This thesis sets out a theoretical premise for design research into the space of the designer, working inside the design system or context. The designer is understood as actor, as active agency looking inwards in a comprehensive way to examine where ideas are located and then, how these new insights or perspective might be meaningfully introduced. In order to develop this research, personal journal writing is employed as to develop an understanding about how the designer/actor can actively engage with being at once participant, and observer, of their own design practice. A series of design case studies are carried out, where the role of the designer as actor is critically examined through forms of personal journal writing. What this entails is the establishment of a form of autopoetic system for writing in several voices of the self, and self-as-other working in, and through as design project case studies. I critically evaluate these journal case studies to inform my understanding about the design of dialogic visual communication, where multiple perspectives of self, and self-as-other may be interwoven into the visual design artifact. As a result of conducting this research, I propose the existence of what I term the 'conversational self' as a means for developing new knowledge and knowing through conversational story-telling as design research. My research introduces the 'conversational self' as a generalisable theory for design research which addresses the ways in which the designer might effectively engage with the workings of personal tools and patterns of practice, thus building greater objectivity through recognition of local contexts, and the role of the designer as actor and as a situated self within the design process. My research findings describe a space for the 'conversational self' as the coming together of three linked knowledge systems for creation and learning. I describe this theory as 'agency-centred' design for research about design and experiential knowledge contexts through research into the development of project case studies where individual styles and approaches to learning and thinking which are recognised and valued as implicit tools of and for design practice. Firstly, the conversational journal writing format which I develop situates the designer/ researcher as both participant and observer within their design decision-making. As a result of the uses of the journal format as a practice-based research methodology through case studies, I observe the effect of producing what I term an 'autopoetic' (Maturana and Varela) self-producing system, which enables me to introduce both rational and intuitive content that works in my journal through a range of thinking styles and journal forms. My research strategy involves the writing of several concurrent and interacting levels of internal conversation across 'I', 'You', 'Me' and 'We' as parallel and interactive experiential voices of self through uses of a journal format where a range of experiences are documented as design project narratives. The conversational contexts which this approach offers provide a means for introducing multiple perspectives from self, and selfas- other (as designer, author, subject, agent, person) to explore topics and social knowledge themes through a range of creative conversational learning contexts (Pask, Glanville). In the course of developing this approach I draw on theories about personal constructs (Kelly, Thomas and Harri-Augustein); the self as forms as agency (Archer); about experiential learning and knowledge creation through learning conversations (Baker, Jensen and Kolb) ; and social knowledge as networks, flows and exchange processes (Boisot). Secondly, as a finding from my usage of this journal format, I propose the workings of what I describe as my 'unity of self' system construct as an enabling and generative system for working with social knowledge and the 'self' as forms of agency through internal conversations. Margaret Archer's theory describes the social self as forms of causal agency active in everyday social and experiential contexts. In my case studies I trace the internal dynamics and interactions of 'voices' of self in the journal text, which I evaluate as the workings of conversational levels and layers which engage with a range of details and perspectives for each project using written and non-verbal forms. The design case study projects each describes a particular context for design practice; including institutional, corporate, experimental, and personal design projects. In using this methodology for journal writing, I show how I am able to explore the social interplays of personal/public and individual/collective frameworks for design practice contexts. Thirdly, through my evaluations of the design project case study journals, I observe the emergence of topics and themes in each project around my understanding of the role of context for defining the social and experiential 'materials' (Schon) of the situation. The topics noted from conversations in design case inform what I term my 'contextual field' as the third learning system in my findings from this research. This 'contextual field' is a kind of topical map which provides signposts for working with social and experiential contexts, to design 'ecological narratives' (Krippendorff) as forms of language which are crafted as intentional and strategic design approaches, as responses to the research process of internal reflection about the materials of the situation (Schon) Through usage with my journal format, and unity of self construct, my contextual field topical map provides a framework for developing topics and themes for internal conversations to inform my design production in both 'service' and 'hand' craft project contexts. What results are rich use case studies documented as forms of conversational story-telling where new knowledge emerges as questions and possibilities around the design of visual artifacts and service contexts.

