Дисертації: "Ecology of design practice"

1

Metcalfe, Daniel J. "Multispecies design." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/13351/.

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The devastating effects that unsustainable design practices have on the natural world and other species with whom we share this planet have gained widespread awareness and are the driving force behind attempts to develop more sustainable design approaches. These efforts tend to focus on minimising the negative effects that design has on the natural world by reduced material and energy usage. However, the possibility that design may have an active role in mitigating the erosion of biodiversity has only entered the discussion in recent years and remains a marginal activity for design. Following an ongoing paradigm shift calling for the inclusion of a greater diversity of wild animals within human-dominated habitats (as a way of addressing both the erosion of biodiversity and humankind’s alienation from nature), this research proposes that there is a growing need for a design practice capable of responding to the needs of wild animals, while addressing questions of human-animal interaction. In this thesis, Multispecies Design is proposed and developed as a theoretical framework for supporting the shift to more biodiverse human habitats. The research addresses both the physical and socio-cultural requirements of such a shift. Three distinct views define this emerging design approach: recognising animals as clients of design, recognising human-animal interactions as designed experiences and the view of manmade systems as further extensions of ecological systems. The methodological implications of Multispecies Design have been explored in a case study design project concerned with the ecological enhancement of a coastal outfall pipe on a highly frequented beach in Cornwall, UK. The case study explored ways of designing to address the needs of both people and of wild animal species, as well as the interactions between the two groups. It focused on identifying and developing design approaches and tools for studying and representing wild animals in design projects to facilitate their integration into built environments. These tools were further refined in a series of workshops with design and art students carried out during the PhD research. The insights from the practical work, together with the theoretical framework developed alongside them, have led to the development of Principles of Multispecies Design and practical and conceptual Tools for Multispecies Design.

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2

Koomen, 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/.

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The aim of this thesis has been to develop and document a research project that takes the form of a strategic response by a furniture designermaker (Philip Koomen Furniture) to the challenging ecological issues raised by the Earth Summit (Rio de Janeiro, 1992) and detailed in the document Agenda 21: Sustainable Development for the 21st Century. A Literature Review contextualises this research project in relation to issues around global resources and sustainable practices and considers various models of sustainable design in relation to the commercial mainstream but more particularly with regard to the role of the furniture designermaker in contemporary society. The thesis explores the rationale for what became termed the “Signed & Sealed” project and describes the development of an associated body of designs through the negotiation of the degraded state of the U.K.’s native woodlands and the location of three critical strands which together came to define the “Signed & Sealed” brand – strands identified by the terms semi-bespoke, local cycle and unique signature. These terms are illuminated in turn by discussion of the commissioning processes favoured by designer-makers and by consideration of the economic and aesthetic problems to be found in connection with the sourcing, development and use of local, noncommercial timbers. The thesis also describes the project’s formal presentation in the exhibition “Out of the Woods” (River & Rowing Museum, Henley-on-Thames, 17 September 2004 to 7 January 2005) and the two conferences “Our Woods in Your Hands” (River & Rowing Museum, Henley-on-Thames, 25 September 2004) and “Out of the Woods: Design for Sustainability” (River & Rowing Museum, Henley-on- Thames, 20 October 2004) and considers the peer reviews and responses which followed these events. Finally, the thesis offers a critical evaluation of the PhD research process which framed the project together with some discussion of further potential avenues of research and development.

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3

Armstrong, Keith. "Towards an ecosophical praxis of new media space design." Thesis, Queensland University of Technology, 2002.

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This study is an investigation in and through media arts practice. It set out to develop a novel type of new media artistic praxis built upon concepts drawn from the disciplines of scientific and cultural ecology. The rationale for this research was based upon my observation as a practising new media artist that existing praxis in the new media domain appeared to operate largely without awareness of the ecological implications of those practices. The thesis begins by explaining key concepts of ecology, spanning the arts and the sciences. It then outlines the thinking of contemporary theorists who propose that the problem of ecology is a critical issue for the 21st century, suggesting that our well-documented ecological crisis is indicative of a more general crisis of human subjectivity. It then records an investigation into particular strategies for artistic praxis which might instigate an active engagement with this problem of ecology. The study employed a methodology based in action research to focus upon the development and analysis of three new artistic works, '#14', ' Public Relations' and 'transit lounge'. These were used to explore diverse theories of ecology and to hone a series of pointers towards Ecosophical arts/new media praxis. This journey constitutes an emergent theory for new media space design. The thesis concludes with a toolkit of tactics and approaches that other arts/new media practitioners might employ to begin working on the problem of ecology.

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4

Armstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.

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This study is an investigation in and through media arts practice. It set out to develop a novel type of new media artistic praxis built upon concepts drawn from the disciplines of scientific and cultural ecology. The rationale for this research was based upon my observation as a practising new media artist that existing praxis in the new media domain appeared to operate largely without awareness of the ecological implications of those practices. The thesis begins by explaining key concepts of ecology, spanning the arts and the sciences. It then outlines the thinking of contemporary theorists who propose that the problem of ecology is a critical issue for the 21st century, suggesting that our well-documented ecological crisis is indicative of a more general crisis of human subjectivity. It then records an investigation into particular strategies for artistic praxis which might instigate an active engagement with this problem of ecology. The study employed a methodology based in action research to focus upon the development and analysis of three new artistic works, '#14', 'Public Relations' and 'transit_lounge'. These were used to explore diverse theories of ecology and to hone a series of pointers towards Ecosophical arts/new media praxis. This journey constitutes an emergent theory for new media space design. The thesis concludes with a toolkit of tactics and approaches that other arts/new media practitioners might employ to begin working on the problem of ecology.

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5

Nolan-Spohn, Hannah Katherine. "Urban Ecology: History and Practice." Thesis, Boston College, 2005. http://hdl.handle.net/2345/483.

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Thesis advisor: Eric G. Strauss
The 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

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6

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.

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This research project explores how interdisciplinary art practices can provide ways for questioning and envisaging alternative modes of coexistence between humans and the non-humans who together, make up the environment. As a practiceled project, it combines a body of creative work (50%) and this exegesis (50%). My interdisciplinary artistic practice appropriates methods and processes from science and engineering and merges them into artistic contexts for critical and poetic ends. By blending pseudo-scientific experimentation with creative strategies like visual fiction, humour, absurd public performance and scripted audience participation, my work engages with a range of debates around ecology. This exegesis details the interplay between critical theory relating to these debates, the work of other creative practitioners and my own evolving artistic practice. Through utilising methods and processes drawn from my prior career in water engineering, I present an interdisciplinary synthesis that seeks to promote improved understandings of the causes and consequences of our ecological actions and inactions.

