Academic literature on the topic 'Craft Based Design Practice'
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Journal articles on the topic "Craft Based Design Practice"
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Noordin, Siti Noor Azila, Rusmadiah Anwar, and Nor Nazida Awang. "Positioning Ceramic Design Practices into Gallery-Based Creative Industries." Environment-Behaviour Proceedings Journal 7, SI7 (August 31, 2022): 283–88. http://dx.doi.org/10.21834/ebpj.v7isi7.3794.
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Cognizant of the nature and need of a creative industries market. In ceramic, the diversity can be seen in the types of production and the scale of manufacture - from 'one-offs' to industrial manufacture. The scope and nature of arts incubators encompass the business-related knowledge, skills, and orientation needed by artists. The established methodologies for practice-based ceramic design research have led to the development of a realistic approach within this work which is both holistic and emergent. As result, a link between a practical philosophy of 'craft' practice and new approaches to the design highlighted a perception of the validity of 'craft' as a contemporary skill. Keywords: Ceramics; Design Practice; Creative Industries; Incubator. eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3794
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Hameed, Umer, Usman Hameed, and Saima Umer. "Craft based assignments of undergraduate textile design students: Multiple case study." International Journal for Innovation Education and Research 9, no. 2 (February 1, 2021): 20–33. http://dx.doi.org/10.31686/ijier.vol9.iss2.2716.
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Modern textile design education is based on skill and practice. To inculcate the required expertise, contemporary educators used craft-based assignments. Many designers and artists consider designing high-tech products to start with sketching and drawing, paper, and a pencil. The visualization of design is a broad idea. It involves the cognitive critical and technical thinking of the designer. The present study discussed different approaches to visualization and elucidation. Craft based assignment is the foundation of the design process, where undergraduate textile design students experienced design development. The present study is a multi-case study. Data were collected from three assignments in textile design education. It’s a departmental case study where three cases were studies under the supervision of three textile design instructors. The outcomes demonstrated that, through craftsmanship training, the students found perception and explanation methods that were beforehand obscure to them and that they would not have thought of themselves. The study plan focused more on the thought and the outline sentiment than on the subtleties while applying the new strategies. The study shows that rough techniques seem to offer undergraduate textile design students a more robust visualization method and lower their creating threshold. The outcomes may be useful for teachers when planning craft projects that include a complete craft process that promotes undergraduate textile design students’ own creativity and ideas. Through a well-planned craft project, it is possible to combine knowledge of different courses and promote essential skills in overall learning and education.
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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.
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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.
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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.
Full textAbstract:
This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.
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Nimkulrat, Nithikul. "Translational craft: Handmade and gestural knowledge in analogue–digital material practice." Craft Research 11, no. 2 (September 1, 2020): 237–60. http://dx.doi.org/10.1386/crre_00027_1.
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This article investigates how craft knowledge can be utilized and acquired in the handcrafting process using digital tools and digital fabrication methods. It is based on a study that seeks ways in which craft-making and handcrafted objects can be translated using digital technology and addresses the following questions: (1) What forms of knowing and meaning-making are evolving in a craftsperson working with digital means? (2) What does it mean to manipulate material in computer-aided design through virtual reality, and how does this inform analogue material practice and experimentation? The study was carried out through the author’s craft practice. Originating with a hand-knotted artefact, the author transformed this analogue form into digital form using a range of techniques. The activities act as both a survey of digital fabrication capabilities and a way of exploring new thinking mechanisms offered by this emerging form of practice. The study broadens our understanding of the craftsperson’s role within the capabilities and limitations of digital interface and tools. Several iterations of digitally fabricated objects were documented and reflected upon. This emerging craft practice acts as a catalyst for established disciplines within art and design to collide and interact. Outcomes of this study include mapping new workflows and the translation of gestures within digital and analogue material practice and reflection on how the materials and methods used in digital fabrication have the potential to expand the meanings connected to the things that are created. These outcomes evidence not only how the craftsperson utilizes her previously acquired knowledge in a new context of working with digital tools but also how she acquires new handmade knowledge through the act of translating analogue practice into a digital one.
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Potter, Eden J. "‘You need to research your subject so you know the subject well, and your users so you know what they need’. Teaching graphic design using information design principles." InfoDesign - Revista Brasileira de Design da Informação 10, no. 1 (September 10, 2013): 55–69. http://dx.doi.org/10.51358/id.v10i1.165.
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Set against a background of graphic designs identity crisis, this paper proposes that information design can provide an adaptable and relevant framework for teaching graphic design. With social, technological, environmental, and industrial changes providing a new context for design and how it operates in the world, an audience-focussed, problem-solving approach is validated as central to reimagining graphic design education. Through a case study example, the paper suggests that when graphic design students in a traditional craft-based design education programme are offered a human-centred approach to solving design problemsspecifically information design problem solving and research methodstheir own graphic design practice changes.
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Connelly, Steve, and Dave Vanderhoven. "The craft of evaluative practice: Negotiating legitimate methodologies within complex interventions." Evaluation 24, no. 4 (August 27, 2018): 419–37. http://dx.doi.org/10.1177/1356389018794519.
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Evaluations of complex interventions are likely to encounter tensions between different methodological principles, and between the inherent causal rationality of evaluation and the messy complexity of real institutional contexts. Conceptualizing evaluation as producing putatively authoritative evidence, we show how ‘legitimacy’ is a useful concept for unpacking evaluation design in practice. A case study of service integration shows how different approaches may have unpredictable levels of legitimacy, based in contrasting assessments of their methodological acceptability and actual utility. Through showing how practitioners resolved the tensions, we suggest that crafting a patchwork of different methodologies may be legitimate and effective, and can be seen as underpinned by its own pragmatic rationality. However, we also conclude that the explanatory power of theory-driven evaluation can be embedded in such an approach, both in elements of the patchwork and as an overarching guiding principle for the crafting process.
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Duarte Alonso, Abel, Alessandro Bressan, and Nikolaos Sakellarios. "Exploring innovation perceptions and practices among micro and small craft breweries." International Journal of Wine Business Research 29, no. 2 (June 19, 2017): 140–58. http://dx.doi.org/10.1108/ijwbr-03-2016-0011.
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Purpose The purpose of this study is to examine how micro and small craft brewery operators perceive and operationalise innovation. Moreover, in adopting the theory of innovation, the study addresses two under-researched areas, namely, innovation among micro and small firms and innovation in the context of the emerging craft brewing industry. Design/methodology/approach The perspectives of 163 craft brewery operators located in Italy, Spain, and the UK were gathered through online questionnaires. In total, 24 face-to-face and telephone interviews with operators from the three nations complemented the data collection process. Thus, in total, 187 operators participated. Findings Development of new craft beer styles, new recipes, exploring with various ingredients, improving quality, or involvement in social media and culinary tourism were predominant forms participants perceived innovation. Various differences regarding innovation adoption were noticed, particularly based on participants’ country and on their role at the brewery. Furthermore, associations between the findings and the dimensions of the theory of innovation were confirmed. Originality/value This study is original, in that it represents a first effort in comparing perceptions of craft brewery operators across various countries. This comparison identifies ways in which craft brewery operators could maximise the potential of their firms. For example, the manifested interest in innovating through new craft beer recipes, or blending gastronomy and craft beer underlines alternative forms of adding value to craft brewing production. Importantly, some of these innovating practices differ based on participants’ country; such differences could also be considered by craft brewery operators.
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Eze, Titus I., Sylvester Chukwutem Onwusa, Bamidele Oluyinka Olumoko, and Rotimi Akinwale Sanni. "Effectiveness of Constructivism Instructional Method on Students’ Psychomotor Achievement, Problem-Solving and Retention in Mechanical Engineering Craft Practice in Technical Colleges." Advances in Social Sciences Research Journal 7, no. 12 (December 21, 2020): 135–48. http://dx.doi.org/10.14738/assrj.712.9258.
