Dissertations / Theses on the topic 'Arts and Crafts Section'
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Hart, Imogen. "Arts and crafts objects." Thesis, University of York, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434024.
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Pustina, Petter. "Arts & Crafts Laboratory." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135596.
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Denney, Matthew John. "Arts and Crafts furniture and vernacular furniture." Thesis, Bucks New University, 1997. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.714467.
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Hartigan, Nancy. "A center for arts and crafts: Georgetown." Thesis, Virginia Polytechnic Institute and State University, 1995. http://hdl.handle.net/10919/63976.
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“Two great desires which are in essence the desire to absorb and then desire to emit, the desire to know and the desire to test, the desire to hear and the desire to utter, and the basis not only of a true and effective education, not only are they the wholesome body and the enchanting voice of art, but they are greater then these, for they are the animation of quality of that higher purpose and significance of art that we call poetry”
Lois Sullivan
Crafts are the integration of art and life. They bring together nature and man in the form of a usable object. Architecture may be named the ultimate craft endeavour for through building we create a work of art which is used by man. In the thesis the two disciplines are brought together in the Center for Arts and Crafts. The Center, a complex of structures united by public space acts like the guilds of the early twentieth by providing “a forum for exchange of ideas and theories and [a place for] socializing.” (Cummings, page 25) The craft center offers an opportunity to learn about craft; the use of our minds and hands together. Visitors have the chance to participate with craft through viewing the making process, and making them oneself. The theme for the design becomes “interaction.” Interaction is possible for the neighborhood with those outside and those inside.
Providing public space is essential to encourage interaction. “Space is the principle medium of urbanism - the matrix that units public and private interests in the city, guaranteeing a balance between the two.” (Michael Dennis, Court and Garden, page 2) The making of a public rooms is often neglected in today’s architecture. Where ever these courtyards and piazzas occur, they are active and full of life. The Washington Harbor which neighbors the Incinerator site is a successful example of the desire of people to congregate and their need for socializing. The Arts and Crafts Center becomes a stage, enlivening the structure through activities of the public and their interaction with the inhabitants of the complex. The creation of a space which requires human participation to complete the architecture ensures that we, humanity, and the primary subject or object of architecture.
Architecture is built by human hands for humans to inhabit. It should spark our imagination and encourage our participation. The honest expressions of structure and materials are rare in recent buildings leaving us faced with false images and removed from reality. How can we interact with false truths? In our search for a new reality we can look back to simpler times and apply their principles to our complex world. Nature and our own histories must become our guide on the journey toward meaningful and engaging architecture.Master of Architecture
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Chow, Wan-king Janice. "Urban villa for Chinese folk arts and crafts." Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B31986390.
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Thesis (M.Arch.)--University of Hong Kong, 2002.Includes 1 technical study and 1 special report. Content page of thesis report missing. Includes bibliographical references. Also available in print.
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周韻琼 and Wan-king Janice Chow. "Urban villa for Chinese folk arts and crafts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986390.
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Noseworthy, Molly. ""Ya'll Come Back" Continuing Arts and Crafts in Gatlinburg." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/36.
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Gatlinburg, Tennessee is a tourist town. I was born and raised in this area, and am currently employed at a ceramics shop in the historic Arts and Crafts Community. Due to this job, I have decided to research the importance of the town and crafts area. In this paper, I will present an overview of the history of the town and its art community, and also present an inside look at life and business in a tourist town. Although the Arts and Crafts Community has grown to be a tourist attraction, its roots still lie in the traditional handmade trades, and its artisans attempt to balance the integrity of their crafts with modern demand and economic realities.
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Summerton, Janet. "Designer crafts practice in context." Thesis, City University London, 1990. http://openaccess.city.ac.uk/7724/.
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This research attempts to identify patterns of successful independent practice among contemporary visual arts practitioners for the purpose of increasing understanding of the structures of and activity within the visual arts in England. The intention is to draw conclusions regarding how such practice can be facilitated and supported. It looks at a particular kind of practice in the area of design craft, and at the organisations charged with the responsibility for state provision, setting this critique in a context of a historical and social perspective. Much of recent conventional practice in the visual arts is considered to have a narrow view of what constitutes acceptable practice and is based on the gallery-based fine arts model. This model is a dubious base line from which to encourage a healthy range of independentpractice, and is of little use to the practitioners in this study, and others of similar intent. The practitioners encountered in this research might beconsidered applied artists, as they have a need to engage with a public during the processes of conception, creation and selling of their work. The patterns have been documented with the assistance of concepts regarding small business, particularly a subsector called micro business. Micro business has recently been identified to describe a pattern of activity which is not conducted for profit or with goals of expansion. The motivation behind micro business is to maintain self determination.
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Wright, Christopher Wellman. "The Arts and Crafts aesthetic in a contemporary setting /." Online version of thesis, 1988. http://hdl.handle.net/1850/11547.
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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.
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Gordon, Catherine. "The Arts and Crafts architecture of the Cotswold region." Thesis, University of Manchester, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601222.
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The Cotswold region is a relatively well-defined, upland district that reaches across the heartland of Britain. It has a rich and complex history and is renown for its natural beauty and its outstanding vernacular architecture. During the second half of the nineteenth century, after a long period of decline, it began to attract the interest of artists, designers and craftsmen, among them William Morris. They were followed by several prominent architects associated with the Arts and Crafts Movement, who welcomed the opportunity to work in the Cotswolds as its unspoilt character provided the perfect environment to foster their principles and beliefs. They were responsible for an impressive number of new buildings and repair and alteration works in the region. This thesis is divided into three parts. The first part provides a general background to the Arts and Crafts Movement in Britain, and to the Cotswold region itself, its history, topography and building traditions. It also describes the special appeal of the region to Arts and Crafts designers and craftsmen who established workshops in the region. Particular reference is made to the achievements of Ashbee and the Guild of Handicraft in Chipping Campden and of Ernest Gimson and the Barnsley brothers in Sapperton. The second part of the thesis examines Cotswold Arts and Crafts architecture according to type. The majority of commissions were for domestic buildings, which range from large country houses to cottages. There are also some important Arts and Crafts community projects and minor ecclesiastical works found throughout the region. A significant proportion of commissions concerned the repair and reuse of old buildings, and these include many of the most inventive and imaginative designs. In the third part of the thesis. the late flowering of Arts and Crafts architectural talent in the region is summarised. Some of the best works date from the inter-war years. Many of these were deSigned by a younger generation of architects and craftsmen, notably Norman Jewson and F.L. Griggs, who gave new direction and purpose to the Movement's architectural ideals. This remarkable group of Arts and Crafts buildings share an admirable sympathy for their surroundings, and they reveal an inventive and informed response to the dominant vernacular precedent. The high standard of design and craftsmanship that was established, together with the notable emphasis on conservation, had important implications at a local and national level. This thesis aims to reveal the significance of this group of Cotswold Arts and Crafts buildings to an evaluation of the Movement's architectural achievements in general.
