Object-based Research

Uniforms have been in a constant state of flux-it remains unclear what future forms and applications they may take in response to changing social, political and cultural conditions. How can uniforms be repurposed and reconceptualized in a manner that speaks to the current atmosphere and which embodies our prevailing conditions? This essay reflects on the workshop "Uniforms (Re)done: A Workshop in Experimental Reconstruction Methodologies" presented during the Fashion Studies Network Symposium. Using uniforms as research tools, participants engaged in an experimental workshop informed by object-based analysis, speculative design and garment-based reconstruction. Through collaborative exploration, attendees revealed novel tactile forms for uniforms that possess new stories and materialities.

nfang des 20. Jahrhunderts entdeckte die Avantgarde Glas als Material und untersuchte dessen utopisches Potenzial. Berühmt sind Glaskunstwerke wie Bruno Tauts Beitrag zur Werkbundmesse 1914 oder die Gründung der "Gläsernen Kette" 1919. Transparent, fluide, sakral und diaphan – den Weg in die Glasavantgarde hatte die Literatur geebnet, konkret wurde das Denkbild an Orten der Glasproduktion, z.B. in Düsseldorf. Glas fungiert bis heute als Transmitter für künstlerische Gestaltung, als abstrahierendes Element, als Motor im Projekt des Universalunterrichts zwischen Kunst und Gesellschaft.
Der Band untersucht Glas als Material und als Denkbild in interdisziplinärer Perspektive von der Kulturgeschichte des 20. Jahrhunderts bis zur Physik der weichen Materie.

MRM fflfc 1 he notion of Utopia exists in every culture, capturing shared dreams and common goals. Meaning paradoxically both "no place" and "a good place," utopia also challenges humanity to bring this dream into existence. If all the arts offer a realm of fantasy where Introduct ion onjoiningthe words Expressionist and utopia produces a conundrum, as I neither term easily lends itself to definition. While Utopia is a vital ingredient of nearly all social ideologiesbe they political, religious, ethical, or aestheticit is not so much a fixed ideal as a mediation between the ideal | and the real, a means of propelling thought forward, of helping it transcend what already is. As an embodiment or vision of what might be, utopia defines itself through opposition to its historical context, thereby gaining a strong social resonance. Like human aspiration or artistic creativity, it depends for its survival on being protean, on defiantly eluding the containment of fixed or exhaustive definitions. While Expressionism is also difficult to define, most historians agree that it was less an artistic or literary style than a socially dynamic cultural movement driven by the forwardlooking ideology of modernism. Running its course in Germany between roughly 1905 and 1920, with echoes lingering into the 1920s, Expressionism offers a historical frame through which we may follow the changing manifestations of utopia within a modernist movement. Thus, while Expressionist Utopias: Paradise, Metropolis, Architectural Fantasy attempts to trace these embodiments of an alternative, potential reality, it also seeks to define the broader role of the metaphor of utopia within the ideology of modernism. During the tumultuous period between the turn of the century and the dawn of the Weimar era, Germany endured extreme social disjunction brought on by galloping industrialization, the horrific world war that such industrialization made possible, and the social and economic instability that followed. The architectural fantasies at the center of this exhibition represent a response to these conditions, expressing the faith among artists and architects in the power of aesthetic activity to shape a better world. The Utopian architects of the Glaserne Kette (Crystal chain), a group assembled by Bruno Taut in 1919, attempted to restore the image of a humanity at home in the cosmos through architectural invention. With sources ranging from the religious tradition of the Apocalypse to the secular hymns of a new pantheism, their fantasies also embodied an elemental search for universal rhythms and structural principles in images such as idealized agrarian communities and futuristic worlds dependent on miraculous advances in technology for their creation or discovery. These visionary works, which had reverberations in architecture throughout the Weimar era, cannot be understood without considering prewar Expressionist antecedents, especially the portrayals of a natural paradise by the artists of the Dresden Briicke (Bridge) and the Munich Blaue Reiter (Blue rider). Expressionist architectural fantasies also responded to the urban phase of early Expressionism, centered in Berlin just prior to World War I. The man-made metropolis was ambivalently viewed as both a "second nature" and an antipode to the natural paradise. While the architects' fantasies were often unbuildable, they succeeded in transforming the earlier Expressionists' expectations of Wenzel Hablik Untitled, 1909 Cat. no. 55 sublime. Despite the decline of the landscape genre and the rejection of traditional religious imagery, art became the principal arena for the revelatory enactment of Utopian visions. Through art, as David Frisby shows, Expressionist Utopias could be situated even in the contradictory context of the metropolis, that phenomenon of industrialization that enticed and repelled a generation attuning itself to the conditions of modernity. Drawing parallels between Expressionist depictions of the metropolis and the sociological writings of Ferdinand Tonnies, Max Weber, Georg Simmel, and others, Frisby shows how art could embody a Utopian vision of the future imbedded in the fragmentary present. Similarly, in his interrogation and rejection of the received view of Expressionist architecture as an isolated and irrational interlude in the forward march of modern functionalism, Iain Boyd Whyte shows how the sublime, associated with nature during the Romantic period, became linked with the processes and products of industrialization, including the great cities it made possible. In its confrontation with the unportrayable, the sublime was joined with the concept of Utopia, both in grand architectural schemes and in morally conceived alternative communities. The fate of Utopia, as Anton Kaes suggests in his discussion of Fritz Lang's Metropolis, was balanced precariously between the progressive and dangerously repressive tendencies of modernism. Drawing on ideas developed by the Utopian architects during the 1910s, Metropolis evoked the spectacle of the rationalized secular world of high capitalism in its complex relationship with religion, irrationality, and spirituality, remnants of an earlier era. Kaes examines the film's controversial reconciliation of these two worlds in terms of the contradictory nature of modernity. As much as any modernist movement, Expressionism was held together by an elastic web of social exchange in which issues were discussed in letters, articles, manifestos, and books. The Appendix of this volume presents an overview of this exchange, including a sampling of the Glaserne Kette's Utopian correspondence. To aid the reader in understanding this interaction and the careers of the participants, the Catalogue of the Exhibition includes biographies of the artists and architects whose work is represented. Despite their diversity, the many manifestations of the Expressionist revival of Utopia examined in this exhibition responded to the same dilemma: Could a transcendent artistic experience lead to an actual Utopia, or was it merely an escape from social constraints and economic realities that would first have to be resolved before a Utopia could even be imagined? Ernst Bloch came to the conclusion that art derives its essential validity from its ability both to confront reality critically and to propose an alternative vision. Through this utopian function of affirmation and negation, art can inform humanity about the future in terms entirely of the present, offering a glimpse of destiny rooted in the immediacy of aesthetic experience.