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7

La, 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.

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8

Rodd, 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.

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This thesis presents an analysis of Piaroa shamanic practices that combines elements of symbolic, psychobiological and phenomenological approaches. Theories from, and clinical findings in, neuroscience, pharmacology, psychology and psychoneuroimmunology are integrated with extended participant observation field study involving basic shamanic training to demonstrate how Piaroa shamans learn to understand and effect biopsychosocial adaptation and promote health. It is argued that Piaroa shamanism is a sophisticated means of interpreting ecological forces and emotional processes in the interests of minimising stress across related systems: self, society, ecosystem, and cosmos. Piaroa shamans should be cadres in the promotion of an ethos, the good life of tranquillity, which serves as the basis for low-stress social relations. Piaroa mythology is predicated upon human-animal-god reciprocity and provides the shaman with a series of informationprocessing templates, designed to be invoked with the use of hallucinogens, which assist him to understand inter-systemic relations. I analyse how Piaroa shamans develop the psychic skills to divine and regulate ecological relationships and emotional processes, while highlighting possible relationships among native symbolism, neurology, consciousness and the emotions. It is argued that Piaroa shamanic practices involve conditioning the mind to achieve optimal perceptive capacities that, in association with sensitive biopsychosocial study, facilitate accurate prediction and successful psychosocial prescription. A cultural neurophenomenological approach enables articulation of the psychocultural logic of ethos, epistemology, divination, sorcery, and curing, and a fuller picture of a South American indigenous society’s shamanic practices than less integrative approaches have afforded

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9

Hopfinger, Sarah. "Performance (in) ecology : a practice-based approach." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8040/.

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This thesis develops an ecological performance practice using a practice-as-research methodology. It explores how performance can engage the ecological, where performance (in process and product) is understood as an ecology of diverse humans and nonhumans, which participates within the wider ecology of Earth. Whilst recent publications have given sustained attention to the ways performance can respond to ecological imperatives (Allen and Preece, 2015; Heddon and Mackey, 2012; Bottoms, Franks and Kramer, 2012; Arons and May, 2011; Kershaw, 2007; Bottoms and Goulish, 2007), there has been scarce attention paid to how performance practices and creative process can be and do ecology. In attending to that gap, this research develops a critically-engaged practice of performance (in) ecology, exploring how performance – in its very methods, modes and live moments of practice – can enact the ecological. The project developed an ecological practice through intergenerational and professional-nonprofessional collaboration. It was led by two performance works – Age-Old (2013) and Wild Life (2014). Age-Old involved collaborating with a seven-year-old girl to co-devise a new performance and it formed a developmental period of the research inquiry from which key methods were taken into the more ambitious work, Wild Life. This performance explored ‘wildness’ and was a collaboration with eight professional and nonprofessional performers, aged between nine and 60 years old. It presents the main body of the research. The written component of the thesis frames and elucidates the practice-based research findings. The thesis proposes that involving collaborators of diverse ages and skills presents a dynamic performance ecology through which an inclusive ecological practice can be developed. Its claim is that collaborative practice offers a potentially radical enactment of ecological qualities and dynamics, where this enactment is the ‘wilding’ of performance. Conducted through a Collaborative Doctoral Award from the Arts and Humanities Research Council, the project was supported by Catherine Wheels Theatre Company. It offers new approaches for practice and scholarship in the fields of performance and ecology, devised performance, movement and ecology, and intergenerational practice. It also contributes to wider meanings of ‘ecology’ as advanced by scientific views, including posthumanist and rewilding perspectives.

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10

Ratanavanich, Heidi. "Queer ecology." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3516.

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11

Zelenock, Julie Ann. "Ecology, architecture, education, design." PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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12

Jacobsson, 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.

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13

Kennedy, Paul. "Design practice : routine creativity." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1847/.

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The aim of this research is to understand and explain designers - what makes them tick, what motivates them and why they do things in the way that they do. A research approach specific to people, being designers, and the social science framework associated with Pierre Bourdieu has been rigorously engaged. Designers have been spoken to face-to-face and given the opportunity to raise their concerns so that their engagement with design production is illuminated and considered. A series of interviews has been carried out with practising designers. The early interviews exposed areas of interest that could best be investigated by targeting older designers who could recount the changes in design production they had witnessed during their working lives. This life history approach has yielded social as opposed to technical descriptions of design practice and has identified significant technological and organisational changes that have affected designers in the past 30 years. The design habitus is a system of dispositions that enables designers to act as they do and be successful in such a complex, interactive activity as designing. Designers display the habitus through their practice and their interactions with other people, with the products they design and the machinery they use when designing. They make distinctions about the products of their activity on through designers’ continuous physical engagement with the objects of their work and their design colleagues. Their attitude to technology is typified by a willingness to embrace the new; they create new things themselves and this leads them to adopt new tools and adapt them to do their job.

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14

Hayley, 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.

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15

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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16

Nuccitelli, Saul A. (Saul Augustine). "Design education--theories and practice." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/12309.

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17

Apelt, 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.

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This dissertation explores how the various concepts of Nature, sustainability and ecotourism relate to the design ideology and practice in planning for, implementation of, and management of a case in coastal Queensland, namely Kingfisher Bay Resort and Village. (KBRV describes itself as Queensland's first "ecotourist resort"). The concept of "sustainability" is used as a theoretical framework for relating the similar and compatible concepts of "ecological sustainability", "sustainable tourism", and •ecologically sustainable tourism". In particular, the concept of ecological sustainability is presented as the crux of the principles supporting ecotourism, The characteristics and interpretations of ecotourism are then analysed in terms of their applicability to the concept of an "ecotourism resort", and a comparison is made between "destination resorts" and "environmentally responsible resorts•. The case emerges as an example of the latter. The case is also presented and evaluated in detail according to Bull's (1991) Sustainable Tourism Model, in order to establish any inconsistencies/ conflicts and/or potentials between design ideology and practice in support of the concept of sustainable tourism - the principle underpinning the concept of "ecotourism". In conclusion, the dissertation makes recommendations to design professionals (particularly landscape architects and building architects), developers and managers about practice methodology in the planning, design and management of resort developments in environmentally sensitive locations. These recommendations highlight actions which are required in order to provide a genuinely integrated and sustainable "ecotourism development".

