Thesis--Wisconsin. / Includes bibliographical references (leaves 158-161).

The dissertation deals with the issue of the corporate identity of the Academy of Sciences of the CR (ASCR). Through secondary and primary qualitative and quantitative research projects, the corporate identity of the ASCR is analysed in the internal and external milieus of the institution, in the European Area generally and also in comparison with Great Britain. The main aim of the dissertation is the proposal of a model of the corporate identity of the Academy of Sciences of the Czech Republic with a focus on the area of science popularisation and communication, namely for the purpose of improving the image of the ASCR and increasing the awareness of the general beneficial effect of science and research among the lay and specialised public in the Czech Republic. The proposal of the model is elaborated on its theoretical bases utilising background materials arising from the research projects conducted. The enrichment of the Czech scientific milieu by a deeper view into the general issue and an investigation of corporate identity in the CR and globally can be considered as the contribution of the dissertation in the area of the theory of marketing. The theoretical contribution of the work is also the proposal of a model of corporate identity for the ASCR and the other scientific-research institutions with a similar focus. The practical contribution of the dissertation is the possible utilisation of the proposed model of the corporate identity of the ASCR at the Academy of Sciences of the CR, at the scientific workplaces of the ASCR and at the other scientific-research institutions of a similar focus in the CR and around the world.

This thesis explores how the practice and profession of architecture was increasingly understood and discussed in terms of the public in the first half of the twentieth century through six case studies. In the age of universal suffrage, architects began to recognise that, in order for the profession to flourish, the built environment would have to respond to the demands of public opinion and publicity, and that design would need to appeal to the 'man in the street' if the profession was to establish its position in the new culture of democracy. 'Architecture and the Public in Interwar Britain' thus challenges the view that the mainstream of interwar British architecture was parochial and backward looking, and seeks to reintegrate the stories of many well-known but academically neglected projects and controversies into twentieth century architectural history, which remains dominated by attempts to nuance the privileged narrative of the growth and 'triumph' of Modernism and the International Style. Instead, I argue that architecture is better conceived as a broad discourse involving a number of agents of diverse positions and attitudes struggling with common critical and professional challenges. The first section of the thesis considers architecture in the Imperial Metropolis. After offering a re-reading of 66 Portland Place, the headquarters of the RIBA, through the lens of professional anxieties in the interwar years, it considers two controversial rebuilding projects: Regent Street and Waterloo Bridge. The thesis then considers architecture and publicity in the suburbs, offering close readings of factories along the new arterial roads out of London, in particular the Guinness Brewery and Gillette Factory amongst others. The final section of the thesis unpicks the idea of the civic centre in interwar Britain through the contrasting examples of Southampton Civic Centre and lastly Norwich City Hall.

This study examines the ways in which the concept of &#039 / national design&#039 / informs evaluation of products and their designers, through the example of the field of industrial design in Turkey and the recently influential design magazine Art+Decor. For this purpose, first of all, &#039 / evaluation&#039 / is analyzed as a means in which meanings are imposed on products, and as a tool in struggles for positions and status within the field of industrial design. Then, the role of &#039 / nationality&#039 / in such a function of evaluation is investigated. Finally, a case study is provided, in which the employment of the concept of &#039 / Turkish design&#039 / in evaluation of products and designers is analyzed within the texts published in Art+Decor magazine between 2003 and 2005.

