O designer e a prática profissional na indústria automobilística no Brasil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Um estudo sobre o desenho aplicado ao design

Although technological development has created several tools and techniques of graphic representation, we highlight here the importance of the manual drawing abilities for the design creative process. Freehand drawing is used to facilitate the development of projects and show them more quickly and efficiently, and is an essential technique for any designer, regardless is informational, product or fashion designer.

As cores e sua influência no processo projetual

In current days, the technology in materials and compounds makes it possible to implement a wide range of colors in any production process is this graphic or product. Formerly the limitations of series production allowed a small variety of colors and reasons, and the consumer had access to few options at the time of purchase. Today the companies make use of color in ceaseless products in order to differentiate them from competitors, which awakens an alert during the creative process of designer: How To properly apply the colors to the products? This Article aims at helping these professionals to understand how it works the Chroma spectrum in their physiology and psychology in such a way as to demonstrate a method to create a palette of colors directed to the user to whom you want to reach. This methodological suggestion, among other possible, should facilitate the process of choice of colors by professional during the creative process and projectual.

O papel do designer contemporâneo a partir das contribuições europeias na formação do profissional

This article presents a reflection on the profession of designer from the historical period for the pre-industrial revolution approaching the figure of the industrial designer in France and emphasizes the special attention given to it in England as the focus of the Industrial Revolution. Deals with some of the changes that the designer profession suffered along the way, that these changes occur in parallel to social, economic, technological. This study also reflects on the role of the professional in contemporary society and the challenges facing the profession.

esempio di tavola 1: rilievo a vista di un oggetto e proiezioni ortogonali. designer: Roberto Paoli, Milano

esempio della prima esercitazione in aula

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Development and optimization of graphic user interfaces (GUIs) for infrared spectrometers at the Telescopio Nazionale Galileo

This Phd thesis was entirely developed at the Telescopio Nazionale Galileo (TNG, Roque de los Muchachos, La Palma Canary Islands) with the aim of designing, developing and implementing a new Graphical User Interface (GUI) for the Near Infrared Camera Spectrometer (NICS) installed on the Nasmyth A of the telescope. The idea of a new GUI for NICS has risen for optimizing the astronomers work through a set of powerful tools not present in the existing GUI, such as the possibility to move automatically, an object on the slit or do a very preliminary images analysis and spectra extraction. The new GUI also provides a wide and versatile image display, an automatic procedure to find out the astronomical objects and a facility for the automatic image crosstalk correction. In order to test the overall correct functioning of the new GUI for NICS, and providing some information on the atmospheric extinction at the TNG site, two telluric standard stars have been spectroscopically observed within some engineering time, namely Hip031303 and Hip031567. The used NICS set-up is as follows: Large Field (0.25'' /pixel) mode, 0.5'' slit and spectral dispersion through the AMICI prism (R~100), and the higher resolution (R~1000) JH and HK grisms.

General-Purpose Computing on Graphic Processing Unit (GPGPU): metodi e tecnologie per lo sviluppo di applicazioni

Microprocessori basati su singolo processore (CPU), hanno visto una rapida crescita di performances ed un abbattimento dei costi per circa venti anni. Questi microprocessori hanno portato una potenza di calcolo nell’ordine del GFLOPS (Giga Floating Point Operation per Second) sui PC Desktop e centinaia di GFLOPS su clusters di server. Questa ascesa ha portato nuove funzionalità nei programmi, migliori interfacce utente e tanti altri vantaggi. Tuttavia questa crescita ha subito un brusco rallentamento nel 2003 a causa di consumi energetici sempre più elevati e problemi di dissipazione termica, che hanno impedito incrementi di frequenza di clock. I limiti fisici del silicio erano sempre più vicini. Per ovviare al problema i produttori di CPU (Central Processing Unit) hanno iniziato a progettare microprocessori multicore, scelta che ha avuto un impatto notevole sulla comunità degli sviluppatori, abituati a considerare il software come una serie di comandi sequenziali. Quindi i programmi che avevano sempre giovato di miglioramenti di prestazioni ad ogni nuova generazione di CPU, non hanno avuto incrementi di performance, in quanto essendo eseguiti su un solo core, non beneficiavano dell’intera potenza della CPU. Per sfruttare appieno la potenza delle nuove CPU la programmazione concorrente, precedentemente utilizzata solo su sistemi costosi o supercomputers, è diventata una pratica sempre più utilizzata dagli sviluppatori. Allo stesso tempo, l’industria videoludica ha conquistato una fetta di mercato notevole: solo nel 2013 verranno spesi quasi 100 miliardi di dollari fra hardware e software dedicati al gaming. Le software houses impegnate nello sviluppo di videogames, per rendere i loro titoli più accattivanti, puntano su motori grafici sempre più potenti e spesso scarsamente ottimizzati, rendendoli estremamente esosi in termini di performance. Per questo motivo i produttori di GPU (Graphic Processing Unit), specialmente nell’ultimo decennio, hanno dato vita ad una vera e propria rincorsa alle performances che li ha portati ad ottenere dei prodotti con capacità di calcolo vertiginose. Ma al contrario delle CPU che agli inizi del 2000 intrapresero la strada del multicore per continuare a favorire programmi sequenziali, le GPU sono diventate manycore, ovvero con centinaia e centinaia di piccoli cores che eseguono calcoli in parallelo. Questa immensa capacità di calcolo può essere utilizzata in altri campi applicativi? La risposta è si e l’obiettivo di questa tesi è proprio quello di constatare allo stato attuale, in che modo e con quale efficienza pùo un software generico, avvalersi dell’utilizzo della GPU invece della CPU.

