Lighting is an important design element that affects human health, comfort levels, mood, feelings, and the overall experience in spaces. Academically, light is integrated late in design education. Architecture and interior design schools usually introduce it as a design principle during the second or third year of education. As a result, students perceive it as an additive element in the schematic or design development phases rather than a concept generator from the ideation phase. If we accept that lighting design is essential in the conceptual design phase in order to create better-performing light spaces, then a new lighting design integration is needed in design curricula to encourage students to think about it from the ideation phase, enhance their understanding of lighting design knowledge, and facilitate their cognitive thinking and decision-making processes to eventually produce better performing lighting design projects. The purpose of this research was to develop a new pedagogical framework for the integration of lighting design knowledge and lighting cognitive tools in design pedagogy to invite students to use it as a concept generator from the early design stages and to aid their cognitive thinking to produce high-quality lighting environments. The framework presents a learning path to introduce lighting design in a sequence from the first year of design education according to three main knowledge domains: the tacit, the procedural, and the explicit. The research contributes to shifting the current approach to lighting design education in Kuwait as an example and in architecture and interior design schools in general. The researcher used multiple sources of data to develop the framework. First, she reviewed scholarly work and the literature that address lighting design pedagogy, design pedagogical theories, design curricula development models, the lighting design process, and design cognitive tools to create a logical argument for the framework's theoretical structure and to develop its research methods. Second, she analyzed lighting design documents from the United States' developed lighting design programs and Kuwait University to understand the current lighting design pedagogical structure, teaching methods, cognitive design tools, and foundational lighting knowledge. Third, she interviewed current lighting design educators from Kuwait University to understand the current lighting pedagogical model and sequence. Fourth, she interviewed lighting design educators from the United States to obtain new foundational lighting knowledge, creative teaching methods, advanced design cognitive tools, and other suggestions to improve lighting design pedagogy. Fifth, the researcher transferred knowledge from the United States' developed programs to Kuwait University to develop the new framework. Lastly, she presented the preliminary framework to lighting design professionals and educators using a Delphi Method to enhance it further and to rate its implementation possibilities. / Doctor of Philosophy / Lighting is an important design element that affects human health, comfort levels, mood, feelings, and the overall experience in spaces. Academically, light is integrated late in design education. Architecture and interior design schools usually introduce it as a design principle during the second or third year of education. As a result, students perceive it as an additive element in the schematic or design development phases rather than a concept generator from the ideation phase. If we accept that lighting design is essential in the conceptual design phase in order to create better-performing light spaces, then a new lighting design integration is needed in design curricula to encourage students to think about it from the ideation phase, enhance their understanding of lighting design knowledge, and facilitate their cognitive thinking and decision-making processes to eventually produce better performing lighting design projects. The purpose of this research was to develop a new pedagogical framework for the integration of lighting design knowledge and lighting cognitive tools in design pedagogy to invite students to use it as a concept generator from the early design stages and to aid their cognitive thinking to produce high-quality lighting environments. The framework presents a learning path to introduce lighting design in a sequence from the first year of design education according to three main knowledge domains: the tacit, the procedural, and the explicit. The research contributes to shifting the current approach to lighting design education in Kuwait as an example and in architecture and interior design schools in general. The researcher used multiple sources of data to develop the framework. First, she reviewed scholarly work and the literature that address lighting design pedagogy, design pedagogical theories, design curricula development models, the lighting design process, and design cognitive tools to create a logical argument for the framework's theoretical structure and to develop its research methods. Second, she analyzed lighting design documents from the United States' developed lighting design programs and Kuwait University to understand the current lighting design pedagogical structure, teaching methods, cognitive design tools, and foundational lighting knowledge. Third, she interviewed current lighting design educators from Kuwait University to understand the current lighting pedagogical model and sequence. Fourth, she interviewed lighting design educators from the United States to obtain new foundational lighting knowledge, creative teaching methods, advanced design cognitive tools, and other suggestions to improve lighting design pedagogy. Fifth, the researcher transferred knowledge from the United States' developed programs to Kuwait University to develop the new framework. Lastly, she presented the preliminary framework to lighting design professionals and educators using a Delphi Method to enhance it further and to rate its implementation possibilities.

