Structure architecturée destinée au besoin vital de chauffage, la cheminée était par conséquent l'élément le plus important d'un intérieur. Ainsi obtînt-elle la plus grande des attentions de la part des architectes, qui s'ingénièrent à donner à cet ouvrage utilitaire l'apparence d'un véritable monument de marbre, orné de motifs sculptés ou de bronzes dorés. Cette attention décorative valut parfois à l'ouvrage caminologique le privilège d'accéder au rang d'œuvre d'art.Plus qu'un simple foyer destiné à accueillir le feu, la cheminée était le point focal d'un intérieur. Sa position déterminait aussi bien la composition du décor mural que l'agencement du mobilier. C'est également autour de la cheminée que s'organisaient au quotidien les activités humaines. Cette attraction à la fois visuelle et physiologique incita à associer à la cheminée, pour son usage et pour son agrément, une grande diversité d'objets. Les objets d'art les plus précieux d'une habitation étaient volontiers exhibés sur la tablette de la cheminée, flattant ainsi l'orgueil du propriétaire, qui, au-delà, affirmait, aux yeux de tous, son rang social.Cette étude définie dans son intégralité les caractéristiques de la décoration intérieure de la seconde moitié du XVIIIe siècle, période durant laquelle s'opéra en France le renouveau classique, en partant de la cheminée tout en considérant le décor mural qui l'entourait, le choix des matériaux, des couleurs et des objets, à valeur d'usage et à valeur esthétique, qui lui étaient associés. L'analyse de la cheminée et de son décor permet ainsi de saisir au plus près les goûts et les habitudes ornementales de la société française de la fin de l'Ancien Régime. / As an architectural structure providing heat to satisfy one of man's vital need, the fireplace was the most important element of interior decoration. Then it attracted the attention of architects who strived to give to this useful device the appearance of a true monument in marble, decorated with sculpted motifs or ormolu. As a result of the attention paid to its decoration, the fireplace eventually reached the status of a genuine work of art. More than a mere hearth aimed at setting the fire, it became an essential element of the household. Its central position determined both the arrangement of the panelling and the layout of the furniture. At this point, daily occupations got tied to the fireplace; its physiological and esthetical value led to the necessity of possessing a wide range of objects either useful (to set the fire) or decorative. The most precious ownings of the house were usually exhibited on the marble top, flattering its owner, while affirming his vanity. This PhD is a thorough study of the characteristics of interior decoration during the second half of the 18th c.. In France at the time, there was a major classicism revival, operating through the fireplace and the decoration of the walls around it, including changes in colors and in the range of fireplace-related objects to use or admire. This survey of the fireplace and its decorative context enables us to apprehend french society's tastes and habits at the very end of "Ancien Régime".

