Academic literature on the topic 'Artefact design'
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Journal articles on the topic "Artefact design"
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Garbacz, Pawel. "What is an Artefact Design?" Techné: Research in Philosophy and Technology 13, no. 2 (2009): 137–49. http://dx.doi.org/10.5840/techne200913212.
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The paper contains a first order formal theory pertaining to artefact designs, designs which are construed as the results of designing activities. The theory is based on a minimal ontology of states of affairs and it is inspired by the ideas of the Polish philosopher Roman Ingarden. After differentiating the philosophical notion of design from the engineering notion of design specifications, I then go on to argue that the philosophical category of artefact designs may be compared with Ingarden’s category of intentional states of affairs. At least some artefacts are found to be determined by more than one design. I also show how this ontological framework allows for the distinction between artefact tokens and artefact types. That leads to a proposal on how to define a criterion of identity for artefact types. The proposed theory serves as a basis both for a better understanding of what artefacts are and for the construction of computer-readable models of design specifications.
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Lehrmann, K., F. Härtig, and R. Tutsch. "Mathematic modeling of a new inlay buoyancy artefact." ACTA IMEKO 9, no. 5 (December 31, 2020): 42. http://dx.doi.org/10.21014/acta_imeko.v9i5.936.
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The novel buoyancy artefact concept for the use in mass metrology enables the determination and correction of systematic air buoyancy effects caused by measurements outside a vacuum. In contrast to other buoyancy artefacts with a nominal mass of 1 kg, the new artefact, called inlay artefact, has a smaller volume resulting from an enclosed tungsten core. The theoretical design of the new artefact consists of dismountable discs with spherical distance pieces and a cylinder. This work focuses on the design and mathematical model considering limiting factors caused by the handling and the geometry of the comparators used.
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Anticoli, Linda, and Elio Toppano. "How Culture May Influence Ontology Co-Design." International Journal of Information Technology and Web Engineering 6, no. 2 (April 2011): 1–17. http://dx.doi.org/10.4018/jitwe.2011040101.
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This article addresses the issue of cultural influence in ontology design and reuse. The main assumption is that an ontology is not only a socio-technical artefact but also a cultural artefact. It contains embedded assumptions, core values, points of view, beliefs, thought patterns, etc. Based on results already found in several design fields the authors formulate some preliminary hypotheses about the possible relationships existing between culture and features of design process and produced ontology. A critical and qualitative analysis of six collaborative design systems has been performed to test some of the hypotheses, confirming some of the findings. The authors argue that a “culture aware” attitude may be of great importance for supporting the processes of cross cultural collaborative ontology design and the internalization and localization of these kinds of artefacts.
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Byrne, Thomas J., Aleksandr Doikin, Felician Campean, and Daniel Neagu. "An Axiomatic Categorisation Framework for the Dynamic Alignment of Disparate Functions in Cyber-physical Systems." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (July 2019): 3581–90. http://dx.doi.org/10.1017/dsi.2019.365.
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AbstractAdvancing Industry 4.0 concepts by mapping the product of the automotive industry on the spectrum of Cyber Physical Systems, we immediately recognise the convoluted processes involved in the design of new generation vehicles. New technologies developed around the communication core (IoT) enable novel interactions with data. Our framework employs previously untapped data from vehicles in the field for intelligent vehicle health management and knowledge integration into design. Firstly, the concept of an inter-disciplinary artefact is introduced to support the dynamic alignment of disparate functions, so that cyber variables change when physical variables change. Secondly, the axiomatic categorisation (AC) framework simulates functional transformations from artefact to artefact, to monitor and control automotive systems rather than components. Herein, an artefact is defined as a triad of the physical and engineered component, the information processing entity, and communication devices at their interface. Variable changes are modelled using AC, in conjunction with the artefacts, to aggregate functional transformations within the conceptual boundary of a physical system of systems.
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Ooms, Richard, and Marco Spruit. "Self-Service Data Science in Healthcare with Automated Machine Learning." Applied Sciences 10, no. 9 (April 25, 2020): 2992. http://dx.doi.org/10.3390/app10092992.
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(1) Background: This work investigates whether and how researcher-physicians can be supported in their knowledge discovery process by employing Automated Machine Learning (AutoML). (2) Methods: We take a design science research approach and select the Tree-based Pipeline Optimization Tool (TPOT) as the AutoML method based on a benchmark test and requirements from researcher-physicians. We then integrate TPOT into two artefacts: a web application and a notebook. We evaluate these artefacts with researcher-physicians to examine which approach suits researcher-physicians best. Both artefacts have a similar workflow, but different user interfaces because of a conflict in requirements. (3) Results: Artefact A, a web application, was perceived as better for uploading a dataset and comparing results. Artefact B, a Jupyter notebook, was perceived as better regarding the workflow and being in control of model construction. (4) Conclusions: Thus, a hybrid artefact would be best for researcher-physicians. However, both artefacts missed model explainability and an explanation of variable importance for their created models. Hence, deployment of AutoML technologies in healthcare remains currently limited to the exploratory data analysis phase.
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Ren, Xiaoping, Jian Wang, Ombati Wilson, Yong Wang, Bai-fan Chen, and Chang-qing Cai. "Surface analytical model and sorption artifact designing method." ACTA IMEKO 5, no. 3 (November 4, 2016): 76. http://dx.doi.org/10.21014/acta_imeko.v5i3.299.
