Thesis (M. Arch.)--University of Hong Kong, 1998. / Includes special report study entitled: Degree of publicity and privacy. Includes bibliographical references.

Thesis (M.Arch.)--University of Detroit Mercy, 2008. / Includes bibliographical references (p. 188-193).

Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2008.

Thesis (M.A.)--University of Delaware, 2008. / Principal faculty advisor: H. Perry Chapman, Dept. of Art History. Includes bibliographical references.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1590. Adviser: Charles Capwell. Includes bibliographical references (leaves 361-395) and discography (leaves 361-362) Available on microfilm from Pro Quest Information and Learning.

La compagnie Technicolor est née en novembre 1915 et vientde fêter ses cent ans d’existence. Le procédé de reproductionnaturelle de couleurs Technicolor fut d’abord un procédébichrome, qui connut trois évolutions, avant de devenir un procédétrichrome, autrement désigné procédé n° 4.Le procédé trichrome était techniquement révolutionnairepuisqu’il nécessitait l’utilisation d’une caméra à trois négatifsséparant les trois couleurs primaires rouge, vert, bleu. Latechnique de tirage par imbibition a aussi permis de créer descopies aux qualités intrinsèques équivalentes à celles deslithographies et dont les couleurs ne se modifient pas avec letemps. L’équipement complexe nécessaire aux tournages enTechnicolor a exigé de nouveaux protocoles de travail, ainsi que laformation des équipes des plateaux habituées au noir et blanc.Technicolor a également proposé les services du color consultingafin d’aider à mieux contrôler le rendu des couleurs à l’écran.Cette thèse se propose d’aborder les dimensions historique ettechnique du Technicolor trichrome et d’interroger les techniquesutilisées jusqu’à aujourd’hui afin de restaurer les films tournésavec ce procédé. En raison de l’obsolescence des outils quipermettaient de produire un film en Technicolor, des questions seposent aujourd’hui sur les procédures de restauration des filmstournés entre 1932 et 1955, à l’ère de la technologie ditetrichrome. Il s’agit de la première étude approfondie, en français,portant sur le procédé Technicolor trichrome, ouvrant sur uneréflexion plus élargie sur l’importance de la restauration descouleurs d’origine d’un film. / The Technicolor Company has celebrated its hundredyears of existence, since it was born in November 1915.Technicolor was, at first, a two-color natural color processthat has been modified three times before becoming a threecolorprocess, also known as the process number four.The three-color process was revolutionary since it impliedthe construction of a three-strip camera, which separated theprimary colors red, blue and green with three negatives. Thelaboratory created also dye transfer printing, a technic thatwas able to create projection prints with visual qualitiesequivalent to lithography. Consequently, the dyes of theTechnicolor prints haven’t fade throughout the years. Inaddition, the three-color equipment included a newworkflow during the film shooting. The crew working onthe film set, used to black and white shooting, had to betrained to work with this medium. Technicolor created aswell the color consulting in order to help the crew tomanage better the color composition.This dissertation is an in depth analysis of the historicaland technical issues of the three-color Technicolor processand interrogates the technical devices that have been used torestore the films. In this way, different questions about theprocedures of restoration of the films, shot between 1932and 1955, are addressed throughout the study. Due to theobsolete status of the three color Technicolor process, thequestion of its reproduction can be problematic. This is thefirst thorough study, written in French, dedicated to thethree-color Technicolor process with an opening to theimportance of restoring the original colors of a film.

This is an adaptive reuse thesis project of an old warehouse on the south side of Richmond, Virginia. Through this project, the possibility of designing an art center to occupy the space is explored. This art center houses artist studios, gallery space as well as open studio space for art classes. The design concept establishes a building language and varies that language based on the space and its requirements. The final design also deals with the spaces in between, where one rule set meets another.

