L’art de la Serrurerie en Bretagne aux XVIIe et XVIIIe siècles met en lumière l’art du fer forgé, un domaine des arts décoratifs aux confluents de ceux de l’architecture, du mobilier et de l’ornement, devenu, au fil du temps, la « Cendrillon des arts ». Les recherches en archives et les enquêtes sur le terrain inédites ont été menées sur les cinq diocèses (Finistère, Côtes-d’Armor, Morbihan, Ille-et-Vilaine et Loire-Atlantique) qui composent la province de Bretagne avant la Révolution et ont donné lieu à une synthèse historique et artistique développée sur trois axes. La première partie analyse le cadre d’origine et l’évolution des communautés de serruriers en Bretagne à partir de l’étude des chartes et des statuts et de leur application. La deuxième partie s’intéresse à la connaissance de l’individu-serrurier dans son environnement socio-familial, mais également à travers sa formation artisanale et les étapes marquantes de sa vie professionnelle (apprentissage, compagnonnage et maîtrise). La troisième partie examine les commanditaires, le processus de la commande et la production des œuvres – clef, serrure, grille, heurtoir, balcon, rampe…- depuis l’atelier jusqu’aux édifices bretons où certaines d’entre elles demeurent encore. Le catalogue des œuvres ainsi que le dictionnaire biographique (1200 notices) illustrent et proposent des outils documentaires complémentaires à l’étude sociale et culturelle ainsi qu’à l’histoire du goût afin de contribuer à la redécouverte des serruriers bretons tout autant que de leurs œuvres pendant une période considérée, en France, comme l’âge d’or du fer forgé. / The Art of Locksmithery in Britany in the 17th and 18th centuries highlights the art of iron forged – a section of the decorative arts in between architecture, furniture design and ornament that has become the “Cinderella of arts” over the ages.Records based research and on-site investigations were conducted in five dioceses - Finistère, Côtes-d’Armor, Morbihan, Ille-et-Vilaine and Loire-Atlantique, which Britany included before the French Revolution- and resulted in a synthetic essay about history and art. The first part analyses the original background and the evolution of the community of locksmiths in Britany from the study of charters, statuses and their application. The second part presents individual locksmiths in their social and family environment as well as through their training as craftsmen with the main steps of their professional life – apprenticeship, companionship and mastering. The third part deals with the contractors, the ordering process and the creation of pieces of work - key, lock, knocker, grille, balcony, bracket, lectern... - from the workshop to the Breton buildings, a few of which still feature some of those creations.The works catalogue and the biographical dictionary (1200 entries) illustrate and offer other documenting tools for further social and cultural studies and knowledge of design history in order to contribute to the rediscovery of Breton locksmiths and their works over a period regarded as the French golden age of ironwork.

Cheung Shuk Han Alice. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1997-98, design report." / Includes bibliographical references. / Chapter 1. --- Introduction / Chapter 2. --- Strategies (Creation of space in a maturally grown urban context) by changing / modifying the visual perception / Chapter 3. --- Spatial Perception: by induction of the visual elements / Chapter 4. --- My Project / Chapter 5. --- Visualising my mental images (my design method) / Chapter 5.1 --- Making the montage / Chapter 5.2 --- Depicting the notion of Flexibility of the space: Designing the master gallery / Chapter 5.3 --- A montage of a montage: Designing an inter-penetrating space of the libraries / Chapter 5.4 --- Art of articulation: Designing the new entrance of the design centre / Chapter 6. --- Spatial design : building a sequence as a visual reference for reading space / Chapter 6.1 --- The Entrance: the notion of openness / Chapter 6.2 --- The courtyard: the arrival space in day and night / Chapter 6.3 --- The galleries : the window design for individual identity / Chapter 6.4 --- The master gallery: flexible display setting and lighting system for a place of different ideas / Chapter 6.5 --- The libraries : manipulating space with use of materials / Chapter 7 --- Conclusion / Chapter 7.1 --- Space-making by fabricating with light and shadow inside an old building / Chapter 7.2 --- The sense of wholeness of the prescribed spatial sequence / Chapter 7.3 --- Manipulating new space and changing people's passive perception on the existing environment / Chapter 8. --- Reference material / Chapter 9. --- Appendix: / Chapter ´Ø --- copies of presentation panels / Chapter ´Ø --- copy of the programming report

