Dissertations / Theses: '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 création
The 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 Design
The 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.

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Masterman, Elizabeth Frances. "Representation, mediation, conversation : integrating sociocultural and cognitive perspectives in the design of a learning technology artefact for reasoning about historical causation." Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404126.

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Alhassan, Mohammed. "Enterprise architecture driven design of an artefact to support strategic Information Technology decision-making of Small Enterprises in Nigeria and South Africa." Thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/28345.

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Information Technology (IT) is inevitably influencing the way enterprises operate, compete, and grow. The contemporary disruption has not excluded small companies. Small enterprises play a significant role in the growth of every economy but are hindered by limited skills, time, and money. The attributes of small enterprises influence the strategic and day-to-day operations. Small enterprise owners are often the managers who make the strategic decisions in order to solve specific problems. The decision style of small enterprise owner-managers limits the leveraging of IT. To ensure the sustainability of small enterprises in a contemporary business ecosystem, it is pertinent to strategise IT investment decisions. Enterprise architecture is a well-known approach to business and IT alignment. This study aimsto discover and develop how the complex enterprise architecture principles can strategise the IT decisionmaking process in small enterprises with limited resources and informal structures. The pragmatic philosophic stance was the premise for understanding the decision challenges and the development of a roadmap to intervene the problems the researcher identified. The Vaishnavi and Kuechler design science research methodology guided this study. The qualitative research approach was employed to collect verbal data with eleven small enterprise ownermanagers to understand the processes and the challenges of making IT decision in small enterprises. A thematic analysis of the findings revealed that lack of formalisation, limited information, and lack of IT skill created a critical bottleneck of IT investment decisions in small enterprises. An enterprise architecture-driven framework was developed to overcome the bounded rationality approach to IT choices in small enterprises. The framework holistically assesses organisational business-IT capabilities, constraints, and criteria to guide the decisionmaker's choice. The characteristics of small enterprises limit the successful implementation of the enterprise architecture-driven framework as a theoretical guideline for making optimal IT decisions in small enterprises. This study further developed an online IT decision-assistive tool informed by the framework. The instantiation artefact was demonstrated with six small enterprise owners from Nigeria and South Africa. The findings affirmed the prospect, potential, and relevance of an enterprise architecture-driven artefact as a tool to optimise strategic IT decisions in small manufacturing, service, and retail enterprises. The artefact developed in this study provided a practical intervention to the challenges of IT investment decisions in small enterprises.

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Mohamed, Ali. "Apputveckling : En studie av motsättningar mellan design- och användningspraktiker ur ett verksamhetsteoretiskt perspektiv." Thesis, Stockholms universitet, Institutionen för pedagogik och didaktik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94560.

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We live in a high tech era of electronic media, which is changing our lives (Giddens, 1999). Apps are examples of technologies that affect our lives. An interesting question in this context is what apps will have for significance; on one hand for the development of technology, and on other hand for humans’ relation to technology. Since the development and change process are central issues in the science of education I will explore the development of applications. The purpose of this paper is to seek knowledge about applications (apps) development from a design and user perspective. This dissertation discusses activity theory as an academic framework for understanding of apps development from two different types of operating systems or practices, to be precise design practice and user practice. To clarify my point, I have defined the following questions: why user apps are designed, how user apps are designed, and what contradictions occur between the design and the use of apps? My research is based on a qualitative approach with an abductive approach. I used multiple case studies as research approach based on three data collection techniques: interviews, observiews (interviews and observations) and observations of social media and an archived document of wireframes about apps. The result shows that apps designed and published either for their function or for promotional purposes. The design process is fast and dynamic process where applications are published before they are ready and constantly updated later. The use of apps characterized by either an active or a passive use operations. In the passive activity apps are tested through trial and error, and when they do not meet the user's expectations they are thrown away. This activity contributes in relation to previous research on technology and social change to the consumer’s throwaway culture. While in the active using, activities becomes part of the development activities where development aspects are communicated through social media – interact active users and designers to develop the app, which is both an artifact and an object of their own development. Activity theory thus contributes to theories of design by considering design not only as production but also as a fully operational system itself with the production, consumption, exchange and distribution.
Vi lever i en högmodern tid som präglas av elektroniska medier som förändrar vårt liv enligt Giddens (1999). Appar är exempel på teknik som påverkar vårt liv. En intressant fråga i detta sammanhang är vad appar får för betydelse för – å ena sidan utveckling av teknik å andra sidan människans förhållande till teknik. Eftersom utveckling och förändringsprocesser är centrala i pedagogik vill jag studera utveckling av appar. Syftet med denna uppsats är att söka kunskap om apputveckling ur ett design- och användarperspektiv. I uppsatsen används verksamhetsteori som teoretiskt ramverk för att förstå apputveckling utifrån två olika typer av verksamhetssystem eller praktiker, nämligen designpraktiken och användarpraktiken. För att närmare precisera mitt syfte har jag definierat följande frågeställningar: varför designas respektive används appar, hur designas respektive används appar, och vilka motsättningar uppstår/finns mellan design och användning av appar? Min uppsats bygger på ett kvalitativt tillvägagångssätt med en abduktiv ansats som innebär en pendling mellan teori och empiri. Jag använder flerfallsstudien som forskningsansats, med tre datasamlingstekniker: intervjuer, observjuer och observationer av sociala medier och ett arkiverat dokument med skisser över appar. Resultatet visar att appar designas och publiceras antingen för sin funktion eller i marknadsföringssyfte. Designprocessen är en snabb, dynamisk process där appar publiceras innan de är klara och därefter ständigt uppdateras. Användning av appar kännetecknas av antingen en aktiv eller en passiv användning. I den passiva användningsverksamheten prövas appar genom trial-and-error och när de inte motsvarar användarens förväntningar kastas de bort. Denna verksamhet bidrar i relation till tidigare forskning om teknik och social förändring till konsumtionssamhällets slit och slängkultur. Den aktiva användningsverksamheten blir istället en del av utvecklingsverksamheten där utvecklingsaspekter kommuniceras via sociala medier där aktiva användare och designer samverkar i att utveckla appen som blir både en artefakt och ett objekt för sin egen utveckling. Verksamhetsteori bidrar således till teorier om design genom att betrakta design inte bara som produktion utan som ett helt verksamhetssystem i sig med produktion, konsumtion, utbyte och fördelning.

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Moschetti-Jacob, Florence. "Création d'un artefact modulaire d'aide à la conception de parcours client cross-canal visant à développer les capacités des managers des entreprises du secteur du commerce." Thesis, Paris Sciences et Lettres (ComUE), 2016. http://www.theses.fr/2016PSLED018/document.

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Le management de l’expérience client est un terrain d’étude trop peu exploré en marketing (Lars Grønholdt et al., 2015; Lemon et Verhoef, 2017) et de nombreux professionnels décrivent les enjeux stratégiques, plus spécifiquement, de la conception de parcours client ainsi que la complexité managériale à les concevoir en situation de cross-canal.Notre but, dans une visée prescriptive et normative de la recherche, est d’améliorer, à travers la création d’un outil de gestion, les capacités marketing des managers de parcours client. Nous limitions notre travail doctoral au secteur de la distribution française en cross-canal. La thèse suit la méthodologie de Design Science (Romme, 2003) visant à concevoir un artefact, c’est-à-dire un outil de gestion dont les professionnels peuvent s’emparer pour réduire la complexité du management de l’expérience client. Trois études empiriques qualitatives sont conduites : deux séries d’entretiens individuels et une étude de cas pour tester l’outil conçu.L’artefact développé dans cette thèse comprend un ensemble de concepts, une méthode de travail ainsi que sa réalisation effective appelée instanciation, fondée sur les résultats des deux premiers terrains. Nous montrons que le choix théorique de considérer le parcours client comme une coproduction de ressources et de fonder la conception de parcours sur une structure modulaire permet d’améliorer les capacités marketing et d’en développer de nouvelles, contribuant ainsi au savoir managérial mais aussi académique car notre recherche explore, d’un point de vue théorique, les ressources engagées par le client et l’entreprise, ainsi que les capacités marketing nécessaires pour le manager et leurs dynamiques
Customer experience management is less explored in marketing (Lars Grønholdt et al., 2015; Lemon and Verhoef, 2017) and many practitioners describe strategic issues, and specifically, the managerial complexity to design of customer journey in cross-channel location.Our goal in our prescriptive and normative research, is aiming to improve, through the creation of a management tool, managers’ marketing capabilities. We restrict our doctoral work to French cross-channel retail. The thesis follows the Design Science Methodology (Romme, 2003) aimed at designing an artifact, which is a management tool that professionals can take to reduce the complexity of customer experience management. Three qualitative empirical studies are conducted: two series of interviews and a case study to test the artifact.The artifact developed in this thesis includes a set of concepts, a method and its effective realization called instantiation, based on the results of the first two interviews. We show that the theoretical choice to consider the customer journey as a co-production of resources and the design of customer journey as a modular structure allows to improve actual marketing capabilities and develop new ones, thus contributing to managerial knowledge but also academic because our research explores, from a theoretical point of view, the resources committed by the customer and the company, as well as marketing capabilities for the manager and their dynamics

