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The current fashion textiles industry is based on an outdated, exploitative system that encourages fast consumption, generates huge amounts of textile waste, creates toxic impacts to ecosystems and causes significant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.
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Deetlefs, Rhodian Meyer. "Digitally crafted community futures: A distributed approach to remedial craft for community empowerment." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/210970/1/Rhodian_Deetlefs_Thesis.pdf.
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This research explores the synergistic potential between disability support practice and creative industries. It adopts an autoethnographic approach informed by the researcher's lived experience with a psychiatric disability, his interest in peer support practice, and his role as a goldsmith and jewellery designer. Project 1 investigated the field of his emergent practice as a Remedial Creative Practitioner, while Project 2 produced the Integrated Resource Design System (IRDS). The democratisation of digital technology is at the heart of this project and includes computer-aided design and manufacturing (CAD & CAM) technology and the sharing economy in a distributed approach to community empowerment.
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Marshall, Justin. "The role and significance of CAD/CAM technologies in craft and designer-maker practice : with a focus on architectural ceramics." Thesis, Cardiff Metropolitan University, 1999. http://hdl.handle.net/10369/6530.
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Mock, Joshua P. Ruminski Michael D. Wallace L. Scott. "Combat Support Forces (1C6C) Naval Surface Forces requirements-based budget determination for Assault Craft Unit One." Monterey, Calif. : Naval Postgraduate School, 2009. http://handle.dtic.mil/100.2/ADA501375.
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"Submitted in partial fulfillment of the requirements for the degree of Master of Business Administration from the Naval Postgraduate School, June 2009."Advisor(s): Euske, Kenneth ; Mutty, John. "June 2009." "MBA professional report"--Cover. Description based on title screen as viewed on July 14, 2009. DTIC Identifiers: LCU (Landing Craft Units). Author(s) subject terms: Budget, Model, Requirements-based, LCU, ACU-1, 1C6C, NBG-1, OPTAR, Operational Availability Includes bibliographical references (p. 73-76). Also available in print.
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Abidin, Shahriman Bin Zainal. "Practice-based design thinking for form development and detailing." Doctoral thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for produktdesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-19760.
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Automotive design is a specialized discipline in which designers are challenged to create emotionally appealing designs. From a practice perspective, this requires that designers apply their hermeneutic as well as reflective design thinking skills. However, due to the increasing demand for new car models, it is not always possible to keep generating new car designs without some form of assistive means. Therefore, it is common practice to use Automated Morphing Systems (AMS) to facilitate and accelerate the design process in the automotive industry. However, AMS, which is an efficient algorithmic driven tool for form generation, lacks the emotional knowledge of human beings, as well as the ability to introduce a “creative” and preferably a “winning” design. The purpose of this research is to study designers' reasoning about product (automotive) form, their form generation activity, and the implications of these. The research objective is to understand how designers generate forms driven by their implicit values, beliefs and attitudes towards designing, and how these are supported by their visualization and representation skills. Four research questions have been formulated in order to get a firm answer posed in this research. Generation of measurable and testable data – which involved both qualitative and quantitative research to gather and analyze implicit and explicit designer’s knowledge – constituted the main empirical effort for this thesis. A design research methodology framework consisting of three different parts was used in this data gathering exercise. These parts are: descriptive study I, prescriptive study, and descriptive study II. They involved methods such as surveys, observation studies and evaluation studies. Master’s students’ evaluations as well as the designers’ own interpretations of their sketches – which represent the sequence of morphed forms – were considered essential aspects of the empirical studies. The findings of this study can be summarized as follows: Approaches in form development among designers vary due to their experiences, which affect their sketching abilities, activities, and implicit thinking patterns. In their sketching and form development activities, designers emphasize the most informative views, such as façade and three quarter front views, compared to other views of the car. Rather than adopt a uniform transformation strategy which includes the entire car, they also select what elements to morph. In manual form generation, designers contribute with their personal and creative input in the development of the forms of the overall car, its selected items, and regions that determine the overall character of the car. Major differences in the morphing approaches applied by designers and automated CAD systems reside in the recognition and interpretation of the meaning of form elements. Considering the inability of AMS to morph selectively and inconsistently, as well as to introduce ambiguity and variance, it is suggested here that AMS may be useful only for convergent transformation, which typically occurs during the later stages of the styling process. Although perceptions vary according to how representations are presented in the morphing process, the Perceptual Product Experience (PPE) framework can still be considered a useful tool for establishing familiarity, for understanding quality characteristics and the nature of the product, and, finally, for determining meanings and assessing the values of form elements. In conclusion, the work presents a descriptive model for practice-based design thinking about form development in automotive design. Manual interpolative morphing has been the focal area of study. The study categorizes meaning with respect to designer perception. Based on the study of manual morphing exercises, a new methodology of analyzing form syntactics, pragmatics and semantics related to design thinking, form development, and automotive design has been developed.
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Banks-Hunt, Joan Maria. "Exploring Design Thinking for Instructional Practice." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102341.
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This dissertation entitled, Exploring Design Thinking for Instructional Practice, is situated in the cognitive rigor of design thinking instructional practice and engineering design-based capstone courses. The content of the instructional practice connects with educators employing a wide range of intellectual activities or cognitive tasks in formulating their curriculum. Key attributes of design thinking were identified through a focused literature review with an emphasis on theoretical propositions applicable to instructional practice. This dissertation contains two manuscripts: (a) an exploration of the theoretical literature related to design thinking explicating implications for instructional practice, and (b) a case study involving a small, purposive, sample of undergraduate faculty members teaching engineering design-based courses with findings broadly applicable to design processes in college curricula. The faculty participants in the case study were educators at a large, public, research-intensive university in the southeastern region of the United States. The data analyses involved triangulation of semi-structured interviews conducted with faculty participants and their design-based course materials, including syllabi and lesson plan materials. The study's thematic findings were not tied to engineering but rather course design, design process, and course management. The findings show the utility of artifact creation for learning with understanding for everyone, not just engineers and other traditional designers. Overall, the dissertation contributes to pedagogy that promotes student-centered engagement for learning with understanding. It recommends design thinking instructional practice for inclusion in designing and making artifacts of constructed knowledge for learning with understanding engagements across the academy.Doctor of Philosophy
This dissertation entitled, Exploring Design Thinking for Instructional Practice, integrates a wide range of intellectual activities also referred to as cognitive tasks of student-centered design thinking activities. In this dissertation, these tasks are useful for tackling problems that are not well-defined, such as, open-ended, real-world problems. Examples of this pedagogy are useful for educators considering and/or implementing design thinking in their curricula. This dissertation contains two manuscripts: (a) an exploration of the theoretical literature related to design thinking from theory to artifact making, and (b) a case study involving undergraduate faculty members teaching design thinking in design-based courses. The study's faculty participants were educators teaching engineering capstone courses at a large, public, research university in the southeastern region of the United States. Their students design and make solutions for open-ended, real-world problems that are not in textbooks and do not have "right" answers. The study's data collection phase involved interviews with the faculty participants and course materials (syllabi, lesson plan materials, handouts, and course websites). Data analysis produced three robust themes: course design, design process, and course management. These themes suggest that a design thinking instructional practice belies perceptions that design thinking is tied exclusively to engineering and other traditional design disciplines. The findings suggest that design thinking pedagogy engages students in creation of artifacts, learning with understanding, hands-on experiential learning in iterations, use of productivity tools, teamwork, and new starting points when outcomes do not meet expectations. Overall, the findings suggest design thinking pedagogy promotes student-centered design thinking activities.
