Conselho Nacional de Desenvolvimento Científico e Tecnológico / Today's light sources are expanding the application field of lighting systems for decorative, commercial and artistic purposes, in many areas, such as parks, gardens or parking. This paper presents the development of a management system applied to lighting based on power RGB LEDs, due to its great potential for use in outdoor decorative lighting. The proposed system is a low cost solution and presents the advantage of remote management of the lighting system on multiple interfaces, either on a dedicated device, as for portable devices, such as laptops, smartphones or tablets. After an analysis of currently lighting systems protocols, it is also proposed a new communication protocol for the developed system in order to get a reliable and robust solution. This work also presents the results of the proposed system, highlighting its main advantages and limitations. / Seja em parques, praças, jardins, centros de compras ou estacionamento, o campo de aplicação de sistemas de iluminação com fins decorativos, comerciais e artísticos, tem se expandido muito, principalmente, devido as fontes de luzes disponíveis atualmente. Este trabalho apresenta o desenvolvimento de um sistema de gerenciamento aplicado à iluminação baseado em LEDs RGB de potência, devido seu grande potencial para uso em iluminação decorativa de ambientes externos. O sistema resultante é uma solução de baixo custo que apresenta um grande diferencial, a possibilidade de gerenciamento remoto em múltiplas interfaces, seja por um dispositivo dedicado, quanto por dispositivos portáveis, como notebooks, smartphones ou tablets. Além de se obter uma solução confiável e robusta, é desenvolvido também um protocolo de comunicação para o sistema proposto, após uma análise dos protocolos mais utilizados atualmente em sistemas de iluminação. Ao final deste trabalho são apresentados os resultados do sistema proposto, aonde também são levantadas as principais vantagens e limitações da solução apresentada.

The purpose of this study is ultimately to analyze the influence of cultural attitudes on the treatment of the Scottish estate in the first half of the 18th century (c.1715 – c.1776), making particular reference to the ideology of improvement, through the use of Sir Archibald Grant of Monymusk as a case study. Grant’s improvement of his estate is not understood as literally agricultural or economic development alone, but as a complex ideological commitment to the transformation of land, landscape and society. Whilst Grant of Monymusk has been discussed with reference to economic improvement, the relationship between his role as a publically acknowledged improver and his patronage of art and architecture, as well as his attempts at publication, has not been subject to similar interest. This thesis uses an innovative interdisciplinary approach which draws on archaeological as well as art historical methodologies. It discusses a wider range of estate commissions, in particular Grant’s patronage of the portrait artists John Smibert and William Robertson, the poet John Ogilvie, his commission of the architectural surveyors Alexander Jaffray and Robert Robinson, as well as his work to construct planned villages at Kirktown of Monymusk and Archiestown. The thesis attempts to place these commissions within the context of recent studies of improvement which emphasize its role as an ideology with cultural implications. The use of an individual case study allows for a more in depth discussion of specific reactions to historical and ideological change, providing a narrative of a specific site and thus creating an individual response towards broader cultural and scientific developments.

