Relevant bibliographies by topics / 120301 Design History and Theory

Academic literature on the topic '120301 Design History and Theory'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "120301 Design History and Theory"

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Williams, Joyce. "Design discourse: History/theory/criticism." Journal of Social and Evolutionary Systems 15, no. 3 (January 1992): 327–31. http://dx.doi.org/10.1016/1061-7361(92)90014-5.

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Robey, E. "Design History: Understanding Theory and Method." Journal of Design History 25, no. 3 (August 1, 2012): 333–34. http://dx.doi.org/10.1093/jdh/eps028.

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Лебедєва, Альона. "Pseudomorph: Theory of Design in Art History." Art Research of Ukraine, no. 18 (December 19, 2018): 103–12. http://dx.doi.org/10.31500/2309-8155.18.2018.152377.

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Coleman, Nathaniel. "History Theory Design: a pedagogy of persuasion." Architectural Research Quarterly 7, no. 3-4 (September 2003): 353–60. http://dx.doi.org/10.1017/s1359135503002288.

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Architecture students tell stories about their work. These stories are meant to convey information regarding their convictions about design, the motivating concept for a specific design, and the intended meaning of the design. Such stories are calculated to have something to do with the work presented. Often, though, what is said is put forward and accepted as valid simply because it is said. Scrutiny of the relationship between such accounts and the visual or physical evidence frequently reveals a wide gap between intention and result. Credulity of such incongruity encourages a loose way of thinking that fosters a separation of thought (theory) from doing (practice). Concurrently, architecture students at the earliest stages of their education seem to require skill development above all else. But overemphasis on technique undervalues developing conceptual depth. If students are not introduced to design as an ill-defined problem, akin to formulating effective and persuasive arguments, their propensity is to produce work that tends to be ineffectively developed or represented while lacking theoretical sophistication.
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Kim, Nanyoung. "A History of Design Theory in Art Education." Journal of Aesthetic Education 40, no. 2 (2006): 12–28. http://dx.doi.org/10.1353/jae.2006.0015.

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Kim, Nanyoung. "A History of Design Theory in Art Education." Journal of Aesthetic Education 40, no. 2 (July 1, 2006): 12–28. http://dx.doi.org/10.2307/4140227.

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Munzar, Jeffrey D., Andy Ng, and David Juncker. "Duplexed aptamers: history, design, theory, and application to biosensing." Chemical Society Reviews 48, no. 5 (2019): 1390–419. http://dx.doi.org/10.1039/c8cs00880a.

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Le Masson, Pascal, Kees Dorst, and Eswaran Subrahmanian. "Design theory: history, state of the art and advancements." Research in Engineering Design 24, no. 2 (March 21, 2013): 97–103. http://dx.doi.org/10.1007/s00163-013-0154-4.

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Janet, Jeff, and Melissa Miles. "ARTEMIS: Reinvigorating History and Theory in Art and Design Education." International Journal of Art & Design Education 28, no. 1 (February 2009): 52–60. http://dx.doi.org/10.1111/j.1476-8070.2009.01592.x.

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Kickert, Conrad, and Robert Fishman. "Situated learning in history and theory in the urban design curriculum." Proceedings of the Institution of Civil Engineers - Urban Design and Planning 170, no. 3 (June 2017): 121–32. http://dx.doi.org/10.1680/jurdp.16.00004.

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Dissertations / Theses on the topic "120301 Design History and Theory"

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Barford, Katie Elizabeth. "Drawing, interpretation and costume design : a study of the costumed body informed by watching 'Tanztheater Wuppertal' in rehearsal and performance." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12001/.

