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Journal articles on the topic 'Nouveaux designs'

Author: Grafiati

Published: 25 June 2021

Last updated: 15 February 2022

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1

Richeval, C., V. Clin, L. Humbert, T. Nefau, J. M. Gaulier, and D. Allorge. "Le retour des comprimés d’ecstasy : nouveaux designs, nouveaux dosages…" Toxicologie Analytique et Clinique 28, no. 2 (June 2016): S36—S37. http://dx.doi.org/10.1016/j.toxac.2016.03.061.

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2

Cabanes, Benjamin, Pascal Le Masson, and Benoît Weil. "Organiser la création de connaissance pour l’innovation de rupture." Revue Française de Gestion 46, no. 288 (April 2020): 35–60. http://dx.doi.org/10.3166/rfg.2020.00420.

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À partir d’une étude cas longitudinale chez STMicroelectronics, cette recherche s’intéresse aux processus de création de nouvelles connaissances pour l’innovation de rupture. L’article propose d’introduire le concept de société proto-épistémique d’experts pour mettre en évidence les modalités organisationnelles permettant le renouvellement des connaissances scientifiques et techniques, et l’émergence de nouveaux dominant designs.

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3

Harvey, Pierre-Léonard. "La connaissance au-delà du savoir à l’ère des inforoutes : de la diffusion de l’information à la création du sens dans les bibliothèques virtuelles." Documentation et bibliothèques 48, no. 1 (May 15, 2015): 5–9. http://dx.doi.org/10.7202/1030467ar.

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Le concept de gestion du savoir, knowledge management, n’est pas nouveau dans l’univers de la pratique de la conception des systèmes d’information. Cependant, des changements radicaux dans l’environnement social, économique et technologique suggèrent qu’il y ait des limites importantes à la vision traditionnelle des systèmes d’information qui influencent la gestion du savoir. Le travail du documentaliste et du bibliothécaire n’y échappe pas. Car nous réalisons que la nature heuristique de l’approche qui sous-tend de tels systèmes est inadéquate dans le design des nouveaux environnements éducatifs, d’enseignement, d’apprentissage, de documentation dédiés à l’amélioration des connaissances humaines. Le nouvel environnement socio-économique n’est pas seulement caractérisé par le changement, mais aussi par la nature discontinue de ce changement. L’environnement des bibliothèques et des centres de documentation est également caractérisé par ce changement discontinu qui demande que l’on reconceptualise la gestion du savoir telle qu’elle a été comprise depuis 20 ans et surtout depuis le début des années 1990, c’est-à-dire comme des systèmes d’information et non comme support à la création de sens. Le présent article propose une reconceptualisation du modèle de la diffusion du savoir qui prévaut dans nos milieux de documentation, modèle fortement tributaire du courant des systèmes d’information des entreprises et de l’informatique. Nous devons réfléchir et opérationnaliser un modèle de la création du sens dans la gestion de l’information et du savoir pour faire face aux nouveaux usages et aux nouveaux comportements des personnes et des communautés d’apprentissage dans le contexte de la convergence. L’auteur de cet article expliquera le besoin de reconceptualiser l’approche de la diffusion de l’information dans les nouveaux environnements et organisations d’apprentissage et il montrera les valeurs et les assomptions qu’elle sous-tend.

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4

Krastins, Janis. "Architecture of Charles Carr in Liepāja." Landscape architecture and art 15 (March 23, 2020): 31–37. http://dx.doi.org/10.22616/j.landarchart.2019.15.03.

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Contribution of civil engineer Charles Carr to the development of Liepāja's Art Nouveau architecture is analysed in the article. Art Nouveau in Liepāja is one of the greatest values of architectural heritage of the city. Buildings of this style determine the cityscape in many places, but data on Liepāja's Art Nouveau architects until recent past were extremely sparse. Ch. Carr was known only as the author of the design of the building at Graudu iela 45. Two more his designs, including the one for the building at Graudu iela 44, were found during research. Analysis of planning principles, methods of artistic composition and architectural detailing of these works allowed identifying several other notable Liepāja Art Nouveau buildings as possible creations of Ch. Carr and to determine the place of this personality in the history of Latvian culture.

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5

Pascu, Nicoleta Elisabeta, Victor Adir, and George Adir. "Art and logo design." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 81–86. http://dx.doi.org/10.18844/prosoc.v7i4.5792.

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This paper aims to present a research study concerning the graphics and symbols in logo design exhibited in an art program dubbed ‘Golden Ages of Art Nouveau and Art Deco’. It was important for us to understand these trends, their characteristics and graphics, to create many times beautiful masterpieces of art. We have noticed a lot of differences between these two art movements related to symbols, signs and colours which were used. It was ‘a special art travel’ to study, theoretically and practically, the field of logo design connected to these ages. Starting from our research study, we have tried to make ‘a basket’ of features which characterises each trend. We have tried to explain the diversity of elements used as an art graphic design focused on logos. And, of course, we have tried to create logos using the features of Art Nouveau and Art Deco. Keywords: Art Nouveau, Art Deco, logo design, feature, symbols, colours.

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6

Baudin, Fernand. "EMIGRE, les « nouveaux Primitifs » du graphic design." Communication et langages 89, no. 1 (1991): 61–72. http://dx.doi.org/10.3406/colan.1991.2317.

