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Narrative Drawers: Reconsidering Familiar Precedents of Drawer Furniture.

机译:叙事抽屉:重新考虑抽屉家具的先例。

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摘要

This written thesis represents the culmination of several years of research, conceptual development, and studio work and accompanies an exhibition of furniture work, titled Narrative Drawers: Reconsidering Familiar Precedents of Drawer Furniture, which was held in the Bevier Gallery at Rochester Institute of Technology in Rochester, New York, from April 24 – May 10, 2006. A portion of this research directly results from my efforts under a 2005 Graduate Research Grant awarded by the Center for Craft, Creativity and Design, Hendersonville, North Carolina.2 Four original pieces of furniture were made for this exhibition: Tradition, Perforated Chest of Drawers, Private Exhibition, and Private Life. These works are variations on several types of drawer furniture: a Queen Anne style side table, a Modern style chest of drawers, a novel, revisionist clothesline, made compact for a home interior in a chest of drawers format, and a tabletop version of a Hadley style chest-over-drawer. The focus is on drawer furniture because of its rich symbolic potential. Considerable effort was made to develop these four furniture pieces into a cohesive body of work, and so the work is structured using themes. Four themes evolved in the making of this thesis: narrative, surface decoration, remarks on historical precedents, and the subversion of functional expectations. After establishing the basis for cohesiveness and relevance in studio furniture making, this writing examines the successes and weaknesses of the individual works, of their cohesiveness with the themes and each other, and of the exhibition in the gallery setting. Finally, the influence of this thesis upon my future endeavors in furniture making is envisioned. Though I greatly enjoy each individual piece, I suggest that this body of work and exhibition fail the test of cohesion. I trace the problem back to the thesis proposal. I now see clearly how more control over my subject would greatly improve my work's cohesiveness and clarity.
机译:这份书面论文代表了多年研究,概念开发和工作室工作的高潮,并伴随着一场名为“叙事抽屉:重新考虑抽屉家具的熟悉的先例”的家具作品展览,该展览在罗彻斯特理工学院的贝维尔画廊举行。 2006年4月24日至5月10日,纽约罗彻斯特。这项研究的一部分直接归功于我在北卡罗来纳州亨德森维尔工艺,创意与设计中心授予的2005研究生研究资助下所做的努力。2四个原创作品本次展览制作的家具包括:传统,五斗橱,私人展览和私人生活。这些作品是几种类型的抽屉家具的变体:安妮女王风格的边桌,现代风格的抽屉柜,新颖的修正主义晾衣绳,紧凑的家用抽屉柜形式的家庭室内装饰以及桌面版本的抽屉。哈德利风格的抽屉柜。由于其具有丰富的象征意义,因此重点放在抽屉式家具上。为了将这四个家具组合成一个有凝聚力的作品,我们付出了巨大的努力,因此,作品使用主题进行了结构化。这篇论文的发展演变出四个主题:叙事,表面装饰,对历史先例的评论以及对功能期望的颠覆。在确立了工作室家具制作的凝聚力和相关性的基础之后,本文研究了各个作品的成功与不足,它们与主题之间的凝聚力以及彼此之间在画廊环境中的展览。最后,预想了这篇论文对我未来家具制造工作的影响。尽管我非常喜欢每一个作品,但我建议这种作品和展览不能通过内聚力的考验。我将问题追溯到论文的提议。现在,我清楚地看到,对主题的更多控制将如何极大地提高作品的凝聚力和清晰度。

著录项

  • 作者

    Adams, David E.;

  • 作者单位

    Rochester Institute of Technology.;

  • 授予单位 Rochester Institute of Technology.;
  • 学科 Fine Arts.;Design and Decorative Arts.
  • 学位 M.F.A.
  • 年度 2011
  • 页码 62 p.
  • 总页数 62
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 公共建筑;
  • 关键词

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