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Peñalba, Barreto Anamorella. "Plan de negocio de Arts and Crafts from Centroamérica." Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/103206.
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El objetivo de este estudio es desarrollar el plan de negocio de Arts & Crafts from
Centroamerica, cuyo giro es la comercialización vía internet de productos artesanales
centroamericanos de calidad.
La empresa se propone dar respuesta a la demanda por artesanías centroamericanas,
cuya calidad, originalidad y variedad es muy codiciada fuera de la región. Sin embargo,
la oferta de estos productos se encuentra dispersa en distintos portales de la web y
además, la cantidad de portales existentes con opción de compra en línea es muy
limitada. En consecuencia, se determinó que existía una oportunidad de mercado
relevante, al integrar un mix de artesanías centroamericanas de alta calidad en un único
portal, que permita al cliente adquirir dichos productos y recibirlos en su hogar.
Los clientes potenciales residen en Estados Unidos, Alemania y Reino Unido, que son
los países que se atenderán inicialmente. Los segmentos seleccionados son los
centroamericanos, Ias personas de cualquier nacionalidad interesadas en el arte y la
cultura y las tiendas que ofrecen productos artesanales internacionales o exclusivos.
Para la captación de los clientes, se utilizará una estrategia de diferenciación basada en
la oferta distintiva de productos, así como en atributos relacionados al diseño del sitio
web, prácticas de comercio justo y difusión del valor cultural de la artesanía. Todo ello
será apoyado por un plan de marketing orientado a ganar la preferencia del cliente y a
diferenciar a la empresa del resto de compañías que ofrecen sus productos vía internet.
En relación a la metodología, en primer lugar se hizo un análisis de mercado de la
industria artesanal a nivel internacional. Se analizó la demanda mundial de artesanías,
identificando los principales países importadores de dichos productos. A raíz de esto, se
analizó la cantidad de artesanías exportadas por Centroamérica a estos países, para
definir el potencial de mercado. Dentro de esta etapa de análisis, se efectuó una
investigación a partir de encuestas, que reveló la aceptación y razones de compra de
los clientes respecto a la oferta de Arts & Crafts from Centroamerica, a la vez que se
indagó sobre el interés de los artesanos centroamericanos en relación a su
participación como proveedores de la empresa.
Tomando como base el análisis anterior, se definió un modelo de negocios que
combina diversas líneas de productos, incluyendo artesanías de cuero, cerámica,
madera, textiles, hamacas, pinturas, joyería e instrumentos musicales. Asimismo, se
incorporaron una serie de servicios que añaden valor agregado a la compra del cliente.
Para determinar la rentabilidad del modelo de negocios propuesto se diseñó un plan de
marketing, un plan de operaciones, un plan de organización y se realizó la evaluación
económica del modelo. Finalmente, se hizo el análisis de sensibilidad para determinar
cómo variaba la rentabilidad del negocio frente a desviaciones en variables relevantes.
Como conclusión del plan de negocio, se determinó que el proyecto, con una inversión
máxima requerida de US$ 316.172, recuperable en el trimestre trece de
funcionamiento, es rentable y atractivo con un VPN positivo y una TIR de 86%, creando
valor a socios e inversionistas potenciales.
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Evely, R. D. G. "Minoan crafts tools and techniques, an introduction /." Göteborg : P. Aström, 1993. http://books.google.com/books?id=7zJoAAAAMAAJ.
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Hardiman, Louise Ann. "The firebird's flight : Russian arts and crafts in Britain, 1870-1917." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709085.
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Janjulio, Maristela da Silva. "Arquitetura residencial paulistana dos anos 1920: ressonâncias do arts and crafts?" Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-26052009-111901/.
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O objetivo desta pesquisa é o estudo da arquitetura residencial que se desenvolveu na cidade de São Paulo nos anos 1920, e das influências que ajudaram a moldá-la. Entre estas, a do movimento Arts and Crafts, que revolucionou a arquitetura doméstica britânica no final do século XIX e teve repercussão internacional. Tais ressonâncias ocorreram de forma direta e também através de uma triangulação com os Estados Unidos. Ali, haverá certa popularização do movimento inglês na figura do bangalô, juntamente com o aprimoramento da cultura burguesa da habitação do Arts and Crafts. Esta nova cultura da habitação chegará ao Brasil principalmente através das revistas de decoração, trazendo uma nova maneira de morar para a classe média, que se estabelecerá principalmente nos novos subúrbios que se constituem em São Paulo nas primeiras décadas do século XX, particularmente o Jardim América, executado pela Companhia City.The subject of this work is the domestic architecture that arises in the city of São Paulo, Brazil, in the 1920\'s decade and the influences it has suffered. Among them, there is the resonance from the Arts and Crafts movement, which changed the course of the british domestic architecture in the 1890\'s and acquired international reputation. The influences on brazilian architecture probably came by two ways; straight from britain and also through the United States. In this country, there will be a mass production of a new kind of dwelling, the bungalow, which embodies the spirit of the british movement, in a more democratic way. This bourgeois housing culture, inherited from England, will arrive in Brazil mainly through domestic interior magazines. These domestic life-styles will settle in the suburbs that arise in São Paulo in the first decades of twentieth century, mainly in Jardim America from the Companhia City.
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Hamilton, Alexander Graham. "The Arts & Crafts in church-building in Britain, 1884-1918." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:e51d8f96-ba74-4655-b290-b95107f88770.
