Thèses sur le sujet « Ecology of design practice »
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Metcalfe, Daniel J. « Multispecies design ». Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/13351/.
Texte intégralKoomen, Philip John. « Signed & ; sealed : Agenda 21 and the role of the furniture designer-maker in developing a sustainable practice ». Thesis, Bucks New University, 2006. http://bucks.collections.crest.ac.uk/9922/.
Texte intégralArmstrong, Keith. « Towards an ecosophical praxis of new media space design ». Thesis, Queensland University of Technology, 2002.
Trouver le texte intégralArmstrong, Keith M. « Towards an Ecosophical Praxis of New Media Space design ». Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.
Texte intégralNolan-Spohn, Hannah Katherine. « Urban Ecology : History and Practice ». Thesis, Boston College, 2005. http://hdl.handle.net/2345/483.
Texte intégralThe study of human interactions with nature in the context of urban environments has evolved over the past fifty years. Early writers who were able to view urban areas as ecosystems planted the seeds for what is today an important and growing movement across the United States. They paved the way for later scholars to develop human- and ecologically-based natural histories, to imagine land uses, urban planning and development in new and sustainable ways, and to reinforce the spiritual and emotional bond between humanity and nature. In the last ten to fifteen years, organizations in urban areas around the United States have begun to look at planning and development with both an ecological lens and a focus on community-based, grassroots organizing. The layers of information available for study in an urban area are many and complex, providing an immense amount of data to those who choose to study cities. This study will first trace the theoretical development in understanding urban ecosystems, touching on important themes and groundbreaking authors. Subsequent chapters will build on the foundation laid by these authors in an exploration of the current practical use of urban ecology in the field, focusing on community-based organizations throughout the country
Thesis (BS) — Boston College, 2005
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Brain, Tega Carly. « The politics and poetics of coexistence : experiments at the intersection of art and environmental engineering ». Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61027/1/Tega_Brain_Thesis.pdf.
Texte intégralLa, Follette Tavia. « Sites of Passage : Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice ». Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.
Texte intégralRodd, Robin. « The biocultural ecology of Piaroa shamanic practice ». University of Western Australia. School of Social and Cultural Studies, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0084.
Texte intégralHopfinger, Sarah. « Performance (in) ecology : a practice-based approach ». Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8040/.
Texte intégralRatanavanich, Heidi. « Queer ecology ». Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3516.
Texte intégralZelenock, Julie Ann. « Ecology, architecture, education, design ». PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
Texte intégralJacobsson, Ingemar. « Design patterns in practice ». Thesis, University West, Department of Informatics and Mathematics, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-589.
Texte intégralKennedy, Paul. « Design practice : routine creativity ». Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1847/.
Texte intégralHayley, David H. « Steps to an art of ecology : an emergent practice ». Thesis, Manchester Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530760.
Texte intégralLopez, Alejandro, et 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.
Texte intégralThe 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.
Nuccitelli, Saul A. (Saul Augustine). « Design education--theories and practice ». Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/12309.
Texte intégralApelt, Ronald James. « Ecotourism : design, ideology and practice ». Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/226906/1/T%28BE%26E%29%20685_Apelt_1993.pdf.
Texte intégralKuhn, Simon. « Critical design within the practice of graphic design ». Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1007843.
Texte intégralLopes, Abby Mellick. « ECOLOGY OF THE IMAGE ». Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/708.
Texte intégralLopes, Abby Mellick. « ECOLOGY OF THE IMAGE ». University of Sydney. Department of Art History and Theory, 2005. http://hdl.handle.net/2123/708.
Texte intégralPoplavska, E. « 21st century design : function. individuality. ecology ». Thesis, National Aviation University, 2021. https://er.nau.edu.ua/handle/NAU/50745.