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The poor academic achievement of students in technical colleges in Nigeria has been a major concern to researchers. It is believed that the application of effective instructional methods in technical colleges could enhance overall students’ academic achievement. This demands that teachers in technical colleges should adopt instructional methods that could enhance overall achievement particularly in students’ psychomotor, problem solving achievement and enhance retention in mechanical engineering craft practice in technical colleges. The study investigated the effectiveness of constructivism instructional method on students’ psychomotor achievement, problem-solving and retention in mechanical engineering craft practice in technical colleges in Delta State. Three research questions guided the study and three null hypotheses were tested at 0.05 level of significance. The study adopted the quasi-experimental research design. Population of the study was 97 vocational II mechanical engineering craft practice (MECP) students in the six technical colleges in Delta State. A sample of 82 was used for the study. Instruments for data collection were Mechanical Engineering Craft Practice Achievement Test (MECPAT) and the lesson plans for the experimental and control groups. The instruments- MECPAT and lesson plans; were face and content validated by three experts, two from the Department of Technology and Vocational Education and one from Measurement and Evaluation Unit of the Department of Educational Foundation; all in Nnamdi Azikiwe University Awka. Test–retest method was used to establish reliability of MECPAT and was calculated using Pearson Product Moment Correlation which yielded a correlation coefficient value of 0.87. Arithmetic mean was used to analyze data relating to research questions and while analysis of covariance (ANCOVA) was used to test the null hypotheses. Findings revealed that students taught mechanical engineering craft practice using constructivism instructional method performed better, possessed requisite problem solving skills and had better knowledge retention than those taught with lecture teaching method (LTD). Based on the findings, it was concluded that constructivism instructional teaching method (CITM) is an effective and efficient mode of instruction with capacity of improving students’ learning outcome, problem solving techniques and retention ability level. Consequently, it was recommended among others that technical teachers should use constructivism instructional method in teaching mechanical engineering craft practice so as to enhance students’ psychomotor achievement in subsequent public examination.
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Duarte Alonso, Abel, Nikolaos Sakellarios, Nevil Alexander, and Seamus O’Brien. "Strengths, innovation, and opportunities in a burgeoning industry: an exploratory study." Asia Pacific Journal of Marketing and Logistics 30, no. 2 (April 9, 2018): 276–96. http://dx.doi.org/10.1108/apjml-05-2017-0105.
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Purpose The purpose of this paper is to examine key areas related to the craft brewing industry from the perspective of operators of micro and small craft breweries, and propose a framework based on the resourced-based theory of the firm and the theory of innovation. The areas investigated include participants’ perceived strengths of their craft brewery, involvement in innovative practices, opportunities for the craft brewing firm, and potential differences related to these areas based on the demographic characteristics of participants and their breweries. Design/methodology/approach Given its growing significance and economic contribution, the US craft brewery industry was chosen for this study. An online questionnaire was designed to gather data from craft brewery operators across the nation. Findings Product and service quality, knowledge, reputation, and expertise were revealed as key strengths, while creating new recipes and using social media tools were the most considered ways of innovating. Furthermore, opportunities were perceived through craft beer tourism, increased consumption, and quality improvements. Statistically significant differences emerged, particularly based on production levels, staff numbers, and involvement/no involvement in exports. Various associations between the findings and the adopted theoretical frameworks were revealed. Originality/value In terms of originality, the proposed refinement based on the adopted theoretical frameworks and findings facilitates understanding of the significance of resources and innovation, particularly for firms operating in a growing industry. Regarding value, the findings have important implications for the industry, for instance, in the marketing of craft brewing, as well as in the development of new craft brewing products.
Dissertations / Theses on the topic "Craft Based Design Practice"
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Vuletich, Clara. "Transitionary textiles : a craft-based journey of textile design practice towards new values and roles for a sustainable fashion industry." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12402/.
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The current fashion textiles industry is based on an outdated, exploitative system that encourages fast consumption, generates huge amounts of textile waste, creates toxic impacts to ecosystems and causes significant social impacts to production workers. The move towards a more sustainable industry is a complex challenge and will be based on circular and social systems that prioritise values, collaboration and empathy for the environment and all stakeholders. This research defines the move towards a more sustainable fashion textiles industry as a transition that operates across environmental, social, and human domains. At the human level, the transition is an emergent process that involves both ‘inner’ and ‘outer’ dimensions (Maiteny & Reed 1988). For fashion textile designers, this process will demand new ways to practice and engage with the sustainability agenda, including the ‘outer’ dimensions of better materials or more ethical production models; and the ‘inner’, reflective dimensions of values and the self. This research proposes new roles for designers in these transitionary contexts, through craft-based fashion textile design practice. The practice projects presented in the thesis demonstrate three new roles that evolve through the sustainable design continuum to the highest level of Design for Social Equity (Manzini & Vezzoli 2008), where designers will support all stakeholders towards systemic, sustainable change. The practice projects reveal a collaborative and inter-disciplinary approach to fashion textile design practice in industry, local communities and the global supply chain. The research draws on a range of literature from sustainability theory, design/craft thinking, and psychology. The mixed methodology includes an action–research phase of collaborative practice projects, facilitation of workshops with designers in industry, and a reflective phase of textile making and writing. A model for the Transitionary Textile Designer is presented as a final outcome. In order for fashion textile designers to practice in transitionary contexts ‘beyond the swatch’, the research presents new methods and tools to connect individual values to social values inherent in the transition towards sustainability.
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Fenton-Douglas, Joyce. "From hand craft to digital technology : a practice-based material culture analysis of the historical and contemporary ancillary trades of the London élite fashion industry." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8922/.
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The ancillary trades of the London based élite fashion industry are the focus of this practice-based research, which is founded in material culture studies. Hitherto these trades have not been the subject of any in depth scholarly work, and therefore this thesis seeks to make a contribution to knowledge by assessing and documenting their historical and contemporary application and significance; by examining and assessing the potential of laser technology to those trades that are concerned with embellishment; and by developing and applying a material culture framework to the execution and analysis of practice. The ancillary trades serve the material production of luxury fashion through the small scale, bespoke manufacturing of items such as artificial flowers and buttons; and the provision of specialist finishes such as bead-work, embroidery and pleating. These trades have developed little over the last century or more and most still involve varying degrees of skilled hand-making processes; but while their French counterparts are widely recognised as crafts, they remain an entity to which scant attention has been paid in assessments of either élite British fashion or of the crafts in Britain. Through a series of material culture analyses this research critically evaluates these trades, examining their contribution to the necessary distinction of historical and contemporary élite fashionable dress, and investigating the making practices and wider circumstances of key trades and practitioners. The contextual research not only situates the empirical practice-based case study in the field of interest but also is significant in informing the aesthetics and techniques invoked in practice. The potential of laser technology is investigated in the production of items of embellishment, alternatives to the more ubiquitous sequins, beads and faux jewels. Presented and critically evaluated within the thesis, the outcomes, a series of embellished textile proposals for the élite fashion industry, are hybrids of industrial process and hand-making techniques. Artefacts are central to this research. The interdisciplinary material culture theory and method of Jules David Prown, foregrounding the artefact as a repository of information, has been adopted for the contextual research and further developed in relation to the analysis of the objects that inform practice, while the outcomes of practice serve as material mnemonics in the retrieval of the intimacies of the making process. Referring to a range of associated literature, archival research and interview findings, the outcomes of the ancillary trades and of practice are examined in the aesthetic, cultural, technological, and socio-economic circumstances of their production and consumption.
