Structural capital, innovation capability, and company performance in technology-based colombian firms

[EN] In today s economy, innovation is considered to be one of the main driving forces behind business competitiveness, if not the most relevant one. Traditionally, the study of innovation has been addressed from different perspectives. Recently, literature on knowledge management and intellectual capital has provided new insights. Considering this, the aim of this paper is to analyze the impact of different organizational conditions i.e. structural capital on innovation capability and innovation performance, from an intellectual capital (IC) perspective. As regards innovation capability, two dimensions are considered: new idea generation and innovation project management. The population subject to study is made up of technology-based Colombian firms. In order to gather information about the relevant variables involved in the research, a questionnaire was designed and addressed to the CEOs of the companies making up the target population. The sample analyzed is made up of 69 companies and is large enough to carry out a statistical study based on structural equation modelling (partial least squares approach) using PLS-Graph software (Chin and Frye, 2003). The results obtained show that structural capital explains to a great extent both the effectiveness of the new idea generation process and of innovation project management. However, the influence of each specific organizational component making up structural capital (organizational design, organizational culture, hiring and professional development policies, innovation strategy, technological capital, and external structure) varies. Moreover, successful innovation project management is the only innovation capability dimension that exerts a significant impact on company performance.

趋磁细菌AMB-1培养条件优化及磁小体变化过程研究

趋磁细菌(Magnetotactic bacteria)的研究是国际微生物学研究热点之一。趋磁细菌体内含有纳米单磁畴的氧化铁/硫化铁(Fe3O4或Fe3S4)晶体，称为磁小体。由于趋磁细菌营养条件要求苛刻，在环境中需要微好氧条件，且营养类型属于化能自养，使得培养趋磁细菌时常遇到问题。 本研究首先通过正交试验优化趋磁细菌AMB-1菌株培养条件，在培养条件铁源为奎尼酸铁0.02 mmol/L，装瓶量75% ，pH值6.7，温度25 ℃时，AMB-1 OD600达到0.440(1.166×109 cells/ml)。同时运用磁收集传代法，使带有磁小体的AMB-1细胞比例占95％以上(Cmag值稳定在1.9-2.0)。 在AMB-1具有较好的生物量，同时又具有较好的含磁小体细胞比例后，研究磁小体的变化过程。通过透射电镜观察磁小体变化过程，发现培养24 h细菌体内已有较小晶体形成(平均27 nm，n=188)且沿长轴分布；48 h晶体长大(平均43 nm，n=203)且形成分段链沿长轴排列；72 h晶体进一步成熟(平均50 nm，n=191)仍以分段链沿长轴排列；随后细菌逐渐衰亡磁小体变小，168 h可见部分自溶细菌中仍有磁小体链(平均37 nm，n=186)；192 h细菌自溶磁小体链(平均33 nm，n=184)分散到环境中。 通过透射电镜在细胞水平上研究趋磁细菌细胞分裂时发现，磁小体在细菌分裂时采用两种分离方式：一种为磁小体分配到两个子细胞；另一种为磁小体只分配到一个子细胞。无磁小体的子细胞，在随后的生长过程又分为两种情况：一种为细胞逐渐产生磁小体，另一种为不再产生磁小体。这种现象的发现，解释了随着传代次数的增多，细菌磁性有所下降的原因(Cmag值降低)。 在对趋磁细菌磁小体合成机制的研究中，常使用基因敲除的办法获得缺陷型，并与野生型对比进行研究。但是，利用基因敲除获得缺陷型不仅操作繁琐并且所得缺陷型不稳定。本研究利用特殊的磁富集传代法，先将带有磁小体的菌体收集并连续传代，筛选获得了高磁菌株；利用这种方法，收集不含磁小体的菌体并连续传代，筛选获得了无磁菌株。 趋磁细菌磁小体在医疗、环保等领域具有广阔应用价值，但是目前由于趋磁细菌难以大规模培养，并且磁小体纯化存在成本高等原因，将磁小体真正实际应用尚有一段距离。通过研究磁小体在趋磁细菌中的变化过程发现，AMB-1菌株在培养192 h后自溶，并且磁小体随着细胞的破碎释放到环境中去。

