1000 resultados para design sensibility


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Schools appear in some accounts of community informatics as part of community, one of a number of organisations that need to be taken into account, perhaps on the basis of them being useful physical or human resources around which community informatics might be based. For their part, schools, at least in Australia, have been an important, early element in the broad take-up of computing and communication technologies (CCTs) by the community. Apart from the possibility of using school resources to support community access out of school time and based on what is published in both fields, schools and work in community informatics have tended to operate independently of one another. There are, nonetheless, interesting parallels in these two broad areas of activity which promote the use of CCTs. This chapter outlines a new research agenda in which schools produce knowledge for local community and in doing so develop new and productive community partnerships. The development provides interesting opportunities for the transformation of regions via this approach to community informatics. The background to this project is based in the long history of using CCTs in schools. The chapter will argue that the way in which schools understand CCTs is crucial to shaping what is possible to be done with CCTs in schools. Shifting the emphasis from information to relationships opens up alternatives that provide opportunities for significant, new relationships with community.

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Despite having a band of greenness around the edge, Australia is fundamentally a dry country. Australian vegetation has developed a high range of mechanisms to cope with the dryness, but after 200 years of white settlement, Australians still have not really come to terms with the real dryness of their country, and still exploit European paradigms that attempted to transplant European aesthetic conditions, greenness, to the brown land of Australia. Australia is going through serious water shortages that are still and will continue with the Greenhouse effect, to become a major factor in the location and extent of urbanisation, and also Australia's carrying capacity. While such aesthetic concerns might seem ornamental, until the population changes its attitude to the real condition of the country, it will keep using water and operating unsustainably. The design of the public landscape, however, offers the opportunity to contribute to changing people's aesthetic perception of the country, which might in turn help to redirect their water use practices. This essay develops a language for discussion dryness based around the experiences of water. After having developed this sensibility it then discusses a range of different approaches that landscape design in Australia has used to try to develop geographically appropriate design languages, including the Bush Garden and the Mediterranean Garden. It then discusses four design projects, one from the 1970's, the other three from the last five years that demonstrate what such an aesthetic might look like.

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Australia’s mass market fashion labels have traditionally benefitted from their peripheral location to the world’s fashion centres. Operating a season behind, Australian mass market designers and buyers were well-placed to watch trends play out overseas before testing them in the Australian marketplace. For this reason, often a designer’s role was to source and oversee the manufacture of ‘knock-offs’, or close copies of Northern hemisphere mass market garments. Both Weller (2007) and Walsh (2009) have commented on this practice. The knock-on effect from this continues to be a cautious, derivative fashion sensibility within Australian mass market fashion design, where any new trend or product is first tested and proved overseas months earlier. However, there is evidence that this is changing. The rapid online dissemination of global fashion trends, coupled with the Australian consumer’s willingness to shop online, has meant that the ‘knock-off’ is less viable. For this reason, a number of mass market companies are moving away from the practice of direct sourcing and are developing product in-house under a Northern hemisphere model. This shift is also witnessed in the trend for mass market companies to develop collections in partnership with independent Australian designers. This paper explores the current and potential effects of these shifts within Australian mass market design practice, and discusses how they may impact on designers, consumers and on the wider culture of Australian fashion.

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The relationship between design process and business systems has been of interest to both practitioners and researchers exploring the numerous opportunities and challenges of this unlikely relationship. Often the relationship is presented as building design thinking capability within an organization, which can be broadly described as the union of design and strategy. Brown (2008) notes that design thinking is ‘‘a discipline that uses the designer’s sensibility and methods to match people’s needs with what is technically feasible and what business strategy can convert into customer value and market opportunities’’ (p. 1). The value that design thinking brings to an organization is a different way of framing situations and possibilities, doing things, and tackling problems: essentially a cultural transformation of the way it undertakes its business. The work of Martin (2009) has clearly shown the generalized differences between design thinking and business thinking, highlighting many instances in which these differences have been overcome, but also noting the many obstacles of trying to unify both approaches within an organization. Liedtka (2010) encourages firms to try and persist in overcoming these barriers, as she has noted that ‘‘business strategy desperately needs design ... because design is all about action and business strategy too often turns out to be only about talk ... fewer than 10 percent of new strategies are ever fully executed’’ (p. 9).

