The research contained in this thesis provides an investigation into a new method of minimising the perceptual differences when encoding digitised speech. An application of the perceptual criteria is described in the context of a codebook encoding methodology Some of the background studies covered aspects of psychoacoustics, in particular the effects of the human outer, middle and inner ear. Models approximating each region of the ear are utilised and concatenated into a single overall auditory response path model. As the objective of the research is to encode and decode speech waveforms, some study into how speech is produced and the classification of speech sounds is required. From this there is a description of a basic speech production model which is modelled as a digital filter. A review of the main categories for coding schemes that are currently employed is presented along with commonly used coding methods. In particular the codebook coding method is reviewed in sufficient detail to contrast with the new coding method. The development of a new perceptual minimisation criterion which relies on dual application of the auditory response path model on the original and reconstructed speech waveforms is described. In this the ordering of eodebook searches, the frequency spectrum used as the search target, windowing functions with durations and placement are all analysed to determine the optimum encoder design. Also described are a number of prospective gain algorithms which cover both time and frequency domain implementations. A new encoder is constructed which fully integrates the new perceptual criterion into the minimisation of the original and reconstructed speech waveforms. In the minimisation no part of the traditional encoder method is used, however both methods use a similar technique for determining gain factors. Speech derived from both encoders was subjectively assessed by a number of untrained, independent listeners. The results presented show that both methods are comparable but there is a slight preference towards the traditional encoder. A measure of the complexity indicated that the new minimisation method is also more complex than the traditional encoder.

The research contained in this thesis is an investigation into mosaic construction. Mosaic techniques are used to obtain images with a large field of view by assembling a sequence of smaller individual overlapping images. In existing methods of mosaic construction only successive images are aligned. Accumulation of small alignment errors occur, and in the case of the image path returning to a previous position in the mosaic, a significant mismatch between nonconsecutive images will result (looping path problem). A new method for consistently aligning all the images in a mosaic is proposed in this thesis. This is achieved by distribution of the small alignment errors. Each image is allowed to modify its position relative to its neighbour images in the mosaic by a small amount with respect to the computed registration. Two images recorded by a rotating ideal camera are related by the same transformation that relates the camera's sensor plane at the time the images were captured. When two images overlap, the intensity values in both images coincide through the intersection line of the sensor planes. This intersection line has the property that the images can be seamlessly joined through that line. An analogy between the images and the physical world is proposed to solve the looping path problem. The images correspond to rigid objects, and these are linked with forces which pull them towards the right positions with respect to their neighbours. That is, every pair of overlapping images are "hinged" through their corresponding intersection line. Aided by another constraint named the spherical constraint, this network of selforganising images has the ability of distributing itself on the surface of a sphere. As a direct result of the new concepts developed in this research work, spherical mosaics (i.e. mosaics with unlimited horizontal and vertical field of view) can be created.

This is an investigation into the scope for applying continuous improvement (CI) to the process of new product development (NPD). The thesis makes two main contributions to knowledge. Firstly, it brings together the fields of continuous improvement of processes and NPD, which both have their own literature and research activity but have hitherto remained somewhat separated from each other. Secondly, it develops and tests an analytical model to support the implementation of CI within NPD.

With this thesis I want to share my exploration of pulse and rhythm as elements of design. I locate my research on the meeting point of two different contexts: one is the expansion of kinetic art into design projects, resulting in aesthetic use of motion playing wider roles in design, and the other is the expansion, in relation to technological development, of the value of pulse as a design element. My hypothesis is that the value of pulse as an element of design can be heightened by acquiring the aesthetic use of repetitive motion seen in kinetic art, forging emotional communication with viewers/users. The mission of this research is to demonstrate this argument through practice, collecting working ideas and methods. I propose a model of pulse which can be used as a tool to reflect on projects from a new perspective. To forge a workable focus for the research, I articulate a definition of Japanese aesthetics and deploy related criteria of design. My exploration covers three topics - single pulse, pulse synchronisation, and pulse interference. Several ideas and methods were tested across eight projects in total, related to theories from various fields including biology, physiology, psychology, philosophy, mathematics and physics, and inspired by art and design practice. The insights gained from the projects allowed me to expand the scope of the exploration from pulse to rhythm, and I also reflect on my work from this perspective, distinguishing rhythm from pulse. Furthermore, I conducted an interview-based study to look into rhythm inferred from non-pulsing motions, and the insights from the interviews are presented in the thesis with an additional discussion. The output of the research takes two forms: recommendations, as a simpliflied and generalised summary of my findings, and case studies (projects), as a concrete source of inspiration for the reader's own creations. By thus interweaving the practical and theoretical knowledge gained in the research, I believe this work provides a useful contribution to the field of design.