Texte intégralInformation retrieval is an important component for a logical understanding of the meaning of the product, as well as its use in creating design and emotional impact on the buyer. Before creating any sketches, you need to understand the market of competitors on this topic and the target audience. Next, determine what impression the product should make on a person to want to buy the product? The product should be clear, because the buyer needs 15-60 seconds to determine the first, often basic, impression of interest or indifference to the product. Clear design is, graphically executed, answers to the first questions in a person's head. The information provided by the packaging design is parallel to the flow of ideas that are concretized in a single logical direction. It is important to give a person exactly what he needs - then the buyer's decision will be quick and confident, and the product will be remembered. Brand identity is a special identity of a specific product that is difficult to apply to any other packaging. You can use coloring, illustrations, original fonts or materials as a tool for attracting attention ... The point is that the product seems absolutely simple and easy to remember by its design. And this does not mean that everything is really simple, the complexity of the design is to create a unique design, looking at which you will understand how simple and logical it is for this product, so it is irrelevant to use for anything else. It is important that the first impression of the product is a fully harmonious picture, reflected in a single style. In the design of a unique package there should be a scheme, a plan, or a perfect reconstruction of the structures of the composition - this is when the package states everything and almost nothing. Focusing on the important internal components of the design, it is necessary to mention the actual affiliation of the design to the product within the present. The goal: to create a product that will reveal its individuality in the 21st century and the probability of being at the current pace in 20 years. An effective way to incorporate design into the present is to use fashion trends and tendencies, such as smart design elements such as QR codes. How to leave all the necessary information on the package, and illustrate the additional message with a QR-code to go to the site for a more detailed acquaintance with the product.
Пошук інформації є важливою складовою для логічного розуміння значення товару, а також його використання при створенні дизайну та емоційного впливу на покупця. Перш ніж створювати будь-які ескізи, потрібно зрозуміти ринок конкурентів на цю тему та цільову аудиторію. Далі визначте, яке враження товар повинен справити на людину, яка бажає придбати товар? Товар повинен бути чітким, оскільки покупцеві потрібно 15-60 секунд, щоб визначити перше, часто основне, враження про інтерес чи байдужість до товару. Чіткий дизайн - це графічне виконання, відповіді на перші питання в голові людини. Інформація, надана дизайном упаковки, паралельна потоку ідей, які конкретизуються в єдиному логічному напрямку. Важливо дати людині саме те, що йому потрібно - тоді рішення покупця буде швидким і впевненим, а товар запам’ятається. Ідентичність бренду - це особлива ідентичність конкретного товару, яку важко застосувати до будь-якої іншої упаковки. Ви можете використовувати забарвлення, ілюстрації, оригінальні шрифти або матеріали як інструмент для привернення уваги ... Справа в тому, що товар здається абсолютно простим і легко запам’ятовується своїм дизайном. І це не означає, що все насправді просто, складність дизайну полягає в створенні унікального дизайну, дивлячись на який ви зрозумієте, наскільки це просто і логічно для цього продукту, тому використовувати для чогось іншого нецільно. Важливо, щоб перше враження від товару було повністю гармонійним, відображеним в єдиному стилі. У дизайні унікальної упаковки повинна бути схема, план або досконала реконструкція конструкцій композиції - це коли в упаковці зазначено все і майже нічого. Зосереджуючись на важливих внутрішніх компонентах дизайну, необхідно згадати фактичну приналежність дизайну до виробу в межах сьогодення. Мета: створити продукт, який виявить його індивідуальність у 21 столітті та ймовірність досягнення нинішніх темпів через 20 років. Ефективним способом включити дизайн у сьогодення є використання модних тенденцій та тенденцій, таких як розумні елементи дизайну, такі як QR-коди. Як залишити всю необхідну інформацію на упаковці, а додаткове повідомлення проілюструвати QR-кодом для переходу на сайт для більш детального ознайомлення з товаром.
Harvey, Sharon R. « Heidegger and eco-phenomenology Gelassenheit as practice / ». Online access for everyone, 2008. http://www.dissertations.wsu.edu/Thesis/Summer2008/s_harvey_071308.pdf.
Texte intégralRosenberg, Daniel Ph D. Massachusetts Institute of Technology. « Transformational design : a mindful practice for experience-driven design ». Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/101502.
Texte intégralCataloged from PDF version of thesis.
Includes bibliographical references (pages 297-301).
After our initial hype over the digital revolution, we are realizing that interactive technologies, such as personal computers, smartphones, and tablets, are changing our daily experiences exponentially, without necessarily improving the way we live. Although contemporary design practitioners are increasingly interested is a more human-centered design, they objectify the experiences of the people they are designing for by not considering their own experiences during the design process. As a result, these designers do not have the means to observe, talk and reflect about the implications that their design practices and products have on their own experience and that of others. I propose a radical alternative to contemporary practices conceiving and developing new interactive technologies. I call this Transformational Design-a mindful, hands-on, and collaborative practice that allows designers to bring forth their own experiences within their creative process (designer's experience) and then talk and think about the experiences of others (user's experience) in terms of what they have directly experienced. This practice combines Mindfulness practice (Vipassana) with exploratory design (Shape Grammars) using interactive materials, including sensors, microcontrollers, and effectors. In this dissertation, I present the foundations of Transformational Design, including the conceptual guidelines-a vocabulary and models-along with the exercises to apply them in practice. In these exercises, participants express their experiences and design by putting together interactive and recycled materials. They also play as users and designers, exchanging their expressions and products, and then observing one another. I built this practice by simultaneously conceiving the foundations and exploring them in workshops with many others. In total, I conducted 14 workshops with 188 participants in Chile, India, and the US. I have found that with Transformational Design, participants can become mindful, and then express their experiences as a construction: can bring forth new experiences by engaging with their designs in ways they have not done before; and can begin reflecting on how these experiences change the lives of others in ways they could not have predicted. It is my hope that this practice will pave a meaningful alternative path, one that designers can use to begin reflecting as they are putting together new technologies, for themselves and others.
