Posicionamiento de marca empresa Parret Design Studio

Parret Design es una microempresa dedicada al diseño de mobiliario exclusivo y a la adecuación de oficinas para darle un mejor uso y aspecto a los diferentes espacios. El principal objetivo de la empresa es posicionarse a nivel nacional diferenciándose de sus competidores por sus diseños únicos.

Assessment of virtual design and manufacturing techniques for fibre reinforced composite materials

Virtual tools are commonly used nowadays to optimize product design and manufacturing process of fibre reinforced composite materials. The present work focuses on two areas of interest to forecast the part performance and the production process particularities. The first part proposes a multi-physical optimization tool to support the concept stage of a composite part. The strategy is based on the strategic handling of information and, through a single control parameter, is able to evaluate the effects of design variations throughout all these steps in parallel. The second part targets the resin infusion process and the impact of thermal effects. The numerical and experimental approach allowed the identificationof improvement opportunities regarding the implementation of algorithms in commercially available simulation software.

Interactive Ray Tracing for Virtual TV Studio Applications

In the last years, the well known ray tracing algorithm gained new popularity with the introduction of interactive ray tracing methods. The high modularity and the ability to produce highly realistic images make ray tracing an attractive alternative to raster graphics hardware. Interactive ray tracing also proved its potential in the field of Mixed Reality rendering and provides novel methods for seamless integration of real and virtual content. Actor insertion methods, a subdomain of Mixed Reality and closely related to virtual television studio techniques, can use ray tracing for achieving high output quality in conjunction with appropriate visual cues like shadows and reflections at interactive frame rates. In this paper, we show how interactive ray tracing techniques can provide new ways of implementing virtual studio applications.

The design and piloting of an eBusiness design studio

This paper describes the establishment and early use of an eBusiness Design Studio in Aston Business School at Aston University which is located in Birmingham in the UK. It was originally conceived as an R&D aid as much as a teaching resource. However the bulk of its use to date has been in the support of Masters level modules (courses) and this description will focus on that application in the first instance. We have less experience of its use in an R&D context but we will make some preliminary comments on this in a later section.

The design studio as liminal space

The context of this research focuses on the efficacy of design studio as a form of teaching and learning. The established model of project-based teaching makes simple parallels between studio and professional practice. However, through comparison of the discourses it is clear that they are of different character. The protocols of the tutorial tradition can act to position the tutor as a defender of the knowledge community rather than a discourse guide for the student. The question arises as to what constitutes the core knowledge that would enable better self-directed study. Rather than focus on key knowledge, there has been an attempt in other fields to agree and share ‘threshold concepts’ within disciplinary knowledge. Meyer and Land describe threshold concepts as representing “a transformed way of understanding, or interpreting or viewing something without which the learner cannot progress [1]. The tutor’s role should be to assist in transforming student’s understanding through the mastery of the ‘troublesome knowledge’ that threshold concepts may embody. Teaching and learning environments under such approaches have been described as ‘liminal’: holding the learner in an ‘in-between’ state new understanding may be difficult and involve identity shifts. Research on the consequence of pressures on facilities and studio space concur, and indicate that studio spaces can be much better used in assisting the path of learning [2]. Through an overview map of threshold concepts, the opportunities for blended learning in supporting student learning in the liminal space of the design studio become much clearer [3] Design studio needs to be recontextualised within the discourse of higher education scholarship, based on a clarified curriculum built from an understanding of what constitutes its threshold concepts. The studio needs to be reconsidered as a space quite unlike that of the practitioner, a liminal space. 1. Meyer, J.H.F. and R. Land, Threshold concepts and troublesome knowledge. Overcoming Barriers to Student Learning: Threshold concepts and troublesome knowledge., 2006: p. 19. 2. Cai, H. and S. Khan, The Common First Year Studio in a Hot-desking Age: An Explorative Study on the Studio Environment and Learning. Journal for Education in the Built Environment 2010. 5(2): p. 39-64. 3. Pektas, S.T., The Blended Design Studio: An Appraisal of New Delivery Modes in Design Education. Procedia - Social and Behavioral Sciences, 2012. 51(0): p. 692-697.

