O argumento desta tese é delineado no bastidor da noção de 'programa‘. O termo 'programa‘ inclui, em seu significado, software (programa computacional) e programa de arquitetura. É tramado pelas diferentes instâncias da natureza projetual, em que interagem programa e projeto. Equaciona o fenômeno digital a partir das diferentes naturezas que o conceito de 'programa‘, como software e programa de arquitetura, pode assumir. Analisa a interação entre projetista, ‗programa‘, imagem e informação no projeto digital. Propõe a experimentação como forma de transcender as limitações impostas pelas regras programadas nos 'programas‘. / The thesis argument is delineated in the embroidery frame of the notion of 'program‘. The term 'program‘, includes in its meaning computational program and program of architecture. It is conspired by the different instances of design nature where 'program' and design interact. It equates the digital phenomenon from the different natures that can assume the concept of 'program' as software and as architecture program. It analyzes the interaction among designer, 'program', image and information in the digital design. It considers the experimentation as a way to exceed the limitations imposed by the programmed rules of the 'programs‘.

O tema central da tese é o projeto arquitetônico e a constatação de que há uma lacuna epistemológica entre a ação projetual e sua atualização como objeto arquitetônico. A tese delineia um quadro teórico de cunho explicativo que visa estabelecer a base para a compreensão do estatuto epistêmico do processo projetual, do ponto de vista do pensamento arquitetônico. Para tal recorre à interpretação de textos de fontes da teoria e história da arquitetura, da epistemologia e da filosofia que são cotejados, revelando relações que lançam luz sobre o problema. A investigação identifica no surgimento da tradição projetual herdada do Renascimento a origem do distanciamento entre as bordas daquela lacuna, que de resto é inerente à separação entre concepção (teórica) e execução (prática) da arquitetura, portanto à própria atividade projetual. O desenvolvimento dos sistemas de representação em favor do ideal arquitetônico como “cosa mentale” propiciou a relativa autonomia do projeto em relação ao objeto arquitetônico, que, guiado no primeiro momento pelo balanço entre a invenção moderada e a convenção garantida pelos tratados como o de Vignola, paulatinamente orientou-se na direção do esgotamento das possibilidades da representação, ao ponto de tornar a viabilidade de execução do projeto dependente do desenvolvimento de programas de computador voltados à modelagem e representação digitais. A tese identifica a insuficiência das teorias do projeto como resolução de problemas para dar conta do aspecto epistemológico projetual de forma compreensiva, recorrendo como alternativa à epistemologia da prática de Schön e à filosofia da linguagem de Wittgenstein, em especial ao conceito de jogo de linguagem desse último. Este modelo explicativo e operativo é que permite avançar na construção de “pontes” entre as duas margens da lacuna, com a ressalva de que a lacuna é inevitável em função da natureza da atividade projetual. Esta tese se encerra não com a pretensão da resposta definitiva, mas com a problematização que qualifica e ilumina a questão. / The main topic of this thesis is architectural design and the observation that there is an epistemological gap between the act of designing and its concrete realization as an architectural object. The thesis presents a theoretical framework that aims at setting the grounds for understanding the epistemology of the design process from the standpoint of architectural thinking. In order to do so, explores, by interpreting, texts on theory and history of architecture, comparing them with others on epistemology and philosophy; by doing this, tries to uncover connections among such sources, especially connections that may shed light on that issue. The investigation identifies the origin of that gap in the emergence of western tradition, in the Renaissance, of an architectural design in which there is an inherent separation between the concept (theory) and the execution (praxis); thus, this gap is inherent to the activity of designing. The development of representation systems in favor of the ideal of architectural practice as "cosa mentale" produced a relative autonomy of the architectural design in relation to the architectural object. Initially guided by the balance between moderate invention and convention, assured by treaties like Vignola's, the act of designing has gradually oriented itself towards the exhaustion of possibilities of representation. It has reached the point where feasibility of execution of a design relies greatly on the development of computer softwares designed both for modeling and producing digital representation. The thesis claims that design theories are insufficient to account for the epistemological aspect of designing, and alternatively proposes a model based on Donald Schön's epistemology as well as on Ludwig Wittgenstein's philosophy of language, in particular on his concept of language games. This explanatory and operative model allows us to move forward in the construction of “bridges" over the gaps, though some gap is inevitable given the nature of the act of designing. This thesis does not claim to have answered the issue definitely, but it has the intention of having contributed in shedding light on it.

