2021 - 08年- 07 - t04:01:01z ePrints. https://repository.www.guaguababy.com/images/sitelogo.png https://repository.www.guaguababy.com/ 2019 - 11 - 27 - t14:47:33z 2020 - 01 - 17 t10:20:50z https://repository.www.guaguababy.com/id/eprint/548 该项目位于存储库中，URL为:https://repository.www.guaguababy.com/id/eprint/548 2019 - 11 - 27 - t14:47:33z

1951年，利物浦城市公共博物馆(现在的利物浦国家博物馆)收藏了一尊木制小雕像，上面穿着瓦里风格的扎染纺织品制成的小型服装，以及其他由惠康历史医学博物馆受托人分发的物品。这篇文章讨论了瓦里风格扎染束腰外衣作为服装的一部分。它探索了用于装饰雕像的瓦里时期纺织品(约公元600-1000年)的特征，它与加州大学洛杉矶分校福勒博物馆和国家博物馆Arqueología的纺织品相似，Antropología e Historia del Perú，以及纺织品风格和木雕风格在时间上的不匹配。除非这尊雕像是在近代定做的，穿着古代的纺织品，否则它可能是在《晚地平线》(Late Horizon，约1430 - 1532年)时期建造的。亨利·韦尔科姆爵士在1936年去世之前获得了这尊雕像，当时，未经证实的前西班牙时期的文物市场正在兴起。这个小雕像是一个复合的小雕像，穿着用一种古老的纺织品制成的定制服装。它的外观见证了收藏实践，包括修改古代文物以吸引现代收藏家，它动摇了简单的理解，即雕像的穿着可以向博物馆游客传达什么。

佩内洛普Dransart 2018 - 03 - 05 - t09:52:27z 2020 - 01 - 22 - t13:52:30z https://repository.www.guaguababy.com/id/eprint/864 该项目位于存储库中，URL为:https://repository.www.guaguababy.com/id/eprint/864 2018 - 03 - 05 - t09:52:27z

虽然环境可持续室内设计(ESID)已成为室内设计实践中的一个主要问题，但根据文献，室内设计师在实际实践中做出可持续选择的频率仍然有限，特别是在材料选择方面。本研究旨在全面了解何为可持续材料选择，并随后对室内设计实践中绿色、可持续和公平贸易(GSFT)产品的当前供应和需求进行研究。首先，对现有的GSFT材料进行了桌上研究。在此之后，对GSFT产品的可及性进行了非参与性结构化观察，并对GSFT材料的供应进行了调查。最后对零售商进行了半结构化访谈。研究结果表明，目前市场上有广泛的GSFT产品(包括织物、窗户处理、表面材料、地板、墙壁和天花板)，事实上，许多这些材料和产品都可以从研究期间调查的零售店采购。然而，要轻易识别GSFT产品并不容易，研究人员经常需要查阅大量材料，依靠个人知识和制造商的文献来确定销售的材料的来源。以这种方式采购产品是低效和耗时的，并且在文献中被强调为参与ESID的障碍。只有少数受访零售商积极鼓励顾客购买GSFT。这种不愿推广GSFT的态度可能反映了对现有材料来源的信息缺乏，但也反映了他们认为人们不知道可持续或绿色材料的好处，因此不从事ESID。 If they perceived that there was a greater demand for GSFT products, the retailers may choose to promote these materials more effectively. The research has confirmed how difficult it is to find information on the provenance of materials to encourage the practice of ESID. Better access to a basic knowledge of sustainability as well as more up-to-date information about sustainable materials will play a critical role in promoting sustainable practice.

卡洛琳Hayles 2018 - 02年- 26 - t14:43:16z 2018 - 02年- 26 - t14:43:16z https://repository.www.guaguababy.com/id/eprint/870 该项目位于存储库中，URL为:https://repository.www.guaguababy.com/id/eprint/870 2018 - 02年- 26 - t14:43:16z

本文通过对威尔士民族服饰的研究，如传统的编织图案或手工缝制的被子，以及所使用的服饰和织物的意义，对威尔士民族身份进行了调查。详细阐述了这些在当时和现在是如何被重视的，我探索了在威尔士文化背景下的威尔士布。

