Ce travail de thèse a pour objectif d’étudier l’emploi des motifs géométriques, végétaux ou empruntés à l’architecture, dans le décor peint des monuments funéraires de Macédoine antique. Il s’agit d’une approche intégrale qui est effectuée à travers la documentation et l’analyse stylistique, technique et physico-chimique des motifs tels qu’ils apparaissent dans un riche corpus de soixante-huit monuments datés de l’époque hellénistique et le début de l’époque romaine. La thèse est organisée en trois parties. La première partie présente la documentation des motifs rencontrés, leur occurrence dans les monuments avec des observations sur le rendu, les combinaisons chromatiques et les pigments employés. Cette partie comprend une étude comparative des motifs dans l’art de l’antiquité en Grèce et ailleurs, et des commentaires sur l’origine et le symbolisme des motifs et leur transposition de la réalité ou de l’architecture dans la peinture.La deuxième partie concerne l’étude archéométrique des matériaux picturaux employés. Des prélèvements ponctuels ont été effectués sur le décor de vingt tombes et analysés au moyen de méthodes photographiques et physico-chimiques, in situ et en laboratoire. La présentation de la méthodologie et les résultats obtenus au cours de cette étude se fait de façon analytique et systématique. La troisième partie présente un catalogue illustré des tombes peintes de Macédoine classé selon leur type architectural, comprenant les données de fouille, la description du décor peint des surfaces pariétales et de l’aménagement intérieur et des informations concernant l’architecture et les matériaux picturaux. Les différents types de motifs ornementaux rencontrés et les types de moulures sur lesquelles ils sont réalisés sont présentés dans un lexique illustré. / The objective of this thesis is the study of the architectural, geometric and vegetal motifs that decorate the funerary monuments of Macedonia. An integral approach has been applied, combining detailed documentation with the stylistic, technical and physicochemical analysis of the motifs, as they appear in a rich corpus of sixty-eight monuments that date in the Hellenistic and early Roman period. The thesis is organised in three parts. The first part provides the documentation of the motifs, their occurrence in the monuments, along with observations on their design, the chromatic combinations and the pigments employed. This part includes a comparative study of the motifs in the art of ancient Greece and elsewhere, as well as commentaries on their origin and symbolism or the transformation from real objects or architectural elements into painted motifs. The second part concerns the archaeometrical study of the painting materials used. Samples from twenty tombs have been collected and analysed by means of photographical and physicochemical methods, both in situ and in the laboratory. The methodology and the results obtained during this study are presented systematically and in detail. The third part consists of an illustrated catalogue of the painted tombs of Macedonia, according to their architectural structure, which comprises the excavation data, the description of the painted decoration on the walls surface and on the funerary pieces of furniture as well as information on the architecture and the painting materials. The different ornamental motifs and types of moulding on which they are painted, are presented in an illustrated glossary of terms.

The Canadian firm of Jacques & Hay was in business for fifty years, during which the company, if The Globe (Toronto) is to be believed, furnished the Province of Canada. This was a stunning and largely undocumented success. Jacques & Hay was one of the largest employers in the province and dominated the cabinet-making trade from 1835 to 1885. In 1871, Jacques & Hay employed 430 men and 50 women in a vertically-integrated operation that included a sawmill, two factories and a showroom. Jacques & Hay produced abundant furniture at reasonable prices. The availability of such household furnishings greatly enhanced domestic life in nineteenth-century Canada, providing scope for a more elaborate social life and allowing more people to achieve a greater sense of comfort and decency in their living arrangements.

No description available.

Consider the possibility of the remnants of our present day society being excavated and studied in centuries to come. Imagine the craftsmanship, the art, artifacts and architecture that will then be compared to those of the past centuries. Our entire culture will be labelled by the endless array of rubbish that has become an integral part of our lives. The increasing prevalence of kitsch in the society goes almost unnoticed where it should be causing concern. Few people are aware of its existence, or the permanent aesthetic scars induced by this prevalence. How has this cult of sheer awfulness come about and why has it become prevalent? It is impossible to pursue all the avenues of kitsch - so vast is it but it is the purpose of this study to try and answer some of the questions, in order to make people more aware of what has crept into our society, to help them become more discriminating, and not merely to level criticism at the perpetrators of kitsch.