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Shaw, Emma. "Re-locating ceramics : art, craft, design? : a practice-based, critical exploration of ceramics which re-locates the discipline in the context of consumption, the home and the everyday." Thesis, University of Westminster, 2007. https://westminsterresearch.westminster.ac.uk/item/92029/re-locating-ceramics-art-craft-design-a-practice-based-critical-exploration-of-ceramics-which-re-locates-the-discipline-in-the-context-of-consumption-the-home-and-the-everyday.
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The home is the territory of ceramics and crafts. It is a major site for the consumption, use and display of ceramics. However, ideas about the consumption of ceramics in the home have not been fully explored within its writing or practices. This research proposes a critical and theoretical framework for ceramics which relocates it in the contemporary context of consumption, in the home and the everyday (Attfield, 2000). This work draws on recent studies of material culture and consumption (Miller, 2001) which focus on the social role of the domestic object and which explore our relationships with things. This research is practice-based where my art practice is the main research method and methodology, art practice as research. The research began with a literature and contextual review of the field of ceramics and craft writing and practice. Conclusions drawn from this research identified the over-riding research question - what differentiates art, craft and design? and formed the basis of the Practice Manifesto which identified the issues and approaches the practical research would adopt, a starting point and a guide for the studio research. The completed practical research consists of a new series of work entitled About Ceramics ... This work explores the meaning of ceramics, how ceramics are used, experienced, valued and understood. It rejects traditional concerns and approaches to the subject and instead adopts a critical, conceptual approach. The resulting artworks embrace elements from across the disciplines of art, craft and design. Although predominantly made up of industrially made objects, the work also contains a significant craft or hand-made element. As such, the work inhabits the spaces "in between" established categories and provides an alternative, hybrid model for practice. The work is made using ordinary, everyday, mass-produced objects and materials, privileging a lower class of objects and practices (such as DIY & home/ hobby crafts) previously excluded from the ceramics and craft fold. For example, Basketweave explores ideas about ceramics, DIY and home decoration and is made entirely from wallpaper (brick wall pattern). This work blurs the boundaries of art, craft and design - at what point does the decoration become the form, or the craft become art? Collection of Objects (about ceramics) explores ideas about collections and display and the status of objects. A collection of objects (which includes an enamel facsimile of an 18th century Sevres porcelain plate, a brick teapot and a wooden mug tree) are displayed on a pine kitchen dresser. The objects presented here are not valuable as craft objects or antiques, or for their aesthetic status, but because they have a relationship to, have been influenced by, or simply would not exist without ceramics. The central work in this series is What sort of mug do you take me for? It consists of a forest of over-sized mug trees (made from wood, MIDIF & pegs), each mug tree displaying a separate mug collection. This work further explores ideas about collections and collecting in the home, linking the processes collecting and display in the home with those of identity construction. Although ideas about taste and class, and about the aesthetic status of objects are central to this work, the objects employed here are not simply acting as symbols of class or as "bad" taste, they are also acting as signifiers of identity. This work demonstrates how the seemingly insignificant objects in our homes (such as a ceramic mug), and the ways we own, use and display those objects, play an important role in the construction and expression of self. This work invites its and your classification, asking What sort of mug do you take me for? In The Value of Things, Cummings and Lewandowska (2000) identify that the drive to collect is the same regardless of whether a collection is for the home or the museum. It is the hierarchies of art, craft and design which dictate the value and status of things. These hierarchies however are not in operation in the majority of homes and this makes the home an important site for understanding ceramics and for extending current concepts of art, craft and design. This research offers new perspectives and provides an alternative model for both writing and practice. It proposes a theoretical and critical framework for ceramics which relocates ideas about the subject in the context of its consumption and use in the home, linking ideas about the use and display of everyday domestic objects with the processes of identity construction.
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Kaewpanukrangsi, Nuanphan. "Creative-Up-Cycling." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21543.
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The project elaborates design opportunities for a future practice that could promotealternative sustainable lifestyles on waste handling through up-cycling activities. It doesthis on a small scale through engagement in the local communities of the Hildaneighborhood and Segepark students’ accommodations in Sweden. To thesecommunities, creative-up-cycling is explored which it introduced here as an approachwhere neighbors can participate in making new things from leftover materials. Throughthis work creative-up-cycling is a proposed recommendation for a possible service systemon how to share the leftover materials in the local resident’s communities, as well as, howto remake the items no longer needed.The empirical studies explore maker culture lifestyles and include how to find leftovermaterials, tools, space, and skills in order to guide people in creative-up-cyclingalternatives. These creative activities also build social relationship via the integration ofmultidisciplinary citizens who are living in the same community and explorations weredone on how could we elicit the skill sets from those people? What is a useful skill set inthis area today? Values like mutual physical experience, reciprocity, and ownership couldalso be found along the empirical workshops in this project. Additionally, this reportshows some interesting findings pointing towards the design process and the suggestionsof design elements; ‘Co-storage’, ‘Mix and Match furniture shop’, and ‘Renovation andup-cycling’ concept elements.Participatory design (designing with people) has been the core approach in this project.Additionally, I have been influenced by user-centered design, as well as service designapproaches in order to comprehend the services, system and activities of recycling andup-cycling in cities like: SYSAV, STPLN, Cykelköket, Återskapa, Toolpool. The findingpresented here are examples of practices that could make up the composition of recyclingand up-cycling activities in future local communities.
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Vones, Katharina Bianca. "Towards the uncanny object : creating interactive craft with smart materials." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/2d9a7303-4fd7-4110-ae83-6438904108a5.
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The increasing prevalence of digital fabrication technologies and the emergence of a novel materiality in contemporary craft practice have created the need to redefine the critical context of digital jewellery and wearable futures. Previous research in this area, such as that presented by Sarah Kettley (2007a) and Jayne Wallace (2007), has provided the foundations for further enquiry but has not been advanced significantly since its inception. The artistic research presented in this thesis focuses on how smart materials and microelectronic components could be used to create synergetic digital jewellery objects and wearable futures that reflect changes in the body of their wearer and their environment through dynamic responses. Laying the foundations for a theory of Interactive Craft through evaluating different aspects of creative practice that relate to responsive objects with a close relationship to the human body is at the centre of this enquiry. Through identifying four distinct categories of wearable object, the Taxonomy of the Wearable Object is formulated and clearly delineates the current existing conceptual, technological and material perspectives that govern the relationships between different types of wearable objects. A particular focus is placed on exploring the concept of Digital Enchantment and how it could be utilised to progress towards developing the Uncanny Object that appears to possess biological characteristics and apparent agency, yet is a fully artificial construct. The potential for the practical application of a design methodology guided by playful engagement with novel materials, microelectronics and digital fabrication technologies is analysed, taking into account Ingold’s concept of the textility of making (Ingold, 2011). Through exploring the notion of the Polymorphic Practitioner in the context of Alchemical Practice, a model for experiential knowledge generation through engaging in cross-disciplinary collaboration is developed. This is supported by a qualitative survey of European materials libraries, including accounts of site visits that evaluate the usefulness of materials libraries for creative practitioners invested in novel materiality as well as visually documenting a selection of the visited libraries’ most intriguing material holdings. Utilising a scientific testing protocol, a practical body of work that centres on conducting extensive experiments with smart materials is developed, with a particular focus on testing the compatibility and colour outcomes of chromic pigments in silicone. The resulting chromic silicone samples are collated, together with sourced smart materials, in a customised materials library. Investigational prototypes and the Microjewels collection of digital jewellery and wearable futures that responds to external and bodily stimuli whilst engaging the wearer through playful interaction are presented as another outcome of this body of research.