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<p class="Abstract">Mass standards with alternative shapes are difficult to design due to the number of complex parameters. An analytical model based on surface sorption experiments is presented to study adsorption. This model is based on an optimization algorithm that is conceptualized to help to design the best sorption artefacts. Experimental artefacts, cylinder-weight and stack-weight, were of the same volume but different surface areas. This algorithm in essence determines the optimum surface of the artefact. After machining the artefact, surface sorption measurements were carried out. A sorption experiment was done by transferring the artefact from air to a vacuum. Then the surface sorption model was set up which represented the relationship between sorption coefficient, time <em>t</em> and relative humidity <em>h. </em>Logarithmic models were used to fit the variation of sorption coefficient per relative humidity <em>h </em>with time <em>t</em>.</p>
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J. Miah, Shah, Don Kerr, and Liisa von Hellens. "A collective artefact design of decision support systems: design science research perspective." Information Technology & People 27, no. 3 (July 29, 2014): 259–79. http://dx.doi.org/10.1108/itp-04-2012-0041.
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Purpose – The knowledge of artefact design in design science research can have an important application in the improvement of decision support systems (DSS) development research. Recent DSS literature has identified a significant need to develop user-centric DSS method for greater relevance with respect to context of use. The purpose of this paper is to develop a collective DSS design artefact as method in a practical industry context. Design/methodology/approach – Under the influence of goal-directed interaction design principles the study outlines the innovative DSS artefact based on design science methodology to deliver a cutting-edge decision support solution, which provides user-centric provisions through the use of design environment and ontology techniques. Findings – The DSS artefact as collective information technology applications through the application of design science knowledge can effectively be designed to meet decision makers’ contextual needs in an agricultural industry context. Research limitations/implications – The study has limitations in that it was developed in a case study context and remains to be fully tested in a real business context. It is also assumed that the domain decisions can be parameterised and represented using a constraint programming language. Practical implications – The paper concludes that the DSS artefact design and this development successfully overcomes some of the limitations of traditional DSS such as low-user uptake, system obsolescence, low returns on investment and a requirement for continual re-engineering effort. Social implications – The design artefact has the potential of increasing user uptake in an industry that has had relevancy problems with past DSS implementation and has experienced associated poor uptake. Originality/value – The design science paradigm provides structural guidance throughout the defined process, helping ensure fidelity both to best industry knowledge and to changing user contexts.
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Martins, Luciano Augusto Cano, Polyane Mazucatto Queiroz, Yuri Nejaim, Karla de Faria Vasconcelos, Francisco Carlos Groppo, and Francisco Haiter-Neto. "Evaluation of metal artefacts for two CBCT devices with a new dental arch phantom." Dentomaxillofacial Radiology 49, no. 5 (July 2020): 20190385. http://dx.doi.org/10.1259/dmfr.20190385.
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Objectives: To create a new phantom design to evaluate the real impact of artefacts caused by titanium on bone structures in cone beam CT images considering different positions and quantity of metals in the dental arch, with and without metal artefact reduction (MAR). Methods: A three cylindrical polymethyl methacrylate (PMMA) plate phantom was designed containing eight perforations arranged to simulate the lower dental arch in the intermediate plate. Three titanium cylinders were positioned in different locations and quantities to test different clinical conditions and to quantify the impact of the metal artefact around five bone cylinders. Scans were carried out in seven different protocols (Control, A-F) in two cone beam CT devices (OP300 Maxio and Picasso Trio). Eight regions of interest around each cortical and trabecular bone were used to measure the grey value standard deviation corresponding the artefact expression in the Image J software. Both the artefact expression and the MAR effect were assessed using the Wilcoxon, Friedman (Dunn) and Kruskal–Wallis tests (significance level of 5%). Results: For both devices, MAR was statistically efficient only for the protocols E, and F. Protocol F (three metals on the adjacent area of the analysis region) showed higher artefact expression when compared to the others. Conclusion: In conclusion, the new phantom design allowed the quantification of the metal artefact expression caused by titanium. The metal artefact expression is higher when more metal objects are positioned in the adjacent bone structures. MAR may not be effective to reduce artefact expression on the adjacencies of those objects for the devices studied.
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Freeman Gebler, Owen, Mark Goudswaard, Ben Hicks, David Jones, Aydin Nassehi, Chris Snider, and Jason Yon. "A COMPARISON OF STRUCTURED LIGHT SCANNING AND PHOTOGRAMMETRY FOR THE DIGITISATION OF PHYSICAL PROTOTYPES." Proceedings of the Design Society 1 (July 27, 2021): 11–20. http://dx.doi.org/10.1017/pds.2021.2.
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AbstractPhysical prototyping during early stage design typically represents an iterative process. Commonly, a single prototype will be used throughout the process, with its form being modified as the design evolves. If the form of the prototype is not captured as each iteration occurs understanding how specific design changes impact upon the satisfaction of requirements is challenging, particularly retrospectively.In this paper two different systems for digitising physical artefacts, structured light scanning (SLS) and photogrammetry (PG), are investigated as means for capturing iterations of physical prototypes. First, a series of test artefacts are presented and procedures for operating each system are developed. Next, artefacts are digitised using both SLS and PG and resulting models are compared against a master model of each artefact. Results indicate that both systems are able to reconstruct the majority of each artefact's geometry within 0.1mm of the master, however, overall SLS demonstrated superior performance, both in terms of completion time and model quality. Additionally, the quality of PG models was far more influenced by the effort and expertise of the user compared to SLS.
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Li, Q., and W. J. Zhang. "Computer comparison of design knowledge." Proceedings of the Institution of Mechanical Engineers, Part B: Journal of Engineering Manufacture 212, no. 8 (August 1, 1998): 635–45. http://dx.doi.org/10.1243/0954405981515905.
