This thesis investigates the use and significance of X-ray crystallographic visualisations of molecular structures in postwar British material culture across scientific practice and industrial design. It is based on research into artefacts from three areas: X-ray crystallographers’ postwar practices of visualising molecular structures using models and diagrams; the Festival Pattern Group scheme for the 1951 Festival of Britain, in which crystallographic visualisations formed the aesthetic basis of patterns for domestic objects; and postwar furnishings with a ‘ball-and-rod’ form and construction reminiscent of those of molecular models. A key component of the project is methodological. The research brings together subjects, themes and questions traditionally covered separately by two disciplines, the history of design and history of science. This focus necessitated developing an interdisciplinary set of methods, which results in the reassessment of disciplinary borders and productive cross-disciplinary methodological applications. This thesis also identifies new territory for shared methods: it employs network models to examine cross-disciplinary interaction between practitioners in crystallography and design, and a biographical approach to designed objects that over time became mediators of historical narratives about science. Artefact-based, archival and oral interviewing methods illuminate the production, use and circulation of the objects examined in this research. This interdisciplinary approach underpins the generation of new historical narratives in this thesis. It revises existing histories of the cultural transmissions between X-ray crystallography and the production and reception of designed objects in postwar Britain. I argue that these transmissions were more complex than has been acknowledged by historians: they were contingent upon postwar scientific and design practices, material conditions in postwar Britain and the dynamics of historical memory, both scholarly and popular. This thesis comprises four chapters. Chapter one explores X-ray crystallographers’ visualisation practices, conceived here as a form of craft. Chapter two builds on this, demonstrating that the Festival Pattern Group witnesses the encounter between crystallographic practice, design practice and aesthetic ideologies operating within social networks associated with postwar modernisms. Chapters three and four focus on ball-and-rod furnishings in postwar and present-day Britain, respectively. I contend that strong relationships between these designed objects and crystallographic visualisations, for example the appellation ‘atomic design’, have been largely realised through historical narratives active today in the consumption of ‘retro’ and ‘mid-century modern’ artefacts. The attention to contemporary historical narratives necessitates this dual historical focus: the research is rooted in the period from the end of the Second World War until the early 1960s, but extends to the history of now. This thesis responds to the need for practical research on methods for studying cross-disciplinary interactions and their histories. It reveals the effects of submitting historical subjects that are situated on disciplinary boundaries to interdisciplinary interpretation. Old models, such as that of unidirectional ‘influence’, subside and the resulting picture is a refracted one: this study demonstrates that the material form and meaning of crystallographic visualisations, within scientific practice and across their use and echoes in designed objects, are multiple and contingent.

The UK disposes of 1.25 million tonnes of domestic electronic products (DEPs) each year, the majority of which still perform their tasks perfectly, in a utilitarian sense. In an emotive sense, however, these unwanted products bear a metaphysical mode of defect manifest within the relational space occupied by both subject and object.·ln this way, it is clear that design for durability has important implications beyond its conventional interpretation, in which product longevity is considered solely in terms of an object's physical endurance whether cherished or discarded. This thesis explores the emotional dimension of design for durability to provide a more progressive set of sustainable design propositions; arguing that consumer desires continually evolve and adapt whilst the DEPs deployed to both mediate and satisfy those desires remain relatively frozen in time; this incapacity for mutual evolution renders most DEPs incapable of both establishing and sustaining a relationships with users. The waste this inconsistency generates is considerable, and comes at an increasing cost to manufacturers facing the EU Waste Electrical and Electronic Equipment (WEEE) Directive, but more importantly, the natural world. This thesis explores 3 converging fields of knowledge: sustainable product design, emotional and user-centred design, and consumer motivation. Although the literature reviewed in this thesis presents selected discourses that articulate the need for longer lasting domestic electronic products, practical working methods, design frameworks and tools that enable the commercial implementation of such artefacts, have yet to be realised. This study argues that the apparently intangible, ethereal nature of considerations pertaining to psychological function cause confusion for the practicing designer tasked with the design and development of greater emotional longevity in D.EPs. As a result, the potentially positive impact(s) of academic studies in this area has thus far failed to penetrate the working practices and methodologies of design - arguably, the one place where new models of sustainable design knowledge and understanding are most urgently needed. The aim of this thesis is to generate new and practical design information that enables product designers to engage more effectively with complex issues of emotional durability through design; presenting a more expansive, holistic approach to design for durability, and more broadly, the lived-experience of sustainability. The three core contributions made by this thesis are thus; (1) the implicit development of a 6-point experiential framework to structure inquiry and exploration into salient issues of emotional durability through design; (2) the design and production of 6 experimental DEPs, which exemplify ways of working with the 6point experiential framework; (3) the development of an original, and transferable, methodology for developing case-specific design knowledge to address emotionally durable design.