Ce travail est consacré à la céramique décorée du Néolithique ancien danubien des bassins du Rhin, de la Meuse et de la Seine. L’application de la méthode systémique à l’ensemble des décors archéologiquement reconstituables découverts dans cette zone a permis d’élaborer une grammaire décorative du Rubané de la zone occidentale. L’analyse grammaticale ainsi appliquée à chaque groupe régional constitue un travail inédit.Au cœur de notre recherche se situe la question du morcellement du territoire. Dès le Rubané moyen, un bloc septentrional s’étend de l’Escaut jusqu’au Neckar, tandis qu’au sud, le Rubané Moyen de Haute-Alsace se développe de la vallée de la Marne au Hegau, en passant par l’extrémité sud de la plaine du Rhin supérieur. Seule la Basse-Alsace occupe, lors du Rubané moyen, une place isolée au sein de la zone occidentale. Dans la seconde moitié du Rubané (étapes IV et V), la zone occidentale est morcelée en trois complexes : le Rubané du Nord-Ouest qui s’étend de l’Escaut au Main, le Rubané du Centre qui regroupe les zones du Palatinat et du Neckar et le Rubané du Sud qui englobe le sud de la plaine du Rhin supérieur (Basse- et Haute-Alsace) et le Bassin parisien. / This work is dedicated to the analysis of the decorated pottery of the early Danubian Neolithic (Lbk) in the basins of the Rhine, the Meuse and the Seine (western Lbk). The application of a systemic approach to all the reconstructible decorations discovered in this area permitteded the elaboration of a decorative grammar for the western Lbk area. This grammatical analysis, which was applied to all the regional groups of this area, constitutes a totally new work.The center of our research focuses with the regionalisation process. In the middle Lbk phase, a northern block spreads over the Escaut to the Neckar, whereas in the south the “middle Lbk from Haute-Alsace” goes from the valley of the Marne to the Hegau via the southern part of the higher Rhine plain. Only the Basse-Alsace region occupies an isolated place within the western Lbk. In the second half of the Lbk (steps IV and V) this area is divided into three complexes: the Northwest Lbk, from the Escaut to the Main, the central Lbk, comprising the Palatinat and the Neckar regions and the southern Lbk, which includes the south of the higher Rhine plain (Basse- and Haute-Alsace) and the Paris basin.

Si le bijou du dix-neuvième siècle abonde dans de nombreux ouvrages, il faut repenser son intrigue, son lexique et sa poétique. Dans une optique ontologique et grâce à un échange pluridisciplinaire permettant ainsi une ouverture à des processus de partages méthodologiques, cette thèse montre combien le bijou du dix-neuvième siècle est fortement connoté et possède une signification esthétique, sociale, géographique, politique et culturelle qui lui est propre. Cette étude prouve que le bijou tant en signe polysémique qu’en tant qu’ontologie cristallise les inquiétudes et les bouleversements relatifs à son siècle. Il permet de cerner une esthétique, un rapport au monde, au temps qui passe. Il est une clé, une façon d’être au monde, un pôle de compréhension. Il y a donc une interaction créatrice entre l’homme et sa parure. L’homme crée le bijou et le bijou crée l’homme en retour. Grâce à la mise en place d’une approche inédite et originale proposant de voir la bijouterie du dix-neuvième siècle comme une ontologie, le bijou est alors pensé comme un élément à part entière pour comprendre l’homme. Les bijoux ne sont pas là par hasard, ils véhiculent des sens cachés, des codes. Ils sont les référents immuables que cette étude se propose de nous faire découvrir. / If the jewel of the nineteenth century abounds in many works, we must rethink its plot, its lexicon and its poetics. From an ontological perspective and thanks to a multidisciplinary exchange thus allowing an opening to processes of methodological sharing, this thesis shows how much the jewel of the nineteenth century is strongly connoted and possesses an aesthetic, social, geographical, political and cultural significance of its own. This study proves that jewellery, both as a polysemic sign and as ontology, crystallizes the anxieties and upheavals relating to its century. It makes it possible to define an aesthetic, a relationship to the world, to the passing of time. It is a key, a way of being in the world, a pole of understanding. So there is a creative interaction between man and his finery. Man creates the jewel and the jewel creates man in return. Thanks to the implementation of a new and original approach proposing to see the jewellery of the nineteenth century as an ontology, the jewel is then thought as a whole element to understand the man. Jewels are not there by chance, they convey hidden meanings, codes. They are the unchanging referent that this study proposes to make us discover

Thesis (MTech (Design)--Cape Peninsula University of Technology, 2016. / The research was motivated by my lived experience in the Olifants River community of Namaqualand. In this community there are many diverse ethnic and social groupings with considerable potential to contribute to indigenous knowledge and creative practices. These groupings are, however, fragmented, with no platform for their varied and rich cultural assets to be displayed and acknowledged. In addition, the research was motivated by the call for a platform for the arts in the region. It is argued that visual art practice is an instrumental tool in the advancement of both creativity and social cohesion in this community. The research commenced with a pilot study, comprising workshops, which were run by art practitioners from various sectors in the region. Primary literature that influenced the emerging research design was that of Solomon (2007) as well as the holistic cultural viewpoints of Schafer (2014). The organic process of qualitative research methods as described by Ellingson (2009) was a natural personal directive. Body mapping was used during a preparatory phase that led to the creative exploration of community members’ own identity. Storytelling and dance were included in the design methodology since they enabled a psychosocial process of validating art practice as an economic asset within the community as well as enhancing social cohesion in the community. Crystallisation methods implemented in the process-driven body map workshops were held for grassroots -, town – and township sectors in the Olifants River valley. Each of the workshops comprised ten participants who were invited to participate in a subsequent do-designed collaborative event.