This thesis examines the relationship between textile craft practice and Kolb's Theory of Experiential Learning. The nature of craft practice has been described as 'Intelligent Making'. The aims were to investigate the term 'Intelligent Making' and construct a framework of the learning experience, on which to base the critical context for future textile practice. A review was made of textile craft practice, investigating models of experiential and reflective learning theories. Experiential Learning Theory and 'Intelligent Making' in textile practice were found to be similar, although the main difference was in relation to reflective observation. The textile making process was examined at under-graduate, post graduate and practitioner levels with self-observation, through a reflective journal, based upon my own hat-making process. Reflexivity was used to explicate the embodied knowledge, made visible through materials and methods of making. This research demonstrates that an extended understanding is based on the fact that reflexivity is the methodological approach embedded within textile practice. The critical capacity of textiles was demonstrated through reflective observation, analysis and evaluation. Shared reflection describes the nature of the process and may enable each maker to restructure their own practice. One advantage of this research is the enhancement of a shared language for textile makers and an evolving reflexive textile vocabulary. This investigation results in a newly proposed visualisation of the making process creating an extended framework to previous models, to advance the future critical context of textile practice. Both volumes of this thesis are combined sequentially into the attached file.

O argumento desta tese é delineado no bastidor da noção de 'programa‘. O termo 'programa‘ inclui, em seu significado, software (programa computacional) e programa de arquitetura. É tramado pelas diferentes instâncias da natureza projetual, em que interagem programa e projeto. Equaciona o fenômeno digital a partir das diferentes naturezas que o conceito de 'programa‘, como software e programa de arquitetura, pode assumir. Analisa a interação entre projetista, ‗programa‘, imagem e informação no projeto digital. Propõe a experimentação como forma de transcender as limitações impostas pelas regras programadas nos 'programas‘. / The thesis argument is delineated in the embroidery frame of the notion of 'program‘. The term 'program‘, includes in its meaning computational program and program of architecture. It is conspired by the different instances of design nature where 'program' and design interact. It equates the digital phenomenon from the different natures that can assume the concept of 'program' as software and as architecture program. It analyzes the interaction among designer, 'program', image and information in the digital design. It considers the experimentation as a way to exceed the limitations imposed by the programmed rules of the 'programs‘.