abstract: Starting from 21st century BC, China has had strong but isolated philosophies for making things, which dominated the style and spirit of Chinese design. With globalization, however, contemporary Chinese design fell under the influence of Western design including design practice, design theory, and education. Today, by improving capacity for independent innovation, and creating its own brand, China may be able to change its current practices of production that are defined by high consumption of resources, high pollution and low value-add. The search for high-quality Chinese design, which is both original and innovative with unique and identifiable features, has become a vital challenge for the Chinese government, organizations, and companies. Promoting original Chinese design with adding cultural values, in the past decade, has become prominent in various design fields because of the growing need to support economic development, upgrade industrial infrastructure, and promote national identity. In this context, many small-medium, creative and design-focused companies have been established with the goal of pursuing original Chinese design all the while concentrating on Chinese culture and users. In order to understand the present scenarios of original Chinese design, this research examines furniture design in select SMEs in China by studying relevantly critical issues: the motivation of designers for pursuing original Chinese design; the design ideas, practices and business strategies of these SMEs to build original and influential design brand; the challenges and opportunities in the furniture design industry while promoting original Chinese design; and the emerging picture of future Chinese design. This research applies the methodological framework of grounded theory with qualitative research methods including semi-structured interview and in-depth case studies. As a result, regarding interaction among Chinese culture, original design, and entrepreneurship, the research reveals three key findings regarding the interaction among Chinese culture, original design and entrepreneurship. First, “reflect Chinese culture”, particularly essential traditional Chinese culture, is a common ground of original Chinese furniture design, which has been shown both from design ideas and practices of the select SMEs. Second, insufficient entrepreneurship influences the promotion of original design brands both in domestic and international market. Third, innovative design among contemporary furniture designers is constrained by a morass of Chinese culture impediments, such as lacking critical thinking and overemphasizing on inheritance of traditions. Moreover, the research presents a theoretical framework with key implications for developing and promoting Chinese design that is original, innovative and socially impactful. The insights gained from the research also provide a foundation and possible direction for future studies on design, culture, entrepreneurship, and other creative industries both for China and other nations. / Dissertation/Thesis / Doctoral Dissertation Design, Environment and the Arts 2018

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This thesis examines the use of design in the construction of Poland's national identity at the international exhibitions in the Cold War period. It is the first comprehensive study of Polish design discourse in any language that rests at the crossroads of design studies and cultural history. Based on original archival material, both written and visual, and oral interviews this thesis tracks the process of construction of Imagined Poland alongside the development of the design discipline during the three post-war decades. It charts the trajectory of these two narratives and examines their critical reception. In doing so this research casts new light on the relationship between design and political history in the Cold War Europe. However, it is not a thesis about designed objects or spaces per se, but rather about their discursive qualities and the way that they were put in work to narrate the nation. Versatile and embedded in the cultural, economic and social contexts, design understand here in its broadest sense proved to be well suited to this role: it allowed political authorities, trade representatives and creative intelligentsia to address timely issues on their agendas. This thesis closely examines eight exhibitions organised in the Soviet Union, Italy, Belgium and Poland. The narratives of these events, as the thesis argues, reflected the state's changing self-understanding towards international public opinion. It indicates that although Polish exhibitions were occasionally adjusted to the particular location, their themes were largely shaped in response to the political developments at home and in the Eastern Europe. By using exhibitions as a framework, this thesis offers a new perspective to study Polish international modernism and suggests a limited impact of ideology on the development of professional networks. Subsequently it provides a nuanced reading of Poland's relationship with the Soviet Union, the Eastern Bloc and the rest of Europe beyond reductive paradigm of totalitarianism.

The task of this thesis is the concept of restoration of the castle Zdislavice and its new use as a literary hotel, focusing on the personality of a prominent Austrian writer Marie Ebner-Eschenbach, née Dubská. My goal was to find use, which could be revived and could thus be preserved for future generations. Thanks to the personality of the writer, I decided to create site devoted to literature. I designed hotel for literary enthusiasts, linguists, copywriters and professionals. But also for visitors who are interested in the person of Marie Ebner-Eschenbach. There is also a restaurant, a literary cafe with an associated museum of the writer, chapel, banquet halls with potential uses for conference and library (three libraries). Part of the area is used as a park. It is designed as an English park, but part of the area closest to the castle is designed as a French garden. The tomb of Marie Ebner-Eschenbach is near the castle and is accessible via a staircase. Connection between tomb and castle is shown in the situration plan.

