Wissenschaftliche Forschung

Visionäres Wien: Design und Gesellschaft 1918–1934

01. September 2017
Elana Shapira

Theorie und Geschichte des Design

Jüdische Sportfunktionäre im Wien der Zwischenkriegszeit

26. Mai 2013
Roman Horak

Institut für Kulturwissenschaften, Kunstpädagogik und Kunstvermittlung

Flexible Suche und Optimierung in parametrischem Design

02. Dezember 2012
Klaus Bollinger

Institut für Architektur

Ostasiatische Raumausstattungen in Schloss Schönbrunn

26. November 2012
Gabriela Krist

Institut für Konservierung und Restaurierung

Hermann Czech – Architektur und Sprachkritik in Wien nach dem Zweiten Weltkrieg

27. Juni 2011
Liane Lefaivre

Institut für Architektur

Strategisches Design – Wertschöpfungsfaktor für Unternehmen

24. Oktober 2008

Hartmut Esslinger

Institut für Design

Ein anderes Kino: Die Filme der Marguerite Duras

23. Juni 2008
Edith Futscher

Institut für Kunstwissenschaften

Algorithmische Generierung komplexer Raumstabwerke

29. Februar 2008
Klaus Bollinger, Arne Hofmann. Clemens Preisinger

Institut für Architektur, Tragkonstruktionen

Färbetechniken der prähistorischen Hallstatt-Textilien

25. Oktober 2007

Regina Hofmann-de Keijzer

Institut für Kunst und Technologie / Archäometrie

Naturwissenschaftliche Studie der Kunstwerke in Nako, Indien

21. November 2006

Gabriela Krist

Institut für Konservierung und Restaurierung

 

Formation and Persistence of Popular Music Scenes in Vienna

08. Mai 2006

Wolfgang Fichna, Rosa Reitsamer, Roman Horak

Kunst- und Kultursoziologie

Wiener Kinetismus 1920–25

24. Januar 2005
Patrik Werkner, Mitarbeit Ulrike Matzer

Sammlungen der Universität für angewandte Kunst Wien

(De-)Konstruktion des Unsichtbaren

06. Mai 2002

Maria Bussmann

Lehrkanzel für Kultur- und Geistesgeschichte

 

CyberPoiesis. Theorie und Empirie der Netzmedialität

06. März 2000
Manfred Fassler

Kommunikationstheorie

Rezeptionsgeschichte des Werks Oskar Kokoschkas seit 1945

02. Dezember 1996

Patrick Werkner, Mitarbeit Gloria Sultano

Sammlungen der Universität für angewandte Kunst Wien

CINÈMA BRUT – Eine alternative Genealogie der Filmavantgarde

Gabriele Jutz

Institut für Bildende und Mediale Kunst

Professionalisierung und ihre Begrenzungen: Design 1930-1980

‘Professionalisation and its Discontents: Design, 1930-1980’ examines the precarious position of design, a ‘new profession’ formed in the middle of the twentieth century, in the wider context of professionalisation, 1930-1980. Moving beyond institutional accounts of professionalisation, the project will conduct case study analysis to open up a distinctive new history of the designer as a ‘creative professional’, mediating, negotiating and re-inventing the limits, values and boundaries of professional identity in the second half of the twentieth century. Showing professionalisation to be in a constant state of ‘design’, the research will offer fresh insights from gender and transnational perspectives to reflect more broadly on the value of professional identity in a post-professional, post-industrial society.
Finding insufficiencies in the structuralist approach to professionalisation, traditionally led by organisational archives and focused on the activities of ‘pioneering’ men, this project will combine new empirical research and sociological theory to develop a flexible understanding of how the profession was ‘designed’ as a social practice through a process of interaction, negotiation and emulation between genders and national identities. The research study will comprise a detailed investigation across design archives in Britain, America, Austria and Australia, to illuminate the co-construction of new working lifestyles, models and behaviours that would coalesce in the identity of the Consultant Designer and form the basis for what would subsequently be known as the ‘creative professional’. Representations of the designer in popular culture, through fashion and lifestyle media, photography, television and film, will be explored alongside personal and professional correspondence between Consultant Designers practicing internationally.
The representation and identity of the Consultant Designer, a role invented specifically to enhance the status of the profession internationally, will form a lens through which to capture the identity of the designer as a professional intermediary, negotiating the distance between production and consumption, labour and leisure to generate a compelling new image and identity for ‘creative work’. Newly identified and previously unseen material in the archive of Viennese Design Consultant Carl Auböck (Austria) will be cross-examined in relation to contemporaneous designers Gaby Schreiber (Britain), Belle Kogan (US), Fred Ward (Australia) and others. Drilling deeper into the professional identity of the designer as a ‘new professional’, it will use a comparative approach to reveal the interactions, emulations and negotiations between these previously discrete histories.
Several original outputs will make a contribution to international scholarship in the fields of design history and the sociology of work and the research will be published as the applicant’s first monograph. This, in combination with collaborative workshops and seminar activities, will play a crucial role in developing her career in the application for Habilitation in the department of Design History and Theory at the University of Applied Arts Vienna.