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18

Kuhn, Simon. "Critical design within the practice of graphic design." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1007843.

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Critical Design is a specific type of design activity that has emerged from within the field of product design. Based on the supposition that design is an ideological activity, it can either be critical or affirmative of the status quo and categorised as Critical Design or Affirmative Design. The intention of this study is to create Critical Design within the practice of graphic design. Critical Design was defined by identifying its key characteristics and then visualised into a diagram that maps the pathways, processes and consequences which distinguish Critical Design from Affirmative Design. The characteristics were used to generate criteria of Critical Design, which were then used to analyse case studies. The findings from this analysis suggested that both case study projects could be defined as Critical Design and served as a way of testing the appropriateness of the criteria. The practical component of this study used the characteristics of Critical Design to create a range of graphic design artefacts and then analysed them in relation to the criteria of Critical Design. The findings from this analysis determined the practical component as Critical [Graphic] Design and suggested that graphic design can be an appropriate medium for critique of its own role within society.

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19

Lopes, Abby Mellick. "ECOLOGY OF THE IMAGE." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/708.

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We know very little about the ecology of our designed world. Contrary to all appearances, design is not about making objects. It is rather about structuring the conditions for life. Design is our second nature, naturalising changes in our ways of living. Yet it also conceals dangers and diminishes our sensitivity to respond to them. The security offered by the televisual image — and the solace of design's promise to remove all environmental risks — are fictions. Ecology of the Image is a critical exploration of idealism in design. Drawing on hermeneutic phenomenology, socio-cultural and design theory, it argues that design is not a value-free practice but structures epistemological attitudes into the world. Ideas are material elements of our environments. This thesis offers an explanation of how idealism circulates within the designed world, fashioning our minds, bodies and environments. The televisual is analysed as a normative phenomenon that inducts us into a way of seeing and understanding the world. Its vision of the affluent good life inspires and gives purpose to desire, and sustains what Manzini has called 'product based well being'. The thesis argues that the televisual puts us out of touch with the consequences of its vision; it diminishes our capacity for forethought. This results in the generation of unacknowledged, yet self-endangering environmental feedback. Environmental problems force us to take account of design's hidden rationales. Only at five minutes to midnight, for example, do we realise that the stock and supply of potable water is endangered. The problem is not so much this late recognition, but that design led us to believe in water's abundance. This situation demands the development of an ecological understanding of our designed worlds that can inform future actions. The sign, particularly as it has been mobilised in cultural theory, plays a leading role in this design situation and the perceptions it supports. The sign is utilised for its ability to denaturalise appearances — to 'read' design's claims on the world. Finally, the thesis turns to the designer-in-training in the process of acquiring instrumental skills and worldviews. It proposes a research strategy that inscribes environmental consciousness into the design process — situating the designer in the midst of semiotic and material worlds. Through its observational methodology it outlines ways of first understanding, then of intervening and generating changes in our 'ideal' world.

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20

Lopes, Abby Mellick. "ECOLOGY OF THE IMAGE." University of Sydney. Department of Art History and Theory, 2005. http://hdl.handle.net/2123/708.

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We know very little about the ecology of our designed world. Contrary to all appearances, design is not about making objects. It is rather about structuring the conditions for life. Design is our second nature, naturalising changes in our ways of living. Yet it also conceals dangers and diminishes our sensitivity to respond to them. The security offered by the televisual image � and the solace of design�s promise to remove all environmental risks � are fictions. Ecology of the Image is a critical exploration of idealism in design. Drawing on hermeneutic phenomenology, socio-cultural and design theory, it argues that design is not a value-free practice but structures epistemological attitudes into the world. Ideas are material elements of our environments. This thesis offers an explanation of how idealism circulates within the designed world, fashioning our minds, bodies and environments. The televisual is analysed as a normative phenomenon that inducts us into a way of seeing and understanding the world. Its vision of the affluent good life inspires and gives purpose to desire, and sustains what Manzini has called �product based well being�. The thesis argues that the televisual puts us out of touch with the consequences of its vision; it diminishes our capacity for forethought. This results in the generation of unacknowledged, yet self-endangering environmental feedback. Environmental problems force us to take account of design�s hidden rationales. Only at five minutes to midnight, for example, do we realise that the stock and supply of potable water is endangered. The problem is not so much this late recognition, but that design led us to believe in water�s abundance. This situation demands the development of an ecological understanding of our designed worlds that can inform future actions. The sign, particularly as it has been mobilised in cultural theory, plays a leading role in this design situation and the perceptions it supports. The sign is utilised for its ability to denaturalise appearances � to �read� design�s claims on the world. Finally, the thesis turns to the designer-in-training in the process of acquiring instrumental skills and worldviews. It proposes a research strategy that inscribes environmental consciousness into the design process � situating the designer in the midst of semiotic and material worlds. Through its observational methodology it outlines ways of first understanding, then of intervening and generating changes in our �ideal� world.

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21

Poplavska, E. "21st century design: function. individuality. ecology." Thesis, National Aviation University, 2021. https://er.nau.edu.ua/handle/NAU/50745.

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1. Osnovy.Hrafichnyy dyzayn 03.Heneruvannya idey/Hevid Embrouz,Nil Leonard. 2. Eko-pakuvannya.Pakuvannya iz hofrokatonu.Pakuvannya iz shponu./ http://housebox.com.ua 3. 10 uspishnykh ukrayinsʹkykh brendiv/DISCURSUS
Information 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.

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22

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.

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23

Rosenberg, 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.

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Анотація:

Thesis: Ph. D. in Architecture: Design and Computation, Massachusetts Institute of Technology, Department of Architecture, 2015.
Cataloged 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

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24

Self, James Andrew. "The use of design tools in industrial design practice." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22367/.