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Academic interest in Arts & Crafts architecture has tended - as did the architects themselves - to concentrate on houses. This thesis, for the first time, examines the Arts & Crafts in church architecture: there is no book on 'Arts & Crafts churches'. Monographs on Arts & Crafts architects include their church work, of course, but there has been little consideration of the form as a type, considering as a group churches by architects working in the Arts & Crafts milieu, and at the same time. The thesis starts by discussing the underlying problems - the lack of a clear definition of Arts & Crafts, and the questionable concept of Arts & Crafts architecture. It establishes definitions, sets out criteria for considering architects and their churches, and identifies a group of 35 'core churches' from which the majority of the evidence is drawn. The second chapter sets out the historical contexts - religious, architectural, and cultural - and how these contexts intertwine to foreground the personal and individualism in both spiritual and architectural expression. The central three chapters examine the interplay of client and architect: how the attitudes and beliefs of the former affected their relationship to their churches and architects; and how architects' ideas and interests were expressed in their methods, their buildings' construction and decoration. Chapter six explores the diffusion of Arts & Crafts in churches at the end of the period - the role of enthusiastic amateurs; churches as centres of craft education; manifestations of different, even attenuated forms of the ideas in later churches. After a concluding chapter which suggests that the uncategorisability of the churches - exemplified throughout the thesis - demonstrates the way in which belief moved from the cultural centre to the margins, a substantial Appendix sets out details of the core churches: dates, client, funding, architect, craftsmen, plan.
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Evely, R. D. G. "Minoan crafts tools and techniques : an introduction /." Jonsered : Paul Åström, 2000. http://catalog.hathitrust.org/api/volumes/oclc/47104663.html.
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Seo, Jimin. "Jacquard weave for interior design : valuing arts and crafts through encoding emotion and information." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1756/.
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This dissertation exists in relation to the exhibition of design practice at the RCA, November 7th 2014 (documented in photographs accompanying the text); it is structured according to my construction of the exhibition. It therefore integrates the question of describing my practice-based research methods along with the descriptions of my research context, and case studies of other contemporary designers; the history of the Arts and Crafts ethos, as a precursor of modernity, is also reconsidered as of potential use for a crafts approach to textile sustainability. The methods used are a compound of the workshop method of experiments at the desk, drawing board, computer screen, loom and print room, along with a search for existing cases of similar textile-weave practice in current production, some historical research and some autoethnography, which documents the subjective experience of researching sustainability in one aspect of textile design. The thesis explores aspects of emotional durability through textile design. The meaning of emotionally durable textiles, particularly those using a Jacquard weave design, was encoded in the form of QR code (Quick Response code) patterns, which, when scanned by a smartphone, lead users through the digital portal to digital platforms which inform and network users. Considering the origins of the computer in the digital binary logic of weave and its mechanisation in the Jacquard loom, the use of the weave process as a medium for encoding the meaning of the material is especially interesting for the designer as a means of activating the agency of the maker and the user. The use of textiles in all aspects of everyday life ensures the proximity of textile as an interface between the familiarity and comfort of the material and the designer’s addition of the function of rationality in relation to others and to the world of knowledge, networking and activism. The research concludes with a range of prototype Jacquard designs, which activate the relationship between designer and user through the medium of encoded messages. Using the Jacquard code as a part of new digital media of twenty-first-century technology is a way for design practice to celebrate the industrial innovation of mechanised weave and to apply this to the challenges of sustainability.
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Mande, Zoleka. "Income generating projects and poverty alleviation: the Baviaans Arts and Crafts Project." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/6115.
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South Africa has witnessed series of social unrest, many of which ended in violence by very poor communities who allege poor delivery of basic goods and services. The majority of South African citizens are poor and pervasive inequality exists between men and women and between black and white peoples of the country. The poverty alleviation strategies inequalities and the consequences of poverty amongst women in rural areas (Ozoemena, 2010). Cacadu District municipality has done a study analysis on poverty alleviation in 2009-2010 together with the Baviaans municipality to verify which areas was the most poorest in Baviaans municipality. The findings came as Vondeling and Riertbron which was the poorest area. The focus was on tourism side because Baviaans is the tourist area.Rietbron and Vondeling is part of Baviaans Arts and craft program that was previously funded by DEDEAT R500, 00 but only benefited after incorporated to Baviaans municipality as they were previously managed by Cacadu District Municipality before and the municipality decided to invest in this areas. The funding for DEDEAT was utilized for trainings, starting material and equipment’s and building of the Baviaanskoof Craft Shop for two projects which is Vondeling and Steytlerville and Rietbron did not benefit at that time. This study focuses on the income generating projects in Baviaans municipality with the view to describe the experiences of individuals who participate in these income generating projects. The objective of this study was to evaluate the contribution of income generating projects in addressing poverty alleviation. Steytlerville projects is using waste materials like old newspaper, raw material, broken cups to do jewellery .Vondeling and Rietbron project is an angel factory producing beaded wire angels by using materials locally produced merino wool, wire wool, beads and local products such as ostrich feathers .This study is based on a case study which gives a description of poverty and reflects an involvement process of beneficiaries or communities in an income generating project and how it is impacting on their livelihoods. Qualitative and quantitative methodology were used. According to Neuman (2000: 30), the quantitative data methods refer to the collection of data using numbers, counts and measures of things and qualitative research basically involves the use of words, pictures description and narratives”. Data was collected for interviews. In order to collect accurate information, an interview was conducted based on the author’s research questions. Research was conducted in different areas like Steytlerville, Vondeling and Rietbron. A questionnaire was used as a form of data collection for the three projects. These interviews were conducted formally in a focus group composed of the projects members. In Steytlerville they were 5 members, Vondeling 7 members and Rietbron10 members which make a sample of 22 members. These projects have two craft shop where they sell their product which is Willomore craft shop and Baviaanskloof craft shop. The craft shop has been established to create an outlet by which locally sustainably made craft can be displayed and sold. The craft shop has been developed in such a way that is a real life example of a green building and business .The craft shop is an example of how to be environmentally friendly and utilise nature in such a way that it is sustainable and does not destroy it. The research findings suggested that in certain instances, Baviaans Craft project has been successful in generating income for members. The market for these crafters is mainly tourists. From this research it came out clear that some of the project members were able to acquire skills which help them to find employment in well-established craft business. Despite the successful of Baviaans Craft project, the project members were somewhat constrained in managing and running the business. For example with response for special markets, they had to make use of external skills i.e. someone who made contacts with the export market and there after divide the profits amongst members. The project members were not adequately empowered in management skills.
