The Richmond Maker Museum is a working museum design, offering an inside look at past achievements, juxtaposed with the unlimited future possibilities of an evolving, active maker culture. It is a dynamic place designed to allow makers to showcase skills, take risks, engage the public, and grow their craft in real time. The museum displays finished pieces, introduces makers, demonstrates the processes they employ in their work, and invites the community to meet the artisans who, through skill, ingenuity, and hard work, make the artifacts on display. This type of educational museum experience does not currently exist on this scale in Richmond. While other local museums invite visiting artists and offer lectures, the Richmond Maker Museum takes interaction to a new level, introducing visitors to the routines and procedures of each artisan’s daily practice. Maker culture is a tightly woven network of craftsmen—woodworkers, metalworkers, glassblowers, etc. It celebrates traditional fabrication techniques, while also introducing modern technologies such as laser cutting and three-dimensional printing. The social and educational aspects of the maker movement have created a revolution, revitalizing public appreciation for the role of the maker and the importance of craftsmanship.

My study challenges the status quo that seems to exist in the design of modern apartments, which is heavily influenced by the modernistic movement that flourished in early 20th century. Modernists strived to create a just and equal society, by challenging the social order and the traditional hierarchical system. The architecture of the time reflected these ideals and ultimately resulted in simplistic and repetitive designs that often formed box like interiors with standardised furniture. Consequently, these designs are detached from the individualism of the inhabitants, forcing people to sit, sleep, dine and socialise in a predefined space in a prescribed manner. My project is an artistic intervention to the BOX - the soulless interior of modern apartments. My aim is to explore and imagine alternative ways of existing within the box and push the boundaries of how we conduct daily activities in the living space.

This research project focused on the development of an appropriate interior design proposal for the Hulme F1 supercar. The Hulme F1 supercar, originally designed by Hulme Supercars Ltd, draws exterior design references from contemporary Formula One Grand Prix race cars. In addition, the Hulme F1 supercar integrated visual design cues expressing luxury, high-performance and exoticness. The existing design established the package, window openings, basic controls and door architecture for this study. Based on this material, the interior study focused on an overall aesthetic and its integration with ergonomic, technical and functional requirements. The conceptual nature of this project allowed for the inclusion of speculative and experimental design proposals that were not constrained by local contemporary manufacturing and economic issues. Consequently, the project based itself on a technological forecast of five to ten years. Research first explored and defined several key design motifs central to the Hulme F1 supercar. This involved studies into supercars, luxury, high-performance, exoticness, contemporary Formula One Grand Prix racing and the existing exterior form language. The results from this research established initial themes for development of the interior design proposal. A review of contemporary theory in visual product communication and experience was undertaken to identify an appropriate framework for this investigation. The research of Monö (1997), Norman (2004a) and Warell (2007) was reviewed. Review focused on two areas; a structure appropriate for defining design criteria and a comprehensive framework for visual analysis of exemplars to identify visual design trends. The Visual Product Experience (VPE) framework by Warell offered the most appropriate visual framework for this investigation. Using the VPE framework, a visual analysis of contemporary luxury motorcars, professional race cars and supercars was undertaken. Analysis focused on interior and interior/exterior related design trends. Findings illustrated that luxury motorcars have simple aesthetic compositions with frequent interior/exterior form element repetition. Conversely, professional race cars have complex aesthetic compositions with minimal interior/exterior form element repetition. Meanwhile, supercar interior aesthetics and appear to vary between these two spectrums depending on their overall aesthetic expression. To this end, the analysis illustrated the opposing visual qualities between luxury and high-performance. This suggested the interior design proposal required a delicate balance between complex and simple aesthetic elements to obtain an appropriate overall visual expression. Consequently, the interior design proposal used a combination of flowing soft surfaces and complex detailing to express luxury and high-performance. Research also established criteria for the design of interior functional systems required within the interior design proposal. Interior functional systems included control, body-support, display, storage and safety systems. The development process for the interior design proposal consisted of iterative design methods. This included concept generation, concept development and three-dimensional form studies. Throughout the development process, concepts were screened against design criteria in order to further direct the iterative process. Contemporary Formula One race car illustrated an abundance of visual inspiration for the interior design proposal during the development process. Elements such as exhaust and aerodynamic wing details were referenced within the interior design proposal. The intent of this was to create visual harmony between interior and exterior aesthetics. Research into ingress and egress found a conventionally fixed steering unit impeded participants. As a result, the final design proposed a steering unit that swung towards the centre of the interior for greater entry/exit space. The interior design proposal was assessed by internal and external ‘ design evaluation’ methods. Testing indicated that the interior design proposal had fulfilled most of the experience and performance design criteria and achieved the aim of this research. Overall, this investigation designed an interior design proposal to compliment the exterior design of the Hulme F1 supercar. The interior design proposal was supported by visual framework developed from this research investigation. In addition, the investigation proposed functional and ergonomic solutions to support the interior design proposal.

