A research project submitted in partial fulfilment of the requirements for the degree of MA by coursework and Research Report in the field of Industrial Psychology in the Faculty of Humanities. University of the Witwatersrand, Johannesburg. February/May 2017 / Much evidence exists with regard to indoor plants and their positive effect on psychological perceptions as well as environmental air quality. However, this type of research has only ever been conducted once in a South African setting, which can be argued, is different to international contexts, in terms of climate and financial status. Indoor plants and their positive effects may have monumental effects on employees. This research assessed the presence of plants, on a sample of 34 employees at Discovery VitalityLife, consisting of Human Resources workers and call centre agents, on psychological perceptions (work engagement; psychological well-being; physical well-being and aesthetics) and on environmental factors (Total Volatile Organic Compounds; Benzene; Xylene; Carbon Dioxide (CO2); temperature and relative humidity). This research was conducted over a period of approximately three months whereby at Time 1 plants were absent and Time 2 plants were present. The same questionnaires were administered at both times. So too were Volatile Organic Compounds measured weekly and three measurement devices were installed in the workplace taking measurements of CO2, humidity, and indoor temperature every hour. The results found were that there were no statistically significant differences for the psychological perceptions from Time 1 to Time 2. This was concluded to be a result of the context in which this research took place. Total Volatile Organic Compounds, Benzene and relative humidity levels statistically significantly decreased at Time 2. Xylene levels statistically significantly increased at Time 2. There was no evidence to suggest statistically significant differences for CO2 and temperature from Time 1 to Time 2. / MT2018

The purpose of the present study is to describe the design of four physical mathematical classroom environments focusing on grades 1-3, their function during a mathematic lesson and the teachers' purposes with the design. The study is based on three data collection methods, which are: photography, observations and teacher interviews. The different methods for data collection made it possible to set teachers' visions in relation to practice. The result of the study indicates that the teacher's purposes and the practical function are not always in accordance with previous research, in that communicative function in connection with table furnishing does not have to assume that tables are placed in groups. Furthermore, the study shows that tables placed in rows can create opportunities for students to interact and collaborate, depending on the teacher's leadership. The result of the study also indicates that mathematical posters has proved to be used most in the classrooms with a lot of posters, even though research shows that the students' concentration deteriorates in an environment with a lot of impressions. Based on those facts and the results of the study, we make the cunclusion that mathematical posters fulfill a larger function if students are allowed to participate in their design, and whether they are used in connection with introduction of new work areas in mathematics. The aim of the study is to contribute to a richer description of how physical classrom environments can be organized and designed in mathematics classroom in grades 1-3.