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Manasseh, Pamela. "The Brynmawr experiment 1928-1940 : Quaker values and arts and crafts principles." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/358.
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This is a study of the social work of Quakers in the town of Brynmawr in South Wales during the depressions of the 1920s and 1930s. The work, which took place during the years 1928 to 1940, has become known as the Brynmawr Experiment. The initial provision of practical and financial relief for a town suffering severely from the effects of unemployment, was developed with the establishment of craft workshops to provide employment. Special reference is made to the furniture making workshop and the personnel involved with it. The thesis attempts to trace links between the moral and aesthetic values of Quakerism and the Arts and Crafts Movement and explores the extent to which the guiding principles of the social witness project and the furniture making enterprise resemble those of the Arts and Crafts Movement of the inter-war years, 1919-1939. All aspects of the Quaker work at Brynmawr were prompted by concern for social justice and upholding the dignity of each individual. These were also the concerns of John Ruskin and William Morris which motivated the formation of the Arts and Crafts Movement in the! 880s. The Arts and Crafts principles which persisted into the twentieth century in the craft communities of C. R. Ashbee and of Eric Gill, and in the craftsmanship of the Cotswold furniture makers, provides an Arts and Crafts context for the Brynmawr furniture. It is argued that similarities between the aesthetic and moral principles of the members of the Religious Society of Friends (Quakers) and those of Ruskin, Morris and their followers establish a synonymity in which they are linked by a common integrity. It is further argued that as a social project arising out of and responding to the specific economic conditions of the time, the Brynmawr Experiment and its furniture making enterprise is, by virtue of such links with Arts and Crafts, a potentially unique Quaker social witness project.
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Hitchmough, Ruth Wendy. "Studies in the symbolism and spirituality of the arts and crafts movement." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340859.
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Guenther, Andrew. "ARTS and CRAFTS: Predictive Scaling for Request-based Services in the Cloud." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1261.
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Modern web services can see well over a billion requests per day. Data and services at such scale require advanced software and large amounts of computational resources to process requests in reasonable time. Advancements in cloud computing now allow us to acquire additional resources faster than in traditional capacity planning scenarios. Companies can scale systems up and down as required, allowing them to meet the demand of their customers without having to purchase their own expensive hardware. Unfortunately, these, now routine, scaling operations remain a primarily manual task. To solve this problem, we present CRAFTS (Cloud Resource Anticipation For Timing Scaling), a system for automatically identifying application throughput and predictive scaling of cloud computing resources based on historical data. We also present ARTS (Automated Request Trace Simulator), a request based workload generation tool for constructing diverse and realistic request patterns for modern web applications. ARTS allows us to evaluate CRAFTS' algorithms on a wide range of scenarios. In this thesis, we outline the design and implementation of both ARTS and CRAFTS and evaluate the effectiveness of various prediction algorithms applied to real-world request data and artificial workloads generated by ARTS.
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Ibbotson, Verity Rose. "Collaboration and the Arts and Crafts Movement : the Art Workers' Guild, the Arts and Crafts Exhibition Society, the Quarto Imperial Club, and related group endeavour in Boston and Chicago." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577638.
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Mirzoeff, Nicholas. "Pictorial sign and social order l'Academie Royale de Peinture et Sculpture 1638-1752 /." Online version, 1990. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.279603.
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Tepper, Leslie H. "Hand crafted : creating a market for Canada's Northwest Coast native arts and crafts." Thesis, University of Leicester, 2002. http://hdl.handle.net/2381/31141.
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Museum collections contain examples of Aboriginal Northwest Coast material culture that have been categorised as curios, artefacts, tourist art, arts and crafts, or art. This dissertation examines the emergence of Native Northwest Coast Aboriginal objects made for sale as "arts and crafts". The discussion draws on the multidisciplinary field of material culture studies, on the theories of commodification and on the concept of the reinvention of culture. At the end of the nineteenth century the British Arts and Crafts Movement called for a return to the values and practices of an earlier period of hand crafted objects. For the next half-century in North America government agents, missionaries and philanthropic societies encouraged the production of traditional Aboriginal functional objects as a form of arts and crafts. This activity was perceived as a means of economic self-sufficiency, and to promote feelings of self-identity and self-worth among Native producers. At the onset of World War II. various individuals, private organisations, and government departments worked to transform the producer and the marketplace through education and public policy. Change was to be accomplished by establishing new venues, new expectations of behaviour, and a new social relationship between the supplier and the consumer. Today, a growing number of Native studio crafts people create objects of traditional material culture as a means of livelihood, and as participants in the revitalisation of Northwest Coast Aboriginal society. The term arts and crafts, however, has fallen into disuse and disfavour among Western scholars and Indigenous producers who associate the phrase with poor quality and low income. The term of choice today is art and artist. This work suggests that the production of arts and crafts in British Columbia was an important transition stage in the development of the Native art market. The efforts by private individuals, philanthropic societies and government programs during the mid-20th century raised the value of the hand crafted object. The thesis also suggests that the concept inherent in the Arts and Crafts Movement of "doing good when doing craft", is cyclical, reappearing as strategic policy during times of economic and social crisis on the Northwest Coast.
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Percifull, Elise. "Arts and crafts influences in East Anglian gardens : gardens and gardening in Norfolk and Suffolk, 1885-1914." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323248.
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Kauffman, Tim. "An Arts & Crafts Experiment in Sustainable Architecture: Exploring Parallels for Inspiration and Experimentation." Thesis, The University of Arizona, 2001. http://hdl.handle.net/10150/596957.
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Assuming that there are parallels between Arts and Crafts architecture and sustainable
architecture, these parallels should inspire experimentation when creating regional forms of sustainable
architecture.
