Relevant bibliographies by topics / Engagement des artistes

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Engagement des artistes'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Engagement des artistes"

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McKay, Carolyn Louise. "Covert: the artist as voyeur." Surveillance & Society 11, no. 3 (2013): 334–53. http://dx.doi.org/10.24908/ss.v11i3.4504.

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An engagement with the aesthetics, rhetorics and methodologies of surveillance presents a canvas on which visual artists can critique, subvert or just play with emergent technologies. This paper probes artistic methodologies that implicate surveillance and the ethical tensions of appropriating the surveilled lives of strangers for creative pursuits. The ethically challenging practices of several contemporary artists are discussed including Sophie Calle, and the author reflects upon her own body of work. The role of the artist, the nature of the gaze, privacy versus artistic expression, surveil
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Cyr, Catherine. "L’expérience immersive et les intermittences de l’attention." Tangence, no. 108 (May 30, 2016): 77–93. http://dx.doi.org/10.7202/1036455ar.

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Depuis quelques années, au Québec comme en Europe, plusieurs artistes s’attachent à mettre en scène des parcours théâtraux où le spectateur se déplace dans l’espace, de façon plus ou moins structurée. Alors que quelques-uns privilégient une certaine restriction de la mobilité physique et proposent une avancée strictement balisée, d’autres préfèrent laisser le spectateur déambuler sans contrainte dans un lieu aux frontières mouvantes, indéterminées. Cet engagement physique du spectateur dans un espace qu’il sillonne de ses pas et partage avec des acteurs (présents ou virtuels), induit des modal
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Prins, Laura. "L’Art pour l’Art or L’Art pour Tous?" International Journal for History, Culture and Modernity 4, no. 1 (2016): 92–126. http://dx.doi.org/10.18352/hcm.505.

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Between 1896 and 1903, Jean Grave, editor of the anarchist journal Les Temps Nouveaux, published an artistic album of original prints, with the collaboration of (avant-garde) artists and illustrators. While anarchist theorists, including Grave, summoned artists to create social art, which had to be didactic and accessible to the working classes, artists wished to emphasize their autonomous position instead. Even though Grave requested ‘absolutely artistic’ prints in the case of this album, artists had difficulties with creating something for him, trying to combine their social engagement with
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Skar, Lowell, and Pornrat Damrhung. "Roundtables on Performance Research, Developing Cultural Ecologies, and Artistic Research Networking in the Asia-Pacific." Manusya: Journal of Humanities 23, no. 3 (2020): 450–74. http://dx.doi.org/10.1163/26659077-02303012.

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Abstract Three sessions of international and local participants from a July 2019 conference created active ecosystems which generated living examples of intercultural improvisation, performance research, cultural ecologies and artistic research in Thailand. Summarized and assessed in this article, these sessions revealed some of the first fruits of Thailand’s work in these areas through engagement with other practitioners in the region. Besides offering creative improvisation among Thai artists and artist-centered critical assessments of their work, the article captures active thinkers seeking
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Henderson, Linda Dalrymple. "Editor's Introduction: I. Writing Modern Art and Science – An Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century." Science in Context 17, no. 4 (2004): 423–66. http://dx.doi.org/10.1017/s0269889704000225.

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This issue of Science in Context presents a sampling of current work by art historians examining modern artists' engagement with science as well as the relationship of photography to both science and art. The essays' topics span the mid-to-later nineteenth century to the 1960s and, thus, in a series of case studies provide an introduction to aspects of artistic modernism. Indeed, it is impossible to understand fully many of the radical innovations of modern art without some knowledge of an artist's cultural context, and developments in science have often played a critical role in defining that
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Banfield, Janet, and Mark Burgess. "A Phenomenology of Artistic Doing: Flow as Embodied Knowing in 2D and 3D Professional Artists." Journal of Phenomenological Psychology 44, no. 1 (2013): 60–91. http://dx.doi.org/10.1163/15691624-12341245.

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Abstract This research investigates flow experiences and explores meaning construction for artistic practices that differ in haptic nature. In addition to the phenomenological analysis of interviews, videos of artistic practice and practice-based research (in which participants instruct the researcher in their primary techniques) were employed to obtain both retrospective and real-time records of the physicality of artistic practice. Drawing on authors who emphasise the automatisation of actions in flow (Dietriche, 2004; Spinelli, 2005) and heightened body awareness (Pagis, 2009) flow is recon
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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture a
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Pena, Mary. "Black Public Art: On the Socially Engaged Work of Black Women Artist-Activists." Open Cultural Studies 3, no. 1 (2019): 604–14. http://dx.doi.org/10.1515/culture-2019-0053.

