The thesis examines the contemporary Bengali practice of worshipping clay images. By clay is understood 'unbaked' clay. The thesis makes a distinction between 'baked clay' (terracotta) images and 'unbaked' clay (terracruda) images and examines the preference for worshipping terracruda images. The worship of clay images is examined within the context of image worship in general in India, referring to the classical iconographical canons and other texts in which clay is mentioned as a suitable medium for the making of religious icons. The study is restricted to the Hindu religion. The thesis does not restrict itself to a purely iconographical approach. The thesis discusses the artistic tradition that gave rise to the clay images of Bengal,as well as attempting to understand the religious significance of the images. In tracing the tradition, the author has used vernacular sources as well as early records of travellers. In describing the contemporary technique of clay image making, the author has relied on recorded interviews and photo-documentation taken during a three month period of fieldwork in West Bengal. The thesis establishes that there has been a tradition of worshipping clay images in Bengal that is at least two centuries old and suggests that there are earlier precedents for the tradition. It also concludes that it is a strongly regional tradition that developed in Bengal and influenced the neighbouring states of Bihar, Assam and Orissa. The worship of terracruda images in Bengal is a regional practice that is the product of both classical and 'folk' influences.

This is an attempt to understand the interaction of meanings of brand identity and &amp / #8216 / designed&amp / #8217 / product from the consumers&amp / #8217 / viewpoint. Brand Identity is taken as the &amp / #8216 / conceived&amp / #8217 / identity, which overlaps with concepts of brand image and brand associations. &amp / #8216 / Designed&amp / #8217 / product is analyzed via dimensions of function, form (aesthetic) and symbol. The aim of the thesis is to find patterns of interaction of functional, emotive and symbolic associations for brand identity and the functional, formal (aesthetic) and symbolic communication of the &amp / #8216 / designed&amp / #8217 / product. A qualitative research paradigm is followed in the thesis, given the emphasis on consumer-constructed meanings. Projective tasks based on dummy models and word associations are used as research tools. The product group included in the study is mobile phones because of high awareness levels and wide interest of the consumers. The context of the interaction is constrained by the nature of product group (fashion and high-tech item) as well as the properties of brands used in the study (Nokia, Motorola and Samsung).

This thesis examines the history, written sources and physical aspects of the citadel at Ankara with respect to building materials, masonry styles, design and topography. The distribution of different types of building materials in selected areas are analyzed and documented by using modern methods.

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.

"Thesis presented June 1998, amended February 2000." / Includes bibliography. / 3 v. : ill., plans ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This thesis demonstrates the falsity of the assumptions that ancient architects followed innate spatial cues or responses in their designs, that ancient people experienced the resulting buildings through the same responses, and that modern scholars can thus reconstruct both the intentions of the ancient architects and the architectural effects experienced by ancient visitors to ancient buildings throught the medium of their own spatial reactions. This underlying belief is contestable given its basis in unproven and untested late nineteenth century theories of perception. The thesis also demonstrates that the assumption made by modern scholars that the architects of the Forum of Pompeii were primarily concerned with uniformly enclosed space, axial symmetry, and orthogonality, is wrong, and is contradicted by the actual form of the buildings around the Forum. / Thesis (Ph.D.)--University of Adelaide, Dept. of European Studies, 2000

Univ., Diss. u.d.T.: Hahn, Stephanie: Ad decorum civitatis - Bauten und Bauaufgaben der Residenzstadt Fulda im 18. Jahrhundert--Zugl.: Marburg, 2004.

Thesis (M.A.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 22, 2008) Includes bibliographical references.

Thesis (M.S.)--California Polytechnic State University, 2008. / Major professor: Zoë Wood, Ph.D. "Presented to the faculty of California Polytechnic State University, San Luis Obispo." "In partial fulfillment of the requirements for the degree [of] Master of Science in Computer Science." Submitted June 11, 2008. Includes bibliographical references (leaves 77-79). Also available online. Also available on microfiche (1 sheet).

Thesis (DDes) - Faculty of Design, Swinburne University of Technology, 2008. / Submitted in partial fulfillment of the requirements of the degree of Professional Doctorate in Design, National Institute for Design Research, Faculty of Design, Swinburne University of Technology - 2008. Typescript. Submitted in partial fulfilment of the degree of Doctor of Design, Faculty of Design, Swinburne University of Technology, 2008. "June 2008". Bibliography: p. 137-147.

Thesis (M. Arch.)--Carleton University, 2001. / Includes bibliographical references (p. 194-197). Also available in electronic format on the Internet.