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This practice-led study contributes new methods of practice and applications of theory to record and analyse the costumed body in performance. While costume scholarship has gained momentum in recent years, this is the first research project to fully explore the application of drawing blind as a means of documenting a researcher’s response to the costumed body. This study contributes to existing knowledge of drawing practice as a method of costume research,through its development of a specific methodology of blind drawing used to record observations while watching video, rehearsals and performance. It also extends the theorisation of costume, through its application of texts by Charles Sanders Peirce on semiosis, interpretation and habits, and contributes new insight into costume design practice by enabling the first costume-focussed analysis of works by 'Tanztheater Wuppertal' in the English language. The first part of the thesis discusses three cycles of drawing, interpretation and costume design. The starting points for these investigations are my experiences watching dancers perform in the German dance theatre company 'Tanztheater Wuppertal'. These experiences were enriched by my being granted access to rehearsals and performances,which facilitated unique opportunities to observe dancers in and out of costume. Blind drawing was used to look more attentively at costumes and to record my observations of these dancers. The complexities of using blind drawing and annotation, as methods to articulate this visual, auditory and spatial information, were tested through drawing practice and analysed using a theoretical framework incorporating Peircean theory,costume studies and scenography. Questions and uncertainties that arose through this process were then explored through experimental costume practice, in which costumes were designed and tested on volunteer performers. The second stage of the research describes and analyses my costume design for three experimental performances shown in public spaces that were informed by these cycles of practice and theory.
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Sim, Jean C. R. "Designed Landscapes in Queensland, 1859-1939: experimentation - adaptation - innovation." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/10835/1/wholePHDsim1999.pdf.

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The conservation of historic cultural landscapes in Queensland is in its infancy. Effective conservation practice, however is based on sound historical information, and no previous study has investigated the historical development of local parks, gardens and other landscapes. The objectives of this research were to examine the factors which influenced landscape design in Queensland, to identify the forms and expressions of design derived from these influences, and to identify any distinctive aspects related to local landscape character. The timeframe chosen for this investigation was from the beginning of the separate colony of Queensland (1859) to the outbreak of World War 2 (1939). Using historical method, the research began with an exploration of published primary sources (particularly garden literature from the 1860s to 1930s) related to Queensland and other 'tropical' areas. A series of hypotheses was proposed to explain the findings, and these were tested by further analysis and data gathering. There followed a triple-layered central proposition, suggesting that: (i) in Queensland, the traditional delineation of styles to describe landscape design is of limited application because of the lack of elite professional designers and wealthy clients; (ii) there developed a discernible 'tropical landscape design character' in suitable climatic areas, which included two distinct visual aspects expressed in the landscape (the 'exotic' and the 'prosaic'); and, (iii) these design outcomes were the result of a design process of 'acclimatisation' experienced by early settlers (gardeners and designers) working in unfamiliar lands and climates, and includes the stages of experimentation, adaptation and innovation.
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Poulton, Delwynn V. "Water conservation in Brisbane's residential landscapes : towards the optimisation of water in front garden design." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/13614/1/13614.pdf.

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One of the most critical issues that the world faces as it enters the new millennium is the provision of a continued supply of fresh water – the source of all life. The depletion problem of this resource through uneducated use is world-wide as well as being specific to Australia. This study centres on this issue in the Australian context with particular reference to gardening practices in Brisbane, the capital city of Queensland. The study examines methods by which fresh water can be saved through innovative garden design options. The cultural philosophies which underpin Brisbane’s suburban residential front gardens were investigated through an examination of literature, painting, and letters of the early settlement days in Australia and, in particular in Queensland. The findings were used to establish the theoretical framework for a qualitative study of seventy two Brisbane gardeners and their gardens. These gardens were selected from sites in a corridor of seven suburbs occupying a south-east segment of the city. The corridor included these components – an outward historical growth pattern, a range of socio-economic and cultural issues, varying soil types, topographical forms and a variety of residential forms and styles with a range of compass frontages. Each selected gardener was encouraged to ‘talk’ about the garden and its design and ‘making’ and the comments were analysed in the light of the author’s theoretical investigations. The results of this investigation provided an understanding of current gardening practices which also involve the use of 50-60 per cent of Brisbane’s domestic water on the garden. The findings suggest that Brisbane’s, and indeed, Australian gardens are based on philosophical notions that have Eurocentric foundations. Alternative and innovative water saving practices were explored and these techniques were modified to suit the design and construction of Brisbane gardens, whilst still satisfying the cultural values behind existing garden practices. The conclusions suggest that if gardeners are to be convinced about adopting water saving techniques, future garden designs must meet existing norms in terms of form and function as well as being able to conserve water.
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Rigby, Emma Dulcie. "Fashion design and laundry practices : practice-orientated approaches to design for sustainability." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12014/.