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Gerth, Robert. "The Role of Production Topology in Information Based Structuring of Organizations : The design of craft-based and industrialized construction firms." Doctoral thesis, KTH, Produktionssystem, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-133918.
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Industrialization of construction is a business strategy to significantly improve competitiveness. However, the organization structure of the construction firms needs to support the new production system. The knowledge on why and how this business development can be accomplished is scarce, both within academia and in business practice. This research seeks to fill this knowledge gap. The purpose of organization structure and the production system have is to coordinate the firm’s processes and control the work performing resources. Information is one of the most fundamental dimensions for steering and controlling the work. The different information types are determined by the firm’s product customization strategy and the production system flexibility. Further, diverse information types are managed in different extent by the organizational steering mechanisms. Consequently, firms with dissimilar customization strategy or production flexibility should organizationally be designed differently in order to be efficient. The developed model identifies four generic production topologies: “engineer-to-order” (ETO), “manufacture-to-order” (MTO), “assembly-to-order” (ATO), and “make-standard-products” (MSP). The differences between the topologies can be related to the location of the “customer-order-decoupling-point” (CODP) in the product realization process; and to what extent the upstream and downstream processes continuously use stored information or process information to accomplish the work of each product order. The model predicts which organization structure mechanisms that should be used for which processes for each production topology. It is the specific configuration of the mechanisms that gives each production topology their organizational capability. The model has been validated by case studies in four organizations, each representing one of the four generic production topologies. Three cases considered housing and one studied truck manufacturing. It has been shown that the conventional housing firms have an ETO-production topology, while industrialized housing firms belonging to one of the others, i.e. MTO, ATO or MSP. The reason is that ETO-firms rely on crafts-based production to manage the work, while the other topologies base their steering mechanisms on industrial principles. These two types of production are fundamentally different, which also explain the need for different organization structures. The research complements previous knowledge and significantly increases the ability to predict, analyze and explain an organization’s design and behavior. The model can be used in practice to guide business development work and performance improvement programs.Research funder: SBUF (The development fund of the Swedish construction industry). QC 20131113
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Deck, Anita Sue. "Enhancing Elementary Teacher Practice Through Technological/Engineering Design Based Learning." Diss., Virginia Tech, 2016. http://hdl.handle.net/10919/71656.
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As widespread as Science, Technology, Engineering, and Math (STEM) initiatives and reforms are today in education, a rudimentary problem with these endeavors is being overlooked. In general, education programs and school districts are failing to ensure that elementary teachers who provide children's early academic experiences have the appropriate knowledge of and proclivity toward STEM subjects. This issue is further compounded by the focus centered on mathematics due to accountability requirements leaving very little emphasis on science, and most often, the exclusion of technology and engineering instruction from the curriculum (Blank, 2012; Cunningham, 2009; Lederman and Lederman, 2013; Lewis, Harshbarger, and Dema, 2014; Walker, 2014). At the elementary level, the lack of science instruction and professional development generates a weakness for both pre- and in-service teachers and prompts elevated concerns about teaching science (Goodrum, Cousins, and Kinnear, 1992; Anderson, 2002). Research (Lewis, 1999/2006; Wells, 2014) suggests that one way to address this weakness is through the technological/engineering designed-based approach within the context of integrative STEM education.
The purpose of the study was to gain an understanding of change in science instructional content and practice through professional development that educates elementary teachers to implement Technological/Engineering Design Based Learning (T/E DBL) as part of teaching science. The research design was a multiple case study which adhered to a concurrent mixed method approach (Teddlie, and Tashakkori, 2006; Yin, 2003),with four participants who were recruited because of their availability and their grade level teaching assignment that correlated to an analysis of the 2013 science state accountability test, Standards of Learning (Pyle, 2015). Data collected from surveys were analyzed using descriptive and inferential statistics. These data were corroborated with a sweep instrument and assessment rubric analyses, and interview responses to validate the results.
Findings from this study revealed that professional development model used in this study was clearly effective in getting elementary teachers to implement T/E DBL. The participants were better able to integrate T/E DBL when planning and designing instructional units and had an improved understanding of the science concepts they were teaching.Ed. D.
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Fagan, Elise. "Evidence-based design: structured approaches in leading landscape architecture practice." Thesis, Kansas State University, 2016. http://hdl.handle.net/2097/34626.
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Master of Landscape ArchitectureDepartment of Landscape Architecture/Regional and Community Planning
Jessica Canfield
Landscape architecture is embarking on a new design frontier, one where its practitioners are increasingly being asked by clients to design using credible evidence and to ensure design performance. As design disciplines follow in the footsteps of other evidence-based practices, like medicine and engineering, landscape architecture is poised to become a more scholarly profession – a profession of evidence-based landscape architecture. Evidence-based landscape architecture was first coined and defined in 2011 by Brown and Corry as “the deliberate and explicit use of scholarly evidence in making decisions about the use and shaping of land” (Brown and Corry 2011, 328). Current literature explains the benefits of practicing evidence-based design (EBD). These include ensuring design performance, justifying client investment, quantifying the value of design, systematically managing complex projects, marketing the firm to clients, attracting the most innovative designers to the firm, and adding to the knowledge base of the landscape architecture field. However, little is known about how landscape architecture firms are engaging evidence-based design in daily practice. This thesis examines how four leading landscape architecture firms (Design Workshop, Mithun, Sasaki Associates, and OLIN) have developed unique EBD approaches to integrate, apply, and propagate evidence-based design in professional practice. In order to study and analyze the four firms’ EBD approaches, individual comprehensive case studies were conducted. Qualitative data was collected through: focused interviews with directors and leaders of evidence-based design at each firm; casual observations made during office visits; and, a review of firm literature. A case study framework for EBD approaches in professional practice was developed based on discussion topics that consistently emerged from the interviews. The framework was used to organize, analyze, and present the findings into four major themes. A cross-case analysis was conducted to compare the development, implementation, and effects of EBD approaches at each firm. Findings reveal that each firm has developed an EBD approach to meet the need for engaging complex problems and meeting increasing client expectations for performance. While each firm’s EBD approach is unique, similarities and characteristics emerged between the case studies. The most consistent factors identified across cases include: having academic founders of the firm; the implementation of EBD- or research-specific roles and responsibilities; the creation of tools to organize and understand data; cultivating design cultures to support the EBD approach vision; the communication and transparency of relationships with clients and consultants; and, the reporting of findings for the advancement of the profession. Although any landscape architecture firm is likely to employ at least one of these concepts, the developed integration, application, and propagation of a majority of these concepts is what makes these firms unique and successful in applying EBD in professional practice. It was also found that the design processes themselves vary dramatically across the firms. EBD in practice is therefore not prescriptive and does not always look the same. The findings and case study framework developed in the study are useful primarily for landscape architecture firms looking to develop, integrate, apply, and propagate their own EBD approach.