Teaching processes are, since renaissance, created and supported in order to develope specifically skills for a small part of the society. Otherwise, education can be considered as a larger type of processes that, according to E. Morin, "preserves, memorizes, integrates and ritualizes a cultural heritage of knowledge, ideas, values; it regenerates while reexamines, updates and transmit; create knowledge, ideas and values that return to the heritage". In this theoretical framework toys are considered as educational devices and a part of a materialistic culture that contains educational, artistic and ideological values. Through toys it is possible to map which part of each culture wants to be preserved and transmitted to the following generation. From this point of view architectural toys are quite fruitful because represent not only architectural paradigms as languages and technics but also dwelling models and habits or, in some examples, urban design or territorial organizations. This article attempts to organize the narrative lines that exist in the background of architectural toys production and design during the XXth century that are, according to the author, quite coincident with the architectural production changes.

Since the beginning of the XIXth century the design of toys is a serious cultural and economic issue. In this critical framework, the architectural toys represented a particularly part of a materialistic culture that contains educational, artistic and ideological values. To track this narrative means to track a complex net of relationship that show which part of each culture wants to be preserved and transmitted to the following generation through these educational devices.

Collaborations on the periphery Your recent issue (arq 18.4) emphasises the evolution of London's Olympic Park regeneration strategy away from an East London-focused renewal and 'convergence' agenda-bringing local social and economic opportunities in line with other parts of the city-towards a rebranding and globalising initiative positioning the site in a symbolic relationship to national economic and imaging priorities. The contributions focus attention on masterplanning and design processes as tools for the marshalling, control, and reordering of the formerly 'unruly' and heterogeneous site. The intended outcome of this process has been a coherent framework for material development, including the repurposing of Olympic facilities, in order to create a destination for tourists over-andabove a resource for local communities. The latest revision of the Legacy Communities Scheme to accommodate Mayor Boris Johnson's 'Olympicopolis' vision, announced in late 2013, has been boosted with a hefty chunk of government money (£141m), to smooth the way towards this outcome. I am based at University College London (UCL) Urban Laboratory conducting independent research on university-led regeneration, in the context of UCL's plans for involvement in that development. UCL has been promised a significant proportion of that government sum to build a new campus, UCL East, on the site of the designated University Quarter in the southern sector of the park (Marshgate Wharf) close to the ArcelorMittal Orbit, and between

MRM fflfc 1 he notion of Utopia exists in every culture, capturing shared dreams and common goals. Meaning paradoxically both "no place" and "a good place," utopia also challenges humanity to bring this dream into existence. If all the arts offer a realm of fantasy where Introduct ion onjoiningthe words Expressionist and utopia produces a conundrum, as I neither term easily lends itself to definition. While Utopia is a vital ingredient of nearly all social ideologiesbe they political, religious, ethical, or aestheticit is not so much a fixed ideal as a mediation between the ideal | and the real, a means of propelling thought forward, of helping it transcend what already is. As an embodiment or vision of what might be, utopia defines itself through opposition to its historical context, thereby gaining a strong social resonance. Like human aspiration or artistic creativity, it depends for its survival on being protean, on defiantly eluding the containment of fixed or exhaustive definitions. While Expressionism is also difficult to define, most historians agree that it was less an artistic or literary style than a socially dynamic cultural movement driven by the forwardlooking ideology of modernism. Running its course in Germany between roughly 1905 and 1920, with echoes lingering into the 1920s, Expressionism offers a historical frame through which we may follow the changing manifestations of utopia within a modernist movement. Thus, while Expressionist Utopias: Paradise, Metropolis, Architectural Fantasy attempts to trace these embodiments of an alternative, potential reality, it also seeks to define the broader role of the metaphor of utopia within the