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7

Piponnier, Anne, Anne Beyaert-Geslin, and Stéphanie Cardoso. "Projet et design, nouveaux mots d’ordre, nouveaux slogans de l’action et des pratiques sociales ?" Communication et organisation, no. 46 (December 1, 2014): 5–14. http://dx.doi.org/10.4000/communicationorganisation.4695.

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8

Liu, Jingjing. "Anatomy of Gaudi's Curve Architectural Language." Journal of Arts and Humanities 6, no. 7 (July 20, 2017): 33. http://dx.doi.org/10.18533/journal.v6i7.1204.

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<p>Gaudi was a unique architectural designer at the aspect of architectural design in Art Nouveau. His architectural design has a unique line design, including the external shape curve of Casa Mila being representative. The external shape design of Casa Mila had subverted the external design of traditional architectures. The wave shape of its vertical wall had broken the contemporary traditional aesthetic consciousness of architectures. Thus, the reasons and effects for the curved shape in the external shape design of Casa Mila showing incisively and vividly how subversive and disruptive Casa Mila being are the source of studying its external curve design. During the same period, many architectural designs were also applied to curves in the external shape of the buildings. Therefore, the external shape of curves on Casa Mila is how its architectural design curves standing out are contrasted by curve design applied to other contemporaneous architectures in the period of Art Nouveau. The view of this paper expounds the reason that the curvilinear design of Casa Mila is different from that of other architectures, and the influence of the curvilinear design of Casa Mila in the period of Art Nouveau. This paper starts with the analysis of the architectural curve of Casa Mila. By comparative analysis of curve profile and its curvature in external modeling of "House of the People" and Tassel Hotel, this paper reveals that Gaudi's architectural features have an unique external modeling and conveys that the architectural curve of external shape more abounds in using natural elements of imitation.</p>

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9

BHOGAL, GURMINDER KAUR. "Debussy’s Arabesque and Ravel’s Daphnis et Chloé (1912)." Twentieth-Century Music 3, no. 2 (September 2006): 171–99. http://dx.doi.org/10.1017/s1478572207000448.

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AbstractJust as arabesque carries a range of visual and literary associations, this ornament assumes a diverse presence in music scholarship, where it characterizes a wide repertoire and assortment of techniques. Despite its conceptual breadth, this essay shows that arabesque upheld a specific musical identity for Debussy and Ravel. This is reflected in their simulation of art nouveau’s intricate and fluid designs through melodic gestures that emphasize irregular rhythms and dissonant metres. Also in keeping with art nouveau is the tendency of these composers to privilege musical arabesque’s structural appearance and expressive capacity. These observations are explored with reference to Ravel’s Daphnis et Chloé, a ballet that critics admired for its arabesque qualities. An analysis of four dances will reveal how the distinct rhythmic and metric profiles of arabesque melodies portray characters and their narratives. In challenging preconceptions of ornament as marginal and meaningless, this essay shows how arabesque became endowed with structural and expressive significance at the début du siècle.

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10

McLean Knapp, Sarah. "Design Studies in Canada?" RACAR : Revue d'art canadienne 40, no. 2 (March 3, 2016): 22–26. http://dx.doi.org/10.7202/1035393ar.

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Dans ce bref article, nous traçons l’histoire de l’enseignement du design au Canada pendant les quarante dernières années et la comparons avec celle au Royaume-Uni, où l’on a assisté à une croissance significative des études du design et des programmes d’histoire du design. Nous soutenons qu’il est impératif de créer de nouveaux programmes d’études du design au Canada afin, d’une part, de renforcer l’éducation pratique en design et, de l’autre, de retenir les jeunes chercheurs et chercheures.

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11

Laurent, Stéphane. "Les nouveaux territoires des arts décoratifs et du design." Perspective, no. 3 (September 30, 2007): 521–25. http://dx.doi.org/10.4000/perspective.3647.

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12

Lochhead, Ian. "The Style of the 1890s: Art Nouveau design in New Zealand Architecture." Architectural History Aotearoa 4 (October 31, 2007): 34–39. http://dx.doi.org/10.26686/aha.v4i0.6738.

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The influence of Art Nouveau on New Zealand architecture has generally been considered to be negligible but its impact was nevertheless significant during the period from 1890 to the outbreak of the First World War. Across a wide range of building types, from large scale public buildings to modest houses, Art Nouveau-inspired door pulls, dados, embossed ceilings, leaded glass and tiles abound. This paper explores the largely hidden presence of Art Nouveau in New Zealand architecture of this period and considers the reasons why buildings that otherwise have little connection with the style incorporate features that are often strikingly disparate in aesthetic terms. Is this because New Zealand architects and builders simply did not understand the aesthetic implications of their actions? Was it a consequence of remoteness from centres of architectural innovation or the result of purchasing items, magpie-like, from architectural catalogues? Or was it, indeed, the result of a desire to achieve an aura of "instant sophistication"?

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Makhmudova, Malika, Dilfuza Jumaniyazova, and Gayrat Abdullahodjaev. "The Landscape Design of the Art Nouveau Style." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 391. http://dx.doi.org/10.17770/sie2015vol2.428.