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Abstract Inaugurated at the Brooklyn Museum of New York in 2017, the path-breaking exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” centers the creative expressions and lived experiences of black women artists within a primarily white, middle-class, heteronormative mainstream feminist movement. Engaging visual mediums, artist-activists rendered a black feminist politics through cultural and aesthetic productions. In so doing, artists recast extant representations of black social life, demanded inclusion within cultural institutions, and created black-oriented spaces for artis
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Speight, Elaine, and Charles Quick. "“Fragile Possibilities”: The Role of the Artist’s Book in Public Art." Arts 9, no. 1 (2020): 32. http://dx.doi.org/10.3390/arts9010032.

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Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist
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Wood, Sharmila. "Making Space. Singapore, Artists & Art in the Public Realm." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 137–54. http://dx.doi.org/10.32891/jps.v5i4.1408.

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In recent times Singaporean artists have undertaken audacious artistic performances, actions and interventions in public space, highlighting the role of artists as provocateurs of debates around public space and their engagement with issues related to ethical urbanism. Between 2010 – 2020 artists working in diverse fields of artistic practice including visual art, street art, performance art, community arts and new genre public art begun to locate their artwork in public spaces, reaching new audiences whilst forging new conversations about access, inclusion and foregrounding issues around spat
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Dissertations / Theses on the topic "Engagement des artistes"

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Herold-Marme, Amanda. "L'identité artistique à l'épreuve : les artistes espagnols à Paris et l'engagement à partir de la Guerre civile (1936-1956)." Thesis, Paris, Institut d'études politiques, 2017. http://www.theses.fr/2017IEPP0017.

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À l’aide de nouvelles informations, la présente étude vise à interroger l’impact de la guerre d’Espagne sur la communauté artistique espagnole à Paris, qui regroupe tant les artistes ayant tissé des liens forts avec la capitale française lorsque la guerre éclate, que ceux dont l’installation en France est précipitée par le conflit. Notre objectif est de restituer les singularités des dynamiques individuelles dans une histoire d’ensemble, en envisageant la prise de position de ces créateurs, jusqu’alors apolitiques, en faveur de chacun des deux camps sous le prisme de l’engagement de leur ident
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Gharsalli, Awatef. "L'art contemporain en Tunisie : les enjeux sociaux et internationaux." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100031/document.

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L’art contemporain en Tunisie est resté à la marge de l’art contemporain. Quelles sont les raisons qui ont empêché sa reconnaissance ? Voulant rompre avec toutes les représentations dites coloniales et orientalistes, les artistes de la jeune génération qui viennent après l’indépendance, cherchent à s’ouvrir sur l’international et à se moderniser tout en préservant leurs identités et leurs appartenances. Ils se sont retournés vers le patrimoine et la calligraphie pour ainsi « tunisifier » leurs peintures abstraites. L’art abstrait, au départ était une aventure libératrice. Plus tard, avec une c
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Mackwell, Jutta. "'Useless art' or 'practical protest' : the fin-de-siècle artist between social engagement and artistic detachment." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/2618.

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This thesis follows recent scholarly interest in the British fin de siècle, focussing on the artist and the notion of art within the context of capitalisation and rapidly changing social strata. It claims that the artist can be understood as a socially orientated rather than purely economically motivated player, who tries to position himself and his art within a distinctly transformed cultural landscape. It demonstrates how many texts and art works of the fin de siècle are permeated by a socio-critical and didactical discourse, which serves to legitimize the artist and his art work on the on
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Beausoleil, Emily Jane. "Performing democracy : artistic engagements of identity/difference." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42153.

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With growing acknowledgment within critical democratic theory that formal inclusion is not enough to guarantee real participation in democratic practice, particularly in the context of deep cultural diversity, this dissertation examines the possibilities, challenges, and limitations of various modes of communication when they are used to engage marginalized difference. It takes as its starting point the institutional and individual demand within democracies to not only make space for diverse ways of life, or simply ‘contain enough difference’ – as if this were possible – but to remain attentiv
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Backman, Adam, and Sebastian Müller. "Musikfans varumärkeslojalitet ur ett konsumentperspektiv : En kvalitativ studie om hur musikfans online skapar varumärkeslojalitet till artister." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101252.

