This thesis examines the ways in which the Daily Mail Ideal Home Exhibition educated (, and entertained the public in the first half of the twentieth century by promoting a modern way of life, helping to establish a commercial culture of homemaking. By exploring the ways in which the Exhibition represented popular conceptions of the 'modern' within their social and historical contexts, the thesis challenges the dominance of Modernist aesthetics and values on writing on design, architecture and consumption. Chapter one explores the unease felt by a particular group of writers towards the Ideal Home Exhibition, which it locates in relation to a wider intellectual condemnation of modernity and suburbia. Chapter two looks at the founding of the Exhibition by the Daily Mail in 1908. Chapter three analyses how the Daily Mail and the Exhibition constructed an 'ideal audience' and why the idea of an 'ideal home' was so appealing. Chapter four looks at the ways in which ideas about 'labour-saving', which were part of a concern with national efficiency that drew on the doctrines of scientific management, have constructed the 'ideal home' as a site of change and experimentation. Chapter five explores how the 'Tudorbethan' semi and the popular appropriation of the Modern Movement in the Exhibition represented tensions between the longings for the past and aspirations for the future. Chapter six investigates the representation of non-English peoples and places and the display of Empire in the Exhibition. Chapter seven looks at how the Exhibition addressed the question of the 'house that women want', focusing on the actual participation of women in the Exhibition, as 'natural' experts and paid professionals. Chapter eight makes some conclusions on the ways in which the audience's experience of 'suburban modernity' in the Exhibition was dependent on the interaction of the themes outlined in the earlier chapters. The thesis ends with a review of the past, present and future of the Ideal Home Exhibition.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

<p>This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).</p><p>Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.</p><p>Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.</p><p>Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.</p><p>Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.</p><p>Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.</p>

This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”). Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson. Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist. Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society. Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press. Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.

Der Name Klinik ist von dem altgriechischen Wort klíne abgeleitet, das einen Gegenstand – das Bett oder die Liege benennt. Jedoch wird mit Klinik zunächst eine Praxis bzw. eine Methode bezeichnet: die „Medizin am Krankenbett“. In dieser Arbeit wird untersucht, welche Bedeutungen, Wirkungen und Entwicklungen das Bett in und mit der Klinik entfaltete. Seine Form, Materialität und symbolischen Eigenschaften wirken auf die Klinik als Institution, als architektonisches und organisatorisches Gebilde sowie auf die Patient_innen und die Art und Weise ihrer Behandlung. Seit dem späten 18. Jh. ist das eiserne Bettgestell, belegt mit einer Person, konstitutiv für den ‚zivilisierten‘ Menschen und zieht in dieser Form in Europas Hospitäler ein. Das Krankenbett hat außerdem stützende, unterstützende und schützende Funktionen. In Gestalt der ‚Bettmaschine‘ verspricht es um 1800 humanitären Halt und Trost. Im 20. Jh. übernimmt das Dispositiv Sicherheit: Bettgitter sollen ‚wehrlose Kranke‘ vor dem Herausfallen aus dem Bett schützen. Die Abrechnung und Planung der Krankenhausbehandlung wird seit dem 19. Jh. mehr und mehr an die Einheit Bett geknüpft. Anfang des 20. Jh. wurde zudem die Idee des Fortschritts mit dem Krankenhausbett als zeitgemäßes Industrieprodukt nach Normvorgaben verbunden. Designprojekte der 1960er Jahre richteten sich besonders auf die Körper einer Nutzergruppe: der Pflegefachkräfte. Bettennot, Fachkräftemangel, der Drang nach Verkürzung der Verweildauer und daraus resultierende Rationalisierungen veränderten das Bett, und mit ihm die Abläufe im Krankenhaus und wie Patient_innen versorgt und behandelt werden. Sichtbar wird zudem, dass zwei Mobilisierungsprojekte im Widerstreit zueinander stehen: Auf der einen Seite die Bemühungen, das Krankenhausbett für die klinische Logistik beweglich zu machen und auf der anderen Seite, die im langen Prozess der Aktivierung des Verkehrsapparats Krankenhaus passivierten Patient_innen zu mobilisieren. / Although the word ‘clinic’ refers to a practice or a method of "bedside teaching", it derives from the ancient Greek word klíne, which describes an object – the bed or the couch. This research project examines the evolution of the hospital bed itself and the meanings and effects associated with its development. Its form, materiality and symbolic properties have affected the clinic as an institution and as an architectural and organizational structure, as well as the patients and the way they have been treated. In the 18th century, the hospital bed became a means to draw distinctions between wild or civilized, healthy or ill etc. Historically, the sickbed has taken on reclining, supportive and protective functions. Around 1800, in the form of a new “bed-machine”, it promised humanitarian support and consolation. In the 20th century, the apparatus of security took over, and bed rails were installed to protect ‘helpless patients’ from falling out of bed. Since the 19th century, the planning of hospital treatment, and the accounting behind it, has been linked more and more to the bed as a unit. At the beginning of the 20th century, the idea of progress transformed the hospital bed into a state-of-the-art industrial product with fixed standards. Steel tube furniture has established itself as peculiarly adaptable and as the site of medical treatment. Design projects in the 1960s focused on the bodies of one user group – the nursing staff. Hospital bed shortages, lack of nursing staff and pressure to shorten the length of stay resulted in a rationalization that changed the bed’s structure, and with it hospital procedures, and how patients are treated. Two significant and controversial mobilization projects linked to this development are efforts to make the hospital bed mobile for the sake of logistics, and, as a countermeasure, current efforts to re-mobilize patients who were made passive by the former process.

