Forma traço sobre algumas extensões galoisianas de corpos p-Ádicos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O polinômio de Alexander e o determinante de um nó

Pós-graduação em Matemática em Rede Nacional - IBILCE

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such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy.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.

Sostanzialismo e relazionalismo dello spaziotempo alla luce della relatività generale

Until recently the debate on the ontology of spacetime had only a philosophical significance, since, from a physical point of view, General Relativity has been made "immune" to the consequences of the "Hole Argument" simply by reducing the subject to the assertion that solutions of Einstein equations which are mathematically different and related by an active diffeomorfism are physically equivalent. From a technical point of view, the natural reading of the consequences of the "Hole Argument” has always been to go further and say that the mathematical representation of spacetime in General Relativity inevitably contains a “superfluous structure” brought to light by the gauge freedom of the theory. This position of apparent split between the philosophical outcome and the physical one has been corrected thanks to a meticulous and complicated formal analysis of the theory in a fundamental and recent (2006) work by Luca Lusanna and Massimo Pauri entitled “Explaining Leibniz equivalence as difference of non-inertial appearances: dis-solution of the Hole Argument and physical individuation of point-events”. The main result of this article is that of having shown how, from a physical point of view, point-events of Einstein empty spacetime, in a particular class of models considered by them, are literally identifiable with the autonomous degrees of freedom of the gravitational field (the Dirac observables, DO). In the light of philosophical considerations based on realism assumptions of the theories and entities, the two authors then conclude by saying that spacetime point-events have a degree of "weak objectivity", since they, depending on a NIF (non-inertial frame), unlike the points of the homogeneous newtonian space, are plunged in a rich and complex non-local holistic structure provided by the “ontic part” of the metric field. Therefore according to the complex structure of spacetime that General Relativity highlights and within the declared limits of a methodology based on a Galilean scientific representation, we can certainly assert that spacetime has got "elements of reality", but the inevitably relational elements that are in the physical detection of point-events in the vacuum of matter (highlighted by the “ontic part” of the metric field, the DO) are closely dependent on the choice of the global spatiotemporal laboratory where the dynamics is expressed (NIF). According to the two authors, a peculiar kind of structuralism takes shape: the point structuralism, with common features both of the absolutist and substantival tradition and of the relationalist one. The intention of this thesis is that of proposing a method of approaching the problem that is, at least at the beginning, independent from the previous ones, that is to propose an approach based on the possibility of describing the gravitational field at three distinct levels. In other words, keeping the results achieved by the work of Lusanna and Pauri in mind and following their underlying philosophical assumptions, we intend to partially converge to their structuralist approach, but starting from what we believe is the "foundational peculiarity" of General Relativity, which is that characteristic inherent in the elements that constitute its formal structure: its essentially geometric nature as a theory considered regardless of the empirical necessity of the measure theory. Observing the theory of General Relativity from this perspective, we can find a "triple modality" for describing the gravitational field that is essentially based on a geometric interpretation of the spacetime structure. The gravitational field is now "visible" no longer in terms of its autonomous degrees of freedom (the DO), which, in fact, do not have a tensorial and, therefore, nor geometric nature, but it is analyzable through three levels: a first one, called the potential level (which the theory identifies with the components of the metric tensor), a second one, known as the connections level (which in the theory determine the forces acting on the mass and, as such, offer a level of description related to the one that the newtonian gravitation provides in terms of components of the gravitational field) and, finally, a third level, that of the Riemann tensor, which is peculiar to General Relativity only. Focusing from the beginning on what is called the "third level" seems to present immediately a first advantage: to lead directly to a description of spacetime properties in terms of gauge-invariant quantites, which allows to "short circuit" the long path that, in the treatises analyzed, leads to identify the "ontic part” of the metric field. It is then shown how to this last level it is possible to establish a “primitive level of objectivity” of spacetime in terms of the effects that matter exercises in extended domains of spacetime geometrical structure; these effects are described by invariants of the Riemann tensor, in particular of its irreducible part: the Weyl tensor. The convergence towards the affirmation by Lusanna and Pauri that the existence of a holistic, non-local and relational structure from which the properties quantitatively identified of point-events depend (in addition to their own intrinsic detection), even if it is obtained from different considerations, is realized, in our opinion, in the assignment of a crucial role to the degree of curvature of spacetime that is defined by the Weyl tensor even in the case of empty spacetimes (as in the analysis conducted by Lusanna and Pauri). In the end, matter, regarded as the physical counterpart of spacetime curvature, whose expression is the Weyl tensor, changes the value of this tensor even in spacetimes without matter. In this way, going back to the approach of Lusanna and Pauri, it affects the DOs evolution and, consequently, the physical identification of point-events (as our authors claim). In conclusion, we think that it is possible to see the holistic, relational, and non-local structure of spacetime also through the "behavior" of the Weyl tensor in terms of the Riemann tensor. This "behavior" that leads to geometrical effects of curvature is characterized from the beginning by the fact that it concerns extensive domains of the manifold (although it should be pointed out that the values of the Weyl tensor change from point to point) by virtue of the fact that the action of matter elsewhere indefinitely acts. Finally, we think that the characteristic relationality of spacetime structure should be identified in this "primitive level of organization" of spacetime.