Detta är en kvalitativ empirisk studie med inriktning mot skolans lägre åldrar. Syftet med studien är att granska hur undervisning av matematikområdet bråk kan planeras och genomföras för att möjliggöra för eleverna att befästa och behärska kunskapen. För att uppfylla studiens syfte och frågeställningar används metoden design research. Metoden går ut på att ett antal cykler planeras och genomförs för att sedan kunna analyseras. Resultatet från analysen används sedan för att återigen gå ut och genomföra en lektion där målet är att skapa en lektion som är bättre än förgående, för att få en så effektiv undervisning som möjligt. Planerandet av dessa lektioner, cykler, utgår från tidigare studier gällande svårigheter med bråk. Planeringen utgår även från olika stadier i förflyttningen från konkret till abstrakt matematik som eleverna tar sig igenom. Trots att utvärderingen visar på goda resultat hos eleverna, visar analysen att det alltid finns flertalet delar i undervisningen som går att utveckla till det bättre.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2017-03-17T13:13:33Z No. of bitstreams: 1 Bruno Miguel Baccin_.pdf: 1986903 bytes, checksum: 534be108ef52eefbf7da278cfe86170a (MD5) / Made available in DSpace on 2017-03-17T13:13:33Z (GMT). No. of bitstreams: 1 Bruno Miguel Baccin_.pdf: 1986903 bytes, checksum: 534be108ef52eefbf7da278cfe86170a (MD5) Previous issue date: 2017-01-13 / Nenhuma / O acirramento da competitividade no ambiente industrial, relacionado ao fenômeno da globalização, direciona as organizações a buscar continuamente otimizar seus negócios. Um mercado formado por clientes cada vez mais exigentes sob o ponto de vista de preços, atendimento, qualidade e tecnologia, somado a uma competição com empresas internacionais tende a apresentar dificuldades para a competição das empresas brasileiras. Este cenário econômico aponta para o acirramento da competição através do aumento da variedade de produtos e da redução do tamanho dos lotes de fabricação. O referencial teórico busca apresentar os principais aspectos teóricos acerca do impacto que a variedade de produtos causa sobre os sistemas produtivos e também as principais metodologias e técnicas que auxiliam no entendimento e padronização do portfólio de componentes. A partir desde cenário, o presente trabalho propõe um método geral para implantação de um programa de padronização que tem por objetivo auxiliar na redução de variedade de componentes, mantendo a mesma diversidade de produtos ofertados ao mercado. O método de pesquisa foi o Design Research e a etapa empírica do trabalho foi realizada em uma empresa do setor metal-mecânico, localizada em Farroupilha (RS). O método proposto teve como base cinco fontes de informação: i) os conceitos e técnicas existentes no âmbito da literatura; ii) proposições teóricas da pesquisa; iii) conhecimento empírico de um grupo de especialistas, que avaliou o método antes de sua aplicação; iv) contribuição dos profissionais da empresa e do próprio pesquisador a partir da aplicação do método; e v) a avaliação do método a partir da aplicação do mesmo em ambiente empresarial. Ao término do estudo, chegou-se a uma proposta final de método que está disponível para novas aplicações. / The intensification of competitiveness in the industrial environment, related to the phenomenon of globalization, directs organizations to continuously seek to optimize their businesses. A market made up of increasingly demanding customers from the point of view of prices, service, quality and technology, coupled with a competition with international companies tends to present difficulties for the competition of Brazilian companies. This economic scenario points to the intensification of competition by increasing the variety of products and reducing the size of manufacturing lots. The theoretical framework seeks to present the main theoretical aspects about the impact that the variety of products has on the productive systems and also the main methodologies and techniques that help in the understanding and standardization of the component portfolio. From this scenario, the present work proposes a general method for the implementation of a standardization program whose objective is to help reduce the variety of components while maintaining the same diversity of products offered to the market. The research method was Design Research and the empirical stage of the work was carried out in a metal-mechanic company located in Farroupilha (RS). The proposed method was based on five sources of information: i) the concepts and techniques existing in the literature; ii) theoretical propositions of the research; iii) empirical knowledge of a group of experts, who evaluated the method before its application; iv) contribution of the professionals of the company and the researcher himself from the application of the method; and v) the evaluation of the method from the application of the same in business environment. At the end of the study, a final method proposal was made available for new applications.

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There are several computer aided design systems which exist to aid the conceptual phase of design. These CAD systems provide adequate geometry input, but often lack the capability to interactively obtain large amounts of numerical and text input often needed by analysis software. An interactive method for facilitating this non-geometric input to conceptual design analysis systems is needed. This thesis describes the creation of a spreadsheet input system to fulfill this need. The requirements, functional specification, and design of the system are addressed using a software engineering methodology. Accepted standards for programming and graphics, namely C and PHIGS, are used in the implementation. This is a system which can be used either to enhance existing CAD software or in the creation of new CAD systems. The use of this spreadsheet system in the enhancement of the well-known aircraft conceptual design system ACSYNT is also described in this thesis. / Master of Science

