Exegesis (MA&D) -- AUT University, 2008. / Includes bibliographical references. Also held in print (78 leaves : col. ill. ; 21 x 30 cm.) in the Archive at the City Campus (T 759.993 ROC)

Exegesis (MA&D) -- AUT University, 2008. / Includes bibliographical references. Also held in print (26 leaves : ill. ; 30 cm.) in the Archive at the City Campus (T 709 THO)

Three monographs and two chapters in edited volumes are submitted for this PhD by Publication. All cover aspects of contemporary design practice since about 1990 in the areas of furniture and related product design, ranging from industrial mass-production to craft and so-called ‘design art’. The introduction explores the context in which these works were written and published and establishes the author as a non-designer design expert, with knowledge about design practice but without design skill. This special position was established by my role as a curator of contemporary design in a national museum collection, and later as an academic. I examine how my perspective affected the ways in which I could write about design; as a privileged ‘gatekeeper’ to the domain of contemporary design practice, as a design historian, as a curator with a duty to interpret my subject for a broad non-specialist public, and as a specialist tutor of student designers. Therefore the main thrust of the PhD is established, which questions how to write about contemporary design practice. The methodologies for each published work are examined. Although they share common ground in a broad consideration of designers’ practices since about 1990 and the reception of their works by various markets, each was written from its own perspective. These vary from an emphasis on the design industry and its machinations, to a consideration of how the contemporary art market’s values have affected the production and distribution of one-off and limited edition design works, to a study focusing on the designers themselves and how their works are sometimes co-opted as agents of cultural diplomacy. Further reflection and theorizing about these works draws upon Actor Network Theory to establish structural relations between the subjects of the works – the contemporary designers – and myself as a non-partisan, but nevertheless complicit, commentator. With Nigel Whiteley and Kenneth Ames I seek to repudiate the constraints of ‘design history’, preferring a more plural and encompassing category of ‘design studies’ where diverse theoretical and structural influences can be brought to bear on writing about design. To this end, I propose a new theory of Performative Design, drawing on the linguistic ‘speech acts’ of J.L. Austin and John Searle, and the identity politics of Judith Butler, as a mechanism or lens through which we can interpret certain contemporary design practices.

With the arrival of multisensory and haptic technologies, interactive digital experiences are no longer merely audio-visual creations – and they are no longer the forte only of engineers and computer scientists. More artists and designers are creating experiences involving a larger spectrum of the senses, specifically the touch sense (Stelarc, 1991; Myron Krueger, 1991; Stahl Stenslie, 2009). This raises issues such as the kind of theoretical knowledge that is useful to inform the designer, the kind of approach that can be taken to include touch in interaction design, and how this can be used in the new design space. Particularly interesting for the design of salient multisensory experiences is an awareness of how perception is currently understood. The integration of haptic capabilities in many contemporary interactive designs makes the communicative potential of touch in terms of sensory, affective, individual and creative expression even more relevant. This thesis seeks to establish a theoretical framework to inform holistic design choices from the perspective of philosophical and culturally relevant debates and a solid understanding of the human user and their perception. This task is approached by establishing the affordances of touch – i.e. the meanings that emerge from interacting with the environment through the haptic sense, but in contemplation of the user as a gestalt, in their individual context, uniting the senses in an embodied approach: viewing perception as an active process and rejecting the Cartesian separation of body and mind. This approach is aligned with the ideas of phenomenology about embodiment – seeing the body, action and movement as the basis for experience and meaning. This includes an examination of the use of metaphors as synaesthetic drivers of meaning, understood in and across different sensory modalities. This research also explores the kind of haptic expressions that can be designed for remote interaction, whether it is possible to establish a haptic language, and whether such a haptic language can be learnt. Parameters of touch need to be explored to enable the creation of meaningful, holistic and user-­centred interactive experiences. These problems are explored in practice, by developing and implementing a prototype design of a multisensory environment capable of crossmodality, dialogue between modalities (visual, aural and tactile), and evolution. MEDIATE (EU funded project under FP5/IST Framework: IST-­‐2000-­‐26307) provided for full body and gestural interaction capabilities, and was intended to be a platform for sensory communication and expression, specifically for people on the autistic spectrum with low verbal skills. It therefore serves as a useful case study to exemplify the appropriateness of the concept of metaphors and image schemata in terms of designing multisensory interfaces. Haptic interfaces with sonic and vibrotactile responses were integrated in MEDIATE and provided opportunities for prolonged interaction with varied levels of complexity in user behaviour and stimulated interesting engagement, which seemed to encourage motivation, attention span, learning and novel behaviour across modalities, particularly for children on the Autistic Spectrum. Semiotic analysis of haptic interface design case studies highlighted processes of communication and the potential of metaphor. The use of Semantic Differentials while feeling textures in a ‘Haptic Box’ enabled the articulation of experiences outside of verbal description, and pointed to tacit understandings and metaphorical associations with tactile experiences. A questionnaire was used to explore haptic memories, and statistical and semiotic analysis was done on ‘readings’ of materials such as silk and bark. A prototype haptic communication device, made of a customized Pinpression toy provided couples with the opportunity to explore scenarios of remote communication through touch, documented in user diaries and digital photographs. The results show that there are associations we have with certain textures, which could be related to an embodied experience, i.e. one which is based on interaction of the body as a whole, rather than just a cerebral, ‘cognitive’ experience. The results also show how interfaces can be successfully designed to provide opportunities for prolonged interaction with varied levels of complexity of behaviour, which seemed to encourage motivation, increased attention span, learning and novel behaviour across modalities, all of which is significant for children on the Autistic Spectrum. Organic materials probably draw forth a more commonly shared response, whereas synthetic ones are more dependent on personal history. In the remote interaction situations, couples successfully embraced the concept of a new communication device involving touch, and also had personal, idiosyncratic ways of developing strategies of usage. One couple in particular utilized embodied schemata for their expression, demonstrably utilizing dimensions such as boundaries, proximity and flow of experience. In the multisensory environment MEDIATE, it was clearly necessary to make use of design drivers that can be understood and made sense of in various sensory modalities. The relationships can be arbitrarily designed, but was it was shown that they are more saliant if they have their foundation in bodily experience. Metaphors have synaesthetic relationships and mappings, which can assist in designing meaningful content across different sensory modalities. Similar metaphoric and synaesthetic processes have been investigated and shown in the Haptic Box and PinKom study. This holistic approach could help further our research around the expressive potential of touch, in more than a translation of the visual, but rather in a tight and complex mapping with the other senses, taking into account the actions of an individual in their environment. Successful communication devices should not only cater for the imaginable creations; design should at some point also consider the possibility of an evolution of language, and for the development of unique, personal expressions.