Designer synthesis of monodisperse heterodimer and ferrite nanoparticles

The work presented in this doctoral thesis is a facile procedure, thermal decomposition, forrnthe synthesis of different types of monodisperse heterodimer M@iron oxide (M= Cu, Co, Nirnand Pt) and single ferrites, MFe2O4 (M= Cu and Co), nanoparticles. In the following chapter,rnwe study the synthesis of these monodiperse nanoparticles with the similar iron precursorrn(iron pentacarbonyl) and different transition metal precursors such as metalrnacetate/acetylacetonate/formate precursors in the presence of various surfactants and solvents.rnAccording to their decomposition temperatures and reducing condition, a specific and suitablernroute was designed for the formation of Metal@Metal oxide or MFe2O4 nanoparticlesrn(Metal/M=transition metal).rnOne of the key purposes in the formation of nanocrystals is the development of syntheticrnpathways for designing and controlling the composition, shape and size of predictedrnnanostructures. The ability to arrange different nanosized domains of metallic and magneticrnmaterials into a single heterodimer nanostructure offers an interesting direction to engineerrnthem with multiple functionalities or enhanced properties of one domain. The presence andrnrole of surfactants and solvents in these reactions result in a variety of nanocrystal shapes. Therncrystalline phase, the growth rate and the orientation of growth parameters along certainrndirections of these structures can be chemically modulated by using suitable surfactants. In allrnnovel reported heterodimer nanostructures in this thesis, initially metals were preformed andrnthen by the injection of iron precursor in appropriate temperature, iron oxide nanoparticlesrnwere started to nucleate on the top or over the surfaces of metal nanoparticles. Ternary phasesrnof spherical CuxFe3-xO4 and CoFe2O4 ferrites nanoparticles were designed to synthesis just byrnlittle difference in diffusion step with the formation of mentioned phase separated heterodimerrnnanoparticles. In order to use these magnetic nanoparticles in biomedical and catalysisrnapplications, they should be transferred into the water phase solution, therefore they werernfunctionalized by a multifunctional polymeric ligand. These functionalized nanoparticles werernstable against aggregation and precipitation in aqueous media for a long time. Magneticrnresonance imaging and catalytic reactivities are two promising applications which have beenrnutilized for these magnetic nanoparticles in this thesis.rnThis synthetic method explained in the following chapters can be extended to the synthesis ofrnother heterostructured nanomaterials such as Ni@MnO or M@M@iron oxide (M=transitionrnmetal) or to use these multidomain particles as building blocks for higher order structures.