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Fabian, Andreas. "Spoons & spoonness : a philosophical inquiry through creative practice." Thesis, Bucks New University, 2011. http://bucks.collections.crest.ac.uk/10110/.

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A social etiquette has emerged around the consumption of food in the West which requires the use of cutlery – knife, fork and spoon. It is the spoon that is the subject of this thesis, a utensil so familiar as to have become almost invisible. The significance of the spoon should not be underestimated and it is employed in this study as a device to offer insight into material practices, examine theoretical issues in relation to design and explore the culture of representation that has developed around objects in the contemporary field of visual and material culture. In this sense this thesis can be seen as located in the blurred boundaries of art, craft and design and as constituting a text which contextualises and supports a collection of artefacts developed in the course of a 'practice led' Art and Design PhD. The spoon exists not only as an object whose usefulness transcends time but also in terms of a metaphorical singularity; as an idea with an infinite number of possible interpretations and material manifestations. This thesis originates in the idea of a reflective cross-disciplinary enquiry intended to explore fundamental questions around what the author defines as “spoonness”, articulating that which might otherwise be articulated through (and subsumed in) the making of the object itself. Significantly, by tracing the journey of the authors film „Emilie Eating Soup‟ together with the various objects, exhibitions and catalogues developed in the course of this research, this thesis also contributes to current critical discourse from the perspective of the practitioner - a voice that in the past has often been absent from academic discourse. It opens up the creative processes to scrutiny and further comment, and serves as a model of analysis to others in the field of material culture to aid reflection upon their own practice and generate new modes of innovation. A critical reflection upon the works subsequent reception at a series of prestigious international exhibitions and events is made throughout this thesis. These materials, together with this text, combine to represent the broad arc of this author‟s creative practice and collectively define the innovative nature of this PhD.

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Piper, Greg. "Memory to artefact [an exegesis [thesis] submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design)], 2003." Full thesis. Abstract, 2003.

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Hammoud, Mohammed. "Mobila enheter, webben och centrala designprinciper." Thesis, Högskolan Kristianstad, Sektionen för hälsa och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-10571.

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Det har blivit allt vanligare att vi idag använder våra mobila enheter till att besöka webben. I detta examensarbete undersöks vilka centrala designprinciper en designer bör eftersträva när avsikten är att förenkla användningen av en webbplats i en statisk och en rörlig situation via den mobila enheten. Examensarbetet innefattar en litteraturgenomgång, observationsintervjuer vid två tillfällen och en prototyputveckling. Det första intervjutillfället identifierade de grundläggande designprinciperna som sedan stod till grund för prototypen. Det andra intervjutillfället genomfördes mot prototypen med samma individer. Det som undersöktes var om de grundläggande designprinciperna förenklade användningen av en webbplats via den mobila enheten. En jämförelse mellan båda intervjutillfällena genomfördes för att sammanställa de centrala designprinciperna.
It has become increasingly common that we now use our mobile devices to visit the web. This thesis examines the central design principles a designer should strive for when it is intended to simplify the use of a website in a static and variable situation trough a mobile device. The thesis includes a literature review, interviews on two occasions and a prototype development. The first interviews identified the fundamental design principles which then became the basis for the prototype. The second interviews were conducted towards the prototype with the same individuals. It examined if the fundamental design principles simplified the use of a website trough the mobile device. A comparison of the two interviews was conducted to compile the central design principles.

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Azzam, Mahmoud. "”Förebyggande socialt arbete" – behövs en vidare definition?" Thesis, Malmö högskola, Fakulteten för hälsa och samhälle (HS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24662.

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The aim of this study is to better understand the Swedish concept of“förebyggande socialt arbete”, preventive social work. I have conducted elevenqualitative interviews with different key persons and skaters, together withparticipant observation. During the process of analyzing the material I have usedRandall Collins´ concepts of interaction ritual chains together with Jean Laves andEtienne Wengers concept of situated learning. The answers could be split up inthree areas, first those who regard prevention work as building good things for thefuture. The second group to prevent something bad to happen and the third groupregard preventive social work to be repairing what was broken. The first group,mostly architects, included all three levels of the urban system, the social culturecontext, the human interaction and the urban design. The second and third group,mostly participant from the social work area, focused on the individual level.Although social work should be involved in social policy and development areincluded in the Swedish Social Serves Act. The findings is that Swedish definitionof social work need to be wider in order to include the urban design as a part ofsocial prevention work.

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Sjöström, Jonas. "Designing Information Systems : A pragmatic account." Doctoral thesis, Uppsala universitet, Institutionen för informatik och media, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-130661.

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Information technology (IT) plays an increasingly important role for individuals, organizations, markets, and society as a whole. IT systems are artefacts (human made objects) designed for various purposes. Given the multiple-purpose characteristics of computers, such artefacts may, for example, support workflows, perform advanced calculations, support human communication and socialization, enable delivery of services and digital products, facilitate learning, or simply entertain. The diverging application areas for IT present a challenge to designers who, as a consequence, have to address increasingly divergent design situations. There have been numerous arguments suggesting that the IT artefact has been 'taken for granted', and needs to be understood and conceptualized better within information systems (IS) research. This thesis is based on the pragmatist notion that one important value of IT resides in its potential to support human collaboration. Such a belief has implications for the development of (1) knowledge aimed for action, change and improvement; (2) knowledge about actions, activities and practices; and (3) knowledge through action, experimentation and exploration. A view of the IT artefact is outlined, showing it as part of a social and technological context. IT artefact design is explained in relation to the induction of social change. The notion of stakeholder-centric design is advocated, along with practical theory to promote a situated understanding of use qualities and design ideals. A set of meta-theoretical implications for design-oriented IS research is proposed. The research process consisted of five inquiries into different IT-reliant social contexts. In the first four inquiries, social and communicative qualities of IT artefacts were assessed, governed primarily by Dewey's notion of inquiry as a theory of knowledge. The fifth inquiry was a large-scale action research project, including interventions into the social setting, and the design and implementation of a new IT artefact into that setting.

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Noël, Laurence. "Vers une approche praxéologique du design." Phd thesis, Université Paris VIII Vincennes-Saint Denis, 2010. http://tel.archives-ouvertes.fr/tel-00580289.

