<p> Everything we touch, sit on, use and lean against is designed. Design disciplines (e.g. architecture, landscape architecture, city/urban planning, interior design and industrial design) play an extremely significant role in shaping the man-made environment we live in. They help to populate it with cars, furniture, buildings, clothes, cell phones, and countless other artifacts and also play a significant role in producing innovations that drive successful companies in a challenging and fiercely competitive global market. Perhaps more importantly, the consumption and use of designed goods, spaces, and services produce, reproduce, and mediate our very identities and culture. </p><p> Despite their cultural, economic, and political significance, design professions are understudied in sociology. In sociology, the few available case studies of design professions emphasize professional practice and tend not to study the higher education system, where professional designers are produced. Moreover, there are no studies in sociology that examine academic design disciplines comparatively. </p><p> This dissertation undertakes a quantitative, macro-comparative study of the institutionalization and growth of design disciplines in the US during the past 26 years, 1984-2010, using a unique longitudinal dataset. Through analysis of the intra- and extra-institutional resources and conditions that promote the growth of design disciplines and comparing their growth to those of art and engineering, this study provides valuable insights to policymakers and administrators who seek to make meaningful interventions within the academy and will advance sociological understanding of the changing organization of academic knowledge.</p>

<p> This study seeks to understand the larger cultural context that gave rise to what is referred to as "non-design," a term designated to denote a particular aesthetic that is characterized by a suspicion of, and/or rejection of, "conscious" design, while embracing various phenomenon that emerge without "intention" or "deliberate human design." The study traces the phenomenon of "non-design" in British and American design culture of the postwar period. The author argues that following Friedrich von Hayek's theories of the "undesigned" nature of social institutions and his concept of a "spontaneous order" of the 1940s, non-design first emerged in design discourse and practice in the early 1950s in England, particularly in the work of certain members of the Independent Group, and by the mid-1960s it gained currency in the United States in the architectural and urban theories of Charles Moore, Robert Venturi and Denise Scott Brown, and particularly in Reyner Banham's writing on American urbanism. While rarely made explicit, this dissertation argues that the concept of non-design played an important role in design and urban debates of the postwar period.</p>

<p> This cultural study critically investigates the mechanics of the revolutionary posters that were used for mobilizing the Iranian masses and later incorporated by the Islamic propaganda machinery to mark the continuity of the Iranian Revolution. The posters are organized thematically: The initial posters incorporate the religious/secular symbolism of coffeehouse-style poster paintings from the Qajar-era and are followed by posters showcasing the means and spaces of mobilization including the influence of the mosque, religious seminaries, cassette tapes and city walls. The posters in the middle of the thesis try to showcase how influential the rhetoric of Shi'ite Ideology was as projected by the revolutionary ideologues in appealing to the different religious minorities and classes under the Pahlavi state for the resistance movement. The photographic posters follow these national cohesion posters and bridge history and memory, thus situating these posters in the realm of sites of memory, mourning and commemoration. The posters in the last segment include the following themes: gender, commemoration of national and international events including the Iran-Iraq War, and the Gathering of the Liberation Movements of the World. Contrary to the argument portraying posters as insignificant to the Iranian Revolution, this study locates the propaganda images in the milieu of "small media" sparking a "big revolution." Simultaneously, this study reveals the inescapability faced by the ideologues in utilizing abstract, grotesque and profane themes to mobilize and mark the continuity of Anti-Western, Anti-Modern Islamist Revolution.</p>

Bakalauro darbo tikslas sukurti dekoratyvų daugiafunkcinį baldą „KUBAS“. Kūrybiniame procese naudojamos informacijos šaltinių studijos. Nagrinėjama istorinė baldų raida, baldų rūšys, medžiagos naudojamos baldų gamyboje. Kūrybinio darbo idėjos paieškoje naudojant informacijos šaltiniuose pateiktą medžiagą nagrinėjama konceptualių, ekologiškų ir daugiafunkcinių baldų gamyba ir pritaikymas interjere. Išnagrinėjus šią medžiagą pristatoma galutinė gaminio idėja – dekoratyvus daugiafunkcinis baldas „KUBAS“. Įgyvendinant idėją kuriami eskizai, braižomi brėžiniai, gaminamas maketas. Praėjus šiuos kūrybinio darbo etapus, pasirinkus medžiagas ir suplanavus darbo eigą pagaminamas „KUBAS“. Dekoratyvaus daugiafunkcinio baldo kūrybinio darbo proceso patirtis bus pritaikoma technologinio ugdymo procese. / Bachelor's goal to create a decorative multi - functional furniture "Cube". Creative process, sources of information used in studies. Examining the historical development of furniture, furniture types of materials used in furniture manufacturing. Creative ideas for job search information sources using the material at issue in the conceptual, eco - friendly and multi - functional furniture and interior applications. Examination of the material presented in the final product idea - a multifunctional piece of furniture decorated with "Cube". Implementing the idea of creating sketches, drawings are done and made model. After these stages of the creative work, selecting materials and planning of the work produced in the course "Cube". Decorative multi - functional piece of furniture the creative process of working experience will be adapted to technological education.

No description available.