In this thesis the industrial design studio has been investigated with particular reference to studio thinking and learning and project-based activity. This investigation has been set in the context of a final-year, degree program in industrial design that includes a substantial research and development project. From a critical review of the relevant literature the characteristics of studio culture have been identified, together with its role in the teaching of both creative and systematic endeavour. In addition, the history and context of the role of the industrial/product designer is reviewed in order to understand the nature and the required skills of the discipline. In this thesis, an initial study surveyed academics involved in teaching industrial design in Australia, and overseas. The study sought to determine the approach of students, in various industrial design degree programs, to their final-year projects and the extent to which design process and design methods were incorporated in their project reports. The findings revealed a number of operational needs associated with studio-based learning, particularly those associated with final-year, project-based activity. These findings, together with teachings from the literature concerning how students go about design in the studio and the needs associated with project activity, led to the proposal of a generic model, entitled the Major Project Development Model "MPD Model". The operational criteria in the MPD Model guided the development of a computer-integrated system of design methods allocated to the respective phases of the process. This system, called the "MPD System", is designed to support and enhance student design work in major projects. A second study was conducted that analysed: student performance in their project reports; the extent to which their design research conformed to the MPD Model; and the extent to which design methods were used in their final-year projects. Criteria and guidelines for the successful conduct and evaluation of such projects have been proposed and set up as part of the experimental programme. The experimental work, reported in this thesis, is based on an in-depth, comparative investigation of a range of major project reports, firstly those produced in the year 2003 during which final-year students did not have access to or knowledge of the MPD System and secondly, those produced in 2004 where students were provided with the MPD System, hence providing two cohorts for comparative purposes. The theoretical and experimental work have been related, with appropriate results and conclusions, to the following issues: Design theory � an MPD Model has been proposed and applied in keeping with a set of operational criteria; design methods - a model reflecting a range of methods aligned to phases of the MPD Model have been established in keeping with needs of designers in their execution of phases of the process; brainbased learning theory � a model of the integration of the MPD System as a means of linking systematic and creative thinking in the studio process is proposed; academic performance � the academic performance of students has been studied and data have been derived which provide valuable information for the design educational process. The results of this research will encourage use of a more structured teaching and learning approach and the employment of design methods in major projects. This comprehensive research thesis provides a framework for further research and recommendations for further research.

Fra tutti i sistemi possibili per creare cinema, cioè per generare e riprodurre immagini percepite in movimento dall'occhio umano che le osserva, ve n'è uno che più di ogni altro ha offerto terreno alle avanguardie sperimentali, alla ricerca tecnologica e all'indagine estetica: si tratta del cinema d'animazione che crea il suo movimento ex nihilo. L'utilizzo della computer animation con le sue molteplici applicazioni ha fatto nascere un vero e proprio linguaggio digitale di estrema ricercatezza tecnologica, capace di raccontare storie dal grande impatto emotivo. In questo scenario la Pixar Animation Studios si colloca come una casa di produzione cinematografica, che, in pochi anni, ha saputo dare una spinta considerevole al cinema d'animazione in 3D, accogliendo con successo la sfida lanciata dalle nuove tecnologie, sempre considerate a servizio della storia e attirando l'attenzione di un colosso mondiale come la Disney. Nel solco tracciato da Disney, i creatori di casa Pixar, si mostrano attenti a mettere la tecnologia a servizio di storie che oltre a risultare divertenti e in grado di intrattenere grandi e piccini con meccanismi comici elementari e con raffinate citazioni cinematografiche, sono capaci di ribadire con efficacia verità semplici e profonde in sintonia con i valori autentici dell'essere umano. / There are a lot of systems to create cinema, to generate and reproduce images perceived in motion from the human eye, but there is one that more than every other offer something new to the experimental vanguards, to the technological and aesthetic research: the animation, the cinema that creates its movement ex nihilo. A digital language of extreme technological refinement, able to tell stories of great emotional impact, is borne from the use of computer animation with its multiple applications. In this situation, the Pixar Animation Studios is placed like a house of cinematographic production, that, in few years, has given a considerable pushed to 3D animation, using the new technologies, always considered story driven and attracting the attention of a world-wide colossus like the Disney. Behind the Disney tradition, the creators of Pixar are alert to put the technology in history service. The history results amusing and able to entertain adults and children with elementary comic mechanisms and with refined cinematographic citations. The Pixar histories are able to confirm in a simple and deep way the truth that is in agreement with the authentic values of the human being.

This dissertation is an exploratory case study of the archives of Canadian artist Vera Frenkel and their acquisition by Queen’s University Archives in Kingston, Ontario. The research seeks to understand, through empirical investigation, the many factors that shape the artist’s recordkeeping and archives in the personal sphere and contribute to the nature of the eventual archival fonds in the institution. The foundation for the research includes the literatures of archival studies, life narrative, and art. Vera Frenkel’s interdisciplinary art work reflects a deep engagement with questions of truth and fiction. As an aspect of this theme, records and archives play a role in several of her works, often being revealed as problematic sources of evidence. Fundamental to the artist’s approach to interdisciplinarity is a complex layering of elements that builds uncertainty in the viewer. Given these aspects of Frenkel’s work, research that elicits the artist’s testimony about her archives must be able to accommodate a degree of ambiguity in the construction of that testimony. In a series of in situ interviews with the artist in her studio, the author investigated Frenkel’s recordkeeping habits and their relationship to her creative practice. As a data source, these interviews were supplemented by the artist’s photographs and hand-drawn maps of the studio. The author also investigated the processes entailed by archival transfer, examining the extant Vera Frenkel fonds at Queen’s University Archives and interviewing Heather Home, the archivist responsible for the acquisition. Both the personal and institutional spheres were taken into consideration as essential contributors to the nature of Frenkel’s archives as a complex cultural artifact. The research argues for the central role of archives in the acquisition and preservation of contemporary art. It contributes a foundation for understanding the nature of visual artists’ archives.