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Tesi sul tema "Art in interior decoration"

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Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 28 luglio 2024

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1

Chen, Yingzhu. "Art preference of healthcare staff in break room environments". Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Fall2009/Y_Chen_111409.pdf.

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Thesis (M.A. in interior design)--Washington State University, December 2009.
Title from PDF title page (viewed on Jan. 28, 2010). "Department of Interior Design." Includes bibliographical references (p. 62-69).

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2

Hein, Dawn Michelle. "The art and craft of the interior". Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1209805.

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This thesis gives a voice to the call for a holistic approach to the preservation of commercial and particularly domestic architecture. Interior architecture is an important piece of the whole in need of consideration. Arts and Crafts interiors in the state of Indiana are considered in reference to this fact and the case studies chosen exemplify the connection between cultural history and the interior architecture and design.The Arts and Crafts Movement's philosophy worked to integrate the entire design with the surrounding site. The interior was the focus of the synthesized design and it is this emphasis that must be captured. The Midwest played an important role in the development of the Arts and Crafts Movement and central Indiana's interior residential architecture gives evidence to the movement's influential philosophy as well as social changes in the early twentieth century.An introduction to the Arts and Crafts Movement briefly discussing its history in England and the United States is provided as well as a discussion of the Movement's philosophy. Following the history is a chapter concerned with the Arts and Crafts influence in Indiana. Manufacturers and retailers are identified as well as products marketed. Architects and artisans are discussed. Next, a chapter identifies significant interior elements, furnishings, finishes and floor plans. Finally, four case studies are examined ranging from a self-built bungalow to an architect-designed estate. Floor plans, architectural features, and finishes are covered.
Department of Architecture

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3

Fowler, Smith Juliet. "Inhabiting space and place : from installation to the clinical setting". Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/25608.

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This paper explores the relationship between place in installation art and its relevance to the practice of placemaking in a hospital setting. The discussion draws on phenomenology, psychodynamic theory and contemporary art, in particular the author's art experience of places, their formal qualities and potential meanings, along with, an examination of what creates an embodied sense of being contained at home ( emotionally and physically). Some of the questions posed for discussion include; what is it about places that becomes inherent to memory and shapes its form? How do places impact on what we do there and who we are? Is place more significant in memory for a young child or someone in a vulnerable state of being (as in the hospital setting)? Process issues, along with physical outcomes, in installations and in the hospital projects are discussed.

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4

Gaier, Samantha. "Interior Decoration as Fine Art: Rachel Feinstein and The Sorbet Room, 2001". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363604230.

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5

Fowler, Smith Juliet. "Inhabiting space and place : from installation to the clinical setting /". View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030506.102256/index.html.

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6

Lee, Ileana C. "Living space". Connect to this title online, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1106598599.

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7

Limbach, Holli E. "Hugo F. Huber, 1869-1934 Interior Decorator Stan Hywet Manor, Akron, Ohio". University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1272217507.

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8

Hamling, Tara. "Narrative and figurative imagery in the English domestic interior, c.1558-c.1640". Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268689.

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9

Yu, Kopotienko V. "FEATURES OF ARCHITECTURE, INTERIOR DESIGN AND HOUSEHOLD GOODS OF NOVOMYRHOROD DISTRICT, KIROVOHRAD REGION OF UKRAINE". Thesis, ПОЛІТ.Сучасні проблеми науки.Гуманітарні науки:тези доповідей XVII Міжнародної науково-практичної конференції молодих учених і студентів:[y 2-x т.].Т.2(м.Київ,4-7 квітня 2017 р.)/[ред.кол.:В.М.Ісаєнко та ін.]; Національний авіаційний університет.-К.:НАУ,2017.-374 с, 2017. http://er.nau.edu.ua/handle/NAU/27732.

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Conclusions. The investigation has helped identify the peculiarities of the architecture, interior design and household goods of Novomyrhorod district, the formation peculiarities which correspond to the general stages of the country development. The most preserved buildings for their aesthetic value for the region are Elias Church and St. Nicholas Church, Anna Dmitrian hospital and Slatopolsky gymnasium.

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10

Vignon, Charlotte. "Londres – New York – Paris : le commerce d’objets d’art de Duveen Frères entre 1880 et 1940". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040235.