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La profession de designer n'est pas toujours bien identifiée dans le monde du travail et les designers ont eux-mêmes des difficultés à expliquer en quoi consiste leur activité. La recherche en design n'a en fait pas d'assise théorique clairement établie et le premier objectif de cette thèse est de mettre en lumière les zones d'ombre qui règnent en son sein. Notre second objectif est d'élaborer un cadre d'analyse permettant d'apporter un nouvel éclairage sur le design. Le design étant une activité effectuée par un praticien réflexif, l'approche praxéologique invite à construire un discours permettant de décrire cette activité, quel que soit le domaine d'application concerné. Cette activité se décline donc selon deux plans : celui de l'action réflexive et celui de l'action pratique (qui porte sur le monde réel), l'une étant intrinsèquement liée à l'autre par des processus que nous qualifions de transducteurs. C'est la terre du réalisable, qui se trouve à la croisée du monde réflexif et du monde réel, que le designer explore. Celui-ci n'est par ailleurs pas le seul agent à intervenir lors du processus de création : identifier clairement son rôle au sein de cette organisation est donc nécessaire. Un designer occupe une position pivot au sein de cette organisation, il est amené à adopter différents points de vue entre eux, qu'ils articulent entre eux de manière à pouvoir voir l'entité réelle qui est à la croisée des regards. Un des défis de la recherche en design est alors non seulement de s'affirmer en tant que discipline à part entière, mais aussi de montrer qu'appréhender des problèmes de design permet de développer une manière de penser complexe et transdisciplinaire.

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Viberg, Olga. "Design and use of mobile technology in distance language education : Matching learning practices with technologies-in-practice." Doctoral thesis, Högskolan Dalarna, Informatik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-20356.

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This thesis focuses on the adaptation of formal education to people’s technology- use patterns, theirtechnology-in-practice, where the ubiquitous use of mobile technologies is central. The research question is: How can language learning practices occuring in informal learning environments be effectively integrated with formal education through the use of mobile technology? The study investigates the technical, pedagogical, social and cultural challenges involved in a design science approach. The thesis consists of four studies. The first study systematises MALL (mobile-assisted language learning) research. The second investigates Swedish and Chinese students’ attitudes towards the use of mobile technology in education. The third examines students’ use of technology in an online language course, with a specific focus on their learning practices in informal learning contexts and their understanding of how this use guides their learning. Based on the findings, a specifically designed MALL application was built and used in two courses. Study four analyses the app use in terms of students’ perceived level of self-regulation and structuration. The studies show that technology itself plays a very important role in reshaping peoples’ attitudes and that new learning methods are coconstructed in a sociotechnical system. Technology’s influence on student practices is equally strong across borders. Students’ established technologies-in-practice guide the ways they approach learning. Hence, designing effective online distance education involves three interrelated elements: technology, information, and social arrangements. This thesis contributes to mobile learning research by offering empirically and theoretically grounded insights that shift the focus from technology design to design of information systems.

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Blackler, Alethea Liane. "Intuitive interaction with complex artefacts." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16219/.

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This thesis examines the role of intuition in the way that people operate unfamiliar devices, and the importance of this for designers. Intuition is a type of cognitive processing that is often　non-conscious and utilises stored experiential knowledge. Intuitive interaction involves the use of knowledge gained from other products and/or experiences. Therefore, products that people use intuitively are those with features they have encountered before. This position has been supported by two initial experimental studies, which revealed that prior exposure to products employing similar features helped participants to complete set tasks more quickly and intuitively, and that familiar　features were intuitively used more often than unfamiliar ones. Participants who had a higher level of familiarity with similar technologies were able to use significantly more of the　features intuitively the first time they　encountered them, and were significantly quicker at doing the tasks. Those who were less familiar with relevant technologies required more　assistance. A third experiment was designed to test four different interface designs on a remote control in order to establish which of two variables - a feature's appearance or its location - was more important in making a design intuitive to use. As with the previous experiments, the findings of Experiment 3 suggested that performance is　affected by a person's level of familiarity with similar technologies. Appearance (shape, size and labelling of buttons) seems to be the variable that most affects time spent on a task and intuitive uses. This suggests that the cues that people store in memory about a product's features depend on how the features look, rather than where on the product they are placed. Three principles of intuitive interaction have been developed. A conceptual tool has also been devised to guide designers in their planning for intuitive interaction. Designers can work with these in order to make interfaces intuitive to use, and thus help users to adapt more easily to new products and product types.

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Poidi, Kanina Irène. "Processus d'innovation dans l'entrepreneuriat : la place des artefacts dans l'activité en équipe-projet." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2010/document.

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Cette thèse défend un modèle de l’entrepreneuriat en équipe en tant que processus dynamique, en évolution au niveau global et systémique, médiatisé par les TIC. Nous présentons l’entrepreneuriat en équipe comme une activité en contexte, qui s’incarne dans une culture, une histoire, un environnement, et qui se développe au travers même des moments d’interaction qu’elle génère. Ces moments de coopération et de coordination en équipes localisées, ou multi-localisées (Vacherand-Revel, 2017) constituent des espaces d’intersubjectivité (Zarifian 1996) dans lesquels différents artefacts entrent en jeu. Nous émettons l’hypothèse que ces artefacts dans l’activité vont participer activement au développement de l’activité entrepreneuriale innovante en servant de support à la formation des équipes, à l’élaboration des idées, et à la conception. Basées sur un protocole méthodologique qualitatif et développemental, nos analyses mettent en évidence plusieurs facteurs et ressources de l’activité, notamment le dispositif de formation entrepreneuriale, et les artefacts mobilisés par les acteurs. Ces artefacts dans l’activité (Adé, 2000), sont transformés en artefacts de l’activité au cours de processus de genèse instrumentale (Rabardel, 1995). Ils peuvent alors prendre un statut d’objets intermédiaires (Vinck, 1999, 2009) ou d’objets-frontières (Star, 2010, Vinck, 2009) au sein de l’activité. Les analyses montrent le rôle prépondérant de l’objet d’innovation, qui est l’œuvre commune de l’équipe. Il est à la fois un aboutissement et un point de départ permettant le développement des intentions de l’équipe et de la trajectoire du projet. L’objet d’innovation nait d’un processus de conception et de création (Almudever, 2012). Ces analyses montrent l’interdépendance des situations de coopération et de conception collective dans la formalisation de l’objet d’innovation. La nature du projet entrepreneurial, objet construit et en construction, souligne l’intérêt d’un dialogue entre théories de l’activité et théories de l’action
This thesis defends a model of entrepreneurship as a dynamic, global and systemic process, mediated by technologies. We present entrepreneurship as an activity in context, embodied in a culture, a story, an environment, and which develops itself through interactions. The moments of cooperation and coordination in localized teams, or multi-localized teams (Vacherand-Revel, 2017) constitute spaces of intersubjectivity (Zarifian 1996) in which different artefacts are used. We hypothesize that these artifacts in the activity will actively participate in the development of innovative entrepreneurial activity by providing support for team training, idea development, and design. Based on a qualitative and developmental methodological protocol, the analysis highlights several factors and resources of the activity, in particular the entrepreneurial training device, and the artefacts mobilized by the actors. These artifacts in the activity (Adé, 2000) are transformed into artifacts of the activity during instrumental genesis processes (Rabardel, 1995). They can then take a status of intermediate objects (Vinck, 1999, 2009) or boundary objects (Star, 2010, Vinck, 2009) within the activity. The analysis shows the predominant role of the innovation object, which is a common production of the team. It is both an outcome and a starting point for the development of intentions and the trajectory of the project. The innovation object arises from a process of design and creation (Almudever, 2012). This research shows the interdependence of the situations of cooperation and collective design in the formalization of the innovation object. The nature of the entrepreneurial project – an object built and under construction - highlights the interest of a dialogue between Activity theory and Action theories

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Casasus, Serge. "De nouveaux artefacts pour la gestion des compétences : l'émergence de "la cartographique"." Thesis, Paris, CNAM, 2019. http://www.theses.fr/2019CNAM1224/document.

