Relevant bibliographies by topics / American Decoration and ornament

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  2. Dissertations / Theses
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Academic literature on the topic 'American Decoration and ornament'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "American Decoration and ornament"

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Davies, Colin. "Lessons at the roadside." Architectural Research Quarterly 8, no. 1 (March 2004): 27–37. http://dx.doi.org/10.1017/s1359135504000053.

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Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice.
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Litwicki, Ellen. "From the “ornamental and evanescent” to “good, useful things”: Redesigning the Gift in Progressive America." Journal of the Gilded Age and Progressive Era 10, no. 4 (September 28, 2011): 467–505. http://dx.doi.org/10.1017/s1537781411000326.

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This article examines the transformation of American gift giving in the early twentieth century, using prescriptive and trade literature, as well as individual stories. This transformation occurred within the context of the transition from a Victorian to a modernist ethos and from a production to a consumption orientation. Changes in gift-giving practices were shaped by Progressive Era hygiene and home economics reformers and by aesthetic movements such as Arts and Crafts and interior decoration. Gift reformers divorced the gift from the Victorian ideal of ornamental and sentimental items, asserting that a gift's beauty lay in its functionality. This transformation fostered a second shift in the ideology of the gift. Rather than the giver's knowledge of and sentiment toward the recipient determining gift selection, the recipient's needs and desires increasingly dictated the choice. The gift thereby became more consumer-oriented. This change paved the way for the gift registry, which provided a commercial forum where prospective gift recipients could list their preferences.
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Cross, Christopher. "Urban Design: Ornament and Decoration." URBAN DESIGN International 1, no. 2 (June 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.

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Delafons, John. "Urban design: Ornament and decoration." Cities 13, no. 3 (June 1996): 235. http://dx.doi.org/10.1016/0264-2751(96)88703-8.

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Ahani, Fatemeh, Iraj Etessam, and Seyed Gholamreza Islami. "The Distinction of Ornament and Decoration in Architecture." Journal of Arts and Humanities 6, no. 6 (June 6, 2017): 25. http://dx.doi.org/10.18533/journal.v6i5.1188.

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<p>Ornament has been present throughout the recorded history, revealing human's aspirations, reflections and imaginations. Correspondingly, the discussion of ornament has almost uninterruptedly been a major topic for architectural discourses; one which has led to the publication of several significant texts in which ornamental practices has been addressed from a variety of perspectives. An investigation into the key architectural texts however, reveals that the absence of a certain definition of ornament and its functions in architecture as well as the interchangeable use of the terms 'decoration' and ornament as synonyms, have always been a serious obstacle to reach a clear conception of ornament nature . In this regard, the present paper attempted to distinguish between 'ornament' and 'decoration' based on a comparative analysis of the scholars’ accounts and the way the terms were employed in the architectural texts. Results indicated that the aforementioned concepts can be distinguished by means of seven criteria including components, connection, reference source, role, field of application and reference mode. According to the most referred criteria, ornament is an essential part of architecture which creates a firm bonding with its carrier and often fulfills functions more than aesthetic one .It is mostly made up of transformed motifs and evokes natural forces that originate deeply beyond or within the body of building. Decoration on the other hand, is a pleasing arrangement of real things; a suggestion of the decorous which does not have a permanent connection with its carrier. It is also purely representational, due to its reference to external matters such as mythology, religion, history, or cultural practice. </p>
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Goodwin, Amy. "Signwriting: Ornament as visual language ‐ communicative decoration." Journal of Illustration 6, no. 1 (August 1, 2019): 119–36. http://dx.doi.org/10.1386/jill_00007_1.

