Дисертації з теми "Typographic space"

Reading allows for the construction of a new world within the mind as one centralises and processes the literature. Flipping from one page to the next the language and the typography guides and informs this spatial construction and directs us through this new world. It creates an intangible architecture of the mind. In the physical realm however, we experience the real world directly and blatantly without the aid of texts and narratives. In this life the relationship between text and space is inverted. Here text and narrative do not inform the construction and tactile experience of space but rather act as a backdrop to everyday life. It seems to go unnoticed. This dissertation aims to emphasise the importance of typography, text and narrative within not only our day-to-day functionings, but also in the architectural realm. It seeks an amalgamation of typography, museum and public space, and aspires to create a place where the seemingly unnoticed typeface can be showcased, propagated and made accessible. Copyright 2011, University of Pretoria. All rights reserved.
Dissertation (MArch(Prof))--University of Pretoria, 2011.
Architecture
unrestricted

La thèse - centrée sur la poésie italienne de la seconde moitié du XXe siècle - étudie l'espace graphique en tant qu'outil stylistique, en proposant des paramètres d'interprétation et en fournissant un catalogue de formes. L'objectif est de favoriser la réception de la spatialité parmi les objets et les instruments d'investigation du raisonnement métrique et stylistique contemporain. La recherche suit une perspective générale tout en considérant les orientations particulières du champ historico-culturel italien. Le corpus sur lequel se base le travail est constitué d'une quarantaine d'auteurs ; des écritures extrêmement caractérisées sur le plan visuel sont représentées en même temps que des écritures graphiquement neutres, en observant les points de contact et les hybridations entre l'avant-garde et la tradition. Le discours croise intentionnellement différents auteurs et poèmes, au sein desquels se manifestent les mêmes déclinaisons d'une forme expressive, liée à la spatialité, progressivement abordée et décrite à travers des analyses textuelles ciblées. Les domaines d'interaction entre l'espace et la composante verbale des textes (rythme, son et intonation, syntaxe et structures argumentatives, sémantique) et les constantes rhétorico-linguistiques qui leur sont associées, sont mis en évidence. Une première partie théorique retrace historiquement le difficile chemin de l'inclusion des aspects autonomes - donc spatiaux - de l'écriture dans les études linguistiques et stylistiques. Quelques questions fondamentales sont exposées : le processus de lecture, le lien entre l'ouverture métrique et la diffusion des traits stylistiques graphiques au XXe siècle, le rapport avec la composante auditive du langage et avec les traits phoniques dans la poésie, la parenté de la spatialité avec le système de ponctuation. La perspective critique italienne est complétée par d'importantes contributions théoriques de la linguistique française. Des approfondissements sont consacrés aux rapports formels entre poésie, musique et cinéma, puis aux obligations graphiques imposées par la presse et aux rapports entre poètes et éditeurs pour le respect des choix de mise en page au moment de la publication
The present work, based on Italian poetry from the second half of the 20th century, investigates graphic space as a stylistic tool. It proposes interpretative parameters and provides a catalog of forms with the aim of encouraging the reception of spatiality among the subjects of contemporary metrical studies. The research follows a general perspective while considering the peculiar directions of the Italian cultural-historical field. The corpus on which the work is based consists of around 40 authors. Extremely visually characterized poems are represented alongside graphically standard poems, observing points of contact and hybridizations between avant-garde and tradition. The discourse intentionally crosses various authors and poems, illustrating the same declinations of stylistic form related to spatiality. These are gradually approached and described through focused textual analyses. The research enhances the areas of interaction between space and the verbal component of texts (rhythm, sound and intonation, syntax and argumentative structures, semantics). Rhetorical-linguistic patterns are considered. The first part of the essay traces historically the path of the difficult integration of the spatial aspects of writing within linguistic and stylistic studies. Some fundamental issues are exposed: the process of reading, the link between the use of free metrics and the spread of graphic stylistic features in the twentieth century, the relationship with the aural component of language and with phonic features in poetry, the kinship of spatiality with the punctuation system. Specific insights are devoted to the formal relationships between poetry, music and film; then, to the graphic obligations imposed by the press and the relationship between poets and publishers in terms of mise en page choices at the time of publication

