Trade Dress Protection for Interior Design -Analysis of the United States Trademark registrations-

2014 ◽  
Vol null (29) ◽  
pp. 311-319
Author(s):  
Ryu, Hojeong ◽  
HA MIKYOUNG
Keyword(s):  
United States ◽  
Interior Design ◽  
The United States ◽  
Design Analysis ◽  
Trade Dress

scholarly journals Aircraft Design Analysis

1950 ◽  
Vol 54 (470) ◽  
pp. 65-116 ◽  
Author(s):  
Ivan H. Driggs
Keyword(s):  
United States ◽  
United States Navy ◽  
Aircraft Design ◽  
The United States ◽  
Design Analysis ◽  
Research Division ◽  
Similar Line ◽  
Request For Proposal ◽  
Type Specification

I have chosen to describe the methods employed by the Research Division of the United States Navy Bureau of Aeronautics with the hope that others engaged in a similar line of endeavour may be able to make profitable use of this information in the solution of their specific problems. The development of the material to be discussed arose directly from the need for quick, reasonably accurate and simple means for studying a broad series of aircraft designs leading toward fulfilling an overall military requirement. This process is carried out in the Bureau of Aeronautics by the Research Division prior to the issuing of a type specification with a request for proposal to the various manufacturers. Before these specifications are decided upon, many designs must be investigated and reported to those initially responsible for the issuing of military requirements. By this process intelligent compromises are arrived at and the best possible aeroplane chosen. These compromises reflect the performance, the ability of operation from carriers, and the effectiveness of the design as a military weapon.

Filipino American Visual Culture

2019 ◽  
Author(s):  
Sarita Echavez See
Keyword(s):  
United States ◽  
Visual Culture ◽  
Interior Design ◽  
Visual Representation ◽  
The United States ◽  
The Philippines ◽  
The Body ◽  
Filipino American ◽  
Wide Range ◽  
Cultural Forms

The visual display of Filipinos in the United States temporally and ideologically coincides with the American military conquest of the Philippines at the end of the 19th century, a brutal and brutally forgotten war that some scholars have described as genocidal according to even the most conservative definitions of genocide. This intimacy between empire and vision in the Philippine case has shaped and sharpened the stakes of studying Filipino American visual culture and its history, aesthetics, and politics. As with other minoritized communities in the United States, Filipino American visual culture is a means and site of lively and often contentious debates about representation, which typically revolve around how to document absence and how to establish presence in America. However, because Filipino Americans historically have a doubled status as minoritized and colonized—Filipinos in the United States were legally categorized as “nationals” during the colonial period even as the Philippines was deemed “foreign in a domestic sense” by the US Supreme Court—the matter of legal and visual representation is particularly complex, distinct from that of other Asian Americans and comparable with that of Native Pacific Islanders and Native Americans. So, while the politics of Asian American representation generally can get mired in debates about the absence or presence of “voice” in literature and the stereotypical or authentic depiction of the “body” in visual culture, Filipino American studies scholars of visual culture have provided valuable, clarifying insights about the relationship between imperial spectacle and history. To wit, the hypervisible representation of the Filipino in American popular cultural forms in the early decades of the 20th century—from the newspaper cartoon to the photograph to the World’s Fair exhibition—ironically enabled the erasure of the extraordinarily violent historical circumstances surrounding the emergence of the Filipino’s visibility. This relationship between spectacle and history or, rather, between visual representation and historical erasure, continues to redound upon a wide range of Filipino American visual cultural forms in the 21st century, from the interior design of turo turo restaurants to multimedia art installations to community-based murals.

Learning from HGTV: Media Convergence and Design Branding in America

Design Issues ◽  
2016 ◽  
Vol 32 (2) ◽  
pp. 53-63 ◽  
Author(s):  
Samuel Dodd
Keyword(s):  
United States ◽  
New Media ◽  
Digital Media ◽  
Interior Design ◽  
Building Materials ◽  
The United States ◽  
Small Degree ◽  
Cable Channel ◽  
Do It Yourself ◽  
The Stability

