This thesis explores the way in which interior decorating developed as a practice during the interwar period in Britain and seeks to address broader contexts of gender, class, taste and styles. While traditional design histories have tracked the development of the interior design model through a direct sequence of movements and ideologies through the nineteenth and twentieth centuries, this thesis addresses issues which have been problematic within the context of art and design history. It acknowledges the more linear dimension of the original strand and seeks to offer a complementary appraisal which considers and appreciates the role of class, wealth and privilege and deconstructs boundaries which have marginalized gender and obscured certain important influences. The study examines the way in which decorators, many of whom were female, negotiated a design agenda which engaged with modernity without fully renouncing hard-fought signifiers of their class, taste and individuality. It argues that in the development of its practices, significant alliances were formed with fashion and that the vital role performed by media representation and social commentary underpinned its commercial profile and provided the public locus of its discourse. The nature of professional decorating is explored against a background of emerging practices in the first decades of the twentieth-century which included the antiques trade; grand scale establishments such as Lenygon & Morant, White Allom, Thornton-Smith and Keebles; department-store studios including those at Heal’s, Waring & Gillow and Fortnum & Mason; and individual practitioners and designers including Syrie Maugham, Sibyl Colefax, Dolly Mann and Ronald Fleming. In a period rife with social and political upheavals and conflicting ideologies as well as technological advancement and life-style changes, the study’s analysis aims to provide a broader understanding of the way in which decorators proactively negotiated such conditions and presented a cultural and aesthetic response to modernity through the diversity of their styles.

The ‘Avant-Garde’ in architecture seems a challenging subject: first, because the term has not yet clearly defined, despite the ubiquity of its use; second, because through that ubiquity it has become a buzz-word that is empty of precise meaning; third, because although this use includes the history of modern architecture, its application to this field has been largely unreflective and often unconsidered, as this thesis demonstrates. There is ambivalence as to which architectures are ‘Avant-Garde’ or should be regarded as ‘Avant-Garde.’ Therefore, there is a challenge in any question such as: what is the Avant-Garde in architecture? How can the architectural Avant-Garde be defined? What is the concept of the Avant-Garde in architecture? My thesis is a sociological conceptualization of the Avant-Garde in architecture. It is based on the mapping of the use the‘ term ‘Avant-Garde’ in architectural history, theory and criticism and its analytical tools are sociological. While it belongs to the above fields, it is informed by art theory and history, cultural studies, and the sociology of the professions, and includes sociological, cultural and political analyses. I suggest that the Avant-Garde is an Operation internal to architecture; a mechanism that does not only describe it but formulates it, motivates it, or else, influences our perception of it. I propose that the Avant-Garde is directed by prominent elements of its internal domain. It includes a filtering process, a rough selection process, and a selection process, by which one or more architectures internal conditions - are introduced to the discipline to renew the profession toward the desired and necessary, for the element who directs the operation, direction (see fig. 2, appendix). The end result of the selection process is what we commonly understand as ‘Avant-Garde’ architecture, e.g. Russian Constructivism or Bauhaus. I also propose that the Avant-Garde lies in and operates within the socio-ideological sphere of architecture and that renewal of the architecture's internal domain is necessary, thus the Avant-Garde is necessary, so as to make architecture respond to each time new external conditions and so endure, as a profession, over time. The Avant-Garde is for me an operation of renewal, a driver of difference and change in architecture (see fig. 1, appendix). The methodology adopted is as follows: I first introduce my analytical tools, some key sociological concepts, and concepts from the ‘Avant-Garde’ discourse (chapter 1). I then examine the filtering process and rough selection process in architectural history: I map the usage of the term in a historiographic corpus and arrive at the more frequently and the less frequently named ‘Avant-Garde’ architectures, which become my two case studies. These are Russian Revolutionary Architecture and Italian Rationalism (chapter 2). The third step is to arrive, through the comparison of my case studies, at those parameters that are crucial in being selected as ‘Avant-Garde,’ i.e. their ‘Avantgardification’ - this occurs after 1960 when the term starts being used describing architectures (part 2). The fourth step is to examine the period of the extended 19605 when the term starts appearing as a means of describing architectures and thus the selection process begins (chapter 6). As a fifth step I research the selection process in the discourse of architectural theory and criticism: I investigate in a particular corpus of writings which architectures, by whom they are chosen as ‘Avant-Garde,’ and the reason why, as Well as which are the concomitant effects of the usage of the term on architecture. In other words, beyond concentrating on which architectures or architectural movements are ‘Avant-Garde' in these writings, I focus on the effects of this selection and denomination (chapter 7). As a sixth step, I examine the selection process of my two case studies in architectural theory and criticism, i.e the Avantgardification of Russian Revolutionary Architecture and less of Italian Rationalism. I investigate when, by whom, and the reason why the first architecture is mostly selected as ‘Avant- Garde,’ as well as which are the concomitant effects on architecture (chapter 8, see also fig. 3, appendix). As a final step I examine the Avant-Garde as a sociological concept based on the key-concepts introduced in chapter 1 (Conclusions). A sociological conceptualization of the Avant-Garde is important for shedding light on issues beyond those of ‘Avant-Garde’ architectures. Through such a concept of the Avant-Garde we recognize issues of the profession, issues which are wider than questions which are directly connected to those architectures selected as such. Looking through the ‘Avant-Garde’ we understand the ways by which architecture is being renewed and Operated. By recognizing the conditions, in which the ‘Avant-Garde’ architectures have been created, and the way and time in which the term was employed to describe them, we understand the mode in which architecture, as a discipline, functions. My thesis is a hermeneutics of the architectural profession through the term ‘Avant-Garde.’

