Introduction: Electronic Nicotine Delivery Systems (ENDS) debuted in 2006 within the U.S market as novel tobacco products and have been gaining popularity since. Without enforced regulations, prevalence of awareness and use has significantly increased. The purpose of this study is to explore the evolving landscape of ENDS using the Host, Agent, Vector, Environment (HAVE) model with a focus on manufactured e-liquids and do it yourself (DIY) e-liquids as the Agent. Methods: Content analysis of e-cigarette web forums was conducted to identify popular brick and mortar point of sales (POS) for the purchase of ENDS products. POS were mapped out within a 1-, 2-, and 3- mile radius from three college campuses using Google Maps. An environmental scan was then conducted on randomly selected POS sites (N=17) where observations on e-liquid flavors and characteristics were identified. In addition, a content analysis of web forums was used to qualitatively characterize DIY e-liquids in depth. Results: A total of 602 flavors were profiled in the POS environmental scans and five main flavor categories of e-liquids were identified: 1) Tobacco and Menthol (16.6%); 2) Desserts and Candies (16.6%); 3) Fruits (20.6%); 4) Drinks (10.1%); 5) Other (36.0%). Most flavored e-liquids were sold in stand-alone vials (91.0%). When sold with manufactured products, flavored e-liquids were sold in E-Hookahs (10.6%) compared to E-Cigarettes (4.7%). Most (96.8%) flavored e-liquids were available with and without nicotine. Based on content analysis of e-cigarette web forums, the words with the highest frequency in the DIY transcripts were: “flavor”, “mixing”, “liquid”, “calculators”, and “nicotine”. Conclusions: Our findings indicate that for both manufactured and DIY e-liquids, flavors are a distinguishing and primary characteristic. Given these findings, increased surveillance efforts to monitor ENDS and e-liquids are necessary to inform regulatory science.

L’enjeu de cette thèse porte sur la théorisation d’une conception de la pratique architecturale que l’on propose de définir par sa valeur expérimentale et son approche située. À cette catégorisation s’associe une manière autre de faire projet partagée aujourd’hui par de nombreux praticiens oscillant entre champs disciplinaires, formats et supports de travail. Ceux-ci ne travaillent plus « à distance » et ne suivent plus le processus classique de projet (analyser, concevoir puis construire des objets). Ils s’immergent et travaillent avec, pour et sur un contexte qu’ils «mettent au travail» par leurs actions et productions. Ce travail de recherche invite, «depuis l’intérieur» d’une pratique et d’une expérience, à lire et analyser autrement ces pratiques qui redéfinissent les méthodes et formats classiques de l’architecture ; puis, dans une visée plus opératoire, de penser la démarche de projet qui s’associe à ces approches fondant une culture du projet singulière. Cette thèse prend comme point de départ une pratique collective, celle de YA+K, structure que j’ai participé à cofonder. Ancrant ma réflexion dans la pratique, je commence par développer le récit-critique d’un corpus de projets qu’a réalisés YA+K (installations, résidences et workshops) ce qui permet d’esquisser un certain nombre d’entrées et de questionnements qui structurent la suite de la recherche. Dans un second temps, je tente de situer notre approche dans une généalogie de pratiques et de praticiens. Ensuite, pour réinscrire cet héritage dans une contemporanéité et l’actualité d’une discipline et d’une profession, j’identifie plusieurs enjeux majeurs contemporains qui touchent l’architecture — les évolutions des villes, le rapport aux techniques et la fragilisation d’une discipline et d’une profession — et qui composent son contexte de développement actuel. À chacune de ces entrées, j’associe une réflexion théorique introduisant plusieurs entrées de lecture ainsi que trois axes de réflexion majeurs : penser et travailler la condition urbaine au travers du concept d’urbanisme intermédiaire, penser un rapport aux technologies fondé sur les valeurs et conception du Do It Yourself et enfin la nécessité de repenser la démarche de projet au regard de la crise actuelle que connaît la discipline architecturale. Enfin, nourri de ces trois temps réflexifs, j’élabore trois propositions théoriques proposant de penser autrement la démarche de projet : penser le site(s) et non le contexte, par l’étude du workshop appréhender autrement le processus de projet et ces ruptures classiques (entre penser et faire notamment) et enfin tenter de redéfinir la production architecturale en affirmant sa valeur expérimentale et ses formats multiples. / This thesis aims to develop a new conception of architectural practice defined by its experimental value and an in situ approach. At the same time, practitioners from various fields whose work is based on different working formats share a new way to conceive of ‘the project’. They no longer work remotely following the traditional project process – analysis, design and construction. They immerse themselves working for, with and on a context, using actions and productions to set the context to work. This research invites the reader to explore and critically analyse a redefinition of traditional architectural methods and formats, linked to this approach. This thesis takes as its starting point the work of YA+K– interdisciplinary group that I co-founded in 2011. Using my experience within our practice, I first critically analyse a group of projects produced by YA+K (installations, residences and workshops). I then outline several issues that provide the structure of the manuscript, and follow this by situating our approach in a genealogy of practices and practitioners. Then, in order to position this research in its current professional and disciplinary context, I identify several challenges now faced by the architectural field – the evolution of cities, the relationships between practitioners and techniques, and the fragility of the discipline and profession. For each of these points, I develop a theoretical framework, incorporating three major lines of reflection: 1) thinking and working in the urban context through the concept of intermediary urbanism, 2) thinking in relation to technologies based on a DIY approach, and 3) the need to reshape the approach to architectural projects in light of the current crisis in the profession. Lastly, I draw on lessons from these lines of thought in order to articulate three theoretical proposals offering ways to reconceptualise the approach to architectural projects: 1) think around the site(s) and not the context, 2) conceive of different approaches to projects and their classical conflicts (in particular between thinking and doing) through the use of workshops, and 3) try to redefine architectural production, emphasising its experimental value and multiple formats.