Large, strongly connected amounts of data, as collected in knowledge bases or those occurring when describing software, are often read slowly and with difficulty by humans when they are represented as spreadsheets or text. Graphical representations can help people to understand facts more intuitively and offer a quick overview. The electronic representation offers means that are beyond the possibilities of print such as unlimited zoom and hyperlinks. This paper addresses a framework for visualizing connected information in 3D-space taking into account the techniques of media design to build visualization structures and map information to graphical properties. / Große, stark vernetzte Datenmengen, wie sie in Wissensbasen oder Softwaremodellen vorkommen, sind von Menschen oft nur langsam und mühsam zu lesen, wenn sie als Tabellen oder Text dargestellt werden. Graphische Darstellungen können Menschen helfen, Tatsachen intuitiver zu verstehen und bieten einen schnellen Überblick. Die elektronische Darstellung bietet Mittel, welche über die Möglichkeiten von Print hinausgehen, wie z.B. unbegrenzten Zoom und Hyperlinks. Diese Arbeit stellt ein Framework für die Visualisierung vernetzter Informationen im 3D-Raum vor, welches Techniken der Gestaltung zur Erstellung von graphischen Strukturen und zur Abbildung von Informationen auf graphische Eigenschaften berücksichtigt.

Large, strongly connected amounts of data, as collected in knowledge bases or those occurring when describing software, are often read slowly and with difficulty by humans when they are represented as spreadsheets or text. Graphical representations can help people to understand facts more intuitively and offer a quick overview. The electronic representation offers means that are beyond the possibilities of print such as unlimited zoom and hyperlinks. This paper addresses a framework for visualizing connected information in 3D-space taking into account the techniques of media design to build visualization structures and map information to graphical properties.:1 EINFÜHRUNG S. 9 1.1 Zusammenfassung des Gestaltungsentwurfs S. 9 1.2 Ziel des Belegs S. 10 1.3 Interdisziplinäres Projekt S. 10 2 VORGEHEN S. 12 2.1 Ablauf S. 12 2.2 Konkrete Beispielinhalte S. 13 2.3 Beispielimplementierung S. 13 3 DATENMODELL S. 15 3.1 Ontologien S. 15 3.2 Ontologie Konstruktion S. 15 3.3 Analyse der Domain Design S. 18 3.8 Erstes Ordnen S. 19 3.9 Verwendete Ontologie-Struktur S. 21 3.10 Design-Ontologien S. 23 3.11 Schwierigkeiten bei der Ontologiekonstruktion S. 28 3.12 Einpflegen der Daten mit Protégé S. 29 3.13 Facetten S. 29 3.14 Filter S. 32 4 DATENVISUALISIERUNG S. 35 4.1 Visualisierung zeitlicher Daten S. 35 4.2 Hyperhistory S. 35 4.3 Graphisches Vokabular - graphische Dimensionen S. 37 4.4 Mapping S. 39 5 FRAMEWORK UND GESTALTUNG DES MEDIUMS S. 43 5.1 Technologien und Werkzeuge S. 44 5.2 Architektur S. 46 5.3 Konfiguration S. 51 5.4 DataBackendManager S. 52 5.5 Mapping im Framework S. 53 5.6 atomicelements S. 54 5.7 Appearance Bibliothek S. 55 5.8 TransformationUtils S. 56 5.9 Structures S. 57 5.10 LOD S. 64 5.11 Häufung von Einträgen [+] S. 66 5.12 Darstellung von Relationen [+] S. 69 5.13 Head Up Display [+] S. 71 5.14 Navigation S. 72 5.15 Performanz S. 73 5.16 Gestaltung des Mediums S. 74 6 AUSBLICK S. 80 7 FAZIT S. 81 8 ANHANG A – Installation S. 82 8.1 Vorraussetzungen S. 82 8.2 Programmaufruf S. 82 8.3 Stereoskopie S. 82 9 ANHANG B – Beispielimplementierung zur Visualisierung des Themas „Geschichte des Designs in Deutschland im 19. und 20. Jh.