On October 11, 1963, artists Gerhard Richter and Konrad Lueg held the event “Leben mit Pop: Eine Demonstration für den kapitalistischen Realismus” (Living with Pop: A Demonstration for Capitalist Realism) at the Berges furniture store in Düsseldorf, Germany. Many scholars have treated this event as an image, useful only in outlining the trajectories of the later successful careers of Gerhard Richter, Konrad Lueg, and Sigmar Polke. Few have attempted to contextualize this event in its social, historical, and political settings or to consider its effects on and relationship to the audience at the event. In this thesis, I resituate “Living with Pop” in terms of its experiential effects and its socio-historical context and extend my investigation of “Living with Pop” to the contemporaneous paintings and drawings of Richter, Lueg, and Polke. I argue that their artworks, which parody and question domestic tropes of the postwar era, reveal the complexities and ambiguities underlying the notion of West Germany’ s Wirtschaftswunder, or “economic miracle.” I examine how Polke, Richter, and Lueg explored artistic and national identities, a postwar culture of consumerism, contemporary modes of communication, and theories of culture and aesthetics in the late 1950s and early 1960s. To investigate the relationships between artistic creation, artistic identity, and contemporary daily life, I use domestic design exhibitions, advertisements, the journal Magnum, and a few select texts on contemporary society and culture by Jürgen Habermas and Theodor W. Adorno as relevant sources. / text

This thesis has three objectives. First, to present the findings of an investigation made to determine the conditions of the selected mountain site and to familiarize myself with family living requirements. Second, to employ these findings in an organized design to satisfy all architectural and family requirements. Third, to present a detailed design of the residence which shall be designated “A Residence for Tryon Mountain.” / Master of Science

This thesis examines the ways in which the Daily Mail Ideal Home Exhibition educated (, and entertained the public in the first half of the twentieth century by promoting a modern way of life, helping to establish a commercial culture of homemaking. By exploring the ways in which the Exhibition represented popular conceptions of the 'modern' within their social and historical contexts, the thesis challenges the dominance of Modernist aesthetics and values on writing on design, architecture and consumption. Chapter one explores the unease felt by a particular group of writers towards the Ideal Home Exhibition, which it locates in relation to a wider intellectual condemnation of modernity and suburbia. Chapter two looks at the founding of the Exhibition by the Daily Mail in 1908. Chapter three analyses how the Daily Mail and the Exhibition constructed an 'ideal audience' and why the idea of an 'ideal home' was so appealing. Chapter four looks at the ways in which ideas about 'labour-saving', which were part of a concern with national efficiency that drew on the doctrines of scientific management, have constructed the 'ideal home' as a site of change and experimentation. Chapter five explores how the 'Tudorbethan' semi and the popular appropriation of the Modern Movement in the Exhibition represented tensions between the longings for the past and aspirations for the future. Chapter six investigates the representation of non-English peoples and places and the display of Empire in the Exhibition. Chapter seven looks at how the Exhibition addressed the question of the 'house that women want', focusing on the actual participation of women in the Exhibition, as 'natural' experts and paid professionals. Chapter eight makes some conclusions on the ways in which the audience's experience of 'suburban modernity' in the Exhibition was dependent on the interaction of the themes outlined in the earlier chapters. The thesis ends with a review of the past, present and future of the Ideal Home Exhibition.

by Elmer Anthony H. Olaer. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (leaves 105-108). / Table of Contents --- p.i / List of Figures --- p.iii / List of Tables --- p.v / List of Appendices --- p.vi / Glossary --- p.vii / Abstract --- p.viii / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- Background --- p.6 / Urban location --- p.6 / Estate planning --- p.9 / Non-Residential Facilities --- p.13 / Streets and parking --- p.15 / Pedestrian Walkways --- p.16 / Open Spaces --- p.17 / Chapter Chapter 3 --- Daily Life --- p.19 / Mornings --- p.20 / Noontime --- p.22 / Evenings --- p.23 / Chapter Chapter 4 --- Mei Foo Sun Chuen --- p.24 / Background --- p.24 / Estate Masterplan --- p.26 / Residential Towers --- p.27 / Non-residential facilities --- p.28 / Street System --- p.30 / Pedestrian Paths --- p.32 / Open Spaces --- p.33 / Summary --- p.36 / Chapter Chapter 5 --- Tai Koo Shing --- p.37 / Background --- p.37 / Subdivisions within the estate --- p.39 / Ancillary community facilities --- p.41 / Internal Street System --- p.44 / Internal and External Pedestrian Walkways --- p.45 / Open spaces --- p.47 / Summary --- p.51 / Chapter Chapter 6 --- Whampoa Garden --- p.52 / Background --- p.52 / 15residential and commercial sites --- p.54 / Residential Towers --- p.55 / Ancillary community facilities --- p.55 / Streets --- p.57 / Pathways --- p.60 / Open Spaces --- p.62 / Summary --- p.66 / Chapter Chapter 7 --- Summary and Discussion --- p.67 / Urban location --- p.67 / Planning of estates --- p.65 / The residential towers and the cruciform --- p.72 / Ancillary community facilities --- p.74 / Streets and parking --- p.78 / Pedestrian walkways --- p.81 / Open spaces and recreational spaces --- p.83 / Chapter Chapter 8 --- Conclusion and Recommendations --- p.91 / Appendix 1 --- p.98 / Appendix 2 --- p.99 / Appendix 3 --- p.100 / Appendix 4 --- p.101 / Appendix 5 --- p.102 / Appendix 6 --- p.103 / Appendix 6 --- p.104 / Bibliography --- p.105