This research identifies and addresses a critical knowledge gap on the discipline of editorial information design, a new area of data visualisation within the editorial environment. Due to the paucity of literature of the specific area at the moment of writing, this study aims to bring explicitness to design practices that remain, in research terms, largely unexplored. Literature supporting the emergent research, was examined from two key areas. Firstly by investigating general design theory and principles from well-developed design fields, and secondly by examining selected material from the established area of information design, reviewing essential concepts of information visualisation. With both areas combined, this ensured breadth and depth of research perspective and sensitised the researcher on critical issues later used to evaluate emerging material. To fulfil the aims of the study, interviewing was the primary method of data acquisition, with the Grounded Theory Method the selected methodology to analyse the data, as it was perceived as the most effective to capture tacit and empirical knowledge and connect it with practitioner activity. As a qualitative method it consists of practices that interpret data and makes the world visible, encouraging the researchers to be active and engaged analysts, utilising abductive reasoning on findings, even during the data collection. This effect informs and advances both areas as through forming iterative process, the abstract level is raised and analysis is intensified. The material highlighted the tacit, embedded in the act of designing, knowledge that practitioners of editorial information design possessed, informing the observed knowledge gap. The combined material was coded, juxtaposed, and refined through multiple analytic cycles, seeking emergent elements of critical activity of editorial information design, with the potential to define practice. The outcomes of the analysis are presented in structured form: emerging codes construct themes of designer activity, delineating essential operations and producing indepth descriptions grounded on empirical data. Cross-theme conceptual structures also emerge through further analysis, as abstract categories that capture designer operations in continuity and offer insight on how practice transitions between key stages. This study concludes with the presentation of a set of grounded theories, elucidating areas of editorial information design absent from the existing literature. While previously the design area remained obscure and implicit, leaving a lot to speculation, through this study key areas and activities become visible: elements directly associated with tacit designer action and design epistemology become explicit, revealing and defining the area under investigation.