This study examines the movement of creating the scientifically oriented architecture that influenced architectural scholarship especially in 1960s and 1970s and discusses various theoretical frameworks this movement rests on. Architectural studies of the said period display rationalistic approaches motivated towards the routinisation, institutionalization and socialization in architecture, and thus an attempt to shift the discipline to scientific grounds. These studies not only develop plurality in academic realm of architecture, but also pave the way for a spectrum of more autonomous and novel areas of research and knowledge. The movement in Turkey, however parallel to its international popularity, is coincidentally strong between the years 1956 and 1982 befitting the social agenda of the country. The thesis is limited in scope to the definitions and relationships between five dominant approaches in the movement. These approaches are identified as, Design Methods, Environmental Psychology, Building Technology, Social and Cultural Factors and Vernacular Architecture. General Systems Theory emerges as a key reference in this scope. The study initially emphasises the positions of approaches in Turkey with relation to the international context and thus defines a ground for the discussions in the dissertation. The main discussion of the thesis is with regards to the notions of space and environment within the movement. Architectural studies with these notions extend the focus of design and research in terms social and cultural perspectives. The notions, not only define the plurality in the architectural sciences due to the multiplicity of dimensions they entail, but also constitute a bridge between the architectural studies and the social sciences. Moreover, the conceptions and examination methods for the terms of space and environment changes the traditional role of the scholar as designer into facilitator and researcher. The thesis examines the attempts of teaching, forming and framing the scientific architecture in two different venues, namely inside the studio and outside the studio. Inside the studio, design activity introduces systematic approaches for understanding the design process. Outside the studio, architectural research introduces methodological approaches that extend the boundary of the studio.

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L’atelier est au centre de l’éducation en design et se présente comme une simulation de la pratique professionnelle. Il est fondé sur un apprentissage par-le-faire, dans une approche basée sur le projet. Par ailleurs, les critiques de projet sont la pratique pédagogique commune en atelier. Elles sont basées sur les échanges enseignant / étudiants, dont l’objectif est d’apprendre le processus de conception et une pensée de design. Or, ces critiques sont confrontées à un clivage entre la nature de l’apprentissage qu’elles portent (par-le-faire) et les difficultés à l’expliciter. En effet, étant un expert du processus de conception, l’enseignant est supposé transmettre son expérience et son savoir-faire dans l’échange avec les étudiants. Or, il est face aux défis d’extérioriser sa pensée de design et ses connaissances, qui sont souvent tacites, à des étudiants qui sont supposés commencer par faire le design sans savoir comment le faire. De plus, de nos jours, et avec l’usage des outils de CAO, les critiques sont souvent réduites à un échange verbal rapide et individuel à la table de l’enseignant, accentuant la hiérarchie, en plus d’être axées sur le résultat plus que le processus. Il est nécessaire d’apporter des transformations de la façon avec laquelle les critiques sont menées et mieux expliciter les situations d’apprentissages. Cette thèse explore une stratégie d’apprentissage de la conception en atelier par l’approche codesign. À travers des observations d’un atelier en codesign, dans un contexte naturel, cette recherche vise à comprendre le déroulement des critiques par cette approche, ses caractéristiques et son apport à l’apprentissage de la conception. La nature du codesign, étant une activité sociale, et où la réflexion se fait à haute voix naturellement, a permis d’étudier des processus de conception dans un contexte d’apprentissage, sans intrusion. La méthodologie utilisée est innovante, utilisant les entrevues rétrospectives immersives, qui sont évocatrices de la mémoire, pour la première fois dans l’étude de la pédagogie de l’atelier, pour croiser les données collectées dans les observations directes. Nous avons contribué au développement de la connaissance quant à la compréhension des situations d’apprentissages de la conception, en donnant quelques éléments de réponses sur le déroulement des critiques par l’approche codesign. Nous avons développé des connaissances sur les stratégies (knowing-in-action en contexte pédagogique) utilisées par l’enseignant, sur les contributions des participants, sur les modalités d’engagement des étudiants, ainsi que les avantages et les apprentissages perçus par ces derniers eux-mêmes en comparaison avec les critiques traditionnelles. Enfin, nous avons développé des recommandations pédagogiques s’adressant aux enseignants d’ateliers. / The studio is at the heart of design education and presents itself as a simulation of professional practice. It is based on learning-by-doing, in a project-based approach. Moreover, critiques are the common educational practice in the studio. They are based on exchanges between the teacher and the students, in order to learn the design process and the design thinking. However, these critiques face a gap between the nature of the learning they carry (learning-by-doing) and the difficulties of explaining how it works to the students. Indeed, being an expert in the design process, the teacher is supposed to transfer his experience and his know-how, through exchanges with his students. Though, the teacher faces the challenge of externalizing his design thinking and a knowledge often tacit, to students who are expected to start designing without knowing how to do it. Besides, nowadays, and with the use of CAD tools, critiques are often reduced to a quick and individual verbal exchange at the teacher's table, accentuating the hierarchy, in addition to being focused on productivity more than the process itself. This is why it is necessary to bring some transformations to the actual way of doing critiques and bring further understandings of the learning situations in the studio. This doctoral thesis explores a new strategy using codesign approach for learning the process of designing in the studio. Through observations from a studio lead by codesign approach, in a natural context, this research aims to understand the unfolding critiques by this approach, its characteristics and its contributions to design learning. The nature of codesign, as a social activity and where thinking is done aloud naturally, has allowed the study of design processes in a learning context, without intrusiveness. Our methodology is innovative, since we used immersive retrospective interviews, which evoke memory, for the first time in the study of studio pedagogy, to combine the data collected in direct observations. We have contributed to the development of knowledge regarding the understanding of design learning situations, by shedding light on the progress of project critiques using the codesign approach. We have developed knowledge on the strategies (knowing-in-action in educational context) used by the teacher, on the contributions of all participants and the engagements of the students in the learning situations. Besides, we constructed an overview on this approach advantages compared to the traditional critiques and the learnings perceived by students themselves. Finally, we have developed some educational recommendations addressed to studio teachers.