Untersuchungen zum nichtstörungstheoretischen Renormierungsverhalten der Quanten-Einstein-Gravitation

Deutsche Version: Zunächst wird eine verallgemeinerte Renormierungsgruppengleichung für die effektiveMittelwertwirkung der EuklidischenQuanten-Einstein-Gravitation konstruiert und dann auf zwei unterschiedliche Trunkierungen, dieEinstein-Hilbert-Trunkierung und die$R^2$-Trunkierung, angewendet. Aus den resultierendenDifferentialgleichungen wird jeweils die Fixpunktstrukturbestimmt. Die Einstein-Hilbert-Trunkierung liefert nebeneinem Gaußschen auch einen nicht-Gaußschen Fixpunkt. Diesernicht-Gaußsche Fixpunkt und auch der Fluß in seinemEinzugsbereich werden mit hoher Genauigkeit durch die$R^2$-Trunkierung reproduziert. Weiterhin erweist sichdie Cutoffschema-Abhängigkeit der analysierten universellenGrößen als äußerst schwach. Diese Ergebnisse deuten daraufhin, daß dieser Fixpunkt wahrscheinlich auch in der exaktenTheorie existiert und die vierdimensionaleQuanten-Einstein-Gravitation somit nichtperturbativ renormierbar sein könnte. Anschließend wird gezeigt, daß der ultraviolette Bereich der$R^2$-Trunkierung und somit auch die Analyse des zugehörigenFixpunkts nicht von den Stabilitätsproblemen betroffen sind,die normalerweise durch den konformen Faktor der Metrikverursacht werden. Dadurch motiviert, wird daraufhin einskalares Spielzeugmodell, das den konformen Sektor einer``$-R+R^2$''-Theorie simuliert, hinsichtlich seinerStabilitätseigenschaften im infraroten (IR) Bereichstudiert. Dabei stellt sich heraus, daß sich die Theorieunter Ausbildung einer nichttrivialen Vakuumstruktur auf dynamische Weise stabilisiert. In der Gravitation könnteneventuell nichtlokale Invarianten des Typs $intd^dx,sqrt{g}R (D^2)^{-1} R$ dafür sorgen, daß der konformeSektor auf ähnliche Weise IR-stabil wird.

Knots and links in lens spaces

The aim of this dissertation is to improve the knowledge of knots and links in lens spaces. If the lens space L(p,q) is defined as a 3-ball with suitable boundary identifications, then a link in L(p,q) can be represented by a disk diagram, i.e. a regular projection of the link on a disk. In this contest, we obtain a complete finite set of Reidemeister-type moves establishing equivalence, up to ambient isotopy. Moreover, the connections of this new diagram with both grid and band diagrams for links in lens spaces are shown. A Wirtinger-type presentation for the group of the link and a diagrammatic method giving the first homology group are described. A class of twisted Alexander polynomials for links in lens spaces is computed, showing its correlation with Reidemeister torsion. One of the most important geometric invariants of links in lens spaces is the lift in 3-sphere of a link L in L(p,q), that is the counterimage of L under the universal covering of L(p,q). Starting from the disk diagram of the link, we obtain a diagram of the lift in the 3-sphere. Using this construction it is possible to find different knots and links in L(p,q) having equivalent lifts, hence we cannot distinguish different links in lens spaces only from their lift. The two final chapters investigate whether several existing invariants for links in lens spaces are essential, i.e. whether they may assume different values on links with equivalent lift. Namely, we consider the fundamental quandle, the group of the link, the twisted Alexander polynomials, the Kauffman Bracket Skein Module and an HOMFLY-PT-type invariant.