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Pourquoi tant d’objets d’art décoratifs de collections européennes se trouvent-ils aujourd’hui dispersés aux quatre coins des Etats-Unis ? A partir de documents d’archives inédits et d’une lecture critique des sources, cette thèse appréhende l’exode du patrimoine européen vers les Etats-Unis du début du vingtième siècle à travers le parcours d’acteurs importants de ce phénomène : les marchands Joel, Henry et Joseph Duveen à la tête de la prestigieuse galerie d’objets d’art et de tableaux, Duveen Frères, établie à Londres et New York dès la fin du dix-neuvième siècle et en 1908 à Paris. Sont d’abord étudiés les stratégies commerciales qui projetèrent les Duveen à la première place du commerce d’objets d’art de l’époque (I). Vient ensuite une analyse précise du commerce d’objets d’art de la firme : celui des porcelaines de Chine, puis des meubles et objets d’art du dix-huitième siècle français et enfin des objets médiévaux et de la Renaissance (II). Finalement, est abordé, l’activité de décorateur de la firme (III)
Why are so many European objets d’art found in collections across the United States today ? This PhD dissertation explores the exodus of decorative arts objects originating from the private collections of Europe’s cultural elite at the beginning of the twentieth century by providing a new interpretation of unpublished archival materials and an in-depth study of the three key figures who contributed to this phenomenon : Joel, Henry, and Joseph Duveen of Duveen Brothers, the prestigious international art firm established in London and New York at the close of the nineteenth century, and in Paris in 1908. Beginning with an examination of the strategies employed by Duveen Brothers to monopolize the American art market and become the preeminent dealers of their time (I), this thesis is followed by a meticulously researched exploration of their dealings in Chinese porcelains, eighteenth-century French decorative arts, and medieval and Renaissance art (II), and concludes with a thorough analysis of the firm’s activities in the area of interior decoration (III)

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11

Choate, Ksenia. "From "Stalinkas" to "Khrushchevkas": The Transition to Minimalism in Urban Residential Interiors in the Soviet Union from 1953 to 1964". DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/628.

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During the shift from the rule of Joseph Stalin to that of Nikita Khrushchev, people in the Soviet Union witnessed dramatic political, economic, and social changes, evident even in such private aspects of life as residential home interiors. The major architectural style of Stalin's era, known as Stalin's Empire Style, was characterized by grandeur and rich embellishments. The buildings' interiors were similarly grandiose and ornate. By endorsing this kind of design, Stalin attempted to position himself as an heir of classical traditions, to encourage respect for his regime, and to signal his power. When Nikita Khrushchev became the country's leader shortly after Stalin's death in 1953, he proclaimed that "excessive decorations" were not only unnecessary, but harmful. As a result, the standardized panel buildings produced at his initiative were defined by straight, plain lines, and were devoid of literally any architectural details that were not considered functional. These changes in Soviet architecture were reflected in interior design and furnishings: the minimalist aesthetic became their defining characteristic. The purpose of this study is to gain, through examination of existing literature, new insight into why a transition to a minimalist aesthetic was happening in the 1950s and 1960s in Soviet urban interior design. To achieve this goal, the present thesis analyzes works by contemporary scholars on the subject and examines statements the Soviet government as well as Soviet architects and interior decoration specialists made regarding the state's views on architecture and interiors during the period of 1950-1960. While research has been published that explores some aspects of this stylistic transition, the present work is unique in that it identifies and focuses on three distinct reasons for the change to minimalism in Soviet urban residential interiors under Khrushchev: the deficit of apartment space, reduction of construction costs, and ideological motives.

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12

Boyd, Kelly Elizabeth. "Mme. de Pompadour: Self Promotion and Social Performance through Architecture and the Decorative Arts". Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/90.

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The structure of this thesis relies on the physical locations of Mme. de Pompadour. Although the chapters are roughly chronological, beginning with her arrival at Versailles in 1745 and ending with her death in 1764, this work makes no attempt to comprehensively chronicle the entirety of her involvement in the decorative arts. Rather, it focuses on several specific aspects of her patronage, with the goal of illuminating her social position and public image, and how she worked to control the two. Chapter One deals with the first rooms Mme. de Pompadour inhabited, from 1745-1750. These upper apartments characterize her early attempts to convey meaning through décor and to shape social interactions within a constructed environment. Chapter Two follows Mme. de Pompadour’s move downstairs, to the lower apartments in 1750. This move parallels an important evolution in her role at court and seeks to explore how her newly political functions were expressed through these interior spaces. Chapter Three is more expansive, examining three architectural projects undertaken by Mme. de Pompadour and Louis XV on her behalf, over the course of her nineteen years at court. These independent homes represented an opportunity for Mme. de Pompadour to actively work to change public perception of herself and her role, an opportunity that she did not waste.