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This article argues for the use of decorative signwriting as both ornamental and communicative. This examination will be twofold: first, a series of images of twentieth century signwriting in the fairground industry will be offered to this argument: all signwriting is purposefully applied, as decoration, in order to communicate, but unpicking the visual styles will unveil the hidden meanings, expanding the communicative intentions. Secondly, works of signwriting produced and installed as an archive as illustrated space will be dissected to expand on the argument being made. The archive as illustrated space is a framework being theoretically structured and then applied in practice within my Ph.D. enquiry. It advances the theories and workings of both the archive and artistic archive: the space facilitates the collation of dubious and disputed narratives, alongside archival fragments: told through communicative signwriting, it demands the participation of the viewer in its installation. Using the methodology of this practice-led research will contribute to confirming how the application of a visual language to signwriting enables the production of works that are both ornamental and communicative.This argument has been formed, primarily, due to my informed fairground position: embedded within fairground heritage my upbringing has established an appreciation for its rich history, which is reflected in my practice, which blends traditional signwriting and illustrative storytelling. This informed fairground position, combined with my Ph.D. enquiry, enriches the analysis and understanding of the practice-led research within the realm of this article: offering a valuable opportunity to not only comment on the historical works presented, but also to showcase an exploration of how to apply this visual production to contemporary, installation situations.
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Sharapov, I. A. "Discourse of Ornament in Twentieth-Century Architecture." Art & Culture Studies, no. 2 (June 2021): 60–87. http://dx.doi.org/10.51678/2226-0072-2021-2-60-87.

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The article provides an overview of the ornament in the architecture of the twentieth century, indicating the points that form the direction of the axial trajectories of the development of the ornamental form in the context of architecture. The research is based on the method of analytical description of ornament positions extracted from the the practice and textual corpus of architect’s statements. Utterances synthesize the discursive range of ornament in the field of architecture. The body of the ornament covers the subject aspects of human life and is present in the spatial form of the architectural environment. Traditionally, the location of the ornamental form is associated with the art of decoration, so the standard ornament is considered as an additive, additional in relation to the singularity of the form. The same principle applies to architecture. This study actualizes the problem of redefining the ornamental form, marking point inversions of the additivity of ornamen tal decoration as a formative aspect involved in creating the results of architectural activity. The formative principle of the article is a chronological sequence of twenty positions outlining the discourse of ornament in the context of twentieth-century architecture.
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Bzhahov, M., and A. Sultanova. "THE USE OF THE NATIONAL ORNAMENT OF THE KABARDINS AND BALKARS AS ARCHITECTURAL DECORATION OF FACADES OF BUILDINGS." Construction Materials and Products 2, no. 4 (June 27, 2020): 79–83. http://dx.doi.org/10.34031/2618-7183-2019-2-4-79-83.

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the article presents the results of research on the use of the national ornament of the Kabardins and Balkars as an architectural decoration of facades of buildings, contributing to the increase of architectural and artistic expression of facades of buildings. Classification of the national ornament of the Kabardins and Balkars is given, stylized schemes of the national ornament are considered and variants of their placement on facades of buildings as an architectural decor are offered.
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Horton, Sarah. "Serial killers? Investigating some modernist myths about decoration, pattern and ornament through workplace interventions." Journal of Illustration 6, no. 2 (December 1, 2019): 305–25. http://dx.doi.org/10.1386/jill_00016_1.

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Abstract What is it about ornament that made it so contentious for influential modernist thinkers and practitioners such as Adolf Loos and le Corbusier? According to Loos it was a sign of degeneracy and for le Corbusier best suited to 'simple races, peasants and savages'. By championing the use of ornament as a vital tool for 'resistance' in the sense that Michel de Certeau used the word the practice-led research featured in this article seeks to interrogate some of these myths. Rather than being a passive adornment to an environment the visual artworks presented here tested the potential of decoration and ornament to offer a resistive, critical interruption to everyday spaces. The particular space addressed was that of the workplace, with bespoke artworks being made for three different work-related locations.
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Kim, Hoon-Hui. "The transition and meaning of the ceremonial ornament with bird-shaped thorn(有刺괿器) from Marisan ancient tombs in Haman region." Yeongnam Archaeological Society, no. 82 (September 30, 2018): 33–57. http://dx.doi.org/10.47417/yar.2018.82.33.

