This thesis suggests a conflict management model for the resolution of conflicts that occur during the in-situ conservation and presentation of archaeological remains that are discovered as a result of development projects. More specifically, the thesis examines the extent to which the creation of in-situ museums---museums that are usually located in the basements of modern buildings and preserve archaeological remains in situ---can function as a compromise solution among the conflicting parties. The thesis is divided into eight chapters. The first chapter presents the research aims and objectives of the thesis while the second chapter analyses the methodological approaches. The third chapter reviews from a critical point of view the basic conflict management theories that have been developed by a variety of disciplines including economics, management science and sociology. This chapter identifies the key conflict elements and suggests a descriptive conflict management model. This model constitutes a tool for analysing the conflict situations in the case studies. Chapter four conceptualises the case of in-situ museums and explores how some of their distinctive characteristics play a role in conflict genesis, escalation and resolution. The next three chapters analyse conflict situations within the theoretical framework and discourse that have been presented in the two previous ones. Chapter 5 examines conflict situations that arose when archaeological remains were discovered during the construction of private works. Chapter 6 analyses examples of conflicts that relate to the discovery of archaeological remains during the implementation of public works. Chapter 7 is exclusively devoted to the case of the New Acropolis Museum in Athens. Chapter 8 concludes with the suggestion of an operational conflict management model that can be integrated into the heritage management planning. The formation of this model was based on the descriptive conflict management model presented in chapter 3. The operational conflict management model is enriched with a series of guidelines and tactics for dealing effectively with oppositions and conflicts.

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How is it possible, through drawing, to identify and translate the elements of a specific experience into drawings? The thesis presents the findings of the practice-led research, which sought, through engagement with processes of drawing and phenomenology (notably Heidegger 1962 and Merleau-Ponty 2002) and/or psychoanalysis (notably Csikszentmihalyi 1990, Bollas 1987), to address this question. The research has been specific to the translation, through drawing, of luminary into drawings. The experience researched and translated, through drawing into drawings, is identified as luminary and refers to the author's experience of a night sky. The research identified the elements of luminary as; external elements - luminosity, blackness and vastness; internal elements - awareness of being, awareness of the continuum of time and fluctuating state of consciousness. The fluctuating state of consciousness generated during luminary was noted to have resonance with the experience of certain artworks (notably Kapoor 2000 and Cardiff 2001) initiating the thought that it would be possible and valid to translate luminary into drawing. The elements of luminary are not specific to the researcher and the drawings themselves are a form of artwork. Previous work relevant to the fluctuating state of consciousness, concentrates on the experience from a third person perspective, through the experience of the artworks of others (Dewey 1934, De Bolla 2001). This research offers conclusions from a first person perspective - the researcher is also the researched - furthering understanding of human experience. The documentation of implicit elements of processes of drawing offers insights into, and consequently, furthers understanding of a creative process. The hybrid methodology adopted for the research is referred to as action theoria, taking its name from the combination of action research (Dick 1993) and theoria (Davy 2006). Action theoria incorporates the cyclical and iterative process of action research - intention; action; review - with a process of theoria - the dialogue of both practice and theory's relationship to a given subject matter. This research responds to luminary - as its subject matter - and is led through the investigations of drawing and drawings. Action theoria also involves reflective practice, as outlined by Schon (1983) as a means of evaluating the research findings. The effectiveness of the hybrid methodology action theoria, developed for this research, made it possible to answer the research question by uncovering the possibilities for translating a specific experience, in this case luminary, into drawings. The research culminated in a freestanding drawing that could be entered into. The drawing was considered to contain the identified elements of luminary: luminous black, infinite black, continuum of time, and fluctuating state of consciousness. The presence of a luminous black was created by the perforations in the drawing's surface. The presence of an infinite black appeared through the vast compressed charcoal surface. The suggestion of infinity was implied by the continuation of the repetitive fingertip marks and perforations drawn between the concertina folds. Evidence of the fluctuating state of consciousness was a visible trace through the marks on the paper. As a consequence, the final drawing of Phase Three, Series 8, (figure 89) was considered to be an effective translation of the identified elements of luminary; external elements - luminosity, blackness and vastness; internal elements - awareness of being, awareness of the continuum of time and fluctuating state of consciousness and therefore, the drawing concluded the research by demonstrating - it is possible, through drawing, to identify and translate the elements of a specific experience into drawings.