This thesis proposes that a conceptual structure of ‘modernity’ and ‘national identity’,interrogated through an analytical model of ‘modernism’ and ‘modernisation’ contributes substantially to decoding the institutionalisation of design as reflected in the transformation of central design organisations.

R. Buckminster Fuller's design and architectural work is frequently described as being "inspired by nature". However, to date there has been little investigation of his claim. What was Fuller's understanding of "nature" and how did it affect the conception, production and presentation of his work? This thesis attempts to characterize R. Buckminster Fuller's understanding of nature, which will be called a model of nature, and to trace its impact upon his work over the course of his career using an interdisciplinary historical approach.

This document is the doctoral thesis of L Bruce Archer. It is a part of his pioneering attempts in the 1960s to create a science of design - a project he later looked back on with some regret. For a discussion, see "The Structure of Design Processes: ideal and reality in Bruce Archer’s 1968 doctoral thesis" http://researchonline.rca.ac.uk/1721/ This version of the thesis document is a photocopy that includes hand-corrections and amendments made onto the typescript. It seems to have been prepared as copy for a book: the closing remarks in the document thank "the designer of this book, Brian Grimbly" (one-time art editor of Design magazine). No such book was ever published. Archer's introduction states: "This thesis attempts to set up a framework within which the set of skills, sensibilities and intellectual disciplines that, taken together, constitute the art of designing might be logically related so as to form the basis of a science of design. No attempt is made here to distinguish between architectural, engineering and industrial design. Indeed, it is an essential element in the philosophy underlying this thesis that the logical nature of the act of designing is largely independent of the character of the thing designed. By the same token, no attempt is made here to define 'good design'. The argument presented is concerned with the theory of navigating towards a chosen destination rather than with the identity or merit of the destination itself. "A logical model of the design process is developed, and a terminology and notation is adopted, which is intended to be compatible with the neighbouring disciplines of management science and operational research. Many of the concepts and techniques presented are, indeed, derived from those disciplines. A primary purpose of this work is to provide a conceptual framework and an operational notation within which designers might work and upon which case study analyses might be based. "The range of techniques and disciplines which might be employed at various stages in the conduct of a design project are referred to only in general terms. Different design problems, and different classes of design activity, call for different techniques and different emphases at various stages. There is no suggestion here that all design should be conducted according to a given formula - only that the logic of any design problem may be better perceived against the background of a common framework. "In certain instances, the general form of the laws which are thought to connect certain phenomena common to most design problems is indicated. It is hoped that the logical model, terminology and notation presented will facilitate the accumulation of the case study data, and the derivation of the more precise general laws, upon which an emergent science of design must be based." A note on accuracy This PDF of the Archer doctoral thesis has been processed for Optical Character Recognition with a reasonable degree of accuracy for the typescript parts. It has not been hand-corrected. The captions and other textual parts of the figures, being in handwriting, have not been processed.