本研究目的是希望透過知識管理系統的建置，讓室內設計產業的內隱知識外顯化，透過設計知識模組化的運用，幫助公司設計創意的積累和活用，達成提高員工工作效率、節省組織相關成本、增加組織營運績效，進而促使室內設計公司得以產生最佳的營運模式，並獲致可觀的營業利益。 本研究採取個案分析法作為資料分析方法，並利用次級資料蒐集法與深度訪談法進行資料蒐集。本研究結論如下： 1.室內設計公司建置知識管理系統的架構，包括 (1) 設計專業知識庫、(2) 設計案例資料庫、(3) 工程專業知識庫、(4) 工程案例資料庫、(5) 企業管理知識庫等五個主要資料庫。 2.室內設計公司建置知識管理系統的目的，包括 (1) 累積設計創意和傳遞設計知識、(2) 善用設計知識達成創意加值、(3) 提高員工工作效率和累積員工專業職能、(4) 增加設計提案成功率、(5) 節省組織與相關人力成本、(6) 建置並強化人才培訓基礎、(7) 增加組織營運績效與組織營業利益、(8) 擴展公司組織規模並提昇公司競爭力。 3.室內設計公司建置知識管理系統的關鍵因素，包括 (1) 具備領導力的知識工作者、(2) 組織與個人對於「知識管理」的意願和動機、(3) 重視「知識管理」的組織制度、(4) 重視「知識管理」的組織環境、(5) 有利發展「知識管理」的組織結構、(6) 具有清楚及正確的組織知識策略、(7) 重視知識內容的品質管理、(8) 詳盡細緻的管理「知識管理」相關流程、(9) 足夠力量支援「知識管理」的資訊科技、(10) 維運「知識管理系統」所花費資源。 / This study hopes to take tacit knowledge from the interior design industry and organize it into explicit information through the implementation of knowledge management systems. The modularization of design knowledge will facilitate a company’s accumulation and utilization of design creativity, thereby effectively increasing employee efficiency, reducing operational costs, and increasing overall company efficiency. Further, this will help interior design companies to establish an optimal business model, thereby achieving significant business profits. This study analyzes data obtained through individual case studies, and gathered information through secondary data collection and in-depth interviews. This study draws the following conclusions: 1. The knowledge management systems implemented by interior design companies include five major databases for the following types of knowledge: (1) Design expertise; (2) Previous design cases; (3) Engineering expertise; (4) Previous engineering cases; (5) Enterprise management. 2. The reasons for which interior design companies implement knowledge management systems include: (1) Accumulation of design creativity and to pass on design knowledge; (2) Utilization of design knowledge to create added value to creativity; (3) Increase employee efficiency and enhance employee professionalism and expertise; (4) Increase success rate of design proposals; (5) Reduce costs related to the company and workforce; (6) Establish and bolster the basic skills for further staff training; (7) Boost operational efficiency and business profits; (8) Expand company operations and bolster competitiveness. 3. There are a number of key factors to the successful implementation of knowledge management systems in interior design companies. These include: (1) Knowledge workers with leadership capability; (2) An organization and individual employees that are willing and motivated to engage in “knowledge management”; (3) An organization structure that emphasizes “knowledge management”; (4) A working environment that emphasizes “knowledge management”; (5) An organization structure conducive to developing “knowledge management”; (6) A clear and consistent set of knowledge strategies for the company; (7) A quality control system that emphasizes knowledge content; (8) Detailed attention to the monitoring of “knowledge management” protocols; (9) Adequate support for the information technology necessary for “knowledge management”; (10) Sufficient resources to maintain the operation of “knowledge management systems”.

The structure of this thesis relies on the physical locations of Mme. de Pompadour. Although the chapters are roughly chronological, beginning with her arrival at Versailles in 1745 and ending with her death in 1764, this work makes no attempt to comprehensively chronicle the entirety of her involvement in the decorative arts. Rather, it focuses on several specific aspects of her patronage, with the goal of illuminating her social position and public image, and how she worked to control the two. Chapter One deals with the first rooms Mme. de Pompadour inhabited, from 1745-1750. These upper apartments characterize her early attempts to convey meaning through décor and to shape social interactions within a constructed environment. Chapter Two follows Mme. de Pompadour’s move downstairs, to the lower apartments in 1750. This move parallels an important evolution in her role at court and seeks to explore how her newly political functions were expressed through these interior spaces. Chapter Three is more expansive, examining three architectural projects undertaken by Mme. de Pompadour and Louis XV on her behalf, over the course of her nineteen years at court. These independent homes represented an opportunity for Mme. de Pompadour to actively work to change public perception of herself and her role, an opportunity that she did not waste.