ideology of modernism. During the tumultuous period between the turn of the century and the dawn of the Weimar era, Germany endured extreme social disjunction brought on by galloping industrialization, the horrific world war that such industrialization made possible, and the social and economic instability that followed. The architectural fantasies at the center of this exhibition represent a response to these conditions, expressing the faith among artists and architects in the power of aesthetic activity to shape a better world. The Utopian architects of the Glaserne Kette (Crystal chain), a group assembled by Bruno Taut in 1919, attempted to restore the image of a humanity at home in the cosmos through architectural invention. With sources ranging from the religious tradition of the Apocalypse to the secular hymns of a new pantheism, their fantasies also embodied an elemental search for universal rhythms and structural principles in images such as idealized agrarian communities and futuristic worlds dependent on miraculous advances in technology for their creation or discovery. These visionary works, which had reverberations in architecture throughout the Weimar era, cannot be understood without considering prewar Expressionist antecedents, especially the portrayals of a natural paradise by the artists of the Dresden Briicke (Bridge) and the Munich Blaue Reiter (Blue rider). Expressionist architectural fantasies also responded to the urban phase of early Expressionism, centered in Berlin just prior to World War I. The man-made metropolis was ambivalently viewed as both a "second nature" and an antipode to the natural paradise. While the architects' fantasies were often unbuildable, they succeeded in transforming the earlier Expressionists' expectations of Wenzel Hablik Untitled, 1909 Cat. no. 55 sublime. Despite the decline of the landscape genre and the rejection of traditional religious imagery, art became the principal arena for the revelatory enactment of Utopian visions. Through art, as David Frisby shows, Expressionist Utopias could be situated even in the contradictory context of the metropolis, that phenomenon of industrialization that enticed and repelled a generation attuning itself to the conditions of modernity. Drawing parallels between Expressionist depictions of the metropolis and the sociological writings of Ferdinand Tonnies, Max Weber, Georg Simmel, and others, Frisby shows how art could embody a Utopian vision of the future imbedded in the fragmentary present. Similarly, in his interrogation and rejection of the received view of Expressionist architecture as an isolated and irrational interlude in the forward march of modern functionalism, Iain Boyd Whyte shows how the sublime, associated with nature during the Romantic period, became linked with the processes and products of industrialization, including the great cities it made possible. In its confrontation with the unportrayable, the sublime was joined with the concept of Utopia, both in grand architectural schemes and in morally conceived alternative communities. The fate of Utopia, as Anton Kaes suggests in his discussion of Fritz Lang's Metropolis, was balanced precariously between the progressive and dangerously repressive tendencies of modernism. Drawing on ideas developed by the Utopian architects during the 1910s, Metropolis evoked the spectacle of the rationalized secular world of high capitalism in its complex relationship with religion, irrationality, and spirituality, remnants of an earlier era. Kaes examines the film's controversial reconciliation of these two worlds in terms of the contradictory nature of modernity. As much as any modernist movement, Expressionism was held together by an elastic web of social exchange in which issues were discussed in letters, articles, manifestos, and books. The Appendix of this volume presents an overview of this exchange, including a sampling of the Glaserne Kette's Utopian correspondence. To aid the reader in understanding this interaction and the careers of the participants, the Catalogue of the Exhibition includes biographies of the artists and architects whose work is represented. Despite their diversity, the many manifestations of the Expressionist revival of Utopia examined in this exhibition responded to the same dilemma: Could a transcendent artistic experience lead to an actual Utopia, or was it merely an escape from social constraints and economic realities that would first have to be resolved before a Utopia could even be imagined? Ernst Bloch came to the conclusion that art derives its essential validity from its ability both to confront reality critically and to propose an alternative vision. Through this utopian function of affirmation and negation, art can inform humanity about the future in terms entirely of the present, offering a glimpse of destiny rooted in the immediacy of aesthetic experience.