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Findlay, Robert Allen. "Learning in community-based collaborative design studios : education for a reflective, responsive design practice." Thesis, Oxford Brookes University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363723.
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Greener, Rosalie. "Reconsidering the politique des auteurs : a practice-based exploration." Thesis, University of Brighton, 2010. https://research.brighton.ac.uk/en/studentTheses/968fe934-b72c-4753-9ee2-25f7d6f9abc9.
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This project reconsiders the politique des auteurs, especially the genesis, purpose and significance of that critical policy and method for film practice and criticism as conceived by François Truffaut, Jean-Luc Godard, Claude Chabrol, Jacques Rivette, Eric Rohmer and others in the pages of Cahiers du Cinéma during the 1950s. The hypothesis that the politique introduced a heuristic method for directorial personal expression is explored. Also considered are: the question of whether the designation auteur is solely within the means and authority of the director, or if the other creative collaborators, in particular the script-writer, might be designated a cinematic auteur, and, how specifically cinematic authorship might be constructed, or individual authorship might be achieved, within the collaborative process of filmmaking.
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Rahman, Anna N. "Bridging the Chasm: Translating Evidence-based Practice into Daily Practice in Nursing Homes." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1303241789.
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Daniels, John Dennis II. "Edifying Design-Build: Towards a Practice and Place based Architectural Education." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/82553.
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Architecture in its primitive form enacted a relationship of making between intentions and outcome. Post- industrialized modernization has created a multiplication of complexities, resulting in a profession that has disengaged theory and practice through the specialization of the architect and the craftsman. Design-build has the ability to be an educational process that re-engages a direct dialog and collaboration of the roles of designer and maker, reinforcing the resilience of culture and place through joining intentions and built reality. Design-build projects have the ability to be an integral part of design education because of their ability to engage in physical manifestation that is fundamentally different than formal education of designing through drawing or design at a distance. Exploring the Washington Alexandria Architecture Center's Design-Build ethos as a primary case study, I intend to support this claim by providing evidence of how a Design-Build process can engage the designer, tools, methods, and materials, with the cultural, social, and environmental context that is sensible to place. By utilizing creativity and ingenuity of available resources as an opportunity for adaptation, an organic sense of place is perceptible, the place is created. Representation beyond drawing encourages one to be proactive in connecting the qualities and characteristics of existing space; this leads to a sustainable practice of continued investment in object, materiality, time, and place. Hybrid approaches to design, or the assembly of both design and building as an academic practice, are no longer insular, but are encouraged as a way to interrelate and connect the built environment with its unbuilt opportunities and impressions.Master of Architecture
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Kichodhan, Vic. "An interactive PC computer program based on craft and IIE plant layout software for use in facilities design." Ohio University / OhioLINK, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1183649370.
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Marshall, John James. "An exploration of hybrid art and design practice using computer-based design and fabrication tools." Thesis, Robert Gordon University, 2008. http://hdl.handle.net/10059/387.
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The researcher’s previous experience suggested the use of computer-based design and fabrication tools might enable new models of practice that yield a greater integration between the 3D art and design disciplines. A critical, contextual review was conducted to assess what kinds of objects are being produced by art and design practitioners; what the significant characteristics of these objects might be; and what technological, theoretical and contextual frameworks support their making. A survey of international practitioners was undertaken to establish how practitioners use these tools and engage with other art and design disciplines. From these a formalised system of analysis was developed to derive evaluative criteria for these objects. The researcher developed a curatorial framework for a public exhibition and symposium that explored the direction that art and design practitioners are taking in relation to computer-based tools. These events allowed the researcher to survey existing works, explore future trends, gather audience and peer response and engage the broader community of interest around the field of enquiry. Interviews were conducted with practitioners whose work was included in this exhibition and project stakeholders to reveal patterns and themes relevant to the theoretical framework of this study. A model of the phases that practitioners go through when they integrate computer-based tools into their practice was derived from an existing technology adoption model. Also, a contemporary version of R. Krauss’s ‘Klein Group’ was developed that considers developments in the field from the use of digital technologies. This was used to model the context within which the researcher’s practice is located. The research identifies a form of ‘technologyled- practice’ and an increased capacity for a ‘transdisciplinary discourse’ at the intersection of disciplinary domains. This study will be of interest to practitioners from across the 3D art and design disciplines that use computerbased tools.
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Al, Shomely Karima Mohammed Abdelaziz. "An intimate object : a practice-based study of the Emirati Burqa." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/36327/.
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This practice-based thesis focuses on the Emirati burqa or ‘mask’, a form of face covering worn by the majority of Emirati women in the United Arab Emirates until the late 1960s that reveals the eyes but does not cover the hair or body. Framed by Daniel Miller and Aida Kanafani’s theories of material culture and embodiment that focus on dress as an intimate sensory object, this practice-based thesis is the first in-depth study of the Emirati burqa that engages with the histories and materiality of the burqa as an intimate object once made and worn by Emirati women. At the core of this thesis is women’s practice: the practices of women burqa makers, the diverse female practices of burqa wearing and my practice as a woman artist from the UAE. Through experiments with traditional craft materials, inscription methods, workshop initiatives, film, photography and installation, my engagement is with performing the material culture of the female burqa as a response to its disappearing practices and its previously little recorded history. The thesis first analyses the history of the burqa face covering in the Arabian peninsula through a specific focus on the written and visual accounts of mid-nineteenth and mid-twentieth-century British travellers in Arabia. It then examines and records the material craft of Emirati burqa-making based upon interviews with burqa makers and textile producers and accompanying ethnographic fieldwork conducted in the UAE and India. This includes photographic documentation of the processes involved in the production of the burqa textile, a study of burqa manufacturing brands and packaging, and an analysis of the material construction of the burqa and how it is worn in the UAE. Based on interviews in the UAE, Bahrain and Qatar and a variety of visual and textual sources, the thesis identifies the different types of Emirati burqa in relation to age, status, and regional identities. It further shows that the Emirati burqa differs from those worn in the neighbouring Gulf States of Bahrain, Qatar, Oman and Saudi Arabia, and focuses on burqa wearing practices and associated uses of the burqa textile in the UAE. Engaging with these research findings, the culmination of the thesis is the body of art works exhibited in the 2014 London exhibition, ‘An Intimate Object’, that re-animates the burqa as a living object with its own history and new contemporary meanings. Focusing on the significance of the body and senses in knowledge production, the art practice shows the burqa has ‘a voice’ in a conversation that draws upon past traditions referencing protection and its value as a personal and precious object. The burqa speaks, its indigo residue bleeds as an active witness to its lost past. It also plays a part in rediscovery or keeping the past of this material object alive through contemporary art practice as an aesthetic and political strategy.