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Automatic comparison of design knowledge generated and consumed during a design process is very useful. Basically, design knowledge can be classified into four categories: (a) artefact (product) structures, (b) artefact behaviours, (c) artefact functions and (d) causalities among structures, behaviours and functions. This paper proposes an intelligent hybrid graph approach to represent design knowledge associated with these categories. Comparison of design knowledge thus turns out to be the comparison of hybrid graphs. A general algorithm is developed for the graph comparison purpose. In this general algorithm, comparison of line graphs is an important task, which is realized by using the Hopfield—Tank neural network algorithm. An initial implementation of this algorithm proves to be promising.
Dissertations / Theses on the topic "Artefact design"
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Wang, Wenjuan. "The nature of evolutionary artefact and design process knowledge coupling." Thesis, University of Strathclyde, 2008. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21787.
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Artefact and design process knowledge continually evolve during design development and are closely coupled. Considerable research has been conducted on the artefact, design process knowledge, and their inter-relationships. However, they have only focused on general or specific aspects of their coupling. To address this lack of knowledge, the research presented in this thesis has focused on modelling the nature of the coupling of evolutionary artefact and design process knowledge. A triangulation approach was adopted in the research, through which a coupling model was developed based on different methods including literature review, content analysis, and protocol analysis. The model was subsequently evaluated by questionnaire. A basic set of artefact and design process knowledge elements involved in the coupling (22 in all) were identified through literature review and verified by content analysis of eight industrial design documents and protocol analysis of a supervised student design project. They include 11 fundamental and 4 contextual artefact and 5 fundamental and 2 contextual design process knowledge elements. Occurrence trends of these elements over task clarification, conceptual, and embodiment design were revealed through the protocol analysis, which shows that different types of knowledge elements exhibit different trend patterns, such as increasing, decreasing, or relatively stable. The coupling was found to be composed of 6 creation and 15 employment links through the content analysis. The protocol analysis of the coupling links resulted in 18 creation and 15 employment links. The evolved coupling model is derived through combining the results obtained from both the content and protocol analysis, which was found to be composed of 19 creation and 17 employment links between the artefact and design process knowledge elements. The work reported in this thesis was evaluated through questionnaires answered in two workshops by eight practising designers. The evaluation revealed that all of the 22 knowledge elements were considered to occur during design development. Differences were found not only between the results obtained from the analysis and evaluation, but also among the designers. Specifically, it showed that, of the 22 evaluated elements, 2 were viewed as having the same trend as that obtained from the protocol analysis, while 7 were viewed as similar, and 13 were viewed as different. Moreover, the evaluation resulted in 48 creation and 42 employment links. Among them, 9 creation and 12 employment links were also identified from the content and protocol analysis. However, there were still 12 creation and 7 employment links identified from the analyses that were not identified from the evaluation. Possible reasons for these differences were discussed by comparing results from different designers. Finally, strengths and weaknesses are discussed and potential future work to build on the research are identified.
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Lloyd, Simon, and sisn@optusnet com au. "Gleaning potential: practicing design practice through material expression." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091106.144301.
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This research project examines the potential of gleaned material fragments to inform a practice of designing artefacts for production. The project presents processes of working with material fragments in the context of newly designed artefact examples to demonstrate a capacity to explore and apply the expressive potential of material within my design practice.
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Botes, André Romeo. "An artefact to analyse unstructured document data stores / by André Romeo Botes." Thesis, North-West University, 2014. http://hdl.handle.net/10394/10608.
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Structured data stores have been the dominating technologies for the past few decades. Although dominating, structured data stores lack the functionality to handle the ‘Big Data’ phenomenon. A new technology has recently emerged which stores unstructured data and can handle the ‘Big Data’ phenomenon. This study describes the development of an artefact to aid in the analysis of NoSQL document data stores in terms of relational database model constructs. Design science research (DSR) is the methodology implemented in the study and it is used to assist in the understanding, design and development of the problem, artefact and solution. This study explores the existing literature on DSR, in addition to structured and unstructured data stores. The literature review formulates the descriptive and prescriptive knowledge used in the development of the artefact. The artefact is developed using a series of six activities derived from two DSR approaches. The problem domain is derived from the existing literature and a real application environment (RAE). The reviewed literature provided a general problem statement. A representative from NFM (the RAE) is interviewed for a situation analysis providing a specific problem statement. An objective is formulated for the development of the artefact and suggestions are made to address the problem domain, assisting the artefact’s objective. The artefact is designed and developed using the descriptive knowledge of structured and unstructured data stores, combined with prescriptive knowledge of algorithms, pseudo code, continuous design and object-oriented design. The artefact evolves through multiple design cycles into a final product that analyses document data stores in terms of relational database model constructs. The artefact is evaluated for acceptability and utility. This provides credibility and rigour to the research in the DSR paradigm. Acceptability is demonstrated through simulation and the utility is evaluated using a real application environment (RAE). A representative from NFM is interviewed for the evaluation of the artefact. Finally, the study is communicated by describing its findings, summarising the artefact and looking into future possibilities for research and application.MSc (Computer Science), North-West University, Vaal Triangle Campus, 2014
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Papp, Timothy M. "CrashApp™ –Concurrent Multiple Stakeholder Evaluation of a DSR Artefact." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7074.
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The successful design, implementation, deployment, and use of mobile software applications is rare. While many mobile apps are developed, few succeed. This design science research project builds and evaluates CrashApp™, a mobile application that connects lawyers and clients before, during, and after car accidents. The effective, widespread use of this app depends on satisfying the needs of three groups of stakeholders – the end-users (clients), the owners (lawyers), and the software developers. The research objective is to investigate the key differences among the three stakeholder groups on evaluation criteria for mobile app success. Evaluation strategies and methods are selected to collect data that measures each group’s satisfaction with the constructed application artefact. Research contributions are the identification of multiple stakeholder groups and the ability to design rich evaluation strategies that provide measures of application success. Practice contributions are the design and development of a useful mobile app that provides needed services to the client and effective client connections for the law firm to interact with the clients. The project produced an instantiation of the design artefact CrashApp™ mobile application, which was evaluated with a naturalistic evaluation approach, including the following methods and techniques: focus groups, focused surveys, usability surveys, and real life tests and assessments.