“ S. 84 9.1 Eingrenzung des Umfangs S. 84 9.2 Überblick zur deutschen Designgeschichte S. 84 9.3 Vorgehen S. 85 9.4 Unscharfe Datumsangaben S. 85 9.5 Kontextereignisse S. 85 9.6 Ursache-Wirkung-Beziehungen S. 86 9.7 Mehrsprachigkeit S. 86 9.8 Quellenangaben S. 86 9.9 Bildmaterial S. 87 LITERATURVERZEICHNIS S. 88 GLOSSAR S. 90 ABBILDUNGSVERZEICHNIS S. 91 / Große, stark vernetzte Datenmengen, wie sie in Wissensbasen oder Softwaremodellen vorkommen, sind von Menschen oft nur langsam und mühsam zu lesen, wenn sie als Tabellen oder Text dargestellt werden. Graphische Darstellungen können Menschen helfen, Tatsachen intuitiver zu verstehen und bieten einen schnellen Überblick. Die elektronische Darstellung bietet Mittel, welche über die Möglichkeiten von Print hinausgehen, wie z.B. unbegrenzten Zoom und Hyperlinks. Diese Arbeit stellt ein Framework für die Visualisierung vernetzter Informationen im 3D-Raum vor, welches Techniken der Gestaltung zur Erstellung von graphischen Strukturen und zur Abbildung von Informationen auf graphische Eigenschaften berücksichtigt.:1 EINFÜHRUNG S. 9 1.1 Zusammenfassung des Gestaltungsentwurfs S. 9 1.2 Ziel des Belegs S. 10 1.3 Interdisziplinäres Projekt S. 10 2 VORGEHEN S. 12 2.1 Ablauf S. 12 2.2 Konkrete Beispielinhalte S. 13 2.3 Beispielimplementierung S. 13 3 DATENMODELL S. 15 3.1 Ontologien S. 15 3.2 Ontologie Konstruktion S. 15 3.3 Analyse der Domain Design S. 18 3.8 Erstes Ordnen S. 19 3.9 Verwendete Ontologie-Struktur S. 21 3.10 Design-Ontologien S. 23 3.11 Schwierigkeiten bei der Ontologiekonstruktion S. 28 3.12 Einpflegen der Daten mit Protégé S. 29 3.13 Facetten S. 29 3.14 Filter S. 32 4 DATENVISUALISIERUNG S. 35 4.1 Visualisierung zeitlicher Daten S. 35 4.2 Hyperhistory S. 35 4.3 Graphisches Vokabular - graphische Dimensionen S. 37 4.4 Mapping S. 39 5 FRAMEWORK UND GESTALTUNG DES MEDIUMS S. 43 5.1 Technologien und Werkzeuge S. 44 5.2 Architektur S. 46 5.3 Konfiguration S. 51 5.4 DataBackendManager S. 52 5.5 Mapping im Framework S. 53 5.6 atomicelements S. 54 5.7 Appearance Bibliothek S. 55 5.8 TransformationUtils S. 56 5.9 Structures S. 57 5.10 LOD S. 64 5.11 Häufung von Einträgen [+] S. 66 5.12 Darstellung von Relationen [+] S. 69 5.13 Head Up Display [+] S. 71 5.14 Navigation S. 72 5.15 Performanz S. 73 5.16 Gestaltung des Mediums S. 74 6 AUSBLICK S. 80 7 FAZIT S. 81 8 ANHANG A – Installation S. 82 8.1 Vorraussetzungen S. 82 8.2 Programmaufruf S. 82 8.3 Stereoskopie S. 82 9 ANHANG B – Beispielimplementierung zur Visualisierung des Themas „Geschichte des Designs in Deutschland im 19. und 20. Jh.“ S. 84 9.1 Eingrenzung des Umfangs S. 84 9.2 Überblick zur deutschen Designgeschichte S. 84 9.3 Vorgehen S. 85 9.4 Unscharfe Datumsangaben S. 85 9.5 Kontextereignisse S. 85 9.6 Ursache-Wirkung-Beziehungen S. 86 9.7 Mehrsprachigkeit S. 86 9.8 Quellenangaben S. 86 9.9 Bildmaterial S. 87 LITERATURVERZEICHNIS S. 88 GLOSSAR S. 90 ABBILDUNGSVERZEICHNIS S. 91