This thesis argues that the significance of apartments in Sydney's urban history has not been recognised due to a cultural resistance to apartment living. This lack of acknowledgement has masked the urban, social and architectural impact of the apartment building type in Sydney's history. As an interdisciplinary reading of the development of the purpose-built apartment building in Sydney since its inception in 1900, the thesis is premised on a desire to use the apartment building as a vehicle to tell an alternative housing history to the more commonly told one of house and garden. In the process, it provides a different story of the city's development through the lens of the apartment building and challenges cultural prejudices against apartment living. The research documents the growth and changes of apartments, tracking their location, diversity of type and scale across the Sydney metropolitan region. The research analyses prototypical and generic apartment buildings in the context of the city's history. Drawing on the intersection of eras and themes as a method of critical inquiry, the thesis covers aspects of domestic debates, market, regulation, scale, demography, geography distribution, design and typology, traversing a time period of 1900 to 2008. The thesis explores the debates for and against apartment living in Sydney, emphasising the roles played by apartments in the broader discourses of Australian cultural and design history. The thesis concludes that after more than a century, the debates between apartment and cottage living continue to rage. In systematically providing a trajectory for the history of apartments from ideology to typology, this thesis establishes a place for apartments in Sydney's urban and cultural history; and simultaneously provides a deeper historical context to assist the process of better understanding and responding to the contemporary debate about high-density living and its consequences for the life of the city. Despite the size of its largely undocumented subject, this thesis demonstrates the effectiveness of its rationale: to use analysis of a specific, controversial building type to provide new insights into Sydney's urban history, ideologies and built forms.

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[pt] O estudo investiga a atuação dos pintores-designers das vanguardas modernistas no campo do design têxtil entre 1910 a 1930. Mais precisamente, em suas propostas de defender e incorporar o esforço progressista, econômico-tecnológico da civilização industrial e por outro lado a busca de uma aproximação maior entre as artes consideradas maiores e sua integração à produção econômica. Outrossim, parte da perspectiva de que esses objetos de design podem ser tratados como evidências históricas, como cultura material, e nos podem falar desde a sua concepção, sua comercialização e seu uso, do papel do designer-artista no momento em que a arte atuou no desenvolvimento de bens simbólicos no sentido de produzir riqueza industrial. A outra perspectiva é observar esses designs de têxteis como imagens e neste sentido produtores de conhecimento sobre o contexto social e da época em foram projetados. O estudo questiona a indiferença da História da Arte e do Design em relação a esta produção, além da forma como estão sendo apresentados em exposições como objeto estético, procedimento que deixam de lado um testemunho histórico importante, no momento em que a prática do design e da arte, em conjunto, se aproximou da indústria. / [en] The study investigates the performance of the modernist avant-garde painters in the field of textile design from 1910 to 1930. More precisely, in their proposals to defend and incorporate progressive, economic and technological effort of industrial civilization and secondly the search for a closer between the arts considered major and their integration into economic production, like the decor and clothing. Moreover, part of the hypothesis that these design objects can be treated as historical evidence, such as material culture, and can speak from their conception, their marketing and their use, the role of designer-artist at the time the art served in the development of symbolic goods in order to produce industrial wealth. The other perspective is to look at these as textile designs, as images, and these knowledge producers who speaks sense of social context, and the time they were designed. The study questions the indifference of the History of Art and Design in relation to this production, and the way they are being presented in exhibitions, as mere aesthetic objects. Failure to observe these projects as historical documents, leaves out important evidence of a time when the practice of design and art industry closer together.

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This dissertation examines the ways in which design and design practitioners have defined value in the design discourse through the vocabulary and concept of goodness since 1870. These definitions of value have been central to design discourse both past and present and deal with the impact and purpose of design work as well as its role in the creation of the approaching future. Since before the coalescence of graphic design as a separate field of design, these questions have been tied to the form, function or social impact of the objects created by designers. Despite the prevalence of this line of inquiry in the discourse, current usage tends toward uncritical and uninformed usage because of a separation of the terminology from the historical context in which this conversation developed. The purpose of this investigation, then, is not to segment terms into “right” or “proper” definitions, but to apply a critical historical lens to the vocabulary of goodness as it has been used in the larger design discourse since 1870 in order to better understand the state of current discussions of value and to inform paths of future inquiry. In order to do so, this investigation developed a framework by which to understand the ways in which goodness has been contextualized over the last 150 years. This historical context does not limit us to a historicist approach to design, and it not presented as an essentialist or teleological marker of things to come. Instead, knowledge of the historical context and various uses of a term makes us better educated practitioners of design who are more capable of combating the individualistic fallacy of the enlightened genius. Through a fuller knowledge of the critical historical context in which our field’s vocabulary developed, we can better understand notions of creativity that position designers as expert guides through networks of information and meaning.

New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challenge—to develop open-ended systems that adapt to dynamic content, customization, and multiple authorship—can be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.