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The Malisan ancient tombs in Haman region are the most important sites, as the center of Allakuk(安羅國), in the study of Gaya. In this study, the ceremonial ornament with bird-shaped thorn(有刺利器) excavated from the Malisan tombs were examined. In the analysis of the ceremonial ornament, It attracts attention to the most distinctive part of the bird-shaped decoration. It is largely classified into the old and the new style. It is set to five types of old style and three types of new style. The old and new style differ in appearance and disappearance. The set pattern is observed to change gradually from the early period to the late period. The duration is divided into five stages from the beginning of the 5th century to the beginning of the 6th century. The scale of the wooden chamber tombs and stone chamber tombs and the main artifacts were examined, and the hierarchy was classified. The ceremonial ornament shows the hierarchical feature that is buried only in the middle grave and above. From the time of the emergence until the extinction period, the position as a superior relics was maintained. The position to be buried is changed. Artifacts what was buried near the body, it changes to the form to be placed on the vice chamber or top of the main in the late period. The ceremonial ornament excavated from the Malisan tombs is confirmed a close connection with the Gimhae region in the 4th century. The bird-shaped decoration on back of the armor excavated from the Daeseongdong No. 2 tomb is very similar to that of the earliest period in the old style of the Malisan s ceremonial ornament. From the previous period, the image of the bird-shaped decoration were identified in various artifacts as an important notion of farming rituals, worship of the sky and sun, and ceremonial rituals. It can be seen that the building group of the Malisan tombs placed the ceremonial ornament that has a symbolic meaning on the grave with a high hierarchy continuously.
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Dissertations / Theses on the topic "American Decoration and ornament"

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Briceno, Faden Noel. "The Chinoiserie revival in early twentieth-century American interiors." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 139 p, 2008. http://proquest.umi.com/pqdweb?did=1597631591&sid=46&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Lyons, George. "China dolls : a study of architectural terra cotta in America." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041895.

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There is a general lack of documentation which has been done on terra cotta production. Trends over the last several decades have shown that this industry is declining to the point where it could disappear completely. This project documents, through written descriptions and graphic illustrations, the process of terra cotta production in order to leave a record of what has been and what could be. Should the industry have a substantial resurgence to the extent that it is no longer in danger of extinction, or should general interest in the material develop further, this project will serve the purpose of an educational resource for the architect, preservationist, production industry and general public.It briefly covers the material and how it is formed, and how the way it is formed affects its limitations and durability. The project includes a history of the material from its most likely earliest applications to its current use. The history includes some of the major technological advances which have affected the material's production. A step-by-step guide to the production method involved in current terra cotta manufacture is included along with explanation of various related materials or processes which may not be commonly understood. Also included in this study is a look at the detection and correction of failures within terra cotta which is then outlined in a quick-reference tool for the preservation of terra cotta. The conclusion of the paper covers the outlook for the industry and the material along with ways for advancing both the knowledge of and desired use for terra cotta in new construction.
Department of Architecture
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Dürfeld, Michael. "Das Ornamentale und die architektonische Form : systemtheoretische Irritationen /." Bielefeld : Transcript, 2008. http://www.loc.gov/catdir/toc/fy0804/2008423180.html.

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FARRELL, GAVIN R. "ORNAMENT: SEMANTICS AND TECTONICS IN CONTEMPORARY URBAN ARCHITECTURE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115929765.

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Pleasant, Elizabeth A. "Ornamentation, representation, and experimental drawing." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/21606.

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Prickett, Douglas B. "Ornamentalism /." Online version of thesis, 1990. http://hdl.handle.net/1850/10938.

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Wong, Chun-ming. "Cantonese opera on the temple ridge conservation of Shek Wan ceramic figurines on the ridge of the Hung Shing Temple at Apleichau /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B4218874X.

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Odom, Jason Scott. "An investigation of the ornamental joint." Thesis, Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/23120.

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Alves, Francine D. A. C. C. O. "A arquitectura e o mosaico romano de pavimento-relações-interacções." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2002. http://dited.bn.pt:80/30055.

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Vieira, Eduarda Maria Martins Moreira da Silva. "Técnicas tradicionais de fingidos e de estuques no norte de Portugal-contributo para o seu estudo e conservação." Master's thesis, Instituições portuguesas -- -Universidade de Évora, 2002. http://dited.bn.pt:80/30074.

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Books on the topic "American Decoration and ornament"

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Greene, Bowman Leslie, Metropolitan Museum of Art (New York, N.Y.), and Los Angeles County Museum of Art., eds. American rococo, 1750-1775: Elegance in ornament. New York: Metropolitan Museum of Art, 1992.

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Sama, Sheehan Carol, ed. Mary Emmerling's American country classics: The new American country look. New York: C. Potter, 1990.

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Skolnik, Lisa. American country. New York: Friedman/Fairfax Publishers, 1998.

