1) Le projet prend appui sur une série d'objets faits main avec les matériaux et techniques du tisserand, d'une ancienne civilisation imaginaire. 2) Cet inventaire d'objets servira à l'illustration d'un scénario animant des personnages ambassadeurs d'un environnement fantastique lointain. 3) À la suite d'une évaluation topologique, une adaptation est faite de l'ensemble de la production de manière à prendre en compte la relation art-vie. Ce projet trouve son expression dans le vêtement régalien, animé dans un scénario/performance. Celui-ci a pour fondement un médium métaphorique et analogique d'une expression mytho-poétique. Les vêtements régaliens sont produits de matériels naturels et recyclés. Dans chaque composition, il y a opposition/contradiction des matériels utilisés. Dans leur ensemble, ces vêtements régaliens deviennent des signes d'une volonté d'unification et de réconciliation. Le scénario/performance est un geste de "praxis" métaphorique et analogique, qui montre par le "jeu" un thème mythologique qui a comme but de réunir le public et l'imaginaire. Ce projet a l'intention de dépasser l'objet dans une interaction avec le sujet, qui s'ouvre davantage à une interaction avec le public. L'acte solitaire de l'artiste rassemblant des objets pour un travail créatif surpasse son propre empirisme pour devenir acte social qui regroupe des individus dans une expérience d'unification avec l'environnement immédiat.

Toute expérimentation, dans quelque domaine que ce soit, estime ses possibilités multiples d'après des données référentiel1es observables. Les chercheurs se préoccupent d'abord de bien identifier les propriétés des "sujets" choisis délibérément comme sources indicielles de recherche, pour ensuite permettre des extrapolations. Selon cette même dynamique, il nous appartient dans notre création artistique, de stimuler un rapport nouveau d'après un réfèrent déterminé, identifié. Nous puisons donc dans une réalité connue, celle du VETEMENT HABIT, entité tangible, palpable, réelle. Il se présente comme la donnée-cible, l'indice, le "fait" qui appartient au domaine du raisonnable, valeur qualifiable et quantifiable. Mais le vêtement, dans un geste outrancier, peut s'octroyer une vie fictive, fantasmée, intemporelle, et se placer dans une filiation différente de celle communément admise et acceptée. C'est ici que la création intervient. Le VETEMENT HABIT, objet d'observation devient objet d'interprétation, puis se transforme en fabulation pure. Le connu se revêt d'étrangeté. Les structures internes, véritables labyrinthes vitaux (viscéraux) du VETEMENT HABIT se transforment progressivement, se modifient. Il se voit investi d'un pouvoir de régénération continuelle. Le VETEMENT HABIT, insaisissable semble non pas un, unique et fermement campé, mais selon divers états qui apparaissent comme transitoires et suggèrent une situation de métamorphose continuelle. L'HABITARIUM apparaît peu à peu... Il évoque l'alternance de cycles pour justifier une transformation qui s'opère en temps successifs. L'HABITARIUM dévoile ainsi, étendus par terre, de multiples fragments de matière à connotation organique laissant présager quelque flore imaginaire ou des alignements d'ossements, restes d'un squelette laissé là au fil du temps... Des rapprochements complices sont repérés, des relations sont extraites pour devenir une fonction de l'espace. L'HABITARIUM devient lui-même espace. Cet espace peut se mouvoir, s'étirer, se distendre pour s'établir et recommencer sa métamorphose un peu plus loin. Le nouveau corpus étalé, exhibe un système organisationnel visionnaire composé d'un assemblage de constructions modulaires tridimensionnelles répétitives. Des morphologies ovoïdes, blanchâtres à peine translucides érigent leurs gonflements renflés, laissant échapper des volutes filamentées, qui à peine formulées, s'estompent et vont s'évanouir dans le sol. Filles laissent un silence, un silence d'attente de réflexion «pour aller resurgir ailleurs dans une pénombre mystérieuse au coeur d'une architecture aérienne translucide là o =ù le dehors et le dedans deviennent visibles et intelligibles simultanément, là où des mises en scènes imaginaires s'organisent pour concrétiser de nouveaux lieux. Des lieux privés, des espaces occultes. Des lieux solennels, mystiques, sacrés où la lumière devient d'or. Des lieux de mort, de fixité, d'éternité. Des 1ieux immobiles attentifs à l'autre réalité, à 1'ESSENTIEL. L'HABITARIUM divulgue des lieux d'absolu, son ABSOLU. "La diversité et la complexité s'échafaudent par la combinatoire du simple".