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This doctoral enquiry develops practice-orientated approaches to design for sustainability. It focuses on the relationship between garment design, laundry practices and sustainability, and responds to research that evidences domestic laundering as one of the most environmentally damaging stages in a garment’s lifecycle (Allwood, et al.,2006; Hansen, et al., 2007). A one-year laundry study surveyed the use and laundry of sixteen garments to ascertain the relationship between garment design and laundry behaviour. The research findings revealed that laundry behaviours are complex and unpredictable, and often not directly linked to producing cleaner clothes. Laundry routines are underpinned by factors beyond cleanliness including: garment use, social auditing, garment aesthetics,life stage, cultural norms, and spatial arrangements within the household. Through re-examining laundry as a social practice the research develops a series of design provocations to challenge the organisation of laundry practices, and by extension the frequencies and processes in which laundry is carried out. The findings highlight that understanding laundry as a social practice opens a space to reconceptualise design, laundry behaviour and sustainability. It decentres material products and attends to the embedded social dynamics that are set within a nexus of spaces, materials, thoughts, actions and emotions. This provides an alternative lens from which to view and develop design theories and practice for sustainability in fashion. The central insight from the research shows there are multiple benefits from incorporating social theory into methodologies for design for sustainability.
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Bugg, Jessica. "Interface : concept and context as strategies for innovative fashion design and communication : an analysis from the perspective of the conceptual fashion design practitioner." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/5663/.

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This practice-led PhD proposes alternative practices in a research and design context that explore the intersection of fashion, fine art and performance methodology and practice. The project exposes and documents the emergence and development of conceptual and experimental fashion and interdisciplinary practice at the edges of the fashion discipline. The research provides new insights into the way fashion designers can work conceptually and how their work might be perceived differently, dependent on contexts of presentation. It investigates how the concept behind the design and the context of presentation affect these readings for both the viewer and the wearer. It uncovers the emotional and experiential factors of fashion and exposes how we experience and respond to clothing/fashion in a variety of contexts. The thesis draws attention to the lack of specific identification given to conceptual thinking in fashion design as an outcome within its own right and proposes new applications and approaches to this practice. The research methodology developed within the practice extends the potential of communicating body related concepts to wearers and viewers through the medium of clothing worn on the body and can be applied in part or whole across a range disciplines. The thesis synthesises a body of knowledge to inform practitioners of conceptual fashion and reveals the complexity of communication between designer, wearer and viewer of conceptual fashion in specific contexts. The researcher has designed collections of concept-based work, which are not driven by market constraints, trends and seasons but by concepts and processes. These collections have been tested and analysed in a variety of contexts and written up as three major case studies. The process of design developed within this research focuses on the body, movement and behaviour; through experimentation and testing it reaffirms the emphasis on the creative process allowing for consideration of context as fundamental to the communication of embodied concepts. It is argued that it is necessary for fashion designers to review the way in which they design for specific contexts such as dance, exhibition and areas of fashion promotion and communication. This requires a different approach that pays attention to both concept and context at the point of inception.
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Kikuchi, Yuko. "Mingei theory and Japanese modernisation : cultural nationalism and 'oriental orientalism'." Thesis, Open University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287011.

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Glasscock, Ann Marie. "THE SIXTY-NINTH STREET BRANCH OF THE PHILADELPHIA MUSEUM OF ART: A RESPONSE TO MUSEUM THEORY AND DESIGN." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197756.