In the United States, Home and Garden Television (HGTV) has become an authoritative design brand that defines popular tastes through near-total commercial dominance. Established in 1994 as a basic cable channel, HGTV currently reaches over 99 million American households with daily programming on interior design, real estate, and do-it-yourself decorating. Beyond television, the HGTV trademark spans magazines, building materials, model houses, and digital media. The stability of its “lifestyle brand” across media platforms makes HGTV appealing to advertisers and audiences alike. Yet, to the small degree that design scholars discuss HGTV, they usually criticize or mock its unrealistic and commercialized depictions of design practices. In contrast, I argue that the value of HGTV is found in its performance as a media convergent brand. Whereas old media, including magazines and model houses, bolster HGTV's identity as a trusted source for design products and ideas, new media platforms encourage audiences to act as stewards of their own taste cultures.

scholarly journals Interdisciplinary cluster competition, when the whole is greater than the sum of its parts

2016 ◽  
Vol 9 (3) ◽  
Author(s):  
Maria De los Milagros Zingoni
Keyword(s):  
United States ◽  
Learning Outcomes ◽  
Interior Design ◽  
Landscape Architecture ◽  
The United States ◽  
Collaborative Practice ◽  
Spring Semester ◽  
Real World Problem ◽  
The Impact ◽  
Junior Students

This article describes the pedagogy, conceptual framework, outcomes and experiences of an annual Interdisciplinary Cluster Competition (ICC) organized at the beginning of every spring semester for junior students in the disciplines of Architecture, Industrial Design, Interior Design, Landscape Architecture and Visual Communication at a major University in the United States southwest. It is descriptive a study.   Students’ teams applied Studio Based Learning pedagogy applied to a real world problem. This combination enhanced the competition learning outcomes because of the impact of intraprofessional experience on student learning and their ability to generate holistic and resourceful solutions (Shraiky J. & Lamb 2012). The result was a win-win experience that empowered students to become social changers, and exposed them to an understanding of interdisciplinary collaborative practice. Students’ motivation to win the competition increased in comparison with previous years with the implementation of a “priceless” award. 

St. Mary's (1820-1830), Halifax: An Early Example of the Use of Gothic Revival Forms in Canada

1986 ◽  
Vol 45 (2) ◽  
pp. 134-147
Author(s):  
J. Philip McAleer
Keyword(s):  
United States ◽  
New York ◽  
Interior Design ◽  
The United States ◽  
Quebec City ◽  
Gothic Revival ◽  
Parish Church ◽  
Starting Point ◽  
History Of ◽  
American Architecture

Early Gothic Revival architecture in Canada, particularly from the period prior to the 1840s, when the influence of A. W. N. Pugin and the Ecclesiologists began to be felt, has been little studied. This paper reconstructs a lost monument-St. Mary's, in Halifax, Nova Scotia, as erected 1820-1830-which may have been the first ambitious essay in the Gothic Revival style, especially as it apparently precedes by a few years the single and most famous monument of this time, the parish church of Notre-Dame in Montréal, itself often considered the starting point of the style in Canada. Although the exterior of St. Mary's was modest-essentially it was an exemplar of the rectangular box with "west" tower, definitively formulated by James Gibbs, and ubiquitous since the 1720s-with Gothic detailing replacing Baroque, the interior, known only from one watercolor and partly surviving today, is of greater interest. Divided into nave and aisles by piers of clustered shafts, the piers' form, plus plaster vaults and pointed arches, helped create an aura reminiscent of the Gothic period. The interior was dominated by the design of the sanctuary (now destroyed), where an unusual congregation of architectural forms suggests both the appearance of illusionistic architecture, with a possible connection to New York, and a further transformation of Baroque forms into their Gothic equivalents, with a possible connection to Québec City. Tenuous, circumstantial evidence will be provided to substantiate the plausibility of such sources. This paper also attempts to place St. Mary's in the context of the Gothic Revival in North America c. 1820-1830. As a result, it will be seen that its exterior, although without precedents in Canada, is typical of Gothic Revival churches of the period in the United States. By contrast, the interior design, especially of the sanctuary, suggests it was one of the more imaginative creations in either context. It therefore emerges as a more significant monument in the history of Canadian and North American architecture than heretofore suspected.

FIDER's Study of Two, Three, and Four-Year Interior Design Programs in the United States and Canada: Phase II

1983 ◽  
Vol 9 (2) ◽  
pp. 31-36 ◽  
Author(s):  
KATE ELLEN ROGERS ◽  
RUTH STUMPE BRENT ◽  
RONALD VEITCH ◽  
J. LEE HILL
Keyword(s):  
United States ◽  
Interior Design ◽  
Phase Ii ◽  
The United States
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