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The topic of this research is to contribute to understanding the process of design by developing a model of design centred on the dialogue between designers; to consider the design dialogue used in multidisciplinary teams of designers; and to explore the ways in which cultural constructs (assumptions, beliefs) are influential in the design process and incorporated in design artefacts. Design is a mUltidisciplinary and interdisciplinary activity which is composed of designers with different backgrounds. The understanding of the way they interact through verbal and non verbal behaviours, which is reflected on the produced artefact/artwork, will contribute to facilitate the design process and to enhance design quality. This thesis presents detailed~heoretical analysis of what other researchers considered as definitions of design and stages of the design process. Then, following . Grounded Theory methodology, the researcher analysed and reviewed the data gathered from two networks: Leonardo-network for Culture, Creativity and Interaction Design and White Rose network for Affective Communication in Consumer Product and Exhibition Design, within which five case studies were observed. The methodology selected was a combination of: Grounded Theory, and Ethnography. Actor-network Theory, Discourse Analysis and Ethnomethodology, are here considered as data analysis methodologies. A model based on dialogue which is a set of good practices with a common language, facilitatin,g the multidisciplinary design of a digital artefact was developed. It will provide guidelines that can be applied to facilitate effective design collaborations and to develop an approach to flexible design based on dialogue.

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Established accounts of institutional critique either turn it into an art historical genre that is past and finished, or suggest that it is pointless because it is always co-opted by the institution. This thesis contests the canonisation of institutional critique by positing that there has been a change in the agents of critique from the academic critic, to the artist, to the curator. The research also argues against the supposed futility of institutional critique by drawing on Foucault to consider critique in particular instances rather than in general. Thus each case study considers whether or not a particular artwork or project was understood as critical at the time and, if so, in what capacity. In the course of examining the shifts in the critical agent from artist to curator, I also identify a sequence of correlative changes. First there is an expansion in the location of critique from mainstream USA museums to a wide range of art institutions globally, including biennials. Second there is a change of focus in the objects of critique, from the physical attributes of the exhibition spaces to modes of display, museum processes, and the politicisation of content. Third there are different strategies of critique, as artists and curators variously pursue mimetic, subversive and symbolic strategies in their institutional investigations, and develop new ones. Overall, the research demonstrates that institutional critique moves progressively inside the institution, and becomes an embedded activity, particularly when independent curators take up positions as directors of experimental institutions. The thesis concludes that institutional critique has become more politicised and more complex and that some of its strategies and practices have helped to re-function institutions.

This thesis aims to reintegrates the history of the manufactory of Sevres porcelain with that of the French Revolution, in the hope of better understanding them both. Realistically the two cannot be detached, though accounts of this decade in the manufactory's existence often belie this by omitting the events of the period from their narrative. Yet the revolution did not happen at arms-length from the manufactory but in and around it and, as I will argue, the Sevrian's relationship with events was two-way, involved and dynamic. Thus as well as exploring the impact that the revolution had on the manufactory (precipitating the collapse of the luxury industries and prompting the emigration of their primarily aristocratic clientele), I will examine the strategies deployed by Sevres' administration to cope with and adapt to changed circumstances. I will also argue that, despite their pedigree as employees of a manufacture royale, Sevres' workforce met the challenges of the period pro-actively, embracing the revolution in words and actions that will be analysed here. Sevres' production of (and the market for) revolutionary porcelain will also be discussed at length. Yet all this precludes that the manufactory survived in the first place, which could not have been assumed. Aside from the financial difficulties the revolution caused them, the intensely hostile climate to all things regal, all things luxurious and privileged could presuppose their swift demise. As such, the manufactory's negotiation of the period is remarkable, and their continued existence under a regime that publicly aspired to Spartan values and aesthetics not untouched by paradox. Why revolutionary governments representing values diametrically opposed to those embodied by Sevres nevertheless exempted it from annihilation will be questioned. Similarly, the reasons they subsequently supported the manufactory, whose products maintained many of their trademark characteristics and were of little practical use to them, will be investigated.

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