Max Ingrand (1908-1969) fut l'un des maîtres verriers français les plus célèbres du XXe siècle. Après ses études à l'École nationale des arts décoratifs, il entre en 1927 dans l'atelier de Jacques Gruber (1870-1936). Dès 1931, il commence une carrière personnelle de maître verrier décorateur et réalise de nombreux décors civils en glaces gravées. Il crée les vitraux de l'église Sainte-Agnès de Maisons-Alfort et participe au projet des verrières de la nef de Notre-Dame de Paris qui sont présentées au pavillon pontifical de l'Exposition de 1937. Mobilisé en 1939, il reste cinq ans prisonnier dans un Oflag en Allemagne. A son retour, il devient l'un des verriers les plus actifs des chantiers de la reconstruction où il réalise notamment l'ensemble monumental de l'église d'Yvetot. Le service des Monuments historiques lui confie des chantiers prestigieux : cathédrales de Rouen, de Beauvais, de Saint-Malo, de Strasbourg, chapelles des châteaux de Blois, d'Amboise, de Chenonceau, églises de La-Charité-sur-Loire et des Jacobins de Toulouse. Au milieu des années cinquante, sa notoriété lui vaut des commandes importantes à l'étranger, notamment aux États-Unis, au Canada et en Amérique du sud. Il poursuit parallèlement une œuvre de décorateur et de designer. Il assure pendant treize ans la direction artistique de la firme italienne Fontana-Arte pour laquelle il crée de nombreux modèles de luminaires. Il participe au décor de paquebots parmi lesquels le Normandie et le France. Il conçoit des fontaines lumineuses, notamment pour les Champs-Élysées à Paris. Dans ses dernières années, il réoriente sa carrière vers l'architecture d'intérieur et l'éclairage. Il meurt brutalement en 1969, peu après avoir confié la direction de son atelier à son collaborateur Michel Durand. / Max Ingrand (1908-1969) was one of the most famous French glassmakers in the twentieth century. He studied at the National School for Decorative Arts and joined Jacques Gruber’s studio (1870-1936) in 1927. He began his own career as a glass designer in 1931 and produced many engraved glass decorations, both in public and religious buildings. He created the stained glass windows of Saint-Agnes Church at Maisons-Alfort and took part in the project of the windows executed for the nave at Notre-Dame de Paris, which were first displayed inside the papal pavilion of the 1937 Exhibition. An officer in the French armed forces in 1939, he was made a prisoner and jailed for five years in a camp in Germany. When he returned home, he became one of the most active glassmakers in the whole country, being involved in the reconstruction effort and working, in particular, to the project of a monumental church in Yvetot (Normandy). He was part of prestigious projects led by the French Heritage in cathedrals (such as Rouen, Beauvais, Saint-Malo and Strasbourg), in castles (such as the chapels of Blois, Amboise, Chenonceau), in churches (such as La Charité-sur-Loire and the Jacobins in Toulouse). Due to his fame, he won a large amount of orders abroad in the mid-fifties, especially in the United States, in Canada and in South America. He acted at the same time as a decorator and a designer. He was, for instance, an art director for thirteen years at the Fontana Arte, a big design company in Italy, and created many lighting fixtures for them. Before and after World War II, he was involved in the decoration of liners as important as the Normandy and the France. He also designed lit fountains in public spaces, the best known being along the Champs-Élysées in Paris. He had to change career dramatically in his late years and stopped glassmaking. He then specialized in architectural design and lighting fixtures. He died suddenly in 1969, a few months after he had passed his workshop on to his associate Michel Durand.

