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Mok, Kar-wing Maria. "Guangdong decorative arts of the Qing dynasty its characteristics and regional features = Qing dai Guangdong gong yi de te se ji qi di yu xing yin su/". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31987734.
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Bird, Jennifer J. "Designs for the decorative arts by Francesco Salviati". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ63271.pdf.
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Jordanov, Iliana H. "Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/844.
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In this thesis, I will examine pattern making in art practice from two cultural perceptions, Slavic and Australian. Existing differences between the two cultural backgrounds will be used to debate how pattern is understood by the viewer or practiced by an artist in a particular chosen environment. The central argument focuses on pattern as a decorator and/or a narrator. I will examine the outcomes and changes in narrative pattern according to cultural context and exchange. By introducing Slavic pattern into contemporary (Australian) art practice, I examine how traditional cultural values and functions change. In discussing the processes of changes that occur in intercultural exchange, I will draw my opinions and observations from writers, critics and artists such as William Morris, Lucien Henry, Stuart Hall, Jean-Francois Lyotard, Grace Cohrane, Nicolas Pevsner, Faith Ringgold, Joan Snyder, Miriam Schapiro and Cynthia Carlson. My final conclusion will be drawn from my personal visual practice that uses pattern
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Raksadeja, K. "Digital and interactive media analysis of myths and traditions expressed in Thai fairground art". Thesis, Liverpool John Moores University, 2018. http://researchonline.ljmu.ac.uk/8604/.
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The core themes in Thai art have traditionally been didactic Buddhist ethical works and popular folkloric beliefs. Both are permeated with a cosmology and worldview that is supernatural but which is pervaded with ethical implications for people’s daily lives. Buddhist art aims to encourage selfless acts for the good of others, including other individuals, society, the country and the natural world. Such abstract themes have been rendered accessible to ordinary people by means of fantastical creatures and supernatural myths that insinuate moral values and demonstrate a coherent Theravada worldview that is uniquely Thai. This thesis explores the popular manifestations of such phenomena at the intersection of traditional folk beliefs and practices, popular entertainment, Thai official/ royal high culture and confessional Buddhist ethical instruction by analysing the art forms associated with temple fairgrounds at major festivals. Based on a review of related literature and analysis of Thai artists, it concludes that the renaissance of traditional Thai culture is reciprocal with authentic grassroots activities such as temple fairs fostered and supported by traditional patronage and cultural resources from the royal court culture and Buddhist ethics. Based on this analysis, my own work offers a modern rendering in the spirit of traditional forms utilising modern multimedia methods to create an immersive and interactive artistic experience.
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Bostwick, David. "Decorative plasterwork of the Yorkshire region, 1570-1670". Thesis, University of Sheffield, 1993. http://etheses.whiterose.ac.uk/1895/.
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Duckworth, Chloë N. "The created stone : chemical and archaeological perspectives on the colour and material properties of early Egyptian glass, 1500-1200 B.C". Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13935/.
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The Late Bronze Age in Western Asia and Egypt witnessed an explosion in the production of so-called 'vitreous materials', in particular the earliest glass. From its outset, this material appeared in an enormous variety of colours and colour combinations, the manufacture of which demanded a high degree of technological know-how. The unique properties of glass also rapidly came to the fore, most notably the potential of glass to be worked while hot. Archaeometric research into early Egyptian glass has tended to focus on chemical and isotopic analysis as a means to assign provenance to its raw ingredients. To this end, the use of a technique new to archaeology, ToF-SIMS, is developed here in order to investigate the origin of the colorant opacifiers used in glass production. But questions about manufacturing technology and stages of production are also vital to an understanding of the role and perception of glass, and the aforementioned technique is complemented by electron microprobe analysis, revealing a surprising complexity of production, primarily related to coloration. Furthermore, it has been argued that the terms used to refer to glass in epigraphic sources indicate that it was primarily produced in order to imitate, or substitute for, precious stones of value in Late Bronze Age Egypt and Mesopotamia (primarily lapis lazuli, carnelian and turquoise). Recent research into the archaeological and ethnographic understanding of colour naming and classification is applied to these sources along with an investigation of the material properties of glass itself. It is suggested that, far from being an imitation, the artificiality of glass - as a man-made material - was deliberately, sometimes spectacularly, proclaimed. Central to this is the use of colour, in particular in terms of transformation, and the aforementioned complexity of production. It is argued that only through combining the numerous approaches to the evidence taken here - scientific, linguistic-historical, and archaeological - can the perception of glass, and the motivations behind its production, be determined.
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Parkerson, Sarah Lawrence. "Variations in gold : the stylistic development of the picture frames used by James McNeill Whistler". Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/4471/.
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The picture frames used by the American painter James McNeill Whistler developed stylistically throughout his career. This thesis identifies these developments, defines the characteristics indicative of each design, and contextualises their creation within Whistler’s larger body of work. First-hand examinations of over a hundred frames, in both the United Kingdom and the United States, resulted in challenging the generic understanding that a ‘Whistler frame’ is characterised only by reeded ornamentation. These physical examinations are cross-referenced with the significant amount of correspondence existing between Whistler and his contemporaries, thanks in large part to the publication of the on-line edition of The Correspondence of James McNeill Whistler. This thesis argues that the stylistic developments present in Whistler’s frames are directly linked to his understanding and perception of the frame’s function. Chapter 1 outlines that a picture frame can serve one of three functions: (1) as a decorative art object linking the painting to the environment, (2) as a decorative art object dividing the painting from the environment, or (3) as an extension of the painting. This thesis also applies the additional approach that the picture frame functions as an indicator of the provenance for both the painting and frame. Chapter 2 explores this method of provenance by examining Whistler’s reframing habits. Chapter 3 explores Whistler’s friendship with Dante Gabriel Rossetti and his early designs from 1864. These frames are observed as extending the painting to become a cohesive whole. Chapter 4 documents Whistler’s earliest attempt at painted frames and their development into incised ornament. Chapter 5 explores the effect that Whistler’s interior designs (including the Peacock Room) had on his frames. Chapter 6 focuses on the frame created during the 1880s and addresses the framing of Whistler’s works on paper. Chapter 7 examines Whistler’s working relationship with Fredrick Henry Grau and the preparations made for the 1892 Goupil Gallery exhibition Nocturnes, Marines and Chevalet Pieces.
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Beats, Kate A. "Size, surface and shape : experiencing the Athenian vase". Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/50045/.
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This study provides an alternative framework for the interpretation of the painted and plain Athenian vase during the Late Archaic and Classical period. The primary focus is on the way in which the vase came to interact with society. As a commodity with a practical use, the vase was permitted to circulate in social spaces in Athens. As a consequence of this contact, the accumulated meaning became more symbolic than practical. For instance, due to its use within the domestic sphere, the vase became a symbol of domesticity. This development of symbolism involves a transformation in the perception of the vase as something more than a practically functioning thing. The functions that the vase performed were meaningful in themselves. For the purposes of exploring the manifestation of this transformation, this study draws upon an anthropological theory of art as well as theories which interpret the experience of viewing. Although the painted vase is discussed alongside plain vessels, its decorative component is considered as a further expression of communication between the vase and society, Athens in particular. The manifestation of this communication between the vase, context and user is isolated to three characteristics in this study; size, surface and shape. Alterations in these components reduce the practical function of the vase in favour of its symbolic qualities. These factors are discussed over five chapters. In so doing, this study offers a radically revised interpretation of the vase as an object which is entirely context dependent and came to represent the communication between commodities and society.
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Clay, E. S. "A material-led investigation into the creative potential of British 'waste' wools for fine craft felt-making". Thesis, Bath Spa University, 2013. http://researchspace.bathspa.ac.uk/1734/.
