The meaning of the architectural surface was thoroughly reconsidered by architects and historians in England and Europe between early and mid-nineteenth century. There were two major trends. The first one was historicist. Ornament and colour was considered important because it represented the origins of architecture. The second approach was rational and tectonic. It suggested that an honest surface had to be created by emphasizing the structure and by truthfully expressing materials. An unusual response to these debates was John Ruskin??s history of medieval and Renaissance architecture. This was published as The seven lamps of architecture (1849), and the three volume study, The stones of Venice (1851-1853). Ruskin??s writings were difficult to grasp. On the one hand, they were fragmented, historically inaccurate, and lacking in explanatory power. On the other hand, they emphasized surface ornament, without ever indicating its architectural ??use??. As a result, nineteenth and twentieth century historians and architects declared Ruskin??s writings as being irrelevant to architectural theory and practice. By examining Ruskin??s writings on architecture through the theoretical lens of dress, body, and gender, the thesis demonstrates that he proposed the theory of the adorned ??wall veil??.This was a two-part theory. Firstly, architecture was defined by the presence of planar walls. The masonry structure of these walls was masked and decorated by a seamless dress-like surface, consisting of relief and polychromatic ornaments. Secondly, Ruskin distinguished between the ideal and the corrupt dress. The ideal dress celebrated the spiritual aspects of the body (surface, skin, and colour). The corrupt dress represented the scientific image of the body (depth, bones and muscles, and form). The ideal dress was reflected by the surfaces of medieval buildings, and the corrupt dress was mirrored by the Renaissance architectural surface. Through these arguments, the thesis makes two major contributions. Firstly, it shows that Ruskin??s views were consistent with the architectural modernism of the twentieth century, in which the free fa??ade and the atectonic surface were key concerns. Secondly, it establishes that Gottfried Semper??s writings were not the sole origin of the debates on dress and architecture. It shows that Ruskin developed a critical theory of dress by synthesizing debates on gender, science, and spirituality. He used this theory to suggest a new approach towards architecture.

This project's purpose is to relocate traditional paper-based library content about typographic history to a website, curated as a digital museum. The project process is defined as three distinct parts: 1. Scholarship and research. 2. Model-building and website creation. 3. Deployment, testing and evaluation. To support this, the project included the following sub stages: An informal needs analysis generated by reflection on practice. A survey of contemporary typeface classification systems, type education literature and online resources for typographic study. The building of animated and three-dimensional prototype models. The creation of a database of 100 historically significant typeface designs. The sourcing of samples, references, images and the gathering of reproduction permissions from designers, institutions and foundries whose work features in the database. The writing, editing, design and launch of the website at http://www.100types.com Peer feedback and review. An evaluation study of the website with students at AUT University in Auckland, New Zealand. A series of revisions to the website structure and presentation. The writing up of the research process and findings. I chose this topic as the direct result of my experiences teaching typography at AUT University and other tertiary institutions. The need for graphic design students to demonstrate competencies in typography (as a sub-discipline of graphic design) has always been present, but has been fore grounded over the last two decades; however, a recent PhD thesis on the subject has argued that traditional delivery of print-based typographic knowledge no longer serves undergraduate requirements for today's divergent screen-based media (Yee, 2006, p.11). This has been accompanied by a significant rise in the number of available typefaces (Cahalan, 2004, p.62). Unfortunately the means with which to study them has not kept pace with these developments (Dixon, 2002, p.4).Changes occurring within the type manufacturing industry and the wider field of creative industries during the last two decades have made the historical, background context of typography harder to comprehend from an undergraduate point of view. Students complain that they are under-resourced for information (in their preferred research medium) about the typefaces they must demonstrate care and deliberation in choosing. From experience gained in observing an online-learning pilot scheme in 2005, I elected to develop an online reference resource designed for self-directed research of typographic history as a complement to the existing tuition of typographic applications face-to-face in the classroom. While the project offers a useful example of how practice-led research can augment a teaching situation, and is concerned with the promotion of student-centred and self-directed learning at AUT University, this is not its only objective as a public-access location on the internet. In keeping with the rising philosophy of open content for web-based education resources, a conscious decision was made at the project's inception to host and present the website independently of AUT University and its online learning environment.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-14T14:05:25Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) tese biblioteca-baixa-ajustado.pdf: 8913235 bytes, checksum: 430031e21c520122559a7afe4bfd6d32 (MD5) / Made available in DSpace on 2016-07-14T14:05:25Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) tese biblioteca-baixa-ajustado.pdf: 8913235 bytes, checksum: 430031e21c520122559a7afe4bfd6d32 (MD5) Previous issue date: 2015-07-20 / O cenário doméstico é resultado do conjunto composto por: moradia, mobiliário e interior doméstico, atrelados ao contexto sociocultural, tecnológico e econômico do seu tempo. Entretanto, apesar do esforço dos arquitetos modernistas em pensar a moradia, seu mobiliário e interiores como um produto único, são comuns os estudos que analisam as moradias, o mobiliário e os interiores domésticos como objetos desassociados. Tal fato tem gerado historiografias fragmentadas, o que ficou claro em vasta pesquisa bibliográfica realizada para elaboração desta tese. Diante disto, esta tese pretende gerar um panorama das principais transformações do cenário doméstico - moradia, mobiliário e interior doméstico - recifense nas décadas de 1950, 1960 e 1970 à luz dos acontecimentos emblemáticos de seu contexto sociocultural, econômico e tecnológico. / The domestic scene is the result of the set consisting of: housing, furniture and domestic indoor, linked to socio-cultural, technological and economic context of their time. However, despite the efforts of modernist architects to think the housing, its furnishings and indoors as a single product, the studies are common analyzing the houses, the furniture and domestics indoor as disassociated objects. This has generated fragmented historiography, which was clear in extensive literature research conducted for the preparation of this thesis. Therefore, this thesis aims to create a panorama with all the factors involved in Recife domestic scene of the 1950s, 1960s and 1970s, which involves: the housing, its furnishings, the domestic indoor and contextual paradigmatic events.