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Esta dissertação busca estabelecer uma discussão entre duas maneiras de pensar a solução da tipografia no projeto gráfico: aquela em que o designer privilegia a razão e aquela cujo foco é a sensibilidade. Através de uma análise do significado dos períodos moderno e pós-moderno, buscamos, inicialmente, investigar o contexto em que surgiram estas duas formas de pensar. Em seguida, examinamos o pensamento de alguns autores acerca da concepção mais correta do arranjo da tipografia no espaço gráfico, trazendo a discussão para o âmbito do design propriamente dito. Começamos por expor diferentes idéias sobre este tópico, escolhendo, em seguida, três autores: Jan Tschichold, Emil Ruder e Wolfgang Weingart. Após um breve histórico, foram selecionados alguns exemplos práticos que demonstram as crenças gráficas de cada um. Depois deste mergulho no passado, a questão foi trazida para a contemporaneidade, estudando-a com base no ponto de vista de designers que também se preocuparam com o assunto. Foi realizado um estudo de caso de páginas duplas da Revista brasileira Gula, em que foram identificados elementos gráficos próximos tanto da racionalidade quanto da sensibilidade. Várias imagens foram reproduzidas no capítulo quatro, no qual é feita a análise gráfica do material. O objetivo desta dissertação foi levantar questões que possam contribuir para fomentar futuras discussões e pesquisas dentro de um assunto vital para o designer: as várias formas de pensar o manejo da tipografia no espaço.
This dissertation aims at establishing a discussion between two ways of thinking the solution of typography in the graphic space: the one in which the designer emphazises the sense and the one which focuses sensibility. Through an analysis of the meaning of modern and pos- modern eras, we first investigated the context which gave rise to those two ways of thinking. Subsequently, we examined the ideasof some authors concerning the best way of arranging typography in the graphic space, bringing the discussion to the design context. We started analysing different ideas on this topic, and then focusing in three authors: Jan Tschichold, Emil Ruder and Wolfgang Weingart. After a short historical review, some practical examples have been selected to demonstrate the graphic believes of each one. After that immersion in the past, we brought the question to contemporary times, studying it through the point of view of designers to whom this aspect was also important. A case study of spreads taken out from the brazilian magazine Gula was developed, in which graphic elements related both to racionality and sensibility, were identified. Various images were reproducted in the chapter four, in which a graphic analysis of the material was carried out. The objective of this dissertation was to raise some points that might help futures discussions and research over this vital point to the designer: the various ways of arranging typography in the space.