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Colonial homes classic American decorating. New York: Hearst Books, 1999.

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Miller, Judith. The American country companion. San Francisco, CA: Collins Publishers San Francisco, 1994.

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1946-, Miller Martin, ed. The American country companion. London: Mitchell Beazley, 1994.

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Emmerling, Mary Ellisor. Mary Emmerling's American country cottages. New York: C.N. Potter, 1993.

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Joshua, Greene, and Sheehan Carol Sama, eds. Mary Emmerling's American country cottages. New York: Clarkson Potter, 1993.

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Jim, Williams. American country needlepoint. Newtown, CT: Taunton Press, 1997.

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W, Moss Roger, ed. Victorian interior decoration: American interiors : 1830-1900. New York: Henry Holt, 1986.

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Book chapters on the topic "American Decoration and ornament"

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Groom, Amelia, and M. Ty. "Enduring Ornament." In Cultural Inquiry, 121–41. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-17_06.

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This is an essay about rust. Iron usually plays the part of strength, stubbornness, and impenetrability, but rust registers the dimension of time in the material, reminding us that it always carries the potential for its own decomposition. While great expense is incurred to stave off iron’s oxidization, we read the uselessness that rust precipitates as an interruption of the instrumental logics that sustain racial capitalism. Looking to the rusted ring that became Elsa von Freytag-Loringhoven’s Enduring Ornament (1913), we consider how the discarded and defunctionalized lend themselves to ornamental redeployment. The essay then turns to works by the contemporary American artists David Hammons and Andrea Fraser, both of which transform Richard Serra’s rusty steel sculptures into a backdrop for fleeting gestures of impromptu reclamation. Attending to questions of susceptibility and monumental weathering, these reflections look to rusty leakages that play out the impossibility of refusing the environment. Rust, we suggest, is a material archive of exposure that does not keep itself, but flakes apart and seeps away.
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Lucey, Conor. "Decorating houses: style, taste and the business of decoration." In Building reputations, 122–67. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526119940.003.0004.

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Reflecting on the separation of house building and house decorating in the historiography of the eighteenth-century town house, this chapter explores the role of the building artisan in determining the form and appearance of the urban domestic interior. Of particular importance here is the business of decoration: the impact of decorators, such as decorative plasterers and timber joiners, as speculative builders and property developers; and the standardization of interior decoration in the form of pre-fabricated ornament. Key topics include the dissemination of architectural tastes through the agency of immigrant artisan populations; the role of books and magazines in shaping vocabularies of decorative taste; and the creative adaptation from printed sources. Focusing on the artisan’s negotiation and interpretation of the neo-classical (or ‘Adam’) style, this chapter also considers how degrees of separation from the source of that ornamental language fostered distinct dialects in towns and cities across Britain, Ireland and North America. Collectively, the topics of chapter make a case for the artisan as a key agent of fashionable taste in elite real estate markets.
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Massey, Jonathan. "Ornament and Decoration." In The Handbook of Interior Architecture and Design. BLOOMSBURY VISUAL ARTS, 2013. http://dx.doi.org/10.5040/9781474294096.ch-035.

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Aristova, Maria-Anna. "Decoration in the Desert:." In Ornament and Monstrosity in Early Modern Art, 153–74. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvxkn5n8.9.

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"The City Floor." In Urban Design: Ornament and Decoration, 99–114. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-10.

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"Landmarks, Sculpture and Furniture." In Urban Design: Ornament and Decoration, 115–44. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-11.

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"Colour in the City." In Urban Design: Ornament and Decoration, 145–56. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-12.

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"Conclusion – The City of Today and Tomorrow: Ornament and Decoration." In Urban Design: Ornament and Decoration, 157–68. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-13.

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"Epilogue." In Urban Design: Ornament and Decoration, 169–86. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-14.

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"Theory and Philosophy of Ornament and Decoration." In Urban Design: Ornament and Decoration, 13–36. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-6.

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Conference papers on the topic "American Decoration and ornament"

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Yu, Tao, Hao Shen, Qianchao Chai, Fei Chen, Ledan Qian, and Yi Li. "Flexible Ornament Selection System for VR Decoration Exhibition." In 2018 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2018. http://dx.doi.org/10.1109/icvrv.2018.00039.

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