Cirkulär ekonomi bygger på principerna om att designa bort avfall, där avfall ses som en råvaruresurs. För att övergå till ett fossilfritt samhälle kommer material från förnyelsebara råvaror att behövas. Biobaserade material har oftast inte samma tekniska egenskaper och estetiska uttryck som befintliga material, biobaserade DIY-material utvecklade från okonventionell råvaruresurs kan väcka starka positiva och negativa reaktioner hos användarna. Studien har undersökt hur man i en Material driven designprocess genom form och kultur kan skapa acceptans för ett biobaserat DIY material från en okonventionell råvaruresurs. Studiens huvudsyfte har varit att bidra med ny kunskap för att underlätta för designers i en Material Driven Designprocess, att identifiera användningsområden och produktform som kan stärka materialacceptans hos användare. Fördjupningsområden i studien är teorier för Hållbar utveckling, Cirkulär ekonomi, Bioekonomi, Material Driven Design for Sustainability och Culture Sensitive Design. Huvudmetoden i studien har varit Material Driven design, vilket innefattas av ett flertal designmetoder. Studien visar på att den kulturella koppling mellan användarna och råvarans ursprung har i denna studie haft en signifikant betydelse för material acceptansen genom att skapa mening för användaren och att materialet primärt behöver applicerat i en produkt på ett sådant sätt att användaren känner tillit till dess prestanda. Resultatet presenteras i form av ett förslag på en användare studie och en produktprototyp. / A circular economy is based on the principles of designing away waste, where waste is seen as a raw material resource. To move to a fossil-free society, materials from renewable raw materials will be needed. Bio-based materials usually do not have the same technical characteristics and aesthetic expressions as existing materials, bio-based DIY materials developed from unconventional raw material resources can provoke strong positive and negative reactions among users. This study has investigated how a Material-driven design process through form and culture can create acceptance for a bio-based DIY material from an unconventional raw material resource. The study's main purpose has been to contribute with new knowledge to make it easier for designers in a Material Driven Design process to identify uses and product forms that can strengthen material acceptance among users. In-depth areas in the study are theories for Sustainable Development, Circular Economy, Bioeconomy, Material Driven Design for Sustainability and Culture Sensitive Design. The main method of the study has been Material Driven Design, which is covered by several design methods. The study shows that the cultural link between the users and the origin of the raw material has had a significant impact on material acceptance by creating meaning for the user and that the material primarily needs to be applied in a product in such a way that the user has confidence in its performance. The results are presented in the form of a proposal for a user study and a product concept.

I performed two randomised controlled trials (RCTs) to determine the best treatments for enteric fever in Kathmandu, Nepal, an area with a high proportion of nalidixic acid resistant S. Typhi and S. Paratyphi A isolates. I recruited 844 patients with suspected enteric fever to compare chloramphenicol versus gatifloxacin. 352 patients were culture confirmed. 14/175 patients treated with chloramphenicol and 12/177 patients treated with gatifloxacin experienced treatment failure (HR=0.86 (95% CI 0.40 to 1.86), p=0.70). The median times to fever clearance were 3.95 and 3.90 days, respectively (HR=1.06 [CI 0.86 to 1.32], p=0.59). The second RCT compared ofloxacin versus gatifloxacin and recruited 627 patients. Of the 170 patients infected with nalidixic acid resistant strains, the number of patients with treatment failure was 6/83 in the ofloxacin group and 5/87 in the gatifloxacin group (Hazard Ratio, HR=0.81, 95% CI 0.25 to 2.65; p=0.73); the median times to fever clearance were 4.7 and 3.3 days respectively (HR=1.59 [CI 1.16 to 2.18], p=0.004). I compared conventional blood culture against an electricity free culture approach. 66 of 304 patients with suspected enteric fever were positive for S. Typhi or S. Paratyphi A, 55 (85%) isolates were identified by the conventional blood culture and 60 (92%) isolates were identified by the experimental method. The percentages of positive and negative agreement for diagnosis of enteric fever were 90.9% and 96.0%, respectively. This electricity free blood culture system may have utility in resource-limited settings or potentially in disaster relief and refugee camps. I performed a literature review of RCTs of enteric fever which showed that trial design varied greatly. I was interested in the perspective of patients and what they regarded as cure. 1,481 patients were interviewed at the start of treatment, 860 (58%) reported that the resolution of fever would mean cure to them. At the completion of treatment, 877/1,448 (60.6%) reported that they felt cured when fever was completely gone. We suggest that fever clearance time is the best surrogate for clinical cure in patients with enteric fever and should be used as the primary outcome in future RCTs for the treatment of enteric fever.