An analysis of these parallels presents the design approaches of each type of architecture in
the first two sections of this study. Arts and Crafts architecture is taken as the point of origin, and a
discussion of sustainable architecture follows. The study includes a summary of the historical
context which helped form both sets of ideals in architecture, as well as the important characters
who practiced & shaped these ideals. Within the major categories of design approaches presented as
parallels, architectural examples and historical background information highlight how these design
approaches are embodied within the buildings and designs from each period.The third section studies these parallels in a regional context -the Southwestern U.S., and, in
particular, Tucson, Arizona. It describes the context and a brief history of the region and the city
itself. Its goal is to present a clearer understanding of the physical, cultural, and architectural forces
that should shape any regional approach to sustainable arts and crafts architecture in Tucson.The final section presents the design of a residential house in Tucson as a series of 2-
demensional, 8x11 illustrated pages. The process as represented herein can be thought of as the
embodied energy of a search for information and inspiration. Ideally, this process of inquiry, design
and construction will help to solve some of the environmental problems which face the residents of
Tucson, the Southwestern U.S., the country and even the world today and into the future.It is hoped that the establishment of these parallels will highlight an historical precedent for
the development of regional, sustainable, and beautiful, small scale residential architecture in the
future. It is hoped that the final outcome of this research will contribute to improving the well -being
of its occupants and of its site. Ideally, the design process, as documented, will also reflect the
artistic ideals and beauty which both the Arts and Crafts movement and the belief in sustainable
devlopment share and search for with respect to architecture.
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Roberts, Rosalie. "Crafting Radical Fictions: Late-Nineteenth Century American Literary Regionalism and Arts and Crafts Ideals." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19668.
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This dissertation demonstrates that Sarah Orne Jewett’s The Country of the Pointed Firs (1896), Mary Hunter Austin’s The Land of Little Rain (1906), Kate Chopin’s The Awakening (1899), and Mary Wilkins Freemans The Portion of Labor (1903) exemplify the radical politics and aesthetics that late nineteenth-century literary regionalism shares with the Arts and Crafts Movement. Despite considerable feminist critical accomplishments, scholarship on regionalism has yet to relate its rural folkways, feminine aesthetics, and anti-urban stance to similar ideals in the Arts and Crafts Movement. Jewett, Austin, Chopin, and Freeman all depict the challenges of the regional woman artist in order to oppose the uniformity and conventionality of urban modernity. They were not alone in engaging these concerns: they shared these interests with period feminists, sexual radicals, and advocates of the Arts and Crafts Movement like John Ruskin and William Morris, all of whom deeply questioned industrial capitalism and modernization.
Jewett, Austin, Chopin, and Freeman envisioned women’s Arts and Crafts communities that appealed to readers through narratives that detailed the potential uniqueness of homemade decorative arts and other aspects of women’s material culture. For Arts and Crafts advocates and regionalists, handcrafted goods made using local folk methods and natural materials fulfilled what they saw as the aesthetic requirements for artistic self-definition: The Country of the Pointed Firs and The Land of Little Rain embrace the destabilizing effect queer and feminist characters have on a presumably heterosexual domestic environment, and they formally resist the narrative structures of industrial modernity, emphasizing the Arts and Crafts ideal union between woman artist, natural environment, and communal bonds. The Awakening and The Portion of Labor expose the suffocating impact of industrial capitalism and sexism on women artists who strive for connection with their local environments and communities and cannot achieve their creative goals. I prove that all four texts do more than simply interpret regionalism through the Arts and Crafts Movement as a means to launch their critiques of industrial modernity, they transform the meaning of regionalist Arts and Crafts aesthetics and politics in late nineteenth-century American literature.
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Capucho, Teresa de Orey. "Paula Rego-o desenho como ponto de referência : o desenho como factor de mudança." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2001. http://dited.bn.pt:80/30165.
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Poças, Susana Maria Loureiro Restier Grijó. "Amedeo Modigliani-o preciosismo do desenho e as cumplicidades lusas, 1884-1920." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras, 1998. http://dited.bn.pt:80/30366.
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Henriques, Cidália Maria da Cruz. "O ensino do desenho em Portugal no século XIX-uma planificação de execução problemática." Thesis, Instituições portuguesas -- -Universidade Portucalense Infante D. Henrique, 1998. http://dited.bn.pt:80/30386.
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Jobling, Paul. "Fashion figures : word and image in contemporary fashion photography." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/4290/.
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This study explores the tension between text and image in the fashion spreads published in three magazines since 1980: The Face, Arena and Vogue. It takes as its starting part Roland Barthes' axiom that the magazine is 'a machine for making Fashion' and pursues his thesis that it is through 'represented clothing', rather than real garments themselves, that the meaning of Fashion is connoted. But it also contests his idea that the Fashion system is a vacuous or trivial form of signification, and in exploring both the verbal and pictorial elements of fashion spreads aims to uncover how they intersect with wider cultural events. The material under discussion has been arranged into three separate parts. Each one has its own discursive framework and diverse methodological perspective, yet it is also dialectically related to the others in a wider argument concerning the construction of the body in word and image in contemporary fashion photography. Part One serves to provide an overview of the evolution of the three chief titles consulted, considering the social, economic and aesthetic factors that have been instrumental in forging an identity for fashion photography since 1980. At the same time, it examines the preoccupation with a postmodern treatment of time and history in various spreads and assesses whether iconocentrism ipso facto renders fashion photography devoid of any deeper meaning. Part Two builds on this argument by analysing the ideas propounded in Roland Barthes' Systeme de la Mode, chiefly the distinction he makes between written clothing (le vetement ecrit) and image-clothing (le vetement-image), in the context of debates on logocentrism. Here I assess whether Barthes' predilection for written clothing is both viable and relevant when it comes to making sense of the symbolic content of represented clothing with particular reference to a fashion spread called 'Amoureuse' from Elle (June 1958). I also evince the same spread along with more contemporary examples to assess the way that Barthes deals with sex and gender in Systeme de la Mode. Part Three consolidates this exploration of gender and fashion by concentrating on the intense interest in sex and the body that has subtended much fashion imagery between 1980 and 1996. At this point, I deal with the objectification of female and male sexualities by mobilising the central tropes of the 'girl' and the phallic body respectively. In the process, I raise a diverse and complex intersection of related issues concerning identity formation and otherness, power, and visual pleasure. Thus I examine the investment that different producers and spectators might have in the fashion image: male and female; straight and gay; and white and non-white. In particular, I draw heavily on the psychoanalytical theories of Freud and Lacan, as well as more recent writing by Julia Kristeva, Luce Irigaray, Judith Butler and Diana Fuss.