La question de la place de l’écrivain, du poète, de l’artiste, du lecteur, du spectateur s’impose à nous au cours de nos études en école d’art. Nous développons alors toute une démarche en édition où la typographie prend une place centrale. Détournement de l’objet livre, appréhension de la notion d’écriture, nos différentes recherches plastiques nous amène également à la poésie. Notre propre pratique plastique, centrée sur la typographie et ses enjeux, se lie alors à nos recherches théoriques. Elles s’enrichissent l’une l’autre. Dans cette démarche nous souhaitons faire un pont entre l’approche sémiotique et l’approche plastique. Le corpus d’étude est centré sur des pièces d’art, et des livres d’artistes, en laissant une large place à l’art contemporain. Cela nous permet d’appréhender la manière dont le spectateur, le lecteur, reçoivent les images, lisent les « vides ». Enfin, notre travail personnel de plasticienne est également abordé, ce qui nous aide à nourrir et enrichir notre réflexion. Une première partie nous permet de mettre en évidence la mise en place d’un médium typographique. Les premiers à développer ces recherches et travaux sont Guillaume Apollinaire et Stéphane Mallarmé. Et ce sont tous les mouvements des avant-gardes du XXème siècle, qui vont en bénéficier : les cubistes, les futuristes italiens, les dadaïstes, les futuristes russes sont autant de mouvements de penseurs qui vont s’engager à créer un tournant dans l’art. Toute cette première partie nous permet de poser les bases des recherches plastiques incluant la typographie tel un médium et non un outil au service de l’information. Cela nous permet d’aborder, dans un deuxième temps, la place de la typographie au sein de l’art contemporain, et d’appréhender la manière dont les artistes d’aujourd’hui requestionnent ses limites. Dans une seconde partie nous mettons en évidence la façon dont ce médium typographique, est utilisé par les artistes contemporains. Nous le faisons tout au long de trois sous-parties, la première sur le signe typographique en lui-même et la question de l’écriture. La deuxième sous-partie, sur le support choisi et utilisé par l’artiste. Et la troisième sur l’utilisation et la mise en valeur de l’espace, voir comment cela influe sur la lisibilité de la pièce. Toute cette seconde partie nous laisse apprécier le travail d’artistes contemporains, de voir comment ils abordent la notion de signe typographique, quels sont leurs choix de supports et quels sont leurs positionnements face à la question de l’espace. Cette seconde partie, nous permet d’aborder dans une dernière partie, nos recherches personnelles de plasticienne. Dans cette troisième grande partie nous reprenons la même manière de procéder que dans la partie précédente, la première sous-partie nous permet d’expliquer la façon dont nous nous posons la question du signe typographique dans notre travail plastique. Dans la seconde sous-partie nous abordons notre rapport au support. Nous décidons de développer cela autour de l’objet livre, de ce qu’il représente, et la façon dont nous pouvons nous en jouer. La troisième, et dernière, sous-partie expose la façon dont nous nous posons la question de l’espace, du vide. Cette thèse est pour nous un prolongement de nos travaux artistiques. Nous voulons apporter, grâce à elle, une contribution à la sémiotique du signe. Une lecture nouvelle des œuvres des artistes contemporains qui utilisent le médium typographique dans leur travail et leurs recherches. Nous analysons leur rapport au signe, aux questions d’écriture. Nous prenons en compte leurs choix assumés de supports avec tout ce qu’ils impliquent de contribution au sens de l’œuvre. Enfin nous apprécions tout le travail réalisé autour du vide, de l’espace par ces artistes. La pluridisciplinarité des artistes d’aujourd’hui fait qu’ils sont conscients que tous ces choix (signe, support, espace) influent sur le regard du spectateur. Si l’un d’eux change, la lecture du regardeur se modifie
The question of the place of the writer, the poet, the artist, the reader, the spectator is essential to us during our studies in art school. We develop a publishing approach where typography takes center place. Diversion of the book object, apprehension of the notion of writing, our various plastic research also brings us to poetry. Our own plastic practice, centered on typography and its issues, is then linked to our theoretical research. They enrich each other.The corpus of study focuses on pieces of art, and artists' books, leaving a large space for contemporary art. This allows us to understand how the viewer, the reader, receive the images, read the "voids". Finally, our personal artistic work is also approached, which helps us to nourish and enrich our reflection.A first part allows us to show the setting up of a typographic medium. The first to develop this research and work are Guillaume Apollinaire and Stéphane Mallarmé. And it’s all the movements of the avant-gardes of the twentieth century, developing in their wake, who will benefit : Cubists, Italian Futurists, Dadaists, Russian Futurists are all artists and movements of thinkers who will want creating a turning point in art. All this first part allows us to fix the foundations of plastic research, this including typography as a medium and not a tool in the service of information. And this allows us to see, in a second time, the place of typography in the contemporary art, and especially to apprehend the way in which the artists of today question its limits. They are going to get the sign out of the book object and put it on all kinds of supports, they will also leave to this sign a void, a space that participates in the reading that will make the viewer.In a second part we highlight how this typographic medium, which we explain the emergence during the first part, is used by contemporary artists. We do this throughout three subparts, the first on the typographic sign itself and the question of writing. The second on the medium chosen and used by the artist, and the third on the use and enhancement of space. All this second part lets us appreciate the work of contemporary artists. To see how they approach the notion of typographic sign, what are their choice of support and what are their positions with regard to the question of space. The whole of this second part, stemming from the first one, allows us to approach in a third and last part, our work and our personal researches of plastic artist.In this third and last part we present our personal plastic researches. For that, we resume the same way of proceeding as in the preceding part : three sub-parts are put in place, the first on how the typographic sign is apprehended in our researches. The second on how we treat the support, finally the third is dedicated to the concept of space.The first sub-part allows us to explain the way we approach, and we ask ourselves the It is very important for us to make a link between our plastic and written research. This third part allows us this link. This thesis is for us an extension of our work of artistic creation.With this thesis, we want to make a contribution to the semiotics of the sign. A new reading of the works of contemporary artists who use the typographic medium in their work and research.We analyze their relationship to the sign, to the questions of writing. We take into account their assumed choice of different support they work with and all that they imply contribution to the meaning of the work. Finally we appreciate all the work done around the void, the space by these artists. The multidisciplinary nature of today's artists means that they are aware that all these choices (sign, support, space) influence the spectator's view. If one of them changes, the viewer's reading changes.And we also try to bring our personal vision to the plastic art. It is by proposing our own creations that we contribute to it

In the graphic design, successful use of white space provides the designed object with a strong reference to its material quality and internal structure. Showing the paper breaks the wall between the design and the viewer, and gives the audience a better understanding of the construction of graphic design. White space is devoid representation, which leads the work to become completely honest about its materiality. This project explores different methods and processes for creating aesthetic/conceptual integrity in graphic design by using white space as a primary device.

