Muse Design

Designs and Patents Act or under the terms of licence permitting limited copying issued by the licencing agency in Uganda. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. UVQF: Assessment Training Packages (ATP) for an INTERIOR DESIGNER QUALIFICATION LEVEL 1

1974

Objective Seeking a challenging position in a well-established company that provides a motivating environment as well as an opportunity for career advancement in order to increase, enhance my design skills and properly utilize my qualifications.

-Stanley Abercrombie, FAIA A professional career in Interior Design and Interior Architecture is more challenging today than ever. It combines the creative, the aesthetic, the innovative, and the practical to create the important stages upon which people live their lives.

Production Studies International Conference, New Castle, England, UK, 2024

Interiors are often described as a hybrid field, which coincides with other disciplines related to production of spaces and objects. Linked mostly to intuitive home decoration by housewives and upholsterers, this activity has been associated with the feminine, domestic, and amateur universe. Because of long-term historical processes, women were in the realms of the private sphere doing manual-artistic and decorative labour, while men were in the public sphere. This situation contributed to forming a gender bias to the production of interior spaces and the professionals who were making it. In the building industry women skills are gendered: as architects and designers, we have tended to accept smaller roles, raise domestic buildings and deal with a range of gender issues in professional daily life. Thus, domestic architecture and interior design can be categorised by types of work that provide women ‘back door entry’ to the production of buildings, because they are considered easier and more appropriate to women. Women in this role are facing the contradiction of acting in an area that is expected from women but at the same time working in a masculine environment such as the building industry. Therefore, the main objective of this presentation is to discuss the complexity of the interior design profession permeated by gender issues. We intend to discuss how this activity has been marginalised as a female and queer profession over history based on sources from the ongoing PhD study, where this discussion is developing. We hope to contribute to gender approaches in architecture and interior studies as well as feminist epistemologies, to expand production studies and explore concerns around gender and sexuality, opening it to different perspectives, bodies of research and practices.

Australian and New Zealand Psychodrama …, 2008

Walter Logeman is a Psychodramatist and Psychotherapist living and working in Christchurch. He recently made time to explore his creative side and to sketch, blog, make prints and learn about art and artists. This art experience has had an interesting impact on his psychodramatic work and thinking. Abstract J.L. Moreno's vision, practice and writing ranges widely but at the core there is always a philosophy of spontaneity and creativity. This essay reflects on the author's personal creative experiences, with Moreno's ideas as a guide. The Canon of Creativity, along with its implications for the two aspects of spontaneity training, deconserving and role training, is explored. The essay concludes with some stories and quotes from the life of painters, to highlight the explosion of creativity and spontaneity that can occur in the moment.

idemployee.id.tue.nl

As we are approaching the Information -or Post Industrial -Society, we need to question the implications for those designing artifacts for this new context. We therefore present a paper on practice-based design education, for a context in which design has evolved from the requirements set by the Industrial Society to the ones of the Information Society. It is a context that closely relates to the currently emerging situation where Information and Communication Technology (ICT) move from the desktop to pervade most aspects of our everyday world. We show that qualities inherent in the ICT require a deeper understanding of the digital material than common sense seems to demand. There is an urgent need to not only understand ICT as an efficient tool but also as a "design material" with a unique set of characteristics. In order to achieve that, we believe that designers need an understanding of ICT that more resembles the traditional craftsmen's relation to materials and tools. Our analysis indicates that efforts should be concentrated on issues concerning aspects of technology, integration and disciplinarity. These issues involves a new kind of a more open and instant prototyping environment (the versatile technology aspect), used in temporary design teams (the broad integration aspect) where different professions can develop their own specialization (the deep disciplinary aspect). Finally we suggest an approach based on what we call CraftLabs, a node in an open network of competencies, inviting other parties to engage in the development of future products and educational frameworks.

2017

The research group soon decided to approach the matter of creativity by conducting interviews with awarded practitioners from different fields. Jo Van Den Berghe met two Flemish artists: the musician and composer Jeroen D’hoe and the fashion designer Jan-Jan Vanessche; while Valentina Signore interviewed the Norwegian architect Siv Helene Stangeland, (who is involved in the ADAPT-r program) and the Japanese dancer and choreographer Akira Kasai. We chose these four creative practitioners not only because they are worldwide awarded creative practitioners but also because they are important reference points for our own creative works. Interviewing our own example we also indirectly expose our understanding of creativity. The device of the interview was decided to gently access their “secrets” in order to make them available to a bigger public while at the same time preserving their embedment into the artist’s specific world and personality. This choice was in fact aimed to prevent thei...

Institutions that offer design courses in Gaborone have encountered students spending little time in Studio environment and lacking creative inspiration due to a number of factors such as studio opening hours, efficient spaces & how our environment visually stimulates our creativity. This thesis aims to assess the importance of a well-planned and visually aesthetic design studio in Limkokwing University of Creative Technology and how the presence of one will lead to easier design problem solving and creativity in the pedagogy of architecture.

Dress, 2020

2017

Traballo fin de mestrado (UDC.FIL). Estudos ingleses avanzados e as suas aplicacions. Curso 2016/2017