The colonial era brought about Western civilisation, industrialisation, urbanisation and technology that led to the negation of the validity of the traditional wall decorations and the meaning behind what is understood as merely decorative shapes and parttens. To research as to whether this is true, the aim of this study is to establish whether the symbols applied on the traditional African murals have any linguistic significance. The research investigated the pictography embedded in the traditional murals of three linguistic groups, namely the Balobedu, Vatsonga and Vhavenda in Limpopo Province. The researcher gathered and recorded from the surviving elders the vital codes which unlock the meaning of signs, symbols, colours and geometric shapes before the knowledge is lost forever when they die. Data was collected mainly from Vatsonga female elders in their homes by using unstructured interviews. Traditional huts are decorated with symbols, signs, shapes, lines, and colours on the maguva (walls around the courtyard), mavala ya nghotsa (design and patterns, mainly in repeated half circles (figures 26 to 35)), mabilomu/swiluva/ swiphaswana (calabash/gourd flowers), ku sindza hi makholo (patterned cow dung floor) and ku tsema (coloured bands around the hut), depicted in figures 12 to 15. According to the respondents, the maphapha (calabashes/gourds) is a symbol for the plant that feeds the people. The plant from which maphapha are made, has heart-shaped green leaves and yellow flowers that develop into a calabash/gourd, which are consumed as food (figures 10–11). In this sense, it represents a woman and her responsibilities as carer and life giver. The results affirm that the pictography is not merely a reproduction of common decorative patterns, but is instead the source of an ancient visual expressive language carried down from generation to generation through oratory and visual narratives in the form of symbols, and signs. The study recommends the preservation of the linguistic significance of the traditional South African murals that have long been marginalised, possibly encouraging the younger generations to review their own history. / African Languages / D. Litt. et Phil.(African Languages)

No description available.

El propósito de esta investigación es encontrar la relación entre el Brand Equity e la intención de compra en los Homecenter con la categoría de pinturas látex, en hombres de 36 a 45 años, del nivel socioeconómico C en Lima Metropolitana. La metodología de investigación fue de carácter mixta ya que se aplicó herramientas cualitativas y cuantitativas. En la investigación la cualitativa se realizó 4 entrevistas a expertos, 3 grupos focales y 4 observaciones presenciales en Homecenter. Por otro lado, para contrastar la información de los expertos, se utilizó la investigación cuantitativa para darle una representatividad a los datos. Se utilizó una muestra de 190 personas escogidas por muestro no probabilístico por cuota, las cuales fueron encuestadas con un cuestionario elaborado de 24 preguntas el cual fue aplicado de manera presencial en papel. Posteriormente, se aplicó un análisis de correlación, cuyos resultados arrogaron que la relación entre el Brand Equity y la intención de compra en los Homecenter fue positiva. Dentro las dimensiones establecidas, se utilizó: calidad percibida, Brand Loyalty y Brand Trust. El resultado más destacable fue con la dimensión “Calidad percibida” que obtuvo la mayor fuerza de relación hacia la intención de compra con una correlación de: 0,423. Por último, cabe destacar que estos resultados son de utilidad para todo el sector de mejoramiento del hogar o pinturas, para demostrar que las estrategias de Brand Equity forman parte de los factores que fomentan las ventas en la categoría y le agregan valor a la empresa. / The purpose of this research is to find the relationship between Brand Equity strategies and the purchase intention for Homecenter. The research was conducted for the category of decorative paints, in men aged 36 to 45 years old, with a socioeconomic level of C at Metropolitan Lima. The research methodology had a mixed nature, qualitative and quantitative tools were applied. The qualitative research had: four interviews with experts, three focus groups to the target and four direct observations at Homecenter. On the other hand, to compare the information of the experts, a quantitative investigation was applied. The sample was conformed of 190 people that were