Este estudo analisa e compara a decoração de interiores residenciais em setores da elite paulistana. A investigação desta prática é entendida como reveladora das suas funções sociais, tal como sua capacidade de afirmar posições sociais, expressar identidades, poder de consumo, e produzir distinções sociais no espaço físico da casa. O exame da dimensão material e simbólica destes espaços se dá através de entrevistas com moradores e do registro fotográfico dos interiores visitados. Outras duas fontes de informações contribuem ainda para esta análise: edições recentes de revistas sobre decoração de interiores em circulação no mercado editorial brasileiro, e entrevistas qualitativas com profissionais especializados em decoração residencial que trabalham para as elites paulistanas. A investigação do papel destas mídias no processo de produção dos espaços residenciais contemporâneos e das suas recepções pelos moradores entrevistados, juntamente à análise das percepções destes profissionais sobre as demandas de seus clientes, contribuem para a compreensão dos diversos aspectos da decoração de interiores tal como ela se apresenta no mundo de hoje. / This study compares and analyses domestic interior decoration within sectors of the elites from the city of São Paulo. The investigation of such practice is here understood as one revealing of its social functions, as its capacities in affirming social positions, expressing identities, power of consumption, and producing social distinctions in the physical space of the home. The examination of the material and symbolic dimension of those spaces is accomplished trough interviews with residents and the photographic recording of the visited interiors. Two other sources of information also contribute to this analysis: recent editions of Brazilian magazines specialized in home decoration, and qualitative interviews with professionals dedicated to interior decoration who works for the São Paulos elites. The investigation of the role of these medias in the process of production of contemporary domestic interiors and its receptions from the interviewed residents along with the analysis of the perceptions of these professionals regarding the requirements of their clients contribute to the comprehension of the diversity of aspects of the interior decoration.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Le bactériophage T5 est un virus infectant E. Coli. L’assemblage et la maturation de sa capsidecomportent plusieurs étapes critiques pour la formation des virions lors du cycle infectieux.Parmi ces étapes, j’ai étudié les processus d’expansion et de décoration de la capside de T5.L’expansion implique d’importantes réorganisations conformationnelles des 775 sous-unités de laprotéine pb8 composant la capside, conduisant au doublement du volume de la capside qui peutalors contenir le génome du phage. J’ai déterminé des conditions physico-chimiques permettantd’induire l’expansion de la capside in vitro, puis j’ai effectué des expériences de SAXS résoluesdans le temps montrant que l’expansion est un processus hautement coopératif, qui conduit, en uneétape, à un état final remarquablement stable. D’autre part, j’ai réalisé une étude fonctionnelle de laprotéine de décoration pb10, montrant que sa fixation est un marqueur de l’expansion. Enfin l'étudestructurale de pb10 menée par SAXS a permis de déterminer un modèle à basse résolution de sonenveloppe moléculaire. / Bacteriophage T5 is a virus infecting E. Coli. Its capsid assembly and maturation include severalcritical steps leading to the formation of new virions during the infectious cycle.During my thesis I focused on the expansion and decoration of T5 capsid. Expansion consists inlarge conformationnal reorganizations of the 775 capsid protein subunits, yielding a two-foldincrease of the capsid volume and allowing it to accomodate the full-length genome. I haveascertained physicochemical conditions that trigger in vitro expansion of the capsid, and using atime-resolved SAXS study, I showed that expansion is a higly cooperative two-state process leadingto a remarkably stable final state. I have also carried out a functional study of the decoration proteinpb10, showing that it only binds to expanded proheads. Finally, a low resolution model of pb10 wasdetermined by SAXS.

Key pattern is a type of abstract ornament characterised by spiral shapes which are angular rather than curved. It has been used to decorate objects and architecture around the world from prehistory onward, but flourished in a unique form in Insular art (the art of early medieval Britain and Ireland, c. AD 600-1100). Ornament of many kinds was the dominant mode in Insular art, however, key pattern has remained the least studied and most misunderstood. From the 19th century, specialists mainly have relied on simplified, line-drawn reproductions rather than original artworks. These 'correct' hand-made details, isolate patterns from their contexts, and in the case of Insular key pattern, de-emphasise its important physical structures. This resulted in misunderstandings of key pattern's structure and an inability to recognise evidence for medieval artists' working processes. Postwar art historians and archaeologists then largely abandoned study of ornament structure altogether, in critical reaction to this earlier method. For two centuries, academics have overlooked the artists' role in pattern-making, and how their creative agency is reflected in patterns' internal structures. In response, this thesis presents a new, artist-centred method for the study of Insular key pattern, which adapts Michael Brennan's pioneering approach to Insular interlace (a different pattern), to suit key pattern's distinct structure. Close examination of objects and monuments, rather than idealised 'types', has revealed how Insular artists themselves understood key pattern and handled it in the moment of creation. The core of the thesis is an analysis of key pattern's structural properties, i.e. its physical parts and the abstract, often mathematical concepts that Insular makers used to arrange and manipulate these parts, in order to fix mistakes, fulfill specific design goals, or invent anew. Case studies of individual artworks support this analysis and demonstrate how key pattern is a vehicle for accessing Insular artists' thought processes, as they improvised with the pattern's basic structures for maximum creative effect. For the first time, this thesis also places Insular key pattern in its global context, via comparative analyses of key patterns from other world art traditions. This investigation has confirmed key pattern's origin in prehistoric basketry and weaving technologies and explains why Insular key pattern's geometric complexity remains unparalleled. The adaptation and expansion of this new analytical method for key pattern also proves its applicability to any type of ornament from any culture, making it immediately useful to art historians and archaeologists. This thesis therefore represents a larger paradigm shift that brings ornament study into the 21st century.