[pt] O presente trabalho busca explorar, no universo pictórico de Henri Matisse, o processo de uso da cor - seus efeitos e desdobramentos - como veículo de passagem do suporte tradicional - o quadro de cavalete - aos Papiers Découpés, trabalhos desenvolvidos na última década da vida do artista. No intuito de inscrevê-los como decorrência do conjunto da obra, procura-se verificar a linha condutora que liga os Papiers Découpés ao cerne da poética do artista. Toma-se como proposição o Decorativo, principal fator de sucesso nessa ousada transposição da qual resulta uma pintura arquitetônica. / [fr] Le présent travail a pour but d explorer, au sein de l univers pictural de Henri Matisse, le processus d utilisation de la couleur - ses effets et dédoublements - comme véhicule de passage du support traditionnel - le tableau de chevalet - aux Papiers Decoupés, travaux développés au cours des dix dernières années de sa vie. Nous cherchons à vérifier le fil conducteur qui lie Les Papiers Découpés au coeur de la poétique de l artiste, avec l intention de les inscrire comme conséquence de l ensemble de l oeuvre. Nous proposons le Décoratif comme facteur principal de succès au cours de cette audacieuse transposition, dont il ressort une peinture architecturale.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work proposes a control methodology of luminous flux through independent sink temperature and current applied to red, green and blue LEDs. The main characteristics of solid-state lighting and LEDs themselves are presented, along an architectural approach trends in decorative lighting and artistic scope. Also are discussed the color theory and the history of regulation of colors through the standard CIE (International Commission on Illumination) since the creation of CIE 1931 to the CIE 1976 standard, creating an uniform space for the comparison of results of luminous sources. The constant flux system is proposed, using the equations for estimating the flux that is controlled by a microprocessor in practice, obtaining satisfactory results when compared with the open-loop dimmer system, resulting in a low chromatic variation Δu'v' regarding to studied set of colors, thus representing an imperceptible change to the human eye, taking into account the CIE 1976 standard. / Este trabalho propõe uma metodologia de controle de fluxo luminoso através da temperatura de dissipador e corrente, aplicada a diodos emissores de luz vermelhos, verdes e azuis. São apresentadas as principais características da iluminação em estado sólido e dos diodos emissores de luz propriamente ditos. Uma abordagem arquitetônica das tendências da iluminação decorativa em âmbito artístico é apresentada. É abordada também a teoria das cores. A história da regulamentação das cores através do padrao CIE (Comissão Internacional de Iluminação) é mostrada, desde a criação do padrão CIE 1931 até o padrão CIE 1976. Cria-se, assim, um espaço uniforme para a comparação de resultados de fontes luminosas. O sitema de fluxo constante é proposto, utilizando equações de estimação do fluxo. Este é controlado através de um microprocessador, obtendo-se resultados satisfatórios quando comparado com o sistema em malha aberta. Os resultados mostram uma variação cromática Δu v menor que 0.0035 para as cores ensaiadas, representando assim uma variação imperceptível pelo olho humano, levando-se em consideração o padrão CIE 1976.

