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Reid, Bronwyn. "Cast architectural ornament : plaster and compo." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214384.
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Plaster and compo are both materials used for cast architectural ornamentation. Preserving, repairing, and in-kind replacing cast architectural ornamentation is necessary to maintain the integrity of a space. Plaster and compo are visually and texturally very similar materials. Compo was invented to be a less costly substitute for plaster. Whereas the two materials are easily mistaken for one another, they are chemically quite different. The ingredients and methods used to create the two separate materials exemplify this difference. Understanding the differences is key to successfully preserving the ornaments and, thus, the spaces in which they are located. Repairing plaster with compo or compo with plaster can lead to the destruction of cast architectural ornaments. Furthermore, chemical paint removers that are safe to use on plaster can deteriorate compo. It is necessary to thoroughly understand the nature of the materials so that informed decisions can be made about their treatments. The study addresses the similarities and differences, the maintenance, deterioration, repair, and replacement of the two materials.Department of Architecture
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Wong, Chun-ming. "Cantonese opera on the temple ridge conservation of Shek Wan ceramic figurines on the ridge of the Hung Shing Temple at Apleichau /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B4218874X.
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FARRELL, GAVIN R. "ORNAMENT: SEMANTICS AND TECTONICS IN CONTEMPORARY URBAN ARCHITECTURE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115929765.
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Odom, Jason Scott. "An investigation of the ornamental joint." Thesis, Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/23120.
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Alves, Francine D. A. C. C. O. "A arquitectura e o mosaico romano de pavimento-relações-interacções." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2002. http://dited.bn.pt:80/30055.
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Vieira, Eduarda Maria Martins Moreira da Silva. "Técnicas tradicionais de fingidos e de estuques no norte de Portugal-contributo para o seu estudo e conservação." Master's thesis, Instituições portuguesas -- -Universidade de Évora, 2002. http://dited.bn.pt:80/30074.
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Dürfeld, Michael. "Das Ornamentale und die architektonische Form : systemtheoretische Irritationen /." Bielefeld : Transcript, 2008. http://www.loc.gov/catdir/toc/fy0804/2008423180.html.
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Hui, Yat-chuen Alexander. "Lingnan in a mustard seed the cultural significance of Shiwan doll-figure decorated pottery roof ridges on temples in Hong Kong and Macau /." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B31476946.
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Pecharka, David Michael. "That which best serves : materials in response to needs as an approach to architecture : the influence of bricks and brickwork." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23374.
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Pleasant, Elizabeth A. "Ornamentation, representation, and experimental drawing." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/21606.
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Hahn, Stephanie. "Fulda "Zur Zierde der Stadt" : Bauten und Bauaufgaben der Residenzstadt im 18. Jahrhundert /." Petersberg : Imhof, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2642827&prov=M&dok_var=1&dok_ext=htm.
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Alkandari, Fahad A. H. H. "Islamic ceramic ornamentation and process : proposals for a new aesthetic vocabulary in contemporary architectural embellishment within kuwait." Thesis, University of Central Lancashire, 2011. http://clok.uclan.ac.uk/2800/.