Submitted in partial fulfillment for Masters in Fashion, Durban University of Technology, Durban, South Africa, 2016. / In my practise-based action research self-study I have developed ways in which to improve my practice as a bridal-gown designer in a highly-competitive and import-driven bridal-gown market. My earnest intent was to improve my practice using action research methods whilst simultaneously developing a solution through critical reflection and practice-based approaches as an economically-sustainable designer of bespoke, cost-effective, competitively-priced bridal gowns. I realised the potential for professional influence and positive economic growth through entrepreneurial thinking, not only for me but for others; it was this which cemented a sense of values in me as an action researcher. I have displayed a healthy marriage between equally important views of practice as theory and the theory as practice. I explored relevant literature that would validate my practice and aid in answering my critical questions, which became evident as validation chapters in my study. Carrying out internships with three bridal gown designers opened my eyes to the real world of business, a sense of theory as practice, where I could see, first-hand, the effects the import industry had on local designers and what they were doing to survive. The conceptualisation of foundational bridal blocks was a solution to save time in my own creative process so that I could produce cost-effective bridal gowns at a competitive price, in a sustainable manner. Once I had explored and created my own interpretation of the foundation block concept that transformed into a small collection of bridal gowns, I used the foundation blocks as a starting point to design bridal gowns for ‘real’ bridal clients. My study is personal in nature; by way of using self-study methods and also the personal ‘one-on-one’ connection I have with my ‘real’ bridal clients. I extended this ‘personal factor’ by holding a public exhibition to which I invited my friends, family, the public and my peers to view and give critical feedback on my work as a bridal gown designer. / M

This thesis presents the development and evaluation of a new approach (Sound- TrAD) to designing auditory interfaces. The proposed approach combines practices and concepts from film soundtrack composition with established approaches to general user interface design. The synthesis of the two design approaches from different areas of design into a novel approach may be viewed as an example of conceptual integration, (also known as conceptual blending). The process of developing and evaluating SoundTrAD broadly follows a methodology of Research through Design. The thesis presents four user studies as part of an iterative design and evaluation process. Each study involves a mixture of expert and novice end-users which provides new information and identifi es new questions and design issues for the subsequent studies. The fi rst study explores how an idea from fim composition (the cue sheet) can be used in auditory interface design to help designers place and organise sound elements, and to better understand auditory design spaces. In order to make this concept work in the new context, it is combined with the scenario concept from general interaction design to provide designers with reference linear sequences of events and actions. The second study used thematic analysis to investigate how information to be sonifed can be characterised and analysed for features that can be mapped in to sound. The study also explores the development of a timeline on which the sound design ideas from soundtrack composition for individual events, can be placed and in principle moved in order to cater for multiple use-case scenarios. The third study presents an iteration of this, including further development of both the task analysis and mapping technique. The study also explores the idea in principle of an interactive timeline that can be manipulated by the designer in order to re-arrange and audition sound events. The final study brings the studies together by obtaining feedback on the success of a nal version of SoundTrAD.

A growing number of interior design stakeholders believe that increased levels of research will lead to the legitimization of the profession, an expanded and specialized body of knowledge, professional recognition, disciplinary status, and sustainability of the profession. Despite the potential importance of research in the profession, few strategies exist for how research can have a more effective role within interior design. The main purposes of this study were to provide a strategy for incorporating research into interior design, and provide educators with information about how interior design programs could utilize the strategy. The qualitative study was based on a triangulated research design that included: (a) semi-structured telephone interviews with 29 participants (11 from educational institutions, 14 from professional practice, and 5 from professional organizations); (b) the collection of documents from all study participants; and (c) a case study, conducted over a five day period, within a professional practice firm in the United States. The study findings provide insight into the perceptions held by educators, practitioners, and members of professional organizations about research, and research in interior design specifically. These perceptions, combined with other information, led to the Theoretical Framework for Research in Interior Design. Consisting of three distinct, but interconnected, cultures: (a) design, (b) research, and (c) knowledge management, the Framework explains who, what, when, where, why, how, and with what consequences research is conducted, translated, used, and disseminated in interior design. The implications of the Framework for post-secondary interior design education programs suggest that first-professional undergraduate programs could focus on interior design, first-professional masters programs could focus on knowledge management, and post-professional masters and Ph.D. programs could focus on research. This arrangement would provide each level of post-secondary education and each program type with a specific focus, and would provide the discipline with a range of graduates capable of taking on a variety of roles within professional firms, educational institutions, professional organizations, industry, or government. Overall, the Framework provides a strategy for ensuring that the interior design profession retains its design identity, and expands and capitalizes on its research identity. At the same time, the Framework introduces a new identity that can bring designers and researchers together in more productive and beneficial ways. / February 2005