Thesis (doctoral)--Universität Erlangen.

Thesis (M.S.)--Oregon State University, 2010. / Printout. Includes bibliographical references (leaves 88-96). Also available on the World Wide Web.

Chan Tin Wai Katherine. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2000-01, design report." / On double leaves ; texts blurred in printing. / Includes bibliographical references. / ACKNOWLEDGEMENT / INTRODUCTION / OBJECTIVES / RESEARCH / DESIGN DEVELOPMENT / FINAL DESIGN / BIBLOGRAPHY

Submitted in partial fulfilment of the requirements for the Masters Degree in Technology: Fashion Design, Durban University of Technology, 2012. / The purpose of this study was to explore the possibility of creating shop window displays focussing on a South African identity in the Durban region. The impetus for the study stemmed from the design of the Constitutional Court which features elements of South African culture. This study challenges the contemporary notion of presenting window displays using primarily Western influences and proposes the use of fashion imagery and cultural identity currently dominating South Africa. The study argues against corporate fashion stereotypes and champions a representation of an eclectic multi-cultural South African society. In this respect key theories of identity, culture, and design were explored. A qualitative methodology was conducted utilising interview and observation approaches to obtain data. Semi-structured interviews were conducted with twelve local professionals specialising in the fields of art, design, fashion and architecture to obtain their expert opinions. The data was analysed by clustering information into themes to establish the findings. Interview findings revealed that shop window displays should accommodate local imagery appropriate to the South African context. Observing two local production houses, namely Hirt & Carter and Barrows in Durban provided insights for a backdrop creation for the practical component of the study. The practical comprised of producing retail shop installations and a visual catalogue representing findings drawn from the study. The catalogue was used to illustrate the results of investigating a national image and identity that could be intrinsic to window display creation in South African fashion retail shop fronts. / National Research Foundation

"This study is limited to the organization and activities of display departments of six leading Texas department stores. It concerns the two main categories of display: window and interior display. Chapter I serves as an introduction to the study; Chapter II review briefly the history of display in the United States; Chapter III presents an analysis of the display departments of six leading Texas department stores; Chapter IV concludes the study with a summary and evaluation of the data presented in Chapter III." -- leaf 3.

This dissertation is a study of the architecture of commodity capital: the display window. Taking as a starting point the work of Henri Lefebvre and Goerg Simmel, this dissertation understands the shop window to be a mode of display, what I define as “the logic of the vitrine,” that has shaped the way the world appears. Tracing a genealogy from the Parisian Arcades to the twentieth-century department store, this project explores the relationships between gender, sexuality, race, and architecture. Feminist critiques of commodity desire and display illuminate how the shop window is as important to our understandings of capitalism as is the commodity. Through feminist, queer, postcolonial, and anti-racist readings of material and commodity culture, this dissertation considers the shop window to be a site of subject formation. This dissertation also examines how designers, artists, and architects have explored the display of the shop window through a series of case studies, including Marina Abramovic’s Role Exchange, Gene Moore’s “drag” in Bonwit Teller’s shop windows, the making of a black mannequin, and Lynn Hershman Leeson’s site-specific installation 25 Windows. This dissertation concludes with a consideration of the architectural role reversals of the shop window and the gallery; the work of Silvia Kolbowski and Elmgreen and Dragset’s Prada Marfa ground this analysis. Artists have disrupted the display of the shop window, transforming the architecture of commodity capital into a space for resistance and critique.