Marknadsundersökning -En undersökning om vad Raglady by Taras befintliga kunder tycker om en eventuell internetbutik. Market research-A study on what Raglady by Taras existing customers think of any internet store. / Program: Butikschef, textil och mode

Idag tar kunden de flesta beslut angående ett köp i butiken. Därför ska butikens interna kommunikation vara ett hjälpmedel för kunden att hitta vad den söker. Kommunikationen ska vara en mekanisk säljare, som komplement till personalen.Avsikten med arbetet är att svara på vilka betydelsefulla delar som ingår i butikens interna kommunikation och hur de kan skapa positiva attityder och köpbeteenden. Genom att analysera, undersöka och observera har vi kommit fram till vår slutsats. I Borås centrum har vi utfört en enkätundersökning. Huvudfrågorna svarade på vad kunden anser påverka mest vid ett köp och hur de vill att en säljare ska uppträda mot dem i butiken. Resultatet av enkäten har vi redovisat i stapel- och cirkeldiagram under avsnittet ”empiri och analys”. Enkäten vi utförde visade att sortimentet är bland det viktigaste vid ett köp för kunden.För att undersöka hur de betydelsefulla delarna i den interna kommunikationen används i verkliga butiker valde vi att utföra observationer i fyra butiker i Borås centrum, observationen delade vi upp i två delar. Den första omfattade exponeringen i butiken, klädernas exponering och skyltdockorna för att se hur butiken kommunicera med sina kunder genom sortimentet. För att få en tydlig bild av butikens helhetskoncept observerade vi även skyltar, musiken, ljuset och framkomligheten. Observationen visade att man till största del väljer att hänga kläderna i front- eller garderobshäng samt att dessa är placerade cirka en till två meter över golvetDen andra delen av observationen undersökte vi hur många kunder som stannade vid frontbordet. Observation visade, precis som litteraturen, att människan påverkas av färger.Slutligen har vi kommit fram till att kläderna ska exponeras så att kunden uppmärksammar dem samtidigt som de själva ska inspireras till att kombinera olika plagg. / Program: Butikschef, textil och mode

I denna rapport undersöker vi om en personal shopper tjänst är bra att införa i en modekedja med en bred målgrupp inom lågprissegmentet. Vi samarbetar med Gina Tricots huvudkontor där vi ska utveckla tjänsten tillsammans med Fredrik Appelqvist, retail ansvarig på Gina Tricot. I rapporten tar vi reda på om målgruppen är intresserad av tjänsten och hur de i så fall vill att den ska vara utformad. Detta för att se om det är ett strategiskt val för modekedjan Gina Tricot att starta upp en personal shopper tjänst ute i butik.I detta arbete har vi tillämpat några modeller för att undersöka på vilket sätt kunderna tar sina köpbeslut. Modellerna används för att se vart personal shoppern kan komma in och påverka kundens köpbeslut, för att kunden ska bli nöjd och sprida en positivitet om företaget. Vi hänvisar till en skräddarsydd enkät där vi har gjort ett urval av kunder som ftt svara på ett antal frågor om personal shopper tjänsten och vad dessa vill få ut av sitt besök i butiken. Vi beskriver modets roll i samhället och hur det påverkar oss. Där man allt tydligare ser hur viktigt det är att vara ”rätt” klädd idag. Undersökningen har givit oss en tydlig bild av att Gina Tricots kunder gärna ser att företaget inför en personal shopper tjänst i butikerna. Respondenterna har bland annat uttryckt att de vill få hjälp med stilval, samt att tjänsten ska vara lättåtkomlig och gratis. Materialet vi har fått fram under rapportens gång har vi aktivt delgett till Fredrik Appelqvist. Gina Tricot har nu beslutat att genomföra en testintroduktion av personal shopper tjänsten på Gina Tricot i Oslos flaggskeppsbutik som är belägen på gatan Grensen. In this report, we investigate whether a personal shopper service is good to introduce in a fashion chain with a broad audience in the low price segment. We work with Gina Tricot headquarters where we will develop the service along with Fredrik Appelqvist, retail manager at Gina Tricot. In this report, we want to find out if the target audience is interested in the position and how they want it to be designed. This is to see if there is a strategic choice for the fashion chain Gina Tricot to start up a personal shopper service in stores.In this work we have applied a few models to look at how customers make their buying decisions. The models used to see where personal shopper can come in and influence customer buying decisions, for the customer to be happy and spread a positive attitude about the company. We refer to a customized questionnaire, where we have made a selection of customers who are asked a series of questions about personal shopper service, and what they want out of their visit to the store. We describe the role of fashion in society and how it affect us. The importance to wear right clothes at the right time where you see even more clearly how important it is today.The survey has given us a clear picture of the Gina Tricot customers would like to see the company facing a personal shopper service in the stores. The respondents, in particular, expressed their wish to get help with personal style, and that the service should be easily accessible and free. The material we have been presented in the report once we have actively disclose to Fredrik Appelqvist. Gina Tricot has now decided to conduct a trial introduction of the personal shopper service at Gina Tricot in Oslo's flagship store on the street Grensen. / Program: Butikschef, textil och mode

