vii, 82 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Adolf Loos is most widely known for his essay Ornament and Crime (Ornament und Verbrechen), in which he sarcastically compares architectural ornament to the tattoos of "savages." Loos sought to modernize Vienna through the introduction of American and British culture and was known as one of Austria's most notorious cultural critics. Celebrated for breaking with the historicist culture of the late nineteenth century, Loos is often heralded as the father of the Modem Movement, but many of his writings and designs contradict such a classification. This thesis will explore the origins and motives behind Loos' s conception of modernism to suggest a better understanding of his role as cultural critic and architect in Vienna as well as his relationship to the architects and architecture of the subsequent generation. / Committee in Charge: Dr. Leland M. Roth, Chair; Dr. William Sherwin Simmons; Dr. Marilyn S. Linton;

This diploma thesis is divided into two main parts {--} theoretical and practical. The practical part was focus on the proposing and creation of the tiles of the size 15 x 15 cm. 120 pieces were created for risers and 15 lateral tiles for the contiguous wall. The written theoretical part is mainly focused on the clarification of motivational sources which influence the process of this topic, the projecting of the staircase, and we can also find there the description of the technological procedures of the creation of the tiles with the account of used material.

My PhD. thesis "Physiognomy of Writing: In the Folds of Literary Ornament" deals with the relation between literature and ornament. It interconnects the sphere of literary history and literary theory with that of visuality. Ornament is analyzed and interpreted as a theoretical figure which allows an examination of literature from the point of view of its visuality and its movement. This approach, elaborated and applied here, labeled "physiognomy of writing", offers a possibility of a visual reading of literature; it represents a way to read literary texts not only in terms of their meaning and message, but also from the point of view of their visual and figural performance. In the first part I outline the concept of ornament in its historical, esthetic and philosophical frames, and explain how to use it in order to interpret literature. The second part offers readings of several 20th century literary texts (Franz Kafka, Rainer Maria Rilke, Hugo von Hofmannsthal, Samuel Beckett, Louis Wolfson and Blanche T.) from the perspective of the affinity of their literary speech and particular ornamental manifestations.

The M.A. thesis deals with the influence of Aegean textile patterns on the decoration of 18th dynasty Egyptian tombs. It attempts to provide answers to the question of a possible reconstruction of relations between the Aegean area and Egypt on the basis of this phenomenon. The first part of the thesis places textile into a broader context, dealing among others with its importance for both cultural areas and the technology of its fabrication. The second part of the thesis focuses in greater detail upon the occurrence of Aegean textile patterns in the New Kingdom, concentrating upon the tombs and the men that used these motives in their tomb decoration. The evaluation of the biographies, titles and the tombs indicates that a ceiling with Aegean textile patterns served as an element of legitimization for both the king and his officials. In the final part of the thesis I was able to establish the incorporation of the symbolic function of the Aegean textile patterns into the concept of kingship. Powered by TCPDF (www.tcpdf.org)

This is a single-storied building of 1025 square metres space and with an accessible roof through a footbridge designed even for disabled. It is implanted into the entrance zone of green in front of the ecological paper-mill. The presentation and exhibition pavillion should be an extraordinary and reprezentativ object. The building will be placed among green and it aspires to exist in harmony with it. Thus it behaves as its‘ component. Concept is based on an idea of cellulose threads, which is primary structure of an organic stuff. „The threads“ form a supporting structure and determine the platform. The glass facade and even the interior come through three colours, that present the paper making process and even carry an aesthetic benefit. The facade systems utilize energy – they react to the Sun and air movement and even they compose an ornament.

Vancl, K.: Ornament, structure and sign /MA Dissertation/ Prague 2011, Charles University in Prague, Faculty of education, Art education department The MA dissertation Ornament, structure and sign is a thoughts project, which considers its own topic based on philosophical texts from J. Derrida, M. Foucalt and J. Patočka. Ornament as a topic includes its fundamental questions, what is and how ornament appears today. Immanently there is an expression of ornament, which marks an order of repetition and an extensive reference to ornament, which masks his culture and society on the other side. Own project is focused on pass over classicism again, find original and discover new meaning of ornament in a structure and sign. True difference of expression and reference became its own detecting, following by next step to ritual meaning and from hear through ornament as repetition and reproduction sign to being in present until to deeper understanding of my-self in personal structure. Thanks to this knowledge seeing beauty of ornament seems to be more valuable. At last the project of ornament brings also theoretical basement for painting and didactic in art education. Key words: ornament, expression and reference, ritual meaning, structure of repetition, presence, phenomenology