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<p><em><span lang="EN-US">The article describes some of the features of the development of landscape design in the Art Nouveau style and its application in the modern world. In particular, it presents the main features of the style, its appearance and the main masters, such as Antonio Gaudi. The Art Nouveau style has been widely used in modern life, as well as landscape design, which is expressed through a particular interpretation of the basic rules and compositional techniques, colour solution of small garden, plant selection and combinations thereof, types of decorative paving, small architectural forms and garden equipment.</span></em></p><p> </p>

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14

Devailly, J. P. "Design universel : un nouveau paradigme pour l’accessibilité ?" Journal de Réadaptation Médicale : Pratique et Formation en Médecine Physique et de Réadaptation 30, no. 3 (September 2010): 93–95. http://dx.doi.org/10.1016/j.jrm.2010.03.002.

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15

Gumulya, Devanny, and Richard Santio. "GAYA ART NOUVEAU SEBAGAI INSPIRASI DALAM PERANCANGAN DESAIN PRODUK." Jurnal Dimensi Seni Rupa dan Desain 11, no. 2 (September 1, 2014): 123. http://dx.doi.org/10.25105/dim.v11i2.109.

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<strong>Abstract</strong><br />Art Nouveau is an art movement originated from France. The word "Art Nouveau" in French means "New Art". Art Nouveau reached its peak popularity in the early 20th century. Art Nouveau brought "Back to Nature" theme. Therefore, the Art Nouveau lines and shapes are not far from natural life<br />including plants and animals. In our country Indonesia, The Art Nouveau is not as popular as The Art Deco, one of the factors because the country of Indonesia is an ex Dutch colony country. Buildings built by Dutch architect were Art Deco style buildings. On the other hand there is an increase of market interest in classic contemporary interior. PT. Dempsey Nusantara is one of<br />example of furniture manufacture with classic contemporary style. In this paper we try understand the design spirit of Art Nouveau from the definition, character, and its application in many countries. After understanding the thinking and visual character of Art Nouveau, it is used as an inspiration for<br />designing dining set as an apprentice project in Dempsey.<br /><br /><br /><strong>Abstrak</strong><br />Art Nouveau merupakan gerakan seni yang berasal dari Perancis. Kata “Art Nouveau” sendiri dalam bahasa Perancis berarti “Seni Baru”. Art Nouveau mencapai puncak popularitas pada awal abad 20. Seni Art Nouveau membawa tema “Kembali ke Alam”. Maka dari itu, tarikan garis dan bentuk Art Nouveau diambil dari alam meliputi flora dan fauna. Di Indonesia sendiri, Seni Art Nouveau tidaklah sepopuler Seni Art Deco. Salah satu faktor adalah karena negara Indonesia merupakan negara jajahan Belanda dimana bangunan-bangunan yang didirikan<br />arsitek Belanda bergaya Art Deco. Disisi lain ada peningkatan minat pasar pada interior klasik kontemporer salah satu produsen adalah PT. Dempsey Nusantara. Di makalah ini kami mencoba membahas apa yang menjadi semangat desain Art Nouveau ini mulai dari definisi, karakter, dan aplikasinya di berbagai negara. Karena dengan memahami, barulah bisa dijadikan inspirasi untuk merancang set furnitur ruang makan sebagai proyek magang di Dempsey.

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16

Davydova, Olga. "“Dreaming of Russia”." Experiment 25, no. 1 (September 30, 2019): 189–206. http://dx.doi.org/10.1163/2211730x-12341338.

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Abstract The National-Romantic trend in Russian Art Nouveau is characterized by a lyrical approach to the past, including imagery from folklore. This tendency is also identifiable within the global development of Art Nouveau, each country expressing its national identity in highly characteristic forms in design and architecture. Art Nouveau coincided with the zenith of Symbolism and, therefore, transmitted both its universal ideas and the unique creative psychology of the individual artist, who often based personal quest upon local traditions and innate cultural memory. This article analyzes the poetics of this style in Russia. The lyrical and mythological approach towards artistic images, influencing design, form, and meaning, is studied through an examination of the works of artists close to the Abramtsevo circle and the innovative experiments of the World of Art group (1898-1904).

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17

Schachat, S. R. "Insect Biodiversity in Meiji and Art Nouveau Design." American Entomologist 61, no. 4 (2015): 215–22. http://dx.doi.org/10.1093/ae/tmv071.

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18

Santo, Santo. "PERPADUAN SENI FOTOGRAFI DAN GAYA ART NOUVEAU." Jurnal Dimensi Seni Rupa dan Desain 15, no. 2 (February 1, 2019): 219. http://dx.doi.org/10.25105/dim.v15i2.5647.