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Gale, Cathy. "A practice-based evaluation of ambiguity in graphic design, embodied in the multiplicities of X." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/67e8027c-02ac-4600-97ec-e829b55abb62.
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Ambiguity can arise from indecision, unintened confusion or as the international evocation of several meanings in the same image,object,situation or idea. Intentional ambiguity enables multiple interpretations of a message,increasing richness of meaning, while adding pleasure through uncertainty and surprise. In disciplines such as literature and fine art, ambiguity is preceived as not only desirable,but inherent to the value of the work of art or idea and its interpretation in the mind of the viewer. Yet the possibilities of ambiguity remain under explored in graphic design, a discipline predominatly (conventionally) concerned with clear comunication of mesage.
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Ali, U. "A practice-based exploration of natural environment design in computer & video games." Thesis, University of Salford, 2016. http://usir.salford.ac.uk/39394/.
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I offer this thesis as an original and substantial contribution to knowledge in virtual natural environment design practice within computer and video games, by identifying areas of strong/weak practice and to develop a new design framework that utilises a cross-disciplinary approach for practitioners/students/researchers. The thesis combines theoretical frameworks as well practical guidance within a new design framework for virtual natural environment design. The themes relating to this work were examined through a contextual review that focused on previous professional practice as well as critical games produced during the last 30 years. The contextual review involved a detailed textual and visual-based historical survey of virtual landscapes, resulting in a practice-based exploration of virtual natural environment design in computer and video games. One of the main artefacts produced in this research, a three-volume book series titled Virtual Landscapes, presents for the first time these virtual spaces in a digitally enhanced manner through high-resolution panoramic imagery. A review of existing literature and current practice revealed that virtual natural environment design has so far been driven by mainly aesthetic principles and hinted that future emergent design practice should involve a cross/multi-disciplinary approach. The research proposes a new design framework for the creation of virtual landscapes that uses Landscape Character Assessments amongst other elements of environmental design. ShadowMoss Island is a practice-based exploration of how virtual natural environmental design can incorporate elements from Environmental Psychology and Geology, as well as personal reflections and observational analysis based on a field trip. The research proposes that psychological elements added to this new design framework can radically improve the success and impact of the final virtual natural environment. Another practice-based artefact, MindFlow, was created as a pre-production tool for the purpose of environmental design. The proposed tool enables the direct visualisation of collated multimedia (audio, images, video, annotations, design and decisions) in much more natural setting of a single visual space, allowing designers/artists to draw and influence the design and creation of virtual natural environments by bringing together all the different aspects in an intuitive and user-friendly manner. MindFlow helps solve the problem of designers/artists having to retain mental maps of image repositories structure by creating a single visual non-folder tree hierarchy virtual space. The research has significance to both professional and pedagogic practitioners working in the area of computer and video game natural environment design.
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Borg, Erik W. "The experience of writing a practice-based thesis in Fine Art and Design." Thesis, University of Leeds, 2009. http://etheses.whiterose.ac.uk/3745/.
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This study describes the writing processes of Ph. D. candidates in Fine Art Practice and Design. These disciplines are relatively new within universities and have little history of research and writing at doctoral level. Through the experience of the participants, the study illuminates the complexities and difficulties of appropriating an existing genre to fit new purposes. This study takes an academic literacies approach, derived from literacy practices. The approach views writing as a situated practice that is best observed through extended ethnographically-based engagement in sites of literacy-in-action. However, literacy practices exist in a wider context that can be understood as a network that both enables and limits local literacy practices. Among the actors maintaining the network surrounding and enmeshing the local literacy practices are a variety of discourse communities that use a multifaceted genre like the doctoral thesis to further their own purposes. The study reports on two sites of literacy-in-action, one a seminar for doctoral candidates in Fine Art Practice, and the other a seminar for candidates in Design. Each site constituted a case that was studied for over three years, looking at the difficulties that candidates faced in each site. These case studies are placed in a wider context of writing in fine art and design in order to understand the factors that shaped the texts that the candidates wrote. The study shows that, while candidates worked to assemble distinct individual and disciplinary identities in both Fine Art Practice and Design, the candidates in Fine Art Practice particularly struggled to find research methodologies and written textual forms that would adequately represent their understanding of current art practices.
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Bruggeman, Kevin James. "Creating Biofeedback-Based Virtual Reality Applications to Enhance Coherence of Mindfulness Practice." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555431653444354.
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Kang, Yiyun. "The spatiality of projection mapping : a practice-based research on projected moving-image installation." Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3391/.
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This practice-based research investigates how projection mapping develops a distinctive relationship between screen, moving image, and space in projected moving-image art. Despite projection mapping’s growing popularity, little in-depth research has been conducted on this medium. This lack of research and the superficial nature of many projects have led artists and researchers to regard the medium as a mere technique that serves only to decorate three-dimensional surfaces. Rather than view projection mapping simply as a digital technique, my research situates it in the continuum of projected moving-image installation artwork. To do this, I examine projection mapping’s screen, narrative, and surrounding space—the constituents of all projected moving-image installation art—through the lenses of surface and depth. In addition to considering cinematic frames, I analyse these traits through artistic lenses such as painting, site-specific art, and architecture to investigate how projection mapping reconfigures the constituents that comprise all screen-based projected moving-image works. In so doing, I define the ways which projection mapping develops its distinctive relationship among these constituents. I conducted three projects in a cyclical developmental process using a reflective methodology derived from case study research: defining the question, recording the process, analysing, and reflecting. My practices as case studies are integral parts of this thesis investigation of how projection mapping generates a distinctive relationship. This study aims to contribute to the body of knowledge about an under-researched area, projection mapping, by providing an in-depth conceptual and practical analysis of this medium. The knowledge resulting from the research is embodied in findings from contextual reviews and original artworks produced as case studies.
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Hare, Richard Paul. "Craft art practice [an exegesis [thesis] submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2003]." Full thesis. Abstract, 2003.
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Beccue-Barnes, Wendy Davis. "War brides: a practice-based examination of translating women’s voices into textile art." Diss., Kansas State University, 2012. http://hdl.handle.net/2097/13632.