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13

Baguley, Margaret Mary. "The deconstruction of domestic space". Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.

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Introduction: I find myself in the pantry, cleaning shelves, in the laundry, water slopping around my elbows, at the washing line, pegging clothes. I watch myself clean shelves, wash, peg clothes. These are the rhythms that comfort. That postpone. (The Painted Woman, Sue Woolfe, p. 170) As a marginalised group in Australian art history and society, women artists possess a valuable and vital craft tradition which inevitably influences all aspects of their arts practice. Installation art, which has its origins in the craft tradition, has only been acknowledged in the art mainstream this decade; yet evolved in the home of the 1950s. The social policies of this era are well documented for their insistence on women remaining in the home in order to achieve personal success in their lives. This cultural oppressiveness paradoxically resulted in a revolution in women's art in the environment to which they were confined. Women's creative energies were diverted and sublimated into the home, resulting in aesthetic statements of individuality in home decoration. As an art movement, women's installation art in the home provided the similar structures to formally recognised art schools in the mainstream, and include: informal networks and training (schools); matriarchs within the community who were knowledgable in craft traditions and techniques and shared these with younger women (mentorships); visiting other homes and providing constructive advice (critiques); and women's magazines and glory boxes (art journals and sketch books). A re-examination of this vital period in women's art history will reveal the social policies and cultural influences which insidiously undermined women's art, which was based on craft traditions.

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14

Пилипчук, Оксана. "Історичний аспект питання взаємозв'язку художньо-декоративних форм в контексті інтер'єрного середовища". Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10855.

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Надано результати дослідження етапів історичного розвитку світового мистецтва різних епох. Підняте питання про актуальність розгляду історичного аспекту взаємозв'язку художньо-декоративних форм в контексті інтер'єрного середовища. На основі зробленого аналізу та приведених прикладів встановлено, що знання стильових змін в різних історичних етапах стосовно розміщення художньо-декоративних форм в інтер'єрному середовищі є необхідним інструментом в творчій роботі художника-дизайнера.
The results of research of stages of historical development of world art of different eras are given. The question of the relevance of considering the historical aspect of the interrelationship of artistic and decorative forms in the context of the interior environment has been raised. Based on the analysis carried out and the examples given, it has been established that knowledge of stylistic changes at various historical stages regarding the placement of artistic and decorative forms in the interior environment is a necessary tool in the creative work of the artist-designer.

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15

James, Lindsey Taylor. "Invasive". Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231202288714.

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16

Meter, Maryke. "An Internet based information resource for marketing purposes with specific reference to interior design". Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-12212005-155229/.

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17

Lee, Soeun. "Comparative study of interior design programs in South Korea and the United States". Online access for everyone, 2005. http://www.dissertations.wsu.edu/Thesis/Spring2005/s%5Flee%5F050505.pdf.

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18

Moorman, Jillissa Lynn. "Interior design versus interior decoration evaluating the public's perception of design television shows /". [Ames, Iowa : Iowa State University], 2008.

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19

Kethro, Philippa. "Pedagogical ways-of-knowing in the design studio". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1004338.