The primary purpose of this study was to investigate how well prepared beginning art teachers felt they were to perform the jobs they now do. The research question for this study was: How do beginning art teachers in the state of Florida describe, interpret, and evaluate their Florida-based teacher training program and what do they suggest for its improvement? To examine the issues of art teacher training and current teaching practices, this study was triangulated, including a survey of beginning art teachers who teach in the public schools of Florida and observations and interviews of three selected teachers in light of a description of art education programs in Florida universities and colleges from which the teachers graduated. Through survey responses, the 47 participants in the study reported that they valued the practical knowledge presented during their teacher training over the theoretical. It also was found that beginning art teachers teach the skills they feel best prepared to teach and that studio production is the preferred mode of art instruction. The teachers in this study were more often influenced by the teacher supervising their internship during their teacher training than by their professors or other education courses, and the classroom observations and internship were perceived as the most valuable component of their training. The participants also described problems they encountered in teaching, which they were not prepared for, of which the most frequently cited were lack of respect and support for the arts in K-12 schools and lack of sufficient funding. Participants in this study suggested ways that university/college art programs might be improved to provide art teachers with the skills, knowledge, and experiences that will better enable them to successfully meet the demands of teaching. The most frequently offered suggestions were longer internships and more classroom observations, more studio classes, more pragmatic skills and less theory, and more preparation in classroom management. Implications for the design of art teacher training programs suggested by the results of this study involve more extensive collaboration between the universities responsible for the training of teachers and the K-12 schools and between their respective faculties, a re-examination of how studio, art history, art criticism, and aesthetics are taught in the art education programs, and an examination of standards used to select highly qualified supervising teachers for internships. As a result of the findings of this study, it is proposed that more art methods coursework, particularly in studio art, should be required to better address the needs of prospective art teachers. It is also proposed that training is needed in arts advocacy to address the problems experienced by art teachers in schools. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester, 2007. / October 26, 2007. / Art Teacher Preparation, Art Education Programs, Art Teacher Training, Art Education / Includes bibliographical references. / Tom Anderson, Professor Directing Dissertation; Lisa Waxman, Committee Member.

Haiti is the poorest country in the western hemisphere and one of the poorest in the world. Education is considered one of the best ways for Haitians to climb their way out of poverty, but unfortunately it is unattainable for most. Literacy rates in Haiti remain around 50%, which is significantly lower than the 90 percent literacy rate for Latin American and Caribbean countries (Library of Congress, 2006). The recent 7.0 magnitude earthquake of January 2010 devastated a large percent of the small number of primary and secondary schools in Haiti and destroyed the majority of the three main universities in the capital city of Port-au-Prince. Earthquake devastation combined with the lack of resources and poor infrastructure places Haiti in a critical time where school facilities and education are in desperate need. This study addresses the current needs of Haitian schools, the specific building design, and proposes a design solution that considers circumstances unique to Haiti. The primary focus of the research is defining fundamental needs for primary schools in Haiti while considering their economy, climate and culture. One of the major obstacles for education in Haiti, particularly affecting the rural areas, is the lack of physical access to school facilities. It has been noted that some children will walk hours one way to school each morning after performing their domestic chores at home (Lunde, 2008). This long fatiguing walk, oftentimes before dawn, drains the students' ability to stay focused and alert while at school. The study began with a review of literature examining Haiti's history, current school system, building methods and materials as well as briefly discussing some hurricane and earthquake considerations. In addition, an examination of other underdeveloped nation's successful school design solutions was explored for possible application to Haiti. For better understanding of the current needs of Haitian schools, a trip was taken to Haiti and site visits, observations, and interviews were conducted. Those interviewed were affiliated with four different schools in Haiti and were asked questions assessing the current school facility and what aspects needed improvement. Photographs were taken to document the conditions of the schools and everyday life in Haiti. After collecting data from the trip's observations and interviews, several themes emerged as reoccurring problems in Haitian primary schools. The ten issues that emerged were low lighting in classrooms, lack of clean and running water, safety and protection, safe areas to play, lack of classroom space, noise control, heat control, restroom facilities, personal spaces and personalization and the need for porches and shaded areas. Analysis of the data revealed basic and realistic, simple, low-cost recommendations for potential solutions to address each of these issues. The findings were presented in a problem-solution type format where the problem is stated, the context and why it is important briefly discussed, and then the presentation of potential solutions with supporting sketches. In addition to the examination of educational facilities in Haiti and other underdeveloped nations worldwide and to explore effective methods for building primary schools in Haiti, this study hopes to raise awareness to the extreme poverty of a nation that sits only 500 miles off the American coast and to help a failing nation. / A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts. / Spring Semester, 2011. / March 25, 2011. / Primary Schools, International, Poor Countries, Education / Includes bibliographical references. / Lisa K. Waxman, Professor Directing Thesis; Jill Pable, Committee Member; Eric Wiedegreen, Committee Member.