Monodromy calculations for some differential equations

In vielen Teilgebieten der Mathematik ist es w"{u}nschenswert, die Monodromiegruppe einer homogenen linearen Differenzialgleichung zu verstehen. Es sind nur wenige analytische Methoden zur Berechnung dieser Gruppe bekannt, daher entwickeln wir im ersten Teil dieser Arbeit eine numerische Methode zur Approximation ihrer Erzeuger.rnIm zweiten Abschnitt fassen wir die Grundlagen der Theorie der Uniformisierung Riemannscher Fl"achen und die der arithmetischen Fuchsschen Gruppen zusammen. Auss erdem erkl"aren wir, wie unsere numerische Methode bei der Bestimmung von uniformisierenden Differenzialgleichungen dienlich sein kann. F"ur arithmetische Fuchssche Gruppen mit zwei Erzeugern erhalten wir lokale Daten und freie Parameter von Lam'{e} Gleichungen, welche die zugeh"origen Riemannschen Fl"achen uniformisieren. rnIm dritten Teil geben wir einen kurzen Abriss zur homologischen Spiegelsymmetrie und f"uhren die $widehat{Gamma}$-Klasse ein. Wir erkl"aren wie diese genutzt werden kann, um eine Hodge-theoretische Version der Spiegelsymmetrie f"ur torische Varit"aten zu beweisen. Daraus gewinnen wir Vermutungen "uber die Monodromiegruppe $M$ von Picard-Fuchs Gleichungen von gewissen Familien $f:mathcal{X}rightarrow bbp^1$ von $n$-dimensionalen Calabi-Yau Variet"aten. Diese besagen erstens, dass bez"uglich einer nat"urlichen Basis die Monodromiematrizen in $M$ Eintr"age aus dem K"orper $bbq(zeta(2j+1)/(2 pi i)^{2j+1},j=1,ldots,lfloor (n-1)/2 rfloor)$ haben. Und zweitens, dass sich topologische Invarianten des Spiegelpartners einer generischen Faser von $f:mathcal{X}rightarrow bbp^1$ aus einem speziellen Element von $M$ rekonstruieren lassen. Schliess lich benutzen wir die im ersten Teil entwickelten Methoden zur Verifizierung dieser Vermutungen, vornehmlich in Hinblick auf Dimension drei. Dar"uber hinaus erstellen wir eine Liste von Kandidaten topologischer Invarianten von vermutlich existierenden dreidimensionalen Calabi-Yau Variet"aten mit $h^{1,1}=1$.

Clinical outcomes after PCI for acute coronary syndrome in unprotected left main coronary artery disease: insights from the Swiss Acute Left Main Coronary Vessel Percutaneous Management (SALVage) study

Unprotected left main (ULM) coronary artery disease is encountered in 3%-10% of coronary angiograms and is associated with high mortality. The survival of patients with ULM disease presenting with acute coronary syndromes (ACS) depends on different variables and is lowest in those with cardiogenic shock (CS). The aim of the present study was to estimate the impact of baseline characteristics on the subsequent clinical outcome in patients treated by percutaneous coronary intervention (PCI) of ULM for ACS.

Elastoplastic consolidation at finite strain. Part 2: finite element implementation and numerical examples

A mathematical model for finite strain elastoplastic consolidation of fully saturated soil media is implemented into a finite element program. The algorithmic treatment of finite strain elastoplasticity for the solid phase is based on multiplicative decomposition and is coupled with the algorithm for fluid flow via the Kirchhoff pore water pressure. A two-field mixed finite element formulation is employed in which the nodal solid displacements and the nodal pore water pressures are coupled via the linear momentum and mass balance equations. The constitutive model for the solid phase is represented by modified Cam—Clay theory formulated in the Kirchhoff principal stress space, and return mapping is carried out in the strain space defined by the invariants of the elastic logarithmic principal stretches. The constitutive model for fluid flow is represented by a generalized Darcy's law formulated with respect to the current configuration. The finite element model is fully amenable to exact linearization. Numerical examples with and without finite deformation effects are presented to demonstrate the impact of geometric nonlinearity on the predicted responses. The paper concludes with an assessment of the performance of the finite element consolidation model with respect to accuracy and numerical stability.

Dynamical hierarchy in transition states: Why and how does a system climb over the mountain?

How a reacting system climbs through a transition state during the course of a reaction has been an intriguing subject for decades. Here we present and quantify a technique to identify and characterize local invariances about the transition state of an N-particle Hamiltonian system, using Lie canonical perturbation theory combined with microcanonical molecular dynamics simulation. We show that at least three distinct energy regimes of dynamical behavior occur in the region of the transition state, distinguished by the extent of their local dynamical invariance and regularity. Isomerization of a six-atom Lennard–Jones cluster illustrates this: up to energies high enough to make the system manifestly chaotic, approximate invariants of motion associated with a reaction coordinate in phase space imply a many-body dividing hypersurface in phase space that is free of recrossings even in a sea of chaos. The method makes it possible to visualize the stable and unstable invariant manifolds leading to and from the transition state, i.e., the reaction path in phase space, and how this regularity turns to chaos with increasing total energy of the system. This, in turn, illuminates a new type of phase space bottleneck in the region of a transition state that emerges as the total energy and mode coupling increase, which keeps a reacting system increasingly trapped in that region.