The topic of the thesis is launching a new brand of decorative cosmetics on the Czech market. The goal is to summarize and critically evaluate the whole process and the marketing mix of the brand. The focus will be mainly on the activities realized as a part of the communication mix. The evaluating methods will be market research (sell out and competitors' activities analysis) that provides us with the information about sales, market shares and competitors. The other method will be consumer research (questionnaire, focus groups, observing) that informs us about opinions, attitudes and preferences of the consumers. Based on these findings there is a list of recommendations concerning marketing mix, which should help the brand to achieve stability and continuous development.

Dans le cadre de ce travail, une méthode chimique, la voie « polymère précéramique » a été mise en oeuvre pour générer des nanocomposites céramiques à base de silicium et contenant des métaux de transition (Ti, Zr, Hf) sous forme d'objets massifs. Cette thèse consiste tout d'abord en un premier chapitre de bibliographie décrivant la méthode de préparation mise en oeuvre dans ce manuscrit ainsi que les matériaux étudiés. L'étude consiste dans un deuxième chapitre à synthétiser puis à caractériser des polymétallosilazanes qui, par des traitements thermiques appropriés, conduisent à des nanocomposites dans lesquels des nanocristaux de nitrures métalliques (nc-MN avec M = Ti, Zr et Hf) sont dispersés dans une phase amorphe ou cristallisée de nitrure de silicium. Ces nanocomposites sont alors caractérisés par différentes techniques afin de sélectionner les paramètres opératoires, allant de la synthèse des polymères à leur conversion en céramique, conduisant aux nanocomposites souhaités (e.g. matrice amorphe de nitrure de silicium) avec les propriétés visées (e.g. coloration). Dans un troisième chapitre, l'étude vise à modifier chimiquement ces polymétallosilazanes afin qu'ils soient adaptés à la conception d'objets massifs par compactage à chaud de polymetallosilazanes puis traitement thermique des compacts polymères. Des techniques de caractérisation sont alors mises en oeuvre sur l'ensemble du procédé pour suivre la transformation du compact polymère en objet massif. Les propriétés mécaniques de ces derniers sont notamment discutées. Dans chapitre 4, nous présentons des résultats préliminaires sur i) l'utilisation de la technique Spark Plasma Sintering pour optimiser la qualité des objets massifs à partir des poudres élaborées dans le chapitre 2, ii) l'ajout d'un second métal au système ternaire Si/Ti/N suivant le procédé d'élaboration étudié dans les chapitres 2 et 3 et iii) l'élaboration de ces nanocomposites à travers une voie d'élaboration dont le coût de préparation est plus abordable / In the present work, a chemical approach called the « Polymer Derived Ceramics » route, has been applied to prepare monolithic ceramic nanocomposites of the type nc-MN/a-Si3N4 with nc, nanocrystals, M, Transition Metal (Ti, Zr, Hf) and a being amorphous. After a literature review in the first chapter, we have designed preceramic polymers of the type polymetallosilazanes to provide after pyrolysis nanocomposites in form of powders in the second chapter. Each step of the process has been studied using characterization tools such as molecular weight measurements, solid-state NMR, and infrared spectroscopy. The structure of the polymers has been proposed. The pyrolysis has been investigated by thermogravimetric analysis and the final materials have been characterized by X-ray diffraction and TEM to confirm the nature of the nanocomposites. In a third chapter, polymers have been tested with regard to warm-pressing as shaping process to form green compacts which have been treated under ammonia then nitrogen at high temperatures to produce the desired ceramic nanocomposites (e.g. amorphous silicon nitride matrix) with specified properties (e.g. decorative properties) in form of monolith. Structural, mechanical and decorative properties have been finally studied. In the fourth chapter, we presented preliminary results on i) the use of Spark Plasma Sintering technique on the powders prepared in chapter 2 to optimize the quality of the solid objects ii) the introduction of two types of transition metals in the same polymetallosilazane leading to a new type of nanocomposite according to the process described in chapters 2 and 3 and iii) the elaboration of these nanocomposites through a cost-effective “two-step” process by dispersing transition metal nanoparticles within polycarbosilazanes