by the students provide the indication of a specific environment with spatial and temporal cut, and the student is then encouraged to develop a visual universe appropriate to the situation, exercising his creativity and his look at the Art Direction. Based on a theoretical study, the analysis of the experience of applying this developed practice and interviews with students and professionals in the areas involved, the intention is to discuss the Tarot methodology of Art Direction, as well as evaluating news possibilities of in other contexts.

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Made available in DSpace on 2016-04-26T18:13:47Z (GMT). No. of bitstreams: 1 Patricia Dourado.pdf: 6349707 bytes, checksum: ffb8fa732d9cc7ef689dfe1f56ec8848 (MD5) Previous issue date: 2013-11-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Sofia Coppola had a personal project: to present the public with the point of view of Queen Marie Antoinette. To achieve it, she decided to pursue an intimate journey of the historical character. Dialogue with her collaborators, among them the production designer KK Barrett and costume designer Milena Canorero, was crucial on this path. This research aims to investigate the construction of that intimate journey in Sofia Coppola's Marie Antoinette, focusing on the work of production design resulting from the relationship between authorship and collaboration. Here, "authorship" is understood as the existence of a personal poetic project for the film and "collaboration" as teamwork as it occurs in the film work. Ingeniously divided into teams - such as art, photography, music, drama and others - the creative process in the film work is the outcome of the communication between these teams. The production design is responsible for the visual concept of the film, working with the construction of visual elements such as scenery, costumes, makeup, objects, etc. The production design was of great importance for the development of Sofia Coppola's poetic project (the creation of an intimate journey), since the documents of the process reveale a filmmaker interested in telling the story far more for its visuals than for the speech of the characters. From this case study, considering the importance of the art team for the film, it was established that even if it were possible to speak of authorship in the collaborative process in film work existing here as the presence of a personal poetic project focused on the figure of the director and screenwriter Sofia Coppola - that authorship is also fueled by the complexity of teamwork relationships. For this understanding, the methodological thinking of the critical process proposed by researcher Cecilia Almeida Salles was crucial. Composing the body of our research are the following documents of the process: the movie Marie Antoinette, the making of the movie that accompanies the DVD, the production notes available on the movie's official website, the press kit of the Cannes festival, the book by biographer Antonia Fraser which inspired the movie, the published screenplay, and interviews on websites, newspapers and magazines. The same materials from the film-maker and her team's other movies were utilized in this research. These documents contributed to the assertion of our relative perspective on the creative process / Sofia Coppola tinha um projeto pessoal, apresentar ao público o ponto de vista da rainha Maria Antonieta. Para isso, decidiu buscar a jornada intimista da personagem histórica. O diálogo com seus colaboradores foi fundamental neste caminho. Entre eles, o diretor de arte KK Barret e a figurinista Milena Canonero. Esta pesquisa tem por objetivo investigar a construção da jornada intimista em Maria Antonieta de Sofia Coppola, com foco no trabalho da direção de arte, a partir das relações entre autoria e colaboração. Entende-se aqui autoria como a existência de um projeto poético pessoal para o filme. E colaboração como o trabalho de equipe conforme ocorre no cinema. Engenhosamente dividido em equipes (arte, fotografia, música, dramaturgia etc.), o processo criativo no cinema se dá exatamente da comunicação entre essas equipes. A direção de arte é a responsável pelo conceito visual do filme, operando no campo da construção dos elementos visuais: cenário, figurino, maquiagem, objetos etc; trabalho fundamental para o desenvolvimento do projeto poético de Sofia Coppola (a criação de um jornada intimista), uma vez que os documentos de processo revelam uma cineasta interessada em contar a história bem mais por seus elementos visuais do que pela fala dos personagens. A partir deste estudo de caso, em vista da importância da equipe de arte para o filme, foi possível constatar que, mesmo que seja possível falar em autoria dentro do processo colaborativo do cinema - aqui percebido pela presença de um projeto poético pessoal centrado na figura da diretora e roteirista Sofia Coppola - essa autoria é também alimentada pela complexidade das relações do trabalho de equipe no cinema. Para esse entendimento, foi fundamental o pensamento metodológico da crítica de processo proposta pela pesquisadora Cecília Almeida Salles. Compuseram nosso corpus de investigação os seguintes documentos de processo: o filme Maria Antonieta, o vídeo making of que acompanha o DVD, as production notes disponibilizadas no site oficial, o press kit do festival de Cannes, o livro da biografa Antonia Fraser que inspirou o filme, o roteiro publicado, além de entrevistas em sites, jornais e revistas. Contribuiram também materiais de mesma natureza a repeito dos outros filmes da cineasta e de sua equipe, afirmando nossa perspectiva relacional diante do processo criativo