O tema central da tese é o projeto arquitetônico e a constatação de que há uma lacuna epistemológica entre a ação projetual e sua atualização como objeto arquitetônico. A tese delineia um quadro teórico de cunho explicativo que visa estabelecer a base para a compreensão do estatuto epistêmico do processo projetual, do ponto de vista do pensamento arquitetônico. Para tal recorre à interpretação de textos de fontes da teoria e história da arquitetura, da epistemologia e da filosofia que são cotejados, revelando relações que lançam luz sobre o problema. A investigação identifica no surgimento da tradição projetual herdada do Renascimento a origem do distanciamento entre as bordas daquela lacuna, que de resto é inerente à separação entre concepção (teórica) e execução (prática) da arquitetura, portanto à própria atividade projetual. O desenvolvimento dos sistemas de representação em favor do ideal arquitetônico como “cosa mentale” propiciou a relativa autonomia do projeto em relação ao objeto arquitetônico, que, guiado no primeiro momento pelo balanço entre a invenção moderada e a convenção garantida pelos tratados como o de Vignola, paulatinamente orientou-se na direção do esgotamento das possibilidades da representação, ao ponto de tornar a viabilidade de execução do projeto dependente do desenvolvimento de programas de computador voltados à modelagem e representação digitais. A tese identifica a insuficiência das teorias do projeto como resolução de problemas para dar conta do aspecto epistemológico projetual de forma compreensiva, recorrendo como alternativa à epistemologia da prática de Schön e à filosofia da linguagem de Wittgenstein, em especial ao conceito de jogo de linguagem desse último. Este modelo explicativo e operativo é que permite avançar na construção de “pontes” entre as duas margens da lacuna, com a ressalva de que a lacuna é inevitável em função da natureza da atividade projetual. Esta tese se encerra não com a pretensão da resposta definitiva, mas com a problematização que qualifica e ilumina a questão. / The main topic of this thesis is architectural design and the observation that there is an epistemological gap between the act of designing and its concrete realization as an architectural object. The thesis presents a theoretical framework that aims at setting the grounds for understanding the epistemology of the design process from the standpoint of architectural thinking. In order to do so, explores, by interpreting, texts on theory and history of architecture, comparing them with others on epistemology and philosophy; by doing this, tries to uncover connections among such sources, especially connections that may shed light on that issue. The investigation identifies the origin of that gap in the emergence of western tradition, in the Renaissance, of an architectural design in which there is an inherent separation between the concept (theory) and the execution (praxis); thus, this gap is inherent to the activity of designing. The development of representation systems in favor of the ideal of architectural practice as "cosa mentale" produced a relative autonomy of the architectural design in relation to the architectural object. Initially guided by the balance between moderate invention and convention, assured by treaties like Vignola's, the act of designing has gradually oriented itself towards the exhaustion of possibilities of representation. It has reached the point where feasibility of execution of a design relies greatly on the development of computer softwares designed both for modeling and producing digital representation. The thesis claims that design theories are insufficient to account for the epistemological aspect of designing, and alternatively proposes a model based on Donald Schön's epistemology as well as on Ludwig Wittgenstein's philosophy of language, in particular on his concept of language games. This explanatory and operative model allows us to move forward in the construction of “bridges" over the gaps, though some gap is inevitable given the nature of the act of designing. This thesis does not claim to have answered the issue definitely, but it has the intention of having contributed in shedding light on it.

O argumento desta tese é delineado no bastidor da noção de 'programa‘. O termo 'programa‘ inclui, em seu significado, software (programa computacional) e programa de arquitetura. É tramado pelas diferentes instâncias da natureza projetual, em que interagem programa e projeto. Equaciona o fenômeno digital a partir das diferentes naturezas que o conceito de 'programa‘, como software e programa de arquitetura, pode assumir. Analisa a interação entre projetista, ‗programa‘, imagem e informação no projeto digital. Propõe a experimentação como forma de transcender as limitações impostas pelas regras programadas nos 'programas‘. / The thesis argument is delineated in the embroidery frame of the notion of 'program‘. The term 'program‘, includes in its meaning computational program and program of architecture. It is conspired by the different instances of design nature where 'program' and design interact. It equates the digital phenomenon from the different natures that can assume the concept of 'program' as software and as architecture program. It analyzes the interaction among designer, 'program', image and information in the digital design. It considers the experimentation as a way to exceed the limitations imposed by the programmed rules of the 'programs‘.