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Doctor of PhilosophyDepartment of Apparel, Textiles, and Interior Design
Sherry J. Haar
Research about military wives has been limited. In academia, most research centers on the soldier and/or the family as a unit. When literature does address only the wife’s perspective it rarely presents a positive portrayal of her life. However, it is not just literature that shows a gap in exposing the voice of the military wife. Art-based works rarely focus on her perspective; and methodologies, such as practice-based research, rarely utilize actual voices as inspiration. The aim of the current study was to discover the voice of the military wife, examine it through a feminist lens, and then translate those voices into artwork that represented the collective, lived experience of the women interviewed. Three methodologies were utilized to analyze and translate the voices of military wives into textile art. These three methodologies: practice-based research, phenomenology, and feminist inquiry provided a suitable structure for shaping the study to fulfill the project aim. Interviews conducted with 22 military wives revealed two overarching themes: militarization and marriage; as well as multiple subthemes. Three subthemes were recognized as being the most prominent: relationships, separation, and collective experience. These themes were used as the inspiration for the creation and installation of three textile art pieces. The current study serves to fill the gaps in both the literature and the artistic process by presenting both the positive and negative aspects of the military wife’s lived experience and using that lived experience as inspiration for textile art.
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Cash, Philip. "Characterising the relationship between practice and laboratory-based studies of designers for critical design situations." Thesis, University of Bath, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557814.
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Experimental study of the designer plays a critical role in design research. However laboratory based study is often poorly compared and contrasted to practice, leading to a lack of uptake and subsequent research impact. The importance of addressing this issue is highlighted by its significant influence on design research and many related fields. As such the main aim of this work is to improve empirical design research by characterising the relationship between practice and laboratory-based studies for critical design situations. A review of the state of the art methods in design research and key related fields is reported. This highlights the importance and commonality of a set or core issues connected to the failure to effectively link study of practice and study in the laboratory. Further to this a technical review and scoping was carried out to establish the most efective capture strategy to be used when studying the designer empirically. Subsequently three studies are reported, forming a three point comparison between practice the laboratory (with student practitioners) and an intermediary case (a laboratory with practitioners) . Results from these studies contextualise the critical situations in practice and develop a detailed multi-level comparison between practice and the laboratory which was then validated with respect to a number of existing studies. The primary contribution of this thesis is the development of a detailed multi-level relationship between practice and the laboratory for critical design situations: information seeking, ideation and design review. The second key contribution is the development of a generic method for the empirical study of designers in varying contexts - allowing researchers to build on this work and more effectively link diverse studies together. The final key contribution of this work is the identification of a number of core methodological issues and mitigating techniques affecting both design research and its related fields.
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Milfull, Mostyn Timothy. "Writing about risky relatives and what might have been : the craft of historiographic metafiction." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/51203/1/Tim_Milfull_Vol.1_Exegesis.pdf.
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This practice-based research project consists of a 33,000-word novella, "Folly", and a 50,000-word exegesis that examines the principles of historiographic metafiction (HMF), the recontextualisation of historical figures and scenarios, and other narratological concepts that inform my creative practice. As an emerging sub-genre of historical fiction, HMF is one aspect of a national and international discourse about historical fiction in the fields of literature, history, and politics. Leading theorists discussed below include Linda Hutcheon and Ansgar Nünning, along with the recent critically-acclaimed work of contemporary Australian writers, Richard Flanagan, Kate Grenville, and Louis Nowra. "Folly" traces a number of periods in the lives of fictional versions of the researcher and his eighteenthcentury Irish relative, and experiments with concepts of historiographic metafiction, the recontextualisation of historical figures and scenarios, and the act of narratorial manipulation, specifically focalisation, voice, and point of view. The key findings of this research include: identifying the principles and ideas that support writing work of historiographic metafiction; a determination as to the value of recontextualisation of historical figures and scenarios, and narratorial manipulation, in the writing of historiographic metafiction; an account of the challenges facing an emerging writer of historiographic metafiction, and their resulting solutions (where these could be established); and, finally, some possible directions for future research.
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Motiwalla, Luvai Fazlehusen. "A knowledge-based electronic messaging system: Framework, design, prototype development, and validation." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/184727.
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Although electronic messaging systems (EMS) are an attractive business communication medium several studies on the usage and impact of EMS have shown that despite the benefits, they have been generally used for routine and informal communication activities. Theoretically, EMS have yet to find their niche in organizational communications. Technically, EMS designs are not flexible to support communication activities of managers, are not maintainable to permit easy integration with other office applications and access to information from data/knowledge bases, and are not easily extendible beyond the scope of their initial design. Behaviorally, end users are not directly involved in the development of EMS. This dissertation attempts to bridge the transition of EMS technology from message processing systems to communication support systems. First, the dissertation provides an analysis for a knowledge-based messaging system (KMS) through a framework. The framework provides a theoretical basis to link management theory to EMS technology. It suggests that the communication needs of the managers vary depending on the activity level, implying related variations in EMS functionality. Second, the dissertation provides a design for the KMS through an architecture which incorporates the design and implementation issues such as, flexibility, maintainability, and extendibility. The superimposition of the KMS on an existing EMS provides flexibility, the loose coupling between the KMS-interface components and the KMS-functions increases its maintainability, and the strong functional decomposition and cohesion enhances the extendibility of the system beyond the scope of its initial design. Finally, the dissertation provides a implementation through the development of a prototype KMS which involves users into the design process through a validation study conducted at University of Arizona. The prototype used GDSS tools in eliciting message attributes for the personal knowledge base. This method proved effective in reducing the bottleneck observed in the acquisition of knowledge from multiple experts, simultaneously. Similarly, the combination of observation with interviews proved effective in eliciting the organizational knowledge base. The validation method measured the system's accuracy (which was very accurate) in prioritizing messages for the users.
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Wood, Luke, and lukewood@ihug co nz. "Hot rod biology." RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080111.102025.
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This practice-led, project-based research charts, simultaneously, my disenchantment and re-engagement with graphic design. By it's dissemination I hope to articulate: 1. How an evolving understanding of my sense disenchantment emerged from the research, and enabled the process of re-engagement. 2. The role, and importance, of provocation and doubt in creative practice generally, but specifically in practice-led research. The difficulty of provoking one's self, and the strategies through which I have tried to enact a disruptive reframing of my practice. 3. That through the highly reflective nature of practice-led research and the greater sense of self-awareness that inevitable comes from that I have been able to re-engage with graphic design. That this re-engagement has, for me specifically, had much to do with my ability to begin to negotiate my own personal terms of reference, so as to be able to locate myself within a community of practice, and to begin to take part in a discourse that has a certain resonance for me. Central to this research are questions about professional practice, dislocation/disinterest, research, resonance and reinvention. As disenchantment is common, perhaps pervasive, within professional practice, my account of this research will propose that a more general understanding of practice-led research-highly reflective, self-initiated work-is essential if graphic design is to support and sustain imaginative, innovative, and inventive practitioners. Rather than target graphic design's inability to support provocative practices (the studio, or the industry), my research focuses on the potential of the individual practitioner to motivate and design a more generative and engaged practice. As such any observations and/or discoveries are not presented as quantitative 'findings', but should be seen rather as generative understandings that promote future possibility and potential for the practice.
