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Thesis (MTech (Interior Design))--Cape Technikon, Cape Town,1996 / This research project has endeavoured to analyse the extent to which craft ideas and techniques are combining with technological skills in order to formulate an identity for Western Cape furniture design. This identity has been shown to be strongly linked to the determinants of style". which include the national striving for a South African zeitgeist. a sense of unified spirit. The problems of eclecticism are discussed in the light of superficial ethnic cooption. The new craft of the Western Cape (and more specifically Cape Town) of South Africa. is represented against the background of the old craft of the Arts and Crafts Movement in Britain at the turn of the century. Those old methods and ideas influenced the Cape Colony especially when it was under British rule. This dissertation shows that the new craft ideas and methods are synonymous with the new ideology of South Africa. a new craft for a new South Africa. The designers and practical work selected to be part of this research all share a common approach in their positive attitude towards experimenting with new techniques and using available resources to produce quality furniture which is accessible to most consumers. The work of four design groups: Greenspace. Metropolis. Flying Cow and the Montebel70 Smithy are discussed in terms of the objectives of this research which are essentially linked to the unravelling of the determinants of style and their relation to the concept identity in the South Africa which has succeeded the first free and fair general elections of April 1994.

The subject of the Master's Thesis is the design activity of architect Dušan Samo Jurkovič for Josef and Cyril Bartoň from Dobenín in Nové Město nad Metují. In a separate chapter, she first introduces the chateau in Nové Město nad Metují in its construction development and also introduces the urban and cultural context of the city in its individual historical periods. In other chapters she exhibits the personality of Dušan Samo Jurkovič and his work before the rebuilding of the chateau in Nové Město nad Metují, as well as the assignment given to Jurkovič in Nové Město. The core of the work is an analysis of Jurkovič's interventions in the chateau. Their further interpretation is used for the independent processing of Jurkovič's buildings in Peklo, a restaurant and tourist cottages. The concluding chapter deals with the evaluation of Jurkovič's work in Nové Město nad Metují and an overview of further development of his architectural work and his work in the preservation of monuments. The work includes a pictorial supplement. Key words: Dušan Samo Jurkovič; Vernacular architecture; Nové Město nad Metují; Arts and Crafts; Art Nouveau; Modern Architecture

This thesis is about the adaptive reuse of an old turbine hall at the Pretoria West Power Plant. As part of a proposed urban framework the Power Plant is developed as a node that connects the Pretoria CBD to Atteridgeville. The driving concept generator for this scheme is the idea of progress. The Turbine Hall has progressively been extended over time. This progress is demonstrated through increasingly dominant new interventions which also demonstrate where the building opens up to the public. A program for the building is based on the results of site analysis, and in response to the urban framework. This program stimulates progress for people by creating a place that supports the production of entrepreneurs and encourages economic upliftment. The adapted building will contain an affordable housing component, rentable workshops, training facilities where people can learn business skills and crafts, a large artists’ studio, a restaurant and an arts and crafts exhibition gallery. These functions support each other and create and environment where people can live, work and socialise. / Dissertation (MArch(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

Echolot, 2017, Linoldruck, mehrfarbig, 30 x 42 cm

The thesis focuses on a previously untreated topic. It deals with Czech stained glass from 1945 to the present. Based on the exploration of stained glass on both sacral and public premises, as well as on pieces created for the presentation of Czechoslovakia at international exhibitions, it creates a comprehensive picture of the development of Czech stained glass in this period. The first part deals with the renewal of glass making and professional schools. Most attention is paid to Josef Kaplický's studio at the Academy of Arts, Architecture & Design in Prague. The thesis also documents works of glassmakers and artists in 1950s. As a breaking point for the development of stained glass, EXPO'58 is stated. In 1960s, the World Fair in Brussels widely influenced activities of Czech glassmaker who started inserting stained glass innovatively into reliefs using other experimental forms. It also shows that, in connection with new technological innovations in 1970s and 1980s, stained glass was applied in reconstructed and new buildings. The text implies that after the Velvet Revolution in 1989, a change occurred in the State's approach to the support of decorating public buildings, and in the same period, new private artistic glassmaking workshops and stained glass studios were established. There was more...

The purpose of this study was (1) to investigate the changes in sociometric status that resulted when first grade children were taught some art or craft that they could teach to others in their class, (2) to note concomitant behavior changes as reported by their teachers and as noted by their experimenter, and (3) to compare the distribution and increase of decrease of votes received, votes given and mutual attractions in experimental groups with a control group.