O interior automotivo, um produto que atualmente faz parte da vida da grande maioria dos habitantes do planeta, é projetado para favorecer a percepção de conforto, luxo, domínio e emoções agradáveis. No entanto deve-se questionar se é possível que os materiais aplicados nesses ambientes, como tecidos poliméricos, couro, espumas, vidros, podem influenciar o bem-estar dos passageiros do automóvel. Desta forma, a presente pesquisa visa avaliar, com o olhar do design para o bem-estar associado ao design de produto, quais as noções subjetivas de conforto, desconforto, emoções e bem-estar próprios das interações das pessoas com os materiais e componentes dos interiores automotivos. Para isso foram aplicados questionários qualitativos e quantitativos com um grupo de 200 estudantes universitários de engenharia, psicologia e design da cidade de Porto Alegre. Ainda foram medidas as distribuições de temperatura e pressão existentes na interface de um assento automotivo durante sua posição sentada, com o auxílio de sensores de medição de pressão e um termovisor infravermelho a fim de verificar a relação desses dados com as respostas obtidas nos questionários. Os participantes dessa pesquisa julgaram os interiores dos veículos populares como sendo limpos, de boa aparência, luxuosos e fáceis de dirigir, contribuindo para sua percepção de conforto. Por outro lado, foi observado um desconforto leve e baixa pressão no contato do corpo com os assentos. As emoções vividas nesses habitáculos foram consideradas como mais agradáveis do que desagradáveis, contudo os ocupantes dos veículos não acreditavam que isso contribuía para o seu bem-estar, mesmo quando julgaram suas vidas de moderadamente a muito satisfatórias durante a realização da pesquisa. Concluiu-se com os dados levantados, que o projeto de interiores de veículos populares apenas favorece o conforto, reduz o desconforto e contribui para emoções agradáveis porém não necessariamente, colabora para o bem-estar de seus ocupantes. Assim, para auxiliar os designers de ambientes reduzidos, foi sugerida uma proposta metodológica, como ferramenta de aplicação e avaliação em projeto das variáveis relacionadas ao conforto, desconforto, emoções e bem-estar. / The automotive interior, a product that is currently part of the life of the great majority of the inhabitants of the planet, is designed to foster the perception of comfort, luxury, domain and pleasant emotions. However one must question whether it is possible that the materials used in these environments, such as polymeric fabrics, leather, foam and glass can influence the well-being of drivers and passengers of these cars. Thus, this research aims to evaluate, with the look of the design for well-being associated with product design, which are subjective notions of comfort, discomfort, emotions and well-being of people during their own interactions with materials and components used in automotive interiors. With this aim, it was applied qualitative and quantitative questionnaires with a group of 200 university students from engineering, psychology and design of the city of Porto Alegre. Even it was measured pressure and temperature distributions existing at the interface of an automotive seat during the seated position with the aid of pressure measurement sensors and infrared imager in order to investigate the relationship of these data with the responses from the questionnaires. It was concluded that the participants of this study judged the interior of popular vehicles as clean, good-looking, luxurious, easy to drive, contributing to their perception of comfort. On the other hand, there was a mild discomfort and low pressure body contact with the seats. The emotions experienced in these cases were considered more pleasant than unpleasant, but the occupants did not believe that this contributed to their well-being, even when they thought their lives as moderately to very satisfactory during the research. It was concluded with the data collected that, the interior design of popular vehicles only favours comfort, reduces discomfort and contributes to pleasant emotions but not necessarily contributes to the well-being of its occupants. Therefore, to help designers of reduced environments, a methodology has been suggested as a tool for implementation and evaluation of design variables related to comfort, discomfort, emotions and well - being.

O interior automotivo, um produto que atualmente faz parte da vida da grande maioria dos habitantes do planeta, é projetado para favorecer a percepção de conforto, luxo, domínio e emoções agradáveis. No entanto deve-se questionar se é possível que os materiais aplicados nesses ambientes, como tecidos poliméricos, couro, espumas, vidros, podem influenciar o bem-estar dos passageiros do automóvel. Desta forma, a presente pesquisa visa avaliar, com o olhar do design para o bem-estar associado ao design de produto, quais as noções subjetivas de conforto, desconforto, emoções e bem-estar próprios das interações das pessoas com os materiais e componentes dos interiores automotivos. Para isso foram aplicados questionários qualitativos e quantitativos com um grupo de 200 estudantes universitários de engenharia, psicologia e design da cidade de Porto Alegre. Ainda foram medidas as distribuições de temperatura e pressão existentes na interface de um assento automotivo durante sua posição sentada, com o auxílio de sensores de medição de pressão e um termovisor infravermelho a fim de verificar a relação desses dados com as respostas obtidas nos questionários. Os participantes dessa pesquisa julgaram os interiores dos veículos populares como sendo limpos, de boa aparência, luxuosos e fáceis de dirigir, contribuindo para sua percepção de conforto. Por outro lado, foi observado um desconforto leve e baixa pressão no contato do corpo com os assentos. As emoções vividas nesses habitáculos foram consideradas como mais agradáveis do que desagradáveis, contudo os ocupantes dos veículos não acreditavam que isso contribuía para o seu bem-estar, mesmo quando julgaram suas vidas de moderadamente a muito satisfatórias durante a realização da pesquisa. Concluiu-se com os dados levantados, que o projeto de interiores de veículos populares apenas favorece o conforto, reduz o desconforto e contribui para emoções agradáveis porém não necessariamente, colabora para o bem-estar de seus ocupantes. Assim, para auxiliar os designers de ambientes reduzidos, foi sugerida uma proposta metodológica, como ferramenta de aplicação e avaliação em projeto das variáveis relacionadas ao conforto, desconforto, emoções e bem-estar. / The automotive interior, a product that is currently part of the life of the great majority of the inhabitants of the planet, is designed to foster the perception of comfort, luxury, domain and pleasant emotions. However one must question whether it is possible that the materials used in these environments, such as polymeric fabrics, leather, foam and glass can influence the well-being of drivers and passengers of these cars. Thus, this research aims to evaluate, with the look of the design for well-being associated with product design, which are subjective notions of comfort, discomfort, emotions and well-being of people during their own interactions with materials and components used in automotive interiors. With this aim, it was applied qualitative and quantitative questionnaires with a group of 200 university students from engineering, psychology and design of the city of Porto Alegre. Even it was measured pressure and temperature distributions existing at the interface of an automotive seat during the seated position with the aid of pressure measurement sensors and infrared imager in order to investigate the relationship of these data with the responses from the questionnaires. It was concluded that the participants of this study judged the interior of popular vehicles as clean, good-looking, luxurious, easy to drive, contributing to their perception of comfort. On the other hand, there was a mild discomfort and low pressure body contact with the seats. The emotions experienced in these cases were considered more pleasant than unpleasant, but the occupants did not believe that this contributed to their well-being, even when they thought their lives as moderately to very satisfactory during the research. It was concluded with the data collected that, the interior design of popular vehicles only favours comfort, reduces discomfort and contributes to pleasant emotions but not necessarily contributes to the well-being of its occupants. Therefore, to help designers of reduced environments, a methodology has been suggested as a tool for implementation and evaluation of design variables related to comfort, discomfort, emotions and well - being.

