This dissertation assesses the significance of luxury dining ware within Roman society by analyzing the economic and socio-cultural value of these objects. Specifically, I focus on silver and gold tableware from the Roman Republic through the third century CE. Precious metal vessels are particularly well-suited to a study of socio-economical value because they are somewhere between an art object and a commodity. Because these objects are made from silver and gold, they have material value, but they are also valuable for their functionality within the dining context, particularly for hosting guests at the convivium. Their utility is, therefore, expressly social in nature. In the Roman world, silver and gold vessels were also highly decorative and as such served as display pieces and objects of attention. Their ability to communicate was not limited only to their material or their functionality; they were neither mere utilitarian commodities, nor simple stores of wealth. Scholars often note that precious metal vessels were status symbols and stores of wealth, but they rarely analyze the way that these objects functioned within those roles. I seek to address this issue by considering the different forms of attention and the processes of valuation which were applied to luxury products in the Roman period. I will ask how social and cultural contexts affected the value of precious metal tableware and how the monetary value of these items determined the social contexts in which they were used. Additionally, this dissertation includes a study of the epigraphic habits on surviving silver and gold tableware in order to better understand how these vessels were used and exchanged. The inscriptions give a sense of the kinds of attention that was given to these objects and the way in which owners or makers might use them to communicate. I will approach these questions through an analysis of four primary types of value: economic, cultural, social, and aesthetic value. Value can be an economic measure achieved by quantifying the significance of an object and expressing this as price. But value can also be applied through cognitive processes via the attention paid to objects and the attitudes of people towards them. By looking at the significance of tableware as a luxury product, utility object, and display piece, I take account of the different ways in which these vessels could be used to communicate within social contexts. I will show that the value of precious metal tableware, in both an economic and cultural sense, provided its owners with opportunities to convey particular messages aimed at navigating the fraught networks of status that existed in Roman society. Gold and silver dining ware could be a store of wealth, but not one which produced financial returns like other assets. Rather, the benefits of storing wealth as luxury dining products were social in nature. The use of precious metal dining ware at communal dinners, or for display, could project an image of wealth, taste, and, most of all, generosity. The return on assets of silver and gold dining ware was social rather than financial capital. Luxury commodities like silver and gold plate were enmeshed in the social interactions and behaviors of elite Romans and so become agents in defining the social personas of their owners.

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Thesis (MPhil)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The central theme of this thesis is to establish the use of visual art for community development. This is done within the context of South Africa in Kayamandi, a Black Township near Stellenbosch. This example has been chosen because one of South Africa's major developmental challenges lies in Black Townships, due to the previous government's negligence toward these areas. Since the thesis focuses on a Black Township, the history of Black visual art during the 20th century, under colonial and postcolonial regimes is analysed. Subsequently, the notion of community development and how visual art contributes to development is outlined. The important role that community arts and community arts centres play in the contribution of visual art to community development is also defined. To this end qualitative and quantitative research has been conducted in Kayamandi. Artists, visual art groups and possible community arts centres were identified. By way of the Kayamandi study, it is understood that visual art is an established practice in Kayamandi. Under specified circumstances, visual art practice in Kayamandi does lead to community development. The establishment of a community arts centre could further increase people's use of visual art for community development. / AFRIKAANSE OPSOMMING: Die sentrale doel van die tesis is om die gebruik van visuele kuns vir gemeenskapsontwikkeling vas te stel. Dit word vasgestel binne die Suid- Afrikaanse konteks met spesifieke verwysing na Kayamandi, 'n Swart woonbuurt naby Stellenbosch. Dié gemeenskap is gekies omdat Swart woonbuurte een van Suid-Afrika se grootste ontwikkelingsuitdagings vergestalt. Dié uitdaging is die gevolg van nalatigheid van die vorige apartheidsregering ten opsigte van die gebiede. Die geskiedenis van Swart visuele kuns gedurende die 20ste eeu tydens die koloniale en postkoloniale regimes word ondersoek. Gevolglik word gemeenskapsontwikkeling en hoe visuele kuns daartoe bydra uiteengesit en bespreek. Verder word die belangrikheid van gemeenskapskuns en - kunssentrums én hul bydrae tot visuele kuns vir gemeenskapsontwikkeling gedefiniëer. Vir dié doel is kwalitatiewe en kwantitatiewe navorsing in die verband in Kayamandi gedoen. Kunstenaars, visuele kuns groepe en moontlike gemeenskapskunssentrums is ge-identifiseer. Die Kayamandi studie bewys dat visuele kuns 'n gevestigde praktyk in Kayamandi is. In gespesifiseerde omstandighede dra visuele kuns wel tot gemeenskapsontwikkeling in Kayamandi by. Die ontwikkeling van 'n gemeenskapskunssentrum in Kayamandi sal die inwoners se gebruik van visuele kuns vir gemeenskapsontwikkeling vergroot.

