The Academic-enterprise experiences framework as a guide for design education

The establishment of support platforms for the development of a new culture in design education, in order to achieve both research exploitation and its results, as an approach to the industrial community, challenges higher education institutions to rethink their functioning, divided between investigation on their own initiative or on demand, and its usefulness / practical application. At the same time, through design education, how can they be the engine that aggregates all these frequently antagonistic interests? Polytechnic institutes are predisposed to collaboration and interdisciplinarity. In our course of Technology and Design of Furniture, the availability of a production unit, testing laboratories, and expertise in engineering, design and marketing, encourage the development of a holistic project. In order to develop such knowledge, we adapt three important ways of thinking in designing interactions influenced by the traditional approach, namely, 1) identifying and understanding a design problem, i.e. a market need, 2) defining the design process and knowing what can be used for design education, i.e. opportunities for design education, and 3) sustainability of this framework and design projects' alignment with education in the same field. We explain our approach by arguing from the academicenterprise experiences perspective. This concept is proposed as a way to achieve those three ways of thinking in design education. Then, a set of interaction attributes is defined to explain how engineering and product design education can enhance meaningful relations with manufacturers, stakeholders and society in general. A final discussion is presented with the implications and benefits of this approach. The results suggest that through academic-enterprise partnerships in design, several goals such as students' motivation, product design innovation and potential for knowledge transfer to industries can be achieved.

State of the art of industrial wood protection in Portugal

This work intended to give a perspective of industrial wood protection in Portugal. A survey was made of the companies treating wood mainly for use classes 3 and 4 such as autoclave treatments with biocides and wood modification procedures. Currently there are 23 companies with 33 production plants with an autoclave installed for wood preservation by impregnation. There are also two companies producing modified wood by thermal treatment. Most of the plants are located in the central and northern regions of Portugal. The leading preservation chemicals used in Portugal are Tanalith E and Celcure brands. The main wood species used in all companies is Pinus pinaster from local producers. The products commercialized by the treating companies are diverse: pre-fabricated houses, garden furniture and playgrounds, decks, poles, stakes, and sawn wood. Modified wood producers sell mostly decks and cladding. Considerable changes are expected in the next few years due to the requirements of European Directives and the typical constraints of the Portuguese market.

Riesgo biomecánico y dolor lumbar en operarios y personal administrativo en una fábrica de jabón en Bogotá 2016

Introducción: El dolor lumbar y los desórdenes músculo esqueléticos comprometen la salud y la calidad de vida de los trabajadores, pueden poner en riesgo el futuro laboral de las personas. bjetivo: Estimar la prevalencia de dolor lumbar y los posibles factores biomecánicos asociados en el personal operativo y administrativo en una empresa manufacturera de jabón en Bogotá, en el año 2016 Metodología: Estudio de corte transversal donde se evaluó el riesgo biomecánico y la prevalencia del dolor lumbar en personal administrativo (138) y operativo (165); se utilizó como instrumento el ERGOPAR validado en España. Se revisó la asociación utilizando la prueba Chi Cuadrado de Pearson, con un nivel de significación α 0.05 Resultados: 303 trabajadores de una empresa manufacturera de jabón en Bogotá, donde predominó el género masculino (51,82%) y la población adulta media entre 30-39 años (57,42%). La prevalencia del dolor lumbar en la población fue de 61,39% (186). La edad no se asoció estadísticamente al dolor lumbar. Se encontró asociación estadística entre el síntoma dolor lumbar y extensión de cuello (p=0,05 OR1.95 IC 1.33-2.88), así como con agarrar o sujetar objetos (p= 0,036. OR 2.3 IC 1.59-3.51) y con las exigencias físicas laborales (p= 0.001 OR 1.99 IC 1.31-3.02). Conclusiones: La población estudiada presentó una alta prevalencia de dolor lumbar, con predominio en personal que realiza labores operativas, y del género femenino. La adopción de posturas de extensión del cuello y la sujeción o agarre de objetos son factores asociados directamente con la aparición de lumbalgia.

THE ARTIFICIAL PARADISES OF DES ESSEINTES, A DECADENT ESTHETE

In the late nineteenth century, the discoveries of the unconscious universe and the fondness for mysterious dimensions of existence have influenced a group of young artists to probe world mysteries through the incantatory power of words. From the opposition to scientific Realism and Naturalism, and also inspired by the revolutionary poetry of Charles Baudelaire, thus arose Decadentism. The novel À Rebours, by the French novelist and art critic Joris-Karl Huysmans (1848-1907), is an important expression of that spirit. In that work, there is a fruitful dialogue between painting and literature, which inaugurates a new style opposing the already exhausted realistic model. Duke Des Esseintes, the eccentric protagonist of the novel, struggles to modernity and emerging bourgeoisie’s unrefined taste of emerging bourgeoisie. In his searching for a new literary model, Huysmans bet on environment descriptions and art transpositions. The painting served as an aesthetic paradigm for the novel construction, not limited only to the frequent descriptions of Moreau or Redon’s paintings, but also encompassing the way Huysmans described the furniture, tapestries, artificial flowers and fishes, book covers etc... Being outstanding was his idea, things beyond the reach for the common man, devoted to trivialities of everyday life. The transposition of art, or the creation of an artistic work by language, acquires immeasurable value to the critical Huysmans engrossing him in À Rebours. There, the critical superimpose the writer. The decadent style of Huysmans opposes the analytical reason. In his work, the art aims to retake the passion, the dream, the mystery, fear, death, totally disengaged of the desire to represent the reality.