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Singh, Nicola. "On the 'thesis by performance' : a feminist research method for the practice-based PhD." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36132/.
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This doctoral project challenges the conventions of academic enquiry that, by default, still largely shape the procedures of practice-based PhDs. It has been submitted in the form of a ‘thesis by performance’ - a thesis that can only be realized through live readings that present knowledge production as something done in and around bodies and their contexts. The aim has been to reposition institutional and educational knowledge in an intimate, subjective relationship with the body, particularly the researchers own body. The ideas gathered together in this ‘thesis by performance’ address the body and its context using material that was sometimes appropriated, sometimes invented and sometimes autobiographically constructed. From the start, these approaches and sources were used to directly address those listening in the present, the ‘now’ in which words were spoken. An approach influenced by feminist thinkers in the arts, Kathy Acker, Chris Kraus, Katrina Palmer and Linda Stupart. The methodological development of the research has been entirely iterative – developed through the making and presenting of performance texts. Each text was presented live as part of mixed-media installations, experimenting with how language and voice can be visualised and choreographed. Consequently, the resulting ‘thesis by performance’ is a doctoral submission unimpeded by a printed script - only an introductory statement and two appendices are available outside of a live reading. In this way the process of performance can inspire new terms of reference in the field of postgraduate practice-led research entirely on its own terms.
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Munroe, Rebecca J. (Rebecca Jane). "A framework for product development based on quality function deployment, traditional decision-making theory, and design practice." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/13610.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 1990 and Thesis (M.S.)--Sloan School of Management, 1990.Includes bibliographical references (leaves 130-131).
by Rebecca J. Monroe.
M.S.
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Meurer, Johanna [Verfasser], and Volker [Gutachter] Wulf. "Approaches of practice-based design for sustainable everyday mobilities in socio-informatics / Johanna Meurer ; Gutachter: Volker Wulf." Siegen : Universitätsbibliothek der Universität Siegen, 2020. http://d-nb.info/1232495492/34.
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Tzomaka, Vassiliki. "A practice based investigation using design and illustration to explore the role of narrative in nonfiction picturebooks." Thesis, Anglia Ruskin University, 2017. https://arro.anglia.ac.uk/id/eprint/702976/1/V%20Tzomaka%20Thesis%20Part%201%20ARRO%20copyright%20version.pdf.
Full textAbstract:
This research took place to explore the role of narrative in nonfiction picturebooks
and provide a better understanding of children’s nonfiction picturebooks from the
perspective of the picturebook artist. The study evolved from an observation that
within the children’s picturebook genre there exists an undefined category of
picturebooks that present nonfiction material using fictional stories. It coincided with
a moment in time when books of nonfiction content were becoming increasingly
popular, evidenced by increased sales and market growth, contrary to the rest of the
book market.
The use of reflective-in-action and reflective-on-action methods was based on a
theoretical framework of three approaches (design practice, design exploration and
design study) and led to an understanding of both the practice and the nonfiction
picturebook as an object with multiple functions. The approaches allowed a critical
evaluation of a series of experiments and this in turn informed the practice and
allowed theories and new understandings to be reached.
The investigation identified four types of narratives for picturebooks: visual fiction
and nonfiction and verbal fiction and nonfiction and proposes a model for analysing
the interaction of the narratives.
An opportunity to investigate the use of glow-in-the-dark ink in a narrative context
presented itself during the course of the experiments. The result of this part of the
research is presented in a concertina book that uses glow-in-the-dark ink to create a
nonfiction narrative.
The research concludes that whilst most picturebooks are composed of all four
narratives to some degree, nonfiction picturebooks are made up of a larger overlap
of these narratives. Nonfiction picturebooks offer more opportunities for counterpoint
and are therefore particularly exciting. As such a differentiation between fiction and
nonfiction in the genre of picturebooks is suggested.
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Tzomaka, Vassiliki. "A practice based investigation using design and illustration to explore the role of narrative in nonfiction picturebooks." Thesis, Anglia Ruskin University, 2017. http://arro.anglia.ac.uk/702976/.
Full textAbstract:
This research took place to explore the role of narrative in nonfiction picturebooks and provide a better understanding of children’s nonfiction picturebooks from the perspective of the picturebook artist. The study evolved from an observation that within the children’s picturebook genre there exists an undefined category of picturebooks that present nonfiction material using fictional stories. It coincided with a moment in time when books of nonfiction content were becoming increasingly popular, evidenced by increased sales and market growth, contrary to the rest of the book market. The use of reflective-in-action and reflective-on-action methods was based on a theoretical framework of three approaches (design practice, design exploration and design study) and led to an understanding of both the practice and the nonfiction picturebook as an object with multiple functions. The approaches allowed a critical evaluation of a series of experiments and this in turn informed the practice and allowed theories and new understandings to be reached. The investigation identified four types of narratives for picturebooks: visual fiction and nonfiction and verbal fiction and nonfiction and proposes a model for analysing the interaction of the narratives. An opportunity to investigate the use of glow-in-the-dark ink in a narrative context presented itself during the course of the experiments. The result of this part of the research is presented in a concertina book that uses glow-in-the-dark ink to create a nonfiction narrative. The research concludes that whilst most picturebooks are composed of all four narratives to some degree, nonfiction picturebooks are made up of a larger overlap of these narratives. Nonfiction picturebooks offer more opportunities for counterpoint and are therefore particularly exciting. As such a differentiation between fiction and nonfiction in the genre of picturebooks is suggested.
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Van, Ingen Sarah. "Preparing Teachers to Apply Research to Mathematics Teaching: Using Design-Based Research to Define and Assess the Process of Evidence-Based Practice." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4799.
Full textAbstract:
Persistent lack of mathematics achievement and disparity in achievement has led to the publication of research findings related to equitable teaching practices. Although the publication of such research provides insights about approaches for potentially increasing equity in mathematics education, teachers must be able to apply what has been learned from these studies to their classroom teaching practices. Despite the widespread expectation that teachers use research-supported teaching strategies to meet the needs of their diverse classrooms, the research to practice gap persists. Little research is currently available to guide mathematics teacher educators in how to prepare future teachers to apply research to teaching practices.
