The aim of this study is to demonstrate that 1930s French poetic realist cinema is characterised by a highly readable set design. It is a decor imbued with meaning - not a silent shell, standing detached from the action but rather the amplifier of narrative concerns. The thesis develops the claim that the decor is freighted with a powerful dramaturgical and symbolic charge, whereby the figural dimensions of everyday decor fragments anthropomorphise into powerful signifying elements. Stylised studio-bound spatial configurations define the film's visual ambience, enhance its emotional dimensions and function as amplifier of the story. In order to identify the importance of decor as an interpretative matrix of poetic realism, I shall show how poetic realist decor is the confluence of orthodox architectural practice, personal temperament and an appeal to popular memory. By examining the design practices of individual set designers, the thesis will provide evidence for the capacity for architecture to act as resonator of mental impact. The study will show how the set designer emotionalises architecture, investing it with a strong spatial, visual and performative presence. Although other critical studies of poetic realism have recognised the distinctiveness of the set design, they have not fully examined the architectural specificity of the films. The thesis contends that the director-designer collaboration sought to distil a visual concept from the thematic and psychological concerns of the screenplay. This interface between story and style will be demonstrated by a move from the general to the specific, looking at depictions of the city, a rhythmic recurrence of decor fragments and the micro-dimensions of the object. Ultimately, the set design and architectonics of poetic realism are performative in the sense that they can represent a discourse of their own, producing an engaging dialogue with more traditional modes of film performance.

This work is a survey about the cabinetmakers possibilities to use laser engraving for personalised décor in furniture making. I have used analog and digital techniques in a way to take control over the end results of the laser engravings that I make from my patterns and motifs. My motifs and patterns are mainly constructed with a digital pen in a sketch program om my computer. Initially, I did a number of technical tests to learn about the different settings so that I later on could use them to my advantage when I created different motifs. After understanding most of the consequences of different settings I began to adapt my motifs with a conscious planning for how I could use the laser engraving settings to control the final result. In some cases, I have also done some after work in the form of pyrographing or Dremel engraving by hand. Much more are to be desired of those results. My conclusion is that the best results I got were when I used the laser engraving to complete my motifs the way visual artists use their brush, which is what I learned during my work. In addition to the practical work, I have also tried to make a theoretical reasoning about decór and ornament historically and where I fit in today.

No description available.

Lys de la royauté ou croix de l’Église, l’espace des villes médiévales se caractérise par les marques qu’y ont apposées les institutionsmédiévales. À la fin du Moyen Âge, les nouvelles élites urbaines s’approprient ce marquage de l’espace public par l’image en yimposant leurs propres signes. Elles affirment alors leur présence sur la scène publique et artistique. Aux XIVe et XVe siècles, ledécor civil se fait l’expression tangible de cette transformation sociale ; des signes emblématiques et de petites sculptures figuréesinvestissent l’espace urbain. L’institution municipale fait édifier un bâtiment emblématique, l’hôtel de ville, dont le portail armoriéfait écho aux emblèmes qu’elle fait placer dans les lieux stratégiques. Les particuliers, à leur tour, transposent à leurs habitations cesmodes de représentation monumentale. Officiers ou marchands, ces hommes nouveaux couvrent leurs résidences de blasons, figuresreligieuses ou emblématiques. Les ensembles décoratifs, en les rattachant à un métier, une institution ou une paroisse, disent laposition sociale et les valeurs morales que revendiquent les commanditaires bourgeois. Ceux-ci, par la présentation de leurs insignespersonnels, de leur devise ou de leur nom, mettent en scène leur identité, introduisant dans l’espace public urbain des fragments desubjectivité. Des petites figures singulières et radicales se déploient : corps nus et exposés, scènes grotesques et allégoriques, quifigurent la déchéance possible pour valoriser le statut. Structurés et hiérarchisés, ces décors forment un système relationnel danslequel l’ascension répond à l’exclusion, signes d’un ordre social en transformation. / Whether royal lily or Christian cross, the space of medieval towns is characterized by the marks placed on it by medieval institutions.At the end of the Middle-Ages, the new urban elites make the process of marking the city their own by imposing their own signs onthe public space. Thus, they assert their presence on the public and artistic scene. In the 14th and 15th century, civilian decorationbecomes the tangible expression of this social transformation ; emblems and small sculptural figures conquer the urban space. Anemblematic edifice, the town hall, is erected by the municipal institution, whose emblazoned portal echo other emblems placed atstrategic locations. Private citizens, in turn, transplant into their homes these monumental modes of representation. Officers ormerchants – these men of a new kind – cover their residences with coats of arms, religious or emblematic figures. By linking them toa profession, an institution or a parish, these decorative programs state the social standing and moral values that those affluentcommissioners claim for themselves. By presenting their personal insignia, their motto or their name, they put their identity on stage,thereby introducing fragments of subjectivity in the public and urban space. Some singular and radical small figures begin toproliferate: exposed, naked bodies, grotesque and allegorical scenes that foreshadow one’s possible downfall in order to exalt one’scurrent status. Structured and hierarchically organized, these decors form a relational system in which social promotion dialogueswith exclusion : telltale signs of a social order in transformation.