A formal object-oriented approach to defining consistency constraints for UML models

We discuss how integrity consistency constraints between different UML models can be precisely defined at a language level. In doing so, we introduce a formal object-oriented metamodeling approach. In the approach, integrity consistency constraints between UML models are defined in terms of invariants of the UML model elements used to define the models at the language-level. Adopting a formal approach, constraints are formally defined using Object-Z. We demonstrate how integrity consistency constraints for UML models can be precisely defined at the language-level and once completed, the formal description of the consistency constraints will be a precise reference of checking consistency of UML models as well as for tool development.

On a Class Almost Contact Manifolds with Norden Metric

Certain curvature properties and scalar invariants of the mani- folds belonging to one of the main classes almost contact manifolds with Norden metric are considered. An example illustrating the obtained results is given and studied.

Geometry over two Arbitrary Arithmetic Progressions

We consider quadrate matrices with elements of the first row members of an arithmetic progression and of the second row members of other arithmetic progression. We prove the set of these matrices is a group. Then we give a parameterization of this group and investigate about some invariants of the corresponding geometry. We find an invariant of any two points and an invariant of any sixth points. All calculations are made by Maple.

Alternating surgeries

This thesis is concerned with the question of when the double branched cover of an alternating knot can arise by Dehn surgery on a knot in S^3. We approach this problem using a surgery obstruction, first developed by Greene, which combines Donaldson's Diagonalization Theorem with the $d$-invariants of Ozsvath and Szabo's Heegaard Floer homology. This obstruction shows that if the double branched cover of an alternating knot or link L arises by surgery on S^3, then for any alternating diagram the lattice associated to the Goeritz matrix takes the form of a changemaker lattice. By analyzing the structure of changemaker lattices, we show that the double branched cover of L arises by non-integer surgery on S^3 if and only if L has an alternating diagram which can be obtained by rational tangle replacement on an almost-alternating diagram of the unknot. When one considers half-integer surgery the resulting tangle replacement is simply a crossing change. This allows us to show that an alternating knot has unknotting number one if and only if it has an unknotting crossing in every alternating diagram. These techniques also produce several other interesting results: they have applications to characterizing slopes of torus knots; they produce a new proof for a theorem of Tsukamoto on the structure of almost-alternating diagrams of the unknot; and they provide several bounds on surgeries producing the double branched covers of alternating knots which are direct generalizations of results previously known for lens space surgeries. Here, a rational number p/q is said to be characterizing slope for K in S^3 if the oriented homeomorphism type of the manifold obtained by p/q-surgery on K determines K uniquely. The thesis begins with an exposition of the changemaker surgery obstruction, giving an amalgamation of results due to Gibbons, Greene and the author. It then gives background material on alternating knots and changemaker lattices. The latter part of the thesis is then taken up with the applications of this theory.

A narrativa histórica de Alexandre Wollner sobre o design brasileiro em sua relação com arte, indústria e tecnologia

This work aims to investigate the historical narratives in which the graphic designer Alexandre Wollner assembled about the development of its own profession in Brazil, focusing the ways in which his discourse points relations among design (with greater emphasis in graphic design) and visual arts, the industrial development and notions about technology. Firstly, the theoretical setup searched for dialogues with design historians, with Mikhail Bakhtin, specially his concepts about “ideology” and “discourse’, and the theory of Field Autonomy by Pierre Bourdieu applied in the artistic practice. Following, the relation between Wollner’s own journey and the Brazilian industrial development is shown, and, at last, three of his historical texts are studied, which are written in different moments (1964; 1983; 1998), being those in which the analyzed author wished to point out the origens, events and names that are more remarkable. Throughout the work, it is pointed the importance of Wollner’s contact with the modernist european ideologies that share an abstract and rationalist matrix found at Hochschule für Gestaltung Ulm (HfG Ulm), the german design school from the city of Ulm, in the 1950s. Such modernist discourse understood the practice of design as a method with scientific character, being then different of some other more recurring artistic professional practices in some productive sectors. Wollner aimed to apply such ideals in his professional practice, being the foundation of the paulista office forminform, in 1958, one of his first expressions of such posture, and in his academic practice, helping the foundation of the Escola Superior de Desenho Industrial (ESDI), in Rio de Janeiro, in 1963. Such modernist ideals went along with moments of the Brazilian industrial development during the government of Juscelino Kubitschek (1956–1961) and the “Economical Miracle” from the military government (1968–1973). Wollner argued about the need for the development of national design as a technological and productive differential that would help the growth of national industry, based on Ulm’s project model concept. It is defended that Wollner’s professional and intelectual path, in his efforts of thinking a history of Brazilian design through the choice of pioneers in the area, was founded on an “ideal model” of design, leaving aside the modernist experiences from the 1950s. Such posture would indicate a search for validation of his own profession that was beginning to become more evident in Brazilian productive means, aiming the creation of a differential space in comparison with pre-established practices, usually link to graphic artists from the time.