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I takt med den digitala revolutionen som musikindustrin genomgått, har frågor angående hur musikfans online blir lojala mot artister framgått och skapat ämne för diskussion. Syftet med denna uppsats är att utveckla en djupare förståelse för hur musikfans online skapar varumärkeslojalitet genom gemensamt engagemang. Studien har genomförts utifrån en kvalitativ metod med en abduktiv forskningsansats. Nio kvalitativa intervjuer samt en fokusgrupp innehållande sju deltagare har genomförts för att ge svar på forskningsfrågorna. Utifrån studiens empiri och analys kunde det fastställas huruvida musik
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Schwartz, Melissa Rachel. "Embodied Ethics : Transformation, Care, and Activism Through Artistic Engagement." UNF Digital Commons, 2012. https://digitalcommons.unf.edu/etd/398.

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In what follows, I highlight negative environmental perspectives and actions based on traditional patterns of Western dualist thought with the ultimate aim of developing an alternative way of relating to the environment and the ‘other’, in general. In pursuit of such an alternative, I utilize embodied artistic practices in order to present the notion that one can engage more holistically with one’s environment, and the other. Through habitual, lifelong ‚Ways‛ cultivating specific practices generally necessary to creating and to viewing art, I argue, one can refine one’s ethical awareness and a
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Frimodig, K. E. "An honourable practice : the artist's print as a strategy for social engagement." Thesis, University of the West of England, Bristol, 2016. http://eprints.uwe.ac.uk/25227/.

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An Honourable Practice is a cohesive study of the operative and ethical framework around the role of the artist and printmaker. The research project uses the artist’s prints as a strategy for social engagement, drawing on the dynamic between a personal vision and the collective, which seems to arise in printmaking as a practice of multiples. The exploration is a practice based PhD. A dialogic and collaborative process is key to contributing to a socially engaged and efficacious method weaving an individual creative praxis with theory. A methodology emerges supported by intentions to engage wit
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Slitine, Marion. "La Palestine en créations. La fabrique de l'art contemporain, des territoires occupés aux scènes mondialisées." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH098.

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Mêlant des approches historiques, socio-anthropologiques et artistiques, la thèse entend apporter un éclairage inédit sur la situation contemporaine de la Palestine et les modalités de l’occupation, à travers l’analyse de ses mondes de l’art contemporain depuis les années 1990 qui ont vu un développement sans précédent de son infrastructure. Dans un contexte de fragmentation politique et territoriale toujours plus accrue, une nouvelle génération d’artistes a émergé qui parvient progressivement à transgresser les contraintes à l’œuvre sur le terrain, pour accéder par leurs pratiques artistiques
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Brown, Luke. "Tension between artistic and commercial impulses in literary writers' engagement with plot." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5158/.

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This thesis explores whether plot and story damage a literary writer’s attempt to describe ‘reality’. It is in two parts: a critical analysis followed by a complete novel. The first third of the thesis is an essay which, after distinguishing between story and plot, responds to writer critics who see plot as damaging to a writer’s attempt to describe ‘the real’. This section looks at fiction by Jane Austen, Henry James, Jeffrey Eugenides, Julian Barnes, Tom McCarthy and Zadie Smith, against a critical background of James Wood, Roland Barthes, David Shields and others including Viktor Shklovsky
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Collins, Kate Ann. "Cultivating Citizen Artists: Interdisciplinary Dialogic Artmaking." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408661362.

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Books on the topic "Engagement des artistes"

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Rotermund, Erwin. Artistik und Engagement: Aufsätze zur deutschen Literatur. Königshausen & Neumann, 1994.

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Adrian, Hope. Letters of engagement, 1884-1888: The love letters. Tite Street Press, 2000.

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Hope, Adrian. Letters of engagement, 1884-1888: The love letters of Adrian Hope and Laura Troubridge. Tite Street Press, 2002.

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Blindheit und Hellsichtigkeit: Künstlerkritik an Politik und Gesellschaft der Gegenwart. De Gruyter, 2014.

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Susan, Landauer, and San Jose Museum of Art., eds. Art of engagement: Visual politics in California and beyond. University of California Press, 2005.

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Selz, Peter Howard. Art of engagement: Visual politics in California and beyond. University of California Press, 2005.

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Selz, Peter Howard. Art of engagement: Visual politics in California and beyond. University of California Press, 2006.