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This thesis describes the practical investigation and analysis of traditional materials and processes used in the production of hand made felt. Specifically, the research examines the potential of certain British wool types that are currently undervalued (and often overlooked in the production of fine craft felt). These wools are frequently referred to as ‘waste’ wools. The research further explores aspects of the UK’s wool economy and the problematic issue of waste wool. The aim being to locate and articulate the creative potential of a selection of these wools within the field of fine felt craft practice, and in so doing raise an awareness of their potential diversity and relevance. The investigation questions felt’s marginal status within the textile hierarchy, and problematizes notions of the familial and self-conscious attributed to felt craft by some of its makers. By examining distinctions between craft and industrial felt production, the research considers both the opportunities and limitations of these relationships within the context of designer maker practice. The purpose and focus of this material-led examination is to develop inventive, progressive methods in fine felt craft and couture application seeking material currency with appropriate use of waste wools for handwork production. The practical experimentation was conducted using a practice-led research approach through which materials and sampling methods emerged within a studio-based environment. The study focuses on the use of carding, wet and dry felting and post felting manipulation of surface design using hand-pleating applications. Whilst not specifically suggesting new techniques in felt-making, the modification of existing processes has formed a central part of the contribution to new knowledge created within the work. Therefore the qualitative nature of the research methodology establishes a new perspective on both the value and integrity of British waste wools for the production of fine craft felt-making. The portfolio of fabrics produced confirmed the suitability of materials for fine craft felt-making and further suggested their appropriateness for product development and use. The fabric prototypes and exposition collection evidence new design concepts, situating the practical investigations in a cultural and critical context and in so doing reposition the material in a more valuable and original light. The sampling process identified key areas for innovation and aesthetic appeal suggesting that further research could be developed using other wools and wool blends. From this thesis emerges a vibrant platform for fresh interpretation and potential for British waste wools in fine craft felt-making, further strengthening the creative interplay between material and technique.
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White, Andrew J. "Post medieval pottery in Lincolnshire 1450-1850". Thesis, University of Nottingham, 1989. http://eprints.nottingham.ac.uk/28497/.
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This thesis investigates the manufacture and use of ceramics over four centuries in Lincolnshire, and considers the evidence for date and function of the pottery itself and for the social standing and economy of the potters, late survivors of the medieval peasant craftsman tradition. Documentary and physical evidence are both searched to produce the most comprehensive possible list of sites and potters names, and to highlight the areas of doubt where neither type of source can give sufficient proof. The methods of pottery production are also examined and two specific types of vessels are discussed in detail as examples of the search for -=origins. From this point the search widens to consider the importation principally by sea of pottery from other parts of the country and from Europe, and the prices of such wares are compared with prices of local products. This leads to certain conclusions about the economic pressures on local potters and their adjustments to deal with new problems and changing expectations. Contemporary sources, depositional evidence and context are next used to study the names and function of pottery, and finally the principles of dating are discussed, and a series of pottery groups are analysed to test the reliability and transferability of dating. Throughout pottery making is compared with comparable trades and Lincolnshire's position with that of the wider ceramic world.
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Towle, Andrew C. "A scientific and archaeological investigation of prehistoric glasses from Italy". Thesis, University of Nottingham, 2002. http://eprints.nottingham.ac.uk/11741/.
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Ancient glasses are invariably complex materials, in which the specific chemical composition and microstructure capture aspects of their technologies. The chemical characterisation of glasses in specific archaeological contexts has given useful insight into the peculiarities of diverse glass-making technologies. In addition such studies generate more general information upon an important range of phenomenon, including the pyrotechnological milieu, empirical knowledge of sophisticated chemistry, organisation of production, access to significant raw materials and long-distance trade. This study examines a wide selection of glass artefacts recovered from archaeological contexts in Northern and Central Italy from approximately 1200 BC to 200 BC. The earliest material is from the Final Bronze Age, and extends the characterisation of an established glass type, which is unique to Europe and distinct from the contemporary technologies of the Eastern Mediterranean. Using a combination of X-ray fluorescence analysis, electron microprobe and scanning electron microscopy glass artefacts from a thousand-year period from the same region are investigated. The shifting technologies permit the discussion of localised production and importation of glass from elsewhere. The chemical analysis reveals a complex picture of glass production, which defies the expected pattern, and there is evidence for new compositional types, which may yet prove to be diagnostic of highly localised production. The changing compositions are discussed in relation to the broader archaeological context.
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FitzGerald, Claire. "Women, craft, and the object : Birmingham 1880-1930". Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/81961/.
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This thesis addresses the overlooked contribution of female graduates of the Birmingham Municipal School of Art to the Arts and Crafts movement, during the period of 1880 to 1930. Despite the special status which the Birmingham School enjoyed in its time, Birmingham’s Arts and Crafts movement as a whole has been relatively little studied. The role of women artists within this regional phenomenon has been even further neglected. Employing an object-led approach, this thesis uses artworks as the starting point and main vectors for the exploration of issues tied to materiality, technique, collaboration, authorship, politics, religion, regionalism and gender. The work of Georgie Gaskin (1866-1934), Celia Levetus (1874-1936), Kate Bunce (1856-1927), Myra Bunce (1854-1919), Florence Camm (1874-1960), Margaret A. Rope (1882-1953), and Mary Newill (1860-1947) will be studied in detail. It will be argued that these women artists were integral to the renewal of book-illustration, the revival of the artistic technique of painting in tempera, stained glass making and embroidery. A web of interactions crucial to their professional success will be traced based on geographical proximity, shared workspaces, and social connections. Craftswomen’s role as educators will also be investigated, revealing them as shapers and not merely followers or consumers of the movement. Informed in particular by the theoretical writings of the philosophers Arthur C. Danto, Jacques Rancière and feminist art historian Griselda Pollock, this thesis will offer a valuable update to a field largely untouched by current academic debates and saturated with survey publications. Combined with extensive archival research and the close inspection of artworks, this study aims to go beyond the additive approach of reinsertion. It seeks to provide a critical discussion of the materialisations of women’s participation in the formation of culture.
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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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York, Karen S. "American portrait cameo cutting an alternate apprenticeship in relief sculpture, 1830-1870 /". [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3162291.
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Thesis (Ph.D.)--Indiana University, Dept. of History of Art, 2005.Title from PDF t.p. (viewed April 15, 2009). Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0007. Chair: Michelle Facos.
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Lasic, B. "The collecting of eighteenth-century French decorative arts in Britain 1789-1914". Thesis, University of Manchester, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508798.
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Smith, Michèle Mariette Hayeur. "A social analysis of Viking jewellery from Iceland". Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/1000/.
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Allen, Joanne. "Choir stalls in Venice and northern Italy : furniture, ritual and space in the Renaissance church interior". Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3603/.
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This thesis seeks to re-establish the significance of choir stalls in Venice and northern Italy and seeks to place stalls in their artistic, liturgical and spatial context. Although now situated in remote locations in the church, stalls were once highly prized items of furniture and considered to be praiseworthy artistic structures in their own right. As the location for religious ritual, the elevated status of the choir area was reflected in the detailed and sophisticated design of its wooden furniture. Through an analysis of visual and documentary material, stalls will be brought to the fore to consider broader questions. What can documents reveal about Renaissance workshop practices and the relationship between craftsmen and patrons? How did the form of stalls reflect their use in religious ritual and the organisation of sacred space? How did choir furniture develop as an independent medium within the artistic context of the Renaissance church interior? Four main topics will be considered in the first four chapters: the visual history of stalls; the contracting procedure; the use of stalls in liturgical practices; and changes to choir placement. Chapter One reconstructs the stylistic history of north-Italian choir stalls from the fourteenth to early sixteenth centuries and contains an excursus on the development and meaning of intarsia iconography. Chapter Two focuses on choir contracts, which confirm that choir furniture was a considerable investment and a potential source of rivalry between church communities Chapter Three moves the focus away from stalls as material objects to their role in liturgical practices. An excursus on the established use of misericords in Carthusian liturgy will demonstrate the close interaction between form and function in stall design, and places Italian stalls in the context of their European counterparts. The placement of choirs in the church interior will be examined in Chapter Four using case studies of choir placement in different secular and religious houses, in particular the Franciscan Observants, Franciscan Conventuals and the Dominicans. Although changes in choir placement are often associated with liturgical reforms implemented by the Council of Trent, church renovations in fact occurred well before this period. Two Venetian case studies demonstrate the value of examining individual choir precincts in their original stylistic and spatial context. Chapter Five focuses on stalls in the Benedictine nuns’ church of San Zaccaria in Venice, completed by the Cozzi workshop in 1464. The choir precinct in the Frari in Venice is amongst the best-preserved choir precincts in Italy and is discussed in detail in Chapter Six; the circumstances of its construction are closely related to new choir furniture in the Santo in Padua. Specific terminology is explained and collated in the Glossary and an Appendix contains transcriptions and translations of significant documents.