by Daniel Rosenberg.
Ph. D. in Architecture: Design and Computation
Self, James Andrew. « The use of design tools in industrial design practice ». Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22367/.
Texte intégralNeil, Katharine. « Game Design Tools : Can They Improve Game Design Practice ? » Thesis, Paris, CNAM, 2015. http://www.theses.fr/2015CNAM1025/document.
Texte intégralThis thesis contributes practice-led evaluation research to the question of whether game design tools can effectively support and expand game design practice. It offers insights that can be used to inform future game design tool development.Game designers, unlike most other design practitioners, typically do not use design tools in their work. While conceptual models and software tools have been developed to address this, we lack discussion and critique of how tools work in practice.Taking the point of view of a practitioner, this study of game design tools is based on longitudinal, practice-led evaluation research conducted as a par-ticipant-observer, applying game design tools to 5 contrasting game design case studies.Design tools support game design practice. In Chapter 2 I set out what that practice is today, reviewing the game design process and design activities, and giving particular attention to contemporary trends and directions.Chapter 3 situates game design within the broader context of Design Studies. After reviewing relevant ideas from this literature, I conclude that game design is best characterised as a crafts-based design discipline, and that adoption of design support would mean a shift towards “self-conscious” design. I argue that, within this context, the adoption of tools into current practice would represent a significant and disruptive change to current practice.Chapter 4 traces the history of development of game design tools within the game design and research communities. Chapter 5 goes on to offer a more precise definition of game design tools and presents a comparative review of the tools within this scope.In Chapter 6 I argue for the need bring practice-led evaluation research to this question. Here I set out my research goals and questions, before specifying the particular tools I practiced with for this study. Chapter 7 discusses methods used in relevant research fields and outlines the method used for this project.Chapter 8 introduces the game projects I used as case studies and describes how I worked with each. Chapters 9 and 10 present observations and anal-yses of my experiences using a selection of tools that vary in their approaches. These include (though not exclusively): Articy:Draft (Nevigo GMBH 2011), Machinations (Joris Dormans 2009), Ludoscope (Joris Dormans and Leijnen 2013), and “progression planning” (Butler et al. 2013). Evaluation themes and criteria are drawn from the Design Support and Creativity Support Tool literature. Chapter 11 refocuses attention on the practicalities, addressing the question of how game design tools integrate into the wider context of practice.In Chapter 12 I present and discuss my experiences with my own game de-sign tool, which I prototyped in order to evaluate and extend one of the tool approaches under study. I explain my tool design choices, some of which reflect the knowledge I have acquired through the course of this study.Chapter 13 summarises my conclusions in relation to how design tools might best support game designers, and offers ideas for further practice-led evaluation research related to this question
Joyce, Sam. « Performance driven design systems in practice ». Thesis, University of Bath, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687303.
Texte intégralBanks-Hunt, Joan Maria. « Exploring Design Thinking for Instructional Practice ». Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102341.
Texte intégralDoctor 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.
Kunkhet, Arus. « Harmonised shape grammar in design practice ». Thesis, Staffordshire University, 2015. http://eprints.staffs.ac.uk/2209/.
Texte intégralPycock, James E. « Designing systems : studies of design practice ». Thesis, University of Manchester, 1999. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536557.
Texte intégralMorley, Jane. « Conceptual fashion : design, practice and process ». Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/62703/1/Jane_Morley_Thesis.pdf.
Texte intégralKontio, Unna. « Environmental motives in the Buddhist ecology : A study of Thich Nhat Hanh’s ecology, engaged practice and environmental activism ». Thesis, Uppsala universitet, Religionshistoria, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411591.
Texte intégralConnolly, Brigit. « Translating practice ». Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3460/.
Texte intégralLaranjo, Francisco Miguel. « Design as criticism : methods for a critical graphic design practice ». Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12027/.
