Operating space diagrams: a tool for designers of wastewater treatment plants

Recent years have seen the introduction of new and varied designs of activated sludge plants. With increasing needs for higher efficiencies and lower costs, the possibility of a plant that operates more effectively has created the need for tools that can be used to evaluate and compare designs at the design stage. One such tool is the operating space diagram. It is the aim of this paper to present this tool and demonstrate its application and relevance to design using a simple case study. In the case study, use of the operating space diagram suggested changes in design that would improve the flexibility of the process. It also was useful for designing suitable control strategies.

An Exploratory Study Of Lean Construction in Portugal – Owners and Designers`Perspectives

21th Annual Conference of the International Group for Lean Construction (IGLC 21), July 2013, Fortaleza, Brazil

Graphics for engineers, architects, and builders : a manual for designers, an a text - book for scientific schools. Trusses and arches analyzed and discussed by graphical methods

UANL

Graphics for engineers, architects, and builders : a manual for designers, and a text-book for technical school, trussesand arches analyzed and descussed by graphical methods

UANL

Les casual games : définition à l’aide du savoir professionnel des designers de jeux

Le jeu casual est un phénomène majeur de l’industrie vidéoludique, pourtant il reste peu étudié et mal considéré. Les quelques définitions scientifiques recensées présentent des divergences importantes, ainsi qu’un décalage par rapport aux jeux produits. Les modèles théoriques en design de jeu, centrés sur le gameplay, semblent inadéquats face à ce phénomène. En utilisant le modèle du praticien réflexif de Donald Schön, l’objectif de notre recherche est d’apporter un nouvel éclairage sur le jeu casual grâce au savoir professionnel des designers de jeux. Notre approche est qualitative, d’inspiration phénoménologique : nous avons recueilli l’expérience de huit designers de jeux par l’intermédiaire d’entretiens semi-dirigés proches du récit de pratique. Nos résultats montrent que les concepts utilisés dans les modèles vidéoludiques traditionnels restent pertinents pour définir le jeu casual, mais demandent à être retravaillés afin de rendre compte des mutations de l’expérience de jeu. Ainsi, un challenge dans un jeu casual n’est pas un obstacle mais une opportunité d’action pour le joueur. De plus, la progression se fait par la variation des challenges plutôt que par l’augmentation de la difficulté. Ensuite, certains concepts qui semblaient pertinents pour définir les jeux casual, tels que la fiction positive, ont été rejetés par nos participants. Enfin, notre étude a permis de rassembler des informations sur le rôle du designer de jeu casual et le contexte dans lequel il exerce, ce qui permet d’expliquer certaines causes de la vision péjorative du jeu casual.

Computer Based Training Authors' and Designers' training. 'Formación asistida por ordenador para autores y diseñadores'.

Resumen basado en el de la publicación

Implementing innovation: designers, users and actor-networks

The role of users is an often-overlooked aspect of studies of innovation and diffusion. Using an actor-network theory (ANT) approach, four case studies examine the processes of implementing a piece of CAD (computer aided design) software, BSLink, in different organisations and describe the tailoring done by users to embed the software into working practices. This not only results in different practices of use at different locations, but also transforms BSLink itself into a proliferation of BSLinks-in-use. A focus group for BSLink users further reveals the gaps between different users' expectations and ways of using the software, and between different BSLinks-in-use. It also demonstrates the contradictory demands this places on its further development. The ANT-informed approach used treats both innovation and diffusion as processes of translation within networks. It also emphasises the political nature of innovation and implementation, and the efforts of various actors to delegate manoeuvres for increased influence onto technological artefacts.

Do designers show categorical perception of typefaces?

Readers need to easily discriminate between different letters, so typefaces are designed to make these differences distinctive. But there is also a uniformity of style within a typeface. These styles are recognised by typographic designers and may be categorised to enable more efficient discrimination among typefaces. The manner in which designers perceive typefaces is explored using the paradigm of Categorical Perception (CP). A continuum of fonts is created by interpolating between two typefaces and two tasks (identification and discrimination) are used to test for CP. As the application of CP to typefaces is a new approach, various methodological issues are pursued. The experiments reveal that the conditions required to demonstrate CP are quite specific and CP was only evident in Times and Helvetica and not Garamond and Bodoni. Possible reasons for this difference are the characteristics of the two typefaces and their context of use. Speculation as to the purpose of CP in non-designers raises the under-researched question of how we identify letters in different typefaces when reading.

Materials Education and Research in Art and Design: A New Role for Libraries - Session 4. Designers

Designers respond to issues and synthesize ideas from throughout the day as voices from the field who directly encounter the need for recently graduated students to possess the ability to investigate and interrogate materials.

Inter-relações entre engenheiros mecânicos e designers industriais: uma abordagem transdiciplinar e holística do processo acadêmico

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)