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The industrial designer employs a wide variety of design tools to externalise, develop, propose and specify design solutions. This use of tools locates within a rich set of codependent relationships: the character and affordance of individual tools; a designer's expertise in tool use; the influence of the pragmatic requirements of the design process; working culture; and the designer's idiosyncratic use of tools. The research addresses a need to continue to develop an understanding of how design activity is influenced by the use of various established and emergent digital, conventional and hybrid tools and the designer's attitude towards tool use. An adapted model of activity theory was employed together with a taxonomy of design tools and a description of Universal Tool Characteristics (UTCs) to explore the designer's use of tools during practice. Survey studies of two sample groups, design practitioners and design students, were conducted. The study revealed significant differences, between the practitioners and students, in attitudes towards the UTCs of some design tools. In a second phase of research semi-structured interviews were undertaken to further investigate relationships between individual design tools and the practitioner's influence on tool use. Survey and interview findings generated a new framework to comprehensively describe design tool use during industrial design practice. The work was translated into a digital tool (IDsite) that supports less experienced designers in developing awareness of the relationships between tool use and the design process. Findings indicated the ways in which designer attitudes are a reflection of existing approaches to practice. Student designers tended towards a more constrained, convergent approach that can lead to earlier fixation and the crystallisation of concept ideas. Experienced practitioners tend to take a more explorative, divergent and often iterative approach to design work, allowing their design activity to remain open to suggestion and revision. Evidence of this was made explicit through more negative attitudes from students towards those UTCs associated with divergent conceptual design: lateral transformations between design ideas; ambiguity in design embodiment; reflection-in-action during design embodiments. These pre-existing approaches to studio practice are compounded through the use of certain design tools (sketch modelling, 3D printing 3D CAD). The research concludes that awareness of, and engagement with, the relationships between tool use and the dynamic requirements of the industrial design process have a profound influence on attitudes towards design activity. tool selection and use. The research makes explicit some of these differences and how they critically inform the designer's studio practice.

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25

Neil, Katharine. "Game Design Tools : Can They Improve Game Design Practice?" Thesis, Paris, CNAM, 2015. http://www.theses.fr/2015CNAM1025/document.

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Cette thèse constitue une recherche expérimentale pour évaluer la capacité des outils d’aide à la conception du « Game Design » de jeux vidéo. Elle cherche à dégager les éléments destinés à instrumenter et à améliorer le développement de ces outils.La production des jeux vidéos s’appuie sur de nombreux outils techniques allant des éditeurs graphiques et sonores jusqu’au moteurs de jeux. Mais, en amont, et à l’inverse des praticiens d’autres domaines du design, les concepteurs de jeux (Game designers) utilisent généralement peu d’outils dans leur travail quotidien. Bien que des modèles conceptuels et des outils logiciels aient été développés pour les assister, il manque une étude approfondie sur la pratique de ces outils. En prenant le point de vue d’un « Game Designer », notre étude se base sur une étude de terrain, menée par un participant–observateur, utilisant les outils sur 5 études de cas.Nous analysons dans un premier temps les pratiques du Game Design : les différentes activités impliquées et leur mise en œuvre dans le processus de conception. Nous nous intéressons plus particulièrement aux développe-ments et tendances actuelles.Le Chapitre 3 positionne le Game Design dans le contexte plus général des travaux en cours sur la critique et l’analyse du Design (Design Studies). Nous en concluons que le Game Design se situe plus comme dans le domaine de la conception artisanale (« craft-based ») et que l’utilisation d’outils serait une évolution vers une conception réflexive (« self-conscious »). Cette évolution constitue donc, à notre avis, une rupture par rapport aux pratiques actuelles.Le chapitre 4 retrace l’histoire du développement des outils de Game Design tant du point de vue de la recherche que de l’industrie. Ceci nous permet, au chapitre 5, de donner une définition plus précise et comparative des outils de Game Design.Le chapitre 6 formalise les questions de recherche de cette thèse et la nécessité d’une évaluation basée sur la pratique. Le point de vue méthodologique de notre travail est ensuite développé dans le chapitre 7.Nous présentons ensuite nos observations et analyses d’expériences réali-sées en utilisant une sélection d’outils reposant sur différentes approches. Parmi ces outils citons: « Articy:Draft », « Ludoscope » et « Progression Planning ». Nos critères d’évaluations sont tirés des publications sur le « Design Support » et le « Creativity Support Tool ».Au chapitre 12 nous décrivons et discutons les expériences effectuées avec un outil de design que nous avons développé dans le but d’évaluer et d’étendre l’approche « progression planning ». Nous explicitons les choix de conception de l’outil issus en partie du travail d’analyse mené dans cette thèse.La conclusion résume nos observations et introduit des principes d’amélioration des outils de « Game Design » et propose d’étendre nos travaux sur différents types d’outils et contextes d’utilisation non abordés ici
This 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

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26

Joyce, Sam. "Performance driven design systems in practice." Thesis, University of Bath, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687303.

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This thesis is concerned with the application of computation in the context of professional architectural practice and specifically towards defining complex buildings that are highly integrated with respect to design and engineering performance. The thesis represents applied research undertaken whilst in practice at Foster + Partners. It reviews the current state of the art of computational design techniques to quickly but flexibly model and analyse building options. The application of parametric design tools to active design projects is discussed with respect to real examples as well as methods to then link the geometric definitions to structural engineering analysis, to provide performance data in near real time. The practical interoperability between design software and engineering tools is also examined. The role of performance data in design decision making is analysed by comparing manual work-flows with methods assisted by computation. This extends to optimisation methods which by making use of design automation actively make design decisions to return optimised results. The challenges and drawbacks of using these methods effectively in real deign situations is discussed, especially the limitations of these methods with respect to incomplete problem definitions, and the design exploration resulting in modified performance requirements. To counter these issues a performance driven design work flow is proposed. This is a mixed initiative whereby designer centric understanding and decisions are computer assisted. Flexible meta-design descriptions that encapsulate the variability of the design space under consideration are explored and compared with existing optimisation approaches. Computation is used to produce and visualise the performance data from these large design spaces generated by parametric design descriptions and associated engineering analysis. Novel methods are introduced that define a design and performance space using cluster computing methods to speed up the generation of large numbers of options. The use of data visualisation is applied to design problems, showing how in real situations it can aid design orientation and decision making using the large amount of data produced. Strategies to enable these work-flows are discussed and implemented, focusing on re-appropriating existing web design paradigms using a modular approach concentrating on scalable data creation and information display.

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27

Banks-Hunt, Joan Maria. "Exploring Design Thinking for Instructional Practice." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102341.