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Knittler, Konstanze Amelie. "Motivations and patterns of collecting : George Salting, William G. Gulland and William Lever as collectors of Chinese porcelain". Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2811/.
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The collecting of Chinese ceramics had become an increasingly popular activity in late 19th-century Britain. Whereas the 18th century was characterised by an interest in porcelain for the purpose of interior design, the political developments between China and Britain enabled a new approach to Chinese cultural identity; different Chinese material became available in the wake of the Second Opium War (1856-1860) and the subsequent sacking of the Imperial Summer Palace of Yuanmingyuan, and this material entered Britain for the first time. Due to the opening of China to foreign merchants, Britons now could move freely in the country and gain access to ‘luxury goods’ such as porcelain. As a result, a different taste for Chinese porcelain emerged and developed, which would reflect on the collecting scene in Britain. This thesis examines the motivations and collecting patterns of three British collectors (George Salting, William G. Gulland and William Lever) in the context of late 19th- and early 20th-century Chinese porcelain collecting. All three men built significant collections in the given period, which entered national institutions by gift and/or bequest, as well as a purpose built gallery in one case. Nonetheless the collectors’ achievements in the field of Chinese ceramics have not been analysed extensively and therefore the present thesis aims at complementing the existing research. The study makes predominant use of primary unpublished material on the three collections, which enables conclusions to be drawn on the incentive and approach of these collectors in accumulating Chinese artefacts during this period. In consideration of those findings, it will be argued whether their collecting encouraged an underlying common motif and how their tastes matched the general concept of collecting porcelain in the late 19th and early 20th centuries. The first chapter provides an introduction to the subject, and will be followed by a historical abstract of 19th-century collecting in Britain and a review of the published literature in the second chapter. The third chapter examines the collecting activity of the oldest collector, George Salting, by analysis of his purchase activity and the bequest of his Chinese porcelain collection to the Victoria and Albert Museum. The fourth chapter considers the collecting of William G. Gulland, whose first-hand experience of East Asia prompted him to collect and publish books on Chinese porcelain. The fifth chapter will look into the collecting principles of William Lever, whose Chinese collection stands in contrast to his overall British taste. The conclusion in the sixth chapter will summarise the major points of the preceding chapters and it will put the achievements of the three collectors into perspective with the general idea of collecting Chinese porcelain in Britain in the period under discussion.
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Malchow, Lisa A. "Sealife Diptychs". Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/770943.
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The purpose of this creative project was for the artist to design a series in clay, construct them, and write a thesis about the series concerning the ideas and imagery. The artist chose sealife imagery as a focal point for the series because the shapes of their fins and curves of their bodies create a feeling of movement. Ten images were chosen for the design of the diptych sets. The negative space between the two diptychs made reference to the varied fish forms and sealife. The surface of these pieces have a highly textured appearance reflecting impressions of intrinsic detail of vegetation, coral, fin, and tail-like shapes. The color of the sculpture diptychs will relay to the viewer the feeling the artist desires. For example, a shark image would have black and dark blue on the sculpture to represent unknown threats and anxiety from this ominous form lurking amidst them. The construction of the diptychs was cardboard template and slab method. The artist rolled out clay slabs, with shaped cardboard templates, transfering an image to the clay slabs. This gave the sculpture temporary stability while it was being constructed. The cardboard was removed after the form was dry enough to be stable. After stabilizing, the form had reinforcement coils added. This also gave the form stability to stand on it's own. Then it was ready for the additive and subtractive process to create the fins and tail shapes on the positive forms. Wavy lines were then carved into the forms to add movement to the diptych set. Texture was added by pressing shells and coral into the clay to add to the imagery. The forms were then allowed to dry completely. The first firing was the bisque firing to cone 010-04 (1641-1940 F).. Cone 04 allowed for a more stable form. After the bisque the diptychs were glazed with Reward Underglaze, Reward Glaze, Duncan Underglaze, and Duncan Clear cone 05-06 (1915-1830 F). The clear was applied in a wave like affect giving the surface a wet look where applied.The creative project was a chance for the artist to push the media of ceramics, and to learn the limits of the medium. The artist has also opened a new door in her own personal experiences through exploration in the use of negative space as the image and the clay forms, or positive space as the area around the image.Department of Art
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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence". Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.
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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Milner, Reed Meaghan. "Junk". Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555284.
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My thesis work, which consists of a series of small scaled, mixed media constructions, is inspired by the beauty and complexity of the natural world in which we live. There is beauty in the harmony and balance found in the intricate arrangements and order of a variety of living systems such as the rising and falling tides, human DNA structures, life cycles of plants, and the orbits and rotations found in our galaxy. Each work is intended to reveal the density and sophistication of these networks through layers of information and intricate detail. Found wooden cases, drawers, wire, reclaimed metals and recycled plastic, found glass objects, thread, monofilament, and mylar are just a few of the materials I work with to create my sculptures or assemblages.
The beauty and sophistication of the diverse elements in the natural world have inspired me to create these small scale assemblages or microcosms. Using science and nature as a foundation, I allow my interest in the reuse and transformation of found objects to direct the construction of these intimate environments. I hope the size of the work and layers of visual information entice viewers to explore the spaces and consider the numerous associations evident from my unique orchestration of elements.
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Cerutti, Lisa. "Visual grounded analysis : developing and testing a method for preliminary visual research". Thesis, London Metropolitan University, 2017. http://repository.londonmet.ac.uk/1471/.
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Approaching a new design project by performing preliminary visual research is a common practice in educational and studio settings, particularly in Jewellery and Fashion Design. Collecting images around a given subject or theme - for better understanding its visual traits, or for future reference - could be seen as the counterpart, in visual terms, of a literature search. However, ‘visual research’ is an expression often used rather vaguely for indicating a spectrum of unstructured methodological approaches, whose procedures and underlying assumptions tend to remain unexplained, undisclosed or unquestioned in everyday studio practice. When creative practice becomes an integral part of academic research, though, there is an increased need for rigor and explicitness regarding every aspect about it, including all the work preliminary to it. This research aims to develop and test a systematic method for conducting and documenting visual research in the preliminary stages of the design process, contributing to new knowledge in the form of a new visual method, also applicable as a design tool. A reflection on the vagueness and implicitness of the Intuitive Approach (IA) to visual research adopted in the initial stage of this PhD motivated the search for an alternative method that could make transparent and rigorous the taken-for-granted, subjective assumptions behind the research initially conducted. The iterative and data-driven nature of the IA oriented the methodological quest towards established qualitative approaches in the Social Sciences, focusing on Emergent Methods and Grounded Theory. By translating and adapting some of their procedures to suit a visual context, a new method, Grounded Visual Analysis (GVA), has been developed and tested, revealing its suitability for achieving a higher degree of explicitness and systematicity in the process of data collection and analysis, and increasing the richness of the visual patterns elicited from the data, thus their potential for stimulating reflective practice. The development of GVA is offered as the major contribution to knowledge of this research, together with its application on a practical case as the demonstration of its double functioning, either as a reflective method for conducting visual research in the preparatory phase of the design process, and as a design tool for stimulating the generation of new ideas and design briefs.