Identity and its different constructions - national, social and personal, for example - are increasingly recognised as fundamental to understanding current and historic cultures. The reflexive relationship of identity issues with sartorial expression is a key concept within dress, fashion and textile studies. This thesis contributes to that growing body of knowledge by developing an understanding of how specific eighteenth century Scotswomen and their families related to their garments, thus bringing together contemporary study methods and understandings of identity with historic manifestations. This study of identity is embedded within an object-study methodology, following investigative practice and cataloguing methods currently used within the international museums community. This assists the secondary purpose of the thesis, which is to highlight a breadth of largely unpublished main garment objects within Scottish public and private collections. The intimate study of these objects has revealed stories of how daily life interacted with personal taste and style, purchase methods, garment use and international markets for individuals connected to Scotland. This has contributed material understanding to wider academic research areas, most importantly the everyday lives of eighteenth century Scotswomen, issues of identity within Scotland, and how European fashion trends were adopted or adapted by individuals outside of the major fashion centres of London and Paris. Study of the garments has involved stylistic analysis of their textiles and of their construction, connecting them to other extant and depicted garments from British and international collections. Thus providing material evidence of international styles in the eighteenth century, and matching two items in a rare example of extant main garments evidencing duplication in the eighteenth century handmade clothing industry.

Dans les sphères du développement durable, des modèles d’affaires et du design de produit, certains leviers rendent le croisement de ces trois sphères de plus en plus pertinent. Au croisement de ces trois sphères se trouve une opportunité de comprendre les relations existantes entre le design de produit et les modèles d’affaires afin d’aider les décideurs à développer des solutions davantage durables. L’approche méthodologique de cette recherche utilise un système complexe et est basée sur un paradigme pragmatique. En vue de répondre à la question « Dans quelle mesure des modèles d’affaires et le design de produit sont liés dans un contexte de développement durable? », cette recherche a soigneusement analysé trois cas: Better Place, une compagnie californienne ayant développé une infrastructure permettant le chargement des voitures électriques; Interface Inc., un manufacturier mondial de tuiles de tapis commerciales établi à Atlanta; et Métacycle, un concept d’entreprise développé par une équipe de chercheurs en design à Montréal. Chaque cas a été analysé en corrélant des aspects du design de produit à des éléments de leur modèle d’affaires. Les résultats montrent que dans le contexte du développement durable, le design de produit et les modèles d’affaires sont interdépendants. Les résultats peuvent être résumés en six points: il existe des relations applicables universellement; les innovations de design substantielles jouent un rôle important dans le développement durable; la « durabilité » peut être une qualité émergente d’un modèle d’affaires; les partenariats peuvent être vitaux pour l’intégration des systèmes; un modèle de services a des bénéfices et des limitations considérables; le design peut agir comme levier à l’utilisation d’énergies renouvelables. Pratiquer simultanément l’innovation du modèle d’affaires et du produit peut apporter une valeur ajoutée, susciter des opportunités et augmenter l’efficience sur plusieurs facettes. Toutefois, les risques et les coûts de tels procédés sont souvent très élevés. En aidant à comprendre et définir comment les trois sphères mentionnées plus tôt sont interdépendantes, cette recherche pourrait idéalement inspirer des recherches supplémentaires sur le sujet. L’application par des organisations de la méthodologie et des apprentissages résultant de cette recherche peut permettre à d’autres d’utiliser le croisement entre l’innovation de produit et l’innovation du modèle d’affaires afin de résoudre des enjeux sociaux et environnementaux complexes. / Certain drivers in