<p> In the past few decades, web technologies and increasingly accessible digital fabrication technologies such as 3D printers and laser cutters have made it easier for individuals and communities to create complex material objects at home. As a result, communities of individuals who make things outside formal institutions, known as maker communities, have combined traditional crafts and technical knowledge with digital tools and web technologies in new ways. This thesis analyzes maker communities as post-industrial participatory design communities and examines them as participatory spaces where technical communication occurs between individuals with varying levels of expertise and sometimes drastically different knowledges. Ultimately, this thesis asks what technical communicators can learn from maker communities about international post-industrial economies and the future of technical communication. </p><p> This thesis explores how the emergence of interdisciplinary maker communities is rooted in earlier open source movements and the web, how open source principles change when applied to material development processes, how makerspaces and maker faires function as sites that bring together makers in development, and how maker communities serve as examples of post-industrial configurations of participatory communities. </p><p> Through participating in and analyzing maker communities, I suggest that participatory communities are a fundamental component of post-industrial development processes, and that technical communicators are well equipped to deal with the socio-cultural, rhetorical, and technological challenges such communities face. Furthermore, drawing on Liza Potts' theory of Experience Architecture, I suggest that technical communicators will continue to act as guides in decision making processes and as creators of communities, while also creating systems that enable greater exchange of information across platforms and communities, in both physical and digital realms.</p>

This thesis investigates the manufacture and use of ceramics over four centuries in Lincolnshire, and considers the evidence for date and function of the pottery itself and for the social standing and economy of the potters, late survivors of the medieval peasant craftsman tradition. Documentary and physical evidence are both searched to produce the most comprehensive possible list of sites and potters names, and to highlight the areas of doubt where neither type of source can give sufficient proof. The methods of pottery production are also examined and two specific types of vessels are discussed in detail as examples of the search for -=origins. From this point the search widens to consider the importation principally by sea of pottery from other parts of the country and from Europe, and the prices of such wares are compared with prices of local products. This leads to certain conclusions about the economic pressures on local potters and their adjustments to deal with new problems and changing expectations. Contemporary sources, depositional evidence and context are next used to study the names and function of pottery, and finally the principles of dating are discussed, and a series of pottery groups are analysed to test the reliability and transferability of dating. Throughout pottery making is compared with comparable trades and Lincolnshire's position with that of the wider ceramic world.

This thesis describes the origins of the Scottish architectural iron founding industry. It also investigates the underpinning reasons for the proliferation of the Scottish industry in terms of the technological context and the complex inter–relationships of the key figures and firms involved. The founding of Carron in 1759, combined with the discovery of blackband ironstone and the means to smelt it, prompted the rapid growth of the iron founding industry at the start of the 19th century. The influence of Carron in propagating a broader industry and the evolution of the early architectural specialists are discussed. Accounts are given of the key Scottish firms and projects and structures are considered in detail. The Saracen Foundry of Walter Macfarlane and Co is identified as a firm of international importance. The comparative outputs of the key firms in relation to known structures are considered as well as the decline of the industry towards the end of the 20th century. Significant works of innovation are identified which have not previously been appreciated in early iron façade construction at Perth Waterworks, and possibly the earliest iron glasshouse at Fairfield House in Dalkeith.

"Light, whose beauty within darkness is as jewels that one might cup in one's hands; light that hollowing out darkness and piercing our bodies, blows life into `space"'.'Tadao AndoThis thesis book documents the process and procedure of a two-year study of how daylight can be manipulated by design to enhance and elevate the experiential qualities of sacred space and then applies those characteristics to the design of an architectural thesis project.The exploration involved two major points of focus: one was the exploration to identify the principle qualities and characteristics of natural light and the other, to apply those principles of light into built form.This paper is presented in five processes: an introduction, three types of reflection, and a conclusion. Process I, presents the theoretical underpinning on the subject of light and identifies the key qualities and characteristics of light and the daylighting principles applied by Louis I. Kahn and Tadao Ando in the formulation of sacred space. Process II, presents the articulation of the necessary criteria to design a sacred space. Process III, applies the daylighting strategies to the design of a "one-volume" library for displaying Leonardo da Vinci's Codex. Process IV, presents an alternate scenario and an explanation of architecture as meaning. Process V, summerizes the meaning of the architecture and experience of the Library. 'Ando, Tadao, Complete Works, Phaidon Press Limited, London, (1997). / Department of Architecture

Ancient glasses are invariably complex materials, in which the specific chemical composition and microstructure capture aspects of their technologies. The chemical characterisation of glasses in specific archaeological contexts has given useful insight into the peculiarities of diverse glass-making technologies. In addition such studies generate more general information upon an important range of phenomenon, including the pyrotechnological milieu, empirical knowledge of sophisticated chemistry, organisation of production, access to significant raw materials and long-distance trade. This study examines a wide selection of glass artefacts recovered from archaeological contexts in Northern and Central Italy from approximately 1200 BC to 200 BC. The earliest material is from the Final Bronze Age, and extends the characterisation of an established glass type, which is unique to Europe and distinct from the contemporary technologies of the Eastern Mediterranean. Using a combination of X-ray fluorescence analysis, electron microprobe and scanning electron microscopy glass artefacts from a thousand-year period from the same region are investigated. The shifting technologies permit the discussion of localised production and importation of glass from elsewhere. The chemical analysis reveals a complex picture of glass production, which defies the expected pattern, and there is evidence for new compositional types, which may yet prove to be diagnostic of highly localised production. The changing compositions are discussed in relation to the broader archaeological context.