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Art History
M.A.
By the 1920s, ideas about the function and appearance of the American art museum were shifting such that they no longer were perceived to be merely storehouses of art. Rather, they were meant to fill a present democratic need of reaching out to the public and actively helping to cultivate the tastes and knowledge of a desired culturally literate citizen. As a result of debates about the museum's mission, audience, and design, in 1931 the Philadelphia Museum of Art opened the first branch museum in the nation on 69th Street in the suburb of Upper Darby in an effort to improve the relationship between the museum and the community. With sponsorship by its parent institution and financing by the Carnegie Corporation of New York City, the two organizations hoped to determine, over a five-year period, whether branch museums, like branch libraries, would be equally successful and valuable in reaching out to the public, both physically and intellectually. The new Sixty-ninth Street Branch Museum was to serve as a valuable mechanism for civic education by encouraging citizens to think constructively about art and for the development of aesthetic satisfaction, but more importantly it was to be a catalyst for social change by integrating the visual arts into the daily life of the community. In this thesis I will demonstrate that, although the first branch museum was only open for a year and a half, it nonetheless succeeded in shaping the way people thought about art and how museums were meant to function as democratic institutions in American society.
Temple University--Theses
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Östman, Leif E. "A pragmatist theory of design : The impact of the pragmatist philosophy of John Dewey on architecture and design." Doctoral thesis, KTH, Architecture, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-196.

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This study is an inquiry into design-theoretical aspects of architectural design in Finland based mainly on the pragmatist philosophy of John Dewey. The study comprises two case studies. The . rst case deals with a young family designing their future home – a detached house built from prefabricated components – in cooperation with an architect. The second case deals with the design process of a leading Finnish architect, Professor Ilmari Lahdelma, as he prepares his proposal for an architectural competition for a new city library in Lohja, a competition he eventually wins. The case describes and interprets Lahdelma’s design process, the processes of other competition entries made by the of. ce staff, as well as the process of the jury’s evaluation of the competition entries. The two cases are analysed and interwoven with aspects from three different theoretical perspectives: existing design theories, Pierre Bourdieu’s . eld theory and John Dewey’s thinking regarding art and research. In the study I argue that Dewey’s philosophy can provide a framework for a design-theoretical epistemology. I also arrive at conclusions regarding the interpretation of some key design-theoretical concepts and the position of design theory and its structures. I further argue that the Finnish architectural competition system is a strong tool for generating developments in the production of the architectural avant-garde, which acts as the leading light for the rest of the . eld of architecture. The present study also highlights the gap between ‘high-’ and ‘low culture’ in the . eld of architecture, yet points out that the design of a simple family house – assumedly a case of ‘low culture’ – is by no means trivial to the family itself, and is indeed . lled with moments of aesthetic experiences, which is a central issue in Dewey’s description of creative processes.

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Stergiou, Stavroula. "The concept of the avant-garde in twentieth and twenty-first century architecture : history, theory, criticism." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32215/.