Catrin Nia托马斯 2017 - 11 - 09 - t13:31:42z 2020 - 01 - 23 t14:17:04z https://repository.www.guaguababy.com/id/eprint/799 该项目位于存储库中，URL为:https://repository.www.guaguababy.com/id/eprint/799 2017 - 11 - 09 - t13:31:42z

再循环玻璃材料由百分之百的再循环瓶玻璃制成，并且比再熔化技术消耗更少的能量。它还使用制造过程中的添加剂，允许在原则上允许再生玻璃材料在使用结束后返回回收流，为循环经济带来低生态影响。以前的研究采用低温熔融再循环瓶玻璃，为内部瓷砖制造而开发，并通过基于可持续原则的新建筑的建筑实践委托。该研究认为客观机械标准，如弯曲弯曲强度，稳定性和污渍和耐刮擦性。它还强调着着色，半透明，质地和再现性等审美发展。继续从先前的研究结果中，这些材料被认为是可以用于其他架构应用，例如路面，墙壁包覆甚至非结构家具等地图。这是一种相对较新的建筑材料，其中材料规格或机械测试的过程几乎没有出版物。本文的目的是研究测试抗冲击性的再生玻璃材料的程序，因此可以应用于在服务期间有冲击风险的路面和其他表面。采取了对不同冲击试验程序的综述，采用了应用于自然石，陶瓷和玻璃等其他材料的方法和国际标准。设计和制造了一个新的滴剂重量冲击试验机，以进行这些测试。 As a case study, samples of the recycled glass material were manufactured with two different thicknesses and tested. The impact energy was calculated theoretically, obtaining results with 5 and 10 Joules. The results on the material were subsequently discussed. Improvements on the procedure can be made using high speed video technology to calculate velocity just before and immediately after the impact to know the absorbed energy. The initial results obtained in this procedure were positive although repeatability needs to be developed to obtain a correlation of results and finally be able to validate the procedure. The experiment with samples showed the practicality of this procedure and application to the recycled glass material impact testing although further research needs to be developed.

大卫·哈雷 提拉Oseng-Rees 卢卡Pagano 胡安Ferriz-Papi 2017 - 05 - 02 - t12:59:31z 2017 - 05 - 02 - t12:59:31z https://repository.www.guaguababy.com/id/eprint/730 该项目位于存储库中，URL为:https://repository.www.guaguababy.com/id/eprint/730 2017 - 05 - 02 - t12:59:31z

在我的论文中，我将讨论如何通过环境广告传达消息。环境广告是公共场所出现的广告形式。例如，它没有与常规户外广告相同的空间边界;广告牌。它可以显示为一个人，对象或奇观。它的消息通常是隐藏的，可以依赖于观察者解释的智力感知。在本文中，我已经制定了三个参数，以解构我的分析。我使用的三个参数是;视觉冲击，环境影响和行人解释。在我的假设中，我将更详细地解释这些参数。 Ambient advertising strategies aim to highlight the unusual in the usual, the unexpected in the expected. Strategies through which pedestrians encounter enigmatic installations of various kinds within the public spaces of towns and cities. It could be described as the ‘Brand’ displaying its advertising message in three-dimensional form. Using material strategies to engender curiosity, wit and likeability to engage the pedestrian, it is a non-traditional method of creating an advertising campaign. Ambient advertising is designed to disrupt, intrigue, entertain and be memorable. It exists outside the normal rules of engagement of traditional advertising for example; digital, television, radio and press. All of these advertising strategies struggle to find a voice amongst the thousands of brand messages that fight for the attention of consumers everyday. In my thesis I discuss the theories of semiotics as developed by Ferdinand de Saussure(1916), Roland Barthes (1964), Michael O’Toole (2011), Laura Oswald (2012). I am also using semiotics as a tool to interpret and decode the visual language of the ambient advertisement. By including the theories of social theorists Erik Du Plessis (2008) and Robert Cialdini (2007) I will be able to discuss how people react and behave in social situations when viewing an ambient advertisement. The metaphors that are created in the mind of the pedestrian when viewing an ambient advertisement are integral to the interpretation of the ‘message’ and therefore I have included the theories of metaphor and interaction theory of Charles Forceville (1996), Gunther Kress (1996), Theo van Leeuwen (1996), George Lakoff (1980) and Max Black (1972). Advertising is constructed to attract attention and be persuasive, I have included the theories of persuasion(advertising) by Judith Williamson (1978), Katherine Told Frith (1997), Guy Cook (1994) and Paul Messaris (1997) and Zaltman & Zaltman (2008) to decode and interpret the relevance of cognition and metaphor in the interpretation of signs of visual communication. In order to discuss the theories of environment and the anthropological aspect of space, in each of the case studies, I have included the theories of Marc Augé (1995) and Michel de Certeau (1984).

