Two objects formed the catalyst for this project and can be used to introduce the set of parallel and converging discourses that underline the text. A pair of cross-frame stools, still found in the entrance hall at Harewood today, generate a series of questions, regarding the collection itself and the Regency period, the history of the Lascelles family in the early nineteenth century and the dichotomy clearly present between the patterns of patronage of the previous generation and that of Edward Lascelles (d. 1814). Stylistically the stools look towards Egypt, engendering an investigation into the formation of this particular revival, centred on the figure of Dominique-Vivant Denon, whose text Voyage dans la Basse et la Haute Egvpte introduced French society to the archaeological discoveries found in the conquered lands. A copy of this text is located in the Harewood collections, and it forms the foundation of a consideration of the political, semiological and social implications of the use of a particular decorative style. Questions are asked regarding the cultural implications of interior design. This leads us back to an examination of how and why the Egyptian revival was established in Britain. This has motivated a consideration of the discourses of furniture history and the methods by which we understand stylistic change, and particularly an analysis of the presentation of such collections today and the historiography of English furniture styles. Each aspect of the study coheres around the central theme of the Harewood collection. Material objects such as the cross-frame stool represent a number of social rituals and cultural practices. My aim is to use theoretical models to begin to unravel the meanings associated with such objects.

El proyecto consiste en la creación de una Escuela Superior de Artes Aplicadas, la cual estará ubicada en el distrito de San Juan de Lurigancho en Lima, Perú. Las Escuelas de Educación Superior son instituciones educativas que pueden estar destinadas a impartir su enseñanza en el campo de la ciencia, la tecnología o las artes. En Lima existen muy pocas escuelas que se dedican a la enseñanza especializada de las artes, las instituciones más representativas se encuentran ubicadas en distritos céntricos, dejando así una demanda por cubrir hacia los conos de la ciudad. Este déficit de instituciones artísticas, responde a la poca difusión y a la falta de interés por el arte en el país, esto conlleva a que las carreras artísticas no sean tan tomadas en cuenta y se les reste importancia. Por estas razones, se plantea la creación de una Escuela Superior de Artes Aplicadas, la cual tendrá como objetivo brindar conocimientos especializados, enfocandose en enseñar arte y a la vez actividades conexas las cuales le permitan al alumno generar ingresos económicos haciendo uso de su creatividad para materializar sus ideas. / The project consists in the creation of a Superior School of Applied Arts, wich will be placed in San Juan de Lurigancho district in Lima Perú. Schools of higher education are institutions in wich people study science, tecnology or arts. In Lima, there are few art schools. The most representative institutions are located in central districts, leaving a demand to cover towards the peripheries of the city. This deficit of art institutions responds to the lack of diffusion and interest in art in our country, which causes artistic carrers to lose importance. For this reasons, the creacion of a School of Applied Arts is propoused, in wich people will recieve specialized knowledge, focusing on teaching arts and activities wich will allow the students to generate money by using their creativity to materialize their ideas. / Tesis

In this thesis I explore the importance of elite women in early twentieth-century Vienna in relation to the Wiener Werkstätte. My research has led me to believe that the Werkstätte held a more egalitarian view of women than other contemporary European applied arts workshops. Unfortunately the art-historical canon has generally overlooked the applied arts of the Wiener Werkstätte, as well as the significant roles of women in the Werkstätte as artists, clients, patrons, and promoters. In this thesis, I consider cases of women in these roles in early twentieth-century Vienna in order to gain a greater understanding of Viennese women's place economically and politically, as well as socially and culturally. In particular, I examine the Werkstätte's primary records of sales and production (called model books), housed in the Wiener Werkstätte archives at the Austrian Museum of Applied Arts in Vienna, as a means to better understanding their participation. The evidence of the importance of women in relation to the Wiener Werkstätte, includes: 1) the creation of new opportunities for women in the arts; 2) the emergence and popularity of a liberating reformed fashion; 3) the focus of the Werkstätte on creating objects that would appeal to a female clientele; and 4) the Werkstätte's success, particularly among prominent wealthy female art patrons. I conclude that women's roles as artists, clients, patrons, and promoters can be seen as positions of empowerment for Viennese women of the early twentieth century.