Do-it-yourself (DIY) is the practice of household members undertaking home improvement or maintenance on their own, instead of hiring professional help. While DIY is a substantial and steadily growing cultural and economic phenomenon in several developed countries, in India, it is still in a stage of infancy. The objective of this research is to understand whether DIY can be introduced and developed in India as a significant consumer activity based on an understanding of the DIY markets in developed countries (like USA, UK & France) and the business models in place to service them. The concept of DIY started sometime in middle of the 20th century in the USA and it eventually spread to UK and rest of Europe in the later part of the century. Currently, in most developed countries DIY constitutes a significant portion of the Home Improvement and repair Market and there are specialized organized retail chains to cater to the DIY demand. In India and most developing countries, DIY is not an established practice and does not contribute at all to the Home Improvement and repair Market. Organized retail in most developing countries is very small and most of the Home Improvement Market is serviced through local decorative and hardware distribution outlets. Brazil is an exceptional case due to its large organized retail structure for servicing the home improvement market. Organized retail to service the Home Improvement and repair Market in China has started in a big way and is witnessing exponential growth year on year. Similar phenomenon has started in India as well. However, both in China and India, there is no specific demand for DIY products and the same clearly needs to be created. Existing research literature on DIY, focuses mainly, on the determination of variables that influence the decision to take up a DIY or a home improvement project. Apart from this, a large number of business reports and studies profiling specific DIY markets are available over the internet. Work has also been done to trace and record the history of DIY and its impact on culture and society. While there has been some research work carried out that deals with the development of strategy for DIY markets in developed countries, no such work has been done in the context of developing countries. The purpose of this research is to do just that but the scope is limited to household painting and carpentry. The pilot study (focussed group discussions) and the questionnaire survey reveal that, in India, there is a clear bias against DIY mainly on account of perceived lack of time and knowledge. But it is possible to define a demographic profile of people that will show the highest inclination towards DIY. The survey reveals that this profile varies depending on the type of the DIY activity (Electrical, Plumbing, Indoor Painting, Outdoor Painting, carpentry and Gardening). The final part of the research involves the formulation of a holistic marketing strategy, based on the research findings and the understanding of prevalent business models to service DIY in developed countries, to create and service demand for DIY products related to household painting and carpentry in India.

