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.

Throughout their careers the Impressionists demonstrated a strong, but rarely examined, interest for decoration. A careful examination of both archival material and well-known artworks produced between 1870 and 1895 shows that Pissarro, Degas, Cézanne, Monet, Renoir, Morisot and Caillebotte never ceased to explore the values of decoration and the decorative. Set in the context of the Third Republic’s passion for monumental decoration and deep interest in the decorative arts, the Impressionists’ experiments range from ceilings to ceramic tiles, and from never achieved projects to ambitious realisations (although none remain in their original location). One painter among those surveyed also engaged with theoretical thinking: Renoir wrote for the press and drew up the drafts of a Grammar mainly focused on the decorative arts. Along with a number of artworks explicitly designated as decorative that were predominantly exhibited at the Impressionist shows, the Impressionists further produced more than twenty decorative ensembles made for the interiors of amateurs who then became patrons. Renoir, who started his career as a painter on porcelain, worked in the 1870s for the Parisian homes of a Romanian aristocrat, prince Bibesco, and of a leading publisher, Georges Charpentier, but also for the country house of Paul Berard. Monet, in a similar fashion, painted for the department store magnate Ernest Hoschedé in his property of Montgeron. Initially publicised by the painters in the 1870s, the decade on which this thesis focuses, the Impressionists’ decorative works were subsequently undertaken more quietly though continuously. Morisot painted a chimney trumeau for her own salon, to which Monet gave a pendant (they were eventually used as overdoor panels). Monet and Renoir also painted door-panels for Durand-Ruel. None of these later schemes were actually promoted towards a wide public, showing how the Impressionists’ commitment to painting decorations went from a strategic (and partly commercial) vision to embody a deeper reflection on the essence of painting and its relation to the wall – a reflection that the larger dissertation submitted to the Université de Bourgogne embraces. The critics’ attention, however, went the opposite way. It grew from a relative but highly meaningful disinterest to making the decorative key to their approach at the turn of the century, but in all situations, mocking or praising, their comments shed a crucial light on the Impressionist’s enterprises and their relations to the society’s concerns. An analysis of the Impressionists’ decorative experiments and their critical reception encourages, as this thesis aims to demonstrate, a reconsideration of our vision of Impressionism, for its development drew much more from the decorative than has so far been discussed.

This thesis surveys the ninth-century metallic threads decorating silks discovered at Famen temple in Shaanxi province, China. In this research, metallic threads decorating Famen silks have been studied and documented in detail in order to understand how they were produced and how they were applied. Samples of metallic threads were selected and optical microscope and SEM/EDS were used to determine their morphology and composition. Problems regarding the current terminology used to describe metallic threads are briefly considered, and a systematic renaming of different types of metallic threads is suggested. Analysis results show that most Famen metallic threads were made of gold strips without substrate wound around a fibrous core, and that very few are silver strips without substrate wound around a fibrous core. Silver strips with paper substrate wound around a fibrous core are found among Famen silks, providing very early examples of this type of metallic thread in the world. Technical evidence demonstrates that the Famen metallic strips were cut from hammered metallic foil. It was found that metallic threads of different metal composition with different physical characteristics were selected according to the decoration techniques used and the function of the silks. The use of metallic threads with different grades of evenness in dimension and morphology for different decoration techniques was also found. The gold contents of these gold threads are all very high, and the thicknesses of the gold strips are large. All these characteristics are probably related to the function of Famen silks as objects of Buddhist worship that had been donated to the temple by members of the Tang imperial family and other high-ranking people. Technical investigation into the manufacture of modern traditional Chinese metallic threads was carried out in this research. Combined with analysis of the morphological, structural, and material nature of Famen metallic threads, the key technical characteristics of modern traditional metallic threads were found, which provided important evidence for deducing the manufacturing techniques of Famen metallic threads. Successful reconstructive experiments that produced metallic threads similar to Famen metallic threads were carried out in the laboratory by the author. The use of other known related techniques to produce Famen metallic threads was eliminated on technical grounds. With the above evidence, the manufacturing of Famen metallic threads, especially how the metallic strips were wound around the fibrous core, are reasonably deduced here. By investigating a number of currently accessible Chinese historical metallic threads from other periods, the evolutionary principles of Chinese metallic threads are concluded. The special characteristics of Famen metallic threads, the reasons determining these characteristics are better understood, and their role in the development of Chinese metallic threads is assessed.

