Contribuição da comunicação visual para o design de superfície

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Interface antropométrica digital: parâmetros antropométricos de populações extremas

Pós-graduação em Design - FAAC

Contribuições do design gráfico para o design de superfície

Graphic Design is a profession established with advent artistic vanguards of the twentieth century. As professional activity, it works with planning and projects which involve the visual solution of communication and information problems. Then, The Surface Design is the professional practice pledged with the elaboration of projects for coatings and application in products, giving attention to the production and materials in the processes. The relation between both Design areas is connected, at first, by the two-dimensional characteristic. In Brazil, academic study about Surface Design is in evolution and some universities works with this subject. Analyzing the concepts and characteristics concerning methodologies that comprehend both Graphic Design and Surface Design becomes a current and including subject. Therefore, it is necessary the conceptual unfolding and methodological in order to establish relations and contributions involved in the field of Graphic Design and apply them in Surface Design. Thus, the present study aimed to check concepts and particular functions of Graphic Design and to establish its relations and contributions for Surface Design. The results of this study can be used as teaching support and professional practice.

A utilização das tecnologias assistidas por computador como elemento de integração, pesquisa e desenvolvimento nas disciplinas de projeto para a engenharia e design

The use of technologies called computedassisted, such as CAD - (Computed Aided Design), CAM - (Computed Aided Manufacturing) and CNC - (Computed Numerical Control), increasingly demanded by the market, are needed in the teaching of subjects technical drawing and design courses for engineering and design. However its use findl barriers in the more conservative wing of the academy, who advocate the use of traditional drawing, for the settling of the concepts and the development of spatial reasoning. This study aimed to show the results obtained with the design and production of an apparatus for measuring a three-dimensional computer-aided milling machine, interaction, integration and consolidation of concepts, fully demonstrating that the learning of computer-assisted technology is possible, and its use is most appropriate, meaningful and productive, than the use of instruments in the classic design.

Inclusão digital no ensino de iluminação natural

The teaching/learning activities of the daylighting built environment require from the Architecture and Urbanism undergraduate student the ability to abstract the effects of daylight distributed in three-dimensional space that is being designed. Several tools and techniques can be used to facilitate the understanding of the involved phenomena, among which the computational simulation. This paper reports the digital inclusion of the daylighting teaching in the Architecture and Urbanism undergraduate course at the School of Architecture, Arts and Social Communication of Bauru (FAAC) of UNESP – Sao Paulo State University, that began in 2010. The inclusion process involved free software use, specifically the programs DIALux and SketchUp+Radiance, both with graphical output for the illuminated scenes visualization and for result analysis. The graphic model is converted from SketchUp to Radiance by a plugin and a user-friendly interface for Windows was developed to simulate the lighting. The process of digital inclusion is consolidated, with wide acceptance by students, for which computational simulation facilitates understanding of relation between daylight and built environment and helps the design process of elements for daylighting control.

Caos e complexidade: design de superficie e os novos paradigmas da ciencia

The expressive possibilities within the field of surface design come up with increasingly larger with the emergence of technologies that allow the construction of forms and structures of high complexity such as three-dimensional printing. Establishing a relationship between design and complex systems, this work seeks to address the significant interrelationship of new paradigms of science, designed from concepts such as chaos, complexity and self-organization along with the cyber and parametric design, assuming thus the consequent impact of these in the creation and construction of process surfaces. Starting from the investigation of the applicability of the aforementioned conceptual bases, will be exemplified prospects of surface, produced in the first instance through computer interfaces, assigning the emergence of new creative processes and technology. Furthermore, elucidating biomimetics and its importance in the design of the design as a means of inspiration in complex systems of nature.