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This research addresses the effect of pedagogical ways-of-knowing in higher education design programmes such as Graphic Design, Interior Design, Fashion, and Industrial Design. One problematic aspect of design studio pedagogy is communication between teachers and students about the aesthetic visual meaning of the students’ designed objects. This problematic issue involves ambiguous and divergent ways-of-knowing the design meaning of these objects. The research focus is on the design teacher role in design studio interactions, and regards pedagogical ways-of-knowing as the ways in which teachers expect students to know visual design meaning. This pedagogical issue is complicated by the fact that there is no agreed-upon corpus of domain knowledge in design, so visual meaning depends greatly on the social knowledge retained by students and teachers. The thesis pursues an explanation of pedagogical ways-of-knowing that is approached through the philosophy of critical realism. How it is that particular events and experiences come to occur in a particular way is the general focus of critical realist philosophy. A critical realist approach to explanation is the use of abductive inference, or inference as to how it is that puzzling empirical circumstances emerge. An abductive strategy aims to explain how such circumstances emerge by considering them in a new light. This is done in this study by applying Luhmann’s theory of the emergence of cognition in communication to teacher ways-of-knowing in the design studio. Through the substantive use of Luhmann’s theory, an abductive conjecture of pedagogical ways-of-knowing is mounted. This conjecture is brought to bear on an examination of research data, in order to explain how pedagogical ways of-knowing constrain or enable the emergence of shared visual design meaning in the design studio. The abductive analysis explains three design pedagogical ways-of-knowing: design inquiry, design representation and design intent. These operate as macro relational mechanisms that either enable or constrain the emergence of shared visual design meaning in the design studio. The mechanism of relation is between design inquiry, design representation and design intent as historical knowing structures, and ways-of-knowing in respect of each of these knowing structures. For example, design inquiry as an historical knowing structure has over time moved from ways-of-knowing such as rationalistic problem solving to direct social observation and later to interpretive cultural analysis. The antecedence of these ways-of-knowing is important because communication about visual meaning depends upon prior knowledge, and teachers may then reproduce past ways-of-knowing. The many ways-of-knowing that respectively relate to design inquiry, design representation and design intent are shown to be communicatively formed and recursive over time. From a Luhmannian perspective, these ways-of-knowing operate as variational distinctions that indicate or relate to the knowing structures of design inquiry, design representation and design intent. This is the micro-level operation of pedagogical ways-of-knowing as relational mechanisms in design studio communication. Design teachers’ own ways-of-knowing may then embrace implicit way-of-knowing distinctions that indicate the knowledge structures of design inquiry, design representation and design intent. This implicit indication by distinction is the relational mechanism that may bring design teachers’ expectation that this and not that visual design meaning should apply in communication about any student’s designed object. Such an expectation influences communication between teachers and students about the potential future meaning of students’ designs. Consequently, shared visual design meaning may or may not emerge. The research explanation brings the opportunity for design teachers to make explicit the often implicit way-of-knowing distinctions they use, and to relate these distinctions to the knowing structures thus indicated. The study then offers a new perspective on the old design pedagogical problem of design studio conflict over the meaning of students’ designs. Options for applying this research explanation in design studio interactions between students and teachers are therefore suggested.

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20

Marian, Kristi. "Interior design magazine's hall of fame award what does the hall of fame tell us about the interior design profession? /". Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Fall2009/k_marian_111709.pdf.

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Thesis (M.A. in interior design)--Washington State University, December 2009.
Title from PDF title page (viewed on Jan. 14, 2010). "Department of Interior Design." Includes bibliographical references (p. 24-28).

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21

Basto, Maria Fernanda Silva Lopes Pinto. "Os interiores artísticos das duas camarinhas reais do último "Yacht" "Amélia"-um panorama sobre a história dos interiores e das artes decorativas inglesas do séc. XIX". Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 1997. http://dited.bn.pt:80/30411.

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Wong, Kwok-kit, e 黃國傑. "Triad involvement in interior decoration business in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31979117.

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Wong, Kwok-kit. "Triad involvement in interior decoration business in Hong Kong". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22030566.

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Smith, Allison Hope. "162 Springcrest". Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.

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Morrow, Carol A. Built Environment Faculty of Built Environment UNSW. "Women and modernity in interior design: a legacy of design in Sydney, Australia from the 1920s to the 1960s". Awarded by:University of New South Wales. School of Built Environment, 2005. http://handle.unsw.edu.au/1959.4/23312.

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This thesis argues that women were seminal to the development of interior design as a discipline and profession in Sydney, Australia. Covering the period from the 1920s to the 1960s, this study identifies Thea Proctor, Nora McDougall, Margaret Lord, Phyllis Shillito and Mary White as foundational leaders who progressively advanced interior design in Sydney through individual and collective understandings of design. Focussing on their contributions to this development, this study explains complex interrelationships between women and modernity in interior design. This emergence of the discipline and profession in Sydney situates the initiatives of these five women at a transitional phase of the field???s global development when ???interior decoration??? is challenged by modern attitudes and artistic theories of ???design???. Working as individuals, Proctor and her successors advance the profession???previously characterised as a ???natural??? pursuit for women of ???taste??? and ???style??????by their artistic, rational and practical approaches to interior design. At a time when no distinct discipline exists in Sydney, the women offer instruction and forge new directions by reformulating previous overseas traditions: incorporating a wide-range of aesthetic and theoretical conceptions of design, demonstrating common and different approaches to practice, and integrating changes in requisite knowledge and skills in response to their times. The women???s programs are conventional and progressive, common and diverse, universal and particular in content and meaning. Working within a variety of settings, the women importantly establish professional jurisdiction situating interior design in a modernist context. Significantly, their contributions challenge past readings that have diminished the early women of interior design, and at the same time, embody all the conflicts, ruptures, paradoxes and contradictions that are cental to modernity. This research redresses the lack of institutional history of interior design in Sydney and links theories of modernism and modernity to issues of gender and profession to explain the women???s significant contributions to interior design at a critical juncture of the field???s development. As such, their stories and legacy of design in Sydney contribute to a wider picture of women and modernity in interior design.