Inspired by advancements in social work and other health-related fields, this study departed from the standard approach of preparing teachers to utilize specific, research- based teaching strategies to preparing teachers to engage in the meta-process of applying research to practice. This meta-process has been defined by the health-related disciplines as the process of evidence-based practice (EBP). This process is explicated in a conceptual framework that is composed of the following five steps. The practitioner (1) formulates an answerable practice question, (2) searches for the best research evidence, (3) critically appraises the evidence, (4) selects the best intervention for a specific practice context, and (5) evaluates the outcome of the intervention.
The purpose of this study was to examine the process of preparing preservice elementary teachers of mathematics to engage in the five-step process of EBP. Because this process, which can be conceptualized as a routine of practice, has not been identified for the field of mathematics education previously, it was examined using a design-based research (DBR) methodological approach. There were two objectives to the study: (1) to create an empirically tested teaching intervention that mathematics teacher educators can use to prepare preservice teachers to apply research to teaching practice and (2) to create a system of assessment that supports the teaching of this intervention.
The study involved five iterations of the DBR process that permited the intervention to be evaluated and revised after each iteration. Although each iteration is discussed, this study focuses primarily on the process used in the fifth iteration of the DBR process. This iteration took place in the context of a mathematics methods course in a clinically-rich, undergraduate residency program for initial preparation of elementary school teachers. The twelve participants were simultaneously enrolled in the methods course and embedded in co-teaching assignments at an elementary school.
The intervention to prepare teachers to engage in EBP included two workshops that were co-facilitated by an education librarian and a mathematics teacher educator and a semester-long Education Research Project. The project required participants to identify a problem of practice related to teaching or learning mathematics, find relevant research to address that problem, create an intervention to apply the research findings to classroom instruction, implement that intervention, and collect data to evaluate the effectiveness of the designed intervention.
Instruments used to collect data included: (1) a self-report Information Literacy Questionnaire, (2) a self-report Familiarity with the Process of Evidence-Based Practice in Education Scale, (3) the Education Research Project report, and (4) a standardized performance assessment. The standardized performance assessment was used to assess beginning proficiency with the process of EBP. Generalizeability theory was used to evaluate the reliability of the system created for the standardized performance assessment. The system that included three raters, two tasks, and two scoring occasions was found to be fairly reliable (absolute generalizability coefficient = .81).
Results from this study revealed that participants were more successful at creating implementation plans and linking those plans to research than they were at modifying their plans to meet the needs of specific students or evaluating their research implementation. This study contributes to both research and mathematics education communities' understandings about the potential of EBP as a high-leverage routine of practice and the use of generalizability theory in the creation of a reliable assessment to evaluate this routine of practice. This study documents the complexity of the process of linking research to practice and provides an empirically tested conceptual framework for preparing preservice teachers to engage in this complex practice.
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Bridge, Catherine. "Computational case-based redesign for people with ability impairment rethinking, reuse and redesign learning for home modification practice /." Connect to full text, 2005. http://hdl.handle.net/2123/707.
Full textAbstract:
Thesis (Ph. D.)--University of Sydney, 2006.Title from title screen (viewed 30 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of Architecture, Design Science and Planning, Faculty of Architecture. Degree awarded 2006; thesis submitted 2005. Includes bibliographical references. Also available in print form.
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Landahl, Karin. "On form thinking in knitwear design." Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3663.
Full textAbstract:
This licentiate thesis presents and discusses experimental explorations in search for new methods of form-thinking within the knitwear design process. The position of textile knitting techniques is somewhat ambiguous. This is because they are not only concerned with creating the textile material, but also with the form of the garment as these two are created in the same process. Consequently, the common perception of form and material as two separate design parameters can be questioned when it comes to knitting. Instead, we may view it as a design process that has a single design parameter; a design process in which the notion of form provides the conceptual foundation. Through conducting a series of design experiments using knitting and crochet techniques, the notion of form was explored from the perspective of the way in which we make a garment. The outcome of the experiments showed that there are possibilities for development of alternative working methods in knitwear design by viewing form in terms of topological invariants rather than as abstract geometrical silhouettes. If such a notion, i.e. a notion of a more concrete geometry, were to be implemented in the design process for knitwear, it would provide another link between action and expression that could deepen our understanding of the design potential of knitting techniques and provide the field with new expressions and gestalts.
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Butler, William M. "The Impact of Simulation-Based Learning in Aircraft Design on Aerospace Student Preparedness for Engineering Practice: A Mixed Methods Approach." Diss., Virginia Tech, 2012. http://hdl.handle.net/10919/27601.
Full textAbstract:
It has been said that engineers create that which never was. The university experience is a key component in preparing engineers who support the creation of products and systems that improve the world we live in. The way in which engineers have been trained in universities has changed throughout history in America, moving from an apprentice-like approach to the still-used engineer scientist. Some in industry and academia feel that this model of engineer preparation needs to change in order to better address the complexities of engineering in the 21st century, and help fill a perceived gap between academic preparation and 21st century industrial necessity. A new model for student preparation centering on engineering design called the Live Simulation Based Learning (LSBL) approach is proposed based upon the theories of situated learning, game-based learning, epistemic frames, and accidental competencies. This dissertation discusses the results of a study of the application of LSBL in a two term capstone design class in aerospace engineering aircraft design at Virginia Tech. It includes LSBLâ s impact on student professional and technical skills in relation to aerospace engineering design practice. Results indicate that the participants found the LSBL experience to be more engaging than the traditional lecture approach and does help students respond and think more like aerospace engineering practicing professionals and thus begin to address the â gapâ between academia and industry.Ph. D.
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Gislén, Ylva. "Rum för handling. Kollaborativt berättande i digitala medier." Doctoral thesis, Karlskrona : Blekinge Institute of Technology, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-00233.
Full textAbstract:
Avhandlingen fokuserar på kollaborativt berättande i digitala medier, och tar avstamp i relativt detaljerade beskrivningar av de designprojekt som utgör avhandlingsarbetets ryggrad. Kännetecknande för dessa designprojekt är att de kombinerar fysiska och virtuella rum och/eller flera medieplattformar. Utifrån kritiska läsningar av designval och bruk av de koncept och prototyper som designprojekten utmynnat i presenteras argument för föreslagna "sätt att se" på design av berättande i digitala medier och centrala kvaliteter i miljöer för kollaborativt berättande. Grundläggande är att se berättande som en överenskommelse, som måste springa ur den berättarsituation, den fysiska och sociala verklighet, som utgör en oavvislig del av allt berättande. Denna överenskommelse upprättar ett "rum" för att undersöka och värdera möjlig mänsklig handling, ett rum vars estetiska egenskaper inte kan skiljas från de etiska och politiska frågeställningar som sätts i rörelse av allt berättande. Utifrån detta grundläggande synsätt diskuteras frågan om utformandet av handlingsutrymme i relation till interaktivitet i digitala medier, begrepp som roll, karaktär, samarbete och konflikt samt rytm, poesi och mångtydighet. Argumenten och resonemangen grundas, utöver i den kritiska läsningen av designprojekten, också i en bredare översikt av narrativitetsbegreppets utveckling inom human- och samhällsvetenskaperna de senaste två decennierna samt i en diskussion av teorier, synsätt och vanliga grundantaganden kring berättande i digitala media. Utrymme i avhandlingen ges också åt en kunskapsteoretisk diskussion kring frågan om design som forskning, främst ur ett perspektiv grundat i STS-fältet men också i relation till förda resonemang ifråga om praxisbaserad forskning i allmänhet och designforskning och designteori i synnerhet.