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Les compétences sont des objets de gestion complexes mais indispensables à l’employeur pour spécifier ses besoins et au travailleur pour tracer son profil. Agrégées en postes, emplois, métiers, elles forment des cadres transactionnels dans un espace constitué d’objets abstraits et de leurs liens. Cette thèse vise à affirmer la centralité d’un dispositif cartographique à travers l’examen : des bénéfices d’une mise au net de cet espace, notamment face à la transformation numérique ; du recours indispensable à un artefact médiateur technologique ; du rôle de cartographe, le maître d’oeuvre de la fonction RH, investie de la médiation et de la régulation sociales. La recherche s’appuie sur un parcours professionnel dans le domaine RH et, sur le plan méthodologique, croise les besoins de la gestion des compétences avec les apports de la cartographie moderne. Elle aboutit à une proposition méthodologique pour cartographier des espaces abstraits, appuyée par un démonstrateur internet SaaS
Skills are complex management objects which are essential to define employers’ needs and draw one’s profile and wishes. Aggregated in positions, jobs, professions, they form a transactional framework in a space of abstract artefacts and their links. This thesis aims to assert the centrality of a mapping device by examining: the benefits of a clearing of this space, especially trough digital transformation; the indispensable support of technological artefacts to help a person or a group, to identify, decide, evolve in this space; the role of cartographer to be taken by the human resources function. The research is based on a professional career in the field of human resources and methodologically, crosses needs around the notion of competence with the contributions of modern cartography (GIS, geomatics, data visualisation). It leads to a synthesis by the design of a SaaS platform demonstrator, and a cartographic methodology for abstract space

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Ökvist, Nicklas, and Max Furberg. "Analysmodell för inbyggt dataskydd och dataskydd som standard." Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-324930.

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Hamalainen, Bonnie. "Stories in Stone: Interpreting history in the context of a museum exhibition." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/10.

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This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine.

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Blakey, Jeremy Peter. "Database training for novice end users : a design research approach : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Information Systems at Massey University, Albany, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/880.

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Of all of the desktop software available, that for the implementation of a database is some of the most complex. With the increasing number of computer users having access to this sophisticated software, but with no obvious way to learn the rudiments of data modelling for the implementation of a database, there is a need for a simple, convenient method to improve their understanding. The research described in this thesis represents the first steps in the development of a tool to accomplish this improvement. In a preliminary study using empirical research a conceptual model was used to improve novice end users’ understanding of the relational concepts of data organisation and the use of a database software package. The results showed that no conclusions could be drawn about either the artefact used or the method of evaluation. Following the lead of researchers in the fields of both education and information systems, a design research process was developed, consisting of the construction and evaluation of a training artefact. A combination of design research and a design experiment was used in the main study described in this thesis. New to research in information systems, design research is a methodology or set of analytical techniques and perspectives, and this was used to develop a process (development of an artefact) and a product (the artefact itself). The artefact, once developed, needed to be evaluated for its effectiveness, and this was done using a design experiment. The experiment involved exposing the artefact to a small group of end users in a realistic setting and defining a process for the evaluation of the artefact. The artefact was the tool that would facilitate the improvement of the understanding of data modelling, the vital precursor to the development of a database. The research was conducted among a group of novice end users who were exposed to the artefact, facilitated by an independent person. In order to assess whether there was any improvement in the novices’ understanding of relational data modelling and database concepts, they then completed a post-test. Results confirmed that the artefact, trialled through one iteration, was successful in improving the understanding of these novice end users in the area of data modelling. The combination of design research and design experiment as described above gave rise to a new methodology, called experimental design research at this early juncture. The successful outcome of this research will lead to further iterations of the design research methodology, leading in turn to the further development of the artefact which will be both useful and accessible to novice users of personal computers and database software. This research has made the following original contributions. Firstly, the use of the design research methodology for the development of the artefact, which proved successful in improving novice users’ understanding of relational data structures. Secondly, the novel use of a design experiment in an information systems project, which was used to evaluate the success of the artefact. And finally, the combination of the developed artefact followed by its successful evaluation using a design experiment resulted in the hybrid experimental design research methodology. The success of the implementation of the experimental design research methodology in this information systems project shows much promise for its successful application to similar projects.

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Afonso, Ana Carla Silva. "O artefacto anónimo como potenciador do desenvolvimento em design." Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3504.

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Mestrado em Design
O consumismo crescente no contexto global posiciona a disciplina de Design para uma reflexão acerca dos artefactos e da sua relevância para a vida dos utilizadores. O estudo do objecto comum e do quotidiano permite entender o seu potencial para a construção contemporânea de produtos, obras ou projectos. Deste modo, no decorrer da investigação em torno do conceito de memória, e a forma como influi a preservação de uma determinada identidade, através da criação de tradições e hábitos, é possível perceber a ascendência das coisas sobre as pessoas. Na perspectiva da intervenção da memória e da identidade na atribuição de significados/entendimentos aos objectos, este trabalho pretende analisar e perspectivar como os objectos conotados com o Design Anónimo se tornam preponderantes no quotidiano do usuário e de que forma os valores de projecto que lhes estão associados podem ser potenciadores de novas formas de desenvolvimento dos artefactos.
The growing consumerism in the global context positions the discipline of Design towards a reflection about artefacts and their relevance to users' lives. The study of common and everyday objects allows us to understand its potential for the contemporary construction of products, works or projects. Thus, during the investigation around the concept of memory, and how it influences the preservation of a particular identity through the creation of traditions and habits, it is possible to see the ascendancy of things over people. From the perspective of the intervention of memory and identity to the attribution of meaning/understanding to objects, this paper intends to analyze and to put in perspective how objects connoted with Anonymous Design became prevailing in daily life and in what ways the project values associated to them may be enhancers of new forms of artefacts development.

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Kong, William, and 鄺威廉. "Museum of Visionary Artefacts (MOVA)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983376.

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Gonçalves, Tiago José da Mota Cerveira Nazulino. "O kintsugi como ferramenta do desgn: artefacto, vazio e sustentabilidade." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/26562.