the fields of sustainability, business models, and product design are making the intersection between these three fields increasingly relevant. At this intersection is the opportunity to understand the relationships that exist between product design and business models to help decision makers develop more sustainable solutions. The methodology of this research uses a complex systems approach and is grounded in a pragmatist paradigm. To answer the question “In the context of sustainability, in what way are business models and product design related?”, this research has carefully analysed three cases: Better Place, a US based company that has developed a charging infrastructure for electric cars; Interface Inc., a global commercial carpet tile manufacturer based in Atlanta, Georgia; and Metacycle, a company concept developed by a team of design researchers in Montréal, Québec. Each case is analysed by correlating aspects of product design to elements of the business model and assessing how these relationships affect the sustainability of the company. The results show that product design, business models, and sustainability are inextricably connected. The results can be summarized in six key insights: there are universally applicable relationships; discontinuous design innovation can play a vital role in sustainability; sustainability is an emergent quality of a business model; key partnerships support systems level integration; a service revenue model has significant benefits and limitations; design innovation can help drive the shift to renewable energy. Conducting business model innovation and product innovation simultaneously can have large payouts in the form of creating new value, uncovering opportunities, and increasing efficiencies many fold, however the risks and costs of such a process are often very high. Applying the methodology and lessons of this research to one’s own organization could help to uncover new opportunities for innovation and help create more sustainable solutions. This research, by helping to understand and define how these areas are inextricably related and interdependent, will hopefully inspire further research on the subject and help others to use the intersection between product design and business model innovation to solve complex problems, be they social, environmental or otherwise.

This thesis gives, for the first time, a clear exposition of the activities of the Arundel Society (1848-1897). Founded to 'collect diligently and with discrimination the highest and best examples of Art and to bring them before hundreds of English minds' the presence of Aubrey Bezzi, Lord Lindsay, Edmund Oldfield, Samuel Rogers and John Ruskin on the Society's first council meant that the initial publication of engravings after two early Italian artists, Fra Angelico and Giotto, was unsurprising. After 1856, under the guidance of Henry Layard, the archaeologist and politician, the Society became even more firmly committed to copying and publishing frescoes of the early Renaissance. The council's aim in recording and publishing these endangered works of art was to educate the taste of the public and inspire artists to embark on programmes of mural decoration. The water-colours executed for the Society are discussed with particular reference to the reactions of the council, and of members and the press to the problem of their verisimilitude. About two-thirds of these copies were published as chromolithographs and the gains and liabilities of this initially very popular method of reproduction are examined. Other methods employed by the Society to publish fac-similies of classical and medieval ivories and reduced copies of the Elgin marbles are also discussed with general reference to Victorian attitudes towards reproductions. The penultimate chapter attempts to relate the prints and monographs published by the Society to the art historical scholarship of the period. It is shown that the council's publication of decorative quattrocento, provincial cinquecento and early Flemish and German artists was influenced by Henry Layard's preferences. His monographs for the Society are discussed and compared with the more scholarly, if diverse, contributions made by, among others, G. W. Kitchin, John Ruskin, George Scharf and Ralph Wornum. In the final chapter it is argued that the Society's loyalty to the tastes of the mid-century and to the process of chromolithography led to its dissolution.