Braunschweig, Hochsch. für Bildende Künste, Diss., 2001. / Computerdatei im Fernzugriff.

Braunschweig, Hochsch. für Bildende Künste, Diss., 2001. / Computerdatei im Fernzugriff.

Wuppertal, Universiẗat, Diss., 2000.

Braunschweig, Hochsch. für Bildende Künste, Diss., 2001.

abstract: This thesis documents the design history of the Riordan Mansion, and Arts and Crafts style duplex built in Flagstaff, Arizona in 1904 by brothers Michael and Timothy Riordan. The study investigates factors that influenced the design including the Riordan family; the location in Flagstaff, Arizona; the architect, Charles Whittlesey; the Arts and Crafts Movement, and other cultural influences such as religion, naturalism, exoticism, art, and literature. Exterior facade and interior plan, construction materials, technological advances, and furnishings all demonstrate Arts and Crafts characteristics and key principles of the design reform movement. Design reform began in the 1860s with a rejection of the Industrial Revolution's use of machine produced goods, seeking to restore to daily life fundamental values and living standards based upon usefulness and beauty and to promote the importance of the craftsman. The Riordan Mansion (now an Arizona State Park) demonstrates Arts and Crafts principles through its setting and incorporation of local materials; its unified duplex plan, which is unique among grand American Arts and Crafts mansions; its sophisticated interior that utilizes such typical traits as the inglenook, built-in and custom designed furnishings; moldings that repeat from room to room; and collections of Native American and Asian artifacts, an extensive library, paintings and photographs. This home is an extension of its Flagstaff setting to which the Riordans were tied as community leaders. / Dissertation/Thesis / M.S.D. Design 2010

<p> Innovation practice is a transdisciplinary field that aims to create a better world out of an existing one by pooling methods and mindsets of inquiry and creation. The field observes design contexts, assimilates the collected knowledge into problems to be addressed, ideates solutions to those problems, and iteratively tests those solutions in real environments to determine how they address these problems. Over the past decade, the field has become more accessible to a much broader collection of amateur designers. They utilize the field to understand more diverse contexts, to include and adapt more disciplines, and to address a wide variety of complex and seemingly intractable issues. Due to the evolution of the fields&rsquo; popularity, debates began to arise about the fields&rsquo; utility and place in society. Development professionals treated design thinking and related fields as a silver bullet that could easily address issues of global poverty. Critics asked if the field was different from existing disciplines, whether the field delivers demonstrable impact, and if the democratization of design practice to &lsquo;amateur&rsquo; designers is even worthwhile. However, these debates revealed how little knowledge is collected about how practitioners conduct innovation practice in the first place. To learn about the activities, benefits, methods, and obstacles of beneficial development-focused design practice, I detail three studies that apply lenses of analysis to innovation narratives to see how various collectives of self-determined innovators actually practice their craft.</p><p> The first study outlines a systematic literature review of human-centered design for development. By applying design principles to a population of researcher-designers and their narratives, we learn if these designers actually practice innovation with these principles of human-centeredness in mind. I outline three previously conducted studies about the nature of this field, which describe the population, location, history, and methods these projects use across various contexts. and detail an analysis of the participatory nature of human-centered design for development. In so doing, I describe statistics about the prevalence of participatory design practice, reveal how the studies report the complexities of participation, and collect insights about the stakeholders who are allowed to design. The study then sums up the importance of investigative analysis methods across populations of design narratives, so that researchers can learn more about how &lsquo;good practice&rsquo; is perceived.</p><p> The second study describes an ethnographic evaluation study of notable actors in the Botswana innovation community. This study begins with a reflection on epistemological frictions between the popular fields of innovation practice and impact evaluation. After revealing the theoretical and practical gaps in how innovators evaluate, I introduce the Botswana history, policies, and institutions that support innovation practice on the national level, while describing their activities and how innovation actors perceive them. I then detail the creation of a grassroots innovation community that practices participatory co-design of locally beneficial technologies by outlining the history of its indigenous stakeholders and describing an ethnographic narrative of two formative innovation workshops. I then describe the methods, approaches, purpose, and stakeholders involved in the evaluation of innovation in the local and national institutions. This analysis reveals evaluation tools applicable to many innovation contexts, and insights about how these evaluation approaches are aligned and misaligned with each other. Finally, I describe insights on the practice and facilitation of innovation in the country, to clarify cultural, institutional, and practical barriers and qualities that hinder the potential benefit of innovation.</p><p> The final study is a reflection on the inadequacies of ethics systems in Botswana to support beneficial innovation practice. While investigating the previous chapter, I happened upon narratives with no simple solutions, and few resources for development-centric designers to effectively navigate this ethics space. Moreover, while facing the country&rsquo;s institutional review board system, I gained first-hand experience with the goals, dynamics, and limitations of the Botswana research system of ethics. This chapter unpacks how the ethical system fails to align with the needs of beneficial innovation practice and suggests theoretical alternatives to draw upon for future use. </p><p> This dissertation describes the complex possibilities of participatory design practice, the various goals, activities, and perceptions of the evolving Botswana innovation ecosystem, and details the frictions between the understudied field of ethics in design for development and existing institutions. These studies reveal how &lsquo;good&rsquo; innovation practice is wholly based on the context it is applied: on its practitioners, their tools, their goals, the environment where it is used, and the stakeholders with whom the designers interact. Though these studies outline how the methods and mindsets of innovation practice are accessible to more communities than ever, it does not mean that innovation practice itself becomes simpler. (Abstract shortened by ProQuest.) </p><p>