Texte intégralPark, Julian. « Towards a sustainable systems framework : the assessment of silvoarable agroforestry as an innovative cropping practice ». Thesis, Cranfield University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385884.
Texte intégralWinslow, Robert I. « Design control, ISO 9001 in architectural practice ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ62868.pdf.
Texte intégralWhyte, Andrew. « Building design team communication : practice and education ». Thesis, Robert Gordon University, 1996. http://hdl.handle.net/10059/575.
Texte intégralAghaei, Meibodi Mania. « Generative Design Exploration : Computation and Material Practice ». Doctoral thesis, KTH, Arkitekturteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-182194.
Texte intégralQC 20160217
Sanchez, Ruano David. « Symbiotic design practice : designing with-in nature ». Thesis, University of Dundee, 2016. https://discovery.dundee.ac.uk/en/studentTheses/4c3d61c4-5524-45be-8662-8fdabe2517b0.
Texte intégralWicomb, Samuel Domingo. « Graphic design students’ perceptions of work practice ». Thesis, Cape Peninsula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2391.
Texte intégralThe aim of this study was to examine how students experience the transition from the classroom to the workplace. This research explored what factors students found problematic and which factors was helpful during the transition. This research was qualitative and this study focused on the experiences of the participants and all data was collected from their perception of work practice. I used Activity Theory as a theoretical framework to compile and organize relevant data. Data was gathered using video recordings, hand written journal entries and individual interviews. The research was conducted in an on-campus design studio that is situated within the Design Faculty at Cape Peninsula University of Technology. The reason for choosing Design Logic as a site is the following; the studio sits neatly between the classroom and the workplace, although the studio is in a protected environment, most of the elements that are present in a real world setup is reflected within Design Logic i.e. the stresses of satisfying demanding clients, working with budgets, liaising with suppliers and the ever present looming deadlines all form part of the daily make-up of Design Logic. Although the starting point of the study was to search for the problem areas of the student’s transition into the work place, the analyzed data revealed the dissimilarities between the two systems and how the participants overcame the difference i.e. shifting identities and rules and norms to develop new skills suited for the work place. The workspace opened a Zone of Proximal Development (ZPD) and highlighted the value and importance of work practice in preparation of graduates for industry.
O'Neill, de Mater Maria. « Developing methods of resilience for design practice ». Thesis, Northumbria University, 2013. http://nrl.northumbria.ac.uk/21606/.
Texte intégralTurilli, Matteo. « Ethics and the practice of software design ». Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711646.
Texte intégralIonascu, Adriana. « Poetic design : a theory of everyday practice ». Thesis, Loughborough University, 2010. https://dspace.lboro.ac.uk/2134/6965.
Texte intégralDyke, Alison Jane. « The practice, politics and ecology of non timber forest products in Scotland ». Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/5632/.
Texte intégralSandberg, Abigail Jane. « Decelerated design ». Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1074.
Texte intégralMuriro, 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/.
Texte intégralSt, John Kate. « Practice Makes Practice : 10,000 Hours Later and a Great Deal Wiser ». Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/542192.
Texte intégralM.F.A.
This paper is a in depth review of a designer’s process over the course of three years of graduate school, culminating in a scenic design for Side Show. A narrative account of a design from early stages through final evaluation, this essay hardly resembles a thesis paper at all. With Side Show as a framework through which the author traces improvement in craft skills, design thinking, and critical evaluation, she offers supporting evidence in the form of drawings, draftings, models, and research. In addition to these relevant design materials, the designer presents proofs of her own personal growth, both as a student and as a designer.
Temple University--Theses
Connor-Crabb, Anja. « Fashion design for longevity : design strategies and their implementation in practice ». Thesis, University of Brighton, 2017. https://research.brighton.ac.uk/en/studentTheses/cad2df15-6e59-42f3-a77a-60f755da4198.
Texte intégralÜrgen, Canalp Kipöz Şölen. « The use and importance of emotional design in contepporary design practice/ ». [s.l.]:b[s.n.], 2006. http://library.iyte.edu.tr/tezler/master/endustriurunleritasarimi/T000554.pdf.
Texte intégralSnowball, Georgia. « Ecological practice : Performance making in the age of the anthropocene ». Thesis, Federation University Australia, 2017. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/166474.
Texte intégralDoctor of Philosophy
Ireland, Leah. « Weaving Futures, Feminisms in Practice ». Thesis, Linnéuniversitetet, Institutionen för design (DE), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86217.
Texte intégral