Habilitationsschrift--Halle.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1962. / Vols. 2 & 3 (Uii, U217 leaves) titled: Learning to be creative in interior arrangements : an experimental study unit. Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 168-178).

Thesis (M.S.)--The University of North Carolina at Greensboro, 2010. / Directed by Thomas Lambeth; submitted to the Dept. of Interior Architecture. Title from PDF t.p. (viewed Jul. 9, 2010). Includes bibliographical references (p. 96-102, 121, 131).

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Tom L. Anderson, Florida State University, School of Visual Arts and Dance, Dept. of Art Education. Title and description from dissertation home page (viewed Apr. 6, 2006). Document formatted into pages; contains ix, 154 pages. Includes bibliographical references.

Thesis (M.A. in interior design)--Washington State University, May 2007. / Includes bibliographical references (p. 50).

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Christian archaeology and art of the region under the jurisdiction of the Church of the East in the Late Antique and early Islamic period is an underresearched field of studies, which exists in between more developed disciplines such as Byzantine and Syriac studies as well as Early Christian, Sasanian and Islamic archaeology and art history. However, archaeological excavations of the last century, especially in southern Mesopotamia and the Persian Gulf region, now allow research to be conducted on the most important medium of artistic expression of the region - stucco. Considered from the technological, stylistic and iconographic point of view and within the aforementioned cultural contexts, it reveals that the Christian stucco production of the region was shaped by Sasanian traditions and contemporary Byzantine and Islamic influences, but also that it developed an innovative and highly creative vocabulary of forms and motifs. It was especially among the Gulf communities of Sir Bani Yas, al-Qusur and other sites that this transformative approach towards traditional and contemporary artistic models manifested itself within a short period between the late seventh and the early ninth centuries. Slightly more conservative is the character of Christian art of southern Mesopotamia in the eighth and early ninth centuries. An interesting exception is a relief found at a church in Koke in the region of Seleucia-Ctesiphon, in which the Sasanian technique of deep relief is combined with the Byzantine dress of the person represented. This fusion of culturally divergent elements testifies to the double identity of the Christians living under the Sasanians - and later, in the early Islamic caliphate - who were recognized as a part of society but distinctive for their religion.