O designer de produto como elemento de ligação nas equipas multidisciplinares
design e tecnologias
ensino do design
metodologia de design
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AbstractA possibilidade de manter os mais importantes elementos do design criados pelo designer será possível através de uma mistura de estratégia e conhecimento que o designer deverá ser capaz de gerir da maneira mais proveitosa. O comportamento individual e reservado, geralmente assumido e projetado aos outros intervenientes no processo de desenvolvimento de novos produtos, por parte do designer, já não são suficientes para enfrentar as necessidades cada vez mais competitivas da indústria e do mercado. As ideias e os conceitos que podem ser transmitidas ao designer por um grupo de trabalho permitem a aquisição de múltiplas visões acerca do mesmo objeto em termos de conceito, utilização, produção e mercado, que seriam impossíveis de serem fornecidas por um único indivíduo devido a uma observação subjetiva e à limitação de experiências. A metodologia da investigação multidisciplinar é, sem dúvida, o caminho mais importante a seguir e deverá ser introduzido no ensino de design das escolas desde o princípio e especialmente desde que o Acordo de Bolonha veio reduzir drasticamente as horas de contato entre alunos e docentes
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LIQUID METAL TEMPERATURE MEASUREMENT (SODIUM) STATE-OF-THE-ART-STUDY.United States. Department of Energy.; Hochheiser, J.S. (Atomics International, Canoga Park, Calif. Liquid Metal Engineering Center, 1968-01-01)
Kaupapa Māori [visual communication] design
Investigating ‘visual communication design by Māori, for
Māori’, through practice, process and theoryGardner, Tracey (2014-11-10)This work examines the field of Māori graphic design, and more specifically, kaupapa Māori visual communication design and process. Initially this research was conceptualised through a health communication project, and was extended to include experiences from practising Māori designers and an examination of print material in order to highlight apparent differences in process and practice when design is undertaken from a kaupapa Māori perspective. The research topic was chosen as a response to kaupapa Māori initiatives and Māori renaissance strategies of the twenty first century. The research is presented from a kaupapa Māori perspective and uses a post-structuralist method of enquiry. A ‘by Māori, for Māori’ or kaupapa Māori cultural framework is considered as differing from the current design academy in New Zealand. In order to examine and identify Māori cultural frameworks within a design process, four practicing designers were interviewed. When analysed these interviews offered valuable insight into personal experiences, values, beliefs, practices and processes, which is not necessarily identified in the current literature reviewed. Throughout the thesis, a recurring underlying theme presented itself concerned with the interaction of two world-views, that is, design and Māori epistemologies. It is the synthesis of both world-views and the space where these two intersect and meet that the thesis is specifically interested in. The investigation of kaupapa Māori design is limited to visual communication design; however, the process and specifications documented in this thesis are presented as dynamic and complimentary to other areas of Māori design and creative fields. The thesis also engages with wider discourses and practices through the analysis of practising designers’ narratives, design examples and literature reviewed. Kaupapa Māori design processes link intrinsically and directly with existing cultural protocols held within te ao Māori. These methods and procedures have been re-articulated within design discourse due to a need for cultural understanding when handling and using Māori cultural referents and knowledge. The increased demand for Māori iconography within industries both locally and globally has also initiated recognition of the need for clearer guidelines necessary to maintain the integrity and intent of the visual forms. The powerful and symbolic nature of Māori objects and artwork has instigated an articulation of tino rangatiratanga in order to construct and specify culturally appropriate methods and uses of Indigenous taonga in design industry.
The Electronic design studio : architectural knowledge and media in the computer eraMIT Press; International Conference on Computer Aided Architectural Design Futures (3rd : 1989 : Cambridge, Mass.); McCullough, Malcolm; Mitchell, William J. (William John), 1944-2010; Purcell, Patrick (Cambridge, Mass. : MIT Press, 1990-01-01)For centuries architects have carried out shape computations by hand, using informal procedures and the simplest of tools. Over the last two decades, however, they have made increasing use of more formal procedures executed by computers, a development that raises challenging questions of architectural theory and perplexing issues for those concerned with the future of architectural education. In four parts - theoretical foundations, electronic media in the design studio, information delivery systems for design, and knowledge based design systems - this book frames those issues and provides a diversity of perspectives on them.The Electronic Design Studio contains over thirty extensively illustrated contributions that discuss the experiences of universities in the United States, Europe, Japan, Israel, Canada, and Australia with computer-aided architectural (CAAD) design, articulate current theoretical and practical concerns, provide criticism of media and methods, and suggest directions for the future. Architectural educators and architects concerned with the effect of computer technology on the design process will find this book an indispensable reference. As a current review of the state of the art of CAAD and an overview of the major issues, this is the most comprehensive source available.