Learning Environments in Design Studio Culture

The paper reports on a study of design studio culture from a student perspective. Learning in design studio culture has been theorised variously as a signature pedagogy emulating professional practice models, as a community of practice and as a form of problem-based learning, all largely based on the study of teaching events in studio. The focus of this research has extended beyond formally recognized activities to encompass the student’s experience of their social and community networks, working places and study set-ups, to examine how these have contributed to studio culture and how there have been supported by studio teaching. Semi-structured interviews with final year undergraduate students of architecture formed the basis of the study using an interpretivist approach informed by Actor-network theory, with studio culture featured as the focal actor, enrolling students and engaging with other actors, together constituting an actor-network of studio culture. The other actors included social community patterns and activities; the numerous working spaces (including but not limited to the studio space itself); the equipment, tools of trade and material pre-requisites for working; the portfolio enrolling the other actors to produce work for it; and the various formal and informal events associated with the course itself. Studio culture is a highly charged social arena: The question is how, and in particular, which aspects of it support learning? Theoretical models of situated learning and communities of practice models have informed the analysis, with Bourdieu’s theory of practice, and his interrelated concepts of habitus, field and capital providing a means of relating individually acquired habits and modes of working to social contexts. Bourdieu’s model of habitus involves the externalisation through the social realm of habits and knowledge previously internalised. It is therefore a useful model for considering whole individual learning activities; shared repertoires and practices located in the social realm. The social milieu of the studio provides a scene for the exercise and display of ‘practicing’ and the accumulation of a form of ‘practicing-capital’. This capital is a property of the social milieu rather than the space, so working or practicing in the company of others (in space and through social media) becomes a more valued aspect of studio than space or facilities alone. This practicing-capital involves the acquisition of a habitus of studio culture, with the transformation of physical practices or habits into social dispositions, acquiring social capital (driving the social milieu) and cultural capital (practicing-knowledge) in the process. The research drew on students’ experiences, and their practicing ‘getting a feel for the game’ by exploring the limits or boundaries of the field of studio culture. The research demonstrated that a notional studio community was in effect a social context for supporting learning; a range of settings to explore and test out newly internalised knowledge, demonstrate or display ideas, modes of thinking and practicing. The study presents a nuanced interpretation of how students relate to a studio culture that involves a notional community, and a developing habitus within a field of practicing that extends beyond teaching scenarios.

Realidade virtual aplicada à ergonomia por meio do design participativo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Research by Design is up and running

This paper explores the context of and developments in Research by Design (RbD) as currently developing in Schools of Architecture. It starts from noticing that the design studio is the core of the bachelor and master curriculum. Extending this position to PhD research implies the search for research where the design process is the main method of researching and creating knowledge and understanding. These developments connect to similar developments in the arts. Mode 1 and mode 2 knowledge, reflection and other knowledge processes are the base for developing knowledge for the field of architecture when practice and designing are the main method of research. The paper concludes with observing many PhD and research projects building on design activities and practice are currently under way and are supported by academia. They produce a specific type of knowledge and understanding, usually opening up problems and exploring boundaries.

Research based design: competition proposal for the Cyprus news agency

The paper attempts to explore the interrelation between a) the architects’ individualism and “pre-structures” b) research- based findings during the design process through experimentation and c)an integrated design approach, where morphology, construction and bioclimatic design are integrated from an early design stage. Through a thorough presentation and analysis of a competition proposal for the Cyprus News Agency, we discuss a number of important findings in relation to the present and possibly future form of the design studio. We suggest that the designer’s “prestructures” may not only be the basis for creative action, but also the basis for understanding and interpretation. Design informed and enriched at every stage by a research-based process, might well be the transmission and transformation of “prestructures”, a process of elaboration and discovery which facilitates and enhances design creativity and possibly allows for a multiplicity of approaches through a range of possibilities. Furthermore, an integrated approach from the early stages of the design process facilitates innovation in materials and systems.

Video- och Projektions-design : En fallstudie i videoscenografi

Denna uppsats har för avsikt att beskriva och redogöra för området videoscenografi och hur en videoscenograf arbetar. Videoscenografer har 90- och 00-talets snabba utveckling av prestanda inom datakraften att tacka för sin funktion, i en värld som kräver alltmer av kreatören frågar jag mig hur videoscenografen ser på sin omvärld. Videoscenografen verkar i området mellan det konstnärliga, scentekniska och grafiska. Deras position är fortfarande under förvirring just eftersom deras arbetsfält är så brett. Uppsatsen klargör för läsaren vad det är de sysslar med inom en scenkonstproduktion och varför videoscenografin är en sak för framtiden. Video inom scenkonstproduktioner blir allt viktigare, samtidigt som dekormålares arbete blir allt mindre, men endå tvingas videoscenografen att utföra sitt arbete under trängda förhållanden, med full ljussättning på scen, eller samtidigt som repetitioner pågår där de riskerar att störa en kreativ process. Insynen i vad de sysslar med är högst begränsad eftersom det är ett ungt yrke, med så pass få utövare. Denna uppsats klargör för varför videoscenografens arbete är viktigt och varför de bör ges mer tid att utföra sitt arbete.

Design de produtos virtuais e transdisciplinaridade: cibercepção e construção de objetos em Second Life : um estudo acerca do design de relações

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Study of Candidate Genes for production and carcass traits in Italian Heavy Pigs: identification of a new DNA Markers, Expression Studies and Association Analysis using Different Experimental Design

Heavy pig breeding in Italy is mainly oriented for the production of high quality processed products. Of particular importance is the dry cured ham production, which is strictly regulated and requires specific carcass characteristics correlated with green leg characteristics. Furthermore, as pigs are slaughtered at about 160 kg live weight, the Italian pig breeding sector faces severe problems of production efficiency that are related to all biological aspects linked to growth, feed conversion, fat deposition and so on. It is well known that production and carcass traits are in part genetically determined. Therefore, as a first step to understand genetic basis of traits that could have a direct or indirect impact on dry cured ham production, a candidate gene approach can be used to identify DNA markers associated with parameters of economic importance. In this thesis, we investigated three candidate genes for carcass and production traits (TRIB3, PCSK1, MUC4) in pig breeds used for dry cured ham production, using different experimental approaches in order to find molecular markers associated with these parameters.