Cette recherche pose un regard sur l’articulation des changements sociétaux émergeant de la négociation entre les mondes globaux et locaux et leurs impacts sur la sphère professionnelle du design industriel au Québec. Nous proposons de mettre en lumière les dimensions identitaires qui caractérisent la pratique du design industriel. Nous référons aux théories de l’identité, aux théories de la globalisation et au contexte particulier de la pratique du design québécois à travers ses aspects socioculturel, politique et économique. Le concept d’identité nous permet d’explorer l’interprétation des designers de leur pratique professionnelle dans un contexte désormais glocal (Robertson, 1995). Suivant une démarche qualitative basée sur les entretiens en profondeur, nous explorons l’interprétation du caractère identitaire de l’activité professionnelle auprès de trois générations de designers. Nous examinons également le sens qu’ils prêtent au concept de communauté du design, à leur système de valeurs et à l’avenir du design industriel québécois. / The following research examines societal changes that have emerged as the result of the negotiation between global and local influences on the profession of industrial design in Quebec. The study attempts to articulate these changes by analyzing theories and processes of identity and globalization. By reviewing current literature on the socio-cultural, political and economic dimensions of design, we will complete a portrait and highlight the complexities of the current state of industrial design in the province. Through qualitative interviews of nine practicing designers, divided into three generations, we will present an actual overview of the practice of industrial design in Quebec. In doing so, we will investigate the multidimensional aspects of their practice as well as explore their professional community and the value systems that influence their actions. This will provide a critique from the designers perspective of their practice, as well as their view of the future of design in Quebec.

Depuis la dernière décennie, le biomimétisme est une discipline en plein essor dans le monde du design durable. De plus en plus, cette stratégie prend place dans plusieurs facettes du design, que ce soit dans le design industriel, dans l’architecture ou encore dans le design urbain. Le livre de Janine Benyus intitulé Biomimétisme: Quand la Nature Inspire des Innovations Durables (1997) est largement reconnu comme étant le catalyseur de la stratégie et comme l’indique le titre du livre, le biomimétisme est très souvent associé à l’innovation. Le but principal de cette recherche est de mieux comprendre le lien entre le biomimétisme et l’innovation. Cette recherche sur le biomimétisme comprend un objectif mineur et deux objectifs majeurs. Le premier objectif cherche à comprendre le véritable lien entre le biomimétisme et l’écodesign. Le second objectif vise non seulement à valider la théorie selon laquelle le biomimétisme est une stratégie menant à des solutions de design innovantes, mais également à établir quels types d’innovations ont été générés par cette stratégie. Finalement, le troisième objectif est d’identifier les aspects du biomimétisme qui mènent à des solutions de design innovantes. Pour accomplir ces objectifs, cette recherche utilisera une approche qualitative supportée par des études de cas et une revue de littérature. Afin de contextualiser les deux derniers objectifs, cette étude établit que le biomimétisme et l’écodesign sont des stratégies complémentaires plutôt qu’en compétition. Les conclusions de cette recherche démontrent que la théorie proposant que le biomimétisme soit une stratégie d’innovation est valide et que la discipline est surtout apte à générer l’innovation radicale. Finalement, la recherche indique que l’analogie de distance et la transdisciplinarité sont les deux aspects du biomimétisme aidant à produire des solutions de design innovantes. Le biomimétisme est mieux connu dans le contexte du design durable et cette recherche permet de mieux comprendre le biomimétisme dans le contexte de l’innovation. Considérant que le biomimétisme est une discipline qui suscite beaucoup d’intérêt des milieux académiques et privés, cette recherche participe à l’expansion de la connaissance sur le sujet et propose de nouvelles pistes de recherche sur le biomimétisme et l’innovation. / Biomimicry is a growing design discipline that has gained much recognition throughout the last decade in sustainable design. The bioinspired design approach is finding its way across design disciplines from product design to architecture and urban design. The book, Biomimicry: Innovation Inspired by Nature, by Janine Benyus is credited to launch the design movement and as indicated in the title, biomimicry is often presented as a strategy for design innovation. The goal of this thesis is to gain a better understanding of biomimicry in the context of innovation. This study has two principal objectives and a minor objective. The first objective aims at understanding the correlation between biomimicry and ecodesign. The second objective is to validate the notion that biomimicry is a strategy supporting design innovation by establishing what kinds of innovation has been spawned by this approach. And finally the third objective is to identify the aspects of biomimicry that lead to innovative design solutions. To fulfill these objectives, this research will employ a qualitative approach and supported literature review and case studies. To contextualize the last two objectives, the study clarifies that the qualitative approach of biomimicry and the quantitative approach of ecodesign are actually complimentary and thus together form a more comprehensive approach to sustainable design. The findings of this study also validate that biomimicry supports innovation, specifically radical innovation. To finalize, the study demonstrates that the two aspects of biomimicry responsible for innovation are the use of distant analogy and transdisciplinarity. Biomimicry is typically observed in the context of sustainability and this thesis aims to observe and understand biomimicry in the context of innovation. Given the growing interest in biomimicry by academia and the private sector, this research also will propose new paths of research in biomimicry and innovation and thus hopefully provoke new insights on the subject.