Space is a visual communicator. The act of perceiving space is a neurological soiree that projects and negotiates meaning in our constructed world. The poetry that we observe within space is tied directly to our emotions and to previous experience. Within ourselves, we each have particular feelings, unconscious or not, relating to height, length, and depth, as well as light and shadow. For example, a long, narrow hallway may elicit anxiety, while an open, sunlit nave in a cathedral may bring about feelings of serenity and joy. Our observations and interactions within the perceptual confines of space reveal clues to construction, movement, and play. Additionally, this participation unveils our awareness of space, and thus, reveals that our relationship with space exists in our acknowledgement of it—in our permitting of perception through conscious participation. To explore these ideas further, I will utilize typography to create immersive, sensory experiences that challenge interpretation through the application of human thought, or sensations, to non-living things and material states. This method will assist the observers to rationalize and create meaning within their own world through simplifying an experience in relation to self. Here, spatial language—like light, shadow, dimension, and proximity—will be exposed as a universal and innate part of our perception.

This study of the graphic field in notes on space, undated (log 3) focuses on how the white emptiness of a page plays a structural role in the articulation of dissociated fragments of notes. According to the criteria of three theorists (Genette, Lapacherie, Baetens), the distinction between non-linear and tabular proves to be non-exclusive in this particular work. Ostensibly, this non-figurative writing instigates interactive contemplation and lends itself to multiple entries, like an object one contemplates from every possible visual perspective without ever constructing a representation or image. The poetic form that du Bouchet explores renders perceptible the latent materiality of all text.

Thesis (M.F.A.)--Virginia Commonwealth University, 1990.
Title on page 6. Two folded displays. Prepared for: Dept. of Communication Arts and Design. Includes bibliographical references. Also available online.

Надано результати дослідження соціокультурного аспекту урбаністичної графіки та каліграфії. Метою роботи стало визначення візуальних прийомів урбаністичної графіки, застосованих в соціальних вуличних проектах. В ході дослідження розвитку сучасної урбаністичної графіки визначено перелік чинників, які обумовлюють візуальне наповнення урбаністичного простору. На основі аналізу аналогів соціальних проектів встановлено перелік характерних соціокультурних напрямків ефективного впровадження графічних прийомів у візуальний простір міста. Охарактеризовано сутність візуальних прийомів урбаністичної графіки при проектуванні вуличної візуальної мови, яка стає певною кодованою системою спілкування міського суспільства.
The paper presents the research results of socio-cultural aspects of urban typography. The purpose was to determine the visual techniques of urban typography that are used by artists in social street projects. In the course of studying the development of modern urban typography, a list of factors determining the visual filling of the urban space was determined. On the basis of the analysis of the analogues of social project, the types of characteristic sociocultural directed to the effective introduction of printing techniques into the visual space of the city were established. The essence and sequence of works are described in the design the street visual language that becomes a well-known coded communication system of urban society.

Conselho Nacional de Desenvolvimento Científico e Tecnológico
Esta dissertação objetiva analisar a importância da Tipografia do Diário na Corte do Rio de Janeiro, no período compreendido entre 1821 e 1831. Fundada no bojo de crescimento da Modernidade nos trópicos, a referida tipografia foi parte integrante, enquanto objeto e sujeito da nova cultura liberal que crescia. Sua presença na Corte mostrou-se relevante não apenas como espaço privado destinado à produção de impressos, mas também como espaço público de troca e formador de novas sociabilidades. Analisar a trajetória dessa empresa tipográfica constitui ainda um dos caminhos possíveis para a análise de muitas das relações de poder, consolidadas no contexto de separação do Império luso-americano e da posterior constituição do Estado-nacional no Império do Brasil . Características como o ofício de impressor e a noção de comércio da época perpassam este trabalho.
The present work seek to study the importance of Diários Typography , in the Court of Rio de Janeiro, in the period between the years of 1821 and 1831. Established in the context of growth of the Modernity in the tropics, the above-mentioned typography was a component part, as both object and subject, of the new increasing liberal culture. Its presence in the Court was shown relevant not only as private space destined to the production of printed papers, but also as public space of exchanges and former of new sociabilities. To analyze the trajectory of this typographic enterprise also constitute one of the possible ways to investigate the various powers relations, consolidated in the context of the dissolution of the Lusitanian-American Empire, and the later constitution of the National-State in the Brazilian Empire. Characteristics as the presser work and the period notion of trade also pass by this dissertation.