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 167-172. / It is the opinion of this writer that the success or failure of a "place" or space as defined by architectural or urban design terms is linked not only to its physical boundaries and the reality of its elements and their material composition, but also to the divergent meanings and the associations that they invoke within the observer. It is further my opinion that in the past, in a time when the "individual" was more directly involved, better able and more willing to take part in affecting the shaping of our environment, through the craft of building, the quality of "meaning" of which I speak was achieved as a natural by-product of this process. Because of this integration the meaning and quality of a place was better perceived "commonly" or generally by the larger public audience. The users felt more directly connected to the environment in which they lived. As the "individual" was removed from the process of creation and construction his absence was perceivable in the product of those activities, our built environment. As a result our spaces and places for living, our architecture, became more and more removed from the collective experience, more barren, less related to, or grounded in, the human experience and the human functions they were to support. The results were that the places we live in, work in, play in, were perceived as, and thereby often became, alienating and cold. The fact is, that while in many cases our newly constructed physical boundaries or objects, their functions, and their activities were still as the old, the places did not work nor do they work today. They work neither at all, or, as well as one might expect if evaluating only their physical elements. It is the intention of this thesis to attempt to analyze and describe the process, the ways in which meaning can be designed into or added to the environment and its architecture through acquiring an understanding of the process by which it occurs, or has occurred, naturally. I wish to study how this process can be integrated into our current practices of design and construction, and determine when, where, and how our current practices should be changed to accommodate what I see as an imperative to re-introduce "meaning" into our built environment. / by Ronald Thomas Reed. / M.S.

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / includes bibliographical references (p. 139-142). / As an architect works, his or her design grows and shifts, contracts and metamorphoses through many different shapes and configurations. Each shape and length of span imposes an order on the structure of a building; The Order of Gravity. This thesis proposes a way of understanding structure in a way that allows it to swing through limits of shape that can then be related by a designer to the space that a design suggests, and interact with it, proposing new forms. A description of malleable structure will be invaluable to an architect, for it will allow the structural elements, and their relation to each other, to contribute to the form of a building. / by John Ripley Freeman IV. / M.Arch.

Digitized by Kansas Correctional Industries

The goal of this paper is to explore the exponential increase of the released games on Steam’s digital distribution platform and its possible impact on Steam’s users. The paper focuses on the perception of the users of such phenomena as market saturation and possible change in the perceived quality of the games presented on the store front.

University of Technology, Sydney. Faculty of Design, Architecture and Building / My research takes place against the backdrop of the design research debate ongoing since the 1990s. This debate highlighted the potential contributions that design artefacts and practice could make in a scholarly and professional research context. Despite numerous interesting possibilities, the discussions taking place in the design research community largely do not attend to contemporary Visual Communication Design practices and outcomes. In this research, I specifically focus on outcomes taking place at the margins of the Visual Communication field, which, though peripheral, are both admired and engaging, and what this research entitles ‘sticky’. Eleven projects are examined including, for example, one that collected the ephemera serving as the impromptu bookmarks in the books shelved in a university library, yielding the meticulous inventory of three hundred scraps of paper listed by Dewey decimal classification number. Despite their ‘stickiness’, I found that these outcomes are in fact only partially accounted for by key authorities in Visual Communication Design: despite a strong graphic language these projects are not concerned to convey an unmistakable message directed to a particular audience. Instead other discussions taking place in the sociological sub-field of Visual Research, which values the open-ended inquiry of the observable features of everyday subject matter, seemed more relevant. Ultimately however, in view of other expectations – a theoretical framework and sustained textual analysis – these ‘sticky’ projects similarly confound Visual Research. Consequently I realised that these ‘sticky’ projects are ‘homeless’ and, to indicate the partial explanations provided by Visual Communication Design and Visual Research, I tagged them ‘creative, investigative, visual projects’. This research thus sets out to derive a language to attend to such ‘sticky’ but ‘homeless’ creative, investigative, visual projects. I explored diverse literature and additional visual work – on topics such as the origins of the encyclopaedia, the tendency to make lists, psychological explanations for keeping personal collections, scientific visualizations, French Poetry, experimental travel, where to file UFOs in a picture archive, information management, the anatomy of the human heart, documentary photography and post–modern cartography. By bringing this interdisciplinary analysis to bear on the set of ‘sticky’, ‘homeless’, creative, investigative, visual projects, I derived a language of Collecting, Ordering and Positioning. From this tripartite model a design strategy was then extrapolated which I applied to produce an original creative, investigative, visual project, called BikeWork, which involved the participation of sixty-five cyclists and production of a series of three posters. This research concludes by speculating that the value of a creative, investigative, visual approach – vivid and systematic though fragmentary and approximate – is its agency. Accordingly I finally recommend that future ‘sticky’ researchers further explore the distinctive appeal of a vivid and fragmentary approach. THE ‘HOMELESS’, ‘STICKY’ DESIGN IN QUESTION Eleven key projects are discussed. Collecting Lipstick (Greene 2001) Why Are All These Books Orange? (Siegel 2004) The Last Periods of Some Books (magnified 4266%) (Buchanan-Smith 2003 [2002]) The Bicycle, Cross, and Desert (Weed 2005) A Coming Of Age Reading Checklist (McMullen 2004) The Readers Before Us (Waller & Beard 2002) Ordering Periodic Breakfast Table (Weese & Halpern 2001) Endcommercial: Reading the City (Böhm, Pizzaroni & Scheppe 2002) I [heart] [heart] (Daly 2007 [2005]) Positioning Newsmap (Weskamp 2004) NameVoyager (Wattenberg & Wattenberg 2004-2005)