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Lopez, Alejandro, and Mario Garcia. "Simulator-Based Design in Practice." Thesis, Linköping University, Department of Management and Engineering, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-12164.
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The automotive field is becoming more and more complex and cars are no longer just pure mechanical artifacts. Today much more than 50 % of the functionality of a car is computerized, so, a modern car system is obviously based on mixed technologies which emphasize the need for new approaches to the design process compared to the processes of yesterday. A corresponding technology shift has been experienced in the aerospace industry starting in the late sixties and today aircraft could not fly without its computers and the pilots’ environment has turned to a so called glass cockpit with no iron-made instrumentation left. A very similar change is still going on in the automotive area.
Simulator-Based Design (SBD) refers to design, development and testing new products, systems and applications which include an operator in their operation. Simulator-Based Design has been used for decades in the aviation industry. It has been a common process in this field. SBD may be considered as a more specific application of simulation-based design, where the specific feature is a platform, the simulator itself. The simulator could consist of a generic computer environment in combination with dedicated hardware components, for instance a cockpit. This solution gives us the possibility of including the human operator in the simulation.
The name of the project is Simulator-Based Design in Practice. The purpose of this master thesis is to get a complete practice in how to use a human-in-the-loop simulator as a tool in design activities focusing on the automotive area. This application area may be seen as an example of systems where an operator is included in the operation and thus experience from the car application could be transferred to other areas like aviation or control rooms in the process industry.
During the performance of the project we have gone through the main parts of the SBD process. There are many steps to complete the whole cycle and many of them have iterative loops that connect these steps with the previous one. This process starts with a concept (product/system) and continues with a virtual prototyping stage followed by implementation, test design, human-in-the-loop simulation, data analysis, design synthesis and in the end a product/system decision. An iterative process approach makes the cycle flexible and goal oriented.
We have learnt how to use the simulator and how to perform the whole cycle of SBD. We first started getting familiar with the simulator and the ASim software and then we were trying to reduce the number of computers in the simulator and changing the network in order to find good optimization pf the computer power. The second step has been to implement a new application to the simulator. This new application is the rear mirror view and consists of a new LCD monitor and the rear view vision that must be seen in the new monitor. Finally we updated the cockpit to the new language program Action Script 3.0.
The information gathering consisted of the course Human-System interaction in the University, the introduction course to ASim software and the course of Action Script 3.0.
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Jessop, Michelle. "Contemporary jewellery practice : the role of display in addressing craft values within the creative process." Thesis, University of Brighton, 2013. https://research.brighton.ac.uk/en/studentTheses/2355709b-67cf-4ff1-8cf8-cf00d9ad1dee.
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The aim of this research is to investigate the role of display within contemporary jewellery, defining an approach that informs both jewellery practice and critical discourse. Conventional structures such as the display case, plinths, frames and mounts operate as communicative platforms from which jewellery is presented, often negating the interactive nature of an object that is designed to be touched, worn or owned. My practice takes the form both of writing and making to explore presentational methods that promote the emotive qualities presented, produced or prompted by a craft object as a means of engaging the viewer within the gallery space. One area of my investigation involves looking at strategies used by craft makers to communicate their work to a wider audience beyond the gallery space. Developments in digital media and an increasing emphasis on audience participation or collaboration offer interactive potential. These methods present an alternative form of communication compared to the conventional display case that tends to hinder such a socially-led approach to contemporary jewellery. Another significant departure from the taxonomic mode of displaying craft collections is the exploration of bodily processes. This ethos inspires a growing number of contemporary jewellers who seek actively to engage an audience with their work using various strategies. This creative drive demonstrates a move away from the presentation of the craft object as an autonomous artefact towards an approach based on social interaction. The impetus of this study arises from Nicolas Bourriaud's notions concerning relational aesthetics. Bourriaud is known for his analysis of late 20th century artists who investigate ways of engaging the individual within a community-based collective through their work. I will show how collaborative practices and the investigation of 'new formal fields' are informing the crafts today. This paper describes how relational aesthetics informs my own practice by focusing on four areas of enquiry. These consist of: an examination of the relationship between maker, viewer and the craft image; the social relevance of patina in the representation of an exhibition object by the use of macro photography; the recording and presentation of social and bodily elements that relate to the worn object; and the role of display methods as a narrative tool. These areas of investigation are developed in symbiosis with my practice, concluding in an exhibition that is rooted in the theoretical framework of relational aesthetics from which the concept of immersive aesthetics is defined.
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Rhodes, Sarah. "The true nature of collaboration : what role does practice play in collaboration between designers and African craft producers?" Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8729/.
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The aim of this research is to examine the role of practice in collaboration between designers and African craft producers in order to develop a different methodology for future exchanges that can be more sustainable and equitable. It looks to determine how craft and design practices can act as tools for communication and exchange, to examine how to foster meaningful collaboration when the relationship of those involved is inequitable and to develop a co-creation methodology for practice, capitalising on the differing skills, experiences and cultures of those involved. The research explores collaboration through making with two Cape Town based, craft businesses - Imiso Ceramics and Kunye - investigating the interactions that occur between the collaborators. A critical contextual review reveals the majority of such partnerships are instigated from the top down with an emphasis on product development. This study proposes that the focus is shifted to one that is human-centred, where the process of collaboration between the people involved is foregrounded. By strengthening the collaborative relationships and giving all participants an equal voice, the process becomes more productive, with product development an inherent result. Using a practice based, participatory design methodology, the work draws on the African notion of ubuntu, which speaks of people's interconnectedness. Applying the cross-disciplinary practices of all three collaborators, products are developed, provoking a dialogue that challenges the designer's role in the developing world. The research culminates in an exhibition of the journey, conversations, issues and outcomes that occurred throughout. The exhibition provides an opportunity to provoke a conversation with the stakeholders, listening to their experiences and gaining their feedback on the work presented. Practical exercises for participatory design in future cross-cultural, cross-disciplinary contexts are presented.
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Muriro, A. "Design and build procurement method in practice : key challenges and practice based enablers." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36901/.
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Over the recent years the UK construction industry has seen an increasing level of interest in the use of design and build (D&B) as a construction procurement method. This appears to be mainly driven by an attempt by the industry to increase the level of integration in what is generally viewed as a fragmented industry. The main advantages associated with this procurement method that have been cited in reviewed literature have been numerous. Key advantages appear to be the following: single point responsibility for the whole project delivery encompassing design and construction, early contractor involvement resulting in potential cost savings and earlier completion, easy constructability and minimisation of design and construction risk to clients. Despite its perceived increase in adoption over the last decade as supported by the relatively recent Contracts in use survey in 2010 by the RICS, the construction industry is still experiencing problems associated with D&B procurement. This highlights the need to explore further how this procurement method is being used in practice. The exploration adopted in this research involves identification and evaluation of challenges encountered by key participants (clients, contractors and designers). In addition such an exploration is buttressed by the identification and evaluation of practice based enablers that key participants have used/proposed to use in order to manage better the challenges they have encountered with this procurement method. The nature of the problem investigated in this research is characteristically exploratory, fluid and flexible, data driven and context-sensitive. As a result a combination of in-depth review of related literature, semi-structured interviews and a questionnaire survey were used as main research techniques. The questionnaire survey was targeted at a wider and a different audience to the one used in semi-structured interviews. This approach was adopted in order to gain a holistic insight into this multi-faceted problem. The research shows that adopting D&B procurement method does not necessarily result in integration of design and construction processes. Significant time and effort will need to be spent in creating and facilitating integrative processes and systems to ensure that the gap between the theory and practice of D&B procurement is covered. D&B is not a one size fit all procurement method and each project characteristics and requirements needs to be methodically reviewed and understood to ensure that this fits with the unique features of D&B procurement method. The research implications mainly relate to the D&B procurement practice. Given the practice based enablers that it generates this has direct implications on how practitioners go about applying the processes and methods that facilitate integration of design and construction in a D&B procurement method set up. This, therefore, goes a long way to bridge the gap between the theory and practice of D&B procurement method. This potentially leads to unlocking this integrative procurement method’s benefits that were not previously realised. The output of this research is a framework for facilitating better integration of design and construction processes. Additionally the framework can also be used as a tool kit for effective use and for acting as an enabler for the flow and realization of potential benefits associated with D&B procurement method. It is expected that this framework will help in providing the much needed guidance to users (in particular infrequent/inexperienced users) of the D&B procurement method.