chosen for non-probabilistic sampling by quota method, which were surveyed with a paper questionnaire made of 24 questions which was applied in person. Subsequently, a correlation analysis was applied, that showed up that the relationship between the Brand Equity and the purchase intention in Homecenter were positive. To measure the relationship a three-dimension model was created for the Brand Equity model which included: perceived quality, Brand Loyalty, and Brand Trust. The most notable result was the dimension of “perceived quality” that obtained the greatest relation with the purchase intention with a correlation of: 0.423. Finally, it should be noted that these results are useful for the entire Homecenter or painting sector, to demonstrate that Brand Equity strategies are part of the factors that promote sales in the category and add value to the retailer. / Trabajo de investigación

Allowing decorative pattern to take flight is a theme that has preoccupied my art practice ever since becoming infected by Deleuze and Guattari’s writing, A Thousand Plateaus:Capitalism and Schizophrenia, while completing a Bachelor of Fine Arts, majoring in Textiles. It is evident as an underlying thread or feeling in my making processes and thinking. According to Deleuze and Guattari (1987), to think new thoughts involves ‘a wrenching of concepts away from their usual configurations, outside the systems in which they have a home and outside the structures of recognition that constrain thought to the already known’ (p276). In this project I have found myself continually challenged by the intent and consequences of ‘shaking things up’, as I believe this quote implies. A wrenching of concepts away from their usual configurations has come through drawing a comparison between the conceptual structure of decorative pattern and the orders and structures of everyday life. What has emerged is a synthesis of ideas which create a picture of the dis/order that is evident within decorative pattern and in everyday life. I have come to conclude that decorative pattern is passive aggressive. It occurs to me that I could have described decorative pattern in a more positive tone in terms of passive resistance. But, in my mind, this implies a heroic gesture of superseding dominant orders. In this project I consciously employ the term ‘passive aggressive’ as an analogy because it acknowledges human flaw as a pattern that is inherent in everyday life. It alludes to the actuality of a relation to order and subsequent disorder that is not heroic, but rather implies humanness and the everyday struggle. While my challenge has been to present a new way of thinking about decorative pattern, underlying this has been a questioning of the structures that define my practice itself. This is evident in the experimental works that I have produced. It has been an evolutionary process that has played out according to a rhythm of shattering and shoring up. I see the resolution of this exploration coming in two parts. One is as the sum of my experimental works and how these artworks inform each other and are read in relation to the text. The other comes through a final installation of work which employs the system for making that has subsequently evolved, moving according to ‘the path of least resistance’.

The structure of this thesis relies on the physical locations of Mme. de Pompadour. Although the chapters are roughly chronological, beginning with her arrival at Versailles in 1745 and ending with her death in 1764, this work makes no attempt to comprehensively chronicle the entirety of her involvement in the decorative arts. Rather, it focuses on several specific aspects of her patronage, with the goal of illuminating her social position and public image, and how she worked to control the two. Chapter One deals with the first rooms Mme. de Pompadour inhabited, from 1745-1750. These upper apartments characterize her early attempts to convey meaning through décor and to shape social interactions within a constructed environment. Chapter Two follows Mme. de Pompadour’s move downstairs, to the lower apartments in 1750. This move parallels an important evolution in her role at court and seeks to explore how her newly political functions were expressed through these interior spaces. Chapter Three is more expansive, examining three architectural projects undertaken by Mme. de Pompadour and Louis XV on her behalf, over the course of her nineteen years at court. These independent homes represented an opportunity for Mme. de Pompadour to actively work to change public perception of herself and her role, an opportunity that she did not waste.