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Lee, Mindy. "A graphic design curriculum development project". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1569031.
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Examining the design education climate of Los Angeles results in finding a broken art education system and misconceived notions about graphic design. The struggle to implement design education into the lives of high school students leads to some students who have access to art classes with an emphasis on technical digital art and some students who have never taken an art or design class. This project is the work of bringing design education to students in the Los Angeles area. This design curriculum was created to promote creative process, problem solving, play and experimentation, and a deeper understanding of the use of graphic design as a communication tool. This curriculum was implemented at the High School Institutes at Inner-City Arts, a nonprofit that provides free arts education to thousands of youth in Los Angeles.
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Tkachev, Natalia. "The work of art in the field of cultural production : the principle of legitimization in the digital era /". Burnaby B.C. : Simon Fraser University, 2006. http://ir.lib.sfu.ca/handle/1892/2767.
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Horner, Elizabeth. "Sir Frank Brangwyn (1867-1956) designs for interiors, architecture and the decorative arts". Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542373.
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Lu, Zhiyong. "Decorative metallic threads of Famen temple silk : their categorization, application, and technology". Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30974/.
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This thesis surveys the ninth-century metallic threads decorating silks discovered at Famen temple in Shaanxi province, China. In this research, metallic threads decorating Famen silks have been studied and documented in detail in order to understand how they were produced and how they were applied. Samples of metallic threads were selected and optical microscope and SEM/EDS were used to determine their morphology and composition. Problems regarding the current terminology used to describe metallic threads are briefly considered, and a systematic renaming of different types of metallic threads is suggested. Analysis results show that most Famen metallic threads were made of gold strips without substrate wound around a fibrous core, and that very few are silver strips without substrate wound around a fibrous core. Silver strips with paper substrate wound around a fibrous core are found among Famen silks, providing very early examples of this type of metallic thread in the world. Technical evidence demonstrates that the Famen metallic strips were cut from hammered metallic foil. It was found that metallic threads of different metal composition with different physical characteristics were selected according to the decoration techniques used and the function of the silks. The use of metallic threads with different grades of evenness in dimension and morphology for different decoration techniques was also found. The gold contents of these gold threads are all very high, and the thicknesses of the gold strips are large. All these characteristics are probably related to the function of Famen silks as objects of Buddhist worship that had been donated to the temple by members of the Tang imperial family and other high-ranking people. Technical investigation into the manufacture of modern traditional Chinese metallic threads was carried out in this research. Combined with analysis of the morphological, structural, and material nature of Famen metallic threads, the key technical characteristics of modern traditional metallic threads were found, which provided important evidence for deducing the manufacturing techniques of Famen metallic threads. Successful reconstructive experiments that produced metallic threads similar to Famen metallic threads were carried out in the laboratory by the author. The use of other known related techniques to produce Famen metallic threads was eliminated on technical grounds. With the above evidence, the manufacturing of Famen metallic threads, especially how the metallic strips were wound around the fibrous core, are reasonably deduced here. By investigating a number of currently accessible Chinese historical metallic threads from other periods, the evolutionary principles of Chinese metallic threads are concluded. The special characteristics of Famen metallic threads, the reasons determining these characteristics are better understood, and their role in the development of Chinese metallic threads is assessed.
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White, Gillian. "'That whyche ys nedefoulle and nesesary' : the nature and purpose of the original furnishings and decoration of Hardwick Hall, Derbyshire". Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/1200/.
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This study considers the nature and purpose of the original furnishings and decoration of Hardwick Hall. It analyses surviving artefacts, inventories, accounts and other documentation, as well as other comparative contemporary literary and visual sources. It seeks to reveal more about Bess of Hardwick's motives and processes in creating the interior of Hardwick. The Introduction includes a brief biography of Bess and a survey of existing literature on Hardwick. It also indicates the scope for new work. Chapter Two provides a context for the later chapters by considering the organisation of space within the building and its social significance. In order to understand the relationship between the two Hardwick Halls a detailed analysis of the Old Hall's whole layout is offered for the first time. Chapter Three analyses the furnishings as physical objects. It asks what Bess owned, how she acquired it, how she used it and how her practices compared with other peoples'. Discussion is based on the 1601 inventory, Bess's household accounts, surviving artefacts and other comparative material. Bess's unpublished will and earlier inventories of Chatsworth and Northaw are also included in the analysis and presented as appendices. Chapter Four analyses three iconographic themes: the assertion of identity, the government of the self, and the government of the nation. This is done by making detailed case studies and seeking to interpret the objects through contemporary ideas, sources and examples. Chapter Five summarises the chief fmdings and interprets them in the context of Bess as a patron, her resources, influences and motivation. The principal conclusions are that Bess did not invest heavily in creating Hardwick, that she did not create a palace for her royal grand-daughter and, most surprisingly, that she did not seek to build a house for the Cavendish dynasty. Instead, she created a personal monument.
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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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Wedge, Tracey Leigh. "Constructing splendour : the wardrobe of Robert Dudley, Earl of Leicester (1532/3-1588), consumption and networks of production". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/377483/.
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This thesis examines the networks involved in the production of the wardrobe of Robert Dudley, Earl of Leicester (1532/3-1588). It is clearly demonstrated that Leicester’s dress placed him alongside his contemporaries within the nobility. A successful and well functioning wardrobe network was crucial to achieving the required standard of dress. Establishing the identity of the individual members of the network enables the further examination of each person’s role within the network, and in dressing Leicester. Comprised of English masters embedded in their livery company politics and punctuated with foreign masters, the network provides an insight into business practice and social interaction in sixteenth century London.
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Baker, Rosemary M. "Nineteenth century synthetic textile dyes : their history and identification on fabric". Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/372624/.
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Textile dyes have been the subject of many studies from the varied perspectives of historians, conservators and scientists. Most of these have focused on natural compounds but nineteenth century synthetic dyes form the basis of this thesis. The dual areas of interest have been the social history of those dyes developed between the introduction of Mauveine in 1856 and the end of the century and the investigation of novel spectroscopic methods for their identification in situon textiles. Although the first synthetic dye was manufactured in England, the centre of the industry soon moved to Germany and Switzerland. Education an d contacts in Switzerland or Germany were important in advancement in the field as can be seen in the previously unresearched biography of J.J. Hummel who, through his Swiss step-father, was able to travel to Zurich to study and subsequently progressed from working as a cotton printer to become the first professor of textile dyeing at the Yorkshire College, later Leeds University. Evidence was found in newspapers and popular periodicals for three other factors which had an important influence on the attitude to synthetic dyes in England. One was English reluctance to invest in speculative ventures rather than the established textile industries. The second was the possession of colonial holdings and overseas trade networks which encouraged continued research into imported natural products. Thirdly the particular form of the Arts and Crafts movement in England emphasised the craft means of production in a way which the equivalent aesthetic in Germany did not. Nineteenth century dye manuals show that there was no exclusive use of either natural or synthetic dyes in the trade despite the fashion in artistic circles for ‘natural’ colours. The identification of synthetic dyes on textiles is important in textile history and conservation especially in the context supplied by the investigations described above into the usage of the dyes. It is highly desirable in the field of cultural heritage to devise analytical techniques which are non-destructive and non-sampling. Dyed wool and silk samples were prepared using 12 dye compounds. Different techniques were tested and Fourier transform Raman spectroscopy was able to provide diagnostic spectra for a variety of synthetic dyes. Clear features in the spectra could be used to identify the dye class and to distinguish between dyes of the same class. This technique allowed the detection of dyes on the textile for the first time and it was applied successfully to original samples from dye manuals. One unknown mauve sample was also analysed and a combination of infrared and Raman spectroscopy allowed a definite identification of the dye as a triphenylmethane and tentatively as Methyl violet. This study combines investigations into material culture and social history and demonstrates the use of science together with historical research to reveal new insights into the history of textile dyes.