Frente aos preceitos ditados por Vitrúvio em seu De Architectura, arquitetos tratadistas do Quatrocentos e do Quinhentos, absortos em requalificar a arquitetura e a cidade, divisam symmetria e decor como premissas excelsas a corporificar na ars aedificatoria a perfeita ordem e beleza da natureza. A perquirição de suas acepções, não obstante os obstáculos postos à exegese dos tratados, desvela novos juízos sobre os sentidos de ordem então exalçados. Instituídas, desde a fonte antiga, pelas analogias com o homo ad circulum e ad quadratum, os tratados de Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini e Cesare Cesariano consolidam e multiplicam as possibilidades de associações macro e microcósmicas com a ordo divina. Congêneres ao decor, tais symmetriai e razões do homem bene figuratus precisam expedientes inescusáveis de adequação e variedade, inerentes à vera práxis arquitetônica. / Before the precepts stated by Vitruvius in his De Architectura, architects from the 15th and 16th centuries, absorbed in requalifying the architecture and the city, perceive symmetria and decor as excelling premises that embodied the perfect order and beauty of nature in the ars aedificatoria. The search of their significances, despite the obstacles placed by the treatises exegesis, discloses new judgments about the senses of order extoled at that age. Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini and Cesare Cesariano\'s treatises consolidate and multiply the possibilities of macro and microcosmic associations with the divine ordo, already settled in the ancient source through the analogy with the homo ad circulum and ad quadratum. Congeneric to decor, such symmetriai and the reasons of the homo bene figuratus determine required expedients for adequacy and variety inherent in the veracious architectural praxis.

Frente aos preceitos ditados por Vitrúvio em seu De Architectura, arquitetos tratadistas do Quatrocentos e do Quinhentos, absortos em requalificar a arquitetura e a cidade, divisam symmetria e decor como premissas excelsas a corporificar na ars aedificatoria a perfeita ordem e beleza da natureza. A perquirição de suas acepções, não obstante os obstáculos postos à exegese dos tratados, desvela novos juízos sobre os sentidos de ordem então exalçados. Instituídas, desde a fonte antiga, pelas analogias com o homo ad circulum e ad quadratum, os tratados de Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini e Cesare Cesariano consolidam e multiplicam as possibilidades de associações macro e microcósmicas com a ordo divina. Congêneres ao decor, tais symmetriai e razões do homem bene figuratus precisam expedientes inescusáveis de adequação e variedade, inerentes à vera práxis arquitetônica. / Before the precepts stated by Vitruvius in his De Architectura, architects from the 15th and 16th centuries, absorbed in requalifying the architecture and the city, perceive symmetria and decor as excelling premises that embodied the perfect order and beauty of nature in the ars aedificatoria. The search of their significances, despite the obstacles placed by the treatises exegesis, discloses new judgments about the senses of order extoled at that age. Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini and Cesare Cesariano\'s treatises consolidate and multiply the possibilities of macro and microcosmic associations with the divine ordo, already settled in the ancient source through the analogy with the homo ad circulum and ad quadratum. Congeneric to decor, such symmetriai and the reasons of the homo bene figuratus determine required expedients for adequacy and variety inherent in the veracious architectural praxis.