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Lendrén, Emil. "Towards increasing the quality of service at traditional restaurants : - by design of a digital artefact." Thesis, Linnéuniversitetet, Institutionen för informatik (IK), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105935.
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In this thesis, the reader will follow a design research project, which was initiated based on a situation of not getting the expected quality of service from the staff, when visiting a traditional restaurant. The aim of the study was to solve the experienced problematic situation by constructing an information system, but also to contribute to the greater body of knowledge regarding artefact design, service quality and customer experience. The thesis also emphasizes that digital tools can be designed for businesses which are typically not tech-heavy and that novel IT solutions do not necessarily have to be very “high-tech”.The thesis included the theoretical perspectives of service quality dimensions, the service quality gap model, expectation-confirmation, and the conceptualization of an information system artefact. This design perspective of the system was combined with theories describing the gap between what customers expect in terms of service quality during a visit, and how the customers perceive that service quality during the visit.As methodology, action design research was applied as guidance how to practically conduct the design process of a digital artefact. It suggested division of the project into four stages: first, problem formulation where the problem area is defined and described. Second, building, intervention and evaluation stage, where the artefact was created together with the participating restaurants. Third, reflection and learning of the outcome, and last, formulation of learning, to explicate the generalizable knowledge of the thesis.The research study concluded that a digital artefact, by applying the action design research approach, could be designed and constructed to ultimately raise the customers’ perceived service quality. The main findings were that the designed artefact could be accepted and utilized differently between various instances of traditional restaurants. Further, the results indicated that service staff members had different attitudes towards the artefact, depending on their professional experience. It was also concluded that the re-allocation of spent time and not having to look for staff when in need of service, were the two most important factors for the customer. While utilizing the system, the time previously spent looking for staff, when in need of service, could instead be spent enjoying the meal and the expected experience. At the same time, the customer did not have to worry about actively looking for a service provider.
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Woodward, Martyn Stuart. "The multidimensional depth of the image : body-environment-artefact (a philosophical reflection for graphic design)." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3163.
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Current discourses within cultural studies are re-iterating the limitations of language to adequately describe the affective domains of corporeality and materiality in the study of cultural artefacts. Within the discourse of graphic design, however, there remains an enduring focus placed upon models of language and communication to understand the meaning of designed materials. Rather than upholding a focus upon language, this thesis undertakes a theoretical investigation to extend the literature available to the discourse of graphic design to better understand how visual materials ‘come to mean’ within the experience of an embodied subject coupled to an affective environment. This thesis proposes an ontology of images that is emergent as a part of what, within the phenomenology of Merleau-Ponty, is describes as a mind-body-world system through which the ‘meaning’ of visual materials should be grounded. This thesis asks not ‘what’ visual materials mean but rather ‘how’ visual materials come to mean in terms of a complex relationship involving the embodied perceptual experience of the maker and the viewer that is immersed within an affective environment, what the thesis terms the multidimensional depth of the image. A phenomenological theory of art is extended to include a range of materials of popular visual culture to frame a study of how form and style come to mean qua the gestures of an embodied experience as coupled to an environment — a meaning that reciprocally emerges through the embodied experience of the work by the viewer. The environmental processes of which an embodied subject’s movements are coupled are brought into focus through enactive conceptions of mind within the cognitive sciences, describing how mind and meaning are emergent within an autopoietic organism-environment system. This provides a framework in which the affective dimensions of matter can be more fully understood as having a cognitive efficacy. Within this context, Material Engagement Theory (an approach within cognitive archaeology) is utilized to include a more focussed discussion of the affective domains of materials, objects, and artefacts and their role in the emergence of mind and meaning.
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Michel, Aurélie. "Objets-environnements, des interfaces biomimétiques entre arts plastiques et design, en France, de 1993 à nos jours." Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0420.
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L’observation des productions actuelles fait apparaitre une tendance à l’hybridation des disciplines. Ce constat touche en particulier un type de pratique design, qui s’oriente de plus en plus vers la conception d’objets en petites séries ou en pièces uniques, interrogeant le rapport de l’usager aux espaces familiers et plus spécifiquement à la sphère intime. Bien que la plupart des designers refusent le rapprochement de leur travail avec les Arts Plastiques, il n’en demeure pas moins que certains d’entre eux adoptent des démarches analogues à celles des plasticiens. La formulation de cette hypothèse interroge la validité des catégories en vigueur et la légitimité des lois qui président à leur constitution. Par ailleurs, la production des designers qui intègrent une démarche similaire à celles des artistes se construit sur un mode évolutif, faisant croître l’objet vers l’installation, une forme de pénétrable que peut expérimenter le spectateur/usager. Il suffit d’examiner les variations d’échelles et la répétition modulaire créant une architecture mouvante chez Ronan et Erwan Bouroullec pour comprendre les glissements opérés entre l’unité et l’environnement qu’elle construit. La manipulation des échelles questionne, au cœur de l’espace même (qu’il s’agisse du cadre institutionnel de l’exposition ou de la sphère personnelle de chaque individu), la classification des objets, ainsi que leur hiérarchisation. Ces problématiques sont propres à un type de pratique, dont la poïétique use du détournement des produits de la nature et, notamment, des trois règnes animal, végétal et minéral. La transposition de pratiques naturalistes visant à établir un dépaysement par l’objet (au sens d’un déplacement hors d’un contexte habituel) découle d’une réflexion autour des modalités de l’hybridation. Ainsi, lorsqu’on se penche sur les textes jalonnant l’histoire naturelle et, en particulier sur ceux traitant des problématiques de classification, d’Aristote à Pline l’Ancien, en passant par la nomenclature de Carl von Linné, on remarque la récurrence (ou « survivance » pour reprendre la formule initiée par Georges Didi-Huberman), d’éléments situés dans l’entre-deux. Ces « types », que nous pouvons qualifier d’« aléatoires » révèlent un déplacement constant de la norme et questionnent la détermination du monstre. À partir de quel moment pouvons-nous juger du caractère anormal de tel élément ? N’existe-t’il pas des objets, qui, tout en présentant tous les « symptômes » du monstre coïncident