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Islamic architecture is arguably one of the greatest manifestations of Islamic visual culture. One of the defining aspects of the unique, aesthetic richness of traditional Islamic architecture has been the application of ceramic ornamentation or embellishment. There is a growing concern, however, that this legacy is being eroded. The diminishing identity of Islamic visual culture is particularly evident through current architectural developments occurring in the Arab states. The building revolution in the Gulf countries has dramatically increased momentum since the onset of the ‗oil economy‘, echoing the phenomena of globalization. This research project explores these concerns, discussing the erosion of Islamic ‗identity‘ within contemporary architecture in the Gulf States and in particularly Kuwait, as well as the ensuing decline in the use of ceramics as a defining embellishment material. The research compares the aesthetics of traditional and contemporary Islamic architectural design, whilst also examining the reasons behind this erosion in traditional design style. The diminishing identity of Islamic visual culture is investigated by combining studies in the fields of art, aesthetics, design, architecture, and the social sciences, in order to understand the nature of the research problem. A series of case-studies demonstrates how ceramics may be used to re-introduce a sense of Islamic identity within contemporary architecture. This offers design proposals, new materials and technical processes that acknowledge the rich traditions of Islamic Ceramics while also being appropriate for application within the context of contemporary Islamic architecture detailing; blending contemporary aesthetics and technical thinking with traditional Islamic design. The aim of the case-studies is to offer proposals for a new aesthetic vocabulary of architectural embellishment that is both appropriate to and innovative within, the context of contemporary Islamic architecture. This new aesthetic vocabulary III specifically blends contemporary design principals, new materials and technical processes, whilst acknowledging the rich traditions of Islamic ceramics. The PhD project, applies two types of research methodology: theoretical research and practice-based research. The former focused on social sciences and applied quantitative and qualitative research approaches, including surveys and interviews undertaken within Kuwait. The findings obtained from these surveys verified the emergence of a new cultural style of contemporary architecture and shaped the practice-based element of the project; proposals for ceramic embellishment that are contemporary, while still reflecting many recognizable aspects of traditional Islamic design. The new architectural style can be attributed to factors such as globalization, the adoption of international building styles, and a seeming unwillingness to incorporate traditional styles into new building design, all of which contribute to the currently weak identity of Arabic / Islamic ceramics within Kuwait. Despite of this, the survey revealed that Kuwaiti society maintains a strong relationship and affiliation with Islamic culture, although many seemed unaware of their own rich culture and its past legacy. The practice-based research involved two distinct phases. The first phase involved the development of a large number (172) of new glazes. The glazes were intended to reflect the palette of colours used over generations of Islamic Ceramic culture, while still being appropriate for integration within the contemporary Islamic architectural environment. The second phase of practice involved a series of case studies, embracing a wide range of contemporary architectural ceramic design processes (including 2 and 3 Dimensional geometrical patterns and interpretations of contemporary calligraphic design). The case studies utilised a number of modern technologies, such as 3D Solid modelling, CNC Rapid Prototyping and Laser-cutting, to prove that modern design and manufacturing technologies can be integrated within traditional ceramic processes. The aim being to both provide ceramic products that architects and designers can use to enhance the modern IV architectural environment of Kuwait and re-establish the creative status of ceramics.
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Wong, Chun-ming, and 黃振銘. "Cantonese opera on the temple ridge: conservation of Shek Wan ceramic figurines on the ridge of the HungShing Temple at Apleichau." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B4218874X.
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Allen, Joanne. "Choir stalls in Venice and northern Italy : furniture, ritual and space in the Renaissance church interior." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3603/.
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This thesis seeks to re-establish the significance of choir stalls in Venice and northern Italy and seeks to place stalls in their artistic, liturgical and spatial context. Although now situated in remote locations in the church, stalls were once highly prized items of furniture and considered to be praiseworthy artistic structures in their own right. As the location for religious ritual, the elevated status of the choir area was reflected in the detailed and sophisticated design of its wooden furniture. Through an analysis of visual and documentary material, stalls will be brought to the fore to consider broader questions. What can documents reveal about Renaissance workshop practices and the relationship between craftsmen and patrons? How did the form of stalls reflect their use in religious ritual and the organisation of sacred space? How did choir furniture develop as an independent medium within the artistic context of the Renaissance church interior? Four main topics will be considered in the first four chapters: the visual history of stalls; the contracting procedure; the use of stalls in liturgical practices; and changes to choir placement. Chapter One reconstructs the stylistic history of north-Italian choir stalls from the fourteenth to early sixteenth centuries and contains an excursus on the development and meaning of intarsia iconography. Chapter Two focuses on choir contracts, which confirm that choir furniture was a considerable investment and a potential source of rivalry between church communities Chapter Three moves the focus away from stalls as material objects to their role in liturgical practices. An excursus on the established use of misericords in Carthusian liturgy will demonstrate the close interaction between form and function in stall design, and places Italian stalls in the context of their European counterparts. The placement of choirs in the church interior will be examined in Chapter Four using case studies of choir placement in different secular and religious houses, in particular the Franciscan Observants, Franciscan Conventuals and the Dominicans. Although changes in choir placement are often associated with liturgical reforms implemented by the Council of Trent, church renovations in fact occurred well before this period. Two Venetian case studies demonstrate the value of examining individual choir precincts in their original stylistic and spatial context. Chapter Five focuses on stalls in the Benedictine nuns’ church of San Zaccaria in Venice, completed by the Cozzi workshop in 1464. The choir precinct in the Frari in Venice is amongst the best-preserved choir precincts in Italy and is discussed in detail in Chapter Six; the circumstances of its construction are closely related to new choir furniture in the Santo in Padua. Specific terminology is explained and collated in the Glossary and an Appendix contains transcriptions and translations of significant documents.
