The purpose of this studio was to investigate materiality in the scales of human habitation and to expand traditional notions of architecture through narrative-based design. Narrative-based design is the culmination of studies in the phenomenology of built forms and spatial constructions. It is an experience oriented, democratizing process rather than an image-based, hierarchical process. Using narrative-based design and research on theoretical stances of product manufacturing and interior design we created a domestic space that is an installation. We will built upon Lois Weinthall’s insights regarding the scalar difference between the body, interior design and architecture, and Anni Albers’ theory that the technology of craft should be revealed in the work especially in expressing the nature of the materials used. / text

This study aims to define design poetics as a category of design practice set apart from commercial, industrial or market-led design that generates a collection of experimental artefacts which investigate the everyday life of contemporary culture. It is argued that in creating an active interplay between users (human agents) and objects, poetic design involves a different kind of production (which is not about improving the functionality of a product) and alternative forms of "consumption" (which is not about a 'using up' of objects), by developing new practices of living with things. As such it is suggested that design poetics depends on the production developed by consumers as a creative users (postproducers), within unconventional experiential and social scenarios of living. In changing the bilateral relationship object-user poetic design develops objects from the point of view of the user - its activities and models of operation - and this aspect is related to an emotional and experiential evaluation. Thus the study proposes a re-evaluation of objects and users through experiential, narrative and performative criteria in order to understand their various roles and functions. In proposing these particular points of evaluation, poetic objects are distinguished as a particular category of objects together with the practices they engender or support; and within a network of relationships and contexts, as specific sites of interaction.1 In this light, it is shown that poetic design proposes a class of objects that respond to needs beyond the objects' instrumental (functional, practical) power; but to their contribution to life experience, embodying a variety of processes and manifestations. They translate immaterial interactions and make these interrelations visible.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Mary C. Kingery-Page / Chester I. Lewis Reflection Square Park is an urban park located on Douglas Avenue within the downtown area of Wichita, Kansas. The Chester I. Lewis Park is a site the city is interested in improving, but no current plans or budget are available. The park has faced issues including a stigma regarding use by the homeless population, vandalism, lack of use by the broader public, and deterioration. Chester I. Lewis was a civil rights lawyer in Wichita, Kansas. One of his cases dealt with the Dockum Drugstore Sit-in, the first successful sit-in of the civil rights movement, which will soon have a new sculpture memorial dedicated a block away from the park. The overall project goal for the downtown park commemorating Lewis’s legacy is to develop a site that will address the current issues with the park and create a connection with the newly developed memorial, all while strengthening the expression of Lewis’s significance as a civil rights leader who championed social integration. The project should develop a sense of place within the community and connect visitors to Wichita’s legacy in the civil rights movement. Methods used by the researcher to build a framework for design consist of archival research into the history of civil rights in Wichita, precedent studies focused on memorials and designing for the homeless, participant observation, a public exhibit with community feedback, and lastly interviews with advocates for the homeless, and living members of the Sit-In. The proposed design for Chester I. Lewis Park demonstrates that it is possible to provide a variety of uses within the park that benefit everyone, including unhoused people who use the park. This site can provide a new outlook for designing inclusively and seeking to remove the stigma that faces the homeless population in Wichita and provide a replicable example of how cities should plan for the homeless in park design.

Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text. / We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.

A vast number of game developers long for and seek to create games that impact and emotionally engages their players. However, it has proven to be a tough challenge to overcome, as a lot of narrative games today completely separate their emotional stories from their engaging gameplay. Extending this insight, this paper proposes the theoretical basis intendedto contribute to the understanding of how to create expressive AI agents, by answering the following question: How can developers tell stories through an AI agent's behaviour? A further key element in this paper is the creation of a conceptual framework, based on a literature study, exemplifying how AI agents can be designed to contribute and support the narrative in a game. The framework suggests that creating these types of AI agents is an iterative process of defining the core themes within a game, deriving an agent's purpose from these and building its behaviours from that purpose. Also, defining how to communicate these behaviours to the player. The framework also emphasizes the importance of user testing during the design process, as a way of evaluating the balance of transparency and emergence within the AI system of the game. The framework is exemplified with a case study conducted on an AI agent, designed and developed for the game Shelter 2: Paws by game studio Might and Delight. The results of the study shows that AI agent has a close connection to the narrative through the main themes of friendship, cooperation and growing up in the game. Finally, the AI agent design is evaluated through user tests, which shows that players interact with the agent as expected and share the game experience that is intended by the developers.

The WGBU (2011) calls the sustainability transition towards a net-zero Europe the biggest challenge that mankind has ever faced. Naturally, all parts of society need to take their toll. In its statement paper ‘The Great Transformation’ (2011), the WGBU highlights the innovative and trans-formative potential of civic engagement within the sustainability trans-formation, a recurring claim made within the field of transformative re-search (WGBU 2011, 2020, Göpel 2016). Yet, there are not enough of- fers for citizens to acquire the necessary skills, Futures and Transforma-tive Literacy. While more and more research and political institutions are incorporating the theories of sustainability transformation as a frame-work, the question of who will take on the task of building transforma-tive competencies among citizens remains open (EEA, 2019).