El objetivo principal de la presente tesis es exponer el conocimiento que tienen las empresas sobre las características y necesidades de los consumidores de la línea “regalos verdes” del sector de decoración y paisajismo en Lima metropolitana para desarrollar su cartera productos. Los regalos verdes forman parte de la oferta actual en el sub sector de decoración y están conformados por terrarios, kokedamas, recuerdos vivos, entre otros. Así mismo, se desprende de la investigación que estos llegaron al Perú como una tendencia de decoración que se relaciona con la realidad de los reducidos espacios para áreas verdes con los que se cuenta en la ciudad de Lima. Las interrogantes de la tesis surgen para exponer el nivel de conocimiento que tienen las empresas actuales sobre las características y necesidades de sus consumidores y conocer cómo esto contribuye al desarrollo de la cartera de productos de regalos verdes ofertada en Lima Metropolitana. Esta tesis es no experimental, con un diseño transeccional o también llamado transversal de tipo exploratorio, cuyo propósito es comenzar a conocer una variable o un conjunto de variables, una comunidad, un contexto, y analizarlo en un momento específico, dado que se trata de un problema de investigación nuevo o poco conocido. Por ello, nuestra investigación puede constituir un precedente en la información del sector de la decoración y paisajismo, más no una investigación de mercado, debido a que no abarca la perspectiva de la demanda. Para esta investigación se encuestó a los dueños, encargados o personal del área comercial con contacto directo con los clientes de 30 empresas de Lima Metropolitana. Finalmente, se plantean conclusiones y recomendaciones que derivan de la investigación. / Tesis

The meaning of the architectural surface was thoroughly reconsidered by architects and historians in England and Europe between early and mid-nineteenth century. There were two major trends. The first one was historicist. Ornament and colour was considered important because it represented the origins of architecture. The second approach was rational and tectonic. It suggested that an honest surface had to be created by emphasizing the structure and by truthfully expressing materials. An unusual response to these debates was John Ruskin??s history of medieval and Renaissance architecture. This was published as The seven lamps of architecture (1849), and the three volume study, The stones of Venice (1851-1853). Ruskin??s writings were difficult to grasp. On the one hand, they were fragmented, historically inaccurate, and lacking in explanatory power. On the other hand, they emphasized surface ornament, without ever indicating its architectural ??use??. As a result, nineteenth and twentieth century historians and architects declared Ruskin??s writings as being irrelevant to architectural theory and practice. By examining Ruskin??s writings on architecture through the theoretical lens of dress, body, and gender, the thesis demonstrates that he proposed the theory of the adorned ??wall veil??.This was a two-part theory. Firstly, architecture was defined by the presence of planar walls. The masonry structure of these walls was masked and decorated by a seamless dress-like surface, consisting of relief and polychromatic ornaments. Secondly, Ruskin distinguished between the ideal and the corrupt dress. The ideal dress celebrated the spiritual aspects of the body (surface, skin, and colour). The corrupt dress represented the scientific image of the body (depth, bones and muscles, and form). The ideal dress was reflected by the surfaces of medieval buildings, and the corrupt dress was mirrored by the Renaissance architectural surface. Through these arguments, the thesis makes two major contributions. Firstly, it shows that Ruskin??s views were consistent with the architectural modernism of the twentieth century, in which the free fa??ade and the atectonic surface were key concerns. Secondly, it establishes that Gottfried Semper??s writings were not the sole origin of the debates on dress and architecture. It shows that Ruskin developed a critical theory of dress by synthesizing debates on gender, science, and spirituality. He used this theory to suggest a new approach towards architecture.

This ethnographic study describes the patterns of decorating in the study rooms of university sorority women. The primary method of data were collection was by means of interviews with sorority members. Observations and photographs of the study rooms of these members supplemented the interviews and provided validation for categorization purposes. A large body of research exists related to the effects and implications of sorority membership. Because much of this research is quantitative, it does not allow for the descriptive type data collected in the context of the culture which may be utilized in a qualitative study. The purpose of the present study was to document the decorating patterns of the informants and to identify cultural values and expressions of individual identity in the decoration of their living spaces. This study contributes to existing research on college student decorating patterns by relating the items used for decorations to cultural and individual values. In addition, it provides a detailed description of how the space in the study rooms is utilized. The data are also evaluated based on demographic information gathered. The results of this study indicated that the members of Alpha Beta sorority expressed certain cultural values by using similar items to decorate their rooms and by exhibiting common ways of using their living space. One of the values expressed by the members in their decorating was that of comfort, both physical and mental. Comfort was demonstrated in conditions such as the degree of tidiness of the room, the color scheme, the photos on display or the level of self expression available to the individual. Examples of identity expression were also evident in these study rooms. Items indicating personal accomplishments, items from personal collections and objects used for hobbies were found in many rooms. Conclusions drawn from this study were first, that the desire to decorate was nearly universal among the members of Alpha Beta sorority. Second, the desire for self expression seemed to be a significant motivation for decorating, although there was evidence of some peer pressure as well. Third, decorating generally, and decorating using a theme, appeared to be a behavior members embraced more readily over time. Interactions over time allowed for the cultural values related to decorating the study room to be acquired. This process is facilitated by the significance of the social network within the sorority culture. This study contributes to an understanding of how cultural and personal values are expressed in the study rooms of sorority women, and by extension, the values that could be expected in other interior environments. / Graduation date: 1999

Diss.--Basel, 1966. / Vita.