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Xu, Xiaojiao. "Practice of Curiosity: An Intellectual Curiosity-based Industrial Design Pedagogy." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1471347390.
Full textBooks on the topic "Craft Based Design Practice"
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Yacht and small craft design: From principles to practice. Wiltshire, England: Helmsman Books, 1992.
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Nussbaumer, Linda L. Evidence-based design for interior designers. New York: Fairchild Books, 2009.
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Evidence-based design for interior designers. New York: Fairchild Books, 2009.
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McMackin, Robert A., Elana Newman, Jason M. Fogler, and Terence M. Keane, eds. Trauma therapy in context: The science and craft of evidence-based practice. Washington: American Psychological Association, 2012. http://dx.doi.org/10.1037/13746-000.
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Trauma therapy in context: The science and craft of evidence-based practice. Washington, D.C: American Psychological Association, 2012.
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John), Mason David (David, International Labour Organisation. Advisory Support, Information Services, and Training, and Mozambique. Administração Nacional de Estradas, eds. Labour-based technology: A review of current practice. Maputo, Mozambique: National Road Administration, 2002.
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S, McCullough Cynthia, and Sigma Theta Tau International, eds. Evidence-based design for healthcare facilities. Indianapolis, IN: Sigma Theta Tau International, 2010.
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Findlay, Robert Allen. Learning in community-based collaborative design studios: Education for a reflective, responsive design practice. Oxford: Oxford Brookes University, 1996.
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Linda, Roussel, ed. Evidence-based practice: An integrative approach to research, administration, and practice. Burlington, Mass: Jones & Bartlett Learning, 2013.
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G, Gettinby, ed. Experimental design techniques in statistical practice: A practical software-based approach. Chichester, W. Sussex, England: Horwood Pub., 1998.
Find full textBook chapters on the topic "Craft Based Design Practice"
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Luckman, Susan, and Jane Andrew. "Meaningful Making in the Contemporary Creative Economy." In Creative Working Lives, 27–63. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44979-7_2.
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AbstractThis chapter introduces the people and their stories that inform this book, including the reasons behind their choice to pursue craft or design, despite the frequently precarious incomes to be made. One of the strongest findings to emerge in this study is the centrality of early exposures to making to later comfort with and motivation to give craft and design ‘a go’. How the makers connect their current identities to formative earlier familial and educational experiences is explored. These findings are then situated analytically within critical scholarship on the values of crafts-based practice today as they sit alongside the rise of neoliberal individualised work practices, including the normalisation of self-employment and microenterprise, with all the associated personal financial risk-taking this entails.
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Long, John, Steve Cummaford, and Adam Stork. "HCI Design Knowledge as Craft Artefacts and Design Practice Experience." In HCI Design Knowledge, 35–47. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-79209-0_5.
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Klancnik, Fred A., Cassandra C. Goodwin, Timothy K. Blankenship, and Bruce E. Lunde. "Land-Based Support Facilities." In Planning and Design Guidelines for Small Craft Harbors, 285–346. Reston, VA: American Society of Civil Engineers, 2012. http://dx.doi.org/10.1061/9780784411988.ch04.
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Roy, Shipra, and Nilanjana Bairagi. "A Study on Craft Practice and Creativity Among Mysore Rosewood Inlay Artisans of India." In [ ] With Design: Reinventing Design Modes, 238–46. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4472-7_16.
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Calvi, G. M., and A. Pavese. "Displacement based design of building structures." In European Seismic Design Practice, 127–32. London: Routledge, 2022. http://dx.doi.org/10.1201/9780203756492-20.
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Elghazouli, A. Y. "Ductility-based design of partially encased steel moment-resisting frames." In European Seismic Design Practice, 237–44. London: Routledge, 2022. http://dx.doi.org/10.1201/9780203756492-37.
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Boccara, Vincent, Renaud Delmas, and Françoise Darses. "Ergo-Scripting in Activity-Based Training Design: An Illustration from the Design of a Virtual Environment." In Professional and Practice-based Learning, 129–49. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89567-9_7.
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Markauskaite, Lina, and Peter Goodyear. "Creating Epistemic Environments: Learning, Teaching and Design." In Professional and Practice-based Learning, 595–614. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-007-4369-4_20.
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Wright, Steve, and Gale Parchoma. "Mobile Learning and Immutable Mobiles: Using iPhones to Support Informal Learning in Craft Brewing." In The Design, Experience and Practice of Networked Learning, 241–61. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-01940-6_13.
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Li, Honghai, and Jun Cai. "A Study of Practice-Based Design Research Modes from Knowledge Production Perspective." In [ ] With Design: Reinventing Design Modes, 1213–28. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4472-7_80.
Full textConference papers on the topic "Craft Based Design Practice"
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White, Dustin. "Material Based Computational Design Strategies." In Design Computation Input/Output 2022. Design Computation, 2022. http://dx.doi.org/10.47330/dcio.2022.ngwc1201.
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The lecture outlines the past five years of a research-based design practice with an interest how technology, craft, and materials come together in ways that explore the boundaries between design, architecture, and other disciplines. Specifically, the pedagogy of material based computational strategies supporting the integration of form, material, and structure by incorporating physical form-finding strategies with digital analysis and fabrication processes. In this approach material often comes before shape, with material explorations as the premise for making and fabricating, and design decisions that emerge from the results of the material experiments and testing. The work produced by my students and myself seeks to challenge digital technology and fabrication to further the relationship of material to machine and material to design. With the intent to develop and employ novel software techniques that aid in the translation from the virtual world to the physical medias we engage through craft and technology to hybridize design and making. The work presented varies in scale, technique, method, intent, and fabrication processes but is fascinated with thinking though material based computational design strategies.
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Gelvez, Jesus Alexis Machuca, Clara Isabel Lopez Gualdron, and Luis Eduardo Bautista. "Reference Framework for Tacit Knowledge in Craft-Based Manufacturing Processes for Updating Their Practices With Digital Interventions: A Systematic Review." In – The European Conference on Arts, Design and Education 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2758-0989.2022.43.
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Schachter, Richard David, Nair Maria Maia de Abreu, Valdir Agustinho de Melo, and Eliane Maria Loiola. "Development of a Computer Program for the Optimization of Deck Accommodation Arrangements of Ships and Craft Applying GRASP and VNS Meta-Heuristics Methods." In ASME 2011 30th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2011. http://dx.doi.org/10.1115/omae2011-50135.