Aquesta tesi doctoral tracta de forma específica els programes decoratius amb motius vegetals en tipologies arquitectòniques de caràcter públic destinades al lleure en la ciutat de Barcelona. Cronològicament, la investigació es situa en el període del modernisme, comprès entre finals del segle XIX i començaments del XX. La recerca estableix un marc comparatiu amb París, la capital cultural i artística europea per excel•lència en què Barcelona pretenia veure’s reflectida. Es tracta d’un estudi amb caràcter interdisciplinari que interrelaciona art ornamental i botànica. En el context de la Barcelona de la segona meitat del segle XIX es van anar desenvolupant determinades activitats relacionades amb les plantes i les flors: la Festa de l’arbre i les batalles de flors, a més d’altres festivitats efímeres. També un grup d’especialistes formaren la Societat Catalana d’Horticultura, tot emmirallant-se en el precedent francès de la Société Nationale d’Horticulture de France de París. Aquest tipus d’entitats desenvoluparen exposicions i concursos de plantes i flors, que més enllà de l’exhibició botànica, també van difondre l’art floral, tot incentivant la creació i l’exposició d’obres artístiques de temàtica vegetal. D’altra banda, l’ensenyament amb flors estava present des dels orígens a l’Escola de Llotja. Si en el segle XVIII les classes amb flors anaven enfocades a les composicions d’indianes, a partir de mitjans del segle XIX va evolucionar cap a la formació d’artistes ornamentals per al disseny de les arts aplicades i industrials, en què s’utilitzaven les flors naturals com a material docent. Entre els recursos de creació que disposaven els artífexs del modernisme per a la configuració dels programes decoratius, obtenen una rellevant importància els mètodes d’aplicació ornamental perquè ofereixen amplis repertoris d’il•lustracions de plantes i flors. Les arquitectures de l’oci en l’època del modernisme responen a sis tipologies arquitectòniques, com són els establiments per al menjar i el beure, les fondes i els hotels, els teatres, els espais de l’espectacle, els cinemes i els espais esportius. A partir d’aquests espais, s’ha configurant un mapa de l’oci de la Barcelona del 1900 en què s’estableixen tres nuclis: Ciutat Vella, Eixample i Paral•lel. Hi ha dos esdeveniments de l’arquitectura de l’oci que es presenten com a freqüents al llarg del modernisme, com són les noves construccions i paral•lelament les reformes d’espais predecessors. L’ornamentació de les arquitectures era signe de distinció i un reclam del bon gust per a captar a la clientela. Per aquest motiu, els propietaris competien per aconseguir els millors conjunts artístics del moment, contractant a arquitectes-decoradors, projectistes i artesans col•laboradors destacats de la fi-de-segle. Els programes decoratius amb ornamentació vegetal de les arquitectures de l’oci responen a dues clares tendències, per una banda el historicisme i l’eclecticisme i per l’altra el naturalisme-simbolisme versus Art Nouveau. La segona és la que obté una major rellevància. Els programes decoratius es confeccionen en funció de la confluència dels motius vegetals, aquests es poden fer més extensius quan la flora esdevé l’eix vertebrador o concentrats a partir de la distribució unitària i el detallisme. Quan la flora és l’ornament central pot arribar a la seva concepció de màxima esplendor, tot adoptant la forma estructural amb la simbiosi organicista a partir de simulacions d’arbres o la metamorfosi de les plomes de paó en tiges de fulles i flors. És en aquest punt quan l’ornamentació vol esdevenir natura en un sentit orgànic arquitectònic i escultòric quan es produeix una unitat com a resultat de la síntesis que proporcionava el significat simbòlic. Així mateix, hem identificat un conjunt de plantes i flors que formen part del mateix fenomen, representatiu i simbòlic. / This doctoral thesis deals specifically with the decorative programs containing vegetal motifs used in architectural typologies of public nature destined to leisure time in the city of Barcelona. The research is set chronologically in the period of Catalan modernism, which spans from the end of the 19th century to the beginning of the 20th. It lays down a comparative framework with Paris, the European cultural and artistic capital par excellence, in which Barcelona intended to be reflected. It is a research with an interdisciplinary character that interrelates ornamental art with botany. Within the context of Barcelona in the second half of the 19th century, activities related to plants were developed: the Tree Festival, flower battles and other ephemeral festivities. Looking at the French precedent of la Société Nationale d’Horticulture de France in Paris, a group of specialists founded la Societat Catalana d’Horticultura. On the other hand, from the mid-nineteenth century on, natural flowers were used in l’Escola de Llotja (Llotja School) as teaching material. The methods of ornamental application were another resource that the modernism architects had in order to configure the decorative programs. Leisure time architectures in the modernism time respond to six architectural typologies: establishments to eat and drink, boarding houses and hotels, theatres, entertainment spaces, cinemas and sport spaces. Taking these spaces as a starting point, a map from the leisure time of Barcelona in 1900 has been configured. It establishes three centres: Ciutat Vella, Eixample and Paral•lel. The decorative programs containing vegetal ornamentation used in the leisure time architectures reflect two tendencies: historicism-eclecticism and naturalism- symbolism versus Art Nouveau. When flora becomes the central ornament it can reach its conception of maximum magnificence taking the structural form by means of tree simulations or by the metamorphosis of peacock’s feathers into leaves and flowers’ stems. It is at this point when the ornamentation wants to become nature in an organic, architectural and sculptural sense, causing an ensemble as a result of the synthesis provided by the symbolic meaning. We have also identified a collection of plants from the ornamental programs.