malgré tout avec les modèles établis ? L’analyse des pratiques actuelles convoquant des démarches de création à la croisée des Arts Plastiques et du design révèle une influence profonde de ce type de fabrique pour un imaginaire scientifique, qui prend sa source dans le theatrum mundi des cabinets de curiosités. D’ailleurs, on observe, depuis le début des années 1990 (et surtout suite à la constitution de la collection d’art contemporain Curios & Mirabilia par Jean-Hubert Martin en 1993, visant à confronter un lieu chargé d’histoire, le château d’Oiron à la production d’artistes divers) une recrudescence des expositions empruntant la forme des cabinets de curiosités, afin de susciter un intérêt renouvelé pour l’objet d’art et en particulier les échos foisonnants entre les artefacts (œuvres et objets d’art, même s’ils prennent l’apparence d’installation) et l’univers poétique de la nature, manifestation viscérale d’un retour aux origines. Ainsi, l’emprunt symbolique de la figure des « zoophytes » ou plantes-animaux, mentionnés dans les traités d’histoire naturelle les plus anciens nous permet d’interroger la transversalité des pratiques artistiques qui cherchent à provoquer un décloisonnement des disciplines, en faisant de l’objet une entité située à la croisée des démarches de créationThe observation of the actual artistic productions shows a trend towards a hybridization of disciplines. This statement concerns particularly a type of design practices which is increasingly shifting towards objects manufactured in small quantity, even in unique pieces questioning the relations between the users and their familiar spaces and more specifically their intimate sphere. Even though most designers reject the comparison of their production with plastic arts, we can see that some of them have adopted approaches similar to those of plasticians. The formulation of this hypothesis brings up the questions of the validity of classifications and the legitimacy of the laws presiding to their constitution. Furthermore, the production of designers who integrate similar approaches to those of artists is built on an evolutive mode, the object being developed towards art installation, a form of penetrability a spectator/user can experience. By examining the scales variations and the modular repetition creating a fluid architecture in Ronan and Erwan Bouroullec design, we can understand the shifts operated between the piece and the environment it builds. Scales manipulation questions at the heart of the space itself the established objects classifications as well as their hierarchization (in domestic space and in exhibitions too).These issues are specific to a type of practice, which the poetic uses, of diverted natural products and especially the three systems : vegetal, animal and mineral. The transposition of naturalistic practices aiming at bringing a change through the object ( in the sense of placing it out of the usual context ) derives from considerations around the processes of hybridization. Thus, when one looks at natural history writings, and, in particular, those of Aristotle, Pliny the Elder or the nomenclature of Carl von Linné, we notice the recurrence ( or” survivance” to use the expression initiated by Georges Didi- Huberman) of elements located in an in-between space. Those types that we can describe as “random practices” reveal a constant displacement of the norms and question the determination of the monster. At which moment, can we designate an element as being abnormal? Aren’t there objects which, while presenting all the characteristics of the monster, coincide nonetheless with established models ? The analysis of actual practices standing at a crossroad between plastic arts and design reveals a profound influence from this type of process for a scientific imaginary inspired by the theatrum mundi of the curiosities cabinets. Moreover, we can observe since the beginning of the 1990ies (in particular, following the constitution of the contemporary art collection “Curios & Mirabilia” by Hubert Martin, aiming at confronting a place charged with history , Oiron Castle, to the production of various artists) a resurgence of exhibitions using curio cabinets forms. The aim is to renew the interest in artifacts and especially the relations of those manufactured objects and the poetic universe of nature, a manifestation of visceral attachment to primitive origins. Thus, the symbolic use of the figure of “zoophytes” or animal-plants, mentioned in the most ancient natural history treaties helps to show the transversality of artistic practices trying to dismantle the partitions between disciplines by placing the object as an entity at the crossroad between the creation processes. Through artists, designers and actors of institutions interviews, we can identify too major types of practices inscribed in a fertile prolongation of nature : a type of art which uses the formal aspects of flora and fauna to create a common vocabulary for art and design, alongside with a type of production transposing natural mechanisms which become creation protocols applied to the conception of objects
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Haikola, Pirjo Annikki. "Beyond the artefact and techno-centricity: towards process-centric understanding of architecture - alternative facilitation strategies and proposals." Doctoral thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/11317.
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Doutoramento em DesignThe artefact and techno-centricity of the research into the architecture process needs to be counterbalanced by other approaches. An increasing amount of information is collected and used in the process, resulting in challenges related to information and knowledge management, as this research evidences through interviews with practicing architects. However, emerging technologies are expected to resolve many of the traditional challenges, opening up new avenues for research. This research suggests that among them novel techniques addressing how architects interact with project information, especially that indirectly related to the artefacts, and tools which better address the social nature of work, notably communication between participants, become a higher priority. In the fields associated with the Human Computer Interaction generic solutions still frequently prevail, whereas it appears that specific alternative approaches would be particularly in demand for the dynamic and context dependent design process. This research identifies an opportunity for a process-centric and integrative approach for architectural practice and proposes an information management and communication software application, developed for the needs discovered in close collaboration with architects. Departing from the architects’ challenges, an information management software application, Mneme, was designed and developed until a working prototype. It proposes the use of visualizations as an interface to provide an overview of the process, facilitate project information retrieval and access, and visualize relationships between the pieces of information. Challenges with communication about visual content, such as images and 3D files, led to a development of a communication feature allowing discussions attached to any file format and searchable from a database. Based on the architects testing the prototype and literature recognizing the subjective side of usability, this thesis argues that visualizations, even 3D visualizations, present potential as an interface for information management in the architecture process. The architects confirmed that Mneme allowed them to have a better project overview, to easier locate heterogeneous content, and provided context for the project information. Communication feature in Mneme was seen to offer a lot of potential in design projects where diverse file formats are typically used. Through empirical understanding of the challenges in the architecture process, and through testing the resulting software proposal, this thesis suggests promising directions for future research into the architecture and design process.