The thesis is concerned with optimal retirement pension planning in the framework of the Czech pension system. The work proposes an unavoidable reform in order to compensate for adverse demographic trends. Subsequently, it introduces mathematical methods for future old-age pension determination in private pensions. Equally, the thesis deals with optimal pension strategies: when the benefits of individual old-age insurance outgrow those of institutionalised pension insurance and vice versa. A particular aspect of the reform where participants can partially opt out from the compulsory pillar and become part of the new system is discussed with emphasis on the opt-out accompanying factors.

I have been inspired by the Do It Yourself movement. DIY builds on the creativity of the individual, one’s capacity for initiative and one’s desire to realise one’s ideas. I have been inspired by sheets of pattern paper used in the manufacture of clothing, and my line of furniture is based on two-dimensional patterns of furniture. The sections of the pieces of furniture are printed on and relate to a standard sheet of plywood. In my project I provide tools for luring forth people’s ability to create and take their own initiatives. The project is aimed at those who are experienced in making furniture themselves and also those who have no experience at all. My intention is to encourage individual creativity and to communicate the idea that it is easy to create furniture. / Mitt möbelprojekt grundar sig i att försöka locka till att bygga själv. Jag vill förmedla ett redskap och en ingång till att på egen hand skapa möbler. Jag har alltid fascinerats av autodidakt design. Under min uppväxt var större delen av möblerna hemmasnickrade eller omgjorda av mina släktingar. Ett gammalt bord ifrån Dalarna, en tung furusäng snickrat av regelvirke, köksbord av spånskiva täckt med vitt kakel. Soffa ombyggd och omklädd med mönstrade tyger. Mitt kandidatarbete tar sig uttryck i mönsterark tryckta på plywoodskivor, anpassat efter plywoodskivornas standardmått 2440x1220mm. Det ger köparen inblick i processen att skapa en möbel. Att anpassa delarna efter skivans standardmått ger också minimalt med resursslöseri. Det påminner om den industriella tillverkningen av en möbel. Möbelns delar kommer att screentryckas i färger och skivans uttryck går mot det textila, både arbetssättet och förhållningssättet kommer mönsterkonstruktion av kläder. / Kandidatexamen 2010

L'objet se place en opposition. Il est une ponctuation déroutante, un point de diffraction dans notre monde. Il induit un éclatement du réel entre plusieurs alternatives.L'apparition de l'objet constituerait un "entre-deux" : un point singulier dédoublant notre monde entre plusieurs lignes de fuites possibles. Cet entre-deux est un embranchement où émergent des lignes tangentes et insoupçonnées au quotidien. L'objet s'inscrit dans un processus interférant extrayant l'ordinaire de son ordinarité, le propulsant vers sa singularité.Au cours de notre thèse, nous cherchons à répondre à cette question: Comment l'objet et le design font-ils du quotidien un événement ? Nous interrogeons les modalités de ce passage de la banalité à l'événementialité du réel.Entre-deux, le design n'impose pas une réalité totalement autre, il propose des chemins un peu décalés, des itinéraires "bis" à notre monde. Des procédures rhizomiques sont initiatrices de percées entre ce réel-ci et des versions inédites. Le design constitue une zone schizophrène : une localité de bascule vers une variante inattendue du réel, mais envisageable de lui-même. Les entre-deux, creusés par le designer sont des accès à des mondes possibles, la révélation d'un envers utopique de ce monde-ci. Le design et l'objet ont pour dessein de dévoiler ce qu'on ne saurait voir autrement. Ils discutent les frontières du réel. Ils projettent d'explorer des prolongations éventuelles, d'ouvrir des perspectives nouvelles à notre monde commun. Ils font apparaître un mi-lieu prospectif au sein duquel des alternatives permettraient d'engager un débat, et d'opérer des choix sur le monde dans lequel nous souhaitons vivre. / The object places itself in opposition. It is a diverting punctuation, a point of diffraction within our world. It introduces a bursting of the reality between several alternatives.The object's appearance constitutes a "between-two" : a singular point where our world duplicate between several possible lines of flight. This between-two is a junction where emerge tangent and unsuspected lines to everyday life. The object is inscribed in an interfering process extracting the ordinary from its ordinarity, propelling it towards its singularity.We seek to answer to this essential question : "How the design and the object do they make of the everyday an event ?". From the analysis of our practice of the design and contemporary designer's ones, we question the modalities of this passage from reel's commonness to its evenementiality.Between-two, the design doesn't impose a completely different reality but, it proposes little-shifted ways, alternative ways in our world. The rhizomic procedures we set-up are initiating passages or breakthroughs between this reality and unheard versions. The design constitutes a schizophrenic zone : a tip-over locality to a reality's unexpected variant, but conceivable of itself. The between-two, dug by the designer whom we are, are accesses to possible worlds, perhaps even, the revelation of this world's utopian other-side.The design and the object have the intention to reveal what we couldn't see otherwise. They unceasingly discuss the reality's boundaries. They seem to plan to investigate possible extensions, to open new perspectives in our common world. They aim to make appear a prospective mid-place within which proposed alternatives should engage a debate, and to make choices about the world in which we wish to live.