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Holroyd, Sophia Jane. "Embroidered rhetoric : the social, religious and political functions of elite women's needlework, c.1560-1630". Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/2356/.
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This thesis focuses on the Elizabethan and Jacobean aristocracy and upper gentry to yield the first detailed study of the elite needleworking woman as fashioner of her social personage, and of the objects she produced as indices of social persona, religious conscience and political agency. The first chapter explores how needlework mediates between wtiwomeann d their social context. It surveys the way in which needlework, both as practice and as object, functioned as a vehicle for projecting persona and personage into a social context which interpreted needlework according to complex value systems of personal virtue and the husbandries of conspicuous wealth. The chapter explores needlework as a site for intellectual expression. The theories developed in the first chapter are tested in a case study of Bess of Hardwick, whose textiles show her construction of a virtuous aristocratic persona proclaiming its self-assured place in the social hierarchy. Chapter Two is the first study to consider the needlework of Elizabethan and Jacobean Catholics in the light of the Protestant proscription of iconic vestments. It recovers the history of lost needlework from English convents on the Continent, and of the English recusants' covert provision of vestments to Jesuit missioners. The first detailed case studs' of Helena Wintour's vestments reads Wintour's Jesuit-influenced Marian floral emblems and iconography alongside Hawkins's meditation handbook Partheneia Sacra to theorise Wintour's devotion to the Immaculate Conception, and explores the vestments' relationship to the liturgy and their iconographical importance to the Mass. Chapter Three considers needlework gifts as political currency within patronage structures at the Elizabethan and Jacobean courts. Narrated with a contemporary vocabulary of grace, needlework gifts contribute to the construction of court-crown relations, symbolised by needlework gifts in Jacobean court masques. Through needlework gifts a `feminine commonwealth' availed itself of power structures at the court of James's consort that parallel his departments, and the women's political agency in a female political hierarchy is seen encoded within gifts of needlework in the Queen's Courts final masque. The case study uses Mary's needlework gifts to Elizabeth as an index of changes in their relationship. Mary's needlework joins parallel texts such as poetry, portraiture and planned masques in developing an iconographical vocabulary centring on the Judgement of Paris, with which diplomatic negotiations sought to clarify the Queens' relative positions.
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Callaghan, Angela. "The ceiling of Skelmorlie Aisle : a narrative articulated in paint". Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4891/.
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The intention of this thesis was to demonstrate that, with in-depth analysis, a carefully and deliberately constructed narrative could be revealed within the ceiling paintings of Skelmorlie Aisle, Largs, Scotland (c.1638). The ceiling adorned a burial aisle, which was erected by Sir Robert Montgomerie, seventh of Skelmorlie, in honour of his wife, Dame Margaret Douglas. The paintings, executed by Edinburgh apprentice James Stalker, are the only surviving example of the genre signed and dated by the artist. The ceiling was composed of forty-one individual compartments each one containing different combinations of emblems, designs, human figures, animals, birds and heraldic representations. Of the forty-one compartments, four of these contained landscape paintings, depicting the seasons, and their associated labours. Two unusual paintings were also executed each containing representations of a female figure on the land and by the sea. By a study of semiotics, this dissertation systematically re-constructed the narrative concealed within the paintings. This revealed the intrinsic meaning of the iconography. The thesis argued that simple observation revealed very little information relating to the understanding of the paintings and in-depth study was required to elucidate this. The narrative began with an exploration of seventeenth-century nobility with a particular focus on the patron, Sit Robert Montgomerie of Skelmorlie. It then considered the role of architecture and design in Early Modern Scotland with a discussion on domestic architecture and burial aisles. An exploration into the painted ceiling in seventeenth-century Scotland was also included as was a consideration of the role of the artist and patron. A focus on the sources available to artists in Scotland during the Early Modern period, followed with a particular investigation into those used within the ceiling iconography of Skelmorlie Aisle. Whether it was intended that the ceiling iconography was to be read in a specific order was also included. These initial stages provided a platform from which an in-depth analysis of the iconography within the paintings, could be undertaken. The methodology applied here was that composed by German born art historian Erwin Panofsky. Panofsky argued that identifying objects, shapes and forms did not convey why certain components were chosen or what they meant. The first step was to ascertain the genesis of the sources, as this provided a greater understanding of the narrative and why they were chosen by Montgomerie. The research revealed that, with the exception of generic designs of floral patterns and scrollwork, the iconography within the paintings was not chosen at random; each component was selected for a very specific reason. When all of the factors were considered and the iconography analysed in depth, the full narrative became exposed.
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Holt, Alexia. "Reviewing Chanel : a catalogue raisonné and critical survey of the dress designs by Chanel published in British and French Vogue, 1916-1929". Thesis, University of Glasgow, 1997. http://theses.gla.ac.uk/5391/.
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Founded on the premise that the existing literature on Gabrielle ‘Coco’ Chanel does not give a comprehensive, balanced and objective survey of the dress designs produced by the house from 1916-1929, the thesis ‘Reviewing Chanel’ provides a catalogue raisonné of the designs shown in British and French Vogue during this period. This representative sample of Chanel’s work facilitates the very necessary and overdue re-assessment of Chanel’s early career and contribution to twentieth century fashion. Part One of the Introduction includes a review of the existing literature on Chanel and explains the rationale behind the production of a catalogue of the dress designs reproduced in British and French Vogue. Part Two serves as the introduction to the twenty-eight essays which outline the principal developments in each of the dress design collections presented by the house between 1916-1929. Each essay provides an analytical summary of the key themes and developments of the collection and relates Chanel’s work to that of the other leading houses in Paris during this period.
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Thickpenny, Cynthia Rose. "Making key pattern in Insular art, AD 600-1100". Thesis, University of Glasgow, 2019. http://theses.gla.ac.uk/41009/.
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Key pattern is a type of abstract ornament characterised by spiral shapes which are angular rather than curved. It has been used to decorate objects and architecture around the world from prehistory onward, but flourished in a unique form in Insular art (the art of early medieval Britain and Ireland, c. AD 600-1100). Ornament of many kinds was the dominant mode in Insular art, however, key pattern has remained the least studied and most misunderstood. From the 19th century, specialists mainly have relied on simplified, line-drawn reproductions rather than original artworks. These 'correct' hand-made details, isolate patterns from their contexts, and in the case of Insular key pattern, de-emphasise its important physical structures. This resulted in misunderstandings of key pattern's structure and an inability to recognise evidence for medieval artists' working processes. Postwar art historians and archaeologists then largely abandoned study of ornament structure altogether, in critical reaction to this earlier method. For two centuries, academics have overlooked the artists' role in pattern-making, and how their creative agency is reflected in patterns' internal structures. In response, this thesis presents a new, artist-centred method for the study of Insular key pattern, which adapts Michael Brennan's pioneering approach to Insular interlace (a different pattern), to suit key pattern's distinct structure. Close examination of objects and monuments, rather than idealised 'types', has revealed how Insular artists themselves understood key pattern and handled it in the moment of creation. The core of the thesis is an analysis of key pattern's structural properties, i.e. its physical parts and the abstract, often mathematical concepts that Insular makers used to arrange and manipulate these parts, in order to fix mistakes, fulfill specific design goals, or invent anew. Case studies of individual artworks support this analysis and demonstrate how key pattern is a vehicle for accessing Insular artists' thought processes, as they improvised with the pattern's basic structures for maximum creative effect. For the first time, this thesis also places Insular key pattern in its global context, via comparative analyses of key patterns from other world art traditions. This investigation has confirmed key pattern's origin in prehistoric basketry and weaving technologies and explains why Insular key pattern's geometric complexity remains unparalleled. The adaptation and expansion of this new analytical method for key pattern also proves its applicability to any type of ornament from any culture, making it immediately useful to art historians and archaeologists. This thesis therefore represents a larger paradigm shift that brings ornament study into the 21st century.