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O vazio é genericamente conotado como algo que nada contém (ou que contém apenas ar), despovoado, desocupado, desabitado. Por seu lado o artefacto, seja ele qual for, é algo que existe, matéria física, palpável e visível que foi criado pelo homem com um propósito, uma finalidade, na sua génese, uma antítese daquilo que à primeira vista chamamos de vazio. Nesta investigação o vazio será abordado não como a ausência de algo, mas como uma entidade singular, como algo que sabemos que está presente, mas que não é visível e onde a fronteira entre o vazio e o artefacto se esbate dando assim origem a uma forte presença, a qual irá ocupar um espaço outrora vazio, embora este sempre tenha existido e cuja presença é imutável. Para a cultura nipónica o vazio é algo de extrema importância; tomemos o exemplo da construção das suas casas tradicionais e templos, nestes observa-se uma elevação em relação ao chão de forma a que exista um espaço vazio entre a habitação e o solo. Por seu lado, para o suprematista Kazimir Malevich, o vazio foi utilizado para criar uma das suas mais prestigiadas pinturas, Quadrado branco sobre fundo branco (1918); obra que pode interpretar-se como a representação de um deserto, à primeira vista vazio, mas que segundo o autor está cheio da ausência de todos os objetos. Com base nestes pressupostos, a presente investigação assenta na criação de uma ferramenta metodológica de Design Thinking, com foco específico no Design para a Sustentabilidade, dirigida a profissionais, investigadores e estudantes de Design. Para o balizamento e abordagem focada do tema na área do Design, serão relacionados três conceitos-chave, o de Artefacto, neste caso em particular considerando os objetos que habitam o nosso quotidiano, a filosofia presente no Kintsugi, que consiste na arte de ressuscitar um artefacto danificado que é “cicatrizado” e, complementarmente, no conceito de Vazio, que neste trabalho se encontra considerado nas emoções e memórias contidas nos artefactos que através da arte do Kinstsugi, voltam a comunicar novas e antigas memórias. Partindo destes pressupostos, será criada uma ferramenta de Design que pretende não só promover o aumento do ciclo de vida dos objetos utilitários, mas que também visa criar serviços mais sustentáveis. No caso particular dos objetos utilitários pretende-se que os mesmos, após a sua aparente “morte”, possam ainda ter por esta via uma continuidade, evitando-se assim a tendência atual que promove a proliferação da obsolescência programada. Com esta investigação pretende-se também desenvolver a reflexão sobre a noção de ciclo de vida do produto e explorar possíveis soluções que incentivem à reutilização/reinvenção de artefactos, cujo propósito principal seja comprometido pelo tempo/uso, conferindo-se-lhes assim uma nova vida e atribuindo-se, deste modo ao objeto, características que o situam no âmbito do Design Emocional (durabilidade emocional) e, ao mesmo tempo, no domínio de uma produção e utilização dos recursos de forma sustentável e ponderada, em que o esforço ambiental despendido na sua produção seja equivalente ao seu ciclo de vida, promovendo-se desse modo a atualização dos seus componentes ao invés da produção integral de um produto novo; Kintsugi as a Design tool - artifact, emptiness and sustainability. Abstract: Emptiness is referred to by most as something that contains nothing (or only air), unpopulated, vacant, uninhabited. By the other hand the artifact, whatever it is, is something that exists, physical matter, palpable and visible that was created by men’s hand with a purpose, a function, at a first glance in its genesis is an antithesis to what we call “empty” or “emptiness”. In this research the concept of emptiness will be approached not as the absence of something but as a singular entity, something that we know that is present, but not visible where the boundary between the emptiness and the artifact narrows, thus giving origin to a strong presence, which will occupy a space once empty, although it has always existed and whose presence is unchanged. For the Japanese culture, emptiness is of the utmost importance, let’s take the example of the construction of their traditional houses and temples, in which we can observe an elevation relative to the ground in order to create an empty space between the dwelling and the ground. For Supremacist Kazimir Malevich, emptiness was used to create the tremendous onus present in one of his most famous paintings, White square on white (1918); this work can be interpreted as representing a desert, at first sight empty, but, according to the author is full of the absence of all objects. Based on these assumptions, the present research is based on the creation of a methodological tool for Design Thinking with a focus on Design for Sustainability, aimed at Design professionals, researchers and students. For the beaconing and focused approach of the theme in the area of Design, three key concepts will be related, the one of Artifact, in this case in particular considering the objects that inhabit our daily life, the philosophy present in Kintsugi technique, which consists in the art of resurrect a damaged artifact that is “healed” and finally the Emptiness, that is here considered in the emotions and memories contained in the artifacts that through the art of Kintsugi, communicate these new and old memories. Starting from these assumptions will be created an application of these concepts in the form of a Design tool that intends not only to promote the increase of the life cycle of utilitarian objects, but also aims to create more sustainable services. In the particular case of utilitarian objects, it is intended that these even after their apparent “death” may still have a continuity in this way, avoiding the current tendency that promotes the proliferation of programmed obsolescence. This research also intends to develop a reflection on the notion of the product life cycle and to explore possible solutions that encourage the reuse / reinvention of artifacts whose main purpose is compromised by the time / use, thus giving them a new life , and thus attributing to the object characteristics that place it within the scope of Emotional Design (object persona) and at the same time in the field of a production and use of resources in a sustainable and weighted way in which the environmental effort expended in its production is equivalent to its life cycle, thus promoting the updating of its components rather than the production of a new product.

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Lemos, Sérgio Manuel Coimbra. "Artefactos economizadores de espaço." Master's thesis, Universidade de Aveiro, 2006. http://hdl.handle.net/10773/1130.

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Mestrado em Design
A economia de espaço associada aos objectos permite-os levar a uma utilização flexível no habitar. No dia-a-dia, os objectos economizadores de espaço são utilizados nos mais variados contextos e situações, mas apesar de nos serem familiares o seu enquadramento não se encontra sistematizado. Os estudos realizados abordam a economia de espaço na perspectiva da redução volumétrica e/ou mobilidade. No entanto, actualmente, existe um número cada vez maior de soluções orientadas pela multifuncionalidade. Sistematizar tipologias e analisar estes artefactos permite-nos compreender melhor os seus princípios, explorar os seus propósitos e aplicá-los em novas situações e problemas. Reflectir sobre as vantagens e desvantagens decorrentes do seu uso, projecção e fabrico, pode conduzir a uma utilização mais eficaz dos recursos. ABSTRACT: Space-saving objects allow us to achieve flexible solutions in inhabiting. Everyday, these objects are used in the most different contexts and situations. Although their popularity, there is no completely systematic approach to spacesaving objects. Studies on space-saving objects are mainly in the perspective of volumetric reduction and/or mobility. However, there are a crescent number of new possible solutions guided by their multifunctionality. A typology systematic and analysis of these artefacts allow us to understand their principles, to explore their intentions and to apply to them in the resolution of new situations and emerging problems. The reflection about the advantages and disadvantages of their use, project and production, can lead us towards a more efficient use of resources.

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Ben, Guefrech Fatma. "Analyse de l'intégration d'une plate-forme de réalité augmentée spatiale dans un contexte de conception collaborative impliquant des utilisateurs finaux." Thesis, Université Grenoble Alpes, 2020. https://tel.archives-ouvertes.fr/tel-02613304.

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Les activités et produits de conception créative sont de plus en plus omniprésents dans notre société. Notre environnement quotidien comprend une multitude d'objets précédemment conçus. La conception de produits industriels complexes intervient dans des domaines professionnels extrêmement variés et nécessite la collaboration de multiples acteurs allant des secteurs hautement techniques aux secteurs artistiques tout au long du processus de conception. Les organisations de conception sont confrontées à des changements importants entraînés par une concurrence extrêmement agressive sur le marché. ils ajoutent constamment de nouvelles fonctionnalités à leurs produits, ce qui nécessite de plus en plus la collaboration d’un nombre croissant d’acteurs divers, possédant différents types de compétences. Par contre, la communication en équipes multidisciplinaires est difficile. Il y a un besoin constant d'adapter les moyens de communication. De plus, la concurrence du marché pousse également les entreprises à suivre des stratégies mondiales. La dernière tendance utilisée dans l'industrie consiste à impliquer les utilisateurs finaux dans le processus de conception. Par conséquent, les concepteurs doivent découvrir, comprendre et échanger des idées et des suggestions avec les utilisateurs finaux afin de pouvoir transformer leurs besoins et exigences en solutions techniques adéquates. et finalement transformé en produits appropriés. Pour surmonter ces difficultés de communication, et compte tenu de l'activité de conception, il est essentiel de pouvoir représenter les idées avec un outil approprié, la réalité augmentée spatiale (SAR) est peut-être la meilleure technologie candidate pour résoudre correctement ces problèmes. Comme elle permet d'intégrer des objets virtuels dans notre environnement réel, cette technologie permet de les manipuler plus naturellement. Dans ce contexte, l’intégration du virtuel dans le monde réel peut induire un certain nombre de questions: «Comment gérer la combinaison réel / virtuel dans un environnement collaboratif?» «L’intégration d’objets de conception mixtes (physiques / numériques) peut-elle être une une valeur ajoutée à l’interaction entre les concepteurs? »L’un des principaux défis abordés au cours de cette thèse consistait à évaluer l’impact de l’intégration d’une plate-forme de réalité augmentée dans l’espace lors de réunions de conception en collaboration. Nous voulions démontrer que la plate-forme SPARK, à travers l'introduction d'un nouveau prototype associant l'aspect tangible à la projection numérique, avait un impact positif sur les sessions de conception co-créative et les interactions de communication globales entre les différentes parties prenantes
Creative design activities and products are more and more ubiquitous in our society today. Our daily environment includes a multitude of objects that have previously been designed. The design of complex industrial products takes place in extremely varied professional fields and requires collaboration of multiple actors ranging from highly technical sectors to artistic sectors throughout the design process. Design organisations are facing important changes driven by an extremely aggressive market competition; they are constantly adding new features to their products that requires more and more the collaboration of a growing number of diverse actors with different types of expertise. On the other hand, the communication in multidisciplinary teams is difficult. There is a constant need to adapt means of communication. In addition, market competition is also driving companies to follow global strategies. The most recently used trend in industry is to involve end-users within the design process.Therefore, designers need to discover, understand and exchange ideas and suggestions with end-users in order to be able to transform their needs and requirements into adequate technical solutions and eventually turned it into proper products. To overcome these communication difficulties, and considering that in design activity, it is essential to be able to represent ideas with a suitable tool, Spatial Augmented Reality (SAR) is perhaps the best candidate technology that could properly address these problems. As it allows integrating virtual objects in our real environment, this technology allows to manipulate them more naturally. In this context, incorporating the virtual into the real world can induce a certain number of questions: “How to manage the real / virtual combination in a collaborative setting?” “Does the integration of mixed (physical/digital) design artefacts can be an added value to interaction between design participants?” One important challenge addressed during this thesis was to evaluate the impact of integration of a spatial augmented reality platform in collaborative design meetings. We wanted to demonstrate that the SPARK platform, through the introduction of new prototype mixing the tangible aspect with digital projection, positively impacts the co-creative design sessions and the overall communication interactions between the different stakeholders

