http://www.bdtd.uerj.br/handle/1/3668 Tue, 17 Mar 2026 06:29:17 GMT 2026-03-17T06:29:17Z http://www.bdtd.uerj.br/handle/1/25288 Título: Métodos e técnicas para estruturação de pesquisa para projeto em design de serviço Autor: Camillo, Diogo Braga Primeiro orientador: Freitas, Sydney Fernandes de Abstract: The primary objective of this thesis is to identify the research structure underlying the practice of service design. The specific objectives are (i) identifying the theoretical elements of service design, (ii) characterizing the methodologies adopted, (iii) identifying the research structures used by practitioners, (iv) identifying recurring terms, and (v) characterizing the specificities of research according to common-sense practices and scientific research. This study seeks to answer the following question: What characterizes the research structure in service design according to professionals' practices at Brazilian consultancies? Where are the convergences and divergences between practical and academic structures? This study is grounded in Design Science Research (DSR) and begins with a systematic literature review of the historical development, concepts, processes, and instruments of Service Design (SD). The second chapter focuses on the historical evolution of SD since the 1980s. The third chapter deals with conceptual characterizations, distinguishing definitions. The fourth chapter analyzes the panoramic structure of the SD process, emphasizing the research phase oriented toward professional practice. Chapters five and six describe the techniques employed: semi-structured interviews to identify practical design elements among practitioners and academics, and the card-sorting technique to visualize the macrostructure and terminology of research in SD. This revealed the components and subcomponents used by professional SD specialists and professors of design when structuring research. The result was guidelines for structuring research practice in SD. The interview analysis chapter identified four themes in the specialist sample and three themes in the professor sample. Furthermore, a framework for structuring research in DS emerged from the synthesis of the samples. This framework is composed of five levels: (a) two axes, (b) four phases, (c) twelve stages, (d) twenty-four activities, and (e) multiple tasks, which articulate methodological, structural, and terminological characteristics to fulfill specific objectives. Three specialists applied the card sorting technique, which validated the structural framework according to consultative practices and their interrelations. This answered the research questions. The study concluded that SD has its own research methods that are validated at the intersection of theory and practice. These methods strengthen the field as an autonomous discipline by promoting organizational impact based on epistemologica foundations. Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Tese Wed, 17 Dec 2025 00:00:00 GMT http://www.bdtd.uerj.br/handle/1/25288 2025-12-17T00:00:00Z http://www.bdtd.uerj.br/handle/1/25266 Título: Design gráfico e imagem em movimento no Brasil (1929–2017): uma coleção de 200 artefatos gráficos audiovisuais Autor: Resing, Daniela Souto Primeiro orientador: Geiger, Sarah Leonora Abstract: This thesis presents a study of audiovisual graphic artifacts resulting from the interaction between graphic design and moving image in Brazil. Its aim is, based on design practices in a field with expanded boundaries, to assemble a collection of artifacts that can provide publicly and freely accessible reference material for future analysis and research. The research methodology is qualitative and quantitative in nature: it includes a bibliographic review; research in scientific publication portals and academic and audiovisual preservation institutions, and in digital video platforms. The thesis is based on an adaptation of the theories of André Villas-Boas, who proposes the validation of Graphic Design as a discipline through five structuring pillars: (1) the object; (2) the founding tradition; (3) the differentiating lexicon; (4) the methodology; and (5) the bureaucratic/institutional apparatus. These pillars are used here to validate audiovisual graphic artifacts in the field of Design. Another procedure adopted was the assembly of a collection of audiovisual graphic artifacts that had as selection criteria: the existence of an online archive publicly accessible and free of charge; social and historical recognition; and importance for the Brazilian Graphic Memory (BGM). The analysis of this research corpus allowed a reflection on the concepts of material culture, visual culture and graphic memory, which can contribute to historiographical strategies for the insertion of the objects of this study in the HGD of Brazil. Initially, I propose a look at Graphic Design as a relatively autonomous field, which has been related to Audiovisual since its origins. In this sense, I analyze its artifacts and concepts, histories and historiographies, academic and professional spheres. Then, these analysis parameters are applied to these same items, but from another perspective: I examine the hybrid field that arises from the intersections between Design and Audiovisual. Finally, I present the collection of artifacts assembled and some analyses formulated from the data obtained, which provide relevant content for Design educators in their teaching activities, as well as for all those interested in learning about this subject, constituting a repertoire of references, a cultural subsidy with broad access. Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Tese Mon, 30 Jun 2025 00:00:00 GMT http://www.bdtd.uerj.br/handle/1/25266 2025-06-30T00:00:00Z http://www.bdtd.uerj.br/handle/1/25205 Título: Uma cartografia dos saberesfazeres carnavalescos e dos processos de criação coletiva nos barracões na Cidade do Samba pelo olhar de um designer Autor: Santos, Marcos Aurélio Machado dos Primeiro orientador: Martins, Bianca Maria Rêgo Abstract: The focus of this study is on the craftsmanship and savoir-faire of Carnival. The research begins with the insights gained during my master's dissertation at Cidade do Samba, aiming to develop a specific understanding of this creative territory. This investigation seeks to explore to what extent the samba schools’ ateliers can be considered spaces of knowledge construction and processes that articulate practical skills and collective creation. This thesis follows the creative processes involved in producing Carnival art. In doing so, I focus on testimonies from workers and theorists who produce, challenge, study, and organize these savoir-faire practices within these spaces. The study mobilizes theoretical knowledge from various fields, such as social creativity, project-based thinking, and knowledge management, acknowledging that the object of study is always a complex problem requiring a multidisciplinary approach. By focusing on the workers in the ateliers, I aim to value the art and craft of those who, often anonymously, create and produce the materiality of the Carnival spectacle. To achieve these goals, I regarded a brief historical contextualization as relevant, tracing the aesthetic development of Carnival parades from the 1930s to the present day. The subsequent phase involved conducting a systematic literature review, providing a state-of-the-art overview of the field—specifically, the production of Carnival parades. At this point, I directed my methodological approach towards social cartography as a research method for fieldwork. Recognizing that immersion in the experiential plane could offer valuable insights—where knowledge and practice become inseparable, I opted for an audiovisual resource to produce interviews. This approach served as a methodological device capable of enhancing attentional regimes involved in data collection. The proposal to use the research structure as a script for a mini documentary aimed to capture and record reality within the ateliers, including behavioral nuances, thus allowing for better analysis and reflection. I believe that a mini documentary has the power to preserve memories and experiences from everyday life at Cidade do Samba, which might otherwise be forgotten or overlooked. It is important to emphasize that the concept of “territory” involved in this research is not geographical or temporal but rather “existential,” enabling the observation of subjective processes that operate in daily life at Cidade do Samba. After returning from the field with the substantial volume of data collected, I conducted a content analysis (CA). I developed a coding framework to categorize the textual and visual corpus, resulting in three categories: artisans and craftworkers, carnavalesque designers, and researchers and academics. This textual corpus can be regarded as the central nucleus or primary reference source for the study’s objectives. In the final considerations, I highlighted the main findings that contributed to the development of a graphical model illustrating the intersection of carnivalesque savoir-faire practices. The “delicate balance” between tradition and innovation negotiated within the ateliers influences the knowledge produced in these spaces, shifting from increasingly tacit to increasingly explicit through a spiraling process of knowledge exchange involving socialization and externalization stages, ultimately leading to new savoir-faire and knowledge constructs via a dynamic process of creative circularity. I conclude by underscoring some relevant insights that emerged during the research. Viewing Cidade do Samba as a “device” where lines of force assemble the subjects operating within these spaces, key traits of this territory as a self-referential system, capable of producing and maintaining its own structures and essential components, were observed. Another significant perspective is the potential for extending this investigation through the audiovisual mini documentary as a strategy for externalizing carnivalesque savoir-faire practices. This audiovisual production aims to serve as a bridge connecting academic research with other fields, broadening the visibility and dissemination of the knowledge and experiences gained in the ateliers. Thus, the mini documentary not only records but also values and amplifies dialogue across knowledge domains, democratizing access to the complexities of this creative territory. Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Tese Fri, 13 Jun 2025 00:00:00 GMT http://www.bdtd.uerj.br/handle/1/25205 2025-06-13T00:00:00Z http://www.bdtd.uerj.br/handle/1/25163 Título: Design como produção da vida na América Latina: uma proposta pedagógica através do design (re)existência Autor: Corrêa, Pamela Cordeiro Marques Primeiro orientador: Carvalho, Ricardo Artur Pereira Abstract: Recovering the founding historical questions and the revolutionary inclination of the field of design, this research begins by recognising part of the history of Latin America and the Caribbean in a decolonial, materialist and dialectical reading. Then, based on Lao-Montes & Vázquez's double critique method, it develops: an immanent critique — on the production of life in Latin America and the Caribbean and its relationship with design; and a transcendent critique — a subaltern interpretation of this production based on the materiality found in the urban space of the capitalist periphery. Specifically, the elaborate concept of (re)existence design is highlighted: the Brazilian gambiarra, Cuban technological disobedience, Chilean el hechizo, among others. Based on this, the aim of this work is to investigate how (re)existence design can act through a humanist pedagogy, aligned with the concepts of decoloniality and participation. In this way, it can encourage creativity that is disobedient and confronts hegemony in order to build a critical awareness of Latin American reality. To this end, these practices take on the role of political technology to reach the collective imagination through the materiality of objects. The aim is to draw up a proposal for a counter-discipline for undergraduate academic training in design that can be expanded internationally in Latin America and the Caribbean, based on an enchanted pedagogy, a pedagogy that affirms life. The results are expected to be the formulation of a course that encourages students to learn about the diverse and contradictory histories that make up Latin America, as well as the strengthening of a design community committed to autonomy and freedom in the material and symbolic production of life in this mixed-race, hybrid and, above all, resistant territory.; > Recuperando las cuestiones históricas fundantes y la inclinación revolucionaria del campo del diseño, esta investigación comienza reconociendo parte de la historia de América Latina y el Caribe en una lectura descolonial, materialista y dialéctica. Luego, a partir del método de la doble crítica de Lao-Montes & Vázquez, desarrolla: una crítica inmanente — sobre la producción de la vida en América Latina y el Caribe y su relación con el diseño; y una crítica trascendente — una interpretación subalterna de esta producción a partir de la materialidad encontrada en el espacio urbano de la periferia capitalista. Em especifico, se destaca el concepto elaborado de diseño (re)existencia: la gambiarra brasileña, la desobediencia tecnológica cubana, el hechizo chileno, entre otros. A partir de esto, el objetivo de este trabajo es investigar cómo el diseño (re)existencia puede actuar a través de una pedagogía humanista, alineada con los conceptos de descolonialidad y participación. De esta manera, puede fomentar una creatividad desobediente y que desafía la hegemonía para construir una conciencia crítica de la realidad latinoamericana. Para ello, estas prácticas asumen el papel de tecnología política para llegar al imaginario colectivo a través de la materialidad de los objetos. El objetivo es elaborar una propuesta de contradisciplina para la formación académica de pregrado em diseño que pueda expandirse internacionalmente en América Latina y el Caribe, basada en una pedagogía encantada, una pedagogía que afirme la vida. Se espera que los resultados sean la formulación de un curso que estimule a los estudiantes a conocer las diversas y contradictorias historias que conforman América Latina, así como el fortalecimiento de una comunidad de diseño comprometida con la autonomía y la libertad en la producción material y simbólica de la vida en este territorio mestizo, híbrido y, sobre todo, resistente. Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Tese Wed, 26 Mar 2025 00:00:00 GMT http://www.bdtd.uerj.br/handle/1/25163 2025-03-26T00:00:00Z