Prior to the 1950s, visual culture within tribal environments could be separated into customary and non-customary. In the early 19th century, customary visual culture maintained visual correspondence with prior painted and carved models of the pre-contact period. In the latter part of the 19th century, non-customary painted and carved imagery inspired by European naturalism informed tribal visual culture. This accommodation of European imagery and practice was trans-cultural in its translation to tribal environments. In the 1960s, an innovative trans-customary art form evolved outside tribal environments, fusing customary visual culture and modernism. This trans-customary art form, which maintained visual empathy with customary form of the 19th century, was introduced into the tribal environment, initially, in a painted mural in 1973, and subsequently in a multimedia mural in 1975. In 1989 and 1990, this trans-customary Maori art practice informed the art of the Taharora Project at Mihikoinga marae in Ohineakai. In this Project, the 1970s transcustomary Maori art precedents were extended with non-customary form and practice. The thesis employs tataitanga kaupapa toi as a paradigm for Maori cultural relativity and relevance en-framing form, content and genealogy. Annexed to this paradigm are a range of methods: a tataitanga reo method for interpreting Maori language texts; a tataitanga korero method, conjoining a kaupapa Maori and an iconographic approach, for interpreting meaning in tribal visual culture, and a tataitanga whakairo method, incorporating stylistic analysis as formal sequence, semiology and intrinsic perception, for analysing a continuum of stylistic development from the Rawheoro School of carving to the Taharora Project. The Taharora Project constitutes the case study where tribal visual culture and contemporary art within tribal environments are contextualised in a trans-cultural continuum. The critical question that underpins this thesis is how do form, content and genealogy contribute to art that resonates with Maori? The thesis concludes that trans-cultural practice in contemporary art can resonate with Maori if the art maintains visual correspondence or visual empathy with customary tribal form. In their absence, cultural resonance can be achieved through a grounding of the content, informing the art, in a paradigm of Maori cultural relativity and relevance, a tataitanga kaupapa toi. The genealogy of the artist is a further determinant for resonance.