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Анотація:

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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28

Kunkhet, Arus. "Harmonised shape grammar in design practice." Thesis, Staffordshire University, 2015. http://eprints.staffs.ac.uk/2209/.

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The aim of this thesis is to address the contextual and harmony issues in shape grammar (SG) by applying knowledge from the field of natural language processing (NLP). Currently shape grammars are designed for static models (Ilčík et al., 2010), limited domain (Chau et al., 2004), time-consuming process (Halatsch, 2008), high user skills (Lee and Tang, 2009), and cannot guarantee aesthetic results (Huang et al., 2009). The current approaches to shape grammar produce infinite design and often meaningless shapes. This thesis addresses this problem by proposing a harmonised shape grammar framework which involves applying five levels of analysis namely morphological, lexical, syntactic, semantic, and pragmatic levels to enhance the overall design process. In satisfying these semantically well-formed and pragmatically well-formed shapes, the generated shapes can be contextual and harmonious. The semantic analysis level focuses on the character’s anatomy, body function, and habitat in order to produce meaningful design whereas the pragmatic level achieves harmony in design by selecting relevant character’s attributes, characteristics, and behaviour. In order to test the framework, this research applies the five natural language processing levels to a set of 3D humanoid characters. To validate this framework, a set of criteria related to aesthetic requisites has been applied to generate humanoid characters; these include the principles of design (i.e. contrast, emphasis, balance, unity, pattern, and rhythm) and aspects of human perception in design (i.e. visceral, behavioural and reflective). The framework has ensured that the interrelationships between each design part are mutually beneficial and all elements of the humanoid characters are combined to accentuate their similarities and bind the picture parts into a whole.

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29

Pycock, James E. "Designing systems : studies of design practice." Thesis, University of Manchester, 1999. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536557.

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Herbert Simon (1969) set out an ambitious programme of research for a science of design. This thesis examines the routes taken and the problems encountered with this programme as it is found in the flagship domain of Human-Computer Interaction. It examines the emergence of Human-Computer Interaction as a discipline and its problems (Chapter 1). It considers recent attempts to reformulate many of the foundations of HCI's design theory (Chapter 2) including work of my own (Chapter 3). It describes the development of a new field of Computer-Supported Cooperative Work (Chapter 4) and a new approach to understanding the environment from a social rather than a cognitive point of view by using ethnographic methods imported from sociology and social anthropology and now closely associated with the field of CSCW (Chapter 5). This new orientation is seen by many to offer new hope for informing design and overcoming some of the problems that have so far beset HCI. It represents one of the most significant contributions to design to have emerged from sociology and social anthropology. It is not, however, without its own difficulties in terms of being able to effectively 'speak to' the design process. Ethnographic methods have also been used to examine the very process of design itself and I report on a number of such studies and some of the issues which they raise (Chapter 6). In particular I will report in detail on an ethnographic study of my own which sought simultaneously to investigate the worth of this research orientation, to understand some of the ways in which ethnographic studies can contribute to system design and particularly the design of CSCW technologies and to do this through a study of another area of design work - fashion design (Chapter 7). Studies such as this of design in practice do, however, raise a number of challenging issues for the type of science of design envisaged by Simon and his associates. Empirically examining what design is and how design is done questions some of the abstract formulations of design. Additionally, I suggest that some care is needed in schematizing how a method such as ethnography can contribute to a design process. I consider these results in my concluding chapter (Chapter 8) where I argue that the ethnographic approach turns out to contrast fundamentally with Simon's view of design for his conception of design is also crucially a perspective upon action itself. It is this perspective which ultimately motivates Simon to claim that the proper study of mankind is the science of design, while it is an ethnographic orientation which motivates me to argue that design is practical action and that practical action is designed.

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30

Morley, Jane. "Conceptual fashion : design, practice and process." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/62703/1/Jane_Morley_Thesis.pdf.

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While Conceptual fashion design practices have been a pervasive influence in fashion since the early 1980s, there is little academic analysis that might explain how they are distinct from conventional fashion design practices. In addition, fashion practitioners have not historically contributed to fashion research. As a result, contemporary fashion practitioners have difficulty setting critical contexts and expanding their creative work as there is little relevant literature available from practitioner perspectives. This project uses practice-led research to develop a discourse for understanding Conceptual fashion design process and how it relates to more conventional fashion design practices. In this exegesis I use Conceptual art as a lens to expand understandings of Conceptual fashion and my own creative practice. This analysis demonstrates that there are valuable connections to be drawn between Conceptual art and Conceptual fashion practice. In particular, these connections reveal the differences between the way Conceptual and more conventional fashion designers relate to the conceptual and the visual in their design process. This exploration demonstrates that while fashion is a visual field, Conceptual fashion designers produce a more ‘intellectual’ type of fashion that uses the visual to communicate ideas that question the nature of fashion. I explore the relevance of these ideas through application and experimentation in my creative practice projects by drawing from systems and rules identified in the work of early Conceptual artists and contemporary Conceptual fashion designers.

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31

Kontio, 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.

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Thich Nhat Hanh is one of the key actors in the contemporary engaged Buddhist practice. With his understanding of the traditional Buddhist doctrine, tradition and practice he constructs a view of ecology that he thinks encourage both the individual and the collective to environmentalist action. His cosmology is based on an understanding the reality as a non-dual, interconnected, interdependent and impermanent and sees all beings and the nature equal in their nature. He also bases his ethical and moral views on this cosmology and is an advocate for traditional Buddhist ethical and moral principles such as non-violence and non-judgementalism. The traditional doctrine of the 4 noble truths and the dependent co-arising is the base for his thought of why we should practice mindfulness with the goal of raising awareness of the true nature of reality and the environmental issues. According to him it is possible to stop the global warming with the use of mindfulness and action that are based on on the traditional Buddhist perception of cosmology and moral and ethical principles.

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32

Connolly, Brigit. "Translating practice." Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3460/.