The increasing prevalence of digital fabrication technologies and the emergence of a novel materiality in contemporary craft practice have created the need to redefine the critical context of digital jewellery and wearable futures. Previous research in this area, such as that presented by Sarah Kettley (2007a) and Jayne Wallace (2007), has provided the foundations for further enquiry but has not been advanced significantly since its inception. The artistic research presented in this thesis focuses on how smart materials and microelectronic components could be used to create synergetic digital jewellery objects and wearable futures that reflect changes in the body of their wearer and their environment through dynamic responses. Laying the foundations for a theory of <i>Interactive</i> <i>Craft</i> through evaluating different aspects of creative practice that relate to responsive objects with a close relationship to the human body is at the centre of this enquiry. Through identifying four distinct categories of wearable object, the <i>Taxonomy of the Wearable Object</i> is formulated and clearly delineates the current existing conceptual, technological and material perspectives that govern the relationships between different types of wearable objects. A particular focus is placed on exploring the concept of <i>Digital Enchantment</i> and how it could be utilised to progress towards developing the <i>Uncanny Object</i> that appears to possess biological characteristics and apparent agency, yet is a fully artificial construct. The potential for the practical application of a design methodology guided by playful engagement with novel materials, microelectronics and digital fabrication technologies is analysed, taking into account Ingold’s concept of the <i>textility of making </i>(Ingold, 2011). Through exploring the notion of the <i>Polymorphic</i> <i>Practitioner</i> in the context of <i>Alchemical Practice</i>, a model for experiential knowledge generation through engaging in cross-disciplinary collaboration is developed. This is supported by a qualitative survey of European materials libraries, including accounts of site visits that evaluate the usefulness of materials libraries for creative practitioners invested in novel materiality as well as visually documenting a selection of the visited libraries’ most intriguing material holdings. Utilising a scientific testing protocol, a practical body of work that centres on conducting extensive experiments with smart materials is developed, with a particular focus on testing the compatibility and colour outcomes of chromic pigments in silicone. The resulting chromic silicone samples are collated, together with sourced smart materials, in a customised materials library. Investigational prototypes and the <i>Microjewels</i> collection of digital jewellery and wearable futures that responds to external and bodily stimuli whilst engaging the wearer through playful interaction are presented as another outcome of this body of research.

A presente investigação teve como ponto de partida o estudo da palavra kôgei &#24037;&#33464;, derivada de geijutsu &#33464;&#34899;, que corresponde à ideia de arte no Japão. A pesquisa inicia-se com uma análise preliminar das principais diferenças entre geijutsu e a arte europeia, no sentido de belas artes predominante até meados do século XIX. Segue-se um esclarecimento acerca da origem da palavra kôgei, criada para traduzir o termo inglês industry no contexto da modernização do país, mas que sofreria um processo de reelaboração desse significado, tornando-o mais próximo de arte e artesanato, e símbolo da cultura material japonesa. Em nossa delimitação cronológica, que tem início com a reabertura dos portos japoneses para as potências marítimas estrangeiras durante os anos 1850, investigamos alguns elementos que contribuíram para a transformação semântica de kôgei, tais como a função social da arte no Japão pré-moderno, a participação nas exposições internacionais de arte e indústria, o aponismo e a inserção da arte japonesa no debate ocidental sobre a arte aplicada por volta da década de 1870. / The starting point of the investigation here presented was the study of the word k&#333;gei&#24037;&#33464;, derived from geijutsu &#33464;&#34899;, which corresponds to the idea of art in Japan. The research begins with a preliminary analysis of the main differences between geijutsu and European art, in the sense of fine arts prevalent until the mid-nineteenth century. It is followed by a clarification about the origin of the word k&#333;gei, created to translate the English term industry in the context of the country modernization. That meaning would be the subject of re-elaboration, making it closer to art and crafts, and symbol of the Japanese material culture. In our chronological delimitation, which begins with the reopening of Japanese ports to the international maritime powers during the 1850s, we investigate some elements that contributed to the semantic transformation of k&#333;gei, such as the social function of art in premodern Japan, the participation in international exhibitions of art and industry, Japonisme and the insertion of the Japanese art in the Western debate on applied arts around the 1870s.