Every city/place has unique, distinctive qualities. Individuals acquire a sense of place in accordance with their own experiences and perspectives, which may not be the same as the experiences and viewpoints of another person. In this project, I explore, analyze, and re-interpret three places that have creatively and emotionally influenced me and remained in my memory: Times Square, New York City; Insadong, Seoul, South Korea; and Broad Street, Richmond, Virginia. To comprehend and draw a sense of place, I observe, feel, and document the characteristics of each place through different methods and processes, based on my own experiences. In addition, I integrate, apply, and transform my experiences and emotional reaction to the objects, obtained from each place, into new visual form to grasp how the built environment can be used as inspiration and stimulus in developing creative methods and processes in graphic design.

Idag använder allt fler människor sina smartphones för att surfa och använda tjänster online. Detta innebär att en stor del text läses på små skärmar. Detta arbete handlar om hur text bäst utformas och struktureras för att enklast kunna läsas och uppfattas på en mobilskärm. Faktorer som berörs är typgrad, ljusrum, textlängd, teckensnittsklass, radlängd, bild i text och kontrastverkan. Arbetet utgår från en normativ, svensk person utan funktionsnedsättningar. Arbetet är grundat på litteratur, egna analyser, intervjuer med branschfolk, enkätundersökning och test med fokusgrupp. Resultatet blev att en text på smartphone bäst utformas med flera styckesindelningar i form av blankrader, med bilder där bilden tillför något i informativt syfte och textlängd baserat på ämneskategori. Bilden bör sättas ovanför brödtexten. Längre texter ska sättas med scrollfunktion. Kontrast har stor betydelse på mobiltelefoner, texter går bra att läsa även när de är satta negativt. Teckensnittsklass är enligt resultatet av denna rapport inte av betydelse. Både seriff och sanserif kan läsas utan problem på smartphones. Typgraden bör förstoras något i förhållande till telefonens default-inställningar. På grund av att text på skärm inte stödjer avstavningar rekommenderas korta ord där det är möjligt för att förhindra en allt för hackig högerkant.
This research focuses on the issue of how to best structure text on a Smartphone screen. The factors involved in this research are text size, white space, text and line lengths, serif and sans serif fonts, pictures in text and contrast.  The methodology of our research is based on a normative Swedish able-bodied person, as well as on relevant literature, personal analyses, interviews with people in the trade, an online survey, and a test performed with a focus group. The results are that a text written for Smartphones is best structured with: several paragraph divisions made with blank lines, with pictures where the picture has an informational purpose, and text length based on category of subject. The picture should be placed above the body text. Longer texts should be set with a scroll-function. Contrast is of great importance on mobile phones as texts can be read properly even when set in negative. In addition, using serif or sans serif is of no importance. According to the results both serif and sans serif can be read without difficulties on a Smartphone. Text size should be slightly enlarged in relation to the default settings on the mobile device. Since word division is not supported on screen, short words are recommended when possible to prevent a highly uneven right end.