Orientadora: Profª Carla Galvão Spinillo / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Design. Defesa: Curitiba, 30/01/2017 / Inclui referências : p. 151-160 / Resumo: Contemporaneamente observa-se a ascensão de novos modelos de projeto que aproveitam as possibilidades da internet no processo de comunicação entre os vários stakeholders. Uma destas abordagens é o Crowd-design, modalidade emergente do sistema de projeto e produção que utiliza os conhecimentos e recursos disponíveis na multidão, geralmente através da internet, com o propósito de resolver problemas e/ou criar conteúdo. Esta dissertação visa propor etapas e procedimentos para a adequação do Crowd-design no PDP de empresas brasileiras. A fundamentação teórica foi feita a partir da revisão da literatura sob a temática Crowd-design e desenvolvimento de produtos via crowdsourcing e pôde levantar definições, princípios, atores, implicações competitivas, implicações para a sustentabilidade, e o papel do designer neste processo. Com base no modelo unificado de desenvolvimento de produtos proposto por Rozenfeld et al. (2006) e o que a literatura sobre crowdsourcing abordava em cada etapa do PDP, foi elaborada uma proposta de modelo de desenvolvimento de novos produtos via Crowd-design. O método de pesquisa envolveu um estudo de casos múltiplos com um em formato ex-post-facto e o outro como observação participante, ambos desenvolvidos no Núcleo de Design e Sustentabilidade da Universidade Federal do Paraná (NDS/ UFPR). Os dois casos aplicaram o modelo proposto de Crowd-design como processo complementar no desenvolvimento de novos produtos juntamente à multidão, o primeiro sendo em parceria com uma microempresa e aberto a qualquer pessoa solucionar e o segundo somente para os colaboradores internos de uma empresa de grande porte. A validação externa se deu por meio do pattern matching comparando ambos os casos com o modelo teórico. Ao fim do processo, concluiu-se que houve a adequação do modelo proposto de Crowd-design com base em Rozenfeld et al. (2006) no PDP das empresas, assim como foram identificadas as implicações deste processo para a sustentabilidade e as competências do designer em todo o processo. Palavras-chave:Crowd-design; desenvolvimento de produtos (PDP); crowdsourcing. / Abstract: Contemporaneously it is observed the rise of new project practices that utilize the possibilities of the internet in the communication process between the various stakeholders. One of these approaches is Crowd-design, emerging mode of design and production system that uses the knowledge and resources available in the crowd, usually via the internet, in order to solve problems and/or create content. This dissertation aims to propose steps and procedures for the adaptation of Crowddesign to the NPD process inside Brazilian companies. The theoretical basis was based on a review of the literature on Crowd-design and product development via crowdsourcing and was able to raise definitions, principles, actors, competitive implications, implications for sustainability, and the role of the designer in this process. Based on the unified model of product development proposed by Rozenfeld et al. (2006) and what the crowdsourcing literature addressed at each stage of the NPD, a proposal for a new product development model via Crowd-design was elaborated. The research method involved a study of multiple cases with one in expost- facto format and the other as participant observation, both developed at the Design and Sustainability Laboratory of the Federal University of Paraná (NDS/ UFPR). The two cases have applied Crowd-design as a complementary process in the development of new products using the crowd, the first being in partnership with a micro-enterprise and open to anyone solve and second only to the internal employees of a large company. The case study was given in the form of project documents (reports, minutes, audio/visual) and through interviews with the researchers who took part in the project teams. The external validation was done through pattern matching comparing both cases with the theoretical model. At the end of the process, it was concluded that the proposed Crowd-design model was adapted based on Rozenfeld et al. (2006) in the PDP of the companies, as well as the implications of this process for the sustainability and skills of the designer throughout the process. Keywords: Crowd-design; new product development (NPD); crowdsourcing.