Inquiry-based teaching and learning has been infused in practical work in science classrooms in schools internationally. However, confirmatory rather than inquirybased practical work is prevalent in many South African Physical Science classrooms, especially in resource-constrained schools. Against this background, this study addresses the scarcity in a professional development framework (PDF) to support these teachers. The PDF was developed using a research process based on the development studies approach in educational design research. The process involved three research cycles, including a systematic literature review from an international perspective (cycle one and two) and a multi-method, multi-case study in South African schools (cycle three). In each research cycle consisting of an analysis, design/develop prototype, and formative evaluation phase, design principles were generated or revised as a basis for developing the PDF. The case study included interviews, observation and document analysis in favour of a context and needs analysis. The formative evaluation methods consisted of screening and one-to-one evaluation, with the quality criteria evolving from relevance (content validity) to relevance and consistency (construct validity) and finally to expected practically and expected effectiveness. The primary outcomes included ten design principles and the associated context-specific version of the PDF. The PDF contained eight primary components: learning phases, learning theory, professional development strategy (lesson study), instructional functions (for example, reviewing learning periodically), teacher motivation (intrinsic and extrinsic), instructional design perspective, attending to contextual factors, and professional development goals. The first primary goal was to create an environment that better supports teacher learning and practice in the design and implementation of IBPW in South African Physical Science classrooms in resource-constrained schools. The second primary goal was to enhance the competences, professional identity and practice of teachers in the design and implementation of IBPW. The process involved in developing the PDF in addition to the PDF and the ten associated design principles could be considered by users in interventions towards enhancing the design and implementation of IBPW in the present and other contexts. The users include policy makers and professional development providers. Also, though the PDF is potentially effective and practical, researchers are encouraged to evaluate its actual effectiveness and practicality. / Thesis (PhD)--University of Pretoria, 2017. / Science, Mathematics and Technology Education / PhD / Unrestricted

<p>  </p> <p>Sulfonation is a widespread biological reaction catalyzed by a supergene family of enzymes called sulfotransferases (SULTs). SULTs utilize 3’-phosphoadenosine-5’-phospho-sulfate (PAPS) as the universal sulfonate donor to conjugate with a diverse range of endo- and xenobiotic substrates, including neurotransmitters, hormones, and drugs resulting in altering their biological activity. This reaction serves as a major detoxification pathway as conjugation with a sulfonate group renders substrates more hydrophilic and facilitates excretion. Therefore, this process is responsible for reducing the bioavailability of some drugs. In some cases, sulfo-conjugation causes the bio-activation of pro-mutagens and pro-carcinogens, leading to SULTs being risk factors in some cancers. Despite the biological relevance, understanding of this family of enzymes is still scarce. One SULT member that is the focus of the studies described herein is human sulfotransferase 2B1b (SULT2B1b), which had been identified as a potential drug target in prostate cancer. However, the inconsistency in reported kinetic data obtained using radiolabeled assays and the lack of robust assays have become significant limitations for SULT2B1b-targeted drug discovery studies. A label-free assay was developed to bridge this knowledge gap that directly quantifies SULT2B1b sulfonated products. This novel assay utilized high-throughput technology based on Desorption Electrospray Ionization Mass Spectrometry (DESI-MS). Results obtained from the DESI-MS-based assay were compared with those from a fluorometric, coupled-enzyme assay already developed in the Mesecar lab. Both methods provided consistent kinetic data for the reaction of SULT2B1b. Therefore, this novel assay is promising for the application of drug discovery efforts aiming at identifying SULT2B1b inhibitors. The other SULT member studied and described herein is human sulfotransferase 1A1 (SULT1A1), one of humans' most vital detoxifying and drug-metabolizing SULT isoforms that can also be a potential drug target in some cancers. The detailed kinetic mechanism of SULT1A1 was elucidated using steady-state kinetic, product inhibition, dead-end inhibition, and X-crystallographic studies. to gain insights into the role of this enzyme in detoxification, drug metabolism, and the development of inhibitors.</p>