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This work presents a computer program developed for the definition of Deck Accommodation Arrangements of ships and craft that allocates spaces in an automated process, in order to help the designer with options and initial ideas for its definition or to optimize arrangements propositions. This optimization process is usually done based on experience, using maritime regulations and practices. It is an evolution of previous works [14] which adopted the Quadratic Assignment Problem (QAP), that allowed the user to select units to be assigned to demarcated spaces and the program provides optimized options of arrangements, which can be transformed, in turn, into drawings. In this work, a hybrid meta-heuristic has been incorporated to the program, namely the Greedy Randomized Adaptive Search Procedures — GRASP [7], and for the local search of solutions, the Variable Neighborhood Search — VNS [8], to improve the results. The program incorporates the mathematical model, containing menus of types of accommodation/compartments or deck units, for the user’s selection. Visualization and manipulation screens for friendly use were created, that allow the designer to quickly assemble deck arrangements in spaces, with an indirect tri-dimensionality feature. The program processes position and flow matrices, being the later ones determined through calibration (being modifiable) as a function of applicable Regulations of ILO 147 Convention, SOLAS and NORMAM (Brazilian Administration), incorporating as well maritime practice and usual ergonomic criteria for requirements of safety and habitability. The results can be used for General Arrangement drawings and can aid in the calculations of light weight and center of gravity, sail area, etc. A small discussion of recommendations for accommodation arrangements of the related regulations, rules of thumb derived from design practice and ergonomic criteria is provided.
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Belu, Radian, Richard Chiou, Tzu-Liang (Bill) Tseng, and Lucian Cioca. "Advancing Sustainable Engineering Practice Through Education and Undergraduate Research Projects." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-38501.
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Major challenges such as energy, food, water, environment, health and so many more have never been more prominent than they are today. Engineers and educators, as problem solvers should be addressing these issues and challenges in sustainable ways. They have an enormous opportunity to help create a more sustainable world. Technology problems interconnecting sustainability challenges such as climate change, loss of biodiversity, environmental pollution, economic and social instability are becoming increasingly major concerns for mankind. However, the engineers and scientists have failed on large extend to fully address the sustainability issues. It was also found that engineering graduates do not possess necessary skills to tackle sustainability related problems. Engineering practice and education are changing as social expectations and conditions for engineering practice change too. Students have the responsibility and opportunity to continue improving our life while reducing or even reversing the negative impacts that our industrial society is having on the environment. Current engineering curricula are not equipping them to properly deal with these challenges due to little integration of sustainable and green design strategies and practice. Transforming higher education curricula for sustainable development is a tough challenge, dealing with the complexness of sustainability concepts and integration into engineering education. Teaching students the sustainability principles and equipping them with necessary tools help them to make better choices on materials and energy use, or design. These concepts and methods are still relatively new to engineering curriculum and are not an established practice for most of such programs. Meanwhile, today’s students have a strong desire to improve the world through their work, and sustainability connects with these interest and motivations. However, students’ hunger for knowledge often outstrips what is available in their courses and the experiences of their professors. Furthermore, to make sustainable design compelling to a wider base of engineering students, we need to craft sustainable design in terms of mainstream design problems that are important, cutting-edge, and achievable. Then we need to help them how to effectively deal with environmental and societal needs and constraints as part of their core design process. The paper highlights the process required for embedding sustainability and green design into our programs, curriculum design, implementation and impediments to surmount for sustainability and green design in engineering education. This was done through a project-based approach, developing three new courses and appropriate changes in a number of existing courses. The skill requirements were studied and finally the list of subjects, topics, teaching and learning methods are identified and discussed in this paper.
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Li, Qi, Yihang Du, Pei Yan, and Wang Wei. "Color Matching Method of HCI Interface Design Driven by Aesthetic Perception." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001783.
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A method of human-computer interface color design based on aesthetic feeling is proposed, which provides a basis for the design practice in accordance with users' aesthetic preference. Taking the mobile interactive terminal interface of intangible cultural heritage display as an example, the color matching of Cloisonne, a traditional Chinese craft, was selected as the primary color, and the colors were extracted by k-means clustering algorithm to form four groups of color matching samples. Secondly, the interface element model is constructed, and the matching relationship between color matching samples and interface interaction elements is established and applied. Thirdly, the network text analysis method ROST was used to extract the perceptual image semantics of interfaces, and the four groups of interfaces were subjectively evaluated to obtain the optimal scheme and verify the effectiveness of the proposed color matching method. The results show that the aesthetically driven color design method is beneficial to improve the information transfer and aesthetic experience of human-computer interaction, and promote the creative transformation of intangible cultural heritage in digital mobile media.Keywords: Human-computer Interface, Ergonomics Design, Color Design Method, Perceptual Image, Aesthetic Evaluation
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Ghassemi, Hassan, Roya Shademani, and Abdollah Ardeshir. "Hydrodynamic Characteristics of the Surface-Piercing Propeller for the Planing Craft." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79963.
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Market demands for high-speed marine vehicles (HSMVs) are high in both commercial and naval branches. It is the naval architects’ task to design the hull and propulsion system to diminish drag, improve the propulsive efficiency, higher safety and better maneuverability. Surface Piercing Propellers (SPPs) may provide those possessions for the vehicles. Unlike immersed propellers, behavior of the SPPs is susceptible to immersed depth, Weber number and shaft inclination angle. This paper uses a specially practical and numerical method to predict the hydrodynamic characteristics of the SPPs. Critical advance ratio is obtained by practical formula, using Weber number and pitch ratio in the transition mode. Numerical method employs the potential based boundary element method (BEM) on the engaged surfaces. Two models of three and six bladed of the SPPs (SPP-1 and SPP-2) are selected and some results are shown.
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Pearson, Connor, Tom Allen, and Mark Battley. "Numerical Water Impacts of 2D Hull Forms Using Dynamic Overset Meshing." In SNAME 24th Chesapeake Sailing Yacht Symposium. SNAME, 2022. http://dx.doi.org/10.5957/csys-2022-016.
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The phenomenon of ’slamming’ is often the critical design load for high-performance marine craft. Slamming involves the solid-fluid impact of a hull structure, resulting in large forces acting on the structure due to the large volume of water displaced quickly. Due to its importance in the design and operation of marine craft, the impact of hull sections into water has been the focus of a significant body of research. These studies have primarily focused on rigid shapes, so the effects of hydroelasticity have not been examined in detail. This paper presents a robust and practical methodology for water impacts involving overset meshing and the VOF method using the FLUENT solver. The framework involves a high resolution dynamic overset mesh attached to the body in a coarse static Cartesian background mesh. Results for a simple 2D wedge impact are compared to experimental, analytical, and numerical results and an excellent agreement to the validation material is observed. Finally, a 2D transverse section based on the ORMA60 racing yacht Banque Populaire VIII was studied. This methodology is used to obtain impact force and pressures. It is applicable for designers of high-performance sailing craft to improve the prediction of hydrodynamic loading on their hull-form designs. The work carried out in this study is part of an ongoing PhD investigating existing and proposed structural design configurations for high-speed marine craft and analysing failure mechanisms under slamming events. Various structural configurations will be analysed using the framework outlined in this paper.
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Albarrán González, Diana. "Weaving decolonising metaphors: Backstrap loom as design research methodology." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.186.