This thesis seeks to re-establish the significance of choir stalls in Venice and northern Italy and seeks to place stalls in their artistic, liturgical and spatial context. Although now situated in remote locations in the church, stalls were once highly prized items of furniture and considered to be praiseworthy artistic structures in their own right. As the location for religious ritual, the elevated status of the choir area was reflected in the detailed and sophisticated design of its wooden furniture. Through an analysis of visual and documentary material, stalls will be brought to the fore to consider broader questions. What can documents reveal about Renaissance workshop practices and the relationship between craftsmen and patrons? How did the form of stalls reflect their use in religious ritual and the organisation of sacred space? How did choir furniture develop as an independent medium within the artistic context of the Renaissance church interior? Four main topics will be considered in the first four chapters: the visual history of stalls; the contracting procedure; the use of stalls in liturgical practices; and changes to choir placement. Chapter One reconstructs the stylistic history of north-Italian choir stalls from the fourteenth to early sixteenth centuries and contains an excursus on the development and meaning of intarsia iconography. Chapter Two focuses on choir contracts, which confirm that choir furniture was a considerable investment and a potential source of rivalry between church communities Chapter Three moves the focus away from stalls as material objects to their role in liturgical practices. An excursus on the established use of misericords in Carthusian liturgy will demonstrate the close interaction between form and function in stall design, and places Italian stalls in the context of their European counterparts. The placement of choirs in the church interior will be examined in Chapter Four using case studies of choir placement in different secular and religious houses, in particular the Franciscan Observants, Franciscan Conventuals and the Dominicans. Although changes in choir placement are often associated with liturgical reforms implemented by the Council of Trent, church renovations in fact occurred well before this period. Two Venetian case studies demonstrate the value of examining individual choir precincts in their original stylistic and spatial context. Chapter Five focuses on stalls in the Benedictine nuns’ church of San Zaccaria in Venice, completed by the Cozzi workshop in 1464. The choir precinct in the Frari in Venice is amongst the best-preserved choir precincts in Italy and is discussed in detail in Chapter Six; the circumstances of its construction are closely related to new choir furniture in the Santo in Padua. Specific terminology is explained and collated in the Glossary and an Appendix contains transcriptions and translations of significant documents.

The picture frames used by the American painter James McNeill Whistler developed stylistically throughout his career. This thesis identifies these developments, defines the characteristics indicative of each design, and contextualises their creation within Whistler’s larger body of work. First-hand examinations of over a hundred frames, in both the United Kingdom and the United States, resulted in challenging the generic understanding that a ‘Whistler frame’ is characterised only by reeded ornamentation. These physical examinations are cross-referenced with the significant amount of correspondence existing between Whistler and his contemporaries, thanks in large part to the publication of the on-line edition of The Correspondence of James McNeill Whistler. This thesis argues that the stylistic developments present in Whistler’s frames are directly linked to his understanding and perception of the frame’s function. Chapter 1 outlines that a picture frame can serve one of three functions: (1) as a decorative art object linking the painting to the environment, (2) as a decorative art object dividing the painting from the environment, or (3) as an extension of the painting. This thesis also applies the additional approach that the picture frame functions as an indicator of the provenance for both the painting and frame. Chapter 2 explores this method of provenance by examining Whistler’s reframing habits. Chapter 3 explores Whistler’s friendship with Dante Gabriel Rossetti and his early designs from 1864. These frames are observed as extending the painting to become a cohesive whole. Chapter 4 documents Whistler’s earliest attempt at painted frames and their development into incised ornament. Chapter 5 explores the effect that Whistler’s interior designs (including the Peacock Room) had on his frames. Chapter 6 focuses on the frame created during the 1880s and addresses the framing of Whistler’s works on paper. Chapter 7 examines Whistler’s working relationship with Fredrick Henry Grau and the preparations made for the 1892 Goupil Gallery exhibition Nocturnes, Marines and Chevalet Pieces.

published_or_final_version / Conservation / Master / Master of Science in Conservation

published_or_final_version / Conservation / Master / Master of Science in Conservation