Graphic news: La nuova frontiera del fumetto, proposta di traduzione

Il presente elaborato si prefigge lo scopo di proporre una traduzione in francese di cinque fumetti di giornalismo a fumetti da pubblicare su un’ipotetica versione localizzata del sito http://graphic-news.com/. Si tratta di un sito di informazione a fumetti, che combina due grandi rivoluzione del fumetto: il fumetto digitale e il graphic journalism. Si cercherà di definire il fumetto in quanto linguaggio formato dall’interazione fra codice visivo e codice verbale, se ne traccerà la storia dalle sue origini fino agli sviluppi più recenti per individuare l’evoluzione che ha portato alla nascita del fumetto digitale, di cui saranno analizzate le principali caratteristiche insieme a una panoramica sul graphic journalism, un genere che ha permesso al fumetto di emanciparsi dalla sua nomea di letteratura per l’infanzia. In seguito, ci si concentrerà sull'ambiente digitale che accoglierà le traduzioni dei fumetti: si fornirà perciò una descrizione dell’organizzazione del sito e una sua analisi semiotica. Infine, si passeranno in rassegna le caratteristiche generali della traduzione dei fumetti con le sue specificità e si proporrà la traduzione dei cinque fumetti con relativo commento delle maggiori difficoltà incontrate nel processo di traduzione con un’attenzione particolare per i principali aspetti problematici legati all'interazione fra testo e immagini.

Bioanalysis of new designer drugs

Since the late 1990s the illicit drug market has undergone considerable change: along with the traditional drugs of abuse that still dominate, more than 100 psychotropic substances designed to bypass controlled substances legislation have appeared and led to intoxications and fatalities. Starting from the huge class of phenylalkylamines, containing many subgroups, the spectrum of structures has grown from tryptamines, piperazines, phenylcyclohexyl derivates and pyrrolidinophenones to synthetic cannabinoids and the first synthetic cocaine. Due to the small prevalence and high number of unknown substances, the detection of new designer drugs is a challenge for clinical and forensic toxicologists. Standard screening procedures might fail because a recently discovered or yet unknown substance has not been incorporated in the library used. Nevertheless, many metabolism studies, case reports, screening methods and substance-profiling papers concentrating on single compounds have been published. This review provides an overview of the developed bioanalytical and analytical methods, the matrices used, sample-preparation procedures, concentration of analytes in case of intoxication and also gives a résumé of immunoassay experiences. Additionally, six screening methods for biological matrices with a larger spectrum of analytes are described in more detail.

LC-MS/MS screening method for designer amphetamines, tryptamines, and piperazines in serum

Since the late 1990s and early 2000s, derivatives of well-known designer drugs as well as new psychoactive compounds have been sold on the illicit drug market and have led to intoxications and fatalities. The LC-MS/MS screening method presented covers 31 new designer drugs as well as cathinone, methcathinone, phencyclidine, and ketamine which were included to complete the screening spectrum. All but the last two are modified molecular structures of amphetamine, tryptamine, or piperazine. Among the amphetamine derivatives are cathinone, methcathinone, 3,4-DMA, 2,5-DMA, DOB, DOET, DOM, ethylamphetamine, MDDMA, 4-MTA, PMA, PMMA, 3,4,5-TMA, TMA-6 and members of the 2C group: 2C-B, 2C-D, 2C-H, 2C-I, 2C-P, 2C-T-2, 2C-T-4, and 2C-T-7. AMT, DPT, DiPT, MiPT, DMT, and 5MeO-DMT are contained in the tryptamine group, BZP, MDBP, TFMPP, mCPP, and MeOPP in the piperazine group. Using an Applied Biosystems LC-MS/MS API 365 TurboIonSpray it is possible to identify all 35 substances. After addition of internal standards and mixed-mode solid-phase extraction the analytes are separated using a Synergi Polar RP column and gradient elution with 1 mM ammonium formate and methanol/0.1% formic acid as mobile phases A and B. Data acquisition is performed in MRM mode with positive electro spray ionization. The assay is selective for all tested substances. Limits of detection were determined by analyzing S/N-ratios and are between 1.0 and 5.0 ng/mL. Matrix effects lie between 65% and 118%, extraction efficiencies range from 72% to 90%.

Laboratory-based ROTEM(®) analysis: implementing pneumatic tube transport and real-time graphic transmission

ROTEM(®) is considered a helpful point-of-care device to monitor blood coagulation. Centrally performed analysis is desirable but rapid transport of blood samples and real-time transmission of graphic results are an important prerequisite. The effect of sample transport through a pneumatic tube system on ROTEM(®) results is unknown. The aims of the present work were (i) to determine the influence of blood sample transport through a pneumatic tube system on ROTEM(®) parameters compared to manual transportation, and (ii) to verify whether graphic results can be transmitted on line via virtual network computing using local area network to the physician in charge of the patient.