Understanding Student and Staff Perceptions of Feedback in Architecture: Summary Report

This report presents the results of a collaborative project between Queens University, Belfast and the Robert Gordon University, Aberdeen, and builds on a dialogue initiated during Session 2009-10 through which course guidance and feedback received by students was identified as an area requiring deeper understanding in order to enhance current practice

Exposições museológicas: a moda por narrativas, experiências e conexões

Este estudo apresenta o universo patrimonial pela perspetiva da acessibilidade pública conferida por instituições museológicas. Consiste em exploração e análise das informações e experiências proporcionadas por museus no âmbito da cultura material indumentária e de moda. O foco desta abordagem são as exposições presenciais e os websites institucionais, com ênfase à acessibilidade aos catálogos de coleções. Pela perspectiva do designer como antropólogo neste estudo – com base em estudos de caso e outros dados coletados – são apresentadas ferramentas comparativas da realidade atual e propostas para a disseminação mais alargada, diversificada e especializada das informações cultura material e imaterial de moda. Duas hipóteses orientaram esta tese: - A noção de que as exposições de artefatos de traje podem ser inovadoras em relação às exposições de outros objetos, já que a roupa vincula-se a movimento, toque, corpo e usabilidade que induz experiências e conexões, sentimentos e identidades em uma relação de metamorfose. - A noção de que o potencial de ensino e difusão de uma cultura de design, com destaque aos contextos de Portugal e Brasil, é um campo relevante à visibilidade pública da indústria da moda nestes países e alavanca para um melhor posicionamento na competitividade global. Pelas propostas específicas e pelo contributo de fornecer informações inéditas a respeito do universo investigado, este estudo abre novas perspectivas para futuras investigações, principalmente nas áreas de museologia, museografia, história e teoria da moda e do design, design de exposição, design de produto, estudos da cultura material, comunicação e antropologia do design.

I Cling to Virtue

Kular’s work centres on design as a means of engaging with social and cultural issues. Commissioned and exhibited by the V&A Museum, this was a mixed-media collection revealing the trajectories of the Lövy-Singh clan, a fictional East London family of mixed descent. It comprised 26 sculptures and two video pieces, developing the previous explorations of the MacGuffin in narrative (Kular REF Output 2). A catalogue with 28 fictional reminiscences, a genealogy and time line positioned the family’s experiences in geographical locations and historical events. Novel use of rapid-prototyping co-opted an industry process to confuse the experience of artefact and artifice. The design explored the historical, literary and cinematic traditions of the family saga and its relationship to memory and artefact. It presented an archive of objects derived from the flawed, biased memory of the (fictional) curator. A coherent story is replaced by one that is multiple and fragmentary. Kular and Toran (RCA) ‘produced’ the family by mixing their own genealogies with those of renowned 20th-century families, both real and fictional, such as the Magnificent Ambersons and the Rothschilds, positioning family members in everyday situations or key historical moments represented by an object and a ‘memory’ triggered by the object. Concept development was undertaken jointly by Kular and Toran. Kular’s archive research emphasised commonwealth immigrant histories and British 20th-century political events. His production contribution was in 3D modelling, rapid prototyping and display, leading production of the two films and development and editing of the narrative texts. The work was accompanied by a catalogue (2011), was reviewed in ICON Magazine (2010), discussed in an article by Hayward, Jones, Toran and Kular in Design and Culture (2013), and featured in The White Review (No. 2). It was re-exhibited in the group show ‘Politique Fiction’ at la Cité du design, Saint-Étienne, France (2013).