Dans les sphères du développement durable, des modèles d’affaires et du design de produit, certains leviers rendent le croisement de ces trois sphères de plus en plus pertinent. Au croisement de ces trois sphères se trouve une opportunité de comprendre les relations existantes entre le design de produit et les modèles d’affaires afin d’aider les décideurs à développer des solutions davantage durables. L’approche méthodologique de cette recherche utilise un système complexe et est basée sur un paradigme pragmatique. En vue de répondre à la question « Dans quelle mesure des modèles d’affaires et le design de produit sont liés dans un contexte de développement durable? », cette recherche a soigneusement analysé trois cas: Better Place, une compagnie californienne ayant développé une infrastructure permettant le chargement des voitures électriques; Interface Inc., un manufacturier mondial de tuiles de tapis commerciales établi à Atlanta; et Métacycle, un concept d’entreprise développé par une équipe de chercheurs en design à Montréal. Chaque cas a été analysé en corrélant des aspects du design de produit à des éléments de leur modèle d’affaires. Les résultats montrent que dans le contexte du développement durable, le design de produit et les modèles d’affaires sont interdépendants. Les résultats peuvent être résumés en six points: il existe des relations applicables universellement; les innovations de design substantielles jouent un rôle important dans le développement durable; la « durabilité » peut être une qualité émergente d’un modèle d’affaires; les partenariats peuvent être vitaux pour l’intégration des systèmes; un modèle de services a des bénéfices et des limitations considérables; le design peut agir comme levier à l’utilisation d’énergies renouvelables. Pratiquer simultanément l’innovation du modèle d’affaires et du produit peut apporter une valeur ajoutée, susciter des opportunités et augmenter l’efficience sur plusieurs facettes. Toutefois, les risques et les coûts de tels procédés sont souvent très élevés. En aidant à comprendre et définir comment les trois sphères mentionnées plus tôt sont interdépendantes, cette recherche pourrait idéalement inspirer des recherches supplémentaires sur le sujet. L’application par des organisations de la méthodologie et des apprentissages résultant de cette recherche peut permettre à d’autres d’utiliser le croisement entre l’innovation de produit et l’innovation du modèle d’affaires afin de résoudre des enjeux sociaux et environnementaux complexes. / Certain drivers in the fields of sustainability, business models, and product design are making the intersection between these three fields increasingly relevant. At this intersection is the opportunity to understand the relationships that exist between product design and business models to help decision makers develop more sustainable solutions. The methodology of this research uses a complex systems approach and is grounded in a pragmatist paradigm. To answer the question “In the context of sustainability, in what way are business models and product design related?”, this research has carefully analysed three cases: Better Place, a US based company that has developed a charging infrastructure for electric cars; Interface Inc., a global commercial carpet tile manufacturer based in Atlanta, Georgia; and Metacycle, a company concept developed by a team of design researchers in Montréal, Québec. Each case is analysed by correlating aspects of product design to elements of the business model and assessing how these relationships affect the sustainability of the company. The results show that product design, business models, and sustainability are inextricably connected. The results can be summarized in six key insights: there are universally applicable relationships; discontinuous design innovation can play a vital role in sustainability; sustainability is an emergent quality of a business model; key partnerships support systems level integration; a service revenue model has significant benefits and limitations; design innovation can help drive the shift to renewable energy. Conducting business model innovation and product innovation simultaneously can have large payouts in the form of creating new value, uncovering opportunities, and increasing efficiencies many fold, however the risks and costs of such a process are often very high. Applying the methodology and lessons of this research to one’s own organization could help to uncover new opportunities for innovation and help create more sustainable solutions. This research, by helping to understand and define how these areas are inextricably related and interdependent, will hopefully inspire further research on the subject and help others to use the intersection between product design and business model innovation to solve complex problems, be they social, environmental or otherwise.