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Arnett, Joanne. "Rogue gallery". Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555301.
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I seek to capture the ephemeral in a series of large-scale weavings that examine relationships between public and private, real and artificial, the mundane and the extraordinary.
I use mug shots as a device because they represent a perfect juncture between conflict and resolution. I assume the role of the accused in all the compositions. Rather than present the images as photographs I transform them into weavings. The zeros and ones that make up a digital image file become a code which translates as the over and under of warp and weft and embeds the image in the finished cloth. Matte yarn is used for the warp, shiny wire is used for the weft, transforming darks and lights in to rich tactile surfaces. The resulting image appears and disappears depending on the viewer's perspective.
The viewer is required to physically interact with the artwork in order to see the portrait, creating a dynamic between him and the person pictured. The image slips away as the viewer steps closer, shifting the viewer's focus to other aspects of the work, and as he circles the art work to recapture the portrait there is time for layers of information to be read. The luxurious weavings are enigmatic and inspire a sense of wonder. Content, materials, and form combine to create a moment where the viewer is taken out of the expected, suspending a fleeting exchange in time and resulting in an experience rather than just a viewing.
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Kim, Heechan. "Meaningful objects through process-oriented form research". Thesis, Rochester Institute of Technology, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1565134.
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This work concentrates on the relationships between shapes and the lines those shapes are composed of as well as the process by which they are created. In this thesis, I intend to explore the different characteristics of wood and to visualize the language and meaning of the work which results both from those characteristics and from the artist.
As a maker, I have always been fascinated by the use of wood in the creation of objects. Man can control a material against its own intrinsic attributes to create something very different from that material's natural shape. My works concentrate on illustrating how wood reacts to external manipulation or physical force and how it can accordingly be transformed and yet still keep its original characteristics. Therefore, the process of the construction of the final piece is crucial in my work. The process embodies the relationship between outward control or manipulation and reaction from a material, and it creates the tension between the two entities, producing a physical structure and also a visual presentation. Additionally, this relationship encapsulates a deeper meaning; in the same manner in which the wood strains against the making act of the artist, so also does human nature strive against the outward influences which seek to control it. Through the work, I intend to clarify how human beings interact with each other and how those interactions create emotional tension.
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DeNicola, Alicia Ory Wadley Susan Snow. "Creating borders, maintaining boundaries traditional work and global markets in Bagru's handblock textile industry (India) /". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2004. http://wwwlib.umi.com/cr/syr/main.
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Swanson, Eric. "The contextual-scenario framework for representing subjective experience". Thesis, Illinois Institute of Technology, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3574933.
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There is growing acceptance in interactive systems design for research approaches built on Phenomenological foundations. These approaches, which include methods such as Ethnomethodology and Participatory Design as well as techniques such as Personas and Cultural Probes, concern themselves with the lived experience of real people. They give insight into subjective experience—what it is like to be a particular person in a particular situation engaged in a particular activity. With greater insight into subjective experience should come greater ability to construct systems which fit into the worlds of users
However, insights into subjective experience are not always effectively sustained throughout systems development. Such findings do not blend smoothly with typical systems-development mechanisms for organizing and analyzing information, which work from an epistemology base more akin to Cognitive Science then Phenomenology. In contrast, narrative techniques, like scenarios and storyboards, tap human beings' basic abilities to use stories to understand the subjective worlds of others. But this primal nature makes narrative untrustworthy; good fiction reads like fact. To be trusted, stories for technology development must be built on a visible scaffolding of empirical data.
This research presents the Contextual Scenario Platform (CSP) design support tool. The CSP helps designers write scenarios about hypothetical people, in hypothetical situations, with thoughts, feelings, perceptions and choices for action based on empirical research. Underlying the CSP is an information framework whose structures reflect Phenomenological models of conscious experience. When encoding information into the CSP, researchers describe situations as collections of small situation-description components. Scenario authors use the same situation-description components when writing scenarios to describe each character's situation. Where these description sets overlap, the empirical finding applies to the hypothetical character.
Two case studies demonstrated the CSP's capabilities for encoding research findings and delineating complex situations with simple components. Designers in a subsequent study created scenarios using two approaches: CSP as auditor, restricting deviation from the empirical while constructing the hypothetical; and CSP as improvisational partner, with empirical data serving as catalysts for creative scenario construction.
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WARD, JARVIS. "DEVELOPING A PAINLESS INJECTION DEVICE". University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054125853.
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NEWMAN, RYAN P. "THE SECURE ILLUSION: DIPLOMATIC ARCHITECTURE INFORMED BY THE PSYCHOLOGY OF SECURITY". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179424063.
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Rosenzweig, Kristen Tanya. "Speaking Metaphorically in Product Design". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1186673073.
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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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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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Measell, James Scott. "A provincial school of art and local industry : the Stourbridge School of Art and its relations with the glass industry of the Stourbridge district, 1850-1905". Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7008/.
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Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. This thesis argues that a fundamental disconnect existed between the school’s purpose (art instruction to train designers) and its instruction (basic drawing and fine art). The school enrolled men employed in glass decorating but few from glass manufacturing. Classes reflected the South Kensington curriculum, and the art masters were unaware of the design needs of industry. Glass manufacturing firms provided modest financial support but did not encourage employees to attend, creating frustration for the Council. In contrast, similar schools in Brierley Hill and Wordsley were well-supported by the glass industry.
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Lillywhite, Marie-Louise. "The counter reformation and the decoration of Venetian churches 1563-1610 : San Giacomo dall'Orio, Santa Maria dell'Umiltà, the Redentore and San Giorgio Maggiore". Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58313/.
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This thesis examines the effects that the religious changes heralded by the Counter Reformation and the decrees regarding religious imagery and the Eucharist promulgated at the Council of Trent had on the decoration of Venetian churches from the close of the Council in 1563 until the first years of the seventeenth century. Although politically Venice shielded her independence from the power of the Papacy, she nonetheless responded in conformity to the Tridentine decrees and played an important role throughout the Cinquecento as a centre for religious renewal. In turn this had an important impact on the fabric and decoration of the city’s churches, particularly in the last two decades of the Cinquecento. Focusing on four Venetian churches that were the objects of extensive decorative programmes during the late Cinquecento; San Giacomo dall’Orio, Santa Maria dell’Umiltà, the Redentore and San Giorgio Maggiore, this thesis combines archival and visual evidence to reach a deeper understanding of how the decoration of the Venetian church changed in this period. The central tenet of this thesis is that Venice made an important and early contribution towards developing the ‘ideal’ visual response required by the Council of Trent. In the immediate aftermath of the Council of Trent until the end of the century Venice enjoyed a period of important artistic renewal and achievement. This ‘golden age’ emerged in the years following Trent and in a period characterised by ongoing war and ravaging pestilence. Yet far from discouraging creative genius, the contemporary religious and political upheaval appears to have challenged artists and patrons to ever greater achievements. It thus appears that the conditions imposed by the Council of Trent created a framework within which artists could better represent the values of the renewed Catholicism of the late sixteenth century.
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Economides, Aliki. "Modern Savoir-Faire: Ernest Cormier, “Architect and Engineer-Constructor,” and Architecture’s Representational Constructions". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467511.