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The ‘Avant-Garde’ in architecture seems a challenging subject: first, because the term has not yet clearly defined, despite the ubiquity of its use; second, because through that ubiquity it has become a buzz-word that is empty of precise meaning; third, because although this use includes the history of modern architecture, its application to this field has been largely unreflective and often unconsidered, as this thesis demonstrates. There is ambivalence as to which architectures are ‘Avant-Garde’ or should be regarded as ‘Avant-Garde.’ Therefore, there is a challenge in any question such as: what is the Avant-Garde in architecture? How can the architectural Avant-Garde be defined? What is the concept of the Avant-Garde in architecture? My thesis is a sociological conceptualization of the Avant-Garde in architecture. It is based on the mapping of the use the‘ term ‘Avant-Garde’ in architectural history, theory and criticism and its analytical tools are sociological. While it belongs to the above fields, it is informed by art theory and history, cultural studies, and the sociology of the professions, and includes sociological, cultural and political analyses. I suggest that the Avant-Garde is an Operation internal to architecture; a mechanism that does not only describe it but formulates it, motivates it, or else, influences our perception of it. I propose that the Avant-Garde is directed by prominent elements of its internal domain. It includes a filtering process, a rough selection process, and a selection process, by which one or more architectures internal conditions - are introduced to the discipline to renew the profession toward the desired and necessary, for the element who directs the operation, direction (see fig. 2, appendix). The end result of the selection process is what we commonly understand as ‘Avant-Garde’ architecture, e.g. Russian Constructivism or Bauhaus. I also propose that the Avant-Garde lies in and operates within the socio-ideological sphere of architecture and that renewal of the architecture's internal domain is necessary, thus the Avant-Garde is necessary, so as to make architecture respond to each time new external conditions and so endure, as a profession, over time. The Avant-Garde is for me an operation of renewal, a driver of difference and change in architecture (see fig. 1, appendix). The methodology adopted is as follows: I first introduce my analytical tools, some key sociological concepts, and concepts from the ‘Avant-Garde’ discourse (chapter 1). I then examine the filtering process and rough selection process in architectural history: I map the usage of the term in a historiographic corpus and arrive at the more frequently and the less frequently named ‘Avant-Garde’ architectures, which become my two case studies. These are Russian Revolutionary Architecture and Italian Rationalism (chapter 2). The third step is to arrive, through the comparison of my case studies, at those parameters that are crucial in being selected as ‘Avant-Garde,’ i.e. their ‘Avantgardification’ - this occurs after 1960 when the term starts being used describing architectures (part 2). The fourth step is to examine the period of the extended 19605 when the term starts appearing as a means of describing architectures and thus the selection process begins (chapter 6). As a fifth step I research the selection process in the discourse of architectural theory and criticism: I investigate in a particular corpus of writings which architectures, by whom they are chosen as ‘Avant-Garde,’ and the reason why, as Well as which are the concomitant effects of the usage of the term on architecture. In other words, beyond concentrating on which architectures or architectural movements are ‘Avant-Garde' in these writings, I focus on the effects of this selection and denomination (chapter 7). As a sixth step, I examine the selection process of my two case studies in architectural theory and criticism, i.e the Avantgardification of Russian Revolutionary Architecture and less of Italian Rationalism. I investigate when, by whom, and the reason why the first architecture is mostly selected as ‘Avant- Garde,’ as well as which are the concomitant effects on architecture (chapter 8, see also fig. 3, appendix). As a final step I examine the Avant-Garde as a sociological concept based on the key-concepts introduced in chapter 1 (Conclusions). A sociological conceptualization of the Avant-Garde is important for shedding light on issues beyond those of ‘Avant-Garde’ architectures. Through such a concept of the Avant-Garde we recognize issues of the profession, issues which are wider than questions which are directly connected to those architectures selected as such. Looking through the ‘Avant-Garde’ we understand the ways by which architecture is being renewed and Operated. By recognizing the conditions, in which the ‘Avant-Garde’ architectures have been created, and the way and time in which the term was employed to describe them, we understand the mode in which architecture, as a discipline, functions. My thesis is a hermeneutics of the architectural profession through the term ‘Avant-Garde.’
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King, Julie. "Colour forecasting : an investigation into how its development and use impacts on accuracy." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5657/.