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Nhavoto, José António. "Integration of Mobile Technologies with Routine Healthcare Services in Mozambique." Doctoral thesis, Örebro universitet, Handelshögskolan vid Örebro Universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-56948.

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Mobile technologies are emerging as one way to help address health challenges in many countries, including in Least Developed Countries. Mobile technology can reach a large share of the population but in order to provide effective support to healthcare services, technology, information collection and dissemination, and work processes need to be well aligned. The thesis uses a design science methodological approach and mixes qualitative and quantitative data analysis to address the question of, How can mobile technologies be effectively integrated with routine healthcare services? The study concerns the design, implementation, and evaluation of a mobile technology-based system, called SMSaúde, with the aim of improving the care of patients with HIV/AIDS and tuberculosis in Mozambique. The work started with the elicitation of functional and user requirements, based on focus group discussions. An important challenge, as in many mHealth interventions, was the integration with routine healthcare services and the existing IT systems, as well as developing a scalable technical structure. The system has now been in routine use since 2013 in more than 16 healthcare clinics in Mozambique. Evaluation was done by a randomised controlled study. Analysis of patient records showed that retention in care in urban areas was significantly higher in the intervention group than in the control group. In a user study both patients and health professionals were very positive to the system. The thesis contributes to research by demonstrating how information system artefacts can be constructed and successfully implemented in resource-constrained settings. The practical contributions include the designed artefact itself as well as improved healthcare practices and mHealth policy recommendations.

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Lewens, Timothy Mark. "Organisms and artefacts : design in nature and elsewhere." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621161.

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Åkerman, Ann-Catrine. "Find Your Place : En artefakt för tågstationen." Thesis, Linnéuniversitetet, Institutionen för design, DE, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-22127.

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Målet med examensarbetet har varit att formge en produkt för en tågstation. Tre viktiga ledord har följt mig genom projektets gång; hållbarhet, användning och vardagens estetik. Jag har med hjälp av observationer, intervjuer med tågresenärer och användarstudier kommit fram till ett produktkoncept för kontexten tågstation; möbeln Find Your Place, som består av komfortabla kuddar uppsatta på en vägg som är till för att stå och luta sig mot medan man väntar på tåget. Samtidigt med researchen skissade jag både i 2- och i 3D under arbetsprocessens gång. Som ett stöd i min designprocess gjorde jag i ett tidigt skede en ITK (Identity Tool Kit). Arbetet har gått ut på att utnyttja de lediga väggarna på en tågstation. Genom att montera upp kuddar på som en vägg blir den mer tillgänglig på ett dynamiskt sätt. Kuddarna är asymmetriska och påminner om soffdynor i gatstensliknande former. De fästs i väggen med skruvar. När kuddarna mångfaldigas i olika konstellationer längs väggen, uppstår grafiska mönster. Tanken är att de ska sitta i varierande höjder för att alla ska kunna använda denna vilmöbel, även rullstolsburna personer ska kunna luta sig mot väggen när de sitter i stolen.

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Ivanov, Gunnela. "Vackrare vardagsvara – design för alla? : Gregor Paulsson och Svenska Slöjdföreningen 1915–1925." Doctoral thesis, Umeå University, Historical Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-275.

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This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).

Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.

Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.

Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.

Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.

Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.

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Westerlund, Bo. "Design Space Exploration : co-operative creation of proposals for desired interactions with future artefacts." Doctoral thesis, Stockholm : Skolan för datavetenskap och kommunikation, Kungliga Tekniska högskolan, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-11210.

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Moulton, Clay Robert. "Resonant Frequency: Artefacts in Response to Time." Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/34838.

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This Industrial Design graduate thesis is a response to the discussion surrounding the question, How can Design move from Green to Good? Three artefacts have been designed. These artefacts respond to a context. Context, in this body of work, is time. Time as context is about knowing the before now, applying it to the now, to positively affect the after now. The artefacts respond to three distinct lifetimes: 5 minutes 45 seconds, 8 hours 45 minutes, and 10 years. The intent is to utilize a Natural system, time, in a manner beyond typical product life-cycle-analysis. Also included are a series of essays which investigate and comment on issues and insights encountered during the Design process of this thesis.
Master of Science

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Dossa, Maximilien. "Aide à la modélisation et au traitement de données massives : proposition d'un guide méthodologique." Thesis, Montpellier, 2019. http://www.theses.fr/2019MONTD030.

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Le monde des entreprises a connu par le phénomène du Big Data un bouleversement extraordinaire. Véritable Big Bang technologique, le Big Data a ouvert des perspectives formidables en matière de développement par le biais du traitement et de l’analyse des données qu’il génère. Dans l’absolu, le potentiel que contient le Big Data est un élément majeur en matière de compétitivité mais il apparait cependant aujourd’hui que la maîtrise de ce potentiel est fortement compromise ou freinée par une somme de problématiques liées à l’ampleur du phénomène ; les méthodologies traditionnelles s’essoufflent et se montrent de moins en moins performantes. Cette recherche propose d’apporter une contribution susceptible de faciliter le passage entre une analyse classique et une analyse novatrice en environnement Big Data. En suivant la méthodologie de la Science du Design, nous proposons de créer un artefact, sous forme de guide méthodologique, composé d’un ensemble de solutions de machine learning empruntées aux Data Science, mis à disposition des entreprises pour aider à l’accès, à la compréhension, à l’utilisation et à l’analyse des données massives
.The world of corporations was revolutionized under the impact of the Big Data phenomenon. Truly a technological Big Bang, Big Data opened many doors towards research and development because of the analysis and treatment it requires. Big Data has always been recognized with a highly competitive potential, however today it appears that there is trouble in controlling this potential. The reason is a number of problems arising linked to size of the revolution; traditional methods are starting to be obsolete and are less effective. This research aims at proposing a contribution to making the transition easier between a classical analysis and innovative analysis. Following the methodology of the Science of Design, we propose creating an artifact that takes form in a methodological guide. It will be composed of a set of machine learning solutions that take root in data science. They will be made available to companies to help the access, the comprehension, and the usage of Big Data

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van, Morgen Karlijn. "Designing Artefacts Based on Triggers to Support Innovation and Creativity." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-40154.