[pt] Para Todos: J. Carlos Designer é um trabalho que tenta contribuir para a desmistificação da idéia de que o design gráfico no Brasil nasceu com a institucionalização do ensino no país na segunda metade do século XX, a presente dissertação traz à luz a atuação do caricaturista J. Carlos enquanto designer gráfico à frente das revistas publicadas pela empresa O Malho S. A. pertencente ao grupo Pimenta de Mello & Cia entre 1922 e 1930. Através da análise gráfica de três revistas do grupo, Para Todos..., O Malho e Illustração Brasileira, procurou-se demonstrar que, ao realizar um projeto gráfico distinto para cada uma das revistas, direcionando-os aos respectivos públicos-alvo, a atuação de J. Carlos em nada difere da de um designer gráfico hoje, não havendo portanto nenhuma justificativa para que tal legado não seja incorporado à nossa memória gráfica. Dada a qualidade dos projetos, acreditamos que, o mapeamento dos recursos por ele utilizados pode constituir uma rica fonte de aprendizado para os estudantes da área. O primeiro capítulo traça o arcabouço teórico que guiará a análise gráfica apresentada; nele se fala sobre os vários significados do conceito moderno ao longo da história, da modernidade baudelairiana, do modernismo e do art déco. O segundo capítulo contextualiza o leitor no Rio de Janeiro dos anos 1920, traçando um perfil do artista gráfico da época e do parque gráfico do qual dispunha. No terceiro capítulo, através da análise gráfica, percorremos a atuação do J. Carlos designer nas revistas acima citadas, observando as soluções técnicas e visuais por ele adotadas em cada uma delas no que concerne a tipografia, a fotografia e o desenho e o modo como esses elementos se relacionam. / [en] Para Todos: J. Carlos Designer is a research work that tries to bring up some contribution on demystifying the idea that graphic design in Brazil started through the institutionalization of apprenticeship in the second half of the XXth Century, this dissertation focuses caricaturist J.Carlos as a graphic designer, between 1922 and 1930, when responsible for magazines published by O Malho S.A., owned by Pimenta de Mello & Cia. Through graphic analysis of three of those magazines - Para Todos, O Malho and Ilustração Brasileira - the idea was to demonstrate that proposing different graphic design solutions for each of them, aiming each specific public, J, Carlos had an approach in anything different of the one of today s graphic designers, and therefore there is no reason why such a heritage should not be considered part of our graphic design memory. The quality of these projects makes the study of resources used a rich source of apprenticeship for design students. First chapter establishes theoretical structure that will guide graphic analysis presented, being mentioned the various meanings of modern concept through history, baudelerian modernity, modernism and art deco. Second chapter concerns the twenties in Rio, making a profile of graphic artists of the time and of technical resources available. Third chapter follows J, Carlos work as a designer in above mentioned magazines through graphic analysis, observing technical and visual solutions proposed for each of them, in what concerns typography, photography and drawing, considered separately and related to one another.

abstract: The profession known as industrial design is undergoing a transformation. Design thinking and strategy are replacing form giving and styling. Critics are calling for curricular reform to meet the changing needs of practice, yet surprisingly little knowledge is available about how and why design teachers do what they do. In an effort to frame the problem of (re)designing design education, this study provides a framework for understanding the pedagogical beliefs and preferences of design students and educators utilizing Bruner’s four folk pedagogies. This study also provides evidence that the practices of industrial design teachers exhibit what Cross (2006) has described as ‘designerly ways of knowing.’ / Dissertation/Thesis / Doctoral Dissertation Design 2020

Detta är en uppsats som analyserar tre nedslag tagna ur svensk designhistoria. Bakgrunden ligger i Sveriges varumärke, nation brand. Materialet utgörs av marknadsföring från Stockholmsutställningen 1930, reklambilder från IKEA under 1980-talet och ompositioneringen av varumärket “Sweden” 2014. Teorin bygger på semiotik och vad nation brand och national reputation är och gör. Metoden utgår från semiotik och analysen görs utefter en semiotisk analysmetod av det bildmaterial som valts ut från dessa tre nedslag i svensk designhistoria. Då detta är en undersökning inom ett fält där personliga tolkningar och bakgrund spelar stor roll i hur materialet analyseras är det svårt att hitta ett definitivt svar på den eventuella forskningsfrågan - resultat blir istället en diskussion om samspelet mellan nation och analysmaterialet, hur nationen påverkat dessa och hur de i sin tur påverkat nationen och dess varumärke.