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Narayanan, Bethany M. "The painted barns of southeastern Indiana : decorative painting and commercial advertisement." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214383.
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Many barns in the United States were painted at one time, most of them a solid color, usually red or white. A small proportion of barns were further embellished with decorative painting or commercial advertisements.This creative project studies such decoratively painted barns. It examines the reasons barns were painted, the materials and methods used in painting, and color preferences. It describes the four major types of decorative barn painting, and it traces the history of advertisements painted on barns, with special focus on the advertising campaign for Mail Pouch Tobacco.The project also includes a survey of the decoratively painted barns within a seven county region in southeastern Indiana and a preservation strategy for those barns. The region, which encompasses Dearborn, Franklin, Jefferson, Jennings, Ohio, Ripley, and Switzerland counties, was chosen because it has a relatively high concentration of Mail Pouch Tobacco advertisements and because it remains very agricultural in nature. The barns in the survey area remain in their rural historic context.A list of Mail Pouch Tobacco signs in the survey area was available as a result of prior research by others. The survey was conducted by driving the roads on which Mail Pouch signs had been recorded previously, looking also for other barn advertisements and decorative painting along the route. For each example noted, information was recorded on a survey form about the location, condition, and function of the barn as well as the type of painting, and photographs were taken in both black and white and color.As part of the preservation strategy, three driving tours were devised, and a full-color brochure describing the driving tours was designed. Application was made for a grant to fund production of the brochure for distribution to county visitor's bureaus and historic preservation agencies in the seven surveyed counties. If the grant is received, One thousand five hundred copies of the brochure will be printed.Department of Architecture
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Zamberlan, Lisa Art College of Fine Arts UNSW. "The pleasure of appearances." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43281.
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Decoration holds a contested position in built environment scholarship. Largely marginalised by Modernist claims of material and structural integrity, decoration is often sidelined as the most temporal and superficial of built environment practices. A common misunderstanding is that decoration and interior design merely make built space fashionable. The thesis challenges the misconception of interior design as gratuitous embellishment, and demonstrates how a reconsideration of the term decoration makes new insights available for both contemporary practice and scholarship in interior design. I contend that if decoration can be considered a vehicle through which ideas, such as the cultural veneration of appearances and the social motivations of fashion are explored, it can be understood as representative of contemporary cultural concerns.
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Lillywhite, Marie-Louise. "The counter reformation and the decoration of Venetian churches 1563-1610 : San Giacomo dall'Orio, Santa Maria dell'Umiltà, the Redentore and San Giorgio Maggiore." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58313/.