Ce travail est consacré à Emile Gallé, chef de file de l’Ecole de Nancy, artiste dont les créations appartiennent aux réalisations majeures de l’Art Nouveau. Il était, en outre, passionné par la littérature et c’est cet aspect de sa personnalité, ayant fortement influencé son œuvre, que nous avons étudié. Notre recherche se base essentiellement sur le témoignage le plus concret que Gallé nous a laissé de son intérêt pour les textes : les nombreuses citations qu’il a gravées sur ses œuvres (de verre, bois ou porcelaine), ou dont il a émaillé ses écrits. Leur importance réside dans le fait qu’elles sont partie prenante de la création artistique, puisque Gallé semblait parfois créer une pièce après avoir été subjugué par un passage littéraire. C’est pourquoi il nous a semblé nécessaire de répertorier en détail, sous la forme d’un catalogue raisonné, l’ensemble des citations que l’artiste a choisi d’extraire d’œuvres littéraires du 19e siècle. Nous avons fait suivre ce recensement d’un classement thématique, visant à éclairer les sujets de prédilection de l’artiste. Cette description permettant de faire, en conclusion, quelques remarques concernant les thématiques principales des œuvres. Si ce catalogue constitue le cœur de notre travail, il nous est apparu indispensable d’envisager aussi au préalable la vie d’Emile Gallé, afin de mieux appréhender les influences principales ayant déterminé sa sensibilité littéraire et artistique. La première partie de notre thèse revêt donc un aspect ouvertement biographique. / This research is dedicated to the works of Emile Gallé, leader of the Ecole de Nancy and an artist whose creations belong in Art Nouveau's major achievements. He was also very fond of literature and it is this aspect of his personality, which had a major impact on his works, that has been here focused on. This study is mostly based on Gallé's most tangible account of his interest for words : the many quotations he himself carved on his creations (in glass, wood or china) or referred to in his own writings. Their importance lies in the fact that they are truly part of his creative process since Gallé would sometimes create a piece after being enthralled by some literary passage he had read. This is the reason why it felt necessary to list exhaustively every quotation the artist chose to extract from 19th century literary works and present them as an annotated catalogue. This inventory is followed by a thematic classification highlighting the artist's favourite topics. The main themes here depicted are then discussed and confronted in the conclusion. The catalogue may be at the heart of this study but it also seemed inconceivable not to mention Emile Gallé's life so as to understand the main influences ruling his artistic and literary sensitivity. The first part of this research thus deliberately takes on a biographic aspect.

Previous research highlighted consumer dissatisfaction with fashion clothing products on offer. There is a lack of information about real consumers needs due to the industry standards of beauty and behaviour as well as a constant rush for innovation that feeds fashion cycles. This research identifies the elements that will enable fashion clothing companies to become more inclusive, and aims to find a methodological relationship between the stakeholders in the fashion industry: consumers, designers and companies. The research considered the difference between a mature market as opposed to emergent ones, and addressed differences between Western and Eastern cultures.