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No description available.

[pt] Esta dissertação é resultado de uma pesquisa na área de história do design, baseada em estudo de cultura material. Seu objeto principal é a propaganda gráfica criada para divulgação do Recenseamento Geral de 1940. O material encontrado é composto por onze peças formadas por ilustração e texto, pertencentes ao acervo iconográfico do Instituto Brasileiro de Geografia e Estatística (IBGE), órgão responsável por esse inquérito. Tanto a criação do IBGE quanto a realização do Recenseamento fizeram parte do projeto modernizador do Estado Novo e vieram suprir a necessidade de informações estatísticas confiáveis e de conhecimentos geográficos sobre o território nacional. Os modelos de governo autoritários marcaram os anos trinta e quarenta em diversos países e trouxeram a institucionalização da propaganda como forte arma de controle ideológico. No Brasil não foi diferente. O objetivo desta pesquisa, portanto, é analisar de que forma esse material se insere no discurso visual do Estado Novo. Para isso são apresentados os contextos político e cultural do período em questão. A seguir há uma discussão sobre o papel da estatística e da geografia no Estado Novo a partir de imagens criadas no IBGE. Por fim é feita uma análise gráfica de cada peça de propaganda do Recenseamento e um levantamento de características recorrentes, verificando-se de que maneira elas transmitem as idéias do regime e as suas semelhanças com outros exemplares de design gráfico produzido no mesmo período. / [en] This MA thesis is the result of research in the area of design history, based on the study of material culture. Its main object is the graphic propaganda created to advertise the General Census of 1940. The material under study comprises eleven items made up of text and illustration, which belong to the iconographic collection of the Instituto Brasileiro de Geografia e Estatística (IBGE), the institution responsible for conducting the census. The creation of IBGE, as well as the setting up of this Census, was part of the broader modernizing project of Estado Novo and was intended to fill in the gap of reliable statistical information and geographical knowledge about the national territory. Authoritarian models of government were characteristic of the thirties and forties in different countries, and they brought about the institutionalization of propaganda as a means of ideological control. This was no different in Brazil. The aim of this study is, therefore, to analyze in which way the images under consideration are part of the visual discourse of Estado Novo. For this reason, the political and cultural contexts of this period are first presented. There follows a discussion of the role of statistics and geography as used by Estado Novo based on the images created for IBGE. Finally, a graphic analysis is undertaken of each individual item of propaganda for the census, seeking to identify common themes and verifying how they transmitted ideas about the system, as well as pointing out similarities with other examples of graphic design produced in the same period.

[pt] Desde os primórdios do transporte aéreo, o design de interiores de aeronaves evoluiu de cabines baseadas nos vagões Pullman, adotando interiores baseados em embarcações durante a era dos hidraviões, para finalmente desenvolver um vocabulário formal próprio após a Segunda Guerra Mundial. Este último período coincide com a crescente participação de designers renomados no projeto de interiores e um dos melhores exemplos é o trabalho de Walter Dorwin Teague para a Boeing, iniciado com o modelo Stratocruiser em 1946, e tendo continuidade até o modelo 777 de última geração. Esta dissertação pretende descrever e analisar a evolução histórica do design de interiores aplicado às aeronaves de passageiros e identificar as fontes de inspiração e os conceitos estéticos aplicados nestes interiores ao longo da história. A dissertação também identifica os designers e profissionais de áreas correlatas (decoradores, arquitetos, fashion designers) que realizaram projetos para esta área, contribuindo para o estabelecimento dos atuais padrões de design de interiores aeronáutico contemporâneo. / [en] Since the early days of air travel, aircraft interior design has matured from cabins based on Pullman railcars, evolving to ocean liner- like interiors, during the era of flying boat travel, to finally develop a proper formal vocabulary after World War II. This later period sees the growing interventions of many well known designers, and one of the best examples is the work of Walter Dorwin Teague for Boeing, starting with the Stratocruiser in 1946 and continuing up to the latest models of the 777.This thesis aims to describe and analyze the historic evolution of interior design as applied to passenger aircraft, to identify the sources of inspiration and esthetic concepts applied throughout history inside passenger aircraft cabins. The thesis also identifies industrial designers and professionals of related fields (decorators, architects, fashion designers) who have developed designs for this area, contributing to setting the state of the art in contemporary aeronautical interior design.