13 slides in pocket inside back cover. / Digitized by Kansas Correctional Industries

Thesis (Masters) -- University of Ballarat, 2008. / Submitted in partial fulfillment of the requirements for the degree of Master of Arts (Visual Arts), Arts Academy. Bibliography: leaves 56-58.

Mémoire (M.A.)--Université du Québec à Chicoutimi, 1987. / Document électronique également accessible en format PDF. CaQCU

Thesis (Ph. D.)--City University of New York, 1988. / Includes bibliographical references (leaves 270-302).

Detta är en reflekterande rapport tillhörande ett praktiskt examensarbete i form av en spelomgivning till spelet Unreal Tournament 3 (2007). Examensarbetet behandlar trovärdighet i fiktiva medier och hur detta kan uppnås i en spelomgivning med hjälp av ett sammanhängande grafiskt regelverk. I undersökningen av problemområdet används källor inom grafisk kommunikation, film, dataspel och sociologi. Slutsatserna som tas upp är inte definitiva, men rapporten är tänkt att kunna fungera som en möjlig ingång för studier som vidare behandlar trovärdighet i spelomgivningar. Dessutom kan examensarbetet fungera som uppslag för den som vill lära sig mer om miljögrafik i spel och hur denna kan fås att bli sammanhängande.

<p><p>Detta är en reflekterande rapport tillhörande ett praktiskt examensarbete i form av en spelomgivning till spelet <em>Unreal Tournament 3</em> (2007). Examensarbetet behandlar trovärdighet i fiktiva medier och hur detta kan uppnås i en spelomgivning med hjälp av ett sammanhängande grafiskt regelverk. I undersökningen av problemområdet används källor inom grafisk kommunikation, film, dataspel och sociologi. Slutsatserna som tas upp är inte definitiva, men rapporten är tänkt att kunna fungera som en möjlig ingång för studier som vidare behandlar trovärdighet i spelomgivningar. Dessutom kan examensarbetet fungera som uppslag för den som vill lära sig mer om miljögrafik i spel och hur denna kan fås att bli sammanhängande.</p></p>

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An effort to understand the basic contextual foundation of environmental art design in relation to site-specific context. As a result of this understanding, environmental artwork designs will be developed based upon the context of chosen sites on the Ball State University's campus with a view toward the development of greater visual literacy. The work effort includes a preliminary exploration of the methods and approaches followed by contemporary designers (including artists, landscape architects, landscape designers, and architects) in the design and execution of environmental art works that have a contextual relationship to a site. This exploration focuses upon Post World War II outdoor installations intended for public viewing and/or interaction. Context of Project WorkThe first step consists of information gathering about professional designers, including landscape architects, artists, landscape designers, and architects, who design outdoor environmental artworks based upon the context of a site. This information will include literature search, site visits, case studies, and possible interviews with designers.This information will then be distilled into sketch designs of environmental art pieces that can be sited on the Ball State University's campus. The designs produced for the artworks will be based upon the information gathered about various designers with attention to the preservation of the stylistic influences from the artists while deleting the possibility of repetition of previous artworks.The work of research on artists and projects will result in an expanded knowledge base from which a group of three or four designers will be selected to serve as exemplars or a case study foundation for the design effort.It is expected that the entire effort will serve as a model of an apprenticeship in outdoor art and site design for a non-art major pursuing a Master of Landscape Architecture degree. In addition, the work effort will serve to promote visual literacy in the Ball State University campus as well as to provide suggestions for physical designers on the placement and execution of site specific outdoor art. / Department of Landscape Architecture