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This master’s thesis aims to identify triggers for innovation and creativity both from theory and from practise in the context of an automotive manufacturing company. The identified triggers are then re-interpreted and used to design prototypes which aim to visualise, support, and stimulate incremental innovation. Through a design process, the prototypes are co-designed together with a group of participants from the automotive manufacturing company to explore and understand how to create prototypes that are relevant to the context. The result indicates that the prototypes do not only visualise, support, and stimulate incremental innovation but that they can also function as a foundation for radically design and develop new approaches to work; such as incorporating design thinking and a more diverse, inclusive, and creative approach to idea generation. Ultimately, the prototypes can be incentives for changing the organisation in the way the employees work and approach tasks, but the employees must learn how to use the prototypes to utilize them in the most efficient way.
Den här mastersuppsatsen har som mål att identifiera triggers av innovation och kreativitet, både hämtade ur teorin men också praktiken inom fordonstillverkningskontexten. Dessa triggers används sedan i designprocessen för att designa prototyper för ändamålet att visualisera, stötta och stimulera inkrementell innovation. Designprocessen involverar co-design tillsammans med en grupp från företaget för att utforska och bättre förstå hur vi kunnat skapa prototyper som är relevanta för kontexten. Resultatet indikerar att prototyperna inte enbart visualiserar, stöttar och stimulerar inkrementell innovation utan också kan fungera som en grund att designa och utveckla nya, radikala tillvägagångssätt att arbeta på inom organisationen; exempelvis genom att införliva design thinking och i högre grad mångfaldiga, inkluderade och kreativa sätt att ta sig an ide generering. Prototyperna kan vara drivsporrar till att förändra organisationen i det sätt de anställda arbetar på och tar sig an uppgifter men de anställda måste lära sig att använda prototyperna för att kunna dra nytta av dem på bästa sätt.

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Svedberg, Jonnie Juhani. "Reality Check : A review of design principles within emergent XR artefacts." Thesis, Umeå universitet, Institutionen för informatik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-175019.

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With the advent of novel digital interfaces such as augmented, mixed and virtual reality, the way we interact with digital artefacts is changing at a nearly reckless pace. The adoption rate within enterprise applications is racing, with mass adoption among consumers soon to follow. This paper aims to iterate a key question sometimes hidden within these rapid developments; are the practices used to develop these artefacts properly tested and evaluated as the best possible ones? In order to answer this, we will explore and evaluate how existing best practices adhere to empirical evidence, but also to experiment with potential avenues of alternative design methodologies. Once adequate conclusions are reached, they will be utilized to design a prototype/proof of concept to showcase just how aninterface/interaction made with the new considerations in mind can differ from those made with contemporary design principles. Upon evaluation of thi sexperimental prototype which utilized the user’s hands as physical, tactile feedback for interactions, respondents were overall positive to this method of interaction, despite some discomfort from the limitations imposed by this specific technical approach. Due to this, it is strongly suggested that development of XR artefacts might often be designed around these technical limitations instead of a truly best practice. This is why we heavily implore both further testing and experimentation as time goes on, since emergent technologies might lack these limitations and therefore enable richer, better interaction methods and experiences within XR.

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Broms, Loove. "Sustainable Interactions : Studies in the Design of Energy Awareness Artefacts." Licentiate thesis, Linköpings universitet, MDALAB - Human Computer Interfaces, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-67187.

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This thesis presents a collection of experimental designs that approach the problem of growing electricity consumption in homes. From the perspective of design, the intention has been to critically explore the design space of energy awareness artefacts to reinstate awareness of energy use in everyday practice. The design experiments were used as vehicles for thinking about the relationship between physical form, interaction, and social practice. The rationale behind the concepts was based on a small-scale ethnography, situated interviews, and design experience. Moreover, the thesis compares designer intention and actual user experiences of a prototype that was installed in nine homes in a residential area in Stockholm for three months. This was done in order to elicit tacit knowledge about how the concept was used in real-world domestic settings, to challenge everyday routines, and to enable both users and designers to critically reflect on artefacts and practices. From a design perspective, contributions include design approaches to communicating energy use: visualizations for showing relationships between behaviour and electricity consumption, shapes and forms to direct action, means for turning restrictions caused by energy conservation into central parts of the product experience, and ways to promote sustainable behaviour with positive driving forces based on user lifestyles. The general results indicate that inclusion is of great importance when designing energy awareness artefacts; all members of the household should be able to access, interact with, and reflect on their energy use. Therefore, design-related aspects such as placement and visibility, as well as how the artefact might affect the social interactions in the home, become central. Additionally, the thesis argues that these types of artefacts can potentially create awareness accompanied by negative results such as stress. A challenge for the designer is to create artefacts that communicate and direct energy use in ways that are attractive and can be accepted by all household members as a possible way of life.

In the electronic version of the thesis the references in some of the chapters has been corrected.

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Rodrigues, Paula Maria de Azevedo Ferreira. "Design e conhecimento: uma leitura antropológica dos artefactos." Doctoral thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/22596.

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Doutoramento em Design
Pretende-se contribuir para a afirmação de uma cultura do design considerada como modo de estar no mundo passível de compaginar com a pós modernidade no âmbito de uma realidade que envolve não só o designer mas o outro utilizador/fruidor. Importa especialmente discutir as formas de construção, materialização e partilha de conhecimento no âmbito do design. Com a colaboração de um conjunto de autores que escrevem sobre design estabelece-se um elenco de artefactos para os quais se pretende propor uma chave de leitura que permita revelá-los como repositório de diferentes tipo de conhecimento e, simultaneamente, colocar em evidência a dimensão humana de todo este processo de materialização de ideias.
It is intended to contribute to the affirmation of a design culture as a way to exist in a post-modern world considering a reality that involves not only the designer but the other - user / spectator. In this context it is especially important to discuss ways of construction, expression and sharing of knowledge within design. With the collaboration of a group of authors who write about design, it is defined a list of artefacts for which we propose a interpretation key that contributes to reveal them as a repository of knowledge and, simultaneously to highlight the human dimension of this entire process of materialization of ideas.

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McGarry, Ben. "Things to think with : understanding interactions with artefacts in engineering design /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19097.pdf.

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Saraiva, Sandra Margarida da Cunha Gil. "Design de um artefacto de ludicidade mediador do ballet para crianças." Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/13333.

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Mestrado em Design
A presente dissertação tem como ponto de partida o problema da obesidade infantil na sociedade atual e a consciência da necessidade de desenvolvimento da atividade infantil. Nesse sentido, propomo-nos projetar um artefacto de ludicidade para crianças entre os 5 e os 10 anos de idade que comunique os conteúdos de Ballet, incidindo no treino corporal, respondendo a esse desígnio. Trata-se de uma reflexão sobre os contributos do design, o poder da Ludicidade e da Imagem na transmissão de conhecimento à criança. O projeto desenvolve-se em colaboração com uma escola de bailado e a criança bailarina e resulta da exploração de representações, ilustrações e notações da dança e de referências teóricas e práticas em Ludicidade. Pensamos, com este artefacto, poder contribuir para contrariar uma atitude mais sedentária por parte das crianças e motivá-las, através do design, para adoptarem comportamentos mais saudáveis.
The present work has as its starting point the problem of childhood obesity in our society and the awareness of the need for developing the physical activity of children. In that sense, we propose to design an artifact of playfulness for children between 5 and 10 years. The purpose of this artifact/object is to communicate Ballet contents, focusing on physical training, responding to this purpose. This is a reflection on the contributions of the design, the power of Playfulness and Image, in transmitting knowledge to children. The project is developed in collaboration with a school of ballet and a ballerina child and results of operation of representations, illustrations and notations of dance and theoretical references and practices of Playfulness. We think that, with this artifact, we will be able to contribute to counteract a sedentary attitude on the part of children and motivate them, through design, to adopt healthier behaviors.

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Batchelor, Ray. "Evolution, artefacts, meaning and design : the extent to which evolutionary theory can explain how and why humans attribute significance and meaning to the material world and the consequences of this for understanding design." Thesis, Bucks New University, 2004. http://bucks.collections.crest.ac.uk/9940/.

