Diss.--Hamburg. / Bibliography: p. 195-201.

Diss.--Hamburg. / Bibliography: p. 195-201. Also issued online.

O sistema de revestimento de argamassa é formado por diversas etapas, preparo da base, emboço, reboco e acabamento decorativo. Apesar de ser uma técnica bastante difundida, em muitos casos, a produção racionalizada e eficiente ainda não está consolidada, ocorrendo em falhas, elevados desperdícios e problemas quanto ao seu desempenho. A eliminação de etapas se apresenta como uma alteração viável aumentar a produtividade, reduzir as perdas, diminuir o consumo de materiais e simplificar o sistema. Neste contexto, surge o sistema de revestimento de argamassa decorativa monocamada. Este sistema de revestimento utiliza uma argamassa pigmentada, eliminando a necessidade de pintura e pode ser aplicada sobre substratos de alvenaria ou concreto estrutural. Por se tratar de um revestimento decorativo, deve ser capaz de atender as expectativas estéticas, apresentando conformidade de cor por toda extensão revestida. No entanto, devido a eliminar etapas, diminuir espessura e por ser uma argamassa com maior complexidade em relação à utilizada na técnica tradicional, pode ocorrer variações de cor no revestimento..Neste sentido, este trabalho buscou identificar os fatores que influenciam na variação de cor do revestimento decorativo monocamada. Para tanto, foram avaliados 4 substratos (vidro e 3 cerâmicos, queimadas a 800, 900 e 1000°C) e utilizou-se diferentes espessuras do revestimento (1, 2 e 3 cm). Também avaliou-se o efeito da quantidade de água na mistura e a temperatura de cura inicial. Utilizou-se um espectrofotômetro para a verificação da cor, e como resposta, adotou-se os sistemas L*a*b* e L*C*h(°). Analisou-se o efeito das variáveis estudadas sobre a cor e posteriormente determinou-se a diferença de cor através do cálculo do ΔE, sendo as diferenças obtidas classificadas quanto sua percepção. Observou-se que em sua maioria, os efeitos impostos geraram algum tipo de variação nos fatores que compõem a cor. Porém, nem sempre geram variações de cor perceptíveis. As maiores diferenças de cor foram obtidas nas primeiras idades. / Mortar coatings are made through of several steps, such as substrate preparation, mortar plaster and decorative finish. Despite being an rather widespread technique, In many cases, optimized and efficient production is still not consolidated, leading to failure, substantial losses and problems with performance. The elimination of some steps is presented as a feasible opportunity to increase productivity, waste reduction, reduce of consumption of raw materials and system simplification. In this context, the monolayer mortar coating system is an interesting option. This system uses a pigmented coating mortar, eliminating the painting and can be applied to masonry substrates or structural concrete. As this is a decorative coating, The system must be able to attend the aesthetic expectations, showing conformity of color throughout coated extension. However, due to eliminate steps and reduce the thickness to be a mortar with more complex compared to the traditional technique used, the color variations can occur in the coating. Thus, this study aim to identify factors that influence the color variation of the decorative monolayer coating. Thus, four substrates were evaluated (3 glass and ceramic, fired at 800, 900 and 1000°C) and used different coating thicknesses (1, 2 and 3 cm). This paper also evaluated the effect of the amount of water in the mixture and the initial cure temperature. It was used a spectrophotometer to check the color response, and adopted the L*a*b* and L*C*h(°). The analysis have been made calculating the effect of the variables on color and then the color difference ΔE. The differences obtained are classified from its perception. It was observed that in most cases, the effects taxes have generated some variation in the factors that make up the color. However, not always produced notable changes in color. The greatest differences in color were obtained at early ages.

This thesis addresses the overlooked contribution of female graduates of the Birmingham Municipal School of Art to the Arts and Crafts movement, during the period of 1880 to 1930. Despite the special status which the Birmingham School enjoyed in its time, Birmingham’s Arts and Crafts movement as a whole has been relatively little studied. The role of women artists within this regional phenomenon has been even further neglected. Employing an object-led approach, this thesis uses artworks as the starting point and main vectors for the exploration of issues tied to materiality, technique, collaboration, authorship, politics, religion, regionalism and gender. The work of Georgie Gaskin (1866-1934), Celia Levetus (1874-1936), Kate Bunce (1856-1927), Myra Bunce (1854-1919), Florence Camm (1874-1960), Margaret A. Rope (1882-1953), and Mary Newill (1860-1947) will be studied in detail. It will be argued that these women artists were integral to the renewal of book-illustration, the revival of the artistic technique of painting in tempera, stained glass making and embroidery. A web of interactions crucial to their professional success will be traced based on geographical proximity, shared workspaces, and social connections. Craftswomen’s role as educators will also be investigated, revealing them as shapers and not merely followers or consumers of the movement. Informed in particular by the theoretical writings of the philosophers Arthur C. Danto, Jacques Rancière and feminist art historian Griselda Pollock, this thesis will offer a valuable update to a field largely untouched by current academic debates and saturated with survey publications. Combined with extensive archival research and the close inspection of artworks, this study aims to go beyond the additive approach of reinsertion. It seeks to provide a critical discussion of the materialisations of women’s participation in the formation of culture.