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Colour forecasting is a sector of trend forecasting which is arguably the most important link in the product development process, yet little is known about it, the methodology behind its development or its accuracy. It is part of a global trend forecasting industry valued recently at $36bn, providing information which is developed commercially eighteen months to two years ahead of the season. Used throughout the garment supply chain, by the yarn and fibre manufacturers, the fabric mills, garment designers and retailers, it plays a pivotal role in the fashion and textile industry, but appears in many different forms. Colour forecasts were first commercially produced in 1917, but became more widely used during the 1970s, and in recent years digital versions of colour forecasts have become increasingly popular. The investigation aimed to establish the historical background of the industry, mindful of the considerable changes to fashion manufacturing and retailing in recent decades. For the purposes of the investigation, a period spanning 25 years was selected, from 1985 to 2010. In reviewing the available literature, and the methodologies currently used in developing forecasting information, it became clear that there was a view that the process is very intuitive, and thus a lack of in depth academic literature. This necessitated a considerable quantity of primary research in order to fill the gaps in the knowledge regarding the development, use and accuracy of colour forecasting. A mixed method approach to primary research was required to answer the aim of the thesis, namely to investigate how colour forecasts are compiled, and examine their use, influence and accuracy within the fashion and textiles industry, suggesting methods for developing more accurate forecasts in the future. Interviews were conducted with industry practitioners comprising forecasters, designers and retailers to better understand how colour was developed and used within industry. Two longitudinal studies were carried out with the two largest UK clothing retailers to map their development and use of colour palettes, and understand better how colour contributes to the critical path and supply chain. Two colour development meetings were observed, one with a commercial colour forecaster, the other with an industry association, and two colour archives were studied to establish whether or not any identifiable and predictable colour cycles existed. Data from the interviews and longitudinal studies were analysed using a grounded approach, and revealed some new insights into the influences upon the development of colour forecasts both commercially and from the retailer's perspective. The sell through rates of merchandise, EPOS analysis and range of practices between those interviewed and the two retailers studied provided an interesting insight into working practices and how colour forecasting information is changed when used by the retailers. It was found that a group of core colours existed, which were used season after season, and consistently demonstrated a high sell through rate, such as black, white, grey and navy. In order to establish whether or not colour cycles were consistently predictable in their repetition, two colour forecasting archives were assessed. If predictable colour cycles existed, they would be a useful tool in developing more accurate forecasts. Unfortunately this was not the case, as no clear colour cycles were found. However, the archive, together with evidence from the retailers demonstrated the 'lifecycle' of fashion colours was longer than expected, as they took time to phase in and out. It was concluded that in general the less fashion led brands used their own signature colours and were able to develop colour palettes far later in the product development timeline. This approach could be adopted more widely by retailers and designers as it was discovered that although accuracy rates for colour forecasts are generally accepted to be around 80%, the commercial forecasters provide colour update cards closer to the season where at least 40% of the colours are changed. Very early information, two years ahead of the season is no longer necessary in the contemporary fashion and textiles industry.
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Books on the topic "120301 Design History and Theory"

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1941-, Margolin Victor, ed. Design discourse: History, theory, criticism. Chicago: University of Chicago Press, 1989.

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Design: History, theory, and practice of product design. Boston, MA: Birkhauser-Publishers for Architecture, 2005.

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Georgia, Bizios, ed. Architectural theory and criticism, urban design theory, architectural history. Durham, N.C: Eno River Press, 1991.

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Design history: Understanding theory and method. New York: Berg Publishers, 2010.

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Israel, Lawrence J. Store planning / design: History, theory, process. New York: John Wiley, 1994.

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Fallan, Kjetil. Design history: Understanding theory and method. New York: Berg Publishers, 2010.

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Israel, Lawrence J. Store planning/design: History, theory, process. New York: Wiley, 1994.

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Carlo Scarpa: Theory, design, projects. Cambridge, Mass: MIT Press, 1986.

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Quests: Design, theory, and history in games and narratives. Wellesley, Mass: A.K. Peters, 2008.

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Naylor, Gillian. The Bauhaus reassessed: Sources and design theory. New York: E.P. Dutton, 1985.

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Book chapters on the topic "120301 Design History and Theory"

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Reicher, Christa. "A Journey: From History to Theory." In Urban Design, 23–46. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-34370-5_3.

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Amalia, Leifeste, and Barry L. Stiefel. "History and Theory of Sustainable Design." In Sustainable Heritage, 76–93. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315748948-4.

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Shome, Parthasarathi. "Income Taxes—Design and Evidence." In Taxation History, Theory, Law and Administration, 155–71. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68214-9_15.

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Shome, Parthasarathi. "Corporate Income Tax—Design and Evidence." In Taxation History, Theory, Law and Administration, 191–206. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68214-9_18.