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Wang, Hsin-Chen. "Wanplex and Water Canyon /". Online version of thesis, 1991. http://hdl.handle.net/1850/11312.

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McKee, Cameron Taylor. "The Caldwell Theater Complex /". Online version of thesis, 1995. http://hdl.handle.net/1850/12251.

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Davis, Kiersten Claire. "Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste"". BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1465.

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This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, colonial Americans were banned from any direct contact with the Orient by the British East India Company. They were relegated to creating their own versions of these popular designs and products based on their own interpretations of British imports. Americans also created a mental construct of China from philosophical writings of their European contemporaries, such as Voltaire, who often envisioned China as a philosopher's paradise. Some colonial Americans, such as Benjamin Franklin and Thomas Jefferson, fit their understanding of China within their own Enlightenment worldview. For these individuals, chinoiserie in American homes not only reflected the owners' desires to keep up with European fashions, but also carried associations with Enlightenment thought. The latter half of the eighteenth century was a time of escalating conflict as Americans colonists began to assert the right to govern themselves. Part of their struggle for freedom from England was a desire to rid themselves of the British imports, such as tea, silk, and porcelain, on which they had become so dependent by making those goods themselves. Americans in the eighteenth century had many of the natural resources to create such products, but often lacked the skill or equipment for turning their raw materials into finished goods. This thesis examines the colonists' attempts to create their own chinoiserie products, despite these odds, in light of revolutionary sentiments of the day. Chinoiserie in colonial America meshed with neoclassical décor, thereby reflecting the Enlightenment and revolutionary spirit of the time, and revealing a complex colonial worldview filled with trans-oceanic dialogues and cross-cultural currents.

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Johnson, Randall Lamar. "The Roycoft Inn of East Aurora, New York /". Online version of thesis, 1989. http://hdl.handle.net/1850/11306.

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Studenny-Marquez, Sandra. "An analysis of two year interior design programs: Meeting the criteria for entry level employment and established industry standards". CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1317.

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The purpose of this study of two year interior design programs will be to assess the effectiveness of the programs in meeting the established industry requirements for entry-level positions of employment.

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Aliyar, Vinitha P. "Development of a model of the interior design process". Thesis, This resource online, 1990. http://scholar.lib.vt.edu/theses/available/etd-11012008-063237/.

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Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1990.
One folded leaf of plans in pocket. Vita. Abstract. Includes bibliographical references (leaves 118-124). Also available via the Internet.

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Sharon, Loni Dee. "An examination of the relationship between residential design and family lifestyles". Online access for everyone, 2005. http://www.dissertations.wsu.edu/Thesis/Fall2005/l%5Fsharon%5F082505.pdf.

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Hinners, Linda. "De fransöske handtwerkarne vid Stockholms slott 1693–1713 : Yrkesroller, organisation, arbetsprocesser". Doctoral thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-73943.

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The thesis deals with French sculptors and painters active around 1700 at the Royal Palace in Stockholm. They were summoned from Paris by the architect Nicodemus Tessin the younger (1654–1728). This study analyses the Frenchmen’s professional roles, how Tessin organised their work and the working methods applied in the decoration of the Gallery of Charles XI and the adjoining parade rooms. It also involves questions concerning the artist’s roles and the status of artistic professions at the early modern period. The artisans were a group of some fifteen sculptors, painters, founders and a goldsmith. Several of them were accompanied by family members, some of whom were active in the workshop. In France these sculptors and painters had worked in the Bâtiments du Roi and particularly at the Gobelins. Although they were not part of the artistic elite at the Académie Royale de Peinture et de Sculpture they had vital knowledge in classical pattern/design, le bon goût and drawing. The artisans were also members of the guild system and were thus permitted to accept private commissions. My aim has been to clarify the artisans’ background in Paris and the recruitment undertaken by the diplomat Daniel Cronström (1655–1719). With regard to their activities in Sweden, it has been important to clarify their conditions in the building organisation at the Royal Palace, including social contexts such as their family situation and the possibility to practise their Catholic faith. Equally important is the professional relationship between the Frenchmen and Tessin, who was appointed Superintendent in 1697. Through detailed archival studies, the working practices and the creative process are analysed, especially the collaboration between Tessin and the painter Jacques Foucquet and the sculptors René Chauveau (1663–1722) and Jacques Foucquet (1639–1731).

