Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaves 57-58).

Thesis (M.F.A.)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references (leaf 28).

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaf 31).

Thesis (M. S.)--Industrial Design, Georgia Institute of Technology, 2009. / Committee Chair: Kevin D. Shankwiler; Committee Member: Abir Mullick; Committee Member: Alan J. Harp

No description available.

M.S.

The aim of this thesis has been to develop and document a research project that takes the form of a strategic response by a furniture designermaker (Philip Koomen Furniture) to the challenging ecological issues raised by the Earth Summit (Rio de Janeiro, 1992) and detailed in the document Agenda 21: Sustainable Development for the 21st Century. A Literature Review contextualises this research project in relation to issues around global resources and sustainable practices and considers various models of sustainable design in relation to the commercial mainstream but more particularly with regard to the role of the furniture designermaker in contemporary society. The thesis explores the rationale for what became termed the “Signed & Sealed” project and describes the development of an associated body of designs through the negotiation of the degraded state of the U.K.’s native woodlands and the location of three critical strands which together came to define the “Signed & Sealed” brand – strands identified by the terms semi-bespoke, local cycle and unique signature. These terms are illuminated in turn by discussion of the commissioning processes favoured by designer-makers and by consideration of the economic and aesthetic problems to be found in connection with the sourcing, development and use of local, noncommercial timbers. The thesis also describes the project’s formal presentation in the exhibition “Out of the Woods” (River & Rowing Museum, Henley-on-Thames, 17 September 2004 to 7 January 2005) and the two conferences “Our Woods in Your Hands” (River & Rowing Museum, Henley-on-Thames, 25 September 2004) and “Out of the Woods: Design for Sustainability” (River & Rowing Museum, Henley-on- Thames, 20 October 2004) and considers the peer reviews and responses which followed these events. Finally, the thesis offers a critical evaluation of the PhD research process which framed the project together with some discussion of further potential avenues of research and development.

The primary aim of this thesis has been to describe the complex influences governing the production of fashionable furniture in C18th England and France in order to reassess the connection between material practices, the cultures in which they reside and the philosophical ideas from which they emerge. This has been achieved by detailing the factors influencing the design and production of late C18th furniture in England and France and developing a comparative model developed around the Harewood Library Table by Thomas Chippendale and The Wallace Collection F302 Secrétaire á abattant by Riesener, in order to isolate, identify and interpret differences between them. This innovative case study sits at the heart of this thesis and describes in detail how these pieces were designed and constructed and how they relate to the wider cultures from which they emerged. The result of this is apparent in a number of outcomes. Firstly, the thesis offers a definitive summary of the key characteristics of Chippendale’s and Riesener’s work which will better enable practitioners (conservators, curators, collectors, etc.) to identify pieces made by these makers, analyze their condition and help conserve these important pieces of furniture: furniture history currently is over‐dependent on much more subjective approaches to this process of identification. Secondly, the thesis examines different aspects of furniture making in England and France (literature on the workshops, information on economic conditions, evidence relating to tools and materials etc.) and integrates them in such a way as to provide an authoritative account of the complex processes involved in the commissioning of such fashionable furniture. The thesis not only helps us better understand furniture making in England and France at a structural level during this key period of transition but also provides an original and systematic approach to writing a history around such material cultures, demonstrating how important it is to the full(est) comprehension of history that such fashionable objects be understood. Where other frequently more privileged objects (written documents, paintings and sculptures etc.) have been seen to provide valuable historical insights, this thesis argues that fashionable furniture can now be seen to provide its own unique perspectives on the time and on the society in which it was created.

This doctoral project develops an interdisciplinary collaborative approach to furniture designer\maker practice. At its core is a practice-based framework that can be used to assess and reflect upon the tacit, primarily visual nature of makers’ knowledge and the way that this can be communicated in order to develop design outcomes. The enquiry takes as its focus a two-year collaboration between the author – a British-based furniture designer/maker – and six indigenous Icelandic craft practitioners in which the ultimate goal was the creation of artefacts that, it was hoped, would be expressive of Iceland’s native craft traditions. During the ‘Iceland Project,’ as it came to be known, interaction between and among participants was grounded in a predetermined plan developed democratically through consultation and dialogue. The project successfully develops new knowledge through a contemporary reinterpretation of indigenous Icelandic craft-making knowledge and demonstrates this through the making of artefacts imbued with recognized cultural status. It also extends furniture designer/maker research by developing an innovative practice-based method of collaboration rooted in the multimedia archiving of the making process which can then be used to illuminate and facilitate future practice. The project is a scholarly display of makers’ knowledge: the process is shared democratically among peers; the decisions that articulate design and methods of making are reviewed; and inter-subjective outcomes are generated. To facilitate learning from designer/maker practice-based research, the creative narrative is necessarily partly articulated through visual media and artifacts.

In recent times, the concept of ‘intangible heritage’ has gained credence within the international heritage community, reflecting wider concerns relating to the cultural impact of global economic, technological and political forces. For many, intangible heritage represents a vital living mediation of the material past (i.e. tangible heritage) which deepens its significance and meaning-conferring qualities. This thesis explores how in recent times, the intangible heritage became ‘separated’ from the tangible heritage in such a way as to bring about ideological division within the field of heritage preservation and a sense of discontinuity with the past – particularly relating to the practice of restoration and its patrimony of expertise. The thesis argues that this has been attributable to an ‘institutionalised’ conception of heritage based essentially on a historiography of materials located in the ideological site of the museum – the repository where tangible heritage is housed, organised, interpreted, conserved, restored and displayed in such ways as to confer meaning upon the material world. By drawing extensively upon evidence from the literature and engaging the conservation-restoration field, the thesis develops discussion around the emergence (and subsequent institutionalisation) of a relatively recent scientific paradigm of practice – ‘scientific restoration’ – largely shaped by this ‘museological’ vision of heritage. It also considers how the work of Cesare Brandi came to be instrumental in the formulation of this vision but argues that such conceptions have been predicated upon a misappropriation of his ideas and a misreading of historical heritage preservation ideologies that has done much to contribute to tensions evident within the heritage community. To this end, the thesis aims to redress this historical impasse by reconsidering the function of restoration – especially in terms of what is added to the historical document – and reconciling the competing claims of the tangible and intangible by developing the concept of ‘authentic process’.