Toys are considered to be children’s cultural objects, yet when placed in a toy museum context they become a collection for adult viewing. This article uses Kress and van Leeuwens’ concept of ‘semiotic landscape’ wherein the exhibit provides a specific context of communication that becomes a mediating device between adults and children. The question then becomes, how does a display of static toys speak to a child’s culture of play? Through interviews with toy museum curators and personal observations it was found that the exhibition was designed to have adults share and reflect stories about the toys with children. Such activity reflects a representation of toys as collections for adults (child’s perspective) rather than the playthings of children (children’s perspectives). Material culture of children was implicitly represented through playful, sensory, and affective engagement.Key words: toy exhibits, material culture of children, semiotic landscape, play, narratives

Toys are considered to be children’s cultural objects, yet when placed in a toy museum context they become a collection for adult viewing. This article uses Kress and van Leeuwens’ concept of ‘semiotic landscape’ wherein the exhibit provides a specific context of communication that becomes a mediating device between adults and children. The question then becomes, how does a display of static toys speak to a child’s culture of play? Through interviews with toy museum curators and personal observations it was found that the exhibition was designed to have adults share and reflect stories about the toys with children. Such activity reflects a representation of toys as collections for adults (child’s perspective) rather than the playthings of children (children’s perspectives). Material culture of children was implicitly represented through playful, sensory, and affective engagement.Key words: toy exhibits, material culture of children, semiotic landscape, play, narratives

Citation: ANDRADE, Rita Morais de. Coleção de Luvas do Museu Paulista da Universidade de São Paulo. Relatório de Estágio realizado no Setor de Têxteis do Museu Paulista/USP sob supervisão de Teresa Cristina Toledo de Paula, 1998 (não publicado), 196 p.

This is the unpublished internship report I have undertaken at the Textiles Department at Museu Paulista/USP from 1997 to 1998 under the supervision of Textile Conservator, Dr. Teresa Cristina Toledo de Paula. The museum holds the original hard copy of the report with pictures from their collection.

Teaching processes are, since renaissance, created and supported in order to develope specifically skills for a small part of the society. Otherwise, education can be considered as a larger type of processes that, according to E. Morin, “preserves, memorizes, integrates and ritualizes a cultural heritage of knowledge, ideas, values; it regenerates while reexamines, updates and transmit; create knowledge, ideas and values that return to the heritage”. In this theoretical framework toys are considered as educational devices and a part of a materialistic culture that contains educational, artistic and ideological values. Through toys it is possible to map which part of each culture wants to be preserved and transmitted to the following generation. From this point of view architectural toys are quite fruitful because represent not only architectural paradigms as languages and technics but also dwelling models and habits or, in some examples, urban design or territorial organizations. Th...