During the first decades of the twentieth century, Americans grappled with the idea of what it meant to be a modern society. As in other periods and places, arts, architecture and design played a significant role in expressing and exploring the issues and concerns of the day. In the period 1930 to 1965, and emerging practice called "interior design," in particular, became a potent medium for this purpose.Like modern art and modern architecture, the key to the practice of interior design was its basis in ideas. As curator Edgar Kaufmann, Jr., pointed out in his 1950 explanatory booklet "What is Modern Interior Design?" published by the Museum of Modern Art, interior design's foundation, in contrast to interior decorating, was in "principles rather than effects." To use the word "design" instead of "decoration," in relation to the creation of interiors implied the use of systematic and rational approach based in ideas not personal preferences. By the late 1930s both the discourse and practice of interior design as an alternative to interior decoration had begun to emerge in the United States.This study will explore how the emerging practice of interior design between 1930 and 1965, developed through the efforts of designers from various fields who all embraced this systematic and rational approach to creating interiors based in "principles and not effects." It will discuss how designers such as Ray and Charles Eames, George Nelson, Richard Neutra, Florence Knoll, and Russel and Mary Wright, whose work is highlighted in this study, used interior design as a way to explore and express theoretical considerations that could be learned, understood and disseminated by the designed interior. By doing so it exposes the ideas at work behind the interior designs of this period, which for the most part have not been fully considered by current histories, and presents a richer, more complete and more accurate account of this moment in design history and interior design's contribution to it.

This thesis explores professional visions for the planning of everyday life during the period of developed socialism. Considering a wide range of disciplinary literature, including architecture, urban planning, design and sociology, this thesis analyses how professionals imagined residential and domestic life in an urbanised and technologically advanced socialist society. Continuing the narrative of Khrushchev’s modernising programme to reform everyday life (<i>byt</i>) into the post-Khrushchev period, the thesis follows professionals of the last two Soviet decades who criticised the rationalising and collectivising planning paradigm inaugurated during the preceding decades. Professionals argued that this paradigm had produced a dehumanised and alienating everyday environment in the city and the home. After setting out the theoretical framework and the historical context of developed socialism, the first empirical section addresses urban residential life. It focuses on the microdistrict planning unit to illustrate how professionals, disillusioned with functionalist planning, searched for ways to humanise the city and adapt it to the behaviours and needs of urban residents. Part two investigates shifting professional views on the home and the everyday processes associated with it, such as cooking and cleaning. No longer seen as a utilitarian space in which everyday processes transpire, the home came to be understood as a personal and emotionally resonant place. Part three focuses on material culture, investigating evolving views on consumption and aesthetics. It illustrates how professionals endeavoured to rehabilitate the object world and align it with populist preferences while nonetheless maintaining a commitment to technological and forward-looking principles. In contributing to the scholarly understanding of developed socialism, this thesis contends that the 1970s-1980s saw experts embrace individual agency and popular sentiments. This turn did not, however, signify a turn towards individualism or de-politicised malaise: professionals maintained their utopian aspirations to engineer and control everyday life.

A pesquisa fornece uma contribuição à história do design brasileiro, no resgate dos processos de constituição dos Currículos Mínimos de Desenho Industrial de 1969 e 1987; procurando entender mais especificamente o papel que a categoria acadêmica e membros do campo do Desenho Industrial do período teriam exercido na solicitação, discussão, redação, revisão e publicação de ambos currículos. Embasando-se em fontes primárias e memórias dos envolvidos nos processos, a pesquisa se fundamenta metodologicamente nas premissas da História Social; adotando a Micro-história como método de abordagem nas delimitações de recortes gerais; a História Oral, como método de coleta de dados; e a História das Ideias para as definições do domínio da pesquisa. Constatou-se que a primeira versão do Currículo Mínimo em 1969 não teve interferências diretas do campo para sua escrita, nascendo de certa burocracia entre o Governo do Estado da Guanabara e o Conselho Nacional de Educação para o reconhecimento do curso de Desenho Industrial da Esdi (Escola Superior de Desenho Industrial); enquanto a nova versão do Currículo Mínimo, em 1987, teve importante participação das associações profissionais e escolas do período, que viram no currículo mínimo um importante suporte à reserva de mercado, em paralelo à regulamentação profissional. / This research seeks to contribute to the Brazilian design history by retrieving the making process of the Industrial Design Curriculum published in 1969 and 1987; attempting to understand more specifically the role that the academic circles and members of industrial design field at that period had on requesting, discussing, writing, editing and publishing not both curricula. The study is methodologically supported by the premises of social history and largely based on primary documentary sources and the memoirs of those involved - using Oral History as data collecting method, and the theoretical approach of Micro-History, placing its object of study within the History of Ideas. This study has found generally that the professional field had not interfered in the making of the 1969 Minimum Curriculum, which was drawn up by the state bureaucracy - the Government of the State of Guanabara (current Rio de Janeiro) and the National Council of Education - to grant the official approval to Esdi\'s Industrial Drawing course; whereas for the 1987 Curriculum schools and professional associations widely discussed and participated in the process, trusting in the curriculum as well as professional regulation as valuable tools to ensure market exclusivity.