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<strong>Abstract</strong><br />Feminine style inspiration in art media is built as one of the learning media in photography. The artistic concept of combining beauty / beauty with photography as one of the mediums of art. Photography is a medium that displays visual art, and artistic creation which are connected with the Art Nouveau style. Whereas, art nouveau is a design style featuring ornaments or decorations that embody a feminine impression. Through art nouveau photography, photography is displayed with digital techniques so that it can create a photography with a feminine impression.<br /><div> </div><div> </div><strong>Abstrak</strong><br />Inspirasi gaya feminim dalam media seni dibangun sebagai salah satu media pembelajaran pada fotografi. Konsep artistik dalam menggabungkan sebuah keindahan / kecantikan dengan media fotografi sebagai salah satu medium seni. Fotografi adalah sebuah medium yang menampilkan seni visual, melalui kreasi artistik melalui fotografi sebagai medium dalam penciptaan fotografi dihubungkan dengan gaya Art Nouveau, dimana art nouveau adalah sebuah gaya desain yang menampilkan ornament atau hiasan yang mewujudkan kesan feminim. Melalui fotografi gaya art nouveau ditampilkan dengan tehnik digital sehingga dapat mewujudkan fotografi yang menampilkan keindahan dengan kesan feminim yang dapat dinikmati.<br /><br />

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19

Thorpe, Alice. "Cinema by design: Art Nouveau, modernism, and film history." Early Popular Visual Culture 15, no. 3 (July 3, 2017): 386–88. http://dx.doi.org/10.1080/17460654.2017.1394043.

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20

Fischer. "Invisible by Design: Reclaiming Art Nouveau for the Cinema." Film History 25, no. 1-2 (2013): 55. http://dx.doi.org/10.2979/filmhistory.25.1-2.55.

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21

Mégie, Antoine. "La «scène terroriste» : réflexions théoriques autour de l'«ancien» et du «nouveau» terrorisme." Canadian Journal of Political Science 43, no. 4 (December 2010): 983–1003. http://dx.doi.org/10.1017/s000842391000096x.

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Résumé.Cette note de recherche se propose d'interroger le fait terroriste à travers une étude du paradigme faisant du terrorisme post-11 septembre 2001 un phénomène «nouveau». L'intérêt de cette contribution est d'examiner précisément la validité de ces études tout en dégageant une approche singulière du terrorisme en tant qu'objet de recherche. Grâce à l'élargissement de la focale d'analyse à un ensemble hétérogène d'acteurs (pouvoirs politiques et de sécurité, médias, opinions publiques), nous proposons une lecture en termes de «scène terroriste». Ne pas se centrer exclusivement sur l'étude des groupes revendiquant la violence politique offre la possibilité de poser de manière renouvelée la question de la nouveauté du terrorisme post-11 septembre comme phénomène politique à part entière.Abstract.The aim of this contribution consists in analyzing the “terrorism” through the academic and political struggles about the paradigm of the “new terrorism” since the events of 9/11. Thanks to the exploration of the real difference between “old” and “new” forms of terrorism, this research note argues the interest of a specific research design which implies multiplying levels and focus of analysis from the terrorism groups to counterterrorism actors, society and media. This approach in terms of “scène terroriste” asks in a new point of view the question of continuity of political violence since the bombing attacks of 9/11.

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22

Gautier, Philippe, Jocelyne Le Bœuf, and Sébastien Proulx. "Nouveaux regards sur les sciences du design : esquisse d’analyse de la dynamique francophone." Sciences du Design 10, no. 2 (2019): 25. http://dx.doi.org/10.3917/sdd.010.0025.

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23

Clericuzio, Peter. "Art Nouveau and Bank Architecture in Nancy: Negotiating the Re-Emergence of a French Regional Identity." Architectural History 63 (2020): 219–56. http://dx.doi.org/10.1017/arh.2020.6.

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AbstractArt nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian empire, art nouveau in eastern France has been linked to long-standing regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city's modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanating from the École des Beaux-Arts in Paris with the employment of highly symbolic regional naturalist motifs and architectural elements. This strategy fulfilled a variety of communicative functions to appeal to a civic populace whose identity was multivalent and shifting with the era's political climate, particularly with regard to the nearby ‘lost provinces’ of Alsace-Lorraine in the aftermath of the Franco-Prussian war.

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24

Khan, Wajeeh. "Nouveaux concepts de traitement par aligneurs : le système Orthocaps." L'Orthodontie Française 85, no. 3 (August 28, 2014): 253–64. http://dx.doi.org/10.1051/orthodfr/2014011.

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Déplacer les dents avec les aligneurs représente un défi, tout comme celui d’utiliser d’autres appareils amovibles. Les limites mécaniques des aligneurs peuvent être en partie contrecarrées par l’augmentation de l’adhérence de la gouttière sur les dents, mais également en choisissant, pour leur fabrication, des matériaux en fonction de leur module d’élasticité. On peut obtenir des résultats tout à fait satisfaisants pour des patients en recherche d’une alternative à l’appareil multiattache, à la fois esthétique et confortable, si l’on établit un plan de traitement adapté et que l’on sélectionne des auxiliaires adéquats. Les caractéristiques spécifiques au système Orthocaps sont l’utilisation de matières thermoplastiques élastiques, le recours à un scanner de grande précision, le thermoformage sous haute pression, des auxiliaires au design unique (patins de friction). Des setups interactifs en 3D sont également utilisés pour permettre à la fois l’échange avec le praticien concernant la planification de traitement puis son approbation, mais également la réévaluation à intervalles réguliers en cours de traitement

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Polyakov, E. N., and T. V. Donchuk. "FORMATION OF FRENCH ART NOUVEAU STYLE IN EARLY WORKS OF HECTOR GUIMARD." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 5 (October 29, 2019): 9–35. http://dx.doi.org/10.31675/1607-1859-2019-21-5-9-35.