La pratique du design industriel dans la province canadienne de l’Alberta est en pleine croissance. Ses activités sont principalement concentrées à Edmonton et à Calgary, qui sont les plus grandes villes de la province. On y trouve des studios de design de renom, des communautés de design complexes et des programmes universitaires de design bien établis. Cependant, la pratique du design industriel albertaine est sous-développée en comparaison avec celle du reste du Canada et il y a peu de recherches et de documentation sur le design industriel en Alberta. Dans ce projet de mémoire, la pratique du design industriel en Alberta a été explorée depuis une approche historique. Pour pallier le manque de documentation, la collecte de données a été faite par une recherche qualitative, des entretiens narratifs et une recherche quantitative statistique. Une base d’information historique sur le design industriel albertain a été établie puis située par rapport au développement de la pratique du design industriel ailleurs au Canada. Les facteurs, événements et tendances dans l’histoire de la pratique du design industriel en Alberta ont été identifiés. De plus, le développement de la pratique du design industriel de l’Alberta a été comparé à celui du Québec et de l’Ontario. Les retombées de cette étude indiquent que la pratique du design industriel en Alberta présente quatre domaines de spécialisations distincts se développant depuis les années 1980. La pratique du design industriel en Alberta est sous-développée en comparaison à celui du Québec et de l’Ontario, mais elle peut devenir plus compétitive, au niveau canadien, avec plus de soutien gouvernemental, de meilleures relations avec l’industrie manufacturière et les institutions académiques, une communauté de design plus unifiée et en portant une plus grande attention aux domaines les plus prometteurs de l’industrie. Ces informations supportent une meilleure compréhension de la pratique du design industriel en Alberta et pourront informer les praticiens, enseignants et administrateurs du domaine du design industriel dans la province. Finalement, le mémoire servira de base à d’autres projets de recherche sur les changements potentiels dans la pratique du design industriel en Alberta et l’étude du design canadien et des industries de design régionales. / Industrial design practice is a growing field in Alberta, Canada. Activity is mainly centered in Edmonton and Calgary, Alberta’s largest cities. Both cities have strong industrial design practices, complex industrial design communities, and well-established industrial design education institutions. However, industrial design practice in Alberta is underdeveloped compared to elsewhere in Canada and there is little recorded information about the field. In this master’s thesis, industrial design practice in Alberta was explored using a historical approach. The study employed qualitative historical research, oral history interviews, and quantitative statistical research to address this lack of research and documentation. A base of historical information about industrial design practice in Alberta was established and situated in relation to industrial design practice elsewhere in Canada. Factors, events, and trends in the history of industrial design practice in Alberta were identified. Further, the development of industrial design practice in Alberta was compared with developments in industrial design practice in Québec and Ontario. Results show that Alberta’s industrial design industry has four distinct areas of specialization, which have established starting in the 1980s. Findings further indicate that although industrial design practice in Alberta remains underdeveloped compared to Québec and Ontario, with increased government support, stronger relationships with manufacturing industries and education institutions, a more unified design community, and a focus on the areas of strength and promise of the industry, the field has potential to become more competitive within Canada. This study provides important insight into industrial design practice in Alberta with relevance for industrial design practitioners, educators, and policy makers in the province. Finally, it sets the groundwork for research into potential changes to Alberta’s industrial design industry and study of Canadian design and regional design industries.