According to the seductive details (SD) effect, interesting, but irrelevant information in learning materials reduces learning outcomes. Basic research suggests that subjects in positive mood are more distractible by task‐irrelevant stimuli than subjects in negative mood. Hence, mood could moderate the SD effect. We tested this assumption by comparing eye movements to seductive pictures in participants in positive versus negative mood. As expected, participants in positive mood fixated pictures longer and more frequently than participants in negative mood, which can be interpreted in terms of mood‐based higher distractibility. However, this did not translate to a more pronounced SD effect in the learning test. Unexpectedly, there was no SD effect in either mood condition. We discuss implications of the eye‐tracking data as well as potential reasons for the nonexistent SD effect in our study.

El presente trabajo tiene por finalidad exhibir la técnica artesanal japonesa de cultivo de plantas decorativas para interiores, el proyecto de negocio llamado “Kokenatur”, demostrara la viabilidad, económica y financiera de la venta de estos artículos con un horizonte de evaluación de 5 años. Kokenatur será la primera en implementar un proceso en donde cada cliente armen su Kokedama a través de la web de acuerdo con sus necesidades y ocasiones. El público objetivo estará conformado por hombres y mujeres entre 25 y 55 años aproximadamente de la zona 7 de Lima Metropolitana con un nivel socioeconómico A, B y estilo de vida sofisticado. La difusión de la propuesta de negocio será a través de diversas plataformas digitales como Facebook e Instagram, página web, las cuales permitirán una mejor interacción con los clientes. Para la implementación del proyecto se estima una inversión de S/ 87,000 soles, la cual será financiada en un 50% con aporte de los 4 accionistas. La diferencia del 50% se realizará mediante un crédito. Finalmente, el análisis financiero nos arroja un Valor Actual Neto Económico (VANE) de S/ 5,616.7 soles y una Tasa Interna de Retorno Económico TIRE de 53.92% con un periodo de recuperación de 2 años. Además, se obtuvo un Valor Actual Neto Financiero (VANF) de S/ 62,619.26 soles y una Tasa Interna de Retorno Financiero (TIRF) de 94.68%% con un periodo de recuperación de 2 años, estos resultados respaldan la viabilidad del proyecto. / The purpose of this work is to showcase the Japanese artisan technique of growing decorative indoor plants, the business project called “Kokenatur”, will demonstrate the feasibility, economic growth and the financial sale of the items with an evaluation horizon of 5 years. Kokenatur will be the first to implement a process where each client can customize their Kokedama through the web according to their needs and occasions. The target audience will be made up of men and women between 25 and 55 years of age in Zone 7 of Metropolitan Lima with a socioeconomic level A, B and with a sophisticated lifestyle. The dissemination of the business proposal will be through various digital platforms such as Facebook and Instagram, website, which will allow a better interaction with customers. For the implementation of the project, an investment of S / 87,000 soles is estimated, which will be financed by 50% with input from the 4 shareholders. The 50% difference will be made by credit. Finally, the financial analysis gives us a Net Present Economic Value (VANE) of S / 5,616.7 soles and an Internal Rate of Economic Return TIRE of 53.92% with a recovery period of 2 years. In addition, a Net Financial Present Value (VANF) of S / 62,619.26 soles and an Internal Financial Return Rate (TIRF) of 94.68% were obtained with a recovery period of 2 years, these results support the viability of the project. / Trabajo de investigación

京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第21176号 / 人博第848号 / 新制||人||203(附属図書館) / 29||人博||848(吉田南総合図書館) / 京都大学大学院人間・環境学研究科相関環境学専攻 / (主査)教授 加藤 眞, 教授 市岡 孝朗, 教授 瀬戸口 浩彰 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DFAM

The series Leipzig Kucha Studies, in which seventeen volumes are planned, aims at publishing the results of the long-term research project (2016–2030) “Buddhist Murals of Kucha on the Northern Silk Road”. The project, conducted under the auspices of the Saxon Academy of Sciences and Humanities in Leipzig, focuses on an impressive corpus of wall paintings datable to approximately the fifth to tenth centuries CE and located in the Buddhist cave complexes of the ancient kingdom of Kucha on the Northern Silk Road. These narrative and devotional paintings form one of the most important sources for our understanding of the religious and intellectual history of Buddhism in Central Asia during the first millennium. The project is devoted to recording and annotating all surviving paintings of the region, including the fragments that were removed from their original sites as well as destroyed murals from which only drawings and historical photographs remain. The project also provides a platform for research on the history of Buddhism in the Kucha region and on the spread of Buddhism from South to East Asia.

