Wall-Couture is a project within the textile design field, which aims to explore methods for surface design in digitally printed wallpaper. Through a practice based working method, textile after-treatment techniques have been used to manipulate digitally printed wallpaper with hand-painted motives. Practices borrowed from haute couture have influenced the working method. The result is a range of design examples displaying various expressions of the techniques. The project shows that several surface materials could be applied in ways that enhance tactility and visual depth to digitally printed wallpaper, and also that methods from craftsmanship could be use to design contemporary wallpaper. The combination of techniques increases the designer’s opportunities to design wallpaper by using alternative approaches to material and surfaces. The work also strives to higher the value of handicraft, decoration and ornamentation in the design field. Another value is to strengthen the position of digital printing in the textile industry; the work encourages technical progress for creating digital print in combination with surface treatments.

This project explores banal nationalism from a perspective where the visibility and usage of the US flag as decoration on everyday products in Sweden is problematized. In comparison with the Swedish flag which has a history of being “unwaved” because open nationalism for a long time has been thought of as vulgar in Sweden, the frequent reproduction of the US flag seems to elude a critical discussion on national expressions. The effects of using a national symbol for commercial purposes is therefore theoretically and practically researched. / <p>The full thesis contains copyrighted material which has been removed in the published version. </p>

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Founded on the premise that the existing literature on Gabrielle ‘Coco’ Chanel does not give a comprehensive, balanced and objective survey of the dress designs produced by the house from 1916-1929, the thesis ‘Reviewing Chanel’ provides a catalogue raisonné of the designs shown in British and French Vogue during this period. This representative sample of Chanel’s work facilitates the very necessary and overdue re-assessment of Chanel’s early career and contribution to twentieth century fashion. Part One of the Introduction includes a review of the existing literature on Chanel and explains the rationale behind the production of a catalogue of the dress designs reproduced in British and French Vogue. Part Two serves as the introduction to the twenty-eight essays which outline the principal developments in each of the dress design collections presented by the house between 1916-1929. Each essay provides an analytical summary of the key themes and developments of the collection and relates Chanel’s work to that of the other leading houses in Paris during this period.

Ce travail de recherche sur le décor sculpté religieux à Paris a eu pour ambition de reconstruire l'image d'un patrimoine en partie disparu : l'espace interne de l'église parisienne entre 1660 et 1760 à travers le mobilier liturgique, le décor en relief ou en ronde-bosse, dans la nef, le transept et le chœur des églises de la capitale du royaume. Notre étude analyse ainsi la sculpture religieuse dans son espace d'inscription immédiat, entre art monumental et art décoratif, de la fin des grandes commandes religieuses royales du XVIIe siècle, tel le Dôme des Invalides, à l'avènement du néo-classicisme dans le chœur de Saint-Germain-l'Auxerrois en 1760, avant la reprise des grands chantiers royaux, inaugurés par les travaux menées à la basilique Sainte-Geneviève. Même si une partie de ces décors a été démonté à la Révolution, il est possible d'appréhender précisément leur contenu, les éléments détruits étant analysés à partir de nombreuses sources iconographiques et écrites qui permettent de restituer l'œil du contemporain dans une église. Grâce à la découverte de nombreux contrats d'archives, il a été possible de déterminer les conditions et les facteurs matériels et religieux de la commande. L'étude des textes critiques, issus de la théorie artistique et religieuse contemporaine, pose le problème du luxe du décor religieux, ainsi que le problème de l'organisation de l'espace intérieur de l'église, et dont est largement tributaire l'évolution stylistique et formelle du décor. Cette thèse, combinant histoire de l'art, histoire du visuel, histoire économique et histoire religieuse, contribue ainsi à la connaissance d'un patrimoine artistique français méconnu. / This work on the religious sculptured decoration in Paris had for ambition to built the image of a partially disappeared heritage : the space interns of the Parisian church between 1660 and 1760 through the liturgical furniture, the relief decoration or in round-bump, in the nave, the transept and the choir of the churches of the capital of the kingdom. Our study so analyzes the religious sculpture in its immediate space, between monumental art and decorative art, the end of the big royal religious orders of the XVIIth century, such the Dome des Invalides, in the advent of the neoclassicism in the choir of Saint-Germain-l'Auxerrois in 1760, before the resumption of the big royal construction works, inaugurated by the works in the basilica saint-Geneviève. Even if a part of these decorations was destroyed in the Revolution, it is possible to determinate exactly their contents : the destroyed elements are analyzed from numerous iconographic and written sources which allow to restore the eye of the contemporary in a church. Thanks to the discovery of contracts of archives, it was possible to determine the conditions and the material and religious factors of the order. The study of the critical texts, stemming from the contemporary artistic and religious theory, raises the problem of the luxury of the religious decoration, as well as the problem of the organization of the internal space of the church, and on which is widely dependent the stylistic and formal evolution of the decoration. This work combine art history, history of the picture, economic history and religious history to contributes to the knowledge of an underestimated French artistic heritage.