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Translatability and translation, the possibility and act of conveying some thing between people, objects, languages, cultures, times, spaces and media, have become increasingly important elements of creative practice and works of art. My research explores this proposition. To contextualise this concept of translation as an artistic and critical method mediating the relationship of the seeable to the sayable I retrace an under-mined vein of translation that grew from the Enlightenment, the Early (Jena) Romantic response to it and its subsequent development through Walter Benjamin to other modern theorists. I suggest that this tradition of translation has developed into a creative method that assumes a pre-existent given from which it evolves in order to destabilise, re-appropriate and make-new. The thesis argues that art has come to occupy the space of translation and proposes that an interpretative mode is ultimately antithetical to a form of thought engaged with in the creative process. This relies on the understanding of a qualitative distinction between acts of translation as presentational and of interpretation as representational. The distinction is not clear-cut since these two forms of mediation operate on a continuum. The probable root of “interpret” in English is “between prices” and derives from trade. This etymology stresses the transactional, hermeneutic role of the interpreter as a responsive agent that negotiates between distinct value systems to ensure equivalence during the process of exchange. While Interpretation operates primarily within the symbolic aspect of language translation retains a relationship to metaphor, which acknowledges that during transfer something becomes something that it literally is not. It must therefore also account for Aporia, or what fails to cross over and for a-signifying, singular aspects that affect or alter the symbolic during this process. In contrast to interpretation, translation’s relation to subjectivity, its resistance to schematisation and reduction to the accurate, objective and rational transfer of information provides a prophylaxis of doubt and generates heterogeneity. The thesis triangulates my practices as artist, translator and critic using translation to destabilise and re-calibrate the relationship of theory to practice. In relation to theory, rather than use this to explain, interpret, or categorize art, it advocates the translational practice of placing in parallel so that lines of thought may be drawn from one to the other, responding to and setting up points of intersection, divergence and congruence to encourage a non-hierarchical associative-dissociative dismantling. Translation informs the research method, structure and content of the thesis, which occupies an inter-theoretical, inter-disciplinary or matrixial space. As such, it is edified through a process that derives from and displays the translational method and diverse sources that constitute it. Four case studies bring together practices employing a translational method from different periods, cultures, creative practices and theoretical sources: Bernard Leach and Ezra Pound’s modernist projects; Jorge Luis Borges’ theory of translation and Briony Fer’s re-presentation of Eva Hesse’s studio work; the Brazilian poets Haroldo and Agosto De Campos’ theory of Cannibalistic translation and painter Adriana Varejao’s work with tiles; and ceramicist Alison Britton in light of Donald Winnicott’s concept of transitional spaces.

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33

Laranjo, 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/.

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This practice-led research is the result of an interest in graphic design as a specific critical activity. Existing in the context of the 2008 financial and subsequent political crisis, both this thesis and my work are situated in an expaded field of graphic design. This research examines the emergence of the terms critical design and critical practice,and aims to develop methods that use criticism during the design process from a practitioner’s perspective. Central aims of this research are to address a gap in design discourse in relation to this terminology and impact designers operating under the banner of such terms, as well as challenging practitioners to develop a more critical design practice. The central argument of this thesis is that in order to develop a critical practice, a designer must approach design as criticism. Adopting a mixed methods approach to research, this thesis draws on 'action research'(Schön, 1983) and is aligned with the proposition of ‘problem setting’ instead of the established ‘problem solving’ approach to design, using the following methods: 1)workshops at the Royal College of Art, Sandberg Institute, University of Westminster and London College of Communication; 2) selection of projects from professional practice; 3) self-initiated research projects; 4) critical writing, including essays, reviews,interviews and in particular the publication 'Modes of Criticism'. Following the theorisation of the terms critical design and critical practice, historical survey of criticism, politics and ideology in relation to graphic design, and reflection on the workshops and methods detailed above, this thesis proposes a critical method consisting of three dimensions: visual criticality, critical reflexivity and design fiction. It argues that criticism as design method offers a fundamental opportunity to develop a reflected and critical approach to design, and more importantly, society. This method creates opportunities to develop a critical practice; one that shapes a continuous agency and interest in wicked, systemic and infrastructural problems with a constant ability to critically adapt and research their multi-layered nature. That will on the one hand help the designer to become a substantial agent of change and on the other, in particularly difficult circumstances of conflicted personal, private, disciplinary and public interest such as commercial practice, to find opportunities for criticality.

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34

Park, 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.

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35

Winslow, 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.

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36

Whyte, Andrew. "Building design team communication : practice and education." Thesis, Robert Gordon University, 1996. http://hdl.handle.net/10059/575.

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This study examined three propositions: - (i) there are problems in the building design team created by difficulties of communication between different professional disciplines, (ii) communication difficulties are primarily a function of cultural differences instilled by vocational education, and (iii) communication gaps require educational initiatives able to bridge cultural differences instilled by vocational traditions in the educational process. To achieve the most efficient process and ultimately a more effective product, building design team professionals must maximise their capacity for integrated activity and inter-professional communication. The nature of inter-professional relationships, and their development through the group formation process, is presented as a central consideration in the analysis of building design team communication. The rationale and methodological development of the study seeks to understand whether differences in inter-professional interaction are largely a matter of values and attitudes, and whether these can be modified by training to improve communication in the building design team. Research examines whether influencing positively professional attitudes at the formative stage addresses inter-disciplinary dissonance. This study establishes a link between education for the construction industry, and the adverse affects of perceived professional discord. This study goes beyond current conflictual opinion regarding the structure of specialised education for construction, and presents evidence that, handled correctly, future tertiary education can provide the most suitable antecedent for a more efficiently integrated building industry.

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37

Aghaei, 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.

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Today, computation serves as an important intermediary agent for the integration of analyses and the constraints of materialisation into design processes. Research efforts in the field have emphasised digital continuity and conformity between different aspects of a building project. Such an approach can limit the potential for significant discoveries, because the expression of architectural form is reduced to the varying tones of one fabrication technique and simulation at a time. This dissertation argues that disparate sets of digital and physical models are needed to incorporate multiple constraints into the exploration, and that the way the designer links them to one another significantly impacts the potential for arriving at significant discoveries. Discoveries are made in the moment of bridging between models, representational mediums, and affiliated processes. This dissertation examines the capacity of algorithm—as a basis for computation—to diversify and expand the design exploration by enabling the designer to link disparate models and different representational mediums. It is developed around a series of design experiments that question how computation and digital fabrication can be used to diversify design ideation, foster significant discoveries, and at the same time increase flexibility for the designer’s operation in the design process. The experiments reveal the interdependence of the mediums of design—algorithm, geometry, and material—and the designer’s mode of operation. They show that each medium provides the designer with a particular way of incorporating constraints into the exploration. From the way the designer treats these mediums and the design process, two types of exploration are identified: goal oriented and open-ended. In the former, the exploration model is shaped by the designer’s objective to reach a specified goal through the selection of mediums, models, and tools. In the latter, the design process itself informs the designer’s intention. From the kinds of interdependencies that are created between mediums in each experiment, three main exploration models emerge: circular and uniform, branched and incremental, and parallel and bidirectional. Finally, this dissertation argues that the theoretical case for integral computational design and fabrication must be revised to go beyond merely applying established computational processes to encompass the designer and several design mediums. The new model of design exploration is a cooperation between algorithm, geometry, materials, tools, and the designer. For the exploration to be novel, the designer must play a significant role by choosing one medium over another when formulating the design problem and establishing design drivers from the set of constraints, by linking the design mediums, by translating between design representations, and by describing the key aspects of the exploration in terms of algorithms.