This research used case study methodology with both qualitative and quantitative research tools to examine the transfer of learning from the classroom to the cooperative education workplace and the relationship of students’ learning styles to this transfer of learning in a Bachelor of Applied Business program at a large comprehensive College of Applied Arts and Technology in Ontario. Kolb’s experiential learning theory was used as the conceptual framework. A purposive convenience sample of six students (28.6%) who had completed the second of three cooperative education work terms in the program participated and completed all components of the study. The research findings led to six conclusions: 1. Foundation skills learned in the classroom, such as communication and technical skills, and in this case general business concepts, are used in all of the cooperative education workplace experiences in this study. 2. The co-op work term experience itself, including the workplace environment and culture, is more important than the student’s learning style in explaining the learning from the classroom that a student is able to transfer to the co-op workplace. 3. Co-op experiences may not challenge students to the level they may be capable of with respect to what they have learned in class. 4. A co-op work term learning plan, opportunity to use previous learning, and a supportive co-op environment are important for students to be able to transfer their learning from the classroom to the cooperative education workplace experience. 5. Perceived barriers to transfer of learning can also provide the opportunity for learning experiences. 6. The program curriculum design plays a role in enabling transfer of learning. Several recommendations related to implications for practice were also identified. These included the need to reinforce the importance of communication and technical skills with students, providing a variety of learning experiences, designing curriculum to link classroom learning with the co-op experience, selecting co-op experiences so as to ensure alignment between the students’ knowledge and abilities and the opportunities available, providing formal orientation and training to cooperative education employer supervisors, and aligning the work term learning plan with the program curriculum.

This research used case study methodology with both qualitative and quantitative research tools to examine the transfer of learning from the classroom to the cooperative education workplace and the relationship of students’ learning styles to this transfer of learning in a Bachelor of Applied Business program at a large comprehensive College of Applied Arts and Technology in Ontario. Kolb’s experiential learning theory was used as the conceptual framework. A purposive convenience sample of six students (28.6%) who had completed the second of three cooperative education work terms in the program participated and completed all components of the study. The research findings led to six conclusions: 1. Foundation skills learned in the classroom, such as communication and technical skills, and in this case general business concepts, are used in all of the cooperative education workplace experiences in this study. 2. The co-op work term experience itself, including the workplace environment and culture, is more important than the student’s learning style in explaining the learning from the classroom that a student is able to transfer to the co-op workplace. 3. Co-op experiences may not challenge students to the level they may be capable of with respect to what they have learned in class. 4. A co-op work term learning plan, opportunity to use previous learning, and a supportive co-op environment are important for students to be able to transfer their learning from the classroom to the cooperative education workplace experience. 5. Perceived barriers to transfer of learning can also provide the opportunity for learning experiences. 6. The program curriculum design plays a role in enabling transfer of learning. Several recommendations related to implications for practice were also identified. These included the need to reinforce the importance of communication and technical skills with students, providing a variety of learning experiences, designing curriculum to link classroom learning with the co-op experience, selecting co-op experiences so as to ensure alignment between the students’ knowledge and abilities and the opportunities available, providing formal orientation and training to cooperative education employer supervisors, and aligning the work term learning plan with the program curriculum.

This study discusses product form perception within the context of communication. The emphasis is on meanings attributed to product visual form, and more specifically the correspondence between messages designers intend users to receive and the messages that users actually receive. Four groupings of appearance-based product attributes are identified / 1) social values and positions / 2) usability and interaction / 3) visual qualities / and 4) personality characteristics. The study was driven by the main research question / &lsquo / do users perceive the same meaning from product appearance as designers intended, or is there a level of mismatch?&rsquo / . An empirical study was conducted using newly-designed Turkish seating furniture to investigate the relationship between designers&rsquo / and users&rsquo / ascription of meanings to products based on appearance, as a means to validate or refute opposing answers to the main research question. The results of the study reveal that there exist some considerable differences between designers&rsquo / intended messages and users&rsquo / perceived messages decoded from product visual form. The study suggests that designers perform less well at communicating product meanings related to two of the four groupings: usability and interaction, and personality characteristics. Accordingly, these are identified as priority areas for improved message transmission.

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