This study addresses the role of design in the creation of urban Transit-Oriented Developments. The emphasis of the study is the promotion of human interaction through pedestrian and transit modes of transportation. The objective is to understand and utilize in a design, factors that create a sense of community within Transit-Oriented Development. The design considers the human needs, social interaction, and the value of community identity in creating an urban sense of community. The culmination of research lead to the development of a proposed community based Transit-Oriented Development design. The site selected is located within an existing transit network in Jacksonville, FL. The goal of the design was to create a multi-use pedestrian shopping center that fulfilled the design criteria set forth in the Downtown Jacksonville Master Plan. The spatial relationships have been designed to promote social interaction. Spaces incorporated into the design include: a plaza adjacent to a light rail transit station with public seating, restaurants, performing arts space, a community arts center, and a pedestrian shopping center with street-level commercial uses and multi-family housing units above. The housing types include studio apartments, one-bedroom apartments, and townhouses to accommodate residents from a mix of incomes and household types. The role of the development in the LaVilla district is designed to strengthen the existing community, and provide a center of commerce to enhance the existing transit system and urban area of Jacksonville, FL. / A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts. / Summer Semester, 2005. / June 24, 2005. / Urban Housing, Downtown Entertainment, New Urbanism, Green Design, Sustainable Design, Sustainable Development, Pedestrian, Transit, Jacksonville Florida, Community Arts Center, TOD, Transit-Oriented Development, Viz Rendering, Place Attachment, Community Identity, Sense Of Place, Brownfield, Urban Renewal, Design, Interior Design, Mixed-Use Development, Public Space, Transit Plaza, Urban Planning / Includes bibliographical references. / Peter Koenig, Professor Directing Thesis; Lisa Waxman, Committee Member; Ricardo Navarro, Committee Member.

This thesis examines design strategies for mixed-use developments that promote a sense of community. This sense, expressed in various ways including placemaking and other urban design considerations, is especially important to young professionals (ages 21-29) because they seek belonging and connectedness in their surroundings. The specific objective of this thesis is to explore design elements that create a sense of community within a mixed-use, urban development and apply these design elements to a hypothetical mixed-use development for young professionals. The targeted site is the historic Coca Cola Building within the All Saints District of Tallahassee, Florida, a district adjacent to an area currently slated to be part of the Gaines Street Revitalization Project. This project is a city initiative intended to revitalize and redevelop the Gaines Street Corridor and reenergize this downtown area into an arts-based live-work area. The site functioned as a bottling plant for the Coca-Cola Company in its original context; therefore the industrial character of the area inspires the concept of the design. The design incorporates the factory aesthetic of the industrial power loom, which embodies the ideas of urban fabric and weaving members of the community together to form a single tight knit community. This design proposal explores fostering a sense of community among young professionals via reenergizing an existing building that is part of the local urban fabric. In order to achieve community, the design incorporates such elements as activity stations, as well as grouped seating arrangements created to allow for social interaction among young professionals. The design also includes venues such as a gallery space where members of the community may display their own work, allowing for placemaking through personalization. By employing suitable elements and principles of interior design coupled with an attention to urban placemaking, this proposal's goal is to anchor the All Saints District community with a vibrant built place for living, working, and playing. / A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts. / Summer Semester, 2011. / June 29, 2011. / Young Professional, Sense of Community New Urbanism, Mixed-Use, Interior Design, Placemaking / Includes bibliographical references. / Jill Pable, Professor Directing Thesis; Eric Wiedegreen, Committee Member; Jim Dawkins, Committee Member.

This study examines the historical underpinnings of mainstream industrial food models and their effect on modern kitchen design. It explores the idea that conceptual kitchen design begins with a clear understanding of the cultural history of a space, as well as the particular needs of one's client. Research suggests some individuals reject industrial food models, and some posit that these "countercuisine" adherents may be early adopters of a future model for food consumption and production. Thus, this study seeks to examine the groups' eating habits and perceptions and suggests that their cultural principles be considered in kitchen design. Conclusions were drawn from a survey instrument coupled with relevant literature review. Emergent themes included: Contemporary industrial kitchens may disconnect users from Nature, The definition of efficiency demands reconsideration of the term 'natural systems' (that the kitchen is indeed a natural system itself, which carries implications for its design); and, Qualitative responses regarding food icons in the kitchen may be used as strong foundations for conceptual kitchen design (such as the display and availability of natural foods like fruits and vegetables). Lastly, this study concludes that information regarding the design of countercultural kitchens ought to be readily available to interested individuals, and that a print or web version of a 'zine' may be an appropriate vehicle. It is hoped this research will act as the foundation to establish further guidelines leading to the full publication of a layperson resource. This product intends to provide suggestions and design guidelines for alternatives to the American industrial kitchen and to ultimately support social change already underway in American society. / A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts. / Fall Semester, 2009. / October 8, 2009. / Interior Design, Kitchen Design, Food, Activism, Countercuisine, Conceptual Development, Zine / Includes bibliographical references. / Jill Pable, Professor Directing Thesis; Karen Myers, Committee Member; Lisa Waxman, Committee Member.