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Vattam, Swaroop. "Interactive analogical retrieval: practice, theory and technology." Diss., Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/45798.
Full textAbstract:
Analogy is ubiquitous in human cognition. One of the important questions related to understanding the situated nature of analogy-making is how people retrieve source analogues via their interactions with external environments. This dissertation studies interactive analogical retrieval in the context of biologically inspired design (BID). BID involves creative use of analogies to biological systems to develop solutions for complex design problems (e.g., designing a device for acquiring water in desert environments based on the analogous fog-harvesting abilities of the Namibian Beetle). Finding the right biological analogues is one of the critical first steps in BID. Designers routinely search online in order to find their biological sources of inspiration. But this task of online bio-inspiration seeking represents an instance of interactive analogical retrieval that is extremely time consuming and challenging to accomplish. This dissertation focuses on understanding and supporting the task of online bio-inspiration seeking.
Through a series of field studies, this dissertation uncovered the salient characteristics and challenges of online bio-inspiration seeking. An information-processing model of interactive analogical retrieval was developed in order to explain those challenges and to identify the underlying causes. A set of measures were put forth to ameliorate those challenges by targeting the identified causes. These measures were then implemented in an online information-seeking technology designed to specifically support the task of online bio-inspiration seeking. Finally, the validity of the proposed measures was investigated through a series of experimental studies and a deployment study. The trends are encouraging and suggest that the proposed measures has the potential to change the dynamics of online bio-inspiration seeking in favor of ameliorating the identified challenges of online bio-inspiration seeking.
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McGinley, Christopher Gerard. "Supporting people-centred design through information and empathy." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7591.
Full textAbstract:
People-centred design is a design approach that takes the intended end users into consideration throughout the development process, resulting in more appropriate design output in terms of meeting peoples needs and wants. There is recognised value in the use of user-based information, and in establishing empathy with those being designed for, yet there is a distinct lack of literature addressing both aspects and the potential for associated support mechanisms for designers. The combination of information and empathy is the focus of this research. This thesis presents studies carried out to investigate the potential for ‘supporting people-centred design through information and empathy’, focusing upon the early stages of design development. The main aims of this research were to understand designers’ processes and where users fit into these, and to suggest means of support that could promote user focus whilst remaining a practical and appropriate complement to established methods. The under-explored nature of this area required empirical research engaging in practical ways with designers, which was achieved through in-depth probe studies and follow-up interviews with 10 designers; active participation in two four-month real-life design projects; the examination and co-creation of resource tool concepts during two workshops, each with 20 design participants; and ‘MHIRROR’ (Means of Human Information Retrieval, Representation, Organisation and Reflection), a mixed media human information resource was developed and trialed with six experienced inclusive design practitioners. These qualitative explorations with designers and within real-life projects facilitated understanding of the potential for human information resources to support the design process. The thesis has made original contribution to knowledge in terms of the formation of a framework for the manipulation and integration of human information into the design process; the iterative design and embodiment of a working prototype resource MHIRROR, and it has provided insights into the value of information and empathy resource combinations and their potential to promote people-centred design.
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Hou, Congsi, Aline Saeger, and Jörn Golde. "Design with concerns: A community-based senior center in Germany." TUDpress, 2019. https://tud.qucosa.de/id/qucosa%3A36669.
Full textAbstract:
Community-based care facilities have a positive effect in supporting older adults and people with dementia thus improving their well-beings. Despite authoring empirical studies focused on providing design interventions, researchers often remain unclear about whether and how exactly practitioners and architects should implement these interventions. This paper presents an on-going project of a senior center in a small municipality in Germany. It aims to explain how the municipality (the client) and the design team (the architect) cooperate to apply updated research-based interventions, and how trade-offs are made. It discusses several research-based interventions during the design process. They include: 1) the early engagement of architects into the planning process; 2) the use of small-scale care units as care concept; 3) offering easily accessible and visible communal areas within the building;
4) providing an area open to the neighborhood; and 5) taking into consideration of the local urban form and materials. The article enables the readers to gain an insider look of the design process of a care facility and become familiar with some of the common trade-offs in design practice. Sufficient access to research materials and efficient communication with the client from the beginning of a project are the key elements to successfully implement research-based design interventions.
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Wood, James. "Digital ways of making, commons-based making and digital fabrication : a practice based study of design making for the coming age of networked digital artefacts." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19403/.
Full textAbstract:
This thesis proposes digital making as a novel practice for the design and fabrication of technological, post-digital, computational artefacts grounded in an exploratory design making practice. It builds on recent emergent practices in design and technology research and the developing maker scene. The contextual framework for the research was the paradigm of ubiquitous computing, set against the growth of the DIY maker ethos, and the potential for commons-based applications that enable communities of practice. These terms are introduced in a critical literature review arranged in three themes; Ubiquity, Commons and Hacking. A methodological approach centred on prototyping and material experimentation was developed through three practical studies; using design methods to describe interactions in ubiquitous computing, using digital fabrication to demonstrate peer-to-peer making, and using commons-based applications to create an online community of practice for objects and makers to co-exist. The critical practice of the research that was informed by the following principles; sharing tools and toolkits freely, open-sourcing the design and making practices in this area, and by forming interconnected communities of practice by the use of web-based applications and networks. Thus the fieldwork of the research contains substantive critical practice data gathered from design-making and technical development of software and hardware, grounded in physical computing and digital fabrication processes. The major practical outcomes are designs and prototypes for original archetypes of peer-to-peer objects; networked digital artefacts that have shared knowledge built into their construction, and that enable peer-to-peer transfer technically by including Near Field Communication (NFC) a wireless technology. The research encourages peer-production by sharing of resources, materials and designs as in open source software and open source hardware. This suggests a move towards a commons-based era of design and open source products that challenge the methods of production and economies of ownership. The thesis concludes with a critical reflection on the practice contained, with reference to the themes stated, in proposing everyday ubiquitous computing objects that embody a digital DIY way of making, and exemplify a shared community perspective. Thus the contribution to knowledge of the thesis is a model for the engagement and development of ‘everyday’ creativity with open and accessible digital technologies.