The rapid disposal of products has detrimental effects on environment which is increasing resource consumption for the production of new products, along with the waste production. Therefore, designing long lasting products has great importance for achieving sustainable consumption and production. The present study analyzes the implications of an approach called post-use design thinking for achieving sustainable consumption and production through product longevity. To explore that approach, two educational industrial design projects are analyzed throughout the study. The results suggest that post-use design thinking should be considered at the early stages of the design process. The idea generation exercises developed specifically for this design thinking seem to be helpful in generating design solutions for post-use phase. The results also indicate that the post-use design thinking is feasible in terms of design and production for glass packaging products, which is the specific case analyzed throughout the research.

This dissertation studies strategies to mitigate the risks associated with operational and strategic decisions of a firm, particularly focusing on project management, product development and procurement decisions. In the first essay we develop two simulation-based methods to evaluate risky capital investment projects that involve managerial flexibility. Many risky projects are characterized by significant demand and operational risks (such as learning curve uncertainty) that are difficult to capture by simple stochastic processes. We propose using system dynamics simulations to estimate the cash flow resulting from these projects and build upon prior work on real options valuation in the decision analysis literature to develop two valuation algorithms. In the second essay we explore the technology investment decisions for platforms in markets that exhibit cross-network effects. We focus on the trade-off firms must make between investing new product development resources to increase a platform's core performance and functionality versus investments designed to leverage the platform's cross-network effects. Abstracting from examples drawn from multiple industries, we use a strategic model to gain intuition about how to make such trade-off decisions under competition. In the third essay, we analyze the optimal procurement strategy of a firm that faces supply and demand risk. In particular, the firm can source from two unreliable suppliers with different delivery characteristics. We study the optimal order allocation policy shaped by the trade-offs between delivery leadtime, reliability and procurement cost. Further, we discuss the value of leadtime flexibility in supply risk mitigation and highlight the role of an inferior supplier in a firm's multi-sourcing strategy. The main contribution of this dissertation to the operations management literature is two-fold. First, it illustrates the role of effective risk mitigation through operational strategies of leadtime flexibility and supply diversification as well as through recognizing managerial flexibility. Second, it highlights the importance of leveraging third-party content development while making technology investment decisions for platforms in two-sided markets. / text

This thesis project is the final part of the Master of Science degree in Industrial Design Engineering with specialisation in Production Design at Luleå University of Technology. The project was conducted at Scania Ferruform in Luleå through January to June of 2018. Ferruform currently produces the side members to Scania’s trucks in a traditional roll forming machine. The technology of roll forming has developed and today there is a new version of the technology called 3D roll forming, which allows for forming beams with variable cross sections. Forming side members with variable web dimensions would make it possible to produce side members that have optimised form, which allows for a weight reduction in the trucks and an increase in the customers payload. The objective of this project was to identify the benefits and the limitations of investing in 3D roll forming at Ferruform’s side member production and to investigate how the technology should be implemented. The study had two aims. The first aim was to present a proposal for the implementation of 3D roll forming in the side member production