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Navarro Fernandez, Ricardo, Sergio Martinez Palomino, Vanessa Vega Velarde, Claudia Zapata Del Rio, and Victor Chiroque Landayeta. "Game Design Model for Educational History Videogames." In Design, User Experience, and Usability. Design Philosophy and Theory, 307–23. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23570-3_23.

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Shome, Parthasarathi. "Taxation of International Trade: Design and Experience." In Taxation History, Theory, Law and Administration, 287–99. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68214-9_25.

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Brown, Elissa. "History of Gifted and Advanced Academic Curriculum Theory and Practice." In Introduction to Curriculum Design in Gifted Education, 23–40. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003235842-3.

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Bedford, Joseph. "The End of Theory and the Division between History and Design." In The Contested Territory of Architectural Theory, 43–66. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003292999-5.

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Keirl, Steve. "Critiquing as Design and Technology Curriculum Journey: History, Theory, Politics and Potential." In Contemporary Issues in Technology Education, 109–33. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3106-9_7.

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LeBrun, Alexander, and Liang Zhu. "Magnetic Nanoparticle Hyperthermia in Cancer Treatment: History, Mechanism, Imaging-Assisted Protocol Design, and Challenges." In Theory and Applications of Heat Transfer in Humans, 631–67. Chichester, UK: John Wiley & Sons Ltd, 2018. http://dx.doi.org/10.1002/9781119127420.ch29.

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Conference papers on the topic "120301 Design History and Theory"

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Shams, M. "Reservoir Simulation Assisted History Matching: From Theory to Design." In SPE Kingdom of Saudi Arabia Annual Technical Symposium and Exhibition. Society of Petroleum Engineers, 2016. http://dx.doi.org/10.2118/182808-ms.

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Atkinson, Harriet, and Maya Rae Oppenheimer. "Introduction: Design Research – History, Theory, Practice: Histories for Future - Focused Thinking." In Design Research Society Conference 2016. Design Research Society, 2016. http://dx.doi.org/10.21606/drs.2016.510.

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KAMAMOTO, Mayu. "Alvar Aalto and the theory of play: Through analysis on Alvar Aalto’s furniture design." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-04_007.

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Howard, John A., Ruggero Trevisan, Albert McSpadden, and Simon Glover. "History, Evolution, and Future of Casing Design Theory and Practice." In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/206183-ms.

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Abstract Casing design and the associated load assumptions have evolved considerably over the last 30 years. The objective of this paper is to trace the history, evolution and future of casing design by means of the type of load cases and the assumptions made for them as it evolved from the early 1960's to the modern load case requirements for wells drilled in the 2020's. The vast majority of tubular failures in oil & gas wells are not attributable to computational errors in calculating design loads, but rather are due to a shortfall in considering the appropriate load scenarios. One common shortfall includes making incorrect or oversimplified assumptions for the initial and final temperature and pressure conditions. There is no industry standard for casing or tubing design loads, but there is an industry accepted standard process for the calculation of the stress on tubulars once the load cases are determined. Each operating company may use a different set of load assumptions depending on the well type and risk assessment. This work also keeps in view the major computational tools used during each step change of the casing design evolution: slide rule/nomographs, HP 41C calculators, PC DOS and Windows programs, and the latest Cloud-Native paradigm with REST API's within a microservices architecture. A REST API (also known as RESTful API) is an Application Programming Interface (API) that conforms to the constraints of Representational State Transfer (REST) architectural style commonly used in current Cloud computing technology. The scope will also include ongoing research and development to address shortcomings of previous load case assumptions and calculations for extended reach and HPHT wells, closely spaced wells, and geothermal wells. Modern wells and modern casing design load cases are in a constant state of evolution and casing failures will occur unless engineers and their tools also evolve.
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Pérez-Moreno, Lucía C., and Luis Miguel Lus-Arana. "LEARNING ABOUT RENAISSANCE ARCHITECTURE IN THE XXI CENTURY. INTEGRATING HISTORY, THEORY, AND DESIGN." In International Conference on Education and New Learning Technologies. IATED, 2017. http://dx.doi.org/10.21125/edulearn.2017.0551.

