Textile design inhabits a liminal space spanning art, design and craft. This book explores how textile design bridges the decorative and the functional, and takes us from handcrafting to industrial manufacture. In doing so, it distinguishes textiles as a distinctive design discipline, against the backdrop of today's emerging design issues. With commentaries from a range of international design scholars, the book demonstrates how design theory is now being employed in diverse scenarios to encourage innovation beyond the field of design itself. Positioning textiles within contemporary design research, Textile Design Theory in the Making reveals how the theory and practice of textile design exist in a synergistic, creative relationship. Drawing on qualitative research methods, including auto-ethnography and feminist critique, the book provides a theoretical underpinning for textile designers working in interdisciplinary scenarios, uniting theory and texts from the fields of anthropology, philosophy, literature and material design.
Textile design inhabits a liminal space spanning art, design and craft. This book explores how textile design bridges the decorative and the functional, and takes us from handcrafting to industrial manufacture. In doing so, it distinguishes textiles as a distinctive design discipline, against the backdrop of today's emerging design issues. With commentaries from a range of international design scholars, the book demonstrates how design theory is now being employed in diverse scenarios to encourage innovation beyond the field of design itself. Positioning textiles within contemporary design research, Textile Design Theory in the Making reveals how the theory and practice of textile design exist in a synergistic, creative relationship. Drawing on qualitative research methods, including auto-ethnography and feminist critique, the book provides a theoretical underpinning for textile designers working in interdisciplinary scenarios, uniting theory and texts from the fields of anthropology, philosophy, literature and material design.
How did I end up here?' A question Elaine C. Smith asked herself when sitting in the dressing-room of a top theatre in London's West End, about to go on stage with one of the UK's most successful plays. In Nothing Like a Dame, Elaine reflects on a 50-year journey that took her to the peak of the entertainment world. She recounts her long struggle to make it in a male-dominated, working-class society when women were supposed to just shut up and stay thin, especially in the sexist world of theatre and television, where she was told, 'Look, women just aren't funny.' Despite many highs and lows, she proceeded to forge a stellar career in show business, hosting her own TV series and becoming a household name thanks to her comic portrayal of Mary Nesbitt, the long-suffering wife in the award-winning BBC comedy Rab C. Nesbitt. Nothing Like a Dame is a heart-warming memoir: candid, outspoken, hilarious and at times deeply sad.
Based on the belief that the planning process for any change in the library depends on considering aesthetic, functional, and behavioral elements, an architect and a behaviorist describe factors involved in each.
Painted screens have long been synonymous in the popular imagination with the Baltimore row house. Picturesque, practical, and quirky, window and door screens adorned with scenic views simultaneously offer privacy and ventilation in crowded neighborhoods. As an urban folk art, painted screens flourished in Baltimore, though they did not originate there--precursors date to early eighteenth-century London. They were a fixture on fine homes and businesses in Europe and America throughout the Victorian era. But as the handmade screen yielded to industrial production, the whimsical artifact of the elite classes was suddenly transformed into an item for mass consumption. Historic examples are now a rarity, but in Baltimore the folk art is still very much alive. The Painted Screens of Baltimore takes a first look at this beloved icon of one major American city through the words and images of dozens of self-taught artists who trace their creations to the capable and unlikely brush of one Bohemian immigrant, William Oktavec. In 1913, this corner grocer began a family dynasty inspired generations of artists who continue his craft to this day. The book examines the roots of painted wire cloth, the ethnic communities where painted screens have been at home for a century, and the future of this art form.
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