This study looks at human movement in order to formulate a principle that can potentially enrich the understanding of interior design and spatial awareness within it. It considers the spatial identity of the dis/abled body by looking at the importance of the embodied experience in relation to environment. The body has dynamic abilities; therefore it is an instrument for creating form. This tangible form in context with interior design can inform our understanding of spatial needs and be used as a design-informing tool. Specifically this project uses spatial identity as a theory to guide the conceptual ideas and as a practical tool to design a work environment and showroom for a client with Thrombocytopenia Absent Radius (TAR) syndrome. / October 2007

Issu de la rencontre entre les disciplines de l’architecture intérieure et de la stratégie de marque et développé en réponse au raffinement de l’offre et des nouveaux modes de consommation, le design expérientiel présente un champ de pratique émergent qui tend vers la communication d’une expérience client marquante et immersive à travers l’environnement commercial. Bien que le sujet soit richement documenté par le domaine du marketing, il est apparu qu’il l’est moins par celui de l’aménagement. En effet, peu d’études démontrent concrètement la façon d’aménager l’espace marchand dans le contexte de la pratique du design expérientiel ou cherchent à mettre en lumière son empreinte physique sur l’environnement commercial. Cette recherche vise simultanément l’amélioration de la compréhension de la pratique émergente qu’est le design expérientiel ainsi que l’identification des caractéristiques environnementales propres aux espaces marchands qui en découlent. Dans la volonté de sonder le phénomène du design expérientiel tant dans la dimension conceptuelle de sa pratique que dans celle de son résultat bâti, la stratégie méthodologique de cette recherche repose sur la tenue d’entretiens semi-dirigés avec des professionnels basant leur pratique sur le design expérientiel et l’observation directe de trois projets commerciaux expérientiels reconnus. L’issue de cette recherche et les résultats extraits du terrain mèneront plutôt à relever l’existence d’un processus de conception caractéristique à la pratique ainsi que celle de concepts fondateurs qu’à identifier des éléments de l’aménagement intérieur propres aux environnements commerciaux en découlant. Nettement apparus au cours de l’étude, ce processus et la volonté de mettre sur pied une stratégie de communication solide semblent occuper une place plus importante dans la définition et la compréhension de la pratique du design expérientiel que les attributs de l’espace marchand comme tel. / As a result of the merging of two disciplines, interior design and branding, experiential design was developed in response to the refinement of the offer and of the new consumption patterns. An emerging field of practice, it tends to communicate a memorable and an immersive experience to the client through the retail environment. A rich litterature already exists in the marketing field on experiential design, but it is less documented in the interior design field. Indeed, few studies show, in a concrete manner, how the retail space is designed in a context where experiential design is used or try to explain its physical imprint on the commercial environment. The objective of this study is twofold: to contribute to a better understanding of experiential design as an emergent practice and to the identification of environmental attributes that are specific to retail spaces that are thus created. With the intention to study the phenomenon of experiential design through the conceptual dimension behind its practice as well as its final result, the methodological strategy adopted in this research rely on semi-structured interviews conducted with professionals, whose practice is based on experiential design, and on the direct observation of three known experiential commercial projects. The outcome of this research and the results obtained from the field study will clarify the existence of a design process that is specific to this practice and the presence of founding concepts, instead of identifying elements of interior design that are specific to the creation of commercial environments. It appeared clearly during the study that this process and the desire to implement a strong communication strategy seem to be more important when comes the time to define and understand experiential design and its practice than the attributes of the retail space as such.

As the world shifts and changes, so do its people, and every day, more refugees are forced out-of-place, out of their homelands, and into a foreign and unfamiliar context. Many of these refugees are women, single mothers, who along with their children, are set to face many challenges in the process of re-settling into a new cultural landscape. This project is a study on how the design of an interior can aid in the difficult process of transitioning between lands and cultures. Within it, I explore the making of place through the design of a transitional residence for women and children refugees, set within the dynamic urban landscape of West Broadway in Winnipeg, Manitoba. I proceed through this project through an exploration of four conceptual frameworks and examine the project and its users in relation to movement and migration, to boundaries, to the contact zone, and finally to weaving.

This practicum focuses on end-of-life care for older adults in rural Canada. Specifically, it addresses links between domesticity and terminal illness amongst adults within the building typology of hospice. The objective of the practicum is the creation of a model for hospice design in rural Manitoba. The hospice will be supported in pre-fabricated housing. The practicum will address contemporary issues arising from publicly-funded healthcare, the aging Canadian population, and cultural issues surrounding dying, death, and grieving. The main goals to be achieved with this project were the creation of care facilities that encourage dialogue, education, and wellbeing for all users. Additionally, the facilities will be designed as multi-sensory environments where all human senses can be stimulated, expanding beyond typical visual stimuli.

As models and methods of educational pedagogy are altered by social media and digital technology, so too are the spaces where learning takes place. Creative education, particularly the education of design students, does not fit into the “typical” higher education classroom, and therefore requires a different physical setting. Despite changes in learning styles, there are many unchanged traditions and functions of the physical setting of design education. The lack of changes has continued to isolate architectural education from the real, urban experience of the city. This practicum aims to address these issues by proposing a satellite campus in an authentic urban environment for the University of Manitoba’s Faculty of Architecture students and teachers. I will investigate theories regarding emerging trends in higher education, the importance of place in education, and the process of educating designers. Throughout this investigation, emphasis is placed on creativity, collaboration, and flexibility in design education.