To examine and evolve about the concept of transparency and colour, Susana Oliveira has  published the text about Scheerbart's fantasies in the history of utopia in 2017 entitled "Paul Scheerbart's Kaleidoscopic Fantasies". The author has been discussed the narratives and approaches of Paul Scheerbart's by giving some examples linked with his contemporaries thoughts.

In this paper, I analyse nine objects that form part of the extensive wax model collections that are part of the Medical School Collection at the University of Birmingham's Research and Cultural Collections. The nine objects are related to one another: they form a series of wax models on wood, representing the different stages of the biological sex development of a human foetus, and were produced in the 1880s by the German modeller Friedrich Ziegler (1860-1936). 1 These models were originally made for medical study, but by analysing them as sculptural objects, I show how they helped to shape cultural standards of gender normality within their own historical context. In this sense, I build on medical historian Nick Hopwood's research into the legacy of Ziegler's models, and reflect on their contribution to the development of modern bioscience. 2 The nine Ziegler models in the University's collection depict the different stages of human biological sex development in the womb. They were used at the University to teach medical students about the development of two different (and therefore binary) kinds of biological sex development. These models, in their sequential order, depict a seemingly standard process or 'typical' process of sexual differentiation in the womb. On the one hand, they mark a revolution in medical imaging, but on the other and despite their intended scientific purpose, they became embroiled in contemporary debates about social constructions of gender in the late nineteenth century. 3 Knowing this, I came to the models to investigate how such objects, primarily used in anatomical pedagogy, could impact wider socio-political discourses. In this article, I argue that it was their existence as three-dimensional sculptures, and the narrative view of development they depicted, that entangled them within socio-political debate. These models were the closest visual replica of human development in the womb produced during the period. 4 The visual representation of sex difference in a naturalistic manner sharpens their significance for contemporary socio-political debate about gender norms: because the models presented sex organs as discrete and reducible parts of a whole being, they became easy objects to focus on and utilise within ongoing political discourse about women's social and biological purpose. The presentation of these scientific models of sex development in the womb served to foster a form of biological determinism as an explanation for the social construction of gender identities. 5 My approach in this article draws on the methodology of Gender and Sexuality Studies, analysing the

The advent of digital technology is commonly attributed to technological advancements in science and engineering. While efforts of scientists and engineers play a central role in development of new technologies, visionary ideas are rarely formulated in isolation of social context. This essay examines the role of aesthetics in the emergence of digital technology, proposing that the revolutionary vision of modern architecture gave rise to concepts and conditions that enabled rational minds to fathom and construct the imaginary world of digital technology. By cultivating an aesthetic of transparency, modernists inverted the relationship between the material and immaterial realm, opening a new frontier to prospectors and settlers.

Since the beginning of the XIXth century the design of toys is a serious cultural and economic issue. In this critical framework, the architectural toys represented a particularly part of a materialistic culture that contains educational, artistic and ideological values. To track this narrative means to track a complex net of relationship that show which part of each culture wants to be preserved and transmitted to the following generation through these educational devices.

where the author spent some time as a scholar in residence (September-December 2011). Technical (or Construction) toys originate from the world of engineering and machinery; they are inspired by the architectural and technological environment and developed on the basis of the opportunities these environments afford for play. The essay focuses in particular on a rare and idiosyncratic as well as exciting object from the Deutsches Museum's depot: the Dandanah set of building blocks, designed around 1920 and usually attributed to the architect Bruno Taut. The Dandanah consists of 62 blocks made of coloured glass, a material that was considered by Taut and others to be a expression of purity, innocence and hope; glass technology itself was often presented as a potential agent of change in construction and architecture.

6&5 xpressionis tUto PARADISE, METROPOLIS, MRM fflfc 1 he notion of Utopia exists in every culture, capturing shared dreams and common goals. Meaning paradoxically both "no place" and "a good place," utopia also challenges humanity to bring this dream into existence. If all the arts offer a realm of fantasy where Utopian ideals can be embodied and shared, then architecture is especially captivating, in part because it provides the communal spaces of cultural identity-meeting rooms, religious structures, and government buildings-and presents the opportunity to conceive and build a new environment for humanity.