A investigação sobre o processo projectual em arquitetura, na maior das vezes, centra-se no artefacto ou na tecnologia, motivo pelo qual precisa de ser contrabalançado por outras abordagens. Há um aumento substancial da informação que é colectada e usada no processo projectual o que coloca desafios à gestão da informação e do conhecimento, como apresentado nesta investigação nos resultados das entrevistas efectuadas a uma seleção de arquitetos. Entretanto, as tecnologias emergentes são esperadas resolver muitos dos desafios tradicionais, abrindo novas áreas de investigação. Esta investigação sugere que entre essas novas técnicas, as que são dirigidas à forma como os arquitetos interagem com a informação no projeto, especialmente a que está indiretamente relacionada com os artefactos, assim como os instrumentos mais adequados para a natureza social do trabalho, nomeadamente a comunicação entre participantes, converteu-se numa grande prioridade. Verificamos que nas áreas de conhecimento relacionadas com interação humano-computador prevalecem as soluções genéricas, embora sejam desejáveis soluções alternativas sensíveis ao contexto extremamente dinâmico em que se desenvolve o processo projectual. Esta investigação identifica uma oportunidade centrada no processo e na abordagem integradora da prática arquitectónica, e, propõe uma aplicação informática para a gestão da informação e da comunicação, desenvolvida para as necessidades descobertas, fruto de uma colaboração próxima com uma seleção de arquitetos. Partindo dos desafios colocados pelos arquitetos, desenvolveu-se um protótipo de uma aplicação informática para a gestão da informação, Mneme. Este instrumento recorre ao uso de visualizações enquanto interface para dar uma visão global do processo projectual, facilita a busca e o acesso à informação, assim como permite uma visualização das relações entre peças de informação. Os desafios com a comunicação de conteúdos visuais, como as imagens e os ficheiros 3D, guiaram o desenvolvimento de uma nova possibilidade na comunicação, a qual permite associar as comunicações e as discussões anexas a qualquer ficheiro independentemente do seu formato, assim como, com a possibilidade de busca a partir de uma base de dados. Fundamentada nos testes do protótipo com os arquitetos e nas publicações que reconhecem os aspectos subjetivos da usabilidade, esta tese discute e reivindica que as visualizações, mesmo as visualizações 3D, apresentam um potencial pouco explorado como um interface específico para a gestão da informação e da gestão do processo projectual em arquitetura. Arquitetos confirmaram que Mneme permitiu um visão global acrescida do processo projectual, permitiu localizar mais eficazmente conteúdo heterogéneo, assim como permitiu a visualização do contexto associado à informação. Os instrumentos de comunicação de Mneme foram percepcionados como tendo um grande potencial nos projetos em design / arquitetura onde são tipicamente usados ficheiros tão diversos. Foi com recurso ao entendimento dos desafios do processo em arquitetura, assim como com os resultados dos testes com a aplicação informática proposta, que esta tese aponta para direções promissoras para futura investigação sobre o processo projectual em arquitetura e design.
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Hoggard, Christian. "Assessing the role of artefact design within the Middle Palaeolithic repertoire : determining the behavioural potential of blade production strategies." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/411871/.
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The Middle Palaeolithic of Europe has long been characterised by its rich technological diversity, with an array of core volume management strategies exhibited. In understanding and accounting for this diversity, interpretations of consistent behaviour and technological change have stressed the importance of three factors: social transmission and cultural tradition (Bordian-centric models), site-function and adaptation (Binfordian-centric models), and diachronic change andchronology. In many of these investigations and analyses into the Middle Palaeolithic, little emphasis is placed on commonalities and differences in blank-type, product desirability and their behavioural potential given their morphology. While function may not account for all aspects of technological variability, analyses of functional performance may explain chronological changes in various core volume management strategies which appear, at face value, to produce similar blanks. Undertaking such provides an entry-point into the nature and behaviour of Neanderthal tool-makers and tool-users, and a platform for discussing the role of other factors (e.g. ecological adaptation). This thesis investigates the behavioural potential of the main methods of ‘technological blade production’, the specific proceduralised sequence of producing stereotyped elongated blanks from a homothetic core morphology: Levallois (unidirectional/bidirectional) elongated recurrent and Laminar sensu stricto systems of blade manufacturing. A thorough technological analysis of blade production systems from eleven Middle Palaeolithic contexts were first undertaken to characterise technological variability of blade production systems throughout the Middle Palaeolithic. Traditional and geometric morphometric analyses of an experimental (n = 499) and archaeological (n = 908) dataset were then undertaken in order to understand differences in: 1) blank shape and form (size plus shape), 2) economisation and efficiency, and 3) product regularity and standardisation. Analyses from the technological framework were then assessed alongside findings from the functional analysis through a goodness-of-fit test, to explain whether a working hypothesis grounded on ‘performance attributes’ (Skibo and Schiffer, 2001) and artefact design could explain the change from a predominantly Levallois method of blade production in the Early Middle Palaeolithic, to a predominantly Laminar method in the Late Middle Palaeolithic, in addition to on-site concurrency (equifinality vs. activity-specific behaviours). The thesis highlights the expansive evidence for technological blade strategies within the Middle Palaeolithic and highlights the ‘retouch potential’ of Levallois technological blade strategies, given a higher flattening index, increased width and size, and an increased amount of edge per blank, while Laminar blades produce more cutting edge per weight of stone, and blades per core, representing a more portable, economic and expedient technological blade strategy. This is supported through archaeological evidence for extensive preparation and invasive continuous retouch featured on Levallois products, and the lack of retouch observed on Laminar products. This research also provides a thorough account into the role of raw material in the shape and form of blades produced from both methods, details a quantitative framework suggestive of spatio-temporal relationships of social learning within MOIS 5, supports arguments for a ‘Northwest Technocomplex’ (Depaepe, 2007), and queries the archaeological integrity of the Le Rissori sequence.