O interior automotivo, um produto que atualmente faz parte da vida da grande maioria dos habitantes do planeta, é projetado para favorecer a percepção de conforto, luxo, domínio e emoções agradáveis. No entanto deve-se questionar se é possível que os materiais aplicados nesses ambientes, como tecidos poliméricos, couro, espumas, vidros, podem influenciar o bem-estar dos passageiros do automóvel. Desta forma, a presente pesquisa visa avaliar, com o olhar do design para o bem-estar associado ao design de produto, quais as noções subjetivas de conforto, desconforto, emoções e bem-estar próprios das interações das pessoas com os materiais e componentes dos interiores automotivos. Para isso foram aplicados questionários qualitativos e quantitativos com um grupo de 200 estudantes universitários de engenharia, psicologia e design da cidade de Porto Alegre. Ainda foram medidas as distribuições de temperatura e pressão existentes na interface de um assento automotivo durante sua posição sentada, com o auxílio de sensores de medição de pressão e um termovisor infravermelho a fim de verificar a relação desses dados com as respostas obtidas nos questionários. Os participantes dessa pesquisa julgaram os interiores dos veículos populares como sendo limpos, de boa aparência, luxuosos e fáceis de dirigir, contribuindo para sua percepção de conforto. Por outro lado, foi observado um desconforto leve e baixa pressão no contato do corpo com os assentos. As emoções vividas nesses habitáculos foram consideradas como mais agradáveis do que desagradáveis, contudo os ocupantes dos veículos não acreditavam que isso contribuía para o seu bem-estar, mesmo quando julgaram suas vidas de moderadamente a muito satisfatórias durante a realização da pesquisa. Concluiu-se com os dados levantados, que o projeto de interiores de veículos populares apenas favorece o conforto, reduz o desconforto e contribui para emoções agradáveis porém não necessariamente, colabora para o bem-estar de seus ocupantes. Assim, para auxiliar os designers de ambientes reduzidos, foi sugerida uma proposta metodológica, como ferramenta de aplicação e avaliação em projeto das variáveis relacionadas ao conforto, desconforto, emoções e bem-estar. / The automotive interior, a product that is currently part of the life of the great majority of the inhabitants of the planet, is designed to foster the perception of comfort, luxury, domain and pleasant emotions. However one must question whether it is possible that the materials used in these environments, such as polymeric fabrics, leather, foam and glass can influence the well-being of drivers and passengers of these cars. Thus, this research aims to evaluate, with the look of the design for well-being associated with product design, which are subjective notions of comfort, discomfort, emotions and well-being of people during their own interactions with materials and components used in automotive interiors. With this aim, it was applied qualitative and quantitative questionnaires with a group of 200 university students from engineering, psychology and design of the city of Porto Alegre. Even it was measured pressure and temperature distributions existing at the interface of an automotive seat during the seated position with the aid of pressure measurement sensors and infrared imager in order to investigate the relationship of these data with the responses from the questionnaires. It was concluded that the participants of this study judged the interior of popular vehicles as clean, good-looking, luxurious, easy to drive, contributing to their perception of comfort. On the other hand, there was a mild discomfort and low pressure body contact with the seats. The emotions experienced in these cases were considered more pleasant than unpleasant, but the occupants did not believe that this contributed to their well-being, even when they thought their lives as moderately to very satisfactory during the research. It was concluded with the data collected that, the interior design of popular vehicles only favours comfort, reduces discomfort and contributes to pleasant emotions but not necessarily contributes to the well-being of its occupants. Therefore, to help designers of reduced environments, a methodology has been suggested as a tool for implementation and evaluation of design variables related to comfort, discomfort, emotions and well - being.