Si les reliures arabes et islamiques ont connu une immense variété de décors au travers du Moyen-Age, la période allant du XIIIᵉ au XVᵉ siècle représente sans conteste un âge d’or quant à la richesse et la beauté des œuvres réalisées. Si pendant longtemps ce sont les formes géométriques et circulaires qui ont dominé, les conquêtes mongoles dès le XIIIᵉ ont contribuées à la diffusion du décor central en forme de mandorle de la Perse vers l’empire Mamelouk puis vers l’empire Ottoman. Celle-ci était largement utilisée par les relieurs persans dont l’art a certainement connu une influence artistique venant de Chine. Ce sont les artistes persans qui ont porté le décor en forme de mandorle à son plus haut degré de raffinement esthétique. La mandorle n’est apparue dans le répertoire des relieurs mamelouks qu’à partir de la fin du XIVᵉ siècle et a couramment été utilisée à partir de la deuxième moitié du XVᵉ siècle. C’est également à partir de cette période qu’elle apparaît sur les reliures ottomanes avec des mandorles polylobées ornées de belles arabesques et de décors floraux fins et raffinés réalisés de plus en plus souvent sur des fonds dorés. La fin du XVᵉ siècle est marquée par l’apparition des décors réalisés à l’aide de plaque qui va rapidement se répandre et remplacer les mandorles réalisées à l’aide de petits. L’influence esthétique des décors en forme de mandorle fut telle qu’elle se répandit jusque dans les répertoires des décors des reliures de la Renaissance italienne. Cette étude présente l'évolution et la diffusion du décor en forme de mandorle réalisé à l'aide de petits fers du XIIIᵉ au XVᵉ siècle sur la base d'un échantillon composé de quatre-vingt-douze reliures. / Arab and Islamic bindings offer a very large variety of patterns throughout the Middle Ages. The period from 13th to the 15th century is undoubtedly a golden age regarding the beauty of their ornement and decoration.If during a long time circular and geometric profiles dominated the bindings decoration, the Mongol conquests from the 13th century have contributed to the diffusion of almoond profile from Persia to the Mamluk and Ottoman's bindings. It was widely used by Persian bookbinders whose art has certainly experienced an artistic influence from China. Persian artists have worn the almond shape at its highest degree of aesthetic refinement. The almond profile only appeared into the Mamluk binder's repertoire until the end of the 15th century and commonly used from the second half of 15th century. It is also from this period that it appears on the Ottoman bindings with lobed profiles usually filled with beautiful arabesques and floral ornamentoften on gilded background. In the late 15th century appears the technique of pressure moulding, that involved the pressing of the leather with large stamps. This technique quickly spread and replace almond shape using small stamps. The aesthetic influence of the almond profile was such that it were introduced into the Italian bookbinder's repertoire by the middle of the 15th century. This study presents the developments and dissemination of the almond profile made with small stamps from the 13th to the 15th century on the basis of a sample of ninety two bindings.

In architecture we usually divide built things into structure or ornament. The same way of thinking can be applied to fashion. First you have a construction (garment) and then you add an ornament, like a way of styling. This works aim to change that relationship. One way of exploring the relation between the two concepts is to subordinate structure under ornament in order to change the hierarchy between form and decoration. Ornaments have in themselves structural elements that can be transformed into construction. My aim is to find these and let them be the bearing structures when augmenting for new shapes and expression with a codependent relationship between the two.The concrete methods of this work have been carried out through experimentation with different perspective on ornamentation in a trial and error process to achieve new expression and potential of ornament. The results are various examples of the design method carried out in different scale and proportions. They show how the method could be used in a structural way to find form and a more pictorial way to build expression. It questions modernistic thinking with its form follow function principle and explores other values such as attraction of the eye and the expression of light reflective materials. It explores the clash between tradition and new material. A new discussion could be raised about what is construction and what is ornamentation, if a separation is needed or even can be done. / Program: Modedesignutbildningen