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This dissertation is a historical study of the life and work of French-Canadian architect and engineer, Ernest Cormier (1885-1980), who is considered to be among the most important Canadian architects of his generation, yet about whom relatively few scholarly studies exist. In light of the range of issues raised by Cormier’s work and their degree of importance to an understanding of Canadian culture at large during the first half of the twentieth century, this dissertation argues that no other architect operating in Canada during the interwar period made a contribution that touched on so many salient issues as Cormier did.
A cosmopolitan figure who tapped into everything available to him, Cormier’s multidisciplinary practice spanned over five decades in his native city of Montréal, and reflects his synthesis of diverse influences, his role as an agent of cultural transfer, and his remarkable degree of savoir-faire in everything he undertook. Entrusted with important commissions at local, national and international levels, Cormier’s contribution merits further study both as a milestone in the development of architecture in Canada, and for what it reveals about the charged sociocultural dynamics of Montréal at that time, which was then the cultural and economic capital of the country.
Cormier was particularly active during the interwar period, which was an important time in the advent of cultural modernity in the province of Québec, and in the development of a national consciousness among French Canadians. Focused primarily on the close study of two very different yet interrelated projects by Cormier that date from this period, this dissertation contends that the house he designed for himself (1930-31) and the main pavilion of the Université de Montréal (1924-43) are his most important works, both for what they reveal about his sustained commitments as well as for the innovative ways in which they address the conditions of modernity, and thus, critically illuminate the opportunities and constraints of their time and place.
Heavily reliant on the study of archival materials alongside empirical analyses of the buildings, and readings from a range of interdisciplinary sources in order to take account of the work’s meaning and significance within and beyond architecture culture, a central leitmotif of this study is the theme of ‘construction’ construed both as a preoccupation internal to Cormier’s oeuvre and as a theoretical orientation driving my analysis of his work. In the first instance, the figure of the constructeur [constructor] is incorporated into Cormier’s professional title to better align himself with French architecture and engineering culture, particularly with the work of Auguste Perret, whom he greatly admired. As well, for Cormier, construction in the sense of building things, is inseparable from design, and finds sustained expression in his deep curiosity for how things are made, his investment in making at all scales across diverse métiers and media, and his exacting standards for all of his work to be well executed. Finally, keenly attendant to architecture’s communicative function, this dissertation examines the profound representational role played by the Cormier residence and the Université de Montréal in the construction of identity at the respective scales of the individual and that of a collective.Architecture, Landscape Architecture and Urban Planning
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Petersen, Tamar. "The Beat's Interior". Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/78846.
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The Beat's Interior seeks to answer the simple question: What does the inside of a beat look like? This thesis provides a solution as an audiovisual projection-mapping project inspired by the song, "Pyramids" by Frank Ocean. It explores the relationship between music and architecture. Influenced by scientific theories of cosmic space and the philosophical ideas of space and rhythm, this installation becomes an immersive experience within a constructed form.
Original video is mapped onto the skin of the dome using four projectors that are orchestrated through Madmapper. Eight individual parts of a single track are played separately on designated stereos located on the periphery of the room. Changes in the video and music are triggered by GyrOSC data filtered into Max/MSP/Jitter.Master of Fine Arts
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Andrade, Marques Inês Maria. "Arte e habitação em Lisboa 1945-1965. Cruzamentos entre desenho urbano, arquitetura e arte pública". Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/145901.
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Esta tese tem como objeto a produção de arte pública na cidade de Lisboa, nas grandes unidades habitacionais de promoção pública que se planearam e edificaram no período definido entre 1945 e 1965: Alvalade, Olivais Norte e Olivais Sul.
A obra de arte pública é assumida como um facto urbano, integrado num percurso de conformação do espaço. Cada uma das áreas é estudada desde a sua génese até ao seu estádio consolidado sob três aspetos: o plano de urbanização, o processo de edificação e a participação de artistas na produção de obras de arte pública, de modo a entender como se cruzam no espaço as variadas ideias e intenções ao nível do plano e dos projetos, e como estas sugerem ou condicionam o surgimento da obra de arte pública.
O período escolhido - as duas décadas seguintes ao fim da Segunda Guerra Mundial - permite apreciar a entrada e o desvanecimento dos ideários modernos racionalistas nos modos de pensar e construir a cidade. Através do estudo de Alvalade, Olivais Norte e Olivais Sul pode acompanhar-se a intromissão dos princípios da Carta de Atenas, primeiro limitada a pequenas unidades de urbanização [Alvalade], depois assumida à escala de uma célula experimental [Olivais Norte] e finalmente posta em prática numa grande malha residencial, mas onde se sentem já as tensões com outras correntes modernas, abrindo caminho às primeiras ruturas com o documento de 1933 [Olivais Sul].
Neste processo de desagregação do vocabulário urbano tradicional e de abandono dos figurinos oficiais impostos pelo regime desde o início da década de 1940, o objetivo principal da tese é perceber como é que arte pública se adequou aos edifícios e espaços públicos de configurações absolutamente novas, geradas pela aplicação destes novos paradigmas e formulações estéticas. É também perceber ao serviço de que intenções a obra de arte pública foi sendo chamada a pontuar o espaço da cidade.
A presente tese aborda uma produção artística geralmente negligenciada: a arte pública que acompanha a arquitetura e o urbanismo modernos. Apesar de quase exclusivamente circunscrita aos exemplos lisboetas, ensaia também uma aproximação exploratória à produção de arte pública para o universo da habitação social, de grande relevância no contexto do pós Segunda Guerra e décadas subsequentes. Se para arquitetos e urbanistas a habitação tinha sido desde o início do século XX tema de eleição e de demarcação doutrinária, foi também um campo que cativou artistas socialmente engajados, provenientes de várias linhagens estéticas e políticas, mas que tinham em comum uma intenção de aproximação ao espaço do cidadão comum.
Esta tese move-se entre várias áreas disciplinares. Além de perspetivar a arte pública no seu contexto arquitetónico e urbano, por se enquadrar conceptualmente na abordagem proposta pelo Cer Polis, a autora adapta a metodologia da história oral como forma de resgatar parte da informação necessária à escrita da tese.
PALAVRAS CHAVE - Arte Pública, Áreas residenciais, Urbanismo residencial, Síntese das Artes, Integração das Artes, Movimento ModernoThis PhD thesis aims to study the production of public art in the city of Lisbon, in major public promotion housing units that were planned and built in the period between 1945 and 1965: Alvalade, Olivais Norte and Olivais Sul. The work of public art is assumed as an urban fact, part of a plan of shaping the space. Each area is studied from its origin to its consolidated stage under three aspects: The urbanization plan, the process of building and the participation of artists in the production of works of public art The period chosen - the two decades following the end of the Second World Warallows us to appreciate the input and the fading ideals of modern movement ideals in the ways of thinking and building the city. The study of Alvalade, Olivais Norte and Olivais Sul, allows us to monitor the interference of the principles of the Athens Charter, initially limited to small urbanization units [Alvalade], later adopted to the extent of an experimental cell [Olivais Norte] and finally put in place in a large housing estate, but where tensions with other modern currents could already be felt giving way to the first breakthroughs with the document of 1933 [Olivais Sul]. In this process of dissolution of the traditional urban vocabulary and abandonment of the official models imposed by the regime since the early 1940s, the main objective of the thesis is to understand how the public art adapted itself to public buildings and spaces of absolutely new configurations, generated by the application of these new paradigms and aesthetic formulations. It is also to understand with what intent the work of the public art was being called to mark the city space. This thesis concerns an often overlooked artistic production: the public art that accompanies modern architecture and urbanism. In spite of being exclusively limited to the Lisbon examples it also rehearses an exploratory approach to the production of the public art to the universe of social housing, which had great relevance in the context of the post Second War and subsequent decades. Having in mind that to modern architects and urbanists housing had been the subject of election and doctrinal demarcation since the beginning of the twentieth century, it was also a field that captivated socially engaged artists from various aesthetic and political lines, who had a common intention of approaching the space of the ordinary citizen. This thesis moves between several subject areas. Besides appreciating public art in its architectural and urban context, because it fits conceptually the approach proposed by Cer Polis, the author adapts the methodology of oral history as a way to redeem part of the necessary information to write the thesis.