O sistema de revestimento de argamassa é formado por diversas etapas, preparo da base, emboço, reboco e acabamento decorativo. Apesar de ser uma técnica bastante difundida, em muitos casos, a produção racionalizada e eficiente ainda não está consolidada, ocorrendo em falhas, elevados desperdícios e problemas quanto ao seu desempenho. A eliminação de etapas se apresenta como uma alteração viável aumentar a produtividade, reduzir as perdas, diminuir o consumo de materiais e simplificar o sistema. Neste contexto, surge o sistema de revestimento de argamassa decorativa monocamada. Este sistema de revestimento utiliza uma argamassa pigmentada, eliminando a necessidade de pintura e pode ser aplicada sobre substratos de alvenaria ou concreto estrutural. Por se tratar de um revestimento decorativo, deve ser capaz de atender as expectativas estéticas, apresentando conformidade de cor por toda extensão revestida. No entanto, devido a eliminar etapas, diminuir espessura e por ser uma argamassa com maior complexidade em relação à utilizada na técnica tradicional, pode ocorrer variações de cor no revestimento..Neste sentido, este trabalho buscou identificar os fatores que influenciam na variação de cor do revestimento decorativo monocamada. Para tanto, foram avaliados 4 substratos (vidro e 3 cerâmicos, queimadas a 800, 900 e 1000°C) e utilizou-se diferentes espessuras do revestimento (1, 2 e 3 cm). Também avaliou-se o efeito da quantidade de água na mistura e a temperatura de cura inicial. Utilizou-se um espectrofotômetro para a verificação da cor, e como resposta, adotou-se os sistemas L*a*b* e L*C*h(°). Analisou-se o efeito das variáveis estudadas sobre a cor e posteriormente determinou-se a diferença de cor através do cálculo do ΔE, sendo as diferenças obtidas classificadas quanto sua percepção. Observou-se que em sua maioria, os efeitos impostos geraram algum tipo de variação nos fatores que compõem a cor. Porém, nem sempre geram variações de cor perceptíveis. As maiores diferenças de cor foram obtidas nas primeiras idades. / Mortar coatings are made through of several steps, such as substrate preparation, mortar plaster and decorative finish. Despite being an rather widespread technique, In many cases, optimized and efficient production is still not consolidated, leading to failure, substantial losses and problems with performance. The elimination of some steps is presented as a feasible opportunity to increase productivity, waste reduction, reduce of consumption of raw materials and system simplification. In this context, the monolayer mortar coating system is an interesting option. This system uses a pigmented coating mortar, eliminating the painting and can be applied to masonry substrates or structural concrete. As this is a decorative coating, The system must be able to attend the aesthetic expectations, showing conformity of color throughout coated extension. However, due to eliminate steps and reduce the thickness to be a mortar with more complex compared to the traditional technique used, the color variations can occur in the coating. Thus, this study aim to identify factors that influence the color variation of the decorative monolayer coating. Thus, four substrates were evaluated (3 glass and ceramic, fired at 800, 900 and 1000°C) and used different coating thicknesses (1, 2 and 3 cm). This paper also evaluated the effect of the amount of water in the mixture and the initial cure temperature. It was used a spectrophotometer to check the color response, and adopted the L*a*b* and L*C*h(°). The analysis have been made calculating the effect of the variables on color and then the color difference ΔE. The differences obtained are classified from its perception. It was observed that in most cases, the effects taxes have generated some variation in the factors that make up the color. However, not always produced notable changes in color. The greatest differences in color were obtained at early ages.