Carbon nanotubes are made into films or bulks, their surface or junction morphology in the networks can be modified to obtain desired electrical transport properties by various surface modification methods. The methods include incorporation of organic molecules or inorganic nanoparticles, debundling of nanotubes by dispersing agents, and microwave irradiation. Because carbon nanotubes have unique carrier transport characteristics along a sheet of graphite in a cylindrical shape, the properties can be dramatically changed by the modification. This is ideal for developing high-performance materials for thermoelectric and photovoltaic energy conversion applications. In this research, decoration of various organic/inorganic nanomaterials on carbon nanotubes was employed to enhance their electrical conductivity, to improve thermoelectric power factor by modulating their electrical conductance and thermopower, or to obtain n-type converted carbon nanotube. The electrical conductivity of double-wall nanotubes (DWNTs) decorated with tetrafluoro-tetracyanoquinodimethane (F4TCNQ) was increased up to 5.9 × 10^5 S/m. The sheet resistances were measured to be 42 Ω/sq at 75% of transmittance for HNO3/SOCl2-treated DWNT films, making their electrical conductivities 200~300% better than those of the pristine DWNT films. A series of experiments at different ion concentrations and reaction time periods were systematically performed in order to find optimum nanomaterial formation conditions and corresponding electronic transport changes for better thermoelectric power factor. For example, the thermoelectric power factors were improved by ~180% with F4TCNQ on DWNTs, ~200% with Cu on SWNTs, and ~140% with Fe on single-walled nanotubes (SWNTs). Also SWNTs was converted from p-type to n-type with a large thermopower (58 μV/K) by using polyethyleneimine (PEI) without vacuum or controlled environment. This transport behavior is believed to be from charge interactions resulted from the difference between the work functions/reduction potentials of nanotubes and nanomaterials. In addition, different dispersing agents were utilized with DWNT and SWNTs to see a debundling effect in a film network. The highest electrical conductivity of ~1.72×10^6 S/m was obtained from DWNT film which was fabricated with a nanotube solution dispersed by chlorosulfonic acid. Debundling of nanotubes in the film network has been demonstrated to be a critical parameter in order to get such high electrical property. In the last experiment, Au nanoparticle decoration on carbon nanotube bundle was performed and a measurement of themophysical properties has done before and after modifying carbon nanotube surface. Carbon nanotube bundle, herein, was bridged on microdevice to enable the measurement work. This study demonstrates a first step toward a breakthrough in order to extract the potential of carbon nanotubes regarding electron transport properties.

<p>Controlling the properties of single walled carbon nanotubes (SWNTs) is the major challenge toward their future applications. This dissertation describes several contributions to this chanllenge. </p><p>This dissertation begins with the brief review on carbon nanotubes (CNTs), including discovery, structure, properties, challenges, synthesis and applications. The remaining parts can be divided into three sections. They demonstrate the control of SWNT properties as well as their devices by direct synthesis and metal decoration. </p><p>Two studies are described on the control of SWNT properties by direct synthesis. The first demonstrates the controlled synthesis of SWNTs in terms of their diameter, uniformity, and density by the chemical vapor deposition (CVD) method. The approaches employed include using uniform nanoparticles with specific sizes as catalysts to grow different diameter SWNTs, specially small diameter tubes less than 1 nm; using laser irradiation to grow uniform and high quality SWNTs; and changing the gas flow pattern to obtain different density. The second study demonstrates the growth of aligned SWNTs by flow and substrate guidance. Horizontally aligned ultralong nanotubes are synthesized on Si substrate by both high flow and low flow. The guided growth by the quartz substrate is shown by a large variety of metal catalysts to further the understanding of the growth mechanism. Moreover, top gated FETs have been explored for the selective growth of purely semiconducting, horizontally aligned SWNTs grown on quartz by a ethanol/methanol mixture. </p><p>The control of SWNT device performance is also described, in particular, the correlation between the SWNT field effect transistor (FET) configuration and its gate dependence response. The effects of FET channel length, nanotube density and diameter on the device performance are demonstrated. A model has been constructed in order to simulate the electronic behavior. An interesting metallic behavior has been observed. </p><p>Finally, control of SWNT properties by Palladium decoration after growth is used to manipulate their properties. Moreover, two novel applications including improvement of carbon nanotube film conductivity and catalysis of nanostructure growth are developed.</p> / Dissertation

Color is a significant architectural element, which is open to become a major representative element in the process of design. This study aims to understand the limits of using color as an architectural element and discuss the transformative effects of the use of color with respect to meaning and design levels of buildings. The study is composed of two main parts. In the first part limits of using color as a complementary and consequential part of design are discussed. The architectural understanding of color in the 20th century is utilized as the main ground for a contemporary case study. The case study in the second part uses residential buildings in Ankara as the main domain to understand the continuities and discontinuities between color preferences and architectural meaning. The method of the study is based on comparison of the facades of residential buildings of various contexts, scales, languages and typologies in five different categories. The first category is &ldquo / The Figural Use of Color&rdquo / which is constituted by decorated facades. &ldquo / The Elemental Use of Color&rdquo / is the second category based upon the continuity between tectonic elements of facade and color. The third is the &ldquo / Material Color and Painting,&rdquo / which is based upon the color representations of the natural material preferences supported by additional painting. &ldquo / Tectonic Use of Color&rdquo / as the fourth frame implies color brought by the nature of the material. The last category is &ldquo / Monochromatic Use of Color&rdquo / in which the facades are colored in a single hue or different lightness of the same hue.