In the increasingly popular area of research into creativity in education; students’ perceptions of creativity are an important consideration for developing a creative environment. Consequently, student’s perceptions of creative thinking and practice are a key resource for educators to be innovative in creating educational excellence. The purpose of this study was to investigate students’ perceptions about their art classroom environments which either stimulate or inhibit the development of creative thinking and practices, in girls’ intermediate schools (12-15 years) in Jeddah, Saudi Arabia. It addresses the following research question: Is it possible to improve perceptions of creative thinking and practices, of adolescent girls in Saudi Arabia, through control of art classroom environments? There were three parts to this study: firstly, the pre-intervention study to explore and identify a range of factors with potential to influence perceptions of creative thinking and practices; secondly, the main part of the study was the intervention to determine the impact of manipulating classroom variables with potential to influence perceptions of creative thinking and practices; and thirdly, follow up visits to determine whether the environmental changes, and the changes in perceptions, had continued. The samples used in the intervention study were students (n = 225) all from second year classes in nine secondary schools in Jeddah, Saudi Arabia. The research findings were obtained by observation using behaviour mapping and Likertscale questionnaires indicated that students’ perceptions of creative thinking and practices were improved through changing table and seating arrangement and wall displays. The contribution to new knowledge in this study will inform participants working within and related to the field of education and in particular art education, proposing considerations for appropriate improvements to learning environments by: · Developing a research process for identifying and testing environmental influences upon the perception of creative thinking and practices. · Evidencing how table and seating arrangement, and wall display, can improve perceptions of creative thinking and practice in Jeddah, Saudi Arabia.

This PhD research by project is for designers investigating relations between culture and design through an experiential perspective of Chi- nese culture in terms of developing a new understanding of ‘Chineseness’. ‘Chineseness’ in my work, can be re-mapped as a form of communication that deals with Chinese culture in design. It is not just along with historical stereotypes, nor a remote copy of other countries’ successful cultural trans- fers, but rather should be inseparable from the radical social phenomena and design culture already emerging within contemporary China. Through a series of design projects, my research is ultimately allowing Chineseness to be less implied and instead, to be made manifest, in terms of what behav- iours over symbolism and decoration. New knowledge is articulated through exploring my understanding and its shifts during my approach to re-map Chinese cultural elements in design and search for the meaning of ‘Chineseness’. This research remarks the stereotypes, generalisations and categorisations when designers deal with cross-cultural design from both non-Chinese and Chinese angles. The thesis comprises three parts. The first part is a contextual review of cultural elements and appropriate methods. The second part explores a systematic approach to reflecting Chineseness from various cultural an- gles. These action-research method-led projects describe three ways of ex- ploring the transfer of Chinese culture into design: symbolic, behavioural and political/philosophical. They culminate in an enabling developmental structure through which designers can deal with Chinese cultural com- plexity in design. The third part sees two final projects that reflect back and re-evaluate what Chineseness could be. The thesis contributes a three-layer structure that reflects Chinese cultural elements into design through meth- ods and analysis of values in practice. Additionally, for the readers sympa- thetic with a systematic design approach or cultural identitarianism, this work addresses a view of critical understanding for facing Chinese culture in design.

This thesis is an example of creative practice that uses contemporary transmedia storytelling techniques to build a fictional environment that content creators can collaborate in and contribute to with their own fictional works. Within this thesis, I refine my methodology and identify new methods and processes that apply to the context of the creative project example – the fictional world of Chaos Reborn. The most notable of these are 1) making use of invented and real mythology to project depth into the work 2) presenting information to other contributors so they can switch roles as creators and consumers of the franchise content and 3) Identifying the ways in which my creative work interacts with other elements of the transmedia narrative of Chaos Reborn. This thesis also identifies issues around continuance of production for this franchise after an initial raft of publications and suggests a consistent way to approach further development of content. The main creative component of this thesis is a novel set in the world of Chaos Reborn. This is Dreams of Chaos (2016), the first of a planned trilogy entitled The Death of Gods, which tells the story of how the world of Chaos Reborn came about from its alternative history root in Earth’s 14th century. This operates as the background to the game world and anchors the fantasy genre context to a version of our own history. This work is only a part of the writing undertaken to build the world of Chaos Reborn. There is additional material in appendices which contain the other associated writing from this work and from my previous science fiction case study on Elite Dangerous to illustrate the progression and development of my methodology across the genres of science fiction and fantasy.