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This thesis examines the effects that the religious changes heralded by the Counter Reformation and the decrees regarding religious imagery and the Eucharist promulgated at the Council of Trent had on the decoration of Venetian churches from the close of the Council in 1563 until the first years of the seventeenth century. Although politically Venice shielded her independence from the power of the Papacy, she nonetheless responded in conformity to the Tridentine decrees and played an important role throughout the Cinquecento as a centre for religious renewal. In turn this had an important impact on the fabric and decoration of the city’s churches, particularly in the last two decades of the Cinquecento. Focusing on four Venetian churches that were the objects of extensive decorative programmes during the late Cinquecento; San Giacomo dall’Orio, Santa Maria dell’Umiltà, the Redentore and San Giorgio Maggiore, this thesis combines archival and visual evidence to reach a deeper understanding of how the decoration of the Venetian church changed in this period. The central tenet of this thesis is that Venice made an important and early contribution towards developing the ‘ideal’ visual response required by the Council of Trent. In the immediate aftermath of the Council of Trent until the end of the century Venice enjoyed a period of important artistic renewal and achievement. This ‘golden age’ emerged in the years following Trent and in a period characterised by ongoing war and ravaging pestilence. Yet far from discouraging creative genius, the contemporary religious and political upheaval appears to have challenged artists and patrons to ever greater achievements. It thus appears that the conditions imposed by the Council of Trent created a framework within which artists could better represent the values of the renewed Catholicism of the late sixteenth century.
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Lyons, George. "China dolls : a study of architectural terra cotta in America." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041895.
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There is a general lack of documentation which has been done on terra cotta production. Trends over the last several decades have shown that this industry is declining to the point where it could disappear completely. This project documents, through written descriptions and graphic illustrations, the process of terra cotta production in order to leave a record of what has been and what could be. Should the industry have a substantial resurgence to the extent that it is no longer in danger of extinction, or should general interest in the material develop further, this project will serve the purpose of an educational resource for the architect, preservationist, production industry and general public.It briefly covers the material and how it is formed, and how the way it is formed affects its limitations and durability. The project includes a history of the material from its most likely earliest applications to its current use. The history includes some of the major technological advances which have affected the material's production. A step-by-step guide to the production method involved in current terra cotta manufacture is included along with explanation of various related materials or processes which may not be commonly understood. Also included in this study is a look at the detection and correction of failures within terra cotta which is then outlined in a quick-reference tool for the preservation of terra cotta. The conclusion of the paper covers the outlook for the industry and the material along with ways for advancing both the knowledge of and desired use for terra cotta in new construction.Department of Architecture
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Lutz, Mark L. "Precedent and context." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23153.
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Shih, Huei-Mei. "An overview of Cochin ceramics in Taiwan with an emphasis on the influence of Hong Kun-Fu and his school 1910s to 1980s /." Access electronically, 2008. http://ro.uow.edu.au/theses/148.
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Şerifaki, Kerem Böke Hasan. "Conservation problems of historic wall paintings of taxiarhis church in cunda, ayvalık/." [s.l.]: [s.n.], 2005. http://library.iyte.edu.tr/tezler/master/mimarirestorasyon/T000393.pdf.
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Cagle, Amanda. "Sacred sites and the modern national identity of Ireland /." Read thesis online, 2007. http://library.uco.edu/UCOthesis/CagleA2007.pdf.
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Wiltberger, Christine N. "Conservation and fabrication techniques for restoring marezzo scagliola." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214385.
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Marezzo scagliola is a type of artificial marble made by pulling pigmented skeins of raw silk through a wet mixture of pigmented plaster. This material was a popular architectural material used in prominent public building throughout the United States at the turn of the nineteenth century. Most of the marezzo scagliola found in American buildings today is near or more than 100 years old. While it is by nature a very durable material, the negative effects of temperature, moisture and building evolution have all but destroyed some examples of marezzo scagliola. Unfortunately, the original craft techniques used to fabricate marezzo scagliola were never well documented. Recipes and techniques were usually passed down from father to son or were closely coveted by artisans seeking to hold a monopoly in the market. In the last 20 years, a very small number of conservators working to restore all types of scagliola have begun to document the history of scagliola as well as the techniques used in repair and replication. This thesis will expand upon the small amount of information available by documenting in detail the process used to both fabricate and repair marezzo scagliola.Department of Architecture
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Ney, Jason B. "Transculturalism in Emile Galle's art nouveau Ecole De Nancy and contemporary landscape architecture." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1191714.