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Waller, J. "A study of craft, design and technology among 14 year olds : their attitudes, related views, associated personality traits and gender differences." Thesis, Brunel University, 1988. http://bura.brunel.ac.uk/handle/2438/4382.
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This research is concerned with investigating the attitudes of 3rd year secondary pupils towards CDT; with establishing any differences, in both attitudes and personality in the way the two sexes regard CDT and why more girls do not continue with the subject after the 3rd year. The field study for this was completed in 1982. There was a follow up of the sample at the post 16+ stage in order to investigate the actual take-up of further study of CDT subjects to examination level at 16+ and to compare those who passed well ('high flyers') with those who only gained a low pass grade Clow achievers') and compare attitudes and examination performance in the sample schools. The research began with three questionnaires designed and administered in 1982 in several coeducational schools in Hertfordshire - two attitude questionnaires to 405 pupils (301 boys & 104 girls) in 7 schools and the 'engineer' questionnaire to 150 pupils (87 boys & 63 girls) in 3 schools. A total of four questionnaires were used - an attitude questionnaire with a five point Likert scale; an open-response attitude questionnaire and a questionnaire designed to find out how the pupils perceive the engineer. Cattell's HSPQ was also used. Across the whole of the five attitude scales, the two sexes presented completely different profiles. Both sexes expressed a desire for more practical work. Pro-CDT pupils were influenced by a family member with technical skills and tended to be tough-minded rather than tender-minded. Boys who are in favour of CDT are likely to be far more controlled and conscientious; introverts rather than extraverts; neurotic rather than stable and slightly more inclined to like working with things rather than people. In contrast, pro-CDT girls are likely to be stable extraverts, with a slight tendency to prefer working with people and to be lax and expedient. These terms are explained within the thesis. Girls were on the whole more concerned about the form of the lessons, claimed to be more relaxed in workshop sessions in CDT and enjoyed the lessons more than boys. The boys in their personality responses revealed some degree of concern and anxiety. However, there was an almost total rejection by the girls for continuing CDT - especially amongst the intelligent ones - although they found the subject enjoyable and within their capabilities. The girls' attitudinal responses showed that in CDT they lacked confidence with tools and machines even after three years in secondary education. This may be related to their previous lack of 'tinkering' experience. Boys seemed to have a far greater enjoyment and appreciation of the value and skills of practical technical work although they tended to be weak mathematically and less inclined than girls to continue with graphical work. They expressed a greater intention of continuing with CDT and taking up a technical career. Twice as many boys (80%) took up technical studies (CDT) as opposed to technical drawing (41%). Only one girl took any CDT subjects. In practically-based CDT examinations, the 'high flyers' demonstrated a greater pro-CDT stance and found the work more relaxing than the 'low achievers'. In graphical examinations, the 'high flyers' were more critical of the way the subject was taught; were more concerned about the effects of technology on society and were far more relaxed compared with the 'low achievers'. These findings are compared with other research that was going on at the same time. It is hypothesized from the findings that more girls may take up CDT if there was an increase in investigative work and a greater time allocation. Possible sources of further research are discussed in the concluding chapter.
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Cutting, Nicola. "Children's tool making : from innovation to manufacture." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3969/.
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Through eight experiments this thesis investigated the divergence in children’s abilities in the domain of tool making. Despite being excellent tool manufacturers following full instruction, children displayed great difficulty in innovating novel tools to solve problems. Experiments 1 to 3 found four-to-seven- year-olds’ tool-innovation difficulty to be a robust phenomenon that extended to new tasks requiring different tools made by a variety of methods and materials. Experiments 3 and 4 aimed to discover whether some tool-innovation tasks are harder for children than others. Together these experiments suggested that the difficulty of tool innovation is due to the type of transformation required. Experiments 5 to 8 investigated why children find tool innovation so difficult. Experiments 5 and 6 ruled out singular executive functions as limiting factors on children’s performance. Experiments 7 and 8 found that young children have great difficulty in generating and coordinating the components of a problem even if aspects of the task are highlighted for them. Overall this thesis led to the conclusion that tool-innovation difficulty is due the ill-structured nature of the task. Additionally this thesis provides new definitions and frameworks with which to study tool-related behaviour that will benefit both the developmental and comparative literatures.
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Young, Tamsyn. "Clothes and domestic textiles in the community of Staple and its environs : constructing the forgotten fabrics of the sixteenth century yeoman." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/364317/.
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The clothes and domestic textiles of the sixteenth century were, next to food, one of the absolute necessities for humankind to survive. This study examines the different types and constructions of textiles closely, using an historical approach, reading original documentation and viewing the scarce fragments of remaining examples. Due to the class of society being considered and the fragility of the textiles, other rare samples, from beyond the sixteenth century needed to be considered to try and assemble a true picture of the textiles available. Agriculture, demography, geography and history have all been drawn upon. The lack of actual samples and the chasm in information regarding these forgotten items of daily living have been continually assessed and evaluated. Other themes addressed include: the relationship of the yeoman in society through sumptuary law; their respect for and association with nature for raw materials; and innovation in improving their skills. Practical attempts to reveal an authentic colour palette of the yeoman world, although not conclusive, have permitted a fresh approach for further enquiry. This research includes detailed worksheets and various hand woven samples which support the practical element of this study, giving a valuable foundation for further investigation. This original work will be of educational value in portraying this sector of society, so easily overlooked because of the grandeur of the sixteenth century nobility. The samples provide tactile experiences reinforcing, the need of textiles to be 'fit for purpose'. Many skills from this period have been lost to future generations, only recreations based on balanced and empiric judgements will help evaluate the of these forgotten fabrics
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Justo, Nelia. "An Eastern affair /." View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030616.145135/index.html.
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Thesis (M.A.) (Honours) -- University of Western Sydney, Nepean, 2001.Thesis submitted for the degree of Master of Arts (Honours), Contemporary Art, University of Western Sydney, Nepean, 2001. Bibliography : leaves 53-54.