O tema central da tese é o projeto arquitetônico e a constatação de que há uma lacuna epistemológica entre a ação projetual e sua atualização como objeto arquitetônico. A tese delineia um quadro teórico de cunho explicativo que visa estabelecer a base para a compreensão do estatuto epistêmico do processo projetual, do ponto de vista do pensamento arquitetônico. Para tal recorre à interpretação de textos de fontes da teoria e história da arquitetura, da epistemologia e da filosofia que são cotejados, revelando relações que lançam luz sobre o problema. A investigação identifica no surgimento da tradição projetual herdada do Renascimento a origem do distanciamento entre as bordas daquela lacuna, que de resto é inerente à separação entre concepção (teórica) e execução (prática) da arquitetura, portanto à própria atividade projetual. O desenvolvimento dos sistemas de representação em favor do ideal arquitetônico como “cosa mentale” propiciou a relativa autonomia do projeto em relação ao objeto arquitetônico, que, guiado no primeiro momento pelo balanço entre a invenção moderada e a convenção garantida pelos tratados como o de Vignola, paulatinamente orientou-se na direção do esgotamento das possibilidades da representação, ao ponto de tornar a viabilidade de execução do projeto dependente do desenvolvimento de programas de computador voltados à modelagem e representação digitais. A tese identifica a insuficiência das teorias do projeto como resolução de problemas para dar conta do aspecto epistemológico projetual de forma compreensiva, recorrendo como alternativa à epistemologia da prática de Schön e à filosofia da linguagem de Wittgenstein, em especial ao conceito de jogo de linguagem desse último. Este modelo explicativo e operativo é que permite avançar na construção de “pontes” entre as duas margens da lacuna, com a ressalva de que a lacuna é inevitável em função da natureza da atividade projetual. Esta tese se encerra não com a pretensão da resposta definitiva, mas com a problematização que qualifica e ilumina a questão. / The main topic of this thesis is architectural design and the observation that there is an epistemological gap between the act of designing and its concrete realization as an architectural object. The thesis presents a theoretical framework that aims at setting the grounds for understanding the epistemology of the design process from the standpoint of architectural thinking. In order to do so, explores, by interpreting, texts on theory and history of architecture, comparing them with others on epistemology and philosophy; by doing this, tries to uncover connections among such sources, especially connections that may shed light on that issue. The investigation identifies the origin of that gap in the emergence of western tradition, in the Renaissance, of an architectural design in which there is an inherent separation between the concept (theory) and the execution (praxis); thus, this gap is inherent to the activity of designing. The development of representation systems in favor of the ideal of architectural practice as "cosa mentale" produced a relative autonomy of the architectural design in relation to the architectural object. Initially guided by the balance between moderate invention and convention, assured by treaties like Vignola's, the act of designing has gradually oriented itself towards the exhaustion of possibilities of representation. It has reached the point where feasibility of execution of a design relies greatly on the development of computer softwares designed both for modeling and producing digital representation. The thesis claims that design theories are insufficient to account for the epistemological aspect of designing, and alternatively proposes a model based on Donald Schön's epistemology as well as on Ludwig Wittgenstein's philosophy of language, in particular on his concept of language games. This explanatory and operative model allows us to move forward in the construction of “bridges" over the gaps, though some gap is inevitable given the nature of the act of designing. This thesis does not claim to have answered the issue definitely, but it has the intention of having contributed in shedding light on it.

This study presents an alternate viewpoint to the strive to overcome the gap between research and practitioners within paper prototyping in interaction design. Earlier research identifies three aspects of this gap, which is: Practitioners being unaware of interaction design methods and theories Practitioners being aware, but choosing not to apply these methods and theories, due to time, budget and constraints of labour Practitioners and research having different perspective on similar design issues Our study was done by carrying out qualitative interviews with interaction designers based on two digital design bureaus. One of the bureaus has an expressed link to research: the other has not. Our hypothesis is that the gap would manifest as a difference in work practice between the two bureaus. Our study shows that the two bureaus have similarities in work practice and that this work practice is based on scientific methods and theories, but is adapted to fit the client and/or the project. We conclude that the overcoming of the gap might not be necessary. Perhaps the nature of the design process with its complexity makes this hard. We advocate a trust in the practitioner’s ability to consider and adapt methods and theories regarded necessary.