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This study looks at the degree to which Emile Galle's theories of symbolic ornamentation are observed in contemporary landscape architecture design. Galle's theories consist of three components: the first relates to the functional aspects of design, and the last two relate to the aesthetic aspects. These three components are used to evaluate three case studies. In the case studies, Bicentennial Commons in Cincinnati and Canal Walk in Indianapolis show a partial though apparent utilization of Galle's theories, while Riverwalk in Milwaukee comes closest of the three to demonstrating the application of Galle's theories in Landscape Architecture. However, none fully exhibit Galle's theories. Nonetheless, the case studies, and in particular Riverwalk, exhibit the initial stages of a renewed interest in ornamentation in which culture is symbolically represented through nature. Landscape Architects, more than ever, are being called upon to embody the meaning of the land through a cultural synthesis in an expression of past/present and man/nature.Department of Landscape Architecture
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Sinkević, Ida. "The Church of St. Panteleimon at Nerezi architecture, programme, patronage /." Wiesbaden : Reichert, 2000. http://catalogue.bnf.fr/ark:/12148/cb39168651h.
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Bartette, Titien. "Le décor architectonique de l’Arles antique." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3119.
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Le décor architectonique de l’Arles antique traite de l’ensemble des éléments lapidaires d’architecture décorés de l’antique Arelate. La prise en compte du plus grand nombre de bloc a permis de proposer une synthèse sur l’évolution stylistique et chronologique de l’ornementation arlésienne – une frise qui s’étale du premier triumvirat au Vème siècle après J.-C. – et une restitution du développement architectural du centre monumental d’Arles. L’étude s’articule autour des deux principaux axes analytiques que sont les motifs ornementaux canoniques constitutifs de la modénature des blocs et les composantes architecturales. Par ces analyses, l’objectif premier était de fixer un certain nombre de jalons chronologiques qui pourront faire office de référence en Narbonnaise pour la datation d’éléments d’architecture. Notre raisonnement et les méthodes employées avaient vocation à répondre à une problématique générale qui était la place d’Arles au sein de la Gaule Narbonnaise, notamment par la définition ou la précision de la circulation des cartons et les rapports entretenus avec Rome. Arelate présente toutes les caractéristiques d’une ville ayant brillamment réussi la transposition des « modèles romains », adaptée à son urbanisme et à sa topographie. Rome, et Auguste particulièrement, ont marqué de leur empreinte la ville par les mutations qu’ils ont favorisées et encouragées, à moins qu’ils ne les aient simplement décidées. Ces premiers aménagements sont suivis, au fil des années, de réalisations confirmant le rôle de la colonie dans un processus de romanisation passant en grande partie par l’architecture et le développement de son ornementationThe architectural decoration of ancient Arles concerns all lapidary decorated architectural elements of Ancient Arelate. Taking into account the largest number of blocks allowed us to propose a synthesis of the stylistic and chronological evolution of Arles ornamentation - a frieze which runs from the first triumvirate to the fifth century AD - and restitution of architectural development of the monumental center of Arles. The study focuses on two main analytical axes, canonical ornaments and architectural components. For these analyses, the primary objective was to fix a number of historical milestones that will serve as a reference for dating Narbonese architectural elements. Our reasoning and methods used were intended to respond to a problem that was the place of Arles in Narbonese Gaul, including the definition or the accuracy of the movement of canonicals ornaments and relationships maintained with Rome. Arelate has all the characteristics of a city having succeeded in the implementation of the "Roman models", adapted to its town planning and its topography. Rome and Augustus in particular have left their mark on the city by the mutations that they fostered and encouraged, unless they simply decided on them. These early developments were followed, over the years, by achievements confirming the role of the colony in a process of Romanization passing largely by the architecture and the development of its ornamentation
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AHLNÉR, EMELIE. "Kurbitch!" Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17358.