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Cameron, Julia. The Artist's Way Engagement Calendar. Chronicle Books, 2001.

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Gillick, Liam. Industry and Intelligence. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231170208.001.0001.

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The history of modern art is often told through aesthetic breakthroughs that sync well with cultural and political change. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of modern art only through catastrophic events cannot account for the subtle developments that lead to the profound confusion at the heart of contemporary art. In Industry and Intelligence, the artist Liam Gillick writes a nuanced genealogy to help us appreciate contemporary art’s engagement with hist
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Smilde, Rineke. Community Engagement and Lifelong Learning. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.32.

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This chapter discusses the relationship of community engagement through music and the concept of lifelong learning, which is a dynamic concept of learning that enables us to respond to change. Underpinning the work of community musicians is the notion that artistic processes can have transformative potential that can bring about a sense of community, inclusion, and collective identity. Three case studies of community engagement will be explored with different aims and points of departure but with shared values and approaches, comprising important aspects of the concept of lifelong learning. Ou
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Book chapters on the topic "Engagement des artistes"

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Pawling, Christopher. "Marxism and Artistic Commitment." In Critical Theory and Political Engagement. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137315236_2.

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Tinius, Jonas. "Artistic Diplomacy: On Civic Engagement and Transnational Theatre." In Performance and Civic Engagement. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66517-7_16.

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Sammells, Neil. "Formalism: An Aesthetics of Engagement." In Tom Stoppard: The Artist as Critic. Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-18970-0_1.

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Diessner, Rhett. "Always Appreciative of Art’s Beauty: The Trait of Engagement with Artistic Beauty." In Understanding the Beauty Appreciation Trait. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-32333-2_6.

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Knight, Linda, and Stewart Riddle. "Artists and Transpedagogy: Possibilities for Enriching Teaching and Learning Through Radical Engagement with the Arts." In Studies in Arts-Based Educational Research. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61560-8_7.

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Duijzings, Ger. "Transforming a Totalitarian Edifice: Artistic and Ethnographic Engagements with the House of the People in Bucharest." In Nostalgia, Loss and Creativity in South-East Europe. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71252-9_2.

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Wue, Roberta. "Picturing the Shanghai Artist." In Art Worlds. Hong Kong University Press, 2014. http://dx.doi.org/10.5790/hongkong/9789888208463.003.0005.

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Looks at portraits of the art world produced by Shanghai’s best-known artist, Ren Bonian (1840-1896). Unique for their near-exclusive focus on art world sitters, these are portraits in which the artist collaborated with their subjects to investigate an array of artistic identities, from conventional renderings of the artist as scholar and gentleman, to unexpected depictions of artists as men about town, failures, sell-outs and beggars. These are images that exceed portraiture’s usual purpose of documenting likeness and social status, instead seeking to comment on the modern Chinese artist’s engagement with a complex and demanding urban market and art world.
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Elliott, David J. "Movement Potentials and Civic Engagement." In Artistic Citizenship. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199393749.003.0007.

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"The Subversive Affirmation as a New Device of Art Activism Deployed in Post-Political Reality." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3835-7.ch006.

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The transition of activist art from the utopian projects of the society as a work of art into its present activistic phase based on artists' serious political engagement implies significant aftermath in extra-artistic reality. Whereas the projects such as social sculpture (Joseph Beuys notion), temporary autonomous zones (Hakim Bey's concept), and total work of art (expression used by K. F. E. Trahndorff and R. Wagner) were accompanied by explicit confidence of artists in the liberating power of artistic creativity, today's activists enter pure political “direct action,” which often fits well to daily engagements of political parties. This chapter addresses the Slovenian case of Janez Janša activists' group deeply involved in daily politics, precisely in the struggle against the politician Janez Janša. In doing so, these activists deploy subversive affirmation as a new subtle political device that enables them an alibi due to their background in elitist institution of art.
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Kelly, Mary. "Locating the First Sculptural Mark." In Under the Skin. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266748.003.0013.

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Diana Al–Hadid was born in Aleppo, Syria in 1981 and she currently lives and practices her art in Brooklyn, New York. This interview with Al–Hadid is an engagement with just one voice from the Syrian diaspora. The text explores the artist’s methods and strategies in art making for the purpose of recording new primary sources in the History of Art, which can be used to generate different ways of understanding Al–Hadid’s sculptures. The various themes discussed in the interview including: the artist’s engagements with materials and materiality; the formal qualities in her art; historical and art historical influences such as the Islamic Golden Age and Old Master painting; her attention to the original and editions; and the three broad spheres of typologies which are located in her oeuvre. In addition, Al–Hadid reveals her various processes of making which lead to the location of the first artistic mark on a new work of art.
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Conference papers on the topic "Engagement des artistes"

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Marrucci, Luca, and Erika Piazzoli. "Evaluating Learner Engagement in Arts Education: Perspectives from Music and Drama in Education." In Third International Conference on Higher Education Advances. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5516.