The purpose of this explorative field study using elements of case study design was to understand how DIY (Do It Yourself) fashion designers learn to engage in entrepreneurship. DIY fashion designers in this study refers to designers who personally design and make each garment without relying on manufacturers. These fashion designers all have design skills, but as they transition from designer to designer-entrepreneur with existing skills, they realize an additional set of skills is needed. To understand why they started the business and how they learned the skills necessary to maintain this dual role, the researcher interviewed 20 designer-entrepreneurs with different levels of experience: novice (3-5 years), middle-level (6-10 years), and seasoned (11 plus years). A selected literature review was conducted to shed light on the work of other researchers related to fashion entrepreneurship, entrepreneurship, and adult learning. The researcher used a qualitative methodology to explore how the designer-entrepreneurs learned and what they learned to maintain their dual role. A purposeful sample was drawn from a group of designer-entrepreneurs with different educational backgrounds and professional experiences. Data were collected through individual interviews followed by two focus group discussions. Data were examined to understand why certain DIY fashion designers chose to become designer-entrepreneurs, what challenges they faced in the dual role, how and what they learned, and which learning strategies they used. All designer-entrepreneurs in this study indicated that the motivation for becoming a designer-entrepreneur was to address their inner needs, which required both intrinsic reward and extrinsic validation. An overwhelming majority of them stated that most of the challenges stemmed from the entrepreneurial half of their dual role because they lacked the information needed to sustain it. All designer-entrepreneurs in this study learned through experiential and self-directed learning. A majority of them indicated that their main learning strategies consisted of finding or forming social networks for their design and business needs and developing their own learning habits. Based on these findings, the researcher made recommendations for educators teaching fashion or entrepreneurship and for current designer-entrepreneurs.

No description available.