Aquesta tesi té com a objecte la producció d'art públic a la ciutat de Lisboa, a les grans unitats habitacionals de promoció pública que es varen planificar i edificar en el període comprès entre 1945 i 1965: Alvalade, Olivais Norte i Olivais Sud. L'obra d'art públic és assumida com un fet urbà, integrat en un procés de conformació de l'espai. Cadascuna de les àrees és estudiada des de la seva gènesi fins al seu estat de consolidació sota tres aspectes: el pla d'urbanització, el procés d’edificació i la participació d'artistes en la producció d'obres d'art públic. El període escollit - les dues dècades que van seguir al final de la Segona Guerra Mundial - permet apreciar l'entrada i l’esvaïment dels idearis moderns en les maneres de pensar i construir la ciutat. L'estudi d’Alvalade, Olivais Norte i Olivais Sul permet seguir la intromissió dels principis de la Carta d'Atenes, inicialment limitada a petites unitats d’urbanització [Alvalade], posteriorment assumida a l'escala d'una cèl•lula experimental [Olivais Norte] i finalment posada en pràctica sobre una gran malla de caràcter residencial, però on se senten ja les tensions amb altres corrents moderns, obrint el camí a les primeres ruptures amb el document de 1933 [Olivais Sul]. En aquest procés de dissolució del vocabulari urbà tradicional i d'abandonament dels models oficials imposats pel règim des de l’inici de la dècada de 1940, l'objectiu principal de la tesi és comprendre com l'art públic es va adequar als edificis i espais públics amb configuracions absolutament noves, generades per l'aplicació d'aquests nous paradigmes i formulacions estètiques. Ho és també entendre al servei de quines intencions l’obra d’art públic va ser cridada a marcar l'espai de la ciutat. La present tesi valoritza una producció artística generalment oblidada: l’art públic que acompanya l’arquitectura i l’urbanisme moderns. Malgrat estar exclusivament circumscrita als exemples lisboetes, intenta també una aproximació exploratòria a la producció d'art públic per l'univers de l'habitatge social, de gran rellevància en el context de post-segona guerra mundial i les dècades posteriors. Si per arquitectes i urbanistes moderns l’habitatge havia estat des d’inicis del segle XX un tema d’elecció i de demarcació doctrinària, fou també un camp que va captivar artistes socialment compromesos, provinents de diferents línies estètiques i polítiques, però que tenien en comú una intenció d'aproximació a l’espai del ciutadà comú. Aquesta tesi es mou entre diverses àrees disciplinàries. Més enllà de posar en perspectiva l’art públic en el seu context arquitectònic i urbà, pel fet d’enquadrar-se conceptualment en el plantejament proposat per Cer Polis, l'autora adapta la metodologia de la història oral com una forma de recuperar part de la informació necessària per l’escriptura de la tesi.
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Alazemi, Einas. "The role of fashion design in the construct of national identity of Kuwaiti women in the 21st century". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/359887/.
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The main objective of this research is to investigate the relationship between national identity and fashion among Kuwaiti women. The research findings propose that Kuwaiti women are able to use fashion to contribute to the construct of their national identity in the twenty-first century. A multi-method approach to the investigation was adopted. Firstly, critical analysis was used to grasp the concepts of national identity and fashion, and conclusions were drawn. Secondly, a case study method was used to collect data from a prominent, iconic Kuwaiti woman, Fatima Husain. Data was collected by undertaking critical analysis of her book and of publications about her by others, as well as an interview with her. Finally, primary data was obtained through interviews with prominent designers from Kuwait and the United Arab Emirates, and from a structured questionnaire survey of women from these two countries. Thematic analysis was used to identify the key themes that were then analysed to establish the nature of the relationship between fashion and national identity among Kuwaiti woman. Five major themes and several other sub- themes were identified, analysed and discussed. These five major themes are discourses on individualism, symbolism, morality, ethnicity and parochialism. The main conclusions were: (i) national identity is a complex, multi- perspective concept not amenable to a universal definition. The position taken in this study was the modernist perspective, that is, national identity is a socially constructed process which continues to evolve according to context. Put in simple terms, it is a process in transition; (ii) there is no universal theory to explain fashion, which can be considered multi-‐ disciplinary. This study concluded that the theory of fashion is rooted in social theory, behavioural science theory and economics theory, and it also involves aspects such as social class, behaviour (e.g. imitation, innovation) and disposable income. An analysis of fashion trends in Kuwait showed a significant shift in women’s fashion over the last 80 years; (iii) the Kuwaiti woman is ethnic, educated, independent, moral, wealthy, modest, decent, dignified, elegant and conspicuous. She has fine taste, is able to make clothing choices, is at times parochial but is ultimately able to use fashion to communicate her image and hence construct her national identity. However, therelationship between fashion and identity appears to manifest itself in two major ways – traditional dress and day dress. The study concludes with the design of a logo as part of the practical design element of the study. The primary elements of the logo were based on the findings of this research which were taken into account in the design. The logo therefore extended the theoretical findings using visual analysis. The objective is to have the logo manufactured for commercialisation.
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Kettley, Sarah. "Crafting the wearable computer : design process and user experience". Thesis, Edinburgh Napier University, 2007. http://researchrepository.napier.ac.uk/Output/2418.
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The purpose of the research described in this thesis was to develop a design methodology for Wearable Computing concepts that could potentially embody authenticity. The Wearables community, still firmly rooted in the disciplines of engineering and ergonomics, had made clear its aspirations to the mainstream market (DeVaul et al 2001). However, at this point, there was a distinct lack of qualitative studies on user perceptions of Wearable products. A review of the market research literature revealed significant consumer demand for authenticity in goods and services, and it was this need that drove the program of research. The researcher's experience as a contemporary jeweller led her to question the positivist design processes of Wearable Computers. The ‘borg'-like aesthetics that had come to characterise these products reflected their origins in the laboratory, and implicit configurations of the user appeared to be acting as a barrier to wider adoption. The research therefore looked to Craft as a creative process with a fundamentally different working philosophy to begin building a new methodology for Wearables. Literature reviews of authenticity and Craft were conducted to provide the theoretical framework necessary for a practice-led enquiry into the design process. Further empirical work was undertaken in the form of the comfortBlanket, a concept design project, and a small survey of makers to provide a set of protocols for craft informed design processes. Following this, a suite of wirelessly networked jewellery was designed for a friendship group of five retirement aged women, and built in collaboration with the Speckled Computing Consortium, Scotland. The user centred methodology is informed by Actor Network Theory to account for the agency of the researcher and the event of task based analyses, and includes lifeworld analysis techniques drawn from a range of disciplines such as psychology and experimental Interaction Design. Three data sets collected over the course of two years were analysed using Grounded Theory, and a novel visualisation tool was developed to illustrate potential commitment to the novel concept designs. The methodology revealed a story of what the women made of the jewellery, how they enacted these understandings, and where this process took place. It was found that evaluating concept designs for the everyday and for authenticity require different approaches and that the design process does not end with the user, but with a reflexive analysis by the designer or researcher. In many respects the proposed methodology inverts standard design practices, presenting as many questions as it seeks to resolve. The methodology is presented as a contribution to emerging communities of practice around Wearable Computing, and to those developers seeking to position their products in the everyday. It is a challenging process that embodies authenticity in its post-structural treatment of functionality, the user and evaluation. Finally, the implemented wireless jewellery network represented the first application of Speckled Computing, and it is anticipated that the theoretical frameworks arrived at will also be of interest to Interaction Design and Contemporary Craft.