In this thesis, we examined villae rusticae in the provinces of Dalmatia and Pannonia. The initial chapters focused on ethnicity of indigenous people of the region, the course of the Greek colonization and the establishment of colonies, the history of the numerous military conflicts with the Romans and the final establishing of new provinces. We describe comprehensively the history of the province of Dalmatia and Pannonia province during the four centuries of Roman domination and their further development in late antiquity until the 7th century. The body of thesis is a catalog of selected localities with thorough descriptions of individual buildings villae rusticae. In addition, we paid special attention to the history of their research, architecture and architectural elements, interior and exterior decoration, chronology (1st - 4th century), regional location and agriculture. Keywords villae rusticae, Dalmatia, Pannonia, 1st - 4th century, agriculture, decoration

This thesis investigates the history of golf ceramics from their origins in the mid-18th century until ca. 1930. During this period the game of golf experienced enormous popularity, developing into a globally successful sport. In the modern period golf has also fostered a thriving trade for the collecting of golf memorabilia, surpassing that of any other comparable sport. The thesis traces the development and spread of one form of golf collectibles – golf ceramics – and considers both the relationship of the pottery industry to the sport and the reasons behind the achievement of the genre. The modern form of golf likely began in the 13th and 14th centuries as a short game played within town walls. Under pressure from Burgh officials and Kirk ordinances, golfers eventually moved to the linksland and developed the now characteristic long game. In 18th- century Britain, elite golf clubs for gentlemen and noblemen sprang from existing sporting societies such as the Royal Company of Archers. The first examples of golf pottery, a series of 18th - and early 19th - century convivial and commemorative punch bowls, were commissioned as a direct result of the growing competitive and social traditions of the early golfing societies. During the prosperous Victorian era, golf experienced a period of immense growth and geographic expansion, particularly during the "boom" of 1890 to 1905. As golf spread internationally, it became a game primarily for the leisure class, inspiring holiday and resort destinations for the wealthy. Exclusive clubs grew at a rate that far surpassed the availability of public golf, thereby changing the character of the game to one predominantly practised by the rich. The game's growth inspired enterprising pottery manufacturers to produce new and imaginative golf-themed pottery lines, pre-1930. Golf's burgeoning popularity, combined with the affluence of its practitioners, created the ideal consumer audience for decorative and non-utilitarian wares. Between 1895 and 1930, eighty-five or more manufacturers were actively developing golf wares. As the pottery industry recognized the potential of the golf market, inventive new lines were developed that utilized original artwork from renowned illustrators of the era, such as Charles Dana Gibson, Howard Chandler Christy, Palmer Cox, Mabel Lucie Attwell, and Harrison Fisher. This commitment to quality golf imagery indicated that potteries placed the game in a higher institutional priority than other traditional sporting themes, such as cricket, tennis, rugby, or football. Royal Doulton, for example, generated no fewer than twenty ranges specifically for the golf market or adapted to meet the demands of its expanding following. Doulton wares featured illustrative images produced by Gibson, Charles Crombie, Henry Mayo Bateman, Will H. Bradley, and Barbara Vernon (Bailey). Doulton’s commitment to prominent illustration reflected golf’s importance to the financial good footing of the firm. The substantial catalogue of historical golfing wares produced during the period of examination experienced unparalleled success in secondary markets throughout the 20th century. Prominent institutional and individual golf collections emerged, leading to the formation of international golf collecting societies, and golf-specific museums and archives. Interest in golf collectibles advanced to the level where golf became a stand-alone auction speciality. In 2000 and 2001 alone, twenty-three major international golf sales were held. Golf pottery values escalated commensurate with the increased notoriety, availability, and competition. Certainly, no other traditional sport can claim such an extensive collection of wares, or a more enduring legacy in the worldwide ceramics and fine art pottery industry.