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Cumming, Elizabeth. "Phoebe Anna Traquair HRSA (1852-1936) and her contribution to arts and crafts in Edinburgh." Thesis, University of Edinburgh, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328931.
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Machenheimer, Cassandra Elizabeth. "An American "Bookbuilder": An Examination of Loyd Haberly and the Transatlantic Arts and Crafts Movement." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556243824913042.
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Bamforth, Nigel William. "The development of India's crafts and their implication upon Indo-european furniture." Thesis, Bucks New University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364467.
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Connellan, Kathleen. "New craft in a Western Cape design identity." Thesis, Cape Technikon, 1996. http://hdl.handle.net/20.500.11838/1309.
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Thesis (MTech (Interior Design))--Cape Technikon, Cape Town,1996This research project has endeavoured to analyse the extent to which craft ideas and techniques are combining with technological skills in order to formulate an identity for Western Cape furniture design. This identity has been shown to be strongly linked to the determinants of style". which include the national striving for a South African zeitgeist. a sense of unified spirit. The problems of eclecticism are discussed in the light of superficial ethnic cooption. The new craft of the Western Cape (and more specifically Cape Town) of South Africa. is represented against the background of the old craft of the Arts and Crafts Movement in Britain at the turn of the century. Those old methods and ideas influenced the Cape Colony especially when it was under British rule. This dissertation shows that the new craft ideas and methods are synonymous with the new ideology of South Africa. a new craft for a new South Africa. The designers and practical work selected to be part of this research all share a common approach in their positive attitude towards experimenting with new techniques and using available resources to produce quality furniture which is accessible to most consumers. The work of four design groups: Greenspace. Metropolis. Flying Cow and the Montebel70 Smithy are discussed in terms of the objectives of this research which are essentially linked to the unravelling of the determinants of style and their relation to the concept identity in the South Africa which has succeeded the first free and fair general elections of April 1994.
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Hoban, Sally. "The Birmingham Municipal School of Art and opportunities for women's paid work in the Art and Crafts Movement." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5124/.
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This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.
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Spencer, Jorge M. F. 1958. "Aspectos heurísticos dos desenhos de estudo no processo de concepção em arquitectura." Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 2000. http://dited.bn.pt:80/29372.
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Silva, Ana Maria dos Santos Moreira da. "De Sansedoni a Vasari-um contributo para o estudo do desenho como fundamento do processo conceptual na arquitectura." Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 2001. http://dited.bn.pt:80/29529.
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Gower, Beverley Michael. "Craft idealism as an influence on design : with particular reference to furniture and interiors." Thesis, Cape Technikon, 1989. http://hdl.handle.net/20.500.11838/1322.
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Thesis (Masters Diploma (Technology))--Cape Technikon, Cape Town,1989In iniustrialised societies which are !:JecoIninJ increasingly reliant on ca:rprter te::hnology the proliferation of han::lcraft would seem to be an anachramism. 'Ihis phenomenon has been explored from the viewpoint of the discipline of design and !OClre specifically in the areas relating to interiors and furniture. Against the background of a survey of contemporary activity in South Africa the historical evolution of craft has been examined in an attenpt to trace the relevance of this recent occurrence. The quality of idealism has been identified in that category of craft which emerged fram the Arts and Crafts Movement of last century. 'Ihis idealism in concert with the crafts emanating from the earlier material cultures of southern Africa has been proposed as a possible influence on design. A practical component has been included in the study in the form of experiments in han:icrafting pieces of furniture. The intention has been to gain urrlerstanding of the process and assist in furtherirrJ this particular craft.
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Bunnell, Katie. "Re:presenting making : the integration of new technology into ceramic designer-maker practice." Thesis, Robert Gordon University, 1998. http://hdl.handle.net/10059/1556.
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See Coversheet for system requirements. The aim of the research is to integrate computer technologies and environmentally - sensitive materials and processes into the practice of the ceramic designer-maker, in order to assess the impact of new technologies on practice. A critical contextual review (including analysis of visual material) revealed a developing interest in environmental issues and computer technologies in designer-maker practice. A shift away from a philosophy which historically has been anti-industrial, towards a wider spectrum of craft production was noted. This diversity was shown in the types of production and the scale of manufacture - from ‘one-offs’ to industrial manufacture. New technologies were acknowledged by critics, commentators and practitioners as facilitating this development, although concerns about the potentially detrimental affect that computer technology could have on craft skills was voiced. A link between a pragmatic philosophy of ‘craft’ practice and new approaches to computer systems design highlighted a perception of the validity of ‘craft’ as a contemporary skill. The lack of established methodologies for practice-based ceramic design research has led to the development of a naturalistic approach within this work which is both holistic and emergent. By necessity this methodology places the design researcher at the centre of the inquiry, and uses practice as the main research vehicle. Selected research outcomes were peer reviewed through two significant international touring exhibitions: ‘Hot Off the Press: Ceramics and Print’ and ‘Objects of Our Time’. Initial investigations concentrated on the development of environmentally-sensitive lustre glazes [lead and cadmium free] incorporating an innovative ‘safe’ reduction firing system. Subsequently, ceramic surface designs and three dimensional forms were developed through the integration of: computer assisted design work (CAD); computer assisted manufacture (CAM); colours and glazes; and environmentally-sensitive screen printing, and existing making methods. The outcome was new aesthetic qualities and an extension of practical capabilities. A critical framework for the analysis of research outcomes was developed in order to make explicit and transferable some of the tacit knowledge embodied in research investigations. The analysis was developed through the use of a computer database system from which an electronic document was developed, allowing the integration of a large amount of visual material into the thesis. The research demonstrated that the integration of new technologies into the holistic and emergent practice of the ceramic designer-maker was appropriate. Many advantages of computer technologies for the ceramic practitioner are identified as transferable to the wider field of designer-maker practice and embody the potential to enhance future developments in this field.
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Barber, Claire. "Cloth in action : the transformative power of cloth in communites." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/29190/.