I denna rapport undersöks hur vackra stadsmiljöer kan skapas med estetiskt motiverad utformning och dekorativa element samt hur detta kan göras med äldre ideal. För att få en inblick i hur synen på dessa frågor kan se ut i dagsläget gjordes en kort litteraturstudie där exempel på argument från debatten sammanställdes. Därefter genomfördes en fallstudie för Sankt Eriksområdet som analyserades utifrån frågeställningen hur vackra miljöer skapats i detta projekt samt hur äldre ideal tillämpats. Resultaten från litteraturstudien och fallstudien knyts ihop i en avslutande diskussion. Det konstateras att Sankt Eriksområdets gestaltningsarbete inte hade som syfte att skapa vackra miljöer men att det däremot funnits en arkitektonisk ambition om att skapa ett område med kontinuitet och variation i harmoni. Detta innebar ett arbetssätt som i flera avseenden påminner om det som förespråkarna av ”vacker” arkitektur i litteraturstudien efterfrågar. Gestaltningsarbetet har haft platsen som utgångspunkt. Denna ligger i Stockholms innerstad som till större delen byggdes under den gamla stenstadens tid. Det föll sig därför naturligt att genomföra projektet med inspiration från äldre ideal men samtidigt anpassat efter projektets specifika förutsättningar. Det som byggdes var ingen kopia av stenstaden men å andra sidan gestaltades det efter samma principer. / This report investigates how aesthetically motivated design and decorative elements could be used in order to create beautiful urban environments and how this could be achieved with traditional design. In order to gain some insight in how those questions are viewed today, a short literature study was made in which examples of arguments used in the debate were put together. Thereafter a case study was carried out which searched to answer the questions how beautiful environments were created in the building project of Sankt Eriksområdet in Stockholm and how this was made with traditional design. The results from the literature study and the case study were then finally summarized and discussed together. The conclusion is made that Sankt Eriksområdet wasn’t designed with the specific purpose to create beautiful environments. On the other hand there was an architectural ambition with the purpose to create continuity and variation in harmony and the work to achieve this goal reminds of what the proponents of “beautiful” architecture in the literature study asks for. The projects design was based on its location. Since the place of the project was located in the inner city of Stockholm, which largely consists of old and traditionally designed buildings, the implementation of traditional design became a naturally choice. Together with traditional design the project was designed to suit the specific conditions of the place and therefore the result wasn’t a copy of the inner city but a unique result built after the same principles.

This dissertation investigates Markgräfin Wilhelmine von Bayreuth’s (1709 – 1758) architectural patronage and the fashioning of her “body politic,” “body natural,” and the range of personas that inhabited the spaces between the public and private spheres. She used architecture and interior design to perform multiple roles, where the ornamentation of each built space enacted different facets of her royal identity. Central European social customs determined the arrangement and décor of palace architecture. The function, audience, and accessibility of a room were also connected to one’s rank and gender. Because of this, the representation of Wilhelmine’s “bodies” in art and architecture should have reinforced current social customs, which dictated that her visual identity play a subordinated role to that of her husband, Markgraf Friedrich. However, when considering the subtle claims made throughout Wilhelmine’s decorative program as a whole, it is clear that she used architectural splendor and theatricality to subvert these conventions and represented herself as her husband’s equal. The theatrical nature of ornament—as a social agent used to transfer meaning—allowed Wilhelmine to redefine the gender limitations of Magnificence gave her greater agency to perform roles that were often at odds with her limited social and political powers as a woman consort. Previous scholarship on Wilhelmine von Bayreuth has failed to recognize architectural space as an arena for contesting the limitations of social decorum or the differences between the Markgräfin’s public, natural, and semi-private bodies. This project contributes to the field of eighteenth-century studies by contextualizing Wilhelmine von Bayreuth’s commissions within a larger system of European Enlightenment architecture, design, and self-fashioing. Few authors have considered the architectural patronage of non-sovereign consorts in German courts, like Wilhelmine’s, or the prescribed boundaries that gender played in their commissions. This dissertation illustrates the significant contributions that minor courts and non-sovereign noblewomen made to the development of Rococo ornament and architecture. A layered methodological approach—which combines extensive archival research with literature on self-fashioning, orientalism, spatial theory, and gender performance—gives a greater understanding of Wilhelmine’s agency in crafting her range of public, private, and liminal identities. / Art History