at Ferruform. The second aim was to design a project plan for Ferruform’s eventual further work of implementing 3D roll forming. A literature study was performed and resulted in a theoretical framework consisting of relevant theories regarding industrial design engineering, roll forming, organisational changes and sustainability. A description and analysis of the current state was made and included the side member production, the side member paint shop and the chassis line at Scania Södertälje. The current state was mainly described through conducting interviews and performing observations. Process flow analysis was then done to visualise and analyse the current state. The next step was to describe and analyse the future state, this was done taking advantage of the available knowledge at Ferruform and analysing the material from a benchmark performed before this thesis project started. The description and analysis of the current and future state resulted in a specification of requirements. Four concepts for the future side member production were designed and evaluated with a Pugh matrix. The evaluation resulted in choosing one of the concepts for further development. The final concept for the implementation consists of keeping the traditional roll forming machine and building a new production line for 3D roll forming. The 3D roll forming machine consists of a one-part machine which requires the side members to pass through the machine twice. The results of the thesis showed that the amount of side members that would enable profit by being produced with 3D roll forming, was lower than expected. The results of the thesis also show that there are many considerations and further investigations that need to be conducted before starting an implementation could be started. However, as relevant theories propose, it is concluded that 3D roll forming is a flexible production method which would make it possible for Scania to satisfy individual customer needs and also provide the company with a long-term solution for future customer needs. / Det här examensarbetet är den sista delen för en civilingenjörsexamen inom Teknisk design med inriktning mot Produktionsdesign vid Luleå tekniska universitet. Projektet utfördes på Scania Ferruform i Luleå under januari till juni 2018. Ferruform producerar sidobalkar till Scanias lastbilar i en traditionell rullformningsmaskin. Rullformningstekniken har dock utvecklats och idag finns det en ny version av tekniken som kallas 3D-rullformning och som möjliggör formning av balkar med variabla tvärsnitt. Genom att forma sidobalkar med variabla livbredder skulle det vara möjligt att producera balkar med optimerad form, vilket innebär en viktminskning av lastbilarna och en ökning i kundernas nyttolast. Syftet med projektet var att identifiera fördelar och nackdelar med att investera i 3D-rullformning i Ferruforms sidobalkstillverkning och undersöka hur tekniken borde implementeras. Studien hade två olika mål. Det första målet var att presentera ett förslag för implementeringen av 3D-rullformning i sidobalktillverkningen på Ferruform. Det andra var att ta fram en projektplan för Ferruforms eventuella fortsatta arbete med att implementera 3D-rullformning. En litteraturstudie utfördes för att ta fram en teoretisk referensram bestående av relevanta teorier inom teknisk design, rullformning, organisationsförändringar och hållbarhet. En beskrivning och analys av nuläget genomfördes och inkluderade sidobalkstillverkningen, sidobalksmåleriet och chassimonteringen på Scania Södertälje. Nuläget undersöktes främst genom intervjuer och observationer. Processflödesanalys användes för att visualisera och analysera nuläget. Nästa steg i projektet var att beskriva och analysera det framtida läget, detta gjordes genom att ta tillvara på den tillgängliga kunskapen hos personalen på Ferruform och genom att analysera det benchmarkingbesök som gjordes innan detta projekt påbörjades. Undersökningarna av nuläge och framtid resulterade i kravspecifikation. Fyra koncept för den framtida sidobalkstillverkningen togs fram och utvärderades med hjälp av metoden Pughs matris. Utvärderingen resulterade i att ett koncept valdes ut för att utvecklas ytterligare. Det slutliga konceptet för implementeringen består av den nuvarande, traditionella rullformningsmaskinen och uppbyggnaden av en ny produktionslina för 3D-rullformning. 3D-rullformningsmaskinen består av en maskindel, vilket kräver att sidobalkarna går igenom maskinen två gånger. Projektets resultat visade att mängden sidobalkar som skulle möjliggöra vinst genom att tillverkas med 3D-rullformning, var lägre än väntat. Resultaten visar också att det är många överväganden och vidare utredningar som krävs innan en implementering kan påbörjas. Dock har jag, precis som relevant teori föreslår, också dragit slutsatsen att 3D-rullformning är en flexibel produktionsmetod som skulle göra det möjligt för Scania att tillfredsställa individuella kundbehov och även förse företaget med en långsiktig lösning för framtida kundbehov.