Portals to the world: technological extensions to the boundaries of the home

This article examines the ways that technological objects inside the home are viewed and productively used by a group of older people to extend their access to environments beyond the home. Beginning with a discussion of types of domestic object, we highlight appliances and gadgets, and focus our attentions on the latter. The changes in life brought on by ageing, in particular a reduction in mobility, provide the context for our study, in which access to the outside world becomes increasingly difficult. Recognising their changing circumstances led our participants to actively and selectively engage with these objects, mitigating the shrinking of their accessible environment by using them as a gateway to the many virtual worlds now available. We coin the term ‘portal objects’ to describe the potential that this type of technological object provides, and suggest that the investigation of interiors can be enriched by recognising and including the worlds outside that become integral to occupation inside.

Cinquenta anos do Mini Cooper: uma viagem pelo tempo por meio da Ilustração

The use of images as a mean of human knowledge transmission dates from the earliest records of visual communication with the cave paintings. Throughout history, the communicating function remained and was extended for a variety of approaches, including illustration, which plays an important role by transmitting a content to be communicated on a creative and unique way. The advertising area relies largely on the communicative power of illustration, using it as a visual aid on different ways and medias. The advertising pieces aimed at the automotive sector – especially those developed by BMW for the Mini Cooper model – broadly employs illustrations to spread the word about the product and its attributes, seeking to communicate it using an original way. With a qualitative approach to the case study, this article analyzes the illustrations produced by the South African design studio Am I Collective as part of a video prepared by South African advertising agency Blackriver FC as a celebration campaign for the fifty years of vehicle Mini Cooper, celebrated on 2009, and it aims to identify the illustrations visuals and compositions used in the construction of the covered temporal panorama.

Contextualización teórica del acto pedagógico en la enseñanza y el aprendizaje del proyecto arquitectónico: el caso de la E.T.S.A.M.