安吉拉•威廉姆斯 2017 - 01 - 18 - t11:44:23z 2020 - 01 - 22 - t13:56:30z https://repository.www.guaguababy.com/id/eprint/707 该项目位于存储库中，URL为:https://repository.www.guaguababy.com/id/eprint/707 2017 - 01 - 18 - t11:44:23z

本文研究了手工金刚石划痕切割、金刚石锯切和磨料水射流切割对10mm浮法和烧结再生容器玻璃刃口质量和抗弯强度的影响。研究采用四点加载法确定弯曲强度，采用表面粗糙度仪评定切边质量。本文讨论了结果，并提出了进一步研究的领域。

雪莱Doolan 0000-0002-3180-8526 提拉Oseng-Rees 0000-0002-3541-1286 胡安Ferriz-Papi 2016 - 04 - 26 - t15:25:50z 2020 - 01 - 16 t16:14:53z https://repository.www.guaguababy.com/id/eprint/563 此项目位于存储库中，使用URL：https://repository.www.guaguababy.com/id/eprint/563 2016 - 04 - 26 - t15:25:50z

Königin我们的名字是kenny，我们的名字是kenny，我们的名字是kenny，我们的名字是kenny。Der vorliegende Artikel spürt Der neu definerten Rolle Der Königinnen in Der Königsideologie dieser Zeit am Beispiel Nofretetes nach and macht deutlich, dash Ägyptologie Referenzpunkte schaffen muss, um die Qualitäten dieser Königin adäquat beschreiben zu können。如果不把阿玛纳时代看作是一个变革和创新的时代，就不可能理解娜芙蒂蒂女王。同样，我们需要了解娜芙蒂蒂来研究阿玛纳时期。本文讨论了在古埃及王权意识形态中，奈费尔蒂蒂作为阿玛纳王族女性原型的新定义。有人认为，埃及学作为一门学科，需要创造一些参考点来充分描述这位女王的外貌。

凯瑟琳辛 0000-0002-9214-1286 2013 - 12 - 05 - t14:43:20z 2020 - 01 - 21 t12:50:28z https://repository.www.guaguababy.com/id/eprint/317 该项目位于存储库中，URL为:https://repository.www.guaguababy.com/id/eprint/317 2013 - 12 - 05 - t14:43:20z

空白检查is an artists’ wallpaper commissioned for the Walls Are Talking – Wallpaper, Art and Culture survey exhibition of artists’ wallpapers held at the Whitworth Art Gallery, Manchester (co-organized by the V&A Museum, London), 2010, and included in the accompanying book (University of Chicago Press, 2010). It was also the principal work in the Taylor and Wood retrospective exhibition Blank Cheque at SG Gallery, Scuola Internazionale di Grafica, Venice, Italy, 2010, with an accompanying book that reviewed the artists’ collaborative practice. The Venice show and publication are offered here as the principal iteration of the work for consideration by the REF panel. Blank Cheque was created as part of the ongoing collaboration between Craig Wood and Chris Taylor. As with Witness, Wood’s other submission, the formation of the initial research question and the realization of the design were shared equally by Taylor and Wood. Situated between conceptual art, craft, and public art, the work furthers their use of formats that have become ubiquitous to comment on recent events. The work harnesses the tradition of repeat pattern, but challenges its status as mere decoration. By using the repetition of the image of the cheque, the culture of printing money with nothing to substantiate it and with no regard for consequence is made visible. Against the possibility of its being read as a celebration of financial mismanagement, all indications of wealth and financial quantity are eschewed in favour of blanks, lines and rectangles, with the inner grids of the cheques mirrored by the grid of the wallpaper, signalling a disregard of consequence. In this way, a practice and space ordinarily regarded as decorative become forms of economic critique. The work’s subversion of the domestic artefact is discussed in Walls Are Talking – Wallpaper, Art and Culture, pp. 84-85.

克雷格木 克里斯泰勒