L'objet de la thèse est l'étude des dynamiques industrielles, en particulier des biais cognitifs qui conduisent au blocage de ces dynamiques. Si les processus d'innovation dépassant le cadre de l'entreprise ont fait l'objet de diverses recherches, les dynamiques industrielles sont restées peu étudiées sous l'angle du blocage cognitif dans les activités de conception. Pour approfondir cette question, la thèse se focalise sur l'étude d'une phénoménologie nouvelle, l'innovation orpheline, définie comme une innovation très attendue par la société, mais qu'aucun acteur ou consortium d'acteurs n'est capable de générer, alors que les conditions traditionnelles pour favoriser son émergence sont réunies. L'enjeu de la thèse est de répondre à trois questions: Quelle modélisation pour cerner les facteurs causaux de l'innovation orpheline ? ; Quel outil pour diagnostiquer les biais cognitifs dans une situation empirique ? ; Quelles modalités organisationnelles pour sortir de l'innovation orpheline ?Cette démarche a permis de dégager trois résultats principaux :1) un modèle de la fixation cognitive collective, soulignant l'impact fort que peut avoir l'interaction entre les imaginaires singuliers au sein d'un collectif.2) un outil, le référentiel C-K pour identifier la fixation collective et pour diagnostiquer l'innovation orpheline.3) un modèle d'action pour un nouvel acteur, baptisé l'architecte de l'inconnu, en charge de stimuler les capacités de conception innovante de l'écosystème d'acteurs. / The purpose of the thesis is the study of industrial dynamics, in particular cognitive biases that lead to the lock-in of these dynamics. If innovation processes beyond the scope of the firm have been the subject of various studies, little has been done on the study of industrial dynamics from the perspective of cognitive lock in design activities. To explore this question, the thesis focuses on the study of a new phenomenology, orphan innovation, which is defined as orphan innovation as an innovation highly expected by society, but one which no actor or consortium of actors can manage to process with their current innovation capabilities, although all of the institutional conditions to foster it are gathered. The aim of the thesis is to answer three questions: How to model industrial dynamics and to identify causal factors of orphan innovation? How to build a tool to diagnose cognitive biases and orphan innovation in empirical situations? What are the organizational levers to overcome orphan innovation situations?The thesis then is based on three main results:1) a model of collective cognitive fixation, underlying the impact of imaginaries and their interactions among a collective action.2) a methodology to identify collective fixation and therefore to diagnose orphan innovation.3) a model of action for a new actor, called the architect of the unknown, in charge of stimulating innovative design capacities of the actors among the industry.

Syftet med detta arbete är att utifrån ett designteoretiskt perspektiv, utforska hur tre olika memoreringsprocesser av ett pianostycke prövas och tar form. Till detta hör frågeställningen: Hur designar jag tre olika memoreringsprocesser av Etyd op. 10 nr. 2 av Chopin? De tre olika sätten att memorera musik baserades på tidigare litteratur och forskning. Under en period av fem veckor har jag med videodokumentation och loggbok kartlagt denna process. Det teoretiska perspektiv som användes för att synliggöra lärandeprocessen var ett designteoretiskt perspektiv. Resultatet visade att metod ett, ”repetitionsmemorering”, genom materiella och kroppsliga resurser skapade en koreografi för händerna – ett kinestetiskt minne. För metod två, ”visualization”, designades memoreringsprocessen under två transformationscykler. För den tredje metoden, ”konceptuell memorering”, var analys och ”tvåstolstekniken” två övergripande designer. I diskussionen sätts dessa resultat i förhållande till litteratur, tidigare forskning och utifrån det teoretiska perspektivet. / The purpose of this study is, from a design theoretical perspective, to study how three different memorizing strategies of a piano piece takes shape. This includes the question: How do I design three different strategies for memorization of Etude op. 10 no. 2 by Chopin? The three different ways to memorize the music was based on previous literature and research. During a time period of five weeks,  I used logbook and video documentation as a method to study this process. The theoretical perspective that was used to describe the process was the design theoretical perspective. The results showed that method one, “Memorizing by rote”, created a choreography of the hands – a kinesthetic memory. This by using different physical and material resources. Method two, “Visualization” designed the learning through two transformation cycles. For the third method, “Conceptual memorization”, Analysis and the Two-Chair technique was two overall designs. In the discussion these results are put in relation to the literature, previous research and from the theoretical perspective.