<p dir="ltr">Use of serious games and gamified applications for language learning have increased substantially over the past decade. They are an effective way to supplement language learning. These applications utilize a range of language learning methods such as grammar-translation, audio-lingual and task-based learning in combination. Task-based language learning particularly suits the typical gameplay elements of narratives and quests. Thus, this study aims to develop a serious game for learning Bengali, world’s 7th most spoken language. The literature in this area indicates that hubshaped quest landscape design is found to be most effective for game-based learning environments. So, the study implements a branching, hubshaped narrative for learning Bengali language.</p><p dir="ltr">This application also implemented a hidden object mechanism for vocabulary acquisition instead of traditional grammar-translation methods used in other language learning software. The prototype was assessed from user feedback in a qualitative manner across four broad heuristic categories comprising of learning, tutorials, engagement and cultural elements. In the process, the study sought to understand whether cultural context-based interventions in the narrative improve learner motivation.</p><p dir="ltr">The results show a positive impact of cultural elements on the learners’ motivation to progress. Further, the hidden object mechanism was received as a satisfactory method to learn foreign vocabulary. This form of interactive, narrative based educational application has the potential to supplement traditional lessons for foreign language acquisition.</p>

[pt] A tese aborda a coautoria do designer editorial com o escritor na produção de livros de literatura. Nesse âmbito, considera-se a postura de que não só o texto escrito conta a história, mas, sim, o objeto como um todo. Design Editorial Narrativo é o termo adotado nesta pesquisa, para caracterizar projetos editoriais integrais que constroem a narrativa não-verbal multissensorial junto com a narrativa verbal. Nesse caso, é exigido um grande envolvimento do designer editorial, esforço intelectual, capacidade criativa e técnica. No entanto, apesar de estar cada vez mais presente nas contações de histórias, o designer editorial é apenas considerado um colaborador. Ocorre que não há parâmetros para identificar a narrativa não-verbal do livro e, no âmbito da Lei de Direitos Autorais, não há argumentos legais para o designer ser creditado como coautor e receber royalties da venda. Entende-se que as relações estabelecidas ao longo do projeto em coautoria interferem e aprimoram o produto final e a articulação das narrativas potencializa a imersão na leitura. É do interesse do design editorial posicionar-se frente aos cenários que surgem, com respaldo legal, reconhecimento e segurança profissional no mercado. Assim, o objetivo desta tese é encontrar e sugerir princípios gerais para que o designer editorial possa ser coautor de livros. O caminho percorrido inicia com uma pesquisa bibliográfica de referencial teórico sobre a autoria na Literatura e no Design e pesquisa documental sobre direitos autorais; passando por um trabalho de observação participante, estudo de casos exemplares, entrevistas exploratórias e direcionadas e relato pessoal; chegando à análise descritiva dos resultados obtidos. Os princípios gerais apresentados não se esgotam a partir das especificidades do Design Editorial Narrativo, porém abrem caminho para uma possível efetividade da coautoria do designer editorial com o escritor. / [en] The thesis addresses the co-authorship of the editorial designer with the writer in the production of literature books. In this context, the position is adopted that not only the written text tells the story, but the object as a whole. Narrative Editorial Design is the term adopted in this research, to characterize integral editorial projects that build the multisensory non-verbal narrative together with the verbal narrative. In this case, a great involvement of the editorial designer, intellectual effort, creative and technical capacity is required. However, despite being increasingly present in storytelling, the editorial designer is only considered a collaborator. It so happens that there are no parameters to identify the non-verbal narrative of the book within the scope of the Copyright Law, nor legal arguments for the designer to be credited as a co-author and receive royalties from the sale. It is understood that the relationships established throughout the co-authorship project interfere and improve the final product and the articulation of narratives enhances immersion in reading. It is in the interests of editorial design to position itself in the face of emerging scenarios, with legal support, recognition and professional security in the market. Thus, the objective of this thesis is to find and suggest general principles so that the editorial designer can co-author books. The path taken begins with a bibliographic research of theoretical references on authorship in Literature and Design and documentary research on copyright; passing through a work of participant observation, study of exemplary cases, exploratory and directed interviews and personal report; arriving at the descriptive analysis of the results obtained. The general principles presented are not limited to the specificities of Narrative Editorial Design, but they open the way to a possible effectiveness of the co-authorship of the editorial designer with the writer. / [es] La tesis aborda la coautoría del diseñador editorial con el escritor en laproducción de libros de literatura. En este contexto, se adopta la posición de que nosolo el texto escrito cuenta la historia, sino el objeto como un todo. DiseñoEditorial Narrativo es el término adoptado en esta investigación, para caracterizarlos proyectos editoriales integrales que construyen la narrativa no verbalmultisensorial junto con la narrativa verbal. En este caso se requiere una granimplicación del diseñador editorial, esfuerzo intelectual, capacidad creativa ytécnica. Sin embargo, a pesar de estar cada vez más presente en el storytelling, eldiseñador editorial solo es considerado un colaborador. Sucede que no existenparámetros para identificar la narrativa no verbal del libro en el ámbito de la Ley dePropiedad Intelectual, ni argumentos legales para que el diseñador sea acreditadocomo coautor y reciba regalías por la venta. Se entiende que las relaciones que seestablecen a lo largo del proyecto de coautoría interfieren y mejoran el productofinal y la articulación de narrativas potencia la inmersión en la lectura. Es deinterés del diseño editorial posicionarse ante los escenarios emergentes, conrespaldo legal, reconocimiento y seguridad profesional en el mercado. Así, elobjetivo de esta tesis es encontrar y sugerir principios generales para que eldiseñador editorial pueda ser coautor de libros. El camino emprendido comienzacon una investigación bibliográfica de referentes teóricos sobre autoría enLiteratura y Diseño e investigación documental sobre derechos de autor; pasandopor un trabajo de observación participante, estudio de casos ejemplares, entrevistasexploratorias y dirigidas y reporte personal; llegando al análisis descriptivo de losresultados obtenidos. Los principios generales presentados no se limitan a lasespecificidades del Diseño Editorial Narrativo, sino que abren el camino a unaposible efectividad de la coautoría del diseñador editorial con el escritor.

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