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The article is devoted to the early activity of the famous architect Hector Guimard (1867–1942), the creator of French Art Nouveau. During this period (1891–1900) he successfully combined project work with teaching at the École Nationale Supérieure des Beaux-Arts. He searched for own directions in the architecture. Testing a variety of eclectic styles, in 1894 year Guimard acquainted himself with the work of Belgian architect Victor Horta (1861–1947) and adopted the main elements of the Art Nouveau. The article considers the earliest design works of E. Guimard, which reflected the main directions of his creative search, including Parisian mansions (1891–1894), Castel Beranger (1894–1898), Coilliot House in Lille (1898), Paris Metro (1898–1912).

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Udovicki-Selb, Danilo. "Le Corbusier and the Paris Exhibition of 1937: The Temps Nouveaux Pavilion." Journal of the Society of Architectural Historians 56, no. 1 (March 1, 1997): 42–63. http://dx.doi.org/10.2307/991215.

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This essay examines the circumstances leading to the completion of Le Corbusier's and Pierre Jeanneret's Temps Nouveaux Pavilion and reconstructs both the significant role Jeanneret played in the pavilion's design and the relationships Le Corbusier used in his partially successful effort to be represented at the International Exhibition of 1937. This episode sheds light on Le Corbusier's attempts at seducing the French Left, after a protracted yet futile courtship of the Right. While suggesting a new reading of Le Corbusier's design strategies in the larger urban system of Paris, this essay attempts to fill the gaps in our understanding of the ways in which the architectural avant-garde tried to identify and handle its clients and broader social groups.

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Ledel, Fabiane Lima, Maria da Graça Portella Lisboa, and Edir Lúcia Bisognin. "Design de joias com matéria-prima brasileira e conceito art nouveau." Revista Latino-Americana de Inovação e Engenharia de Produção 3, no. 4 (October 21, 2015): 9. http://dx.doi.org/10.5380/relainep.v3i4.43598.

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O projeto proposto, inspirado no estilo Art Nouveau, apresenta a criação de uma coleção de joias em que as peças das linhas: Lé Metropolitain, Petit Palais e Villa Majorelle remetem aos elementos arquitetônicos e do mobiliário urbano da época. Em que os elementos orgânicos e as formas assimétricas foram adaptados a tendência de mercado atual, visando, assim, atender o público feminino. O metal foi o material escolhido como base para a criação da coleção, pois remete ao ferro forjado, utilizado nas obras de referência. Outros temas importantes abordados no decorrer do texto são a valorização da matéria-prima nacional, como as gemas e o capim dourado, bem como a questão ambiental relacionada aos processos de produção e os aspectos simbólicos valorizados na estética contemporânea.

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ADACHI, Hiroshi, and Kazufumi FUJIIWA. "THE SUMITOMO TEMPORARY DESIGN OFFICE AND ART NOUVEAU IN JAPAN 1." Journal of Architecture and Planning (Transactions of AIJ) 63, no. 511 (1998): 193–99. http://dx.doi.org/10.3130/aija.63.193_2.

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ADACHI, Hiroshi. "The Sumitomo temporary design office and Art Nouveau in Japan 2." Journal of Architecture and Planning (Transactions of AIJ) 64, no. 517 (1999): 269–76. http://dx.doi.org/10.3130/aija.64.269_1.

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30

Goldman, P. "Dutch Art Nouveau and Book Design, 1892-1903. By ERNST BRACHES." Library 11, no. 2 (June 1, 2010): 238–40. http://dx.doi.org/10.1093/library/11.2.238.

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Koottatep, Thammarat, Tatchai Pussayanavin, and Chongrak Polprasert. "Nouveau design solar septic tank: Reinvented toilet technology for sanitation 4.0." Environmental Technology & Innovation 19 (August 2020): 100933. http://dx.doi.org/10.1016/j.eti.2020.100933.

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Hoffmann, Jonas, Jean-Pierre Mathieu, Gilles Roehrich, and Pierre Valette-Florence. "Le processus de développement de nouveaux produits : une collaboration risquée entre marketing et design." Market Management 7, no. 3 (2007): 104. http://dx.doi.org/10.3917/mama.043.0104.

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Elmahni, Lahoussine, Soufiane Baribi, Hassan Kitane, Badr Ambri, Farid Douslimane, and Hicham Elkhalifi. "Proposition et évaluation d’un programme d’enseignement de l’informatique basé sur le modèle STEAM pour les élèves du primaire." ITM Web of Conferences 39 (2021): 03003. http://dx.doi.org/10.1051/itmconf/20213903003.

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Le développement de l’intelligence numérique va profondément modifier aussi bien notre marché du travail que notre enseignement. Pour s’adapter à une telle situation, la généralisation d’un modèle d’enseignement basé sur la théorie STEAM (Sciences, Technologies, Engineering, Arts et Mathématiques), s’avère une solution attrayante. Cette approche interdisciplinaire qui combine la créativité (art et design) et les sciences (technologie, ingénierie et mathématiques), permet aux élèves de développer des solutions innovantes à des problèmes réels, en développant l’hémisphère gauche et l’hémisphère droit du cerveau. L’objectif de cette approche est de développer chez les apprenants un certain nombre de compétences comportementales et techniques essentielles dans un futur proche, par le biais de la robotique et du codage. Ceux-ci permettent d’introduire de nouveaux modes d’apprentissage à travers des expériences, en mode projet, par essai-erreur et résolution de problèmes. Le but de cet article est de développer un programme de robotique et de programmation destiné aux écoles primaires Marocaines et de favoriser le processus de transfert didactique des apprentissages. L’étude a montré que l’introduction des robots dans l’apprentissage au primaire est une approche concrète pour construire les nouveaux concepts informatiques.