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Decolonising approaches have challenged conventional Western research creating spaces for Indigenous, culturally-appropriate, and context-based research alternatives. Decolonising design movements have also challenged dominant Anglo-Eurocentric approaches giving visibility to other ways of thinking and doing design(s). Indigenous peoples have considered metaphors as important sense-making tools for knowledge transmission and research across different communities. In these contexts, Indigenous craft-design-arts have been used as metaphorical research methodologies and are valuable sources of knowledge generation, bringing concepts from the unseen to the physical realm manifested through our hands and bodies. In particular, Indigenous women have used the embodied practices of weaving and textile making as research methodology metaphors connecting the mind, body, heart and spirit. Situated in the highlands of Chiapas, this research proposes backstrap loom weaving as a decolonial design research methodology aligned with ancestral knowledge from Mesoamerica. For Mayan Tsotsil and Tseltal peoples, jolobil or backstrap loom weaving is a biocultural knowledge linked to the weaver’s well-being as part of a community and is a medium to reconnect with Indigenous ancestry and heritage. Resisting colonisation, this living textile knowledge and practice involve collective memory, adapting and evolving through changes in time. Mayan textiles reflect culture, identity and worldview captured in the intricate patterns, colours, symbols, and techniques. Jolobil as a novel methodological proposal, interweaves decolonial theory, visual-digital-sensorial ethnography, co-design, textiles as resistance, Mayan cosmovision and collective well-being. Nevertheless, it requires the integration of onto-epistemologies from Abya Yala as fundamental approaches like sentipensar and corazonar. Jolobil embodies the interweaving of ancestral knowledge with creative practice where the symbolism of the components is combined with new research interpretations. In this sense, the threads of the warp (urdimbre) representing patrones sentipensantes findings are woven with the weft (trama) as the embodied reflexivity of sentipensar-corazonando. As the weaver supports the loom around her waist, the cyclical back and forth motion of weaving jolobil functions as analysis and creative exploration through sentirpensar and corazonar creating advanced reflexive textile narratives. The interweaving of embodied metaphors and textiles with sentipensar, corazonar, mind, body, heart and spirit, contribute to the creation of decolonising alternatives to design research towards pluriversality, aligned with ways of being and doing research as Mesoamerican and Indigenous women.
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Maya, Sebastian. "A reflexive educational model for design practice with rural communities: the case of bamboo product makers in Cuetzalan, México." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.58.
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In the '60s and '70s, a global economic and technological development plan for "undeveloped" countries defined the base of the professionalization process of industrial design in Latin America. Since then, many scholars have revised the industrial design practice and proposed new ways to reinterpret Latin American design according to current perspectives about the context and territory. This research strives on a reflexive educational model based on a socio-technical system's understanding for a mixed craft-industrial design practice with rural communities in Mexico. By combining post and decolonial perspectives and critical theories of neoliberalism in the design field; and analyses of the design education process inside the rural communities of bamboo product makers in Cuetzalan (Puebla, México), it is possible to unravel the translation agency of designers (also as individuals with personal and professional interests) between the global economic system pressures and internal beliefs and positions of communities. Following Arturo Escobar's (2007, 2013, 2017) and Walter Mignolo's (2013) ideas, the design practice in Latin America is highly questionable when it tries to involve rural or social perspectives due to the influence of the development's regimes of representation. These regimes vigorously promote the generation of economic wealth from economic and technological development, primarily based on a globalized neoliberal logic. As Professor Juan Camilo Buitrago shows in the Colombian case, many universities were linked to government economic policies "due to the need to align themselves with the projects that the State was mobilizing based on industrialization to encourage exports." (2012, p. 26). This idea is still valid since public and private universities constantly compete for economic resources that they exchange with applied knowledge that points to the development of various economic sectors. Numerous studies attempt to reconcile academic epistemological and ontological forms with rural ways of understanding the world. Regardless of these efforts, it is necessary to highlight that professional design education has barely incorporated these reflections within its institutional academic structures. This work has been part of a series of university-level courses that mix experiences and perspectives between Anahuac University final year design students and the Tosepan Ojtatsentekitinij (bamboo workshop) members. The current research considers the participation of all the actors involved in the educational process (directors, lecturers, and students) and the people close to the bamboo transformation processes in Cuetzalan. The course is divided into three phases. First, students and professors discuss critical topics about complex systems and wicked problems, participatory methodologies, capitalism and globalization, non-western knowledge, social power dynamics, and Socio-technical systems. The second phase involves independent and guided fieldwork to share thoughts and intentions with the bamboo material and its possible applications. Lastly, there are different creation, experimentation, and exposition moments where each actor could share comments about all the experiences. The results intended to provide analytical tools that allow design students and educational staff members to deconstruct their economical-industrial roots to tend bridges that harmonize imaginative and creative attitudes between designers and rural craftspersons.
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Sebastiani, Luca, Dario Bruzzone, Paola Gualeni, Guido Rambaldi, Danilo Ruscelli, and Michele Viviani. "A Practical Method for the Prediction of Planing Craft Motions in Regular and Irregular Waves." In ASME 2008 27th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2008. http://dx.doi.org/10.1115/omae2008-57946.
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Leisure boats market has constantly grown during the recent years, entailing an increasing need of design tools. This seems particularly urgent for seakeeping and hydrodynamic performance prediction in the field of planing boats. Numerical methodologies are almost consolidated instruments for conventional displacement ships, while some shortcomings are still to be faced and overcome concerning planing craft, due to the high complexity of the hydrodynamic problem. The present paper describes a simplified methodology for the prediction of pitch, heave and roll motions of a planing boat, in regular and irregular waves. In the formulation, a 2D approach is adopted, based on ‘momentum theory’; various aspects of the wedge-theory are used in order to model the sectional characteristics, with particular attention to the added mass. A validation of the proposed methodology concerning vertical motions is presented against data available in literature.
Reports on the topic "Craft Based Design Practice"
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de Leede, Annelies, Mark Lepelaar, Nikki Groote Schaarsberg, Jeroen van Vorsselen, and Inge Oskam. Repurpose Driven Design-A Practice-Based Evaluation of Design Methods for Repurposing. University of Limerick, 2021. http://dx.doi.org/10.31880/10344/10206.
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Aston, Thomas, and Marina Apgar. The Art and Craft of Bricolage in Evaluation. Institute of Development Studies, October 2022. http://dx.doi.org/10.19088/ids.2022.068.
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This CDI Practice Paper by Tom Aston and Marina Apgar makes the case for ‘bricolage’ in complexity-aware and qualitative evaluation methods. It provides a framework based on a review of 33 methods to support evaluators to be more intentional about bricolage and to combine the component parts of relevant methods more effectively. It discusses two cases from practice to illustrate the value added of taking a more intentional approach. It further argues that navigating different forms of power is a critical skill for bricolage, and that doing so can help to ensure rigour.
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Saeidi, Elahe, and Virginia Wimberley. Precious Cut: A Practice-Based Research Toward Zero-Waste Design by Exploring Creative Pattern Cutting Methods and Draping Techniques. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-173.
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Downes, Jane, ed. Chalcolithic and Bronze Age Scotland: ScARF Panel Report. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.184.
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The main recommendations of the panel report can be summarised under five key headings: Building the Scottish Bronze Age: Narratives should be developed to account for the regional and chronological trends and diversity within Scotland at this time. A chronology Bronze Age Scotland: ScARF Panel Report iv based upon Scottish as well as external evidence, combining absolute dating (and the statistical modelling thereof) with re-examined typologies based on a variety of sources – material cultural, funerary, settlement, and environmental evidence – is required to construct a robust and up to date framework for advancing research. Bronze Age people: How society was structured and demographic questions need to be imaginatively addressed including the degree of mobility (both short and long-distance communication), hierarchy, and the nature of the ‘family’ and the ‘individual’. A range of data and methodologies need to be employed in answering these questions, including harnessing experimental archaeology systematically to inform archaeologists of the practicalities of daily life, work and craft practices. Environmental evidence and climate impact: The opportunity to study the effects of climatic and environmental change on past society is an important feature of this period, as both palaeoenvironmental and archaeological data can be of suitable chronological and spatial resolution to be compared. Palaeoenvironmental work should be more effectively integrated within Bronze Age research, and inter-disciplinary approaches promoted at all stages of research and project design. This should be a two-way process, with environmental science contributing to interpretation of prehistoric societies, and in turn, the value of archaeological data to broader palaeoenvironmental debates emphasised. Through effective collaboration questions such as the nature of settlement and land-use and how people coped with environmental and climate change can be addressed. Artefacts in Context: The Scottish Chalcolithic and Bronze Age provide good evidence for resource exploitation and the use, manufacture and development of technology, with particularly rich evidence for manufacture. Research into these topics requires the application of innovative approaches in combination. This could include biographical approaches to artefacts or places, ethnographic perspectives, and scientific analysis of artefact composition. In order to achieve this there is a need for data collation, robust and sustainable databases and a review of the categories of data. Wider Worlds: Research into the Scottish Bronze Age has a considerable amount to offer other European pasts, with a rich archaeological data set that includes intact settlement deposits, burials and metalwork of every stage of development that has been the subject of a long history of study. Research should operate over different scales of analysis, tracing connections and developments from the local and regional, to the international context. In this way, Scottish Bronze Age studies can contribute to broader questions relating both to the Bronze Age and to human society in general.
