Depuis près de 40 ans, les designers n’échappent pas à la tournure politique de la crise écologique et aux outils normatifs qu’elle engendre pour concevoir notre rapport au monde. Dans ce champ professionnel, le concept de durabilité a été appliqué particulièrement au choix des matériaux et les normes qui en ont découlé ont tendu à consolider les propriétés esthétiques promulguées par le Mouvement moderne. Cette esthétique endémique, fortement uniformisante, anthropocentrée et anhistorique est à l’encontre du programme de changement promis par les politiques environnementales qui enjoint l’engagement citoyen, la construction du commun entre les individus, et aussi avec les autres, les non-humains. Les critiques exprimées contre le Mouvement moderne et l’environnementalisme ont pourtant montré que l’engagement écologique peut prendre forme dans une autre esthétique, une esthétique qui, en outre, défait la distinction entre nature et culture et conserve aux personnes une capacité d’agir nécessaire à la durabilité du monde. En posant un regard anthropologique sur l’esthétique, dans une perspective pragmatique et réaliste, cette thèse avance que l’engagement envers la cause écologique dépend de cette esthétique particulière. L’hypothèse est que l’engagement écologique est étroitement lié à la possibilité d’une esthétique de l’usure — capacité de la matérialité à se transformer, à porter l’usage et le temps. Afin de vérifier cette hypothèse, diverses formes d’engagement écologique ont été identifiées, et leurs propriétés esthétiques visuelles documentées. Une enquête photoethnographique a été réalisée entre 2014 et 2016 auprès de six individus, deux couples et quatre communautés engagés envers la cause écologique dans des milieux de vie urbanisés. Les terrains d’enquêtes comptent un squat activiste autogéré à Istanbul, un centre culturel et social habité autogéré à Berlin, un quartier autogéré à Copenhague, une habitation communautaire, des simplistes volontaires à Montréal et une autoethnographie performative effectuée à la lumière des pratiques observées sur le terrain. Une documentation photographique contextualisée par le biais d’un carnet de terrain a permis de décrire les propriétés esthétiques des lieux habités et des gestes posés au nom du souci écologique. Les résultats montrent que l’esthétique de l’usure est une qualité transversale de ces milieux de vie. Elle s’atteste dans la matérialité artificielle et naturelle, mais aussi gestuelle. Les résultats révèlent aussi douze autres propriétés esthétiques déterminantes de l’engagement écologique. Cette recherche permet de poser un regard critique sur les pratiques des designers adoptées au nom de la durabilité. Elle contribue à une compréhension plus riche des propriétés esthétiques oppressives, liberticides, écologiques et engageantes. L’une des particularités du design est sa capacité à agir sur l’esthétique du quotidien. Ces connaissances permettent aux designers et autres producteurs de l’environnement artificiel de considérer l’esthétique comme un levier d’action pour l’engagement et la transition écologique. Particulièrement, elles démontrent que l’esthétique est un élément clé des transformations sociales et culturelles, mais sa dimension anthropologique reste à explorer, à expérimenter et à légitimer. Enfin, ce travail aspire à éclairer, sur un plan théorique, le rapport entre l’esthétique et l’engagement, puis à sonder la possibilité d’une (contre)politique de l’artificiel pour améliorer les modes de production de demain. / In the last forty years, designers have not been immune to the political turn of the ecological crisis and the normative tools that it generated to design our relationship to the world. In this professional field, the sustainability has been applied particularly to the choice of materials and the standards created have tended to consolidate the aesthetic properties of the Modern Movement. This endemic aesthetic, highly standardizing, anthropocentric and ahistorical is opposite to the change promised by environmental policies which require citizen commitment, building a community between human beings, and also with others, non-humans. Criticisms against the Modern Movement and environmentalism showed that the ecological commitment can take shape in another aesthetic, an aesthetic which also defeats the distinction between nature and culture and preserves the agency of people for sustainability. Looking at aesthetic through an anthropological approach, from a pragmatist and realistic perspective, this thesis argues that the ecological commitment depends on this particular aesthetic. The hypothesis is that the ecological commitment is closely linked to aesthetics of wear - the ability of materiality (bodies and things) to transform, to show mark of uses and time. To verify this hypothesis, various forms of ecological commitment have been identified, and their visual aesthetic properties documented. A photo ethnographic survey was conducted between 2014-2016 with six individuals, two couples and four ecological communities, all settled in urban areas. The fieldwork includes a self-managed activist squat in Istanbul, a self-managed cultural and social center in Berlin, a self-managed neighborhood in Copenhagen, a communitarian house in Montreal, persons following the principles of simple living in Montreal and a self-ethnography performed in the light of ecological practices observed in these fieldworks. A photographic data collection contextualized through a field notebook allows to describe the aesthetic properties of those ecological places and the actions undertaken. The results show that the aesthetics of wear is a transversal quality of these environments. It was identified in artificial and natural materiality, but also in gestures. The analysis also reveals twelve other aesthetic properties crucial to ecological commitment. This research allows us to take a critical look at sustainable practices. It contributes to a richer understanding of oppressive and engaging aesthetic properties. Designers shapes the everyday aesthetics. The knowledge produced allows designers and the other producers of the artificial environment to consider aesthetics as a lever of action for commitment and ecological transition. In particular, it demonstrates that aesthetics is a key element of social and cultural transformations, but its anthropological dimension remains to be explored, tested and legitimized. Finally, this work aspires to contribute, on a theoretical level, to the relationship between aesthetics and commitment, and explore the possibility of a policy (or not) for artificial to improve our future production patterns.