We know very little about the ecology of our designed world. Contrary to all appearances, design is not about making objects. It is rather about structuring the conditions for life. Design is our second nature, naturalising changes in our ways of living. Yet it also conceals dangers and diminishes our sensitivity to respond to them. The security offered by the televisual image � and the solace of design�s promise to remove all environmental risks � are fictions. Ecology of the Image is a critical exploration of idealism in design. Drawing on hermeneutic phenomenology, socio-cultural and design theory, it argues that design is not a value-free practice but structures epistemological attitudes into the world. Ideas are material elements of our environments. This thesis offers an explanation of how idealism circulates within the designed world, fashioning our minds, bodies and environments. The televisual is analysed as a normative phenomenon that inducts us into a way of seeing and understanding the world. Its vision of the affluent good life inspires and gives purpose to desire, and sustains what Manzini has called �product based well being�. The thesis argues that the televisual puts us out of touch with the consequences of its vision; it diminishes our capacity for forethought. This results in the generation of unacknowledged, yet self-endangering environmental feedback. Environmental problems force us to take account of design�s hidden rationales. Only at five minutes to midnight, for example, do we realise that the stock and supply of potable water is endangered. The problem is not so much this late recognition, but that design led us to believe in water�s abundance. This situation demands the development of an ecological understanding of our designed worlds that can inform future actions. The sign, particularly as it has been mobilised in cultural theory, plays a leading role in this design situation and the perceptions it supports. The sign is utilised for its ability to denaturalise appearances � to �read� design�s claims on the world. Finally, the thesis turns to the designer-in-training in the process of acquiring instrumental skills and worldviews. It proposes a research strategy that inscribes environmental consciousness into the design process � situating the designer in the midst of semiotic and material worlds. Through its observational methodology it outlines ways of first understanding, then of intervening and generating changes in our �ideal� world.

A representation for the process of mechanical design, along with its computer implementation is presented and discussed. The representation consists of three fundamental concepts: design objects, constraints, and decisions. The design objects are the structures with which the physical artifacts of the design are described. A design object consists of a set of attributes that represent the properties and characteristics of that object. The values of these attributes are specified by the constraints of the design. The constraints specify the values of and relations between the attributes of the design object. The conglomeration of design objects and their respective constraints define the state of the design. The state of the design can be thought of as a snapshot of the design taken at any particular time in the design process. Changes to this state occur through the introduction of new constraints into the design space. New constraints are brought into the design by the application of a design decision. The design decision process consists of a set of input constraints, an evaluation performed on those input constraints and the subsequent generation of one or more new resulting constraints. These new constraints in turn affect the attribute values and relations of the design objects, thereby changing the state of the design. This representation is capable of storing not only the final state of a design, but the initial and intermediate states as well. Maintained also, is the process of change from one design state to the next. By using this representation, one can inspect the evolution of design objects, the propagation and dependencies of the constraints, and the rationale behind the decisions of the design. This representation was developed from data extracted from mechanical design protocols. These protocols were of mechanical designers solving original design problems and consisted of video recordings, verbal transcripts, and the designer's original drawings. The representation was implemented in HyperClass, an object oriented programming environment. The implementation is capable of generating and displaying graphical images of the design. The design information extracted from the protocols can be recorded by the implementation developed. / Graduation date: 1991