La production de textiles fut initiée par les protestants Henri IV et Sully, épaulés en cela par Barthélemy de Laffemas. Dans la seconde partie du XVIIe siècle, ils constituèrent une telle source de revenus pour la couronne qu’ils devinrent, entre les mains de Louis XIV et de Colbert, une affaire d’État. De nombreuses manufactures et compagnies commerciales furent alors créées sur décision royale. La fabrication et la distribution furent dès lors légalement corsetées. Dans le Midi-toulousain, les plus riches marchands finançaient la culture de matières premières ou la façon de broderies, de dentelles et d’étoffes. L’essentiel de l’activité de Toulouse s’articula cependant autour du négoce, même si certains tissages effectués in situ furent suffisamment estimés des habitants pour marquer leur temps. Les textes d’archives dévoilent certains usages élaborés autour des textiles, comme la charge de dorer et nipper la future épousée ou encore les pratiques de deuil. Ils décrivent, à travers les décors intérieurs, comment les notions de mode, de luxe et d’opulence s’étaient imposées d’une façon si particulière dans la ville. / Textile production began with the protestant king Henri IV, helped by Sully and Barhélemy de Laffemas. In the second half of the seventh century, they constituted a so much source of income for the crown, that Louis XIV and Colbert made of it a real business of state. Many manufactories and commercial companies were created by royal decision and legally assisted. In south of France, the most famous and rich traders financed the production of laces, embroideries, and various stuffes. The most important part of Toulouse activity was trade, even if many weaving realized in the town, were enough estimated by the population to have had a strong influence. Archives records reveal customs worked out textiles, like the development of the bundles or the way to be in mourning. They show interiors design and the manner whereby notion of luxury, fashion, and wealth light up in the city.

S’inscrivant dans un mouvement général de spécialisation des pièces, la salle à manger apparaît dans les demeures françaises au XVIIe siècle, et s’y développe au siècle suivant. Ce phénomène accompagne alors une aspiration au bien-être et à l’intimité qui pousse les sociétés modernes à se faire aménager des intérieurs plus confortables, moins tournés vers l’apparat et la vie publique. Ainsi la naissance de la salle à manger découle-t-elle en partie du souhait de posséder une pièce spécifiquement destinée au repas, susceptible de recevoir le maître de maison et ses proches, tout en étant bien reliée à la cuisine pour que l’on puisse manger chaud. Le développement de la salle à manger est également contemporain de la promotion dans l’Europe entière d’une nouvelle cuisine française, et de nouvelles normes relatives à l’organisation des repas, avec la mise en place du « service à la française ». La salle à manger de l’époque moderne reste cependant un espace en cours d’élaboration. Ainsi, aux yeux des contemporains, elle apparaît souvent comme une simple pièce de commodité. Les odeurs de nourriture et la présence de domestiques risquant d'indisposer les maîtres de maison, elle est alors le plus souvent distribuée en dehors des beaux appartements. C'est seulement dans la deuxième moitié du XVIIIe siècle, avec le triomphe du mode de vie bourgeois, que la salle à manger s’affirme progressivement, à égalité avec le salon, comme un élément essentiel dans l’espace de réception des demeures. / Amid growing specialization of domestic interiors, the dining room emerges in French housing during the 17th century and gains ground during the following one. At that time, the upper classes increasingly long towards more well-being and intimacy, and interiors are designed so as to favor comfort at the expense of pageantry and the public sphere. The birth of the dining room therefore partly owes to the landlords' desire to own a room specifically dedicated to enjoying meals among kins, while simultaneously being well connected to the kitchen, so that the food can be served warm. This development comes along the promotion, throughout Europe, of a new French cuisine, and a new way to set up meals, known as service à la française. At the time, however, the dining room remains a work in progress. At the beginning of the 18th century, contemporaries often see it as a mere utilitarian space. And, since the householders are likely to be bothered by the smell of food and the servants' presence, it is generally set away from the more luxurious appartments. But during the late 18th century, as the bourgeois way of life becomes predominant, the dining room, along with the living room, asserts itself as a key component of a mansion's reception area.