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Nummi, Pilvi, and Tuija Tzoulas. "Engaging Citizens in Cultural Planning with a Web Map Survey." Culture and Local Governance 5, no. 1-2 (December 30, 2015): 161–73. http://dx.doi.org/10.18192/clg-cgl.v5i1-2.1470.

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This article discusses the use of a web map survey tool for cultural mapping in Nikkilä, in the municipality of Sipoo, Finland. Nikkilä has in place an ongoing cultural planning and development process that involves collaborative planning between the municipal urban planning department and the cultural department. Cultural planning is a culturally sensitive approach in urban development. The main goal in cultural planning is to study ‘sense of place’ and discover what makes the place distinctive. The starting point of the process is to study the experiences and visions of local inhabitants and other public stakeholders regarding the area and its resources. Cultural mapping is a central part of a process that aims to increase the welfare and attractiveness of Nikkilä by utilizing existing cultural resources. This paper describes the participative design process of the web map survey, which was used as a cultural mapping tool to engage citizens to participate in the cultural planning process. Based on the case study, we are convinced that a web map survey is suitable for use as a cultural mapping tool. However, to achieve a good result it is necessary to invest in the design as well as the marketing of the survey. User-centred methods, such as collaborative planning, can be used to engage different user groups in the design of the survey. The earlier that prospective respondents can be involved in the collaborative design of a survey, the better results can be expected, quantitative as well as qualitative.Keywords: web map survey, cultural mapping, citizen participation, public participation geographic information systems (PPGIS)Résumé: Cet article discute de l’introduction d’outils de cartographie web dans le cadre de la planification culturelle de Nikkilä, dans la municipalité de Sipoo en Finlande. La zone de Nikkilä a depuis longtemps mis en place un processus de planification culturelle en collaboration avec le Département de planification urbaine et le Département de la culture. La planification culturelle est une activité sensible dont l’objectif principal consiste à cerner ce qui participe à l’identité d’un espace de la ville, et permettant de relever ce qui lui confère son caractère distinct. Pour Nikkilä, la planification culturelle permet de mettre en lien les ressources culturelles disponibles afin de rendre la région plus attractive. Cet article met en relief l’utilisation des nouveaux outils web de planification culturelle et leur utilisation dans le cadre de projets de design culturel participatif. L’étude de cas démontre l’utilité de ces nouveaux outils de planification culturelle. De plus, cet article rappel l’importance du design et du marketing pour le succès de l’application des nouveaux outils de planification en ligne.Mots clé: carte topographique en ligne, cartographie culturelle, participation du citoyen, systèmes d'information géographique publics et participatifs

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Silverman, Willa Z. "Esthetic Languages of the Book in Fin-de-Siècle France: Japonisme, Symbolism, and Art Nouveau in the Private Library of Henri Vever." Quaerendo 48, no. 3 (October 22, 2018): 179–205. http://dx.doi.org/10.1163/15700690-12341410.

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Abstract The private diaries written between 1898 and 1901 by the French jeweler, art collector, and bibliophile Henri Vever (1854-1942) provide fresh evidence about how important late-nineteenth century esthetic ‘languages’ (japonisme, Symbolism, Art Nouveau) were appropriated by artists committed to renewing the decorative arts; the diaries also address the meaning and status of books. For Vever, his extensive collection of Japanese pattern albums served, above all, a utilitarian function, as design primers and sources of information about printing and engraving techniques for craft modernizers. At the same time, included in the physical space of his ‘Japanese library’ and in line with Symbolist esthetics, Japanese books were, to Vever, suggestive bibelots, whose evocative powers were enhanced through inclusion in harmonious decors. Vever’s experiments in Art Nouveau book design, finally, reveal his additional conception of the book as both surface to be decorated and space of artistic collaboration underscoring the equality of all arts.

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Dampérat, Maud, Florence Jeannot, Eline Jongmans, and Alain Jolibert. "Modélisation d’un processus de co-créativité : les apports du design et du management." Recherche et Applications en Marketing (French Edition) 34, no. 3 (March 5, 2019): 124–53. http://dx.doi.org/10.1177/0767370119830383.

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Résumé Cette étude a pour but d’améliorer le développement de nouveaux produits en fournissant aux praticiens et aux chercheurs une meilleure compréhension du processus de co-créativité via l’intégration des apports du design et du management à la démarche marketing. Elle propose et teste empiriquement un modèle de co-créativité basé sur les trois étapes du design thinking : (1) la définition des besoins, (2) la production des idées, et (3) le prototypage de la solution. Ce modèle étudie également l’influence de variables individuelles – empathie, familiarité avec le domaine, implication dans la tâche – sur le processus créatif. Les résultats valident le rôle médiateur des variables associées à la production d’idées entre la définition des besoins et le prototypage, ainsi que l’intérêt des variables individuelles sélectionnées. La validité prédictive du processus de co-créativité est testée via l’évaluation de la performance créative. Plusieurs domaines d’action sont proposés à chaque étape du processus de co-créativité, permettant aux organisations de stimuler la créativité de leurs équipes.