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Huysentruyt, Johnny. "Contribution à une théorie générale de la conception." Phd thesis, Université Sciences et Technologies - Bordeaux I, 2013. http://tel.archives-ouvertes.fr/tel-00842788.
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La thèse propose une contribution à une théorie générale de la conception visant à mettre en évidence des concepts communs à une grande variété de domaines.Après une analyse de l'état de la question, la thèse propose un cadre conceptuel ainsi qu'une analyse détaillée des concepts de projet, d'artefact, d'espace de conception, de processus de conception, d'organisation de conception et enfin, des activités cognitives du concepteur. Une étude de cas illustre les différents concepts. Les conclusions mettent en évidence l'apport et les limites de la contribution.
Books on the topic "Artefact design"
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Blackler, Alethea. Intuitive interaction with complex artefacts: Empirically-based research. Saarbrücken: VDM, Verlag Dr. Müller, 2008.
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Pizzocaro, Silvia. In evoluzione: Per una storia quasi naturale degli artefatti. Milano: Edizioni Unicopli, 2015.
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Design Systems with Users in Mind: the Role of Cognitive Artefacts (Colloquium) (1995 Savoy Place, London). Design systems with usersin mind: The role of cognitive artefacts. London: IEE, 1995.
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Weinstock, Michael. TS, artefacts and instruments: [material forms and formulations of thought. London: Architectural Association, 1998.
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Kroes, Peter. Technical Artefacts: Creations of Mind and Matter: A Philosophy of Engineering Design. Dordrecht: Springer Netherlands, 2012.
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Benjamín, Villegas Jiménez, ed. Artefactos: Objetos artesanales de Colombia. Bogotá: Villegas Editores, 1992.
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Daviau, P. M. Michèle. Excavations at Tall Jawa, Jordan: The Iron Age Artefacts. Boston: Brill, 2002.
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Interaktion mit virtuellen Agenten?: Zur Aneignung eines ungewohnten Artefakts. Stuttgart: Lucius & Lucius, 2010.
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Benjamin, Villegas Jiménez, ed. Artefactos: Colombian crafts from the Andes to the Amazon. New York: Rizzoli, 1992.
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Benjamin, Villegas Jiménez, ed. Artefactos: Colombian crafts from the Andes to the Amazon. 2nd ed. Bogatá, Columbia: Villegas Editores, 2000.
Find full textBook chapters on the topic "Artefact design"
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Johannesson, Paul, and Erik Perjons. "Demonstrate Artefact." In An Introduction to Design Science, 133–36. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10632-8_8.
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Johannesson, Paul, and Erik Perjons. "Evaluate Artefact." In An Introduction to Design Science, 137–49. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10632-8_9.
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Johannesson, Paul, and Erik Perjons. "Demonstrate Artefact." In An Introduction to Design Science, 137–39. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78132-3_8.
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Johannesson, Paul, and Erik Perjons. "Evaluate Artefact." In An Introduction to Design Science, 141–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78132-3_9.
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Johannesson, Paul, and Erik Perjons. "Communicate Artefact Knowledge." In An Introduction to Design Science, 151–56. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10632-8_10.
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Johannesson, Paul, and Erik Perjons. "Communicate Artefact Knowledge." In An Introduction to Design Science, 153–59. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78132-3_10.
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Johannesson, Paul, and Erik Perjons. "Design and Develop Artefact." In An Introduction to Design Science, 117–31. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10632-8_7.
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Johannesson, Paul, and Erik Perjons. "Design and Develop Artefact." In An Introduction to Design Science, 121–36. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78132-3_7.
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van Gigch, John P. "A Pluralistic Approach to Artefact Design." In Metadecisions, 1–18. Boston, MA: Springer US, 2003. http://dx.doi.org/10.1007/978-1-4615-0097-1_1.
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Borg, Jonathan C., Xiu-Tian Yan, and Neal P. Juster. "A Framework For Knowledge Intensive ‘Artefact Life’ Design." In From Knowledge Intensive CAD to Knowledge Intensive Engineering, 75–87. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-0-387-35494-1_6.
Full textConference papers on the topic "Artefact design"
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Hengeveld, Bart. "Artefact Matters." In European Academy of Design Conference Proceedings 2015. Sheffield Hallam University, 2016. http://dx.doi.org/10.7190/ead/2015/61.
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Firfilionis, Dimitris, Jun-Wen Luo, Reza Ramezani, Enrique Escobedo-Cousin, Richard Bailey, Anthony O'Neill, and Patrick Degenaar. "Design Considerations for Artefact-Free Optoelectronic Systems." In 2019 41st Annual International Conference of the IEEE Engineering in Medicine & Biology Society (EMBC). IEEE, 2019. http://dx.doi.org/10.1109/embc.2019.8856525.