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In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement i
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Stewart, Sarita. "The Development of the Artist-Fan Engagement Model." In MEIEA Educators Summit 2019. Music and Entertainment Industry Educators Association, 2019. http://dx.doi.org/10.25101/19.34.

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Byrne, Valerie. "National Sculpture Factory." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.39.

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The purpose of the National Sculpture Factory, which speaks to our artistic policy and remit, is to support and nurture the production of art and the role of culture in society. We work to be the leading institution for identifying, nurturing and activating talent; for ambitious and fearless commissioning; promoting discourse on contemporary visual culture through public engagement activities; and engaging diverse audiences, driving more inclusion and accessibility. Primarily we are a factory of innovation in new technologies and artistic production in the expanded practice of sculpture.
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Gadelha, Bruno, Thaís Castro, Rosiane De Freitas, Edna Cardoso, and Hugo Fuks. "Colaboração e Interação em Contextos Não Convencionais: aplicações e instalações artísticas e de entretenimento." In XVII Simpósio Brasileiro de Fatores Humanos em Sistemas Computacionais. Sociedade Brasileira de Computação (SBC), 2018. http://dx.doi.org/10.5753/ihc.2018.4233.

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This paper presents an investigation that has been developed at the Federal University of Amazonas through projects involving concepts of collaborative systems(CS) and humancomputer interaction (HCI) in artistic-cultural and entertainment events scenarios. In the artistic scene, there have been projects involving music and interaction through sounds. In the scenario of large entertainment events involving crowds, the projects consider issues such as engagement, interaction and collaboration. In these unconventional contexts the importance of the integration between the SC and IHC areas is obse
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Wang, Lili, Ruibo Liu, and Soroush Vosoughi. "Salienteye: Maximizing Engagement While Maintaining Artistic Style on Instagram Using Deep Neural Networks." In ICMR '20: International Conference on Multimedia Retrieval. ACM, 2020. http://dx.doi.org/10.1145/3372278.3390736.

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Hess Norris, Debra. "All you need is love." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.3.13.

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Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrim
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Bindman, Samantha Worzalla, Kiley Sobel, Sara M. Behbakht, Riddhi A. Divanji, Ella Shahn, and Mike Scanlon. "“Let’s Draw Chocolate Milk Together”: Supports and Challenges for Families’ Joint Engagement with Artistic Tablet Apps." In IDC '21: Interaction Design and Children. ACM, 2021. http://dx.doi.org/10.1145/3459990.3460693.

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Gunn, Fion, Maureen Kendal, and Mehmet Mulla. "An Exploration of How Artists Use Immersive Technologies to Promote Inclusivity, Diversity and Deep Public Engagement in Ethical Ways." In Proceedings of EVA London 2020. BCS Learning and Development Ltd, 2020. http://dx.doi.org/10.14236/ewic/eva2020.36.

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Baloğlu, Yasemin Burcu, and Cansın Yılmaz. "Explorations in Teaching Interior Design: Involving User Perspectives." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021263n18.

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Understanding the needs and expectations of the intended users of a designed environment is recognized as one of the essential factors that influence the decision-making process in an interior design project. This situation is also reflected in interior design education, where students conventionally design for hypothetical clients and users. This study explores the contribution of a new user-focused and scenario-based design studio modal to students’ approach to successive stages of design processes, learning outcomes, and engagement to the project course during an online education period. Wi
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Law Adams, Marie, and Daniel Adams. "The Choreography of Piling: Active Industry in the City." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.34.

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Gravel, salt, sand, cobbles, and scrap metal – dry bulk materials fundamental to making and maintaining the built environment – are piled in or around coastal cities. The pile is the architecture of the holding stage between a material’s arrival and accumulation from one mode (such as ship or rail) and its distribution into the city through another (most commonly, the truck). Although these piles often approach the scale of large buildings and natural landforms, and their presence is a fixture in the built environment, they are overlooked as a matter of design. In recent decades, some artists
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