A renewed merging of art and design accompanied by the inflation of design in relation to art has been increasingly noted by writers since the 1990s. Some critics and artists such as Dan Graham have celebrated this phenomenon as a critical opportunity; others such as art historian and critic Hal Foster have criticized the trend as a catastrophic loss of the limits required for liberal subjectivity. In the first chapter, I consider Graham's position as outlined in "Art as Design/Design as Art" (1986) and contrast it with Hal Foster's argument as presented in "Design and Crime" (2002). While the writers share some points of reference, it becomes clear that the two texts are based on different critical models. My second and third chapters present case studies of works often considered to be part of the "design art" trend. At either end of the 1990s, Dia Center for the Arts realized large-scale projects: Dan Graham's Two-Way Mirror Cylinder Inside Cube and a Video Salon: Rooftop Urban Park Project for Dia Arts Center (1981- 1991) and Jorge Pardo's Project (1998-2000). Both works fit the profile of art projects that make use of the modes and methods of the fields of architecture and design. My study considers how each project related to its art institutional site, to the greater art historical and contemporary context and to changes in social, political and cultural conditions that unfolded during the 1990s. My third chapter considers works by Andrea Zittel, an artist also often discussed in terms of design, architecture and life style. While Zittel's "critical optimism" offers promise, there are some critical failings of her project. I analyze some of the problems presented by Zittel's works in relation to comparable projects by Dan Graham and Jorge Pardo. These projects question, but also contribute to, the overvaluation of design that accompanies the contemporary phenomenon of obsession with styling self.

Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thèse (Ph.D.) - Université du Québec à Trois-Rivières, 2000. / Bibliogr.: f. 292-299.

Thesis (M. Arch.)--Carleton University, 2001. / Includes bibliographical references (p. 242-248). Also available in electronic format on the Internet.

Inaug.-diss.--Uppsala. / Bibliography: p. [v]-xi.

Thesis (M.A.)--Memorial University of Newfoundland, 2003. / Restricted until May 2004. Title on cassette: Dan R. MacDonald home recording. Bibliography: leaves 196-215.

Zugl.: Kassel, Univ., Diss., 2005

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

Dan Kiley (American, 1912-2004) is one of the most highly regarded modernist landscape architects of the 20th century. As described in Kiley scholarship to-date, his decades-long practice exhibits a commitment to modernism inspired by classical landscape elements and modernist spatial techniques as a means of recreating the experience of a “walk in nature”. An unexamined aspect of Kiley scholarship is his consistent references to infinity in published writing and interviews, references which date as far back as the 1960s and continue into the 1990s, and therefore span much of his professional career. These references to infinity are often used to describe a personal appreciation of nature as well as an intentional approach to design. Through an analysis of these references, literature review of Kiley scholarship, interviews with selected Kiley colleagues, and archival research and site visits of five case studies (Miller Garden, North Christian Church, Fountain Place, Kiley Garden, and Donald J. Hall Sculpture Garden), this thesis examines the way in which Kiley referred to infinity and how he may have expressed infinity in his designed landscapes. This examination is contextualised within the histories of the ideas of infinity and artificial infinity in mathematics, theology, cosmology, art, and design. The history of the artificial infinite is synthesised into an updated taxonomy of expressions of the artificial infinite which is applied for an analysis of the case studies. The five case studies illustrate varying levels of richness and clarity, where expressions of the artificial infinite are spatially distributed and/or layered, connective and/or isolated (horizontally and/or vertically), and clearly expressed and/or interrupted. This analysis of the artificial infinite in the landscape architecture of Dan Kiley deepens our understanding of his design approach, connects Kiley to a longer and broader history of cultural ideas and expression, leads to a more nuanced understanding of modernist landscape architecture in the USA, broadens our understanding of the expression of infinity in landscape architecture, and demonstrates the applicability of an interpretive technique grounded in aesthetic analysis that could be applied to both art and design.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-02-15T12:23:14Z No. of bitstreams: 1 IlanaSuelyDosSantos_DISSERT.pdf: 2799554 bytes, checksum: 6db9a469e7b926cdf730923fb3d6963f (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-02-19T19:52:33Z (GMT) No. of bitstreams: 1 IlanaSuelyDosSantos_DISSERT.pdf: 2799554 bytes, checksum: 6db9a469e7b926cdf730923fb3d6963f (MD5) / Made available in DSpace on 2018-02-19T19:52:33Z (GMT). No. of bitstreams: 1 IlanaSuelyDosSantos_DISSERT.pdf: 2799554 bytes, checksum: 6db9a469e7b926cdf730923fb3d6963f (MD5) Previous issue date: 2017-07-31 / Esta pesquisa busca investigar as mem?rias dos corpos entrela?ados aos lugares de mem?rias vividos pelos brincantes dos Congos de Cal?ola da Vila de Ponta Negra- Natal/RN. Para o desenvolvimento e compreens?o da pesquisa, apoiamo-nos na Fenomenologia de Merleau-Ponty, que ? capaz de desvelar o tema, ou seja, mostrar aquilo que se mostra e n?o aquilo que parece ser e, para isso, consideramos o olhar fenomenol?gico de brincantes da Vila, com ?nfase no Grupo Congos de Cal?olas que, ao incorporarem, constru?rem e reconstru?rem seus corpos e a??es cotidianas, lutam pelo reconhecimento e reafirma??o da sua cultura. Transitamos na Vila a partir da experi?ncia enquanto pesquisadora sobre o fen?meno desde a Gradua??o em Dan?a, e visitamos lugares de mem?ria que, configuram-se como sendo o resultado das constru??es dos grupos sociais que determinam o que ? memor?vel e os lugares onde essa mem?ria torna-se preservada. / This research seeks to investigate the memories of the bodies intertwined with the places of memories lived by the players of Ponta Negra - Natal / RN. For the development and understanding of the research, we rely on Merleau-Ponty's Phenomenology, which is capable of revealing the theme, that is, showing what is shown and not what it seems to be, and for this we consider the phenomenological With emphasis on the Congos de Cal?olas Group, which, by incorporating, constructing and rebuilding their bodies and daily actions, strive for the recognition and reaffirmation of their culture. We traveled in the Village from the experience as a researcher on the phenomenon since Graduation in Dance, and visited places of memory that, are configured as the result of the constructions of social groups that determine What is memorable and the places where this memory becomes preserved.