This thesis proposes that a conceptual structure of ‘modernity’ and ‘national identity’,interrogated through an analytical model of ‘modernism’ and ‘modernisation’ contributes substantially to decoding the institutionalisation of design as reflected in the transformation of central design organisations.

The introduction aims to investigate both my painting and exhibition practice, and the historical and theoretical issues raised by them. It also examines different views on nature by comparing and contrasting 20th Century Western ideas with those of traditional Asian art and philosophies. There are two sections to this thesis; Section A contains an historical overview of Eastern and Western philosophy and art, Section B presents observations on my studio and exhibition practice. Section A is divided into two chapters. Chapter 1 examines concepts of nature in the East and West before the eariy 20th Century. It discusses examples of different approaches to nature and cross-cultural perceptions, especially Taoism and Buddhism, which emphasize harmony within nature and the principle of universal truth. It also gives pertinent and relevant examples of attitudes to nature in the Korean. Chinese and Japanese art of the 20th Century. Chapter 2 discusses new and changing attitudes to ecology, post 20th Century, and the environmental art movements of the East and West. Their ideas have a great deal in common with traditional Eastern views on nature and the mind, so have the potential t change both our identity and our relationship with nature. Section B draws together this material to establish the main argument of the thesis, concerning a connection between modem ecological approaches and traditional Zen Buddhist ideas which emphasize the interconnection of all natural forms. The section consists mainly of observations on studio practice divided into 3 chapters and a conclusion.

This thesis discusses how British Quaker women negotiated relinquishing their religiously prescribed Plain dress from 1860 to 1914 in the context of developments in Quaker feminine identity. This thesis approaches its subjects by examining the primary source of surviving Quaker garments in British dress collections. These items provide the basis from which research methodologies and the personal narratives of Quaker women and their case studies are developed. Surviving garments, alongside historical letters, diaries, religious texts, department store catalogues, photographs and period dress illustrations are analysed in order to understand how women Quakers practised their religion and organised their public appearance through dress during this period. The original quality of this research is the outcome of an interdisciplinary approach. No other research project in the international dress history or religious history fields has discussed and critically considered the identity of British Quaker women through an analysis of their surviving clothing between 1860 and 1914. This aspect of British social history and therefore British identity has until now remained unexplored and unacknowledged. By 1860 Quakerism had undergone extreme doctrinal upheaval, which had led to the abandonment of those rules which enforced Plainness of speech and apparel that same year. Even prior to 1860, this thesis reveals that some women were incorporating fashion into their religious Plain dress, by using fashionable silhouettes and high-quality fabrics albeit eschewing bright colours and ornamentation. After 1860 however, male and female Quakers had complete individual freedom of choice in their clothing. During this period of religious turmoil, female Victorian Quakers vocalised a range of opinions on women's emancipation, education and welfare, on their role within the religious society and their opinions concerning dress through published correspondence in Quaker journals. This thesis identifies a variety of views concerning dress between 1860 and 1914, as Quaker women negotiated their individual freedom of choice in attire in a ternary manner. Moreover, this thesis proves that this ternary interpretation was acknowledged by Quakers themselves and discussed within Quaker journals in the 1860-1914 period. Quakers of the period identified these ternary interpretations as ascetic, moderate and fashionable. This thesis proposes a new set of classifying terms, Non-Adaptive, Semi-Adaptive and Fully-Adaptive, in reflection of the extent to which Quaker women adapted their religious clothing to incorporate fashion alongside their differing interpretations of Quaker belief. Four case studies illustrate further these three adaptive interpretations, and show how individual Quaker women chose to present themselves to their religious community and wider society.

R. Buckminster Fuller's design and architectural work is frequently described as being "inspired by nature". However, to date there has been little investigation of his claim. What was Fuller's understanding of "nature" and how did it affect the conception, production and presentation of his work? This thesis attempts to characterize R. Buckminster Fuller's understanding of nature, which will be called a model of nature, and to trace its impact upon his work over the course of his career using an interdisciplinary historical approach.