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Cadena, Renata A., and Solange G. Coutinho. "Slide presentations and Information Design: uses beyond the artefact." In 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-53.
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de Roode, B. H., and H. A. Crone. "Design Model Applied to the Design of Production Machines." In ASME 1999 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/detc99/dac-8684.
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Abstract This paper describes a general design model that serves as a base for computer-support in the conceptual design stage. The model consists of a model of the artefact to be designed, design activities and knowledge. The artefact model contains multiple views, each highlighting a certain aspect of the design. Design activities are performed to create this model and knowledge describes information generated in the past that can be reused. The general design model has been used to develop a specific model for the design of production machines. This specific model has been implemented in a prototype computer-program and has been evaluated within several companies. The results are promising and show that designers gain new insights by using the model.
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Ha¨rtig, Frank, Christian Keck, Karin Kniel, Heinrich Schwenke, Klaus Wendt, and Franz Wa¨ldele. "Development of a Novel Gear Measuring Device of High Accuracy." In ASME 2003 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/detc2003/ptg-48105.
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The German national metrology institute, the Physikalisch-Technische Bundesanstalt (PTB), has developed a novel calibration method for gear artefacts. This reduces the current calibration uncertainty of gear standards, which is an essential step towards meeting the rising quality demands of the gear manufacturing industry. The measurement setup is based on a coordinate measuring machine (CMM) equipped with a high-precision rotary table. The key element of the novel gear measuring device is a tracking interferometer (TI) for reading the distance information. This information is combined with the reading of the coordinate measuring machine line scales in order to reduce the overall measurement uncertainty. If an optimized measurement strategy is applied, the measurement results are almost achieved with laser interferometer accuracy. First simulations and measurement results for an involute profile artefact are presented and discussed.
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Montiel, Miguel, Ricardo Sosa, and Darryl Hocking. "Activity Scenario Modelling: an emerging method for examining human-artefact interaction." In Design Research Society Conference 2020. Design Research Society, 2020. http://dx.doi.org/10.21606/drs.2020.223.
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Kelly, Meghan. "Whiteness in design practice: the need to prioritize process over artefact." In Design Research Society Conference 2020. Design Research Society, 2020. http://dx.doi.org/10.21606/drs.2020.228.
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Selvefors, Anneli, Helena Strömberg, and Sara Renström. "What a designer can change: a proposal for a categorisation of artefact-related aspects." In Design Research Society Conference 2016. Design Research Society, 2016. http://dx.doi.org/10.21606/drs.2016.344.
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Ben Guefrache, Fatma, Cedric Masclet, Guy Prudhomme, Gaetano Cascini, and Jamie Alexander O'Hare. "REAL-TIME CODING METHOD FOR CAPTURE OF ARTEFACT-CENTRIC INTERACTIONS IN CO-CREATIVE DESIGN SESSIONS." In 15th International Design Conference. Faculty of Mechanical Engineering and Naval Architecture, University of Zagreb, Croatia; The Design Society, Glasgow, UK, 2018. http://dx.doi.org/10.21278/idc.2018.0468.
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Kawsar, F., K. Fujinami, and T. Nakajima. "Design and implementation of a software infrastructure for integrating sentient artefact." In The Second Annual International Conference on Mobile and Ubiquitous Systems: Networking and Services. IEEE, 2005. http://dx.doi.org/10.1109/mobiquitous.2005.67.
Full textReports on the topic "Artefact design"
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Downes, Jane, ed. Chalcolithic and Bronze Age Scotland: ScARF Panel Report. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.184.
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The main recommendations of the panel report can be summarised under five key headings: Building the Scottish Bronze Age: Narratives should be developed to account for the regional and chronological trends and diversity within Scotland at this time. A chronology Bronze Age Scotland: ScARF Panel Report iv based upon Scottish as well as external evidence, combining absolute dating (and the statistical modelling thereof) with re-examined typologies based on a variety of sources – material cultural, funerary, settlement, and environmental evidence – is required to construct a robust and up to date framework for advancing research. Bronze Age people: How society was structured and demographic questions need to be imaginatively addressed including the degree of mobility (both short and long-distance communication), hierarchy, and the nature of the ‘family’ and the ‘individual’. A range of data and methodologies need to be employed in answering these questions, including harnessing experimental archaeology systematically to inform archaeologists of the practicalities of daily life, work and craft practices. Environmental evidence and climate impact: The opportunity to study the effects of climatic and environmental change on past society is an important feature of this period, as both palaeoenvironmental and archaeological data can be of suitable chronological and spatial resolution to be compared. Palaeoenvironmental work should be more effectively integrated within Bronze Age research, and inter-disciplinary approaches promoted at all stages of research and project design. This should be a two-way process, with environmental science contributing to interpretation of prehistoric societies, and in turn, the value of archaeological data to broader palaeoenvironmental debates emphasised. Through effective collaboration questions such as the nature of settlement and land-use and how people coped with environmental and climate change can be addressed. Artefacts in Context: The Scottish Chalcolithic and Bronze Age provide good evidence for resource exploitation and the use, manufacture and development of technology, with particularly rich evidence for manufacture. Research into these topics requires the application of innovative approaches in combination. This could include biographical approaches to artefacts or places, ethnographic perspectives, and scientific analysis of artefact composition. In order to achieve this there is a need for data collation, robust and sustainable databases and a review of the categories of data. Wider Worlds: Research into the Scottish Bronze Age has a considerable amount to offer other European pasts, with a rich archaeological data set that includes intact settlement deposits, burials and metalwork of every stage of development that has been the subject of a long history of study. Research should operate over different scales of analysis, tracing connections and developments from the local and regional, to the international context. In this way, Scottish Bronze Age studies can contribute to broader questions relating both to the Bronze Age and to human society in general.