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Australia's mass market fashion labels have traditionally benefitted from their peripheral location to the world's fashion centres. Operating a season behind, Australian mass market designers and buyers were well-placed to watch trends play out overseas before testing them in the Australian marketplace. For this reason, often a designer's role was to source and oversee the manufacture of 'knock-offs', or close copies of northern hemisphere mass market garments. Both Weller and Walsh have commented on this practice.12 The knock-on effect from this continues to be a cautious, derivative fashion sensibility within Australian mass market fashion design, where any new trend or product is first tested and proved overseas months earlier. However, there is evidence that this is changing. The rapid online dissemination of global fashion trends, coupled with the Australian consumer’s willingness to shop online, has meant that the ‘knock-off’ is less viable. For this reason, a number of mass market companies are moving away from the practice of direct sourcing and are developing product in-house under a northern hemisphere model. This shift is also witnessed in the trend for mass market companies to develop collections in partnership with independent Australian designers. This paper explores the current and potential effects of these shifts within Australian mass market design practice, and discusses how they may impact on both consumers and on the wider culture of Australian fashion.

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What do the designers tend to achieve? To relate themselves to the reality by producing visual registers of emotions and thoughts, or by projecting and producing objects that are functional, adapting technologies to daily needs. That requires that a designer be a keen observer of his physical surroundings and have a fine sensibility to cultures, enabling him to disassemble the latent forms of the reality and cultural symbolisms in order to perceive the order underlying them and the principles of their composition and unity. Only then could he reproduce the nature and respond to cultural callings. In this process of understanding the surrounding reality of nature and cultures, a designer always moves, generally without being aware of it, between two processes: identity search and self-identification.

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A voltage reference with low sensibility to temperature and power-supply that can generate flexible reference values (from milivolts to several volts) is proposed. Designed for AMS 0.35μm CMOS process, the circuit provides a stable output voltage working in the temperature range of -40-150°C. The proposed reference provides a nominal output voltage of 1.358V with a power-supply of 3.3V. © 2011 IEEE.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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Background: Carpal tunnel syndrome is the most common neuropathy in the upper extremity, resulting from the compression of the median nerve at wrist level. Clinical studies are essentials to present evidence on therapeutic resources use at early restoration on peripheral nerve functionality. Low-level laser therapy has been widely investigated in researches related to nerve regeneration. Therefore, it is suggested that the effect of low-level laser therapy associated with other conservative rehabilitation techniques may positively affect symptoms and overall hand function in compressive neuropathies such as carpal tunnel syndrome. The aim of this study is to evaluate the effectiveness of low-level laser therapy in addition to orthoses therapy and home orientations in patients with carpal tunnel syndrome. Methods/Design: Patients older than 18 years old will be included, with clinical diagnosis of carpal tunnel syndrome, excluding comorbidies. A physiotherapist will conduct intervention, with a blinding evaluator. Randomization will be applied to allocate the patients in each group: with association or not to low-level laser therapy. All of them will be submitted to orthoses therapy and home orientations. Outcome will be assessed through: pain visual analogic scale, Semmes Weinstein monofilaments (TM) threshold sensibility test, Pinch Gauge T, Boston Carpal Tunnel Questionnaire and two point discrimination test. Discussion: This paper describes the design of a randomized controlled trial, which aim to assess the effectiveness of conservative treatment added to low-level laser therapy for patients with carpal tunnel syndrome. Trial registration: Brazilian Clinical Trials Registry (ReBec) - 75ddtf / Universal Trial Number: U1111-1121-5184

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The main objective of ventilation systems in tunnels is to reach the highest possible safety level both in service and fire situation; being the fire one, the most relevant when designing the system. When designing a longitudinal ventilation system, the methodology to evaluate the capacity of the system is similar both in service and fire situation, with the exception of the chimney effect and the phenomena of thermal transfer which is responsible or the changes in the density of the air. When facing the dimensioning task for longitudinal ventilated tunnels, although similar methodologies are used in different countries, specific hypothesis (aerodynamic, thermal properties, traffic) even if discussed in the literature or current practice, are not usually detailed in the regulations or recommendations. The aim of this paper is to propose a probabilistic approach to the problem which would allow the designer, and the tunnel owner, to understand the uncertainty and sensibility adopted in the results and, eventually, identify possible ways of optimizing the ventilation solution to be adopted.

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Transdisciplinarity gained importance in the 1970s, with the initial signs of weakness of both multi- and interdisciplinary approaches. This weakness was felt due to the increased complexity in the social and technological landscapes. Generally, discussion over the transdisciplinary topic is centred in social and health sciences. Therefore, the major challenge in this research is to adapt design research to the emerging transdisciplinary discussion. Based on a comparative and critical review of several engineering and design models for the design process, we advocate the importance of collaboration and conceptualisation for these disciplines. Therefore, a transdisciplinary and conceptual cooperation between engineering and industrial design disciplines is considered as decisive to create breakthroughs. Furthermore, a synthesis is proposed, in order to foster the cooperation between engineering and industrial design.