O sistema de revestimento de argamassa é formado por diversas etapas, preparo da base, emboço, reboco e acabamento decorativo. Apesar de ser uma técnica bastante difundida, em muitos casos, a produção racionalizada e eficiente ainda não está consolidada, ocorrendo em falhas, elevados desperdícios e problemas quanto ao seu desempenho. A eliminação de etapas se apresenta como uma alteração viável aumentar a produtividade, reduzir as perdas, diminuir o consumo de materiais e simplificar o sistema. Neste contexto, surge o sistema de revestimento de argamassa decorativa monocamada. Este sistema de revestimento utiliza uma argamassa pigmentada, eliminando a necessidade de pintura e pode ser aplicada sobre substratos de alvenaria ou concreto estrutural. Por se tratar de um revestimento decorativo, deve ser capaz de atender as expectativas estéticas, apresentando conformidade de cor por toda extensão revestida. No entanto, devido a eliminar etapas, diminuir espessura e por ser uma argamassa com maior complexidade em relação à utilizada na técnica tradicional, pode ocorrer variações de cor no revestimento..Neste sentido, este trabalho buscou identificar os fatores que influenciam na variação de cor do revestimento decorativo monocamada. Para tanto, foram avaliados 4 substratos (vidro e 3 cerâmicos, queimadas a 800, 900 e 1000°C) e utilizou-se diferentes espessuras do revestimento (1, 2 e 3 cm). Também avaliou-se o efeito da quantidade de água na mistura e a temperatura de cura inicial. Utilizou-se um espectrofotômetro para a verificação da cor, e como resposta, adotou-se os sistemas L*a*b* e L*C*h(°). Analisou-se o efeito das variáveis estudadas sobre a cor e posteriormente determinou-se a diferença de cor através do cálculo do ΔE, sendo as diferenças obtidas classificadas quanto sua percepção. Observou-se que em sua maioria, os efeitos impostos geraram algum tipo de variação nos fatores que compõem a cor. Porém, nem sempre geram variações de cor perceptíveis. As maiores diferenças de cor foram obtidas nas primeiras idades. / Mortar coatings are made through of several steps, such as substrate preparation, mortar plaster and decorative finish. Despite being an rather widespread technique, In many cases, optimized and efficient production is still not consolidated, leading to failure, substantial losses and problems with performance. The elimination of some steps is presented as a feasible opportunity to increase productivity, waste reduction, reduce of consumption of raw materials and system simplification. In this context, the monolayer mortar coating system is an interesting option. This system uses a pigmented coating mortar, eliminating the painting and can be applied to masonry substrates or structural concrete. As this is a decorative coating, The system must be able to attend the aesthetic expectations, showing conformity of color throughout coated extension. However, due to eliminate steps and reduce the thickness to be a mortar with more complex compared to the traditional technique used, the color variations can occur in the coating. Thus, this study aim to identify factors that influence the color variation of the decorative monolayer coating. Thus, four substrates were evaluated (3 glass and ceramic, fired at 800, 900 and 1000°C) and used different coating thicknesses (1, 2 and 3 cm). This paper also evaluated the effect of the amount of water in the mixture and the initial cure temperature. It was used a spectrophotometer to check the color response, and adopted the L*a*b* and L*C*h(°). The analysis have been made calculating the effect of the variables on color and then the color difference ΔE. The differences obtained are classified from its perception. It was observed that in most cases, the effects taxes have generated some variation in the factors that make up the color. However, not always produced notable changes in color. The greatest differences in color were obtained at early ages.

The dissertation examines the history of modern design in early 20th-century China. The emergent field of design looked to replace the specific cultural and historical references of visual art with an international language of geometry and abstraction. However, design practices also, encouraged extracting culturally unique visual forms by looking inward at a nation’s constructed past. The challenge of uniting these dual, and seemingly contradictory, goals was met in a collaborative book cover design project between Lu Xun (1881-1936), China’s most influential modern writer, and Tao Yuanqing (1893-1929), a painter who transformed ancient motifs into a transnational vocabulary of modern design. As the title suggests, the dissertation provides a history of modern Chinese design in four chapters, with the Lu Xun-Tao Yuanqing collaboration at its core. The investigation begins with the moment of culmination, wherein Lu Xun and Tao Yuanqing’s intersubjective dynamic allowed for evocative yet inscrutable book cover designs to be created. In the new medium of design, the writer’s anxiety regarding the inadequacy of language converged with the artist’s desire for ambiguity in art. The critical analysis then moves back to earlier instances of design and examines how the history of design in China was inflected by the World Exposition, Japan, art education, and commercial art. The inquiry finally moves forward to the discussion of Tao Yuanqing’s art and design’s relationship with a range of discursive fields in aesthetics and literary criticism, including modern notions of beauty, childlikeness, empathy, the native soil movement, cosmopolitanism, symbolism, and ambiguity in art. This part reveals how Tao Yuanqing’s innovations ironically endorsed while simultaneously subverting contemporary interpretive efforts. / History of Art and Architecture

No description available.

The purpose of this project is to identify sources of funding for sustainable building projects and create a catalog of the findings. This study targeted the nonprofit, humanitarian, and private organization sectors with the goal to encourage subsequent projects that may positively impact the quality of life for people in need. It has been predicted that in the next 25 years 75% of America's built environment will be either new or renovated. The downside is that new buildings cause substantial ecological damage due to the extraction of materials and account for as much as 40% of all greenhouse gases. As a result, trends in the industry of design show growth in the green-building market. How do organizations without financial means maintain environmental responsibility as they build to meet needs? Besides identifying financing sources for above-mentioned types of organizations, this thesis also offers a model for the grant-finding process geared toward first-time searchers/applicants. Applicable sources of funding from this catalog will be recommended to the Teton Valley Community School (TVCS), winner of the 2009 Open Architecture Challenge, in Victor, Idaho, and the case study for this project. At the time of this study, between September, 2009 and February, 2010, the Teton Valley Community School was in the process of seeking out grant opportunities for their innovative, sustainable classroom project. At this writing, the total figure to be raised has not yet been determined, though it is expected to be in the $5-10 million range. The TVCS master plan is to eventually build five additional classrooms with design objectives to create flexible spatial configurations, reduce the school's ecological footprint, and build a strong connection to the outdoors in response to the mountain climate where they are located.

No description available.