Cette recherche s’inscrit dans le contexte actuel où bon nombre de disciplines créatrices cherchent à redéfinir le contour de leur activité. La scénographie n’en fait pas exception. Dans une période très récente, des questions sur les limites de la scénographie et son rapport avec les autres arts se sont posées. Cette thèse prétend démontrer que les bouleversements à l’œuvre ces dernières années sont majeurs en affectant le rôle même du scénographe. Il nous a paru cohérent de concentrer la recherche sur la 12e édition de la Quadriennale de Prague en 2011. En effet, cette édition fut le premier événement qui effectua un changement terminologique, introduisant dans ce contexte le terme de Performance Design en le substituant le terme traditionnel de scénographie. L’accent mis sur ce concept prétendait inclure de nouvelles formes de créations émergeantes. Ce changement provoqua des échos importants et suscite depuis de nombreux débats dans le domaine des arts de la scène. Il semblait donc nécessaire de déterminer les nouveaux contours de la discipline. Quelles sont les fonctions actuelles du scénographe ? Quelles compétences doit-il avoir aujourd’hui pour répondre aux enjeux propres de la mise en scène ? Quels sont les domaines où le scénographe exerce sa pratique ? Quelles sont les limites de la scénographie ? Ou encore, quels sont les nouveaux espaces, au-delà des domaines traditionnels, qui s’ouvrent comme champs de pratique ? Interroger le statut actuel du scénographe exige inévitablement de revenir sur ses définitions historiques. Cette recherche ne prétend pas être une étude exhaustive de l’histoire de l’évolution du rôle du scénographe. Cela nous a cependant permis d’isoler trois fissures dans son évolution. Nous proposons de développer cette analyse à partir de trois catégories : fonction, domaine, et compétence. Afin de compléter un débat somme toute théorique, nous avons souhaité entendre les voix de scénographes de différents pays dans le monde. Cette diversité d’entretiens nous a permis d’avoir un exemple vivant de la réalité particulière de ceux qui exercent la discipline aujourd’hui. / This research fits into the current context in which many creative disciplines seek to redefine the outline of their activity. The scenography is no exception. In recent years, questions have arisen about the limits of scenography and its relationship with other arts. This thesis aims to show that the upheavals at work in the last years have profoundly affected the role of the scenographer. It has seemed coherent to us to focus the research on the 12th edition of the Prague Quadrennial in 2011. Indeed, this edition was the first event that made a terminological change, introducing in this context the term Performance Design substituting the traditional term of Scenography. The emphasis on this concept had the purpose of including new forms of emerging creations. This change provoked important echoes and has been the subject of many debates in the field of the performing arts. It therefore seemed necessary to determine the new contours of the discipline. What are the current functions of the scenographer? What skills must he have today to respond to the specific challenges of staging? What are the areas where the scenographer practices? What are the limits of the scenography? Or again, what are the new spaces, beyond traditional domains, that open up as fields of practice? To question the current status of the scenographer inevitably requires a reconsideration of his historical definitions. This research does not claim to be an exhaustive study of the evolution of the scenographer's role. Nonetheless it has allowed us to isolate three cracks in its evolution. We propose to develop this analysis by means of three categories: function, domain, and competence. In order to complete a theoretical debate, we wanted to hear the voices of scenographers from different countries around the world. This diversity of interviews has allowed us to have a living example of the particular reality of those who exercise the discipline today.

The main aim of my master thesis is to describe the development of painted folk decor on ceramics since the arrival of Anabaptism in the Czech Republic. Selected Moravia workshops are used to track the decor development. Another goal of this thesis is to find out whether workshops that produce ceramics and subsequently paint it in the traditional way exit even today. Next part of my thesis is devoted to selected Czech workshops that produce painted ceramics. A presentation consisting of photos is included as well as a literature research.

L’étude que nous avons menée sur la représentation des xenia dans la Tunisie romaine, s’inscrit dans le cadre général du rapport de l’architecture domestique avec l’affirmation du statut social de l’élite africaine. La construction de la domus était, sans doute, un projet stratégique qui exigeait des notables une réflexion sérieuse sur la meilleure façon d’exalter les signes extérieurs de leur richesse, de leur bon goût et, en définitive, de leur appartenance à l’idéal de vie romain dans lequel l’hospitalité, exprimée par le décor de xenia, occupe une place de choix. Les mosaïques à xenia dans la Tunisie romaine sont les plus nombreuses à l’échelle de l’Empire. elles représentent trois particularités, la première concerne la composition des pavements : les motifs de xenia sont représentés isolés et, dans la plupart des cas, associés à d’autres thèmes décoratifs ; la deuxième se rapporte à la répartition de ces mosaïques dans l’espace domestique, couvrant toutes les composantes de la domus et non pas seulement les pièces réservées aux hôtes ; la troisième, enfin, touche à la sémantique des xenia qui traduit certains aspects de l’histoire mentale de l’élite Afro-romaine. / The mosaics of xenia in the Roman area of Tunisia are the most numerous at the scale of the Empire. They present three particularities, the first one concerns the compositions of the ornamental tiling: the xenia motifs are represented isolated and, in most cases, associated with other decorative themes; the second one relates to the distribution of those mosaics in the household space covering all components of the domus and not just the rooms reserved for the hosts; finally the third one touches the semantic of the xenia which does not refer itself only about hospitality.

The purpose of this project has been to create a prototype that uses AR functions. The goal with this has been to use it to enable users to place furniture that is seen in pictures, in a real environment such as their home or an office. For this to happen, a design process has been used where information and the collection of data has happened. This data has since formed the basis for being able to create a number of different prototypes with two different approaches. These were Figma and Unity. The results from this project are two different prototypes that show users how AR can be used in the interior design industry or similar domains. This result has received positive feedback and has shown that there is a future potential, but that more work is required, for example, the addition of several distinct functions. / Syftet med detta projekt har varit att skapa en prototyp som använder sig av AR funktioner. Målsättningen med detta är att använda den för att kunna placera möbler som ses på bilder, i en verklig miljö exempelvis sitt hem eller en kontorsmiljö. För att detta ska ske har en designprocess använts där information och data har samlats in. Denna data har sedan legat som grund för att kunna skapa ett flertal olika prototyper med två olika tillvägagångssätt. Dessa var Figma och Unity. Resultatet från detta projekt är två olika prototyper som visar för användare hur AR kan användas inom inredningsbranschen eller liknande domäner. Detta resultat har fått en positiv återkoppling och har visat på en framtida potential finns, men att mera arbete krävs exempelvis tillägget av flera olika funktioner.