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No description available.

[pt] O ensino remoto estabelecido emergencialmente em função da pandemia de Covid-19 trouxe grandes desafios a educadores, que precisaram adequar as rotinas de ensino rapidamente para conduzir as aulas. No ensino em design, a experimentação material realizada em ambientes de laboratório de design é primordial para formação de estudantes de design de produtos que, por intermédio das construções físicas, exploram criativamente suas ideias ou as colocam em testes para a validação de conceitos e soluções de design, em um ambiente de ensino compartilhado por alunos, professores e profissionais técnicos. Esta dissertação apresenta o relato da experiência da autora na elaboração e implementação de alternativas de trabalho que permitiram a continuidade das práticas de experimentação material, por meio de representações físicas, em disciplinas amparadas pelo Laboratório de Modelos e Protótipos, pertencente ao curso de graduação em design de produtos, da PUC-Rio, no decorrer do isolamento social. O referencial teórico que sustenta a dissertação inclui autores como Donald Shön, Nigel Cross e Antônio Santoni Rugiu e por meio de metodologia participativa, utilizando pesquisa bibliográfica e documental, busca-se observar e refletir o lugar da experimentação em laboratórios de design e sobre os ensino aprendizados ocorridos nestes espaços, destacando-se a importância das representações físicas no desenvolvimento de projeto de produtos. Por fim, apresenta-se as propostas que foram implementadas em um contexto de ensino remoto emergencial, como forma de possibilitar que a rotina de trabalho dos alunos, em suas residências. / [en] The remote teaching established on an emergency basis due to the Covid-19 pandemic brought great challenges to educators, who needed to adapt teaching routines quickly to conduct classes. In design education, material experimentation carried out in design laboratory environments is essential for training students to design products that, through physical constructions, creatively explore their ideas or put them to tests for the validation of design concepts and solutions, in a teaching environment shared by students, teachers and technical professionals. This dissertation presents the report of the author s experience in the elaboration and implementation of work alternatives that allowed the continuity of the practices of material experimentation, through physical representations, in disciplines supported by the Laboratory of Models and Prototypes, belonging to the graduation course in design of products, from PUC-Rio, during social isolation. The theoretical framework that supports the dissertation includes authors such as Donald Shön, Nigel Cross and Antônio Santoni Rugiu and through participatory methodology, using bibliographical and documentary research, we seek to observe and reflect on the place of experimentation in design laboratories and on teaching -learning that took place in these spaces, highlighting the importance of physical representations in the development of product design. Finally, the proposals that were implemented in an emergency remote teaching context are presented, as a way to enable the students work routine, in their homes.

The master thesis deals with the techniques to prevent computer system from computational overloading due to excessive frequency of interruptions. The goal is to document the effect of interupts on a selected computing platform containing the ARM Cortex-M4 processor core. The work describes and implements possible software techniques that reduce the impact of consequences of overload due to excessive interruption frequency. At the same time the work verifies and compares the effectiveness of the particular implemented techniques by appropriate set of experiments.