This dissertation examines key examples of foliate carving from the twelfth and thirteenth centuries, re-evaluating its historiographic context while refracting foliate decoration through the lens of climate in the medieval West. Looking to medieval ideas about plant life, weather, and religious devotion in France and England, this study posits that ecological change, rather than the influx of ideas in medieval universities, was a key factor in changing attitudes towards nature in the Middle Ages. The foliate program on the west façade of Notre-Dame of Amiens illustrates connections to environmental miracles, authenticity of local relics, and the Church’s attempts to intervene in natural disasters. Taking one of the most significant examples of medieval foliate sculpture, the interior foliate frieze of Amiens, a new analysis argues that sculptors knowingly made this monumental frieze look as if it were organic and alive, rather than reproducing each segment identically. Crockets, on the other hand, a site of repetition and modular adaptation, are considered an important aspect of Gothic design, especially in the quire and west front of Wells Cathedral, where innovative crocket designs appear to complement the visual identity crafted by the diocese.

The thesis Mannerist Tapestries in the Czech Republic is focusing on the topic of mannerist tapestries in the Czech Republic. So far this subject remains, in both czech and foreign professional literature, without any greater attention and if the topic is mentioned, the expressions "late renaissance", "mannerism" and "early baroque" are very often mixed. For this reason, it is necessary to define "mannerist tapestry", based on formal analysis, comparison and focusing on cultural-historical background. After this theoretical part, it will be possible to place certain tapestries to this very short art period or vice versa to exclude them. The main part is focused on mannerist tapestries from the castles, museums, ect. of the Czech Republic and their inclusion in the European context. Key words Mannerism, Tapestry, Decorative arts of the16th century, Art collections from the Czech Republic

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Die über 600 Gemälde, Miniaturen und Reliefplastiken umfassende Sammlung des Berliner Verlegerehepaars Franz und Frieda von Lipperheide ist Teil eines umfangreichen und einzigartigen Quellenkonvoluts, welches die unterschiedlichen ständischen, regionalen und geschlechterspezifischen Ausformungen von Mode, Tracht und Kostüm und ihrer Zeichenhaftigkeit abbildet. Die Werke der Sammlung, visuelle Zeugnisse europäischer und außereuropäischer Kleidermoden aus der Zeit von ca. 1430 bis 1900, changieren zwischen künstlerischen Entwürfen und dokumentarischen Zeugnissen. Sie waren erstmals 1906 als Teil der „Lipperheideschen Kostümbibliothek“, einer Schenkung von Franz und Frieda von Lipperheide an das Kunstgewerbemuseum Berlin, für die Öffentlichkeit zugänglich, seit 1934 jedoch ohne Domizil, später geteilt und deponiert. Der erstmaligen Aufarbeitung von Genese und Geschichte der Sammlung, ihrem Kontext als Wissensspeicher für die verlegerischer Tätigkeit der Eheleute, dem ursprünglichen Umfang – die private Sammlung umfasste Textilien, Bildzeugnisse, Textquellen und Sekundärliteratur –, der Sammlungsstrategie und dem Quellenverständnis widmet sich die vorliegende Arbeit. Im Kontext des 19. Jahrhunderts, zeitgenössischer Museumsgründungen und einer kunstgewerblichen Neuausrichtung, repräsentiert die Gemäldesammlung den methodischen Ansatz einer frühen Kostümgeschichtsschreibung. / The collection of the Berlin publishers Franz and Frieda von Lipperheide, comprising more than 600 paintings, miniatures and reliefs, is part of an extensive and unique compendium of sources depicting the various forms of fashion, traditional costume and dress, referencing their specifics to social class, region and gender. As visual evidence of European and non-European dress fashions from around 1430 to 1900, the pieces in the collection alternate between artistic designs and documentary evidence. They were first made accessible to the public in 1906 as part of the Lipperheide Costume Library, donated to the Berlin Museum of Decorative Arts by Franz and Frieda von Lipperheide. Since 1934, however, they have been without a residence, and were later divided up and deposited. The present study is the first complete analysis of the collection, looking at its origin and history, its context as a repository of knowledge for the spouses’ publishing activities, its original scope, its strategy and the conception of sources. Furthermore, it highlights the original scope of the private collection, which comprised textiles, pictorial evidence, text sources and secondary literature. In the context of the 19th century, informed by museum foundations and a rebirth of the arts and crafts, the Lipperheide collection of paintings represents a methodological approach of an early costume historiography.

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<p>Multilayer polymer decorative films are showing a growing presence in the automotive industry, substituting conventional paint applications while maintaining similar aesthetic appeal. However for certain film constructions that have distinct layer properties, the polymer film laminates have shown to form wrinkles on application of heat during thermoforming. In this study, attempts were made to identify the factors influencing wrinkling and to predict the variation in the wrinkle parameters under changing forming conditions using existing theoretical models. A new modified thermoforming technique is proposed for producing thermoformed parts without wrinkles and thereby achieving a <em>Class A</em> finished surface.</p> / Master of Applied Science (MASc)

The artist discusses the artwork of her Master of Fine Arts exhibition, Groundswell, held at Tipton Gallery in Johnson City, March 11 – 22, 2024. The exhibition includes wall pieces, sculpture, plaster, and ceramic objects that explore the traditional parameters of painting and its presentation. Ideas discussed include the philosophy of history, and the origin of European art tropes such as odalisques, flowers, and birds. Framing devices, deconstructed paintings, fiber arts, ceramics, 18th Century decorative art, plaster, the studio practice, Walter Benjamin, David Lowenthal, Gustave Courbet, Jean Honoré Fragonard, Titus Kaphar, Valerie Hegarty, and maximalism are also surveyed.

D.Litt. et Phil. (Anthropology) / Please refer to full text to view abstract