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34

Andrews, Shannon G. "Telegraphing contextual character : an interior design application". Online access for everyone, 2007. http://www.dissertations.wsu.edu/Thesis/Spring2007/s_andrews_053007.pdf.

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35

Yuen, Gi-tsun Jimmy. "Between architecture, landscape, and interior". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2595183x.

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36

Purnell, Shannon Kelly. "Design related television : influence on the interior design profession /". Read online, 2008. http://library.uco.edu/UCOthesis/PurnellSK2008.pdf.

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37

Lidberg, Ola, e Daniel Borgshammar. "Hierarchical Procedural Decoration of Game Environments". Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20084.

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Abstract (sommario):

Immersive environments are a big part of videogames. With hardware being more capable thanever of displaying millions of triangles at once boththe capability and demand of more content in anenvironment increases. This puts more strain onlevel designers who have to spend more time perscene to make everything meet the constantly increasingvisual standards. Being able to procedurallydecorate any environment in such a fashionthat it follows the hand-made hero scenes of thegame becomes an important way to save time andmoney better spent elsewhere in the project.This thesis investigates a hierarchical method ofprocedurally generating objects inside an environment.This was accomplished by creating an artifactto analyze the feasibility of efficiently hierarchicallydecorating environments at run-time ofa video game. Though focusing on furniture anddecorative objects of rooms the system can also beused to procedurally place game related content.

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38

Kiehl, Kathryn A. "Feng shui : the use and value of feng shui in interior design in nothern [sic] Ohio". Akron, OH : University of Akron, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1124392183.

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Thesis (M.A.)--University of Akron, School of Family and Consumer Science, 2005.
"August, 2005." Title from electronic thesis title page (viewed 11/28/2005) Advisor, Virginia Gunn; Committee members, Robert Brown, John Vollmer; School Director, Richard Glotzer; Dean of the College, Mark Auburn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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Sprigler, Megan Jeanette Brannon Evelyn L. "The aesthetics of personal style the interaction between fashion and interiors /". Auburn, Ala., 2006. http://repo.lib.auburn.edu/2006%20Spring/master's/SPRIGLER_MEGAN_38.pdf.

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40

Reichle-Toney, Karyn. "The surface design of clay tiles". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1246474.

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This creative project is a brief study of clay tile surface decoration, using commercial 4" x 4" and 6" x 6" tiles, as well as handmade slab-rolled and slumped molded forms. The exploration of surface decoration was based on historical research. An attempt was made to bring these findings into a contemporary personal statement.In my research I found a rich and varied history of clay tiles and their functional as well as decorative uses. Historically, tiles have been used on floors, walls, pillars, ceilings, pathways, rooftops, doorways, and fireplaces in architectural structures. In this project I have explored the use of clay tiles as decorative and functional elements for a countertop and tabletop, and as decorative elements of freestanding objects (boxes). I have also experimented with a non-traditional approach of tile making, using traditional materials, by changing the tiles' two-dimensional surface to a three-dimensional form.
Department of Art

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41

阮繼增 e Gi-tsun Jimmy Yuen. "Between architecture, landscape, and interior". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31980909.

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42

Napier, William John. "Kinship and politics in the art of plaster decoration". Thesis, University of Dundee, 2012. https://discovery.dundee.ac.uk/en/studentTheses/5898b964-6fcf-40b5-9bba-b059ffa7178a.

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This thesis explores the flowering of decorative plasterwork in late renaissance Scotland, its main focus being what influenced its development, the motivation of its leading patrons, and its role in the culture of Scotland at this time. The thesis begins by assesses why plasterwork has received much less attention in Scotland compared with other building materials, primarily stone, and whether this is as a result of Scotland’s architectural history being misunderstood in its British context. Early seventeenth-century Scotland was experiencing a building boom, its patrons increasingly benefiting from government positions, better education and foreign travel, exposing them to a wide range of influences at a time when houses and estates, (the main signals of status and rank) were being much transformed and domestically improved. This period heralded a burst of decorative plasterwork patronage throughout the country. This thesis analyses the influences which existed in late renaissance interiors in Scotland and whether a native tradition of decorative plasterwork existed in Scotland, and what influence this had on later decorative plasterwork styles. This thesis also gauges the affect that an absent court had on patronage and whether significant cycles of patronage can be interpreted by a study of seventeenth century plasterwork schemes in Scotland, and the role that decoration played in the culture of Scotland at this time. Finally, this research assesses the evolution of plaster throughout the century and why it may have developed differently from English work, and considers the changing role of decorative plasterwork in the late seventeenth century.