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Ahmed, Syeda Kashfee, Pru Mitchell, and Jenny Trevitt. Rapid review of effective practice principles in the design and delivery of digital resources for teachers. Australian Council for Educational Research, June 2021. http://dx.doi.org/10.37517/978-1-74286-671-0.
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This rapid review, commissioned by Life Education Australia (LEA), gathered evidence about effective practice in the design and delivery of digital professional learning for teachers. Its goal was to inform development of principles to guide the design and delivery of LEA’s own digital resources for teachers. The key research question for the review was: What does the research evidence say about the design and delivery of digital / online resources for teachers and what practice implications and recommendations could be made based on this research evidence?
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Alach, Zhivan. Grounding Practice in Theory: The Development of a Literature-based Performance Framework in New Zealand Local Government. Unitec ePress, May 2016. http://dx.doi.org/10.34074/ocds.058.
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Performance measurement is a subject of some importance within the public sector. This study examines the design and development of a performance measurement framework within a local government department. It used a narrative case study approach to follow the process used by the design team involved. The design team began by examining the performance literature at a number of levels, and from this distilled eight design principles, from which they built a performance measurement framework. The design team encountered a number of challenges during this process; challenges they expected based on the literature. From the experiences of the design team, a number of hypotheses suitable for further testing have been derived. This study provides useful advice for performance measurement professionals within the public sector in developing frameworks grounded in theory, whether at the central or local government level.
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Hellwig, Runa T., Despoina Teli, Marcel Schweiker, Rodrigo Mora, Joon-Ho Choi, Rajan Rawal, M. C. Jeffrey Lee, Zhaojun Wang, and Farah Al-Atrash. Guidelines for low energy building design based on the adaptive thermal comfort concept - Technical report: IEA EBC Annex 69: Strategy and Practice of Adaptive Thermal Comfort in Low Energy Buildings. Aalborg University, 2022. http://dx.doi.org/10.54337/aau510903564.
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The adaptive thermal comfort concept has been developed over many years and proven in numerous field studies (e.g. Webb 1964, Nicol and Humphreys 1973, Auliciems 1981b, de Dear et al. 1997, McCartney and Nicol 2002, Manu et al. 2016), showing that people are satisfied with a wide range of thermal conditions. Prerequisite is that people are provided with means to make themselves comfortable, that they know which opportunities they have, that it is socially acceptable to use these opportunities and that they are willing to use them (Hellwig, 2015). However, the overall understanding of how to design for such opportunities enabling the occupant to make themselves comfortable in relation to climate and building type, thus how to convert the adaptive thermal comfort concept into building design and concepts for operating buildings, is still limited. There are still common misunderstandings in the interpretation of the adaptive comfort approach among building planners and operators e.g. regarding the amount of control, the seriousness of this topic or the level of information needed by occupants for which reason guidance (e.g. CIBSE 2010, Cook et al. 2020) and knowledge transfer (e.g. Hellwig and Boerstra 2017, 2018) is absolutely essential. Consequently, there is still a gap between scientific research and real-world-application, which this report aims to diminish.
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Qamhia, Issam, and Erol Tutumluer. Evaluation of Geosynthetics Use in Pavement Foundation Layers and Their Effects on Design Methods. Illinois Center for Transportation, August 2021. http://dx.doi.org/10.36501/0197-9191/21-025.
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This report presents findings of a research effort aimed at reviewing and updating existing Illinois Department of Transportation (IDOT) specifications and manuals regarding the use of geosynthetic materials in pavements. The project consisted of three tasks: evaluate current IDOT practice related to the use of geosynthetics; review research and state of the practice on geosynthetics applications, available products, design methods, and specifications; and propose recommendations for geosynthetic solutions in pavements to modernize IDOT’s practices and manuals. The review of IDOT specifications revealed that geotextiles are the most used geosynthetic product in Illinois, followed by geogrids. Several of IDOT’s manuals have comprehensive guidelines to properly design and construct pavements with geosynthetics, but several knowledge gaps and potential areas for modernization and adoption of new specifications still exist. Based on the review of the available design methods and the most relevant geosynthetic properties and characterization methods linked to field performance, several updates to IDOT’s practice were proposed. Areas of improvement are listed as follows. First, establish proper mechanisms for using geogrids, geocells, and geotextiles in subgrade restraint and base stabilization applications. This includes using shear wave transducers, i.e., bender elements, to quantify local stiffness enhancements and adopting the Giroud and Han design method for subgrade restraint applications. Second, update IDOT’s Subgrade Stability Manual to include property requirements for geogrids, geotextiles, and geocells suitable for subgrade restraint applications. Third, establish proper standards on stabilization, separation, and pumping resistance for geotextiles by incorporating recent research findings on geotextile clogging and permeability criteria. Fourth, promote the use of modern geosynthetic products, such as geotextiles with enhanced lateral drainage, and fifth, elaborate on proper methods for construction/quality control measures for pavements with geosynthetics.
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Tarko, Andrew P., Mario Romero, Cristhian Lizarazo, and Paul Pineda. Statistical Analysis of Safety Improvements and Integration into Project Design Process. Purdue University, 2020. http://dx.doi.org/10.5703/1288284317121.
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RoadHAT is a tool developed by the Center for Road Safety and implemented for the INDOT safety management practice to help identify both safety needs and relevant road improvements. This study has modified the tool to facilitate a quick and convenient comparison of various design alternatives in the preliminary design stage for scoping small and medium safety-improvement projects. The modified RoadHAT 4D incorporates a statistical estimation of the Crash Reduction Factors based on a before-and-after analysis of multiple treated and control sites with EB correction for the regression-to-mean effect. The new version also includes the updated Safety Performance Functions, revised average costs of crashes, and the comprehensive table of Crash Modification Factors—all updated to reflect current Indiana conditions. The documentation includes updated Guidelines for Roadway Safety Improvements. The improved tool will be implemented at a sequence of workshops for the final end users and preceded with a beta-testing phase involving a small group of INDOT engineers.
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Gorman- Murray, Andrew, Jason Prior, Evelyne de Leeuw, and Jacqueline Jones. Queering Cities in Australia - Making public spaces more inclusive through urban policy and practice. SPHERE HUE Collaboratory, November 2022. http://dx.doi.org/10.52708/qps-agm.
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Building on the success of a UK-based project, Queering Public Space (Catterall & Azzouz 2021), this report refocuses the lens on Australian cities. This is necessary because the histories, legacies and contemporary forms of cities differ across the world, requiring nuanced local insight to ‘usualise’ queerness in public spaces. The report comprises the results of a desk-top research project. First, a thematic literature review (Braun & Clarke 2021) on the experiences of LGBTIQ+ individuals, families and communities in Australian cities was conducted, identifying best practices in inclusive local area policy and design globally. Building upon the findings of the literature review, a set of assessment criteria was developed: – Stakeholder engagement; – Formation of a LGBTIQ+ advisory committee; – Affirming and usualising LGBTIQ+ communities; – Staff training and awareness; and – Inclusive public space design guidelines