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The manner in which our ancestors and ancestor species negotiated their physical and social environments has had consequences for how we engage with artefacts today. Like language, the ability to attribute significance and meaning to artefacts is evolved and consists of a suite of interconnected adaptations. A model is articulated which, it is claimed, accommodates all the possible ways in which humans attribute significance and meaning to artefacts. It consists of two halves. Each element is considered in turn and accounts of their evolutionary origins are constructed. This sequence moves from the oldest to the most recently evolved: thus the first half - the sensory-kinetic-affective mode - includes ancient, reflexive, sensory (including the physical and kinetic) and perceptual responses originating in our ancestor species’ negotiation of their organic and inorganic environment; and the affective responses such as technical and aesthetic pleasures arising from such responses. The second half – the symbolic-narrative mode - embraces the attribution of symbolic or narrative meanings to artefacts which, I propose, prefigured, or co-evolved with the emergence of language and, like language, is an expression of symbolic thought. I argue that where symbolic meaning is intentionally ascribed to an artefact, some account will be taken of the data delivered by the sensory-kinetic-affective mode, such that those intending the meaning will often seek consonance between that data and the meaning intended, in order to strengthen the power of the artefact to act as an agent of social mediation. A central role is ascribed to a sensibility towards style, as the mechanism by which the two halves are united. This sensibility is highly attuned to physical characteristics, with the objective of intuiting something of the character, make-up and therefore, likely future behaviour of the maker, owner, or other with whom the artefact is associated. I call this resultant data tacit social intelligence. It is argued that practices which evolved during the 100,000 years or so in which Homo sapiens created artefacts by hand, using simple tools, despite the changed circumstances of manufacture, economics, technology and social and political organisation, have persisted into historical times and remain active today. In particular, artefacts continue physically to represent accumulations of behaviour. Thus, in creating or choosing to be associated with an artefact, we are conscious that others will interrogate it for signs of the behavioural values we are seen to esteem.

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Lees, David Yeung. "An analysis of knowledge work and its implications for the design of information artefacts." Thesis, University of the West of England, Bristol, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387939.

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Bowen, Simon John. "A critical artefact methodology : using provocative conceptual designs to foster human-centred innovation." Thesis, Sheffield Hallam University, 2009. http://shura.shu.ac.uk/3216/.

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This research develops a rationale for using provocative conceptual designs to foster the innovation of human-centred product ideas -a `critical artefact methodology'. This research employed similar tactics to Action Research (Swann 2002): cycles of action (using critical artefact methods in design projects) and reflection on that action (including a contextual review of existing theories and practices), which produced action (product ideas) as well as research (a proposed critical artefact methodology). In two projects, I used sets of workshops where stakeholders' engaged with my critical artefacts to develop my understanding of their needs. Living Rooms (designing the home for `tomorrow's older people) suggested how my methods might be improved then taken account of in Digital Mementos (designing novel mementos for increasingly digital lifestyles), including selecting productive participants - stakeholders in-tune with the possibilities of novel situations, such as von Hippel's "lead users" (1986). Within participatory design and co-design I position critical artefact methods as using stakeholder participation to inform design activity rather than as co-creation. In reference to Ehn and Kyng's mock-ups (1991) and Gaver's cultural probes (1999) exemplars, I show that critical artefacts do not fit the description of `prototypes' (suggestive of design direction or destination) and that my critical artefact methodology depends upon a progression from presenting stakeholders with critical artefacts (that provoke critical reflection) towards more `prototypical' artefacts expressing relevant needs (for evaluation). I suggest that critical design (Dunne 1999) and related design practices have similar characteristics and operation to Critical Theory: a view that the status quo (generally affirmed by design) somehow `oppresses' society; that `enlightenment' of the factors underlying this `emancipates' society and is facilitated by a reading of critiques (alternative proposals such as critical artefacts). In my critical artefact methodology the designer develops their understanding by designing artefacts to `process' stakeholders' engagement with previous artefacts -I use Polanyi's notion of "indwelling" (1966) to support this method of empathic knowledge sharing. Designer's and stakeholders' co-reading of critical artefacts means that this understanding can be of future or latent stakeholders needs; it enables them to explore alternative needs, wants/desires, practices and products by broadening their understanding of what is possible. The contributions of this research are a critical artefact methodology supported by critical artefact methods; a more instrumental use of critical artefacts than other critical design practices; and (in Digital Mementos' outputs) exemplar findings demonstrating the value of a critical artefact methodology's application. Whilst this thesis presents a `point in time' in my methodology's development, I intend that it provide designers with insights into similar techniques within their own professional practice.

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Thompson, Stephen James. "Artefacts, technicity and humanisation : industrial design and the problem of anoetic technologies." Thesis, University of Plymouth, 2008. http://hdl.handle.net/10026.1/2739.

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This thesis concerns the intellectual heritage and autonomy of West European and American industrial design as a discourse community at a moment when biotechnological developments are challenging the certainty of what it means to be human. Proceeding from the assumption that industrial design is an autonomous intellectual engagement played out through the interpretation of technology as an artefact, the thesis identifies how this is a critical moment for industrial designers, who appear to be unable to respond to a problem of the apparent disconnection and the progressive displacement of the human in reference to technology. The thesis identifies the cause of this as the understanding of the artefact, which has conventionally been placed at the centre of its analysis. The way that this has been constructed has not only impacted on design solutions but has led to a particular understanding of technology. It is this understanding of the artefact that has ceased to be sustainable and has precipitated the crisis. The thesis argues that, by revisiting the artefact as a mutable consequence of culture, it is possible to relieve the problem by opening up the scope for finding new methodological approaches. These can be used to develop design strategies that are sufficiently subtle and coherent in their terms to engage with the open complexity of future discussions of the distributed and enacted human.

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Martins, Albano Fernando Pereira. "Da maqueta para o desenho: meios de representação tridimensional no design de artefactos." Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/1228.

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Mestrado em Design, Materiais e Gestão do Produto
Este estudo pretende, através de uma análise retrospectiva, caracterizar a abordagem da representação tridimensional no contexto do design, pela sua utilidade como instrumento de comunicação, desenvolvimento e materialização de ideias. Se no passado a experiência da representação tridimensional passou necessariamente pela manufactura, no século XX, com a possibilidade de integração de um ambiente simulado no Design, promoveram-se alterações profundas nas experiências de representação, percepção e sensibilidade do designer. Os sistemas de representação digitais foram adoptados gradualmente pela maioria dos profissionais do desenho, alterando os seus hábitos, substituindo as ferramentas que auxiliavam a sua actividade, e estabeleceram-se novas metodologias no processo de criação que levaram a uma revisão das práticas de representação. O principal objectivo deste trabalho foi compreender as principais causas e respectivos efeitos dessa enorme transformação que ocorreu depois da introdução das tecnologias digitais, identificando os sujeitos que procuraram o seu processo de formalização, vinculado ou não, às novas tecnologias e analisar as razões que assistiram essa escolha. Hoje em dia, com a introdução da tecnologia digital no âmbito da representação, o designer tem a possibilidade de representar pela mão ou assistido por computador, recorrendo a sistemas híbridos que utilizam ambos os recursos. Portanto, neste estudo, foram também analisadas as alterações verificadas no projecto de design, numa comparação entre os meios de representação analógicos e digitais, físicos e virtuais. ABSTRACT: This study aims, through a retrospective analysis, to characterize the approach of tridimensional representation in the context of design, for its usefulness as a tool for communication, development and materialization of ideas. If, in the past, tridimensional representation hinged necessarily on manual work, in the twentieth century, though, the possibility of integrating a simulated environment in Design promoted deep changes in the experience of representation, perception and sensitivity of the designer. The digital representation systems were gradually adopted by most designers, who changed their habits by replacing the tools which helped them in their trade. Thus, new methodologies were established in the design process, leading to a review of the representation techniques. The main goal of this study was to understand the underlying causes and effects of the enormous change that occurred after the introduction of digital technologies, identifying the individuals who sought their formalization process, bound or not, to new technologies and examine the reasons that led to this choice. Nowadays, with the introduction of digital technology in the scope of representation, the designer is able to represent either manually or assisted by a computer, using hybrid systems that use both resources. Therefore, in this study, we also analyzed the changes in the project design, by making a comparison between analog and digital, physical and virtual means of representation.

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Dissertations / Theses on the topic 'Artefact design'

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