QC 20160217

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38

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.

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Human culture has recognized the damage being caused to our environment and is in the process of transitioning toward sustainable systems. Design disciplines and environmental studies are engaging in alternative ways to support a sustainable world and, to a large extent, on resolving the disconnection between humans and nature. The conceptualization of Symbiotic Design proposed in this research, facilitates theoretical-practical reflections and recognizes that learning through closer association with the natural world can trigger innate responses and enhance human creativity. Designers need to have an understanding of these concepts to allow them to design in an ecologically conscious way. Using biophilia, biomimicry and resilience thinking as core eco-techniques, the research develops a series of teaching/learning practices that aim to enhance the embodiment of design with-in nature. This Symbiotic Design Practice process was developed, tested and evaluated across a sample of undergraduate and postgraduate design students. Text, visuals and workshop activities evolved through a method of action-based cycles. In essence, the research proposes a new eco-pedagogical strategy that facilitates nature-based experiences and behavior change toward an ecologically conscious design culture.

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39

Wicomb, Samuel Domingo. "Graphic design students’ perceptions of work practice." Thesis, Cape Peninsula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2391.

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Thesis (MTech (Graphic Design))--Cape Peninsula University of Technology, 2016.
The 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.

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40

O'Neill, de Mater Maria. "Developing methods of resilience for design practice." Thesis, Northumbria University, 2013. http://nrl.northumbria.ac.uk/21606/.

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It was noted by the researcher that living and working in Puerto Rico, in what are politically and socio-economically difficult and sometimes threatening conditions, at the time of this programme of research, there was something to be learnt from those designers who exhibited resilience to stressful events. Therefore, the specific purpose of this practice-led programme of research was to understand designers’ decision-making processes when under political and socio-economic stressors and question how they can make strategically successful decisions that enable them to thrive. The first objective was to identify and define resilient strategic thinking. To do this, the researcher reflected upon her own thinking and practices as an art director and design educator suffering the adversities of political and socio-economic disintegration in her own context. This self-reflective process revealed her use of a number of coping tools, which became the set of Real-Time Response Planning (RTRP) tools for managing adversity. The second tool’s objective was to explore the possibility of teaching strategic application of the RTRP tools to other designers who were also experiencing their own stressors. In review of designers’ engagement with these tools, the third objective was to develop an effective graphic articulation of the RTRP toolbox. This enabled the fourth objective, which was to measure the effectiveness of the RTRP toolbox in guiding designers towards radical resilience, towards bouncing forward as a more adaptive response to adverse conditions. The research was begun using the Reflective Practice and Action Research approach; however, critical review of its appropriateness within this social-political context of design practice moved the researcher to apply the Systematization of Experience method. A Systematization workshop was conducted applying Participatory Action Research and Participatory Design to the creation of the RTRP toolbox paper prototype, as a vehicle for observing the application of the RTRP tools during design practices. This programme of research found that the RTRP tools were able to positively support thriving and resilience as defined by the Resilience Theory. The toolbox successfully supported the teaching of resilience behaviours at a personal and local level, enabling the development of positive coping strategies in real-time, and informed the planning of longer-term strategies for similar adversities in the future. The current global economic crisis has left many designers with insecure futures, yet there is an expectation that they will carry on efficiently to maintain their livelihoods and lifestyles in the face of daily adversity. These RTRP tools offer designers a means of managing these experiences and help them see oportunities.

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41

Turilli, Matteo. "Ethics and the practice of software design." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711646.

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42

Ionascu, Adriana. "Poetic design : a theory of everyday practice." Thesis, Loughborough University, 2010. https://dspace.lboro.ac.uk/2134/6965.

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This study aims to define design poetics as a category of design practice set apart from commercial, industrial or market-led design that generates a collection of experimental artefacts which investigate the everyday life of contemporary culture. It is argued that in creating an active interplay between users (human agents) and objects, poetic design involves a different kind of production (which is not about improving the functionality of a product) and alternative forms of "consumption" (which is not about a 'using up' of objects), by developing new practices of living with things. As such it is suggested that design poetics depends on the production developed by consumers as a creative users (postproducers), within unconventional experiential and social scenarios of living. In changing the bilateral relationship object-user poetic design develops objects from the point of view of the user - its activities and models of operation - and this aspect is related to an emotional and experiential evaluation. Thus the study proposes a re-evaluation of objects and users through experiential, narrative and performative criteria in order to understand their various roles and functions. In proposing these particular points of evaluation, poetic objects are distinguished as a particular category of objects together with the practices they engender or support; and within a network of relationships and contexts, as specific sites of interaction.1 In this light, it is shown that poetic design proposes a class of objects that respond to needs beyond the objects' instrumental (functional, practical) power; but to their contribution to life experience, embodying a variety of processes and manifestations. They translate immaterial interactions and make these interrelations visible.

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Dyke, 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/.