Chronologically I have described the different environments that I have been exposed to in the past five years and how my interactions with the different locations have affected my work. I started writing about what I was doing a year after finishing my undergraduate degree, when I started to feel as though I needed to re-invent my work in a way that also meant trying to see the process of creating art differently. I didn't know yet how this new work would begin to generate, or what would inspire it, but I knew that I was seeking a studio practice that would be personal enough to sustain a lifetime of exploration. In the end I found the inspiration had always been all around me.

Le décor architectonique de l’Arles antique traite de l’ensemble des éléments lapidaires d’architecture décorés de l’antique Arelate. La prise en compte du plus grand nombre de bloc a permis de proposer une synthèse sur l’évolution stylistique et chronologique de l’ornementation arlésienne – une frise qui s’étale du premier triumvirat au Vème siècle après J.-C. – et une restitution du développement architectural du centre monumental d’Arles. L’étude s’articule autour des deux principaux axes analytiques que sont les motifs ornementaux canoniques constitutifs de la modénature des blocs et les composantes architecturales. Par ces analyses, l’objectif premier était de fixer un certain nombre de jalons chronologiques qui pourront faire office de référence en Narbonnaise pour la datation d’éléments d’architecture. Notre raisonnement et les méthodes employées avaient vocation à répondre à une problématique générale qui était la place d’Arles au sein de la Gaule Narbonnaise, notamment par la définition ou la précision de la circulation des cartons et les rapports entretenus avec Rome. Arelate présente toutes les caractéristiques d’une ville ayant brillamment réussi la transposition des « modèles romains », adaptée à son urbanisme et à sa topographie. Rome, et Auguste particulièrement, ont marqué de leur empreinte la ville par les mutations qu’ils ont favorisées et encouragées, à moins qu’ils ne les aient simplement décidées. Ces premiers aménagements sont suivis, au fil des années, de réalisations confirmant le rôle de la colonie dans un processus de romanisation passant en grande partie par l’architecture et le développement de son ornementation. / The architectural decoration of ancient Arles concerns all lapidary decorated architectural elements of Ancient Arelate. Taking into account the largest number of blocks allowed us to propose a synthesis of the stylistic and chronological evolution of Arles ornamentation - a frieze which runs from the first triumvirate to the fifth century AD - and restitution of architectural development of the monumental center of Arles. The study focuses on two main analytical axes, canonical ornaments and architectural components. For these analyses, the primary objective was to fix a number of historical milestones that will serve as a reference for dating Narbonese architectural elements. Our reasoning and methods used were intended to respond to a problem that was the place of Arles in Narbonese Gaul, including the definition or the accuracy of the movement of canonicals ornaments and relationships maintained with Rome. Arelate has all the characteristics of a city having succeeded in the implementation of the "Roman models", adapted to its town planning and its topography. Rome and Augustus in particular have left their mark on the city by the mutations that they fostered and encouraged, unless they simply decided on them. These early developments were followed, over the years, by achievements confirming the role of the colony in a process of Romanization passing largely by the architecture and the development of its ornamentation.

A research project submitted in partial fulfilment of the requirements for the degree of MA by coursework and Research Report in the field of Organisational Psychology in the Faculty of Humanities. University of the Witwatersrand, Johannesburg. March 2016 / There is international growing evidence to support the notion that indoor planters positively impact employees’ emotional states, personal health, work engagement as well as their overall perceptions of their work environment and ultimately impacting employee productivity. However this ground-breaking research has never been conducted within a South African Work Environment. Consequently the following study adopts a quasi-experimental study in order to investigate the impact that indoor plants may have on employee physical well-being, psychological well-being, work engagement and their overall perception of their work environment. Furthermore, the researcher aimed to assess whether the employees connectedness to nature influenced the impact the plants had on them, thus assessing how this covariate may impact the relationship between the absence and presence of plants and the above mentioned dependent variables. A Sample of 32 Global Service Management Centre (GSMC) employees from an internationally recognised organisation, Business Connexion, were assessed over a period of 12 weeks. The first assessment was conducted in the no plant condition, while the final assessment was conducted once the plants were installed in the whole office area. Additionally, SE Controls were positioned throughout the office area in order to measure the fluctuations of the air quality once the planters were installed. The results of a series of Wilcoxon Sign Rank Tests as well as Spearman’s Rank Order Correlations indicated no significant results; however upon closer evaluations of the individual scale items the researcher identified several statistically significant results that were unpacked and discussed. The readings from the SE Controls indicated either an improvement or stabalisation of the air quality variables that were being assessed in the current study. / GR2017