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43

Sanders, Sophie. "SPIRITED PATTERN AND DECORATION IN CONTEMPORARY BLACK ATLANTIC ART". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238756.

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Art History
Ph.D.
This dissertation investigates aesthetics of African design and decoration in the work of major contemporary artists of African descent who address heritage, history, and life experience. My project focuses on the work of three representative contemporary artists, African American artists Kehinde Wiley and Nick Cave, and Ghanaian artist El Anatsui. Their work represents practices and tendencies among a much broader group of painters and sculptors who employ elaborate textures and designs to express drama and emotion throughout the Black Atlantic world. I argue that extensive patterning, embellishment, and ornamentation are employed by many contemporary artists of African descent as a strategy for reinterpreting the art historical canon and addressing critical social issues, such as war, devastation of the earth's environment, and lack of essential resources for survival in many parts of the world. Many artworks also present historical revisions that reflect the experience of Black peoples who were brought to the Americas through the transatlantic slave trade, lived under colonial rule, or witnessed aspects of post-colonial struggle. The disorderliness of intersecting designs could also symbolize gaps in memory and traumas that will not heal. They reflect the manner in which Black Atlantic peoples have pieced together ancestral histories from a patchwork of sources. Polyrhythmic decoration enables their work to act as vessels of experience, allowing viewers to bring together multiple histories and social references.
Temple University--Theses

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44

Fowler, Smith Juliet, University of Western Sydney e College of Social and Health Sciences. "Inhabiting space and place : from installation to the clinical setting". 2002. http://handle.uws.edu.au:8081/1959.7/25608.

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This paper explores the relationship between place in installation art and its relevance to the practice of placemaking in a hospital setting. The discussion draws on phenomenology, psychodynamic theory and contemporary art, in particular the author's art experience of places, their formal qualities and potential meanings, along with, an examination of what creates an embodied sense of being contained at home ( emotionally and physically). Some of the questions posed for discussion include; what is it about places that becomes inherent to memory and shapes its form? How do places impact on what we do there and who we are? Is place more significant in memory for a young child or someone in a vulnerable state of being (as in the hospital setting)? Process issues, along with physical outcomes, in installations and in the hospital projects are discussed.
Master of Arts (Hons)

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45

Kotzé, René. "Redesigning an art university library interior to increase student usage : a case study". 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001488.

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M. Tech. Interior Design
The focus of this study was a small university library situated on the TUT Arts Campus in Pretoria. Since the library opened its doors nearly 20 years ago, little attention was paid to the interior and no alterations were implemented since then. Staff and students did not perceive the library as a positive asset due to the state of disrepair of its interior. As indicated by previous studies, redesigning a library interior has the potential to improve the learning environment it offers. It was hypothesised that the condition of the TUT Arts Campus library interior may have been a deterring factor causing students' reluctance to use it and that the redesign of the library's interior would have the potential to solve this real-life problem. This study involved itself with the process of redesigning the interior of the TUT Arts Campus library and the process of achieving the final design. The study dealt with answering the research question: How may one go about to redesign the interior of the TUT Arts Campus library, with the use of focus groups involving iterative cycles and user-based input, to increase student usage?

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46

Mendoza, Hannah Rose Waxman Lisa. "Pale intrusions into blue the development of a color /". 2004. http://etd.lib.fsu.edu/theses/available/etd-11152004-155644.

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Thesis (M.A.)--Florida State University, 2004.
Advisor: Dr. Lisa Waxman, Florida State University, School of Visual Arts and Dance, Dept. of Interior Design. Title and description from dissertation home page (viewed Jan. 19, 2005). Includes bibliographical references.

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47

HSIEN, LIN CHIN, e 林錦賢. "A Reaserch on the art of the interior decoration on the Ming Dynasty- via the discussion viewpoints of Wen Zhenheng and Li Yu". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/c4377q.