Orientador: Prof. Dr. Dalton Luiz Razera / Coorientadora: Profª. Drª. Rosilani Trianoski / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Design. Defesa: Curitiba, 21/02/2017 / Inclui referências : f. 153-166 / Resumo: Esta pesquisa tem como objetivo observar as características apresentadas pelas escamas estéreis (falhas) da pinha da Araucária (Araucaria angustifolia) quando transformadas em compósitos particulados e moldadas pelo processo de compressão para aplicação em produtos, tendo como premissas as características produtivas e de coleta da semente desta espécie vegetal. A Araucária está hoje na lista das espécies ameaçadas de extinção da The World Conservation Union e propõe-se, a partir deste estudo, contribuir para a sua conservação e a sua valorização como árvore frutífera. Sua semente, o pinhão, é consumida na região Sul e Sudeste do Brasil nos meses de outono e inverno sendo formada no pseudofruto da Araucária, ou pinha. Considera-se que a partir do beneficiamento da semente do pinhão e com uma oferta de produtos diversificados com uma cadeia extrativista organizada, oportuniza-se o direcionamento do resíduo pós-beneficiamento (falhas e cascas) para o desenvolvimento de novos artefatos. A partir dos objetivos e do levantamento bibliográfico delimitou-se o método de campo em duas etapas: a primeira experimental onde se verificou o comportamento das escamas quando da sua transformação em material compósito e em produto moldado e um segundo procedimento de verificação das características visuais do material final moldado e que incidiriam na sua aplicação em produtos. Os resultados obtidos indicaram as características visuais granulométricas das escamas estéreis da Araucária e as características de moldagem do compósito aqui formulado e quando conformado pelo método de compressão em molde bipartido. Identificou-se também parte dos atributos sensoriais do material e sugestões de aplicação a partir do conceito de souvenirs . Conclui-se que apoiado ao respeito à sazonalidade de oferta da semente e da melhora de sua cadeia extrativista, é possível direcionar os resíduos vegetais da pinha da Araucária ao desenvolvimento de produtos que estejam associados às características culturais e da região de origem da espécie, contribuindo também para o campo de estudo, pesquisas e iniciativas que abordam a manutenção e conservação das Florestas com Araucária ainda existentes no sul do Brasil. Palavras-chave: Araucária. Compósitos. Design. Produto moldado. / Abstract: The objective of this research was to observe the characteristics of the Araucaria pine (Araucaria angustifolia ) barren scales when they were transformed into particulate and molded by the compression process for application in products, based on the production and collection characteristics of the seed of this plant species. Araucária is today on the list of endangered species of The World Conservation Union and proposes, from this study, to contribute to its conservation and its appreciation as a fruit tree. Its seed, "pinhão", is consumed in the South and Southeast of Brazil in the autumn and winter months being formed in the pseudofruit of the Araucaria, or pine cone. It is considered that from the processing of the pine nut seed and with an offer of diversified products with an organized extractive chain, the post-processing residue (faults and shells) is directed to the development of new artifacts. From the objectives and the bibliographic survey the field method was delimited in two stages: the first experimental where the behavior of the scales was verified when their transformation into composite and molded product and a second procedure of verification of the visual characteristics of the molded final material that would affect its application to products. The obtained results indicated the visual granulometric characteristics of the Araucária sterile scales and the molding characteristics of the composite formulated here and when conformed by the bipartite molding method. It was also identified part of the sensorial attributes of the material and suggestions of application from the concept of souvenirs. It is concluded that, supported by respect to the seasonality of seed supply and the improvement of its extractive chain, it is possible to direct the vegetal residues of Araucária pine to the development of products that are associated with the cultural characteristics and region of origin of the species, contributing also for the field of study, research and initiatives that address the maintenance and conservation of Araucaria Forests still existing in southern Brazil. Keywords: Araucaria. Composites. Design. Molded Product.