Hot Jupiters receive strong stellar irradiation, producing equilibrium temperatures of 1000-2500 K. Incoming irradiation directly heats just their thin outer layer, down to pressures of similar to 0.1 bars. In standard irradiated evolution models of hot Jupiters, predicted transit radii are too small. Previous studies have shown that deeper heating-at a small fraction of the heating rate from irradiation-can explain observed radii. Here we present a suite of evolution models for HD 209458b, where we systematically vary both the depth and intensity of internal heating, without specifying the uncertain heating mechanism(s). Our models start with a hot, high-entropy planet whose radius decreases as the convective interior cools. The applied heating suppresses this cooling. We find that very shallow heating-at pressures of 1-10 bars-does not significantly suppress cooling, unless the total heating rate is greater than or similar to 10% of the incident stellar power. Deeper heating, at 100 bars, requires heating at only 1% of the stellar irradiation to explain the observed transit radius of 1.4R(Jup) after 5 Gyr of cooling. In general, more intense and deeper heating results in larger hot-Jupiter radii. Surprisingly, we find that heat deposited at 10(4) bars-which is exterior to approximate to 99% of the planet's mass-suppresses planetary cooling as effectively as heating at the center. In summary, we find that relatively shallow heating is required to explain the radii of most hot Jupiters, provided that this heat is applied early and persists throughout their evolution.

In 1957 a number of women's organizations were involved in planning a government-sponsored Festival of Women - an event that indicates contemporary awareness of and interest in the changing position of women. This study is similarly concerned with the position of women in the 1950s and 60s, relating constructions of the 'modern' woman in women's magazines to post-war developments, such as increasing levels of consumption and changing leisure patterns. There are two major themes in the thesis: the housewife and the modern. The study illustrates the centrality of 'the housewife' while accentuating the breadth and complexity of post-1945 women's roles and identities, with a focus on two sites pivotal to constructions of femininity in women's magazines: the home and appearance. The study also explores how women's magazines shaped the modern, emphasizing the range of ways in which this notion was constructed and understood. The concept of social capital is used to examine the significance of the modern, looking at why it was so important and its connection with ideas of exclusion and belonging.The study looks at two magazines. Home and Country was the magazine of the National Federation of Women's Institutes, and hence it targeted rural women. Woman's Outlook, on the other hand, was the Women's Co-operative Guild magazine, aimed at working-class Guild members. Through comparisons between the two and with Woman, a mass-circulation weekly magazine, the thesis demonstrates that their respective rural and Co-operative identities were distinctive features that contrast with the urban and mass consumption viewpoints evident in other titles. These rural and Co-operative identities heavily influenced the perspectives of the organizational magazines and created alternative visions of the modern. The relationship of these features to post-war British modernity has received little attention, with historians' focus on the urban and the individual consumer positioning the countryside and the Co-operative movement as antithetical to the modern. However, this study reveals that rural and Co-operative interpretations of the modern enhance and develop understandings of key themes in 1950s and 60s British history such as national identity, consumer culture, generation and age. The thesis situates Home and Country and Woman's Outlook within broader social and cultural networks and shows the extent to which women's magazines operated as cultural intermediaries. The study also engages with a number of intersecting bodies of literature, such as revisionist accounts of domesticity and recent work on women's organizations, and contributes to various discussions including housing in post-war Britain and feminist analyses of fashion and beauty. This multifaceted investigation generates new insights into both the housewife and the modern, insights which offer a more complex and nuanced account of 1950s and 60s Britain and the position of women.

This study used images taken from the OSIRIS-REx spacecraft sample-return mission and projected onto a three-dimensional shape model to determine surface properties of the asteroid (101955) Bennu. Two major projects were completed. For the first project, images of the pre-sampled Nightingale site and post-sampled Nightingale were compared to determine how the TAGSAM sampling maneuver effected the surface of the asteroid directly at the sampling site and in the surrounding area. This analysis demonstrated how spacecraft can potentially affect a small body during this and future sample-return missions. For the second project, several craters on Bennu’s surface were selected and all of the boulders within their rims and up to one crater radius outward from their rims were counted and measured. The interior and exterior of all craters were compared which determined that there is a pattern that supports the existence of a subsurface layer of finer-grained material which could be responsible for cohesion on Bennu and potentially other rubble-pile asteroids

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.