Die historischen Stadtzentren (Downtowns) ländlicher Kleinstädte in den USA unterlagen in den letzten Jahrzehnten des 20. Jahrhunderts einem allgemeinen ökonomischen Niedergang und verloren ihre ursprünglich zentrale Funktion, primäre Einzelhandelsstandorte einer Stadt und ihres Umlands zu sein. Ursachen dafür sind vor allem in der Entstehung attraktiver Einzelhandelsstandorte am Stadtrand zu suchen. Ein genereller ökonomischer Aufschwung der Stadtzentren konnte trotz vielfältiger Bemühungen um eine Revitalisierung bisher nicht erreicht werden. Allerdings bestehen Anzeichen eines in erster Linie qualitativen Wandels und einer Spezialisierung ihrer Einzelhandelsfunktion. Auf der Grundlage des Forschungsstands wird in der vorliegenden Arbeit der Einzelhandel in Stadtzentren ländlicher Kleinstädte untersucht. Dadurch soll der in der Literatur angedeutete, aber weder vertiefend beschriebene noch beurteilte Wandel umfassend charakterisiert werden. Folgende Ziel- und Aufgabenstellungen sind damit verbunden: Erstens sollen der Einzelhandel in den Stadtzentren beschrieben und Typen des Einzelhandels abgeleitet werden. Zweitens geht es um die Kennzeichnung von Einflussfaktoren der Entwicklung unter Herausstellung des Wirkens von Stakeholdern. Drittens sollen Schlussfolgerungen zum funktionalen und strukturellen Wandel der Stadtzentren gezogen werden. Im Besonderen wird die Entwicklung des Arts and Crafts Einzelhandels berücksichtigt, der ein im weiteren Sinne kunsthandwerklich orientiertes Warensortiment mit dekorativem Charakter vorhält. Aus Voruntersuchungen kann von einer hohen Bedeutung dieses Einzelhandelssegments ausgegangen werden. Die konzeptionellen Grundlagen dieser Arbeit werden durch die Diskussion standorttheoretischer Ansätze sowie durch die Analyse der Literatur zur Entwicklung des Einzelhandels und der Stadtzentren in den USA gelegt. Daraus werden Annahmen zur Entwicklung des Einzelhandels und der Stadtzentren als Ausgangspunkte der empirischen Untersuchung abgeleitet. Diese besteht aus drei Teilen. Erstens wird eine auf ganz Ohio bezogene Untersuchung zur Lage des Einzelhandels in ländlichen Kleinstädten durchgeführt. Zweitens geht es um die Analyse des Downtown-Einzelhandels in ausgewählten Städten Ohios. Drittens werden im Rahmen von Fallstudien die Strukturen und Einflussfaktoren der Entwicklung zweier Stadtzentren untersucht. Die Methoden der Datenerhebung umfassen Kartierungen, leitfadengestützte Experteninterviews, teilstandardisierte Befragungen von Händlern sowie Dokumenten- und Datenanalysen. Im Hinblick auf den Downtown-Einzelhandel ist festzuhalten, dass (1) kleine Betriebsformen vorherrschen und Filialen von Mehrbetriebsunternehmen weitgehend fehlen, (2) Anzeichen der weiteren Ausdünnung traditionell in Downtown ansässiger Branchen bestehen, (3) zahlreiche Kleinstbetriebe mit geringwertigem Warensortiment (marginal business) vorkommen, (4) der Anteil des spezialisierten Einzelhandels hoch, aber ein weiteres Wachstum unsicher ist und (5) sich der Arts and Crafts Einzelhandel in den Stadtzentren konzentriert. Aus der Untersuchung von mehr als 100 Betrieben werden neun Typen des Einzelhandels in den Stadtzentren abgeleitet. Die Typenbildung erfolgt zunächst anhand der Sortimentsbreite sowie der Zugehörigkeit zum Arts and Crafts bzw. sonstigen Einzelhandel. Darüber hinaus werden Merkmale des Qualitätsniveaus (Low Quality Stores), der Absatzwege (Delivery Stores), der ökonomischen Rationalität (Self-Realization Stores) und der Betriebsgröße (Downtown Anchor Stores) als Vergleichsdimensionen herangezogen. Im Resultat der Untersuchung von Einflussfaktoren der Einzelhandelsentwicklung können als grundlegend benannt werden: (1) die entscheidende Bedeutung lokaler Faktoren, (2) die bestimmende Funktion des Wettbewerbs als Barriere der Entwicklung, (3) die hohe Bedeutung von Kostenfaktoren und der Kostenminimierung, (4) die grundsätzliche Präferenz der Konsumenten für Standorte mit größerer Angebotsvielfalt und (5) die dezidierte Rolle von Stakeholdern. Die letzte Aussage wird durch die Beschreibung und Beurteilung besonderer Entwicklungsfaktoren weiter untersetzt. Dazu zählen die Tätigkeit von Downtown-Managern, das Wirken privater Investoren sowie das Engagement der kommunalen Politik und Verwaltung für die Entwicklung der Stadtzentren. Schlussfolgerungen zum strukturellen und funktionalen Wandel der Stadtzentren als Einzelhandelsstandorte betreffen (1) die Gefahr der wirtschaftlichen Marginalisierung der Stadtzentren, (2) die Bestätigung einer fortgeschrittenen Standortspezialisierung, (3) die Funktion des Stadtzentrums als „Experimentierfeld“ für den nicht-filialisierten Einzelhandel mit lokalem Ursprung, (4) die Ausrichtung physischer Strukturen an historischen Vorbildern und (5) die weitgehende Stabilität soziokultureller Funktionen von Downtown. Die Untersuchungsergebnisse zu Einzelhandelstypen und Einflussfaktoren werden schließlich aufgegriffen, um stabilisierende und destabilisierende Effekte für die Standortentwicklung zu beurteilen. / Historic town centers (downtowns) of rural small cities in the U.S. underwent a process of economic downgrading in the later decades of the 20th century. In consequence, they lost their originally central function as being the primary retail location of a small town and its surroundings. Reasons for this development, particularly, can be found in the emergence of attractive shopping centers at the suburban edge. In spite of manifold revitalization activities, a true and overall economic recovery of downtown cannot be stated. However, there are signs of further change in downtown, mainly linked to qualitative transitions and to the specialization of its retail functions. On the basis of the current state of research this dissertation aims at a comprehensive analysis of downtown retail in rural small cities. Potential developments and changes that have only been mentioned in the literature will be characterized in detail. Three objectives and tasks are connected to this statement: First, the downtown retail shall be described in detail and types of retail businesses shall be derived. Second, impact factors shall be identified, specifically considering impacts of stakeholder activities. Third, conclusions shall be drawn with regard to the functional and structural change of downtown as a retail location. Special attention of this dissertation is connected to the emergence and possible growth of arts and crafts retail businesses selling goods with mainly decorative character. This interest originates from previous research, naming the importance of arts and crafts retail as a possible growth segment of downtown retail. The conceptual foundation of this dissertation contains a discussion on location theory as well as analyses of empiric and further theoretic studies on the development of retail and downtowns in the U.S. In a preliminary conclusion, assumptions are drawn as starting points for the empiric part of this study. The empiric research contains: first, a survey on the location of retail businesses in rural and exurban small cities throughout Ohio; second, an analysis of downtown retail in several chosen small cities in Ohio; and third, an examination of detailed case studies on the structures and development factors of two Ohio small city downtowns. Methods of data collection contain mapping, expert interviews, semi-structured surveys of retail businesses, and data analysis. From the characterization of downtown retail it can be concluded that there are: (1) high percentages of small retail formats in downtown and almost no chain stores, (2) clear indications of further decreasing “traditional” downtown trade-lines, (3) high percentages of very small “marginal businesses” with assortments of lower value, (4) high percentages of specialized retail stores but without considerable signs of further growth, and (5) concentrations of arts and crafts shops in downtown. Furthermore, nine different types of downtown retail businesses can be derived from an investigation of more than 100 stores. For this purpose, downtown businesses are rated by the range of products they offer and by their belonging to arts and crafts or other retail sectors. In addition, further dimensions lead to special types of downtown retail considering specific characteristics of retail stores such as the quality level (“low quality store”), the means of distribution (“delivery store”), questions of economic rationality (“self-realization store”) and the size of a store (“downtown anchor store”). The analysis of impact factors identifies the importance of: (1) local factors against non-local factors causing differences among downtowns, (2) competition as a barrier for downtown retail development, (3) cost factors and the minimization of costs for downtown stores, (4) the consumers’ general preferences for larger locations with a wider range of supplies, and of (5) stakeholder activities as being decisive for downtown development. The latter fact receives further attention in this research by assessing specific constellations of stakeholder activities. Among them are the effects of downtown manager action, the impact of private investors, and the commitment of local administration and politics to downtown. Conclusions on the structural and functional change of downtown as commercial location pertain to (1) the danger of marginalization of downtown’s economic role, (2) the affirmation of an advanced specialization of downtown locations, (3) the incubator or laboratory function of downtown for locally-based retail, (4) the orientation of physical structures towards historic ideals, and (5) the widely stable situation of socio-cultural functions of downtown. Finally, the types of downtown retail and impact factors that have been generated in this dissertation are subject to further assessments. They are rated with regard to potential effects on the stabilization or destabilization of downtown’s role as a commercial location.