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Dai, Jun, and Wei Zhang. "Function design for search engine on “Personal Search History” —based on the theory of knowledge architecture." In 2009 IEEE International Symposium on IT in Medicine & Education (ITME2009). IEEE, 2009. http://dx.doi.org/10.1109/itime.2009.5236400.

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Qureshi, Sohail M., Jami J. Shah, Susan D. Urban, Ed Harter, Claudio Parazzoli, and Tom Bluhm. "Integration Model to Support Archival of Design History in Databases." In ASME 1997 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/detc97/dtm-3876.

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Abstract A design history system is being developed to record the events and decisions that are involved in the evolution of an artifact. At present, design systems do not provide a formal mechanism of capturing such information as it is generated. This paper presents a framework that can be used for developing a system to archive and query electromechanical (EM) system design history, in a non-intrusive and structured way. A generic process model is presented that can describe and integrate specialized processes without requiring a priori definition of those processes. Finally, as an example, aerodynamic design process at Boeing Defense & Space group is modeled using the generic process model developed in this work. The work presented in this paper combines research from semantic modeling, product data modeling, process modeling, information technology, databases, and design theory to develop a computer based design history system (DHS).
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Zhou, Bo, Jia-Hao Liu, Yi-Ge Xiao, and Wen-Hua Jiang. "Teaching Design of Network Course Based on Blended Learning Theory-- Taking Foreign Architectural History as an Example." In Proceedings of the 3rd Annual International Conference on Education and Development (ICED 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iced-18.2018.19.

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Strzelczyk, Andrzej T. "Time History Broadening." In ASME 2011 Pressure Vessels and Piping Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/pvp2011-57063.

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Section 6.5.2 of N283.3-10 of the CSA Standard [1] describes analytical methods for seismic qualification of nuclear components. Clause 6.5.2.2 of this Section instructs how to prepare seismic input for the time history method, specifically it states: “Time-histories of support point motion (displacement, velocity, or acceleration) may be used as dynamic inputs to components. To take into account the effects of possible frequency variations of component and structure, the analysis shall be carried out using three different time-history excitations. These time-histories shall be obtained by varying time scale of the original support point time-history by (a) 1.0; (b) 1 - Δfj/fj; and (c) 1 + Δfj/fj, where fj = the dominant structural frequency; Δfj = a parameter defining the frequency variation due to uncertainties in structural soil properties. The most severe effects obtained from these three time history analyses shall be considered in the design of the components. Notes: (1) A value of 15% for Δfj/fj may be used for the time-history analysis specified in this Clause; (2) For structures directly on bedrock, a value of Δfj/fj = 0% may be used”. This paper identifies some ambiguities in the approach described above. It shows, by theory and examples, that significantly different responses are obtained depending on which form of excitation is used (acceleration, velocity or displacement). In a typical acceleration excitation approach, the response may be over or under estimated. To remove this ambiguity, the paper proposes a simple modification of the broadening procedure described in [1]. The problem discussed in this paper may also be meaningful for the broadening time history described in Appendix N of ASME Code [2].
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Azmin, Aida Kesuma, Fadzidah Abdullah, Zeenat Begam Yusof, Aliyah Nur Zafirah Sanusi, and Nayeem Asif. "EVALUATION OF ONLINE TEACHING PEDAGOGY’S (OTP) EFFECTIVENESS OF HISTORY AND THEORY OF ARCHITECTURE SUBJECT ON UNDERGRADUATES STUDENTS’ ACTIVE EXPERIENTIAL LEARNING AND COURSE LEARNING OUTCOMES AT KAED, IIUM." In DARCH 2022- 2nd International Conference on Architecture & Design. International Organization Center of Academic Research, 2022. http://dx.doi.org/10.46529/darch.202201.

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