Design emocional e análise observacional: inter-relações entre produto e usuário

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Diálogo entre o design de superfície e o design de moda: o caso das padronagens

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Design of laminated piezocomposite shell transducers with arbitrary fiber orientation using topology optimization approach

Sensor and actuator based on laminated piezocomposite shells have shown increasing demand in the field of smart structures. The distribution of piezoelectric material within material layers affects the performance of these structures; therefore, its amount, shape, size, placement, and polarization should be simultaneously considered in an optimization problem. In addition, previous works suggest the concept of laminated piezocomposite structure that includes fiber-reinforced composite layer can increase the performance of these piezoelectric transducers; however, the design optimization of these devices has not been fully explored yet. Thus, this work aims the development of a methodology using topology optimization techniques for static design of laminated piezocomposite shell structures by considering the optimization of piezoelectric material and polarization distributions together with the optimization of the fiber angle of the composite orthotropic layers, which is free to assume different values along the same composite layer. The finite element model is based on the laminated piezoelectric shell theory, using the degenerate three-dimensional solid approach and first-order shell theory kinematics that accounts for the transverse shear deformation and rotary inertia effects. The topology optimization formulation is implemented by combining the piezoelectric material with penalization and polarization model and the discrete material optimization, where the design variables describe the amount of piezoelectric material and polarization sign at each finite element, with the fiber angles, respectively. Three different objective functions are formulated for the design of actuators, sensors, and energy harvesters. Results of laminated piezocomposite shell transducers are presented to illustrate the method. Copyright (C) 2012 John Wiley & Sons, Ltd.

O modelo tridimensional físico e seu papel na educação patrimonial

Este artigo versa sobre uma pesquisa integrante do Núcleo de Apoio à Pesquisa em Estudos de Linguagem em Arquitetura e Cidade (N.ELAC), que desenvolve pesquisas em Linguagem e Representação. Entre as diversas formas de representação em arquitetura, a presente pesquisa traz o modelo tridimensional físico como ferramenta que proporciona maior facilidade de leitura do projeto, sendo mais concreta que os desenhos técnicos. Objetiva-se, assim, destacar a importância do modelo físico como meio de aproximação da população ao patrimônio arquitetônico. Como estudo de caso, foi escolhido o Edifício E1, obra de Ernest Mange e Hélio Duarte. Localizado no campus da USP em São Carlos, é considerado patrimônio da cidade, entretanto, encontra-se praticamente enclausurado no interior do campus, dificultando maior contato da comunidade com o edifício. O projeto do edifício utilizou apenas o desenho como representação, não incluindo nenhum tipo de modelo tridimensional (físico ou digital). A partir de um levantamento das representações gráficas utilizadas pelos projetistas, foi possível fazer uma comparação entre o nível de compreensão do projeto apenas com as peças gráficas dos arquitetos e a partir do modelo físico, produzido pela pesquisadora. Foi realizado um pré-teste em escola pública municipal, despertando o interesse desses alunos pelo edifício em questão.

O uso da maquete física como ferramenta de leitura do patrimônio cultural

O presente artigo vincula-se às pesquisas do Núcleo de Apoio à Pesquisa em Estudos de Linguagem em Arquitetura e Cidade (N.ELAC), que atua na área de Linguagem e Representação. Diante das diversas formas de representação em arquitetura (desenho, maquete, modelos digitais), nesta pesquisa o modelo tridimensional físico é trazido como ferramenta que proporciona maior facilidade de leitura do projeto e tratado como meio de aproximação da comunidade ao patrimônio arquitetônico, envolvendo, sobretudo, a arquitetura moderna paulista. Como estudo de caso, escolheu-se o Edifício E1, obra de Ernest Mange e Hélio Duarte. Localizado no campus da USP em São Carlos, é considerado patrimônio da cidade, entretanto, encontra-se praticamente enclausurado no interior do campus, dificultando maior contato da comunidade com o edifício. Durante sua execução, foi utilizado apenas o desenho como ferramenta de representação de projeto, não incluindo nenhum tipo de modelo tridimensional (físico ou digital). A partir do levantamento das representações gráficas utilizadas, foi possível fazer uma comparação entre o nível de compreensão do projeto apenas com as peças gráficas dos arquitetos e a partir do modelo físico, produzido pela pesquisadora. Realizou-se um pré-teste em escola pública municipal, que indicou um aumento no interesse desses alunos pelo edifício em questão.