Cette étude aborde la carrière et l’oeuvre de René-Yves Creston, artiste qui dans les années vingt, fonde le groupe Ar Seiz Breur. Impliqués dans la vie culturelle locale, les artistes du groupe participent au renouveau des arts décoratifs en Bretagne. Gravure, peinture, faïence, meuble sont autant de domaines dans lesquels ils influencent l’esthétique régionale de la première moitié du XXe siècle dans l’esprit des Arts and Crafts, de l’école de Zakopane et d’autres mouvements européens. Fréquentant les milieux intellectuels parisiens, René-Yves Creston devient un organisateur hors pair et permet à Ar Seiz Breur de participer à des expositions internationales d’envergure. Dans les années trente, son attrait pour le milieu maritime lui permet de participer à la campagne de 1933 au Groenland. Découvrant la pratique ethnographique, il s’inscrit à l’Institut d’ethnologie à la fin des années trente pour y suivre les cours de Marcel Mauss et intègre le musée de l’Homme pour lequel il effectue une mission aux Féroé. Durant la Seconde Guerre mondiale, il participe à la création du réseau du musée de l’Homme et continue ses recherches autour de l’ethnographie bretonne. Après guerre, Georges Henri Rivière l’introduit dans le milieu des musées de société. René-Yves Creston est à l’origine de nombreuses collections dans les musées bretons et au musée des Arts et Traditions populaires. Attaché à l’étude de la région bretonne, il continue néanmoins à s’investir dans l’ethnologie maritime européenne. De la fin du XIXe siècle à la deuxième moitié du XXe siècle, cette étude revient sur le parcours d’un artiste ethnologue dont les préoccupations se tournent sur l’étude de l’homme, de l’utilisation du réalisme dans sa pratique artistique à l’étude des peuples en ethnologie. / This study approaches the career and work of René-Yves Creston : this artist, who, in the twenties co-created the group of Seiz Breur. Strongly involved in local cultural life, the group-artists took part in the revival of decorative crafts in Brittany: engraving, painting, earthenware, furniture, so many areas in which they affect the regional aesthetics of the first mid-twentieth century, in the same spirit as Arts and Crafts or Zakopane school or other european movements. Taking part in parisian intellectual life, René-Yves Creston became a leader, without equal organiser so he leaded Seiz Breur to take part in famous international exhibitions. In the thirties, his own interest for the maritim world leads him to take part in 1933 in a trip to Greenland. He then discovered the ethnographic practice. He joins then the ethnological institute and at the end of thirties follows Marcel Mauss’s lessons and fit in “musée de l’Homme” for which he was involved in a mission in Feröe islands. During the world war two, he took part in setting up the “Réseau du musée de l’Homme”. He then follows on his searches about breton ethnography. After the war, Georges Henri Rivière introduced him in thesociety-museums circles. René-Yves Creston leaded to many collections in breton museums and Arts and popular Traditions museum. Deeply involved in the study of brittany, he carries on taking part in european maritim ethnology studies. From the end of 19th century to second part of 20th, this work reads the process of this man, starting as an artist, who becomes an ethnologist using his realism in art as a tool for his study of man.