This study of mural painting in southern India aims to change the received narrative of painting in South Asia not only by bringing to light a body of work previously understudied and in many cases undocumented, but by showing how that corpus contributes vitally to the study of South Indian art and history. At the broadest level, this dissertation reworks our understanding of a critical moment in South Asian history that has until recently been seen as a period of decadence, setting the stage for the rise of colonial power in South Asia. Militating against the notion of decline, I demonstrate the artistic, social, and political dynamism of this period by documenting and analyzing the visual and inscriptional content of temple and palace murals donated by merchants, monastics, and political elites. The dissertation consists of two parts: documentation and formal analysis, and semantic and historical analysis. Documentation and formal analysis of these murals, which decorate the walls and ceilings of temples and palaces, are foundational for further art historical study. I establish a rubric for style and date based on figural typology, narrative structure, and the way in which text is incorporated into the murals. I clarify the kinds of narrative structures employed by the artists, and trace how these change over time. Finally, I identify the three most prevalent genres of painting: narrative, figural (as portraits and icons), and topographic. One of the outstanding features of these murals, which no previous scholarship has seriously considered, is that script is a major compositional and semantic element of the murals. By the eighteenth century, narrative inscriptions in the Tamil and Telugu languages, whose scripts are visually distinct, consistently framed narrative paintings. For all of the major sites considered in this dissertation, I have transcribed and translated these inscriptions. Establishing a rubric for analysis of the pictorial imagery alongside translations of the text integrated into the murals facilitates my analysis of the function and iconicity of script, and application of the content of the inscriptions to interpretation of the paintings. My approach to text, which considers inscriptions to be both semantically and visually meaningful, is woven into a framework of analysis that includes ritual context, patronage, and viewing practices. In this way, the dissertation builds an historical account of an understudied period, brings to light a new archive for the study of art in South Asia, and develops a new methodology for understanding Nayaka-period painting. Chapters Three, Four, and Five each elaborate on one of the major genres identified in Chapter Two: narrative, figural, and topographic painting. My study of narrative focuses on the most popular genre of text produced at this time, talapuranam (Skt. sthalapurana), as well as hagiographies of teachers and saints (guruparampara). Turning to figural depiction, I take up the subject of portraiture. My study provides new evidence of the active patronage by merchants, religious and political elites through documentation and analysis of previously unrecorded donor inscriptions and donor portraits. Under the rubric of topographic painting I analyze the representation of sacred sites joined together to create entire sacred landscapes mapped onto the walls and ceilings of the temples. Such images are closely connected to devotional (bhakti) literature that describes and praises these places and spaces. The final chapter of the dissertation proposes new ways of understanding how the images were perceived and activated by their contemporary audiences. I argue that the kinesthetic experience of the paintings is central to their concept, design, and function.

[pt] O interior à margem: o papel do gênero no processo de profissionalização do Design de Interiores analisa o processo de reformulação da Decoração, atividade originalmente doméstica, amadora e, crucialmente, feminina na nova disciplina e profissão conhecida atualmente como Design de Interiores. Este processo, ocorrido entre as útimas décadas do século XIX e as primeiras do século XX, foi resultado da incorporação de inovações técnicas e valores do Modernismo na Arquitetura e no Design. Foi também influenciado diretamente por outros aspectos da modernidade, como a distinção entre as esferas pública e privada, a urbanização acelerada, a produção em série e a revolução dos hábitos de consumo. Crucialmente, este processo foi marcado ainda por estratégias de legitimação do status profissional da atividade que tiveram como cerne a discriminação de gênero. Partindo da constatação que a maioria das publicações sobre o tema pesquisadas baseavam a História do Design de Interiores exclusivamente nos seus pontos de contato com a Arquitetura e na obra de consagrados arquitetos modernos, este trabalho busca analisar e evidenciar a contribuição determinante de mulheres à este processo. Em busca de uma abordagem feminista e feminina da História do Design de Interiores é destacada a importância da contribuição de mulheres desde lugares não profissionais de produção, assim como são apresentadas trajetórias de profissionais que obtiveram êxito na área apesar da oposição oferecida pelos estereótipos de gênero. / [en] The interior at the margin: the role of gender in the process of professionalizing Interior Design analyzes the process where Decoration, an activity originally domestic, amateur and, crucially, feminine was transformed in a new discipline and profession known today as Interior Design. This process, which occurred between the last decades of the 19th century and the first decades of the 20th century, was a result of the incorporation of technical innovations and values of Modernism in Architecture and Design. It was also directly influenced by other aspects of modernity, such as the distinction between the public and private spheres, urbanization, mass production, and emerging consumer habits. Crucially, this process was also marked by strategies to legitimize the professional status of the activity that had gender discrimination as its core. Based on the observation that the (relatively few) existing publications on the subject based a History of Interior Design exclusively in its points of contact with Architecture and in iconic modern male architects, this research analyzes and emphasizes the contribution of women to this process. In search of a feminist and feminine approach to the History of Interior Design, the importance of the contribution of women from non-professional places of production is highlighted, as well as the trajectories of professionals who have succeeded in the area despite the opposition offered by gender stereotypes.