碩士
大葉大學
工業工程研究所
89
LCD monitors have gradually replaced the Cathode Ray Tube (CRT) monitors to be the major visual terminals (VDT). However, CRTs are still widely used in many VDT workstations. Therefore, it is needed to investigate the effect of monitor on user''''s visual performance and visual fatigue. Therefore, two experiments were designed in this study to investigate the effect of screen type, text/background color combination, Chinese typographic, and line space of VDT searching and reading tasks on subjects'''' visual performance and visual fatigue. In the first experiment, correct rate of searching was used to measure users'''' visual performance of searching task and users'''' visual fatigue was measured by CFF (Critical Fusion Frequency) and subjects'''' subjective visual fatigue. In the second experiment, the visual performance of reading task was measured by reading time and correct rate of answering questions about reading task and visual fatigue was measured in the same way of the first experiment. Analysis of results showed that screen type had no significant effect on users'''' visual performance and visual fatigue of searching task. Regarding to reading task, screen type had no significant effect on correct rate of answering questions and CFF. However, it had significant effect the reading time. The reading time of subjects on LCD was less than that of subjects on CRT. Chinese typographic had no significant effect on users'''' visual performance and subjects'''' subjective visual fatigue of searching task, but it had significant effect on CFF. The CFF of subjects on standard Kai type and imitative Sung type decreased mostly. Regarding to reading task, Chinese typographic had no significant effect on users'''' visual performance and visual fatigue. Text/background color combination had no significant effect on users'''' CFF and subjects'''' subjective visual fatigue of searching task, but it had significant effect on correct rate of searching. Text/background color combination had no significant effect on users'''' visual fatigue of reading task, but it had significant on effect users'''' correct rate of answering questions and reading time of reading task. When the color difference of Text/background color combination became larger, the reading time became shorter and correct rate of answering questions became larger. Line space had no significant effect on the reading task of users'''' CFF and the subjects'''' subjective visual fatigue, but it had significant effect on correct rate of searching of searching task. The correct rate of searching of subjects on single space (visual angle was approximately 17.6 min) was higher than that of subjects on 0.5 space (visual angle was approximately 8.8 min). Line space had no significant effect on the reading time, correct rate of answering questions and subjects'''' subjective visual fatigue of reading task, but it had significant effect on CFF. The CFF of subjects on single space (visual angle was approximately 17.6 min) decrease less than that of subjects on 0.5 space (visual angle was approximately 8.8 min). Keywords: VDT, color combination, Chinese typographic, line space, visual performance, visual fatigue.

This thesis considers the design of a combined industrial printing and publishing house as a semi-public institution. The site is in Halifax, Nova Scotia. The institution includes a bookstore, archive, studio, book conservation facility, and guest rooms, in addition to printing and publishing. Research included relevant literature, an applied course in typography, and a working visit to Gaspereau Press. The way program elements are brought together and overlap relates to the formal strategies of spatial organization in typography. The design as a setting for human activity relates to the relationship between text and content in the activity of reading. The simultaneous presence of the practical and the creative in the practice of architectural design is also explored in relation to typographic practice. The intention is to clarify both the object of design and the practice of design in comparison to both aspects in typography. This then further clarifies the relation of the program to the built work.

The growth of coworking spaces has been remarkable in the past years. In spite of not being clear if it is sustainable. This study aims to analyse, through three case studies, what are the factors that are most valued by the coworkers. The three main purposes of this study focus on the characterisation of coworking, not only globally but also in Oporto, on the identification of the characteristics in the coworking spaces most valued by coworkers and their relevance and finally, on the analysis of the alignment between managers, coworkers and professionals who currently are not using a coworking space. To comply with the established goals, statistical reports were analysed and so were the websites of the coworking spaces in Oporto, face-to-face interviews were scheduled, and an online survey was done. This study allowed characterising the coworking spaces globally and particularly, in Oporto, realising that despite the considerable evolution this may not be sustainable and identifying the main trends. It was possible to verify which characteristics of the space add more value to a coworker. However, their relevance may vary depending on the coworker’s motivation to cowork or on his activity sector. Additionally, it was possible to verify that the alignment between the different parties involved is not entirely positive.
O crescimento de espaços de coworking tem sido notável nos últimos anos, no entanto não é claro que este seja sustentável. Este estudo pretende analisar, através de três estudos de caso, quais são os fatores que mais são valorizados pelos coworkers. Os três objetivos principais deste estudo focam-se na caracterização do coworking, globalmente e no contexto da cidade do Porto; na identificação das características dos espaços de coworking mais valorizadas pelos coworkers, e qual a respetiva relevância; por último, verificar se existe alinhamento entre os gestor, os coworkers e os profissionais que não utilizam estes espaços como o seu lugar de trabalho. De forma a responder a estes objetivos foram analisados relatórias estatísticos; sites de diversos espaços de coworking no Porto; realizadas entrevistas presenciais; e realizado um questionário online. Este estudo permitiu caracterizar os espaços de cowrking globalmente e no contexto do Porto, percebendo que apesar do grande crescimento, este pode não ser sustentável, identificando também as principais tendências. Foi possível verificar quais são as características de um espaço que mais valor acrescentam para um cowoker, no entanto a sua relevância pode variar mediante aspetos como a motivação para o coworking ou o setor de atividade do coworker. Também foi possível verificar que o alinhamento entre os intervenientes expostos acima não é totalmente positivo.