Syfte och Forskningsfrågor Syftet med uppsatsen är att skapa förståelse för hur relationen och rollfördelningen mellan managers och artister kan se ut och vad som påverkar detta, samt hur manageryrket har påverkats av den förändring som skett i musikbranschen i och med den tekniska utvecklingen. För att nå upp till detta syfte har vi arbetat med tre forskningsfrågor: Vilka roller och vilken arbetsfördelning finns mellan managers och artister? Hur ser managers relationer till deras artister ut och vad påverkar detta? Hur påverkar nya förutsättningar managerns roll och relation till artister? Metod Vår forskning har haft en induktiv ansats då vi ville utgå ifrån empirin och låta de intervjuades berättelser styra uppsatsens riktning. Vi valde en kvalitativ metod då vi ville få en bild av hur våra intervjupersoner själva upplevde sina roller och relationer. Vår empiriska studie består av intervjuer med 6 managers och 4 artister. Slutsatser Vi har genom vår analys och slutdiskussion sett att roller, arbetsfördelning och relationer mellan managers och artister kan se väldigt olika ut från fall till fall. I grunden anses att artisten ska ansvara för de kreativa delarna och managern för de affärsmässiga delarna av artistskapet. Det är dock vanligt att parterna lägger sig i och vill vara involverade i varandras arbete. Vi har också upptäckt att det ofta är svårt att skilja mellan vad som är kreativt och vad som är affärsmässigt. Managers ser sig ofta som både anställda, säljare, samarbetspartners och en extra bandmedlem samtidigt. Relationen mellan managers och artister är ofta både personlig och professionell, och vilken del som upplevs som viktigast påverkas bland annat av hur parterna ser på sina roller gentemot varandra. Tillit är avgörande för en fungerande relation oavsett hur personlig eller professionell relationen är. De nya förutsättningarna i musikbranschen har inte minskat managerns uppgift, men däremot förändrat den. Bland annat krävs det idag att managern har kunskaper inom fler områden än tidigare. / The purpose of this paper is to increase the understanding for the different roles, division of work and the relationships between artists and music managers and what factors that may affect it, as well as what influence the new technological changes within the music industry have on the music managers’ work. The study is based on interviews with six artist managers and four artists. We can draw the conclusion that roles, division of work and the relationships between artists and music managers may look very different from one case to another. Basically, both artists and managers believe that the creative parts should be the artists’ responsibility while the business parts should be the managers’ responsibility. However, we have found that it is common that both actors want to participate in the other’s work and that is often is difficult to separate the creative tasks from the business tasks. The relationship between artists and music managers is often both personal and professional. However, trust is always important. The changes in the music industry have not reduced the importance of the music manager, but might have changed the roles and tasks that the manager will have to face.

Interior textiles have been a part of the everyday life of humans for hundreds of years, especially for women whom the creation of textiles has been a usual feature. Archeological findings from the 16th century B.C. show that tools for spinning and weaving for home usage were a part of every household. This was common until the 19th century, when the industrialization in Europe took off and the first textile industries began to establish. This was the beginning of big changes to the modern man’s lifestyle and the way we consume interior textiles. As mass produced products have taken over the market, a counter-reaction among consumers have emerged. The consumers feel a bigger need for unique products, products that feel meaningful for themselves or in any other way increases the perceived value. This has led to a growing trend for DIY-activities (Do-It-Yourself). While the sales of DIY-related products and interior design products increases, statistics shows a decrease in the sales of textile meter fabrics, which is a raw material aimed to be used for interior design and DIY-projects. It can be identified by the way that businesses are selling textile meter fabrics that the strategies haven’t changed very much in the recent decades. Therefore, it is questionable whether the meter fabric assortment is on its way to extinction or if the offer needs to change to better suit the customers’ requirements. This study has focused on what elements of the textile meter fabric offer could be changed in a store in Germany. An analysis of a selective sample of the German customer and how they use textile meter fabrics has been made, but also on how they perceive the offer in store and what they wish to be changed in the textile meter fabrics department. The interviews were conducted in an anonymous store in Frankfurt, Germany. The empirical findings have been put in relation with studies of DIY-motivations and shopping experience. An interview with a sales leader of one of the leading stores of home textiles in Germany, including meter fabrics, has been done in order to put the customers’ answers in relation to how the store work with increasing the DIY-motivations towards the customers. The study has resulted in insights about the stores lacking ability to provide the customers with enough motivation for DIY-projects in regards to textile meter fabrics. A disconnection between the vision of the store and the customers’ perception of the offer has been discovered, where the possibilities of improvement are vast. The study also shows that a majority of the interviewed German males show little or no interest in both DIY and textile meter fabrics.