El taller de proyectos constituye el núcleo de la enseñanza arquitectónica. Estudiar sus procesos educativos en la actualidad implica la contextualización teórica del acto educativo y la revisión histórica de la evolución de su estructura social. Esta estructura, es heredera de la larga tradición del taller donde los maestros de obra, artesanos, arquitectos y artistas, se ocupaban desde siempre de la enseñanza de la construcción, de la artesanía, del diseño arquitectónico y del arte. Los aprendices se sometían a la autoridad de sus maestros y pasaban horas practicando, produciendo y aprendiendo junto a ellos. Con la aparición de las primeras Academias de arte y posteriormente de arquitectura, se evidenció un progresivo interés de los Estados hacía los productos artísticos y arquitectónicos. La consideración de las artes y de la arquitectura como proyecto estatal, supuso la construcción lenta, pero consolidable, de un proyecto educativo paralelo, coexistiendo simultáneamente con los talleres de los maestros, pero sin posibilidad de integración, hasta mucho más tarde. La “teoría”, que es de lo que se ocupaba la academia, con la “práctica” que es lo que se desarrollaba en el taller, no encontraban fácilmente la manera de encajarse y complementarse mutuamente en un proyecto educativo común. Las concepciones educativas de ambos, afrontaban la enseñanza y el aprendizaje desde puntos de vista también diferentes; mientras la Academia representaba el conocimiento validado y explicitado, en el taller se trabajaba con un conocimiento tácito e implícito. En la práctica artística del taller era donde se producía el aprendizaje mientras que en la Academia es donde se validaba. Esta estructura llegó en muchas ocasiones a situaciones extremas, no siendo casual que las más grandes crisis registradas en la historia de la enseñanza de las artes, coincidieran con un aumento de la distancia entre estas dos “instituciones”, talleres y academias. Por otra parte, parece que cualquier proyecto o concepto innovador, se ha fundado sobre la redistribución de estos equilibrios perdidos. En dicho contexto, en el campo de la educación y especialmente en el siglo XX, surge un debate que se estructura en base a los fines de la educación, contemplando dos posturas bien diferenciadas. Una de ellas sostiene como fin primordial de la educación, el desarrollo de la conciencia y la reciprocidad social del individuo. La otra, fija como fin el desarrollo de su singularidad. La búsqueda del equilibrio entre ambas, parte del interés por fomentar el crecimiento de lo que cada ser humano posee de individual, armonizándolo con la unidad orgánica del grupo social al que pertenece (Read 2010, 33). Sobre esta tensión se han basado muchos de los discursos pedagógicos y especialmente los aquí usados. La estructura social en los talleres de proyectos arquitectónicos, presenta hoy día una máxima integración entre las dos instituciones, el taller y la Academia, tanto a nivel del espacio, donde tiene lugar la enseñanza, como a nivel conceptual y pedagógico. Los talleres de proyectos poseen un formato de enseñanza y aprendizaje que constituye un paradigma (Schön, 2008) no solo dentro, sino también fuera del campo arquitectónico. Bajo este formato se complementa el aprendizaje práctico con el teórico y la producción, con la validación del conocimiento. Aunque tal estructura pedagógica presenta importantes variaciones entre unas escuelas de arquitectura y otras, los principales procesos que tienen lugar, son lo suficientemente similares, como para poder ser examinados desde una perspectiva común. Esta investigación, estudia el taller de proyectos desde un aspecto pedagógico, que contempla tanto los discursos educativos, como la historia de la evolución del taller como constructo social. El análisis se estructura sobre los elementos fundantes del acto didáctico: un sujeto que aprende, un sujeto que enseña, un método, la estrategia o procedimiento a través del que se enseña, un contenido y el propio acto docente (Sánchez Cerezo, 1994, 530). Además, se han añadido otros dos elementos que se consideran fundamentales para llevar a cabo el estudio: el contexto de la enseñanza, tanto el tangible como el intangible y la evaluación de la enseñanza y del aprendizaje. El caso de estudio de la presente investigación se sitúa en la Escuela de Arquitectura de Madrid en la actualidad. Sin embargo, no se pretende generar un retrato exacto de esta institución sino utilizarla como ejemplo principal en el desarrollo de los capítulos del método, contenido, acto docente y contexto, en los que también se introducen ejemplos de otras escuelas de arquitectura que amplían los argumentos presentados que constituyen la contextualización teórica del acto pedagógico en los talleres de proyectos arquitectónicos. ABSTRACT Design studio constitutes the core of architectural education. To study its current educational processes involves a theoretical approach of its educational praxis and an historic revision of how its social structure evolved. This structure is inherited from the long tradition of the workshop in which master masons, craftsmen, architects and artists have always been in charge of teaching construction, crafts, architectural design and art. Apprentices were subjected to the authority of their teachers and spent hours practicing, producing and learning along with them. With the establishment of the first Academies of Art and later of Architecture, the interest of the State in artistic and architectural products started growing. The understanding of arts and architecture as a state project entailed the slow, but robust development of a parallel education project. This project coexisted with the masters’ workshops, without the possibility of integration between two, until much later. It was difficult to find a way to synthesize academic “theory” with workshop “practice”. The workshops’ and the Academy's conception about teaching and learning differed significantly. While the Academy represented a verified and explicit knowledge, the workshop worked with a tacit and implicit knowledge. The workshops produced education through artistic practice, while the the Academy organized and verified knowledge. This dual framework has on occasions reached extremes. It is no accident that the biggest known crises in the history of arts education coincide with an increase in the distance between these two "institutions", the workshops and Academies. Furthermore, it seems that most innovative concepts or projects have been founded on restoring the lost balance between the two. In this context, in the field of education, and especially during the 20th century, a debate that contemplated the purpose of education and resulted in two quite differentiated approaches, emerged,. One position claims as the primary purpose of education the development of social awareness and mutuality in individuals. The other approach sets as a purpose developing each student's uniqueness. The quest for the right balance between these two positions is based on the assumption that the general purpose of education is to foster the growth of what is individual in each human being, at the same time harmonizing the individuality thus educed with the organic unity of the social group to which the individual belongs (Read, 2010, 33). This tension forms the basis for many pedagogical discourses, especially the ones utilized in this dissertation. The social structure of architecture studios today demonstrates a very high level of integration between the two institutions, the workshop and the Academy, both in terms of space —where the teaching takes place— as well as on a conceptual and pedagogical level. Architecture studios today have developed a format for teaching and learning that has established a paradigm (Schön, 2008) , not only in architecture, but also in other fields. Under this paradigm, practical and theoretical learning, as well as production and verification of knowledge, complement each other. And although this pedagogical structure presents important variations among different schools of architecture, the principal processes that take place in the studio are sufficiently similar so as to be examined from a common perspective. This research examines the architecture studio from a pedagogical point of view, that takes into account both the educational discourses, as well as the historical evolution of the workshop as a social structure. The analysis presented here is structured on the fundamentals of the teaching act: an individual learning, an individual teaching, a method, strategy or procedure for teaching and learning, the content and the teaching act itself (Sánchez Cerezo, 1994, 530). Two extra elements that were considered essential for carrying out this study have also been added: the context in which teaching takes place, tangible as well as intangible, and the evaluation of teaching and learning. The Madrid School of Architecture in the present day served as a case study. However the aim is not to generate an accurate portrayal of this school but to use it as the principal example for the development of the chapters of method, content, teaching act and context. In addition to that, examples from other schools of architecture are introduced in order to further the presented arguments that constitute the theoretical contextualization of the pedagogical act in architecture studios.

