This work explores upcycling with a focus on unconventional materials and craft techniques/DIY. Today, countless designers are working with upcycling, yet there are many directions of it that have not been explored. The motive behind this work lies in the importance of finding and presenting sustainable ways of working with fashion. However, the main focus is on the aesthetics, meetings between materials, shape, techniques and contexts. It was important to add something new to the field of upcycling. Hence, a focus has been on finding and working with materials and techniques that have not been used for upcycling in a fashion context before. All different kinds of materials are considered and they are all treated equally, whether it was plastic trash or crystals, textiles or non-textiles. Potential is seen in everything. Another thing that differs this work from others in the area, is that the whole collection is made without using any machines. The focus is on the handicraft. Similar to materials, techniques are not seen as something that is intended for a specific purpose. The motto is that anything can be made out of everything. Through careful craftsmanship and detailing and with a focus on decorative materials, context crossing and meetings between material and technique, the hope is that this collection will present a new and fresh take on upcycling.

As the project in fulfillment of the requirements for the degree of Master of Arts .I chose to do a mural for the reception room at Peterson Juvenile Hall. This paper is a supplement to the mural, explaining the procedure followed in planning and executing tth painting.

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The object in compiling this material is to help the rural home maker in selecting and arranging the furnishings of her home to produce the most livable conditions, to provide comfort, convenience and happiness to the family, and to minimize the waste of her physical energy. It is our plan, also, to show the wisest use of old furniture, a selection of other furnishings that are suitable to go with these pieces already at hand, and to produce a very livable and enjoyable home with a minimum expenditure of money. / M.S.

The purpose of this thesis was a) to review the design process literature in architecture and urban planning, b) to develop a model of the interior design process, and c) to apply parts of the model in a case study. The genesis and evolution of design processes in fields allied with interior design was traced. The review of literature established that interior design has little documentation of the design process. Much of what exists is borrowed from architecture and urban planning. / Master of Science

Forget-Me-Not tells the story of my grandmother’s life as she shares the challenges of growing up in Poland during wartime, reflecting on the closeness of family and treasured traditions passed down through generations. Through tales and songs, she shares profound joy and a sense of belonging found in life’s simple moments. This book is a tribute to the countless women who have lovingly crafted and preserved cultural traditions for generations to come. Ornamental culture, often a source of belonging, is intentionally erased from people’s lives, robbing them of their identity. I started my visual exploration with research inspired by my grandmother’s stories and songs about feminism, folklore, and the powerful role of decoration. Through typography, posters, and bold colours, I explore my Polish cultural heritage.

Forget-Me-Not tells the story of my grandmother’s life as she shares the challenges of growing up in Poland during wartime, reflecting on the closeness of family and treasured traditions passed down through generations. Through tales and songs, she shares profound joy and a sense of belonging found in life’s simple moments. This book is a tribute to the countless women who have lovingly crafted and preserved cultural traditions for generations to come. Ornamental culture, often a source of belonging, is intentionally erased from people’s lives, robbing them of their identity. I started my visual exploration with research inspired by my grandmother’s stories and songs about feminism, folklore, and the powerful role of decoration. Through typography, posters, and bold colours, I explore my Polish cultural heritage.

This thesis explores the state apartment in the Jacobean country house – its status, function, use, planning, decoration and furnishing. It does so against various different backgrounds. Firstly, that of the royal progress, during which Tudor and early Stuart monarchs – in particular, James I – would visit private residences around the country. The nature of such visits are explored, using a large amount of primary evidence and drawing upon a full itinerary of James I's reign, compiled for the first time as part of this thesis. A different context, that of royal palaces, is then considered, particular focus being given to the use and accessibility of state apartments. This subject is further explored within the context of the noble household. The use of state rooms beyond and during royal visits is investigated, again using much primary evidence that has been largely neglected before now. It is shown that state apartments in country houses were the focus for elaborate ceremonial, and that they were used for the reception and accommodation of various honoured guests, not just members of the royal family. In the last two chapters of the thesis, the planning, decoration and furnishing of the country house state apartment is considered. It is argued that arrangements developed significantly between the Henrician and Jacobean periods, the state suite evolving from a comparatively simple (and sometimes haphazard) collection of spaces to a cohesively planned and integrated suite – a true apartment. This argument is based on the detailed analysis of 29 sixteenth-century houses (including Thornbury Castle, Theobalds and Hardwick Hall) and 9 houses of the Jacobean period (including Audley End, Hatfield House and Bramshill). Such a study clearly demonstrates that state apartments were undoubtedly the best rooms in a country house, and were used to reflect and further an owner's status and prestige.

This paper explores the relationship between place in installation art and its relevance to the practice of placemaking in a hospital setting. The discussion draws on phenomenology, psychodynamic theory and contemporary art, in particular the author's art experience of places, their formal qualities and potential meanings, along with, an examination of what creates an embodied sense of being contained at home ( emotionally and physically). Some of the questions posed for discussion include; what is it about places that becomes inherent to memory and shapes its form? How do places impact on what we do there and who we are? Is place more significant in memory for a young child or someone in a vulnerable state of being (as in the hospital setting)? Process issues, along with physical outcomes, in installations and in the hospital projects are discussed. / Master of Arts (Hons)