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Gerasimov, A. P., and T. V. Biryukova. "INTERIOR OF ART NOUVEAU ARCHITECTURE IN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 2 (April 29, 2019): 102–12. http://dx.doi.org/10.31675/1607-1859-2019-21-2-102-112.

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The article discusses the development of the interior in private and public buildings in Russia late in the 19th and early 20th centuries. Romantic trends that emerged in architecture Western Europe in the 19th century turned into the new style expressed in modernity, which fundamentally differs from the historical repetition in architecture of the early period. This article is an interdisciplinary work and describes such arts as architecture, painting, and decorative and applied arts. The main feature of modernity is the internal space, subordinating the interior to the exterior, its graphic and artistic solution. The article focuses on the history of the interior and light design, furniture style and color.

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Hernandez Tudela, Anna. "Furniture and Interior Design in Joan Amigo's Architecture: between the Viennese Secession, the Glasgow School and Art Deco." Res Mobilis 10, no. 13-3 (June 29, 2021): 118–33. http://dx.doi.org/10.17811/rm.10.13-3.2021.118-133.

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One of the most unknown sides of the art nouveau architect Joan Amigó Barriga is his role as interior designer. In this article, we would like to introduce the indoors created by the architect through the years, where we can observe the harmony between façades, insides and furniture. Besides, we also focus on his peculiar influence from the Vienna Secession, Glasgow School and later in the ’30s by the art déco style.

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Giardina, Max. "L’interactivité dans un environnement d’apprentissage multimédia." Articles 18, no. 1 (November 2, 2009): 43–66. http://dx.doi.org/10.7202/900719ar.

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Cette étude analyse l’évolution du concept d’interactivité entre un apprenant et un système d’apprentissage interactif multimédia. Une importance particulière est donnée à la dimension cognitive de l’interactivité. L’identification et la définition des concepts sous-jacents à cette évolution nous amènent à présenter un modèle théorique qui prend en considération la structuration du contenu à travers une modélisation et une représentation nouvelles, le type de transaction entre apprenant et système interactif ainsi que les possibilités d’adaptation, de réajustement et d’intervention que le design de ces nouveaux systèmes d’apprentissage doit comporter pour passer d’un environnement expert à un environnement apprenant.

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Polyakov, E. N., and T. V. Donchuk. "ARCHITECTURAL HERITAGE OF VICTOR HORTA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 1 (February 27, 2019): 29–59. http://dx.doi.org/10.31675/1607-1859-2019-21-1-29-59.

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The article is devoted to the design activity of the famous Belgian architect Victor Horta (1861–1947), one of the founders of the European art Nouveau (Art Nuoveau). The interest in this unique architect is due to the fact that he lived a very long and creative life, and left a huge creative heritage. In 1967, his best Art Nouveau works received a well-deserved recognition and became the property of world culture. The paper presents the analysis of architectural, compositional and structural features of a number of buildings erected in Brussels. Four of them are included in the list of UNESCO world heritage sites in 2000. Including the Tassel House (1892–1893), The Hôtel Solvay (1894–1900), The Hôtel van Eetvelde (1895–1897) and The Horta Museum (1898–1900). Some aspects of his scientific, pedagogical and sociopolitical activities are also considered.

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Breuleux, Alain, Gaalen Erickson, Thérèse Laferrière, and Mary Lamon. "Devis sociotechniques pour l’établissement de communautés d’apprentissage en réseau pour l’intégration pédagogique des TIC en formation des maîtres." Articles 28, no. 2 (February 11, 2004): 411–34. http://dx.doi.org/10.7202/007361ar.

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Résumé L’article propose un cadre conceptuel pour le renouvellement des pratiques de formation des enseignants, pratiques issues de l’intégration pédagogique des technologies de l’information et de la communication, elle-même orientée vers l’apprentissage en collaboration. Adoptant une perspective socioconstructiviste et une méthodologie d’expérimentation de devis socio-techniques (design experiments), les chercheurs formulent treize principes de conception de l’intégration des TIC pour favoriser l’interaction sociale au sein et entre des communautés d’apprentissage. Ces résultats proviennent de plusieurs cycles d’expérimentation effectués en quatre contextes différents. Ils dégagent ensuite des conditions de réussite de l’intégration pédagogique de ces nouveaux outils pour le renouvellement de la formation des enseignants.

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Beccari, Marcos Namba. "Do ornamento ao design total: um panorama histórico a partir de Hal Foster." Palíndromo 12, no. 27 (May 1, 2020): 056–69. http://dx.doi.org/10.5965/2175234612272020056.

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Este artigo retoma o polêmico texto “Design e crime”, de Hal Foster, para delinear um breve panorama histórico acerca das relações entre a ornamentação do Art Nouveau e o que o autor denomina “design total”. Para tanto, revisito o debate oitocentista em torno do ornamento e explico como o culto à personalidade emerge com a ornamentação da vida pública. A partir disso, sustento que a difusão do design na vida contemporânea está atrelada a uma conduta do “designer de si”. Assinalo, por fim, a atualidade da provocação de Foster, indicando que, na contramão das narrativas que expõem o design como superação do ornamento, o design segue operando em larga medida à guisa de uma racionalidade ornamental.