This research was commissioned and funded by The Welding Institute (TWI). The Welding Institute are a global research and development facility specialising in the joining of materials for industrial applications. The purpose of this research was to develop capability in textiles joining, particularly ultrasonic and laser welding technologies, which is relatively new to TWI. The appointed researcher adopted a ‘multi-strategy’ (Cresswell 2009) approach to the research; encompassing methods that were both familiar and unfamiliar to those usually adopted by TWI employees and researchers, whom mostly come from engineering and scientific backgrounds. The research was primarily undertaken with the adoption of a ‘craft-design’ approach that uses material investigation to explore and uncover interesting leads for investigation, which was the familiar approach of the researcher coming from a background in textile design. Material studies were carried out inquisitively without the formation of a particular hypothesis and insights were discussed with industry to identify potential commercial and functional application opportunities. Following the identification of an interest in welding stretchy fabrics Speedo agreed to become the main industry partner for the research, providing materials, access to testing equipment and validation of commercial opportunities for material samples relative to their application. The main hypothesis for the research Laser melted patterns can be used to control the elastic behaviour of stretchy textiles to have a targeted and variable compressive effect on the body developed through discussion with Speedo in response to material samples produced using transmission laser welding equipment. A predominant scientific approach was adopted during the second phase of the research to quantify and control this effect: to demonstrate repeatability and test it both on fabric and the body. Methods that were unfamiliar to the researcher prior to this research such as mechanical testing and microscopic analysis were employed. Selection of either a ‘craft design’ or ‘scientific’ approach was made pragmatically in response to the research as it developed. Through a retrospective analysis of applied methods throughout the research trajectory it has been possible to define this particular ‘multi-strategy’ project as a ‘sequential exploratory’ design (Cresswell 2009), whereby periods of subjective investigation are followed by empirical testing. The main process that has been developed by this research is a decorative method of controlling the elastic behaviour of stretchy fabrics using transmission laser welding equipment for a controlled and variable compressive effect on the body. Compression fabrics are used widely within the medical, lingerie and sportswear fields to apply pressure to the body either for an aesthetic or functional advantage. In swimwear, compression fabrics are applied to streamline the silhouette and minimise drag resistance. The technique developed by this research makes a contribution to knowledge within the field of laser processing of textiles, specifically within the field of transmission laser welding, and within the field of compression apparel. In the field of transmission laser welding a new functional capability for all-over surface patterns has been demonstrated. In the field of compression apparel a new decorative method for achieving an increasingly variable compressive effect for a smoother transition between different zones of stretch has been achieved. N.B. All redacted information throughout this thesis is confidential to Speedo.

This dissertation presents an inquiry into the roles played by persistent, shared external representations in design collaboration. It advances an understanding of the active participation of these representations—including drawings, models and prototypes—in the collective reasoning of design teams. Interaction was analyzed using a novel network formalization to portray the accomplishment of essential work in this context. A synthesis of analyses over different time scales provides the basis for a comprehensive notion of representational support for design interaction, and a diagnostic for problems that may arise with inadequate support and/or disparities of access and participation. Data were collected during working sessions of a leading, “real-time” concurrent design practice at NASA’s Jet Propulsion Laboratory, notable for accelerated performance and the use of technologically-advanced, shared representations. Fine-grained analysis of this activity offers insights to complement those obtained from laboratory studies of individual designers, ad-hoc groups, and organizationally-situated ethnographic accounts. A microanalytic technique was developed to assess dynamic interaction between participants and representations. The resulting, novel formalization of an actor-discourse network makes concepts derived from actor-network theory operational to understand the work accomplished through design interaction. Network visualization and structural metrics highlight patterns associated with productivity in the design process. On this basis, indicators for the quality of design conversation are proposed: these include the degree of participants’ engagement, the development of design discourse, the integration of representations and the consolidation of commitment to action. Specific roles and situational attributes of representations are identified that foster and sustain advances in collective design reasoning. The dissertation advances a view of design activity in terms of temporally-evolving constellations of issues and actors, in which representations act to stabilize and anchor expanding networks of commitment. Directions for further work include technical enhancement to network metrics and visualization, extension of the actor-discourse network formalization and further exploration of theoretical and practical issues pertaining to representational actors in social situations.

Human spatial experience has recently expanded due to the development of location-aware technology. Locative information has become more significant within urban space; as such, related discourses have attempted to focus on the issue as a way in which we acquire locative information when we experience space. Digital location-aware methods enable the demonstration of live densities of telecommunication through which one can infer temporal and spatial factors of live urban situations. When locative telecommunication data is mapped onto urban space, temporal-spatial demographic maps are obtained. Based on these maps, one can infer the correlation between spatial experience and architectural programmes via on site observation and by determining the multi-layered structure of spatial experience via designed data installation. These considerations aim to investigate locative interaction in urban space in order to expand spatial experience. This research begins with two linked theoretical notions: rhythm analysis and heterotopia—in other words, temporality as it relates to our everyday life and spatiality as it relates to our search for ideal space. In addition to these positions, the following discourses are specifically developed to investigate locative interaction in urban space. Firstly, the temporal and spatial patterns of urban activities are investigated in an attempt to grasp current urban interactions. The telecommunication data is then mapped geographically. Secondly, the gap between the endowed architectural programmes and the observed activities in urban space is explored in order to examine the multi-layered structure of urban interaction. Thirdly, the above discussions are synthesised using a design project that interprets epistemic aspects of this initiative. Lastly, urban rhythms and locative virtual layers are suggested as the concept for locative interaction in urban space where architectural programmes become more flexible, thus expanding spatial experience. Two projects demonstrate as applicable scenarios of locative interaction in urban space; they involve a heterotopia finder and a floating gallery over London. This research suggests a new viewpoint from which to consider our world and its digital presence by mapping a ‘live urban space’ using telecommunication data—an initiative that highlights the importance of people as a crucial aspect of our digital surroundings. This research ultimately contributes to expanding urban spatial experience and providing an informative and holistic mapping structure for architecture and urban design, interweaving it with the digital environment.

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.