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The work submitted for the PhD by Publication is evidence of my investigation into the significance of textiles as an aesthetic experience within a socially engaged form of material practice, some of which involves other people. Social engagement has been an active and deliberate agent in the aesthetic transformation of functional material objects in two of my publications called The Sleeping Bag Project and You Are the Journey. A third publication is a co-edited book called Outside: Activating Cloth to Enhance the Way We Live. A range of essays by artists, curators and writers discloses previously unwritten commentaries on community initiatives that probe a range of empathetic modes of investigation that explore meaningful spaces for participation. I have come to recognise that a proactive attitude towards collaboration is evident in all three publications. It is exemplified by my approach to co-orchestrating the Outside book and by an eagerness to work with others to advance the concept of the transformative power of cloth within the live arena for socially engaged textile practices today. The relations between an aesthetic transformation and socially engaged practice was implicit in Rozsika Parker’s seminal text The Subversive Stitch first published in 1984 providing an analysis of textiles within social history. At the beginning of work on this PhD my relationship with the book was complex and full of tensions. My perceptions of Parker’s work changed as I discovered at the very end of my thesis connections between her work and mine that enable a deeper understanding of the need in my socially engaged textile practice today for the kind of aesthetics she describes historically as arising from social constraint. Consequently The Subversive Stitch has now re-appeared with value as a touchstone for my work in a contemporary context. The thesis then discusses examples of the outcomes of practices by other artists and considers the attention given to visual aesthetics within socially engaged practices. Ideas are developed to suggest how the aesthetic dimension of textiles may enhance principles of communal giving as an innovative strategy stretching beyond the coalition government’s Big Society agenda presented in 2010. Examples from investigations of textiles in museum archives including embroideries created by internees within Second World War prisoner-ofwar camps in the Far East are also examined. The aesthetic dimension of the embroideries carries significance through the vulnerable context in which they were created, as a potent series of statements involving cloth in action. In contemporary Britain, I have shown how such everyday objects as sleeping bags and travel tickets can capture the imagination by creating a connection with participants, when they may not have been consciously seeking an insight separate from the functionality of these objects. Nevertheless, an aesthetic gesture is surreptitiously tucked away. This has created a hybrid form of social engagement that can move fluidly between private and public spaces. The social engagement also involves processes of interaction and exchange with the object in the presentation of an active relationship with the object that is both seen and unseen.
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Hasio, Cindy Lee. "A Collective Case Study of Veterans Inside an Arts and Crafts Room and Their Perceptions Regarding Empowerment." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177210/.
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This dissertation is "A Collective Case Study of Veterans Inside an Arts and Crafts Room and Their Perceptions Regarding Empowerment." This research examined to what degree art making, and in what ways a community of learning contributed to veterans' self-worth and empowerment through their creative activities and interactions inside an arts and crafts room at the VA hospital in Dallas, Texas. Furthermore, an essential reason for this study is to examine veterans in the arts and crafts environment to explore whether their experiences were important, meaningful, and empowering, and especially important in this regard are the interactions among veterans. Empowerment in this context is defined as gaining self-esteem and motivation within oneself. This includes becoming more confident and positive, as well as gaining the ability to learn about one's own identity. It also described how the interactions between the participants are shaped by the social contexts within which they come together. Using post-modern feminist theory, narrative inquiry and care theory, this dissertation describes the ways that the processes and products of creative activity bring empowerment through dialogue and personal stories while using the component of caring during teaching and learning.
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Rubinson, Claude. "The Production of Style: Aesthetic and Ideological Diversity in the Arts and Crafts Movement, 1875--1914." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194514.
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What explains the aesthetic diversity of the Arts and Crafts movement? Typically, artistic movements are characterized by a single style but the Arts and Crafts produced both organic and geometric forms. Examining two Arts and Crafts retrospective exhibitions, I find that organic aesthetics predominated in Great Britain, Scandinavian countries, and Hungary and that geometric aesthetics were more prevalent in the United States, Germany, and Austria. This finding is largely consistent with previous sociological research on artistic form, which has found that stronger political-economies are more likely to produce geometric work while weaker political-economies are more likely to produce organic work. Austria, however, is a contradictory case and here the Arts and Crafts movement was more geometric than the political-economic model would predict.Through a comparative-historical study, I determine that the cause of aesthetic diversity of the Arts and Crafts movement was not per se a region's political-economic situation. Rather--and in contradiction to existing sociological theories of artistic style--the aesthetic variation of the Arts and Crafts was a function of whether, in a given country, the movement was backward-looking or forward-looking which, in turn, was function of which Arts and Crafts principles particular regions privileged. In regions where the members of the movement emphasized the value of labor (Great Britain) or regionalism (Scandinavia and Hungary), the movement was backward-looking and characterized by an organic aesthetic. In contrast, in regions that emphasized the democratization of the arts (the United States and Germany) or artistic unity (Austria), the movement was forward-looking and characterized by a geometric aesthetic. I further argue that in order to make sense of the ideological diversity of the movement, we must appreciate that the Arts and Crafts was a cultural manifestation of a period of political and economic turbulence characterized by the emergence of the first great world-wide depression, the decline of British hegemony, and the rise of American hegemony. The Arts and Crafts movement served to buffer the disruptive effects of this period and, in doing so, helped to usher in the modern age.
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Mendes, Maria Teresa Dias Peralta. "Montemuro, um despertar de antanho." Master's thesis, Instituições portuguesas -- UC-Universidade de Coimbra -- -Faculdade de Letras, 2002. http://dited.bn.pt:80/29581.
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Justo, Nelia. "An Eastern affair." Thesis, View thesis, 2001. http://handle.uws.edu.au:8081/1959.7/681.
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A continuing interest in the relationship between the 'decorative' and the 'technological' is a key area that underpins the author's artistic practice. This paper surveys the historical links between the production of applied and decorative art and the emergence of associated technologies as it relates to the author's Art practice. The focus is on Asia's influence on European applied and decorative arts as resulting from the trade relationship evolved over many centuries. Particular emphasis is placed on the period between 17th-19th centuries and with specific reference to textiles. This trade relationship affected European taste, the supply and demand of luxury goods, and introduced technological developments, which in turn had a marked effect on the European social and cultural environment. A brief comparison is made with contemporary trade and production relationships between the West and developng nations, particularly in the East-looking at parallels in trade patterns and systems, which were laid down during 17th-19th century period and are still present today.