Structure-based drug design studies on a series of aldolase inhibitors

Human African trypanosomiasis, also known as sleeping sickness, is a major cause of death in Africa, and for which there are no safe and effective treatments available. The enzyme aldolase from Trypanosoma brucei is an attractive, validated target for drug development. A series of alkyl‑glycolamido and alkyl-monoglycolate derivatives was studied employing a combination of drug design approaches. Three-dimensional quantitative structure-activity relationships (3D QSAR) models were generated using the comparative molecular field analysis (CoMFA). Significant results were obtained for the best QSAR model (r2 = 0.95, non-cross-validated correlation coefficient, and q2 = 0.80, cross-validated correlation coefficient), indicating its predictive ability for untested compounds. The model was then used to predict values of the dependent variables (pKi) of an external test set,the predicted values were in good agreement with the experimental results. The integration of 3D QSAR, molecular docking and molecular dynamics simulations provided further insight into the structural basis for selective inhibition of the target enzyme.

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.

Non-Linear Analysis and Design of Synchronous Bearingless Multiphase Permanent Magnet Machines and Drives

A two-dimensional model to analyze the distribution of magnetic fields in the airgap of a PM electrical machines is studied. A numerical algorithm for non-linear magnetic analysis of multiphase surface-mounted PM machines with semi-closed slots is developed, based on the equivalent magnetic circuit method. By using a modular structure geometry, whose the basic element can be duplicated, it allows to design whatever typology of windings distribution. In comparison to a FEA, permits a reduction in computing time and to directly changing the values of the parameters in a user interface, without re-designing the model. Output torque and radial forces acting on the moving part of the machine can be calculated. In addition, an analytical model for radial forces calculation in multiphase bearingless Surface-Mounted Permanent Magnet Synchronous Motors (SPMSM) is presented. It allows to predict amplitude and direction of the force, depending on the values of torque current, of levitation current and of rotor position. It is based on the space vectors method, letting the analysis of the machine also during transients. The calculations are conducted by developing the analytical functions in Fourier series, taking all the possible interactions between stator and rotor mmf harmonic components into account and allowing to analyze the effects of electrical and geometrical quantities of the machine, being parametrized. The model is implemented in the design of a control system for bearingless machines, as an accurate electromagnetic model integrated in a three-dimensional mechanical model, where one end of the motor shaft is constrained to simulate the presence of a mechanical bearing, while the other is free, only supported by the radial forces developed in the interactions between magnetic fields, to realize a bearingless system with three degrees of freedom. The complete model represents the design of the experimental system to be realized in the laboratory.

Computer aided design and finite element modeling to predict bulk mechanical properties of bone scaffolds using triply periodic minimal surfaces (progettazione assistita al calcolatore ed analisi con il metodo degli elementi finiti per predire il comportamento meccanico di scaffolds ossei creati con l'uso di superfici minime periodiche in tre direzioni)

The aim of Tissue Engineering is to develop biological substitutes that will restore lost morphological and functional features of diseased or damaged portions of organs. Recently computer-aided technology has received considerable attention in the area of tissue engineering and the advance of additive manufacture (AM) techniques has significantly improved control over the pore network architecture of tissue engineering scaffolds. To regenerate tissues more efficiently, an ideal scaffold should have appropriate porosity and pore structure. More sophisticated porous configurations with higher architectures of the pore network and scaffolding structures that mimic the intricate architecture and complexity of native organs and tissues are then required. This study adopts a macro-structural shape design approach to the production of open porous materials (Titanium foams), which utilizes spatial periodicity as a simple way to generate the models. From among various pore architectures which have been studied, this work simulated pore structure by triply-periodic minimal surfaces (TPMS) for the construction of tissue engineering scaffolds. TPMS are shown to be a versatile source of biomorphic scaffold design. A set of tissue scaffolds using the TPMS-based unit cell libraries was designed. TPMS-based Titanium foams were meant to be printed three dimensional with the relative predicted geometry, microstructure and consequently mechanical properties. Trough a finite element analysis (FEA) the mechanical properties of the designed scaffolds were determined in compression and analyzed in terms of their porosity and assemblies of unit cells. The purpose of this work was to investigate the mechanical performance of TPMS models trying to understand the best compromise between mechanical and geometrical requirements of the scaffolds. The intention was to predict the structural modulus in open porous materials via structural design of interconnected three-dimensional lattices, hence optimising geometrical properties. With the aid of FEA results, it is expected that the effective mechanical properties for the TPMS-based scaffold units can be used to design optimized scaffolds for tissue engineering applications. Regardless of the influence of fabrication method, it is desirable to calculate scaffold properties so that the effect of these properties on tissue regeneration may be better understood.