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碩士
中國科技大學
室內設計系
106
A Reaserch on the art of the interior decoration on the Ming Dynasty - via the discussion viewpoints of Wen Zhenheng and Li Yu ABSTRACT During the middle-to-late period of Ming Dynasty, the economy system thrived and its people grew wealthier rapidly. With more wealth to spare, the aristocrats and scholars started pursuing high-end lifestyle and furnishings that called for simplicity and aesthetic display. This economical growth and the new material lifestyle strongly contradicted with the traditional frugal Chinese culture, which stirred up tremendous conflicts in the social atmosphere of Ming Dynasty. Because of the globalization of trade and the increasing interaction between East and West culture, the Court gradually liberated their artisans who were exclusively employed by the Emperor. This act encouraged a major shift toward a more creative and refined craftsmanship of that time, which can be fully observed in those unbelievably delicate Ming artworks and crafts. On the other hand, the notoriously corrupted bureaucracy caused many educated scholars to renounce their will of participation in politics and instead set themselves into seclusion. However, these under-achieving scholars quite often gathered and resided in the Jiang-Nan area which was in fact the cultural metropolis at the time. This kind of contradiction was attributed to the belief of Ming's people that “the greatest hermit will retreat in the noisiest fair.” Consequently, these scholars/artists created artificial landscape garden in their residence to echo with the Nature that is often related to a seclusive way of life. They expressed their artistry and spent spare time mainly on furnishings and crafts collected or handmade by themselves, which in turn elevated the art of interior design and decoration. This trend of arranging artistic furnishings and enhancing interior aesthetics was followed by walk of lives and especially rich merchants. The popularity and concentration of interior design urged the art of display and decoration into the highest level throughout the late Ming Dynasty. In view of the high artistic value of the renown Ming-style landscape garden, interior design, daily wares and furnitures, I seek to explore the difference and similarities in the display art among Ming scholars and artists. There are abundant scholarly resources that focus on the display art in Ming Dynasty, in which I choose two important writings of Suzhou scholars, Superfluous Things by Zhenheng Wen and Occasional Notes with Leisure Motions (Xian Qing Ou Ji) by Yu Li, as the primary focus of this research paper. These two books both put emphasis on the many details of interior design and decorations of their time. Nevertheless, the artistic beliefs and philosophies between the two authors are yet different from each other, which I will elaborate with clear comparison later in my essay. I organized my analysis and overall structure into four categories, including 1. Space partition, 2. Ming-style furniture, 3. Living appliance and 4. Furnishing artwork in order to thoroughly discuss the relationship between the philosophies of Zhenheng Wen and Yu Li and the overall decoration style of the Ming society and the fundamental difference between the treatise of two authors. keywords：Interior Design、Display Art、Space partition、Ming-style furniture、 Living appliances

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48

Bussiahn, Albrecht Waldemar. "Colour landscape photographs as tools for wellness creation in health-care providers in a psychiatric environment". 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001489.

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D. Tech. Graphic Design
This study offers an artistic engagement with the lived, working environment of the mental healthcare providers in a ward of a psychiatric hospital. First encounters with this environment strongly suggested that the environment was not optimally aligned with the purpose and function of such an environment. The main aim of this study was to investigate, develop and establish an enhanced sense/state of wellbeing amongst mental healthcare providers at a Psychiatric Hospital by creating and introducing colour landscape images in/into their working environment.

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49

"Constructing national identity : including local craft in the interiors of selected government buildings in postapartheid South Africa". Thesis, 2014. http://hdl.handle.net/10210/8801.

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M.Tech. (Interior Design)
Commissioned public buildings in post-apartheid South Africa exhibit a synergy between local craft and contemporary design in their interiors. Tasked with the design of buildings representative of a democratic South Africa, architects looked to the surrounding communities, recognizing and incorporating local craft skills and products into their designs. The buildings selected as examples for this study are the Mpumalanga Provincial Legislature (2001) in Nelspruit, the Northern Cape Provincial Legislature (2003) in Kimberley, and the Constitutional Court (2004) in Johannesburg. These have been selected as they are the three buildings commissioned after 1994 by the democratically elected South African government. This research aims to determine how national identity has been communicated and represented in the interior design of these public buildings, through the inclusion of local craft. As key public buildinqs of this time there has been considerable research done based on these examples in the field of architecture, notably by the authors Freschi (2006,2007) and Noble (2011), however, no research has been done in the field of interior design. By taking an interpretivist approach, this qualitative study seeks to find meaning and deeper understanding. Data was collected in transcribed interviews, observations in the field as well as a literature review. Qualitative content analysis was used to initiate a comparison between the interior design of the buildings. Through the use of crystallization as a methodology it attempts to offer a thickly described interpretation of three public interiors undertaken in the development of a national design identity. This study could be of interest to interior design students, interior design and architectural professionals undertaking similar projects and government departments interested in this field.

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Havenhand, Lucinda Kaukas. "Ideas as interiors : interior design in the United States 1930-1965 /". 2007. http://hdl.handle.net/10156/2081.

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