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For archaeological or historic preservation to occur, there must be public support for it. This research examines historic and archaeological preservation in the Tampa Bay area of Florida through the use of selected case studies. It analyses opinions about archaeology and preservation from members of the general public and members of two groups focused on historic preservation and archaeology. Data were collected from interviews, surveys, archival research, and participant observation, and analyzed to determine the public's definition of archaeology, possible origins of people's interest in preservation, and the extent to which people's interest in either archaeology or historic preservation extends to the other. This research also looks at the context in which the study population is living. I look at the attempts at preservation in the area and the competing influences on those attempts, as well as the laws that affect the sites. I use the findings to make suggestions for increasing people's support of archaeology and preservation.

This thesis examines art and architecture commissioned by three large-scale industrial corporations in Britain in the interwar period 1919-1939. The companies studies are the Anglo-Persian Oil Company, later to become British Petroleum (BP), Imperial Chemical Industries (ICI) and Unilever. The main focus of attention is on the headquarters office buildings constructed in London and their sculptural decoration. Attention is also paid to artwork used by Unilever on the covers of its in-house magazine 'Progress' and in its advertisements. A laboratory built by ICI near Manchester is also considered. The form and meaning of the works of art are examined using evidence of the relationships between the artists and the patrons, those within the companies who commissioned the works, as it is documented in the archives of the companies. Evidence is also taken from the published histories of the companies, the response of critics as revealed in contemporary publication, and the recent history of the appropriate genres and of the individual artists. Art history is currently undertaking a reappraisal of 20th century British art rejecting the view that the significant art was either, on the one hand, that which belonged to some canon of modernist work, or, on the other, only that which remained true to some view of what was traditionally British. This thesis makes a contribution to that re-appraisal. The approach of examining the mechanisms of patronage has not been applied extensively before to this period and place. In the process much new material about individual artists has been uncovered. In addition by suing the large-scale corporation as its framework, the study has thrown light on one of the major social changes of the period, the growth of a new professional class. This new class, whose habitat was the large bureaucracy, was developing an ideology of rationality and progress by technology which was to help shape 20th century attitudes and 20th century art.

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Thesis (doctoral)--Technische Universität Berlin, 2000. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (doctoral)--Technische Universität Berlin, 2000. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thèse (M. Arch.)--Université Laval, 1997. / Bibliogr.: f. 143-149. Publié aussi en version électronique.

This thesis acknowledges the role of the designer and design in constructing and communicating the meanings that become attached to materials. This critically engaged study of wood is informed by Roland Barthes's semiological analysis and seeks to expose the myth of wood as a natural material. It demonstrates that complex technical and cultural processing result in a series of connoted meanings becoming attached to wood. By referring to Jean Baudrillard's distinct 'Phases of the image' (in Simulacra and Simulation, 1981) it is able to question critically examples that include the use of wood in the work of twentieth century and contemporary artists and designers. It asks whether the role of wood in the examples presented is to reflect reality, mask reality, mask the absence of reality or ultimately to reject reality altogether. The thesis is organised into a series of eight interconnected thematic chapters that present an essentially industrialised understanding of wood. It concludes that wood is a tremendously varied material, able to describe its substance at its surface. In spite of its variety, a simplified graphic depiction of wood benefits from the cultural understanding of the material that has been developed over a lengthy period of time, during which the product of the natural landscape has become cultivated and commodified.