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Non timber forest products are the neglected resource of Scotland’s woodlands, used by many, but with little provision in law, policy or management. Drawing on new research conducted in Scotland, and comparative studies in Finland, the Pacific Northwest USA and Canada, this thesis examines issues relating to the practice, politics and ecology of NTFPs. The methodological approaches used in the field research are set out in Chapter One. Chapters Two to Five explore the perspectives of stakeholder groups, who either use NTFPs directly or who influence the availability of resources and the ability of others to access them. The first of these groups is harvesters, with Chapter Two examining how issues of legal pluralism or the coexistence of both legal and customary rights for harvesting has resulted in the dominance of common practice over management and policy. Chapter Three discusses buying and processing activity, focussing on its contribution to both livelihood and lifestyle and its position ‘somewhere in between’ commercial and non-commercial benefit. The influence of land managers is examined in Chapter Four, reviewing the contrast between the privileged knowledge that enables harvesters to use resources, and the reliance on professionalised knowledge that renders land managers comparatively powerless. In Chapter Five the influence of organisations is explored, particularly in relation to the difficulty of accommodating the interests of such disparate groups without formal channels for representation. The thesis concludes by addressing policy and management concerns, both practical and ideological, and considering mechanisms for the management of NTFPs as a resource. It demands that ethical questions over benefits, values and rights be addressed, as well as issues surrounding sustainability and resource use. The conclusion seeks to present a new system for the self-governance of NTFP resources by the stakeholders themselves.

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44

Sandberg, Abigail Jane. "Decelerated design." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1074.

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Globalization and industrialization has allowed designers and artists to visualize and create artifacts and consumer goods at an extremely rapid rate. As a result, the public consumes and disposes of these objects at a rapid rate as well because these objects are readily available and inexpensive. Technological innovation, clever advertising, and fleeting design trends have led people to overconsumption and obsession over ownership of objects. The integration of computer aided design technologies into object making practices has accelerated the rate of production and consumption. Material objects have become disposable which has proven to have a negative impact on the environment. I am employing Computer Numerical Control and Rapid Prototyping technologies to design and produce functional pieces out of wood and metal. Mechanical production enables me to experiment with form and surface texture but also eliminates direct physical contact with the object. This disconnect causes a tension between the method of production and the intended interaction and interpretation between user and object. This tension influences my work and my objective is to reconcile the rather impersonal production techniques by creating functional objects that evoke feelings of slowness, appreciation and physical interaction. My master's research is to create objects that involve the user in a kinesthetic and sensual experience in order to evoke an emotional response and establish an interaction beyond the appreciation of the visual. I am experimenting with the application of surface texture in order to design objects that can engage the user in a more substantial and personal experience through touch. Through this engagement it is my hope that the life cycle of the object can be extended in order to slow down the cycle of production and consumption.

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45

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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46

St, 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.

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Theater
M.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

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47

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.

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This doctoral research is situated in the field of fashion design for sustainability. It consists of three phases fieldwork to answer the question: How can designers be supported in designing garments with extended lifetimes? The aim of this inquiry is to provide parameters for framing longevity as a strategy for sustainability in fashion. Design for longevity stands in stark contrast to the dominant and highly profitable model of fast fashion. These items are mass-produced, sold at low prices and linked to environmental degradation. Despite arguably being the most effective means of reducing environmental impacts, there are significant gaps in knowledge relating to garment longevity in practice. The first of three distinct but interlinked phases of research therefore consists of case studies to investigate how design strategies for longevity are manifest within these exemplary fashion micro-enterprises. The results are distilled into nine categories which describe ways of framing design for extended garment lifetimes. The findings were developed into a prism graphic, providing a philosophical foundation for integrating design-led approaches to extended clothing lifetimes as part of a sustainability portfolio. The subsequent phase of research investigated user factors affecting clothing lifetimes. Qualitative interviews with customers from a participating case study organisation provided in-depth data elucidating the complex interplay between material objects, cultural norms and individual personal factors. It became clear that the design of a garment alone is significantly less influential in affecting the length of its use period than previously assumed. In order for knowledge from Phases 1 and 2 of fieldwork to be applied inpractice, it is important that it is appropriately disseminated. The third and final phase of fieldwork addresses this need, as previous literature described an abundance of design toolkits but only few are successfully adopted in practice. It was found that guides developed together with an industry partner can provide gravitas and real-world context; also, that the flexibility and openness to change as evident within micro-enterprises, young businesses, or educational institutions is conducive to their success. In summary, the three core contributions to knowledge made by this thesis are: (1) Philosophical foundations towards clothing longevity. (2) Evidence supporting the individual and social factors affecting clothing lifetimes, which include but exceed the designable characteristics of a garment. (3) Factors affecting toolkit uptake and success. Overall, the contribution to knowledge provides greater clarity in relation to sustainable design practices for industry.

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Ürgen, 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.

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49

Snowball, 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.

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The emerging field of Performance and Ecology addresses approaches to performance and performance making in response to the profound challenges heralded by the age of the Anthropocene. Transdisciplinary artist-scholars within this paradigm bring into question spatiotemporal relationships between all things, through varying artistic and scholarly practices. This practice-led-research project seeks to create work at the open intersections of the human and more-than-human, audience and performer, practice and research. The aim of the project is to disturb these binaries, which contribute to hierarchies of destruction of all multispecies beings and habitats, including humans. Through performance, this work addresses and critiques distinctive ways of being in, listening to, and viewing our shared world. The accompanying exegesis highlights how performance can reveal what otherwise remains hidden in this entangled process. The exegesis documents the development of site-specific performance works over three active modes: Walking, Dancing and Writing. These experiments in performance include both solo works and participatory projects. All works traverse these modes and are influenced by current international and Australian performance practices in site-specific Walking, Dancing and/or Writing. Three main projects are discussed through text, photograph and video. These are Promenade Locale a participatory walking project that took place in Central Victoria, Ends of the Earth and Instability, dance solos performed in Melaka, Malaysia and the practice of Weather Writing, which takes places at my home, also in Central Victoria.
Doctor of Philosophy

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50

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.

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At the core of this collaborative ‘independent’ project is a growing and shifting community of practitioners: design students, volunteers, professors, farmers, entrepreneurs, local nonhuman species and the soil; each of us performing our various roles together. By contextualizing this community within the growth economy: industrialization, globalization and capitalism and more specifically: patriarchy, oppression, and alienation, I aim to explore how, through design, we can perform local accountabilities that critically co-respond to the greater anthropocentric narratives of our time. By engaging with autonomous, post-capitalist feminist theories of care, and the queering of normative ways of world-making, I investigate the roles our everyday farm tools play in helping to further explore, ask questions and shape more resilient and convivial practices. Through the collaborative processes of workshopping and prototyping, my collaborators and I challenge the normative narrative of the ‘hero’ tool, looking to our everyday choreographies at the farm for those actions and labours that go unnoticed. Through discussion and material exploration we used the makerly practice of weaving as tool for coming together and helping to create a community of care.

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