Trattamenti (dis)continui. Progetto di una nuova tipologia di macchina industriale per il trattamento superficiale continuo di prodotti farmaceutici.

Il progetto si concentra principalmente sullo studio formale e funzionale del carter di una nuova tipologia di macchina industriale per il trattamento superficiale (coating) continuo di prodotti famaceutici. I punti di interesse sono stati: la scelta del materiale, la forma del carter, l'interazione con l'utente, la visualizzazione della macchina finita, la proposta di un piano comunicativo e di una strategià d'identità del prodotto.

Architecture, Energy, Matter

This book comprises a collection of essays and an edited selection of the work produced by Design Studio 18 (DS18) tutored by Lindsay Bremner and Roberto Bottazzi, 2013-2016.

Os desafios do designer contemporâneo

Dissertação para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Hungry 24/7? HCI design for sustainable food culture workshop

This workshop proposes to explore new approaches to cultivate and support sustainable food culture in urban environments via human computer interaction design and ubiquitous technologies. Food is a challenging issue in urban contexts: while food consumption decisions are made many times a day, most food interaction for urbanites occurs based on convenience and habitual practices. This situation is contrasting to the fact that food is at the centre of global environment, health, and social issues that are becoming increasingly immanent and imminent. As such, it is timely and crucial to ask: what are feasible, effective, and innovative ways to improve human-food-interaction through human-computer-interaction in order to contribute to environmental, health, and social sustainability in urban environments? This workshop brings together insights across disciplines to discuss this question, and plan and promote individual, local, and global change for sustainable food culture.

Computational fluid dynamics for improved bioreactor design and 3D culture

The complex relationship between the hydrodynamic environment and surrounding tissues directly impacts on the design and production of clinically useful grafts and implants. Tissue engineers have generally seen bioreactors as 'black boxes' within which tissue engineering constructs (TECs) are cultured. It is accepted that a more detailed description of fluid mechanics and nutrient transport within process equipment can be achieved by using computational fluid dynamics (CFD) technology. This review discusses applications of CFD for tissue engineering-related bioreactors -- fluid flow processes have direct implications on cellular responses such as attachment, migration and proliferation. We conclude that CFD should be seen as an invaluable tool for analyzing and visualizing the impact of fluidic forces and stresses on cells and TECs.