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Notteboom, Bruno. "Le Nouveau Jardin Pittoresque: ethics, aesthetics and garden design in Belgium (1913–1940)." Journal of Landscape Architecture 7, no. 2 (December 2012): 22–27. http://dx.doi.org/10.1080/18626033.2012.746083.

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Sofiana, Yunida. "Pengaruh Revolusi Industri Terhadap Perkembangan Desain Modern." Humaniora 5, no. 2 (October 30, 2014): 833. http://dx.doi.org/10.21512/humaniora.v5i2.3144.

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The Industrial revolution of the second half of the eighteenth century in Britain was the beginning era of the design modern. Pros and Cons from these revolution happens to comes up with a new movement to art and design that called Art and Craft Movement and Art Nouveau that will be given a tremendous impacts on design modern. Different design approach will be contributed on developing design modern. The research method that has been used for this paper was desk-research method by collected secondary data and analyses to find conclusion about how did the industrial revolution contributed to modern design. The beauty of a design derived from the expertise in exploring new material and technology. The lack in artistic and decorative aspects set new structural and functional display of a design.

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Weisberg, Gabriel, and Deborah Silverman. "Art Nouveau in Fin-de-Siecle France: Politics, Psychology and Style." Design Issues 7, no. 1 (1990): 85. http://dx.doi.org/10.2307/1511476.

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Donnelly, Brian. "The Inversion of Originality through Design." RACAR : Revue d'art canadienne 40, no. 2 (March 3, 2016): 146–60. http://dx.doi.org/10.7202/1035402ar.

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Si la nouveauté et l’originalité sont au centre de l’autodéfinition de la modernité et des discussions sur son avant-garde critique, nous examinons l’idée de la criticalité pour voir comment, dans le graphisme, c’est au contraire la reproduction, la mimesis, et même la copie fidèle qui ont donné lieu à des pratiques et à des transformations critiques percutantes. Notre discussion d’une nouvelle criticalité (malgré la perte d’originalité) repose entre autres sur la théorie cybernétique, sur la philosophie poststructuraliste et sur des exemples tirés de la première histoire du design : l’origine de l’alphabet abstrait occidental et la production européenne de masse de lettres et d’imprimerie. Concluant avec une lecture de la théorie critique, notamment autour de problématiques posées par Adorno, nous suggérons que la mimesis du design professionnel donne lieu à une transformation sociale critique malgré sa position en dehors de l’avant-garde autonome et grâce à ses racines dans le besoin quotidien.

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MILLS, RICHARD. "Axes of Construction: An Analysis of Dutch Art Nouveau Carpet Designs by T. A. C. Colenbrander." Studies in the Decorative Arts 10, no. 2 (April 2003): 69–135. http://dx.doi.org/10.1086/studdecoarts.10.2.40663046.

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Celhay, Franck, Josselin Masson, Karine Garcia, Pauline Folcher, and Justin Cohen. "Design graphique du packaging et innovation : Une étude comparative des codes visuels des vins de Bordeaux et de la Barossa Valley." Recherche et Applications en Marketing (French Edition) 32, no. 2 (December 7, 2016): 48–75. http://dx.doi.org/10.1177/0767370116678732.

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Cette recherche explore l’introduction de designs innovants au travers d’une analyse de contenu et d’une analyse sémiotique des codes visuels de deux régions viticoles : l’une connue pour être traditionnelle (Bordeaux) et l’autre pour être innovante (la Barossa Valley). L’analyse de contenu révèle que les vins australiens se différencient entre eux en utilisant des thèmes et des styles d’illustration variés, tout en se conformant à des codes visuels « dominants » en matière de mise en page, composition, polices de caractères et couleurs. L’analyse sémiotique montre que les thèmes et styles d’illustration introduits par les vins de la Barossa Valley portent des « signifiés » qui sont pertinents pour la catégorie de produits. Ainsi, les résultats indiquent que les « wineries » de la Barossa Valley respectent deux conditions suggérées par la littérature : un degré modéré de nouveauté et un niveau « idéal » d’incongruence (inattendue mais pertinente). Notre étude des significations des codes visuels des deux régions décode les éléments de langage du design graphique des étiquettes de vin. Cela permet de comprendre comment il est possible de créer un design d’étiquette de vin « inattendu mais pertinent ». Enfin, cette recherche identifie quatre stratégies de positionnement des marques de vin et indique comment les exprimer à l’aide du design graphique de l’étiquette.

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Attia, Doaa. "Fractal Art Nouveau Design and the Need to Revive it in the Contemporary Environment." International Journal of Designed Objects 13, no. 1 (2019): 19–39. http://dx.doi.org/10.18848/2325-1379/cgp/v13i01/19-39.

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Lee, Gwang-Yeol. "A Study on the Development of Jewelry Design for Export Using Art Nouveau Forms." Korean Society of Technical Education and Training 25, no. 4 (December 30, 2020): 65–71. http://dx.doi.org/10.29279/kostet.2020.25.4.65.

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