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In architecture we usually divide built things into structure or ornament. The same way of thinking can be applied to fashion. First you have a construction (garment) and then you add an ornament, like a way of styling. This works aim to change that relationship. One way of exploring the relation between the two concepts is to subordinate structure under ornament in order to change the hierarchy between form and decoration. Ornaments have in themselves structural elements that can be transformed into construction. My aim is to find these and let them be the bearing structures when augmenting for new shapes and expression with a codependent relationship between the two.The concrete methods of this work have been carried out through experimentation with different perspective on ornamentation in a trial and error process to achieve new expression and potential of ornament. The results are various examples of the design method carried out in different scale and proportions. They show how the method could be used in a structural way to find form and a more pictorial way to build expression. It questions modernistic thinking with its form follow function principle and explores other values such as attraction of the eye and the expression of light reflective materials. It explores the clash between tradition and new material. A new discussion could be raised about what is construction and what is ornamentation, if a separation is needed or even can be done.Program: Modedesignutbildningen
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Pifarré, Yáñez Daniel. "Els esgrafiats del modernisme a Barcelona: obres i repertoris ornamentals." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397675.
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La finalitat principal d'aquesta tesi és la d'abordar el fenomen de l'esgrafiat durant l'època del modernisme a la ciutat de Barcelona. Hem centrat el nostre estudi en les obres conservades, i a partir de la seva catalogació hem abordat un tipus d'estudi que cobreix diferents aspectes. Un d'ells és el de mostrar en què consisteix l'esgrafiat a nivell tècnic, i plantejar posteriorment quins són els seus antecedents a Barcelona previs al modernisme. Això ens serveix per poder establir posteriorment unes diferències amb l'esgrafiat que es conrea llavors. A partir del seu origen, i en tractar-se d'una tècnica de revestiment mural, hem cregut convenient traçar la història que experimenta el treball en la superfície dels paraments, fins arribar al marc cronològic central dins el nostre estudi.
Un altre objectiu és el de plantejar la qüestió de quins són els principals factors que permeten la introducció de l'esgrafiat dins el panorama de les solucions decoratives del moment. Un cop ens adonem de la profusió d'esgrafiats en el modernisme, hem abordat els diversos paràmetres que conformen l'obra esgrafiada, per veure d'aquesta manera quines són les seves característiques. Aquest paràmetres són els següents: el procés tècnic i el tractament del color, amb una gamma cromàtica àmplia, propis dels gustos del modernisme; les tipologies arquitectòniques més freqüents on s'empren els esgrafiats; la ubicació concreta en els paraments dels edificis, segons si es tracta de l'exterior o de l'interior; els modes de disposició i distribució dels motius ornamentals sobre el parament; i els repertoris ornamentals composen els programes decoratius, segons els que són més utilitzats i els que menys.
Una qüestió a l'entorn dels dissenys dels esgrafiats és precisament la que es refereix a l'autor de la composició que posteriorment s'esgrafia. D'aquesta manera, plantegem les diverses figures professionals que en temps del modernisme poden fer-se càrrec de la creació dels motius que trobem en les arts aplicades del període. A part, també ens acostem a algunes publicacions europees de les que es serveixen els creadors dels esgrafiats a l'hora de prendre models ornamentals.
Sobre tema dels executors de les obres, és a dir, dels tallers d’estucadors que treballen en el modernisme, no és una qüestió fàcil d’abordar, principalment per la manca de documentació que ens ha arribat al respecte. Així doncs, oferim una visió força global al respecte, citant algun cas en concret.
Essent conscients de la diversitat de gustos i tendències estètiques que es conreen durant el modernisme, un dels objectius que des del principi hem volgut desenvolupar és el de mostrar les diferents opcions formals en les composicions que s’esgrafien. D’aquesta manera, hem establert un recorregut en l’evolució d’aquestes tendències, a través principalment de l’obra dels arquitectes on s’apliquen els esgrafiats. És a partir d’aquest mateix recorregut que es pot fer palesa la qüestió sobre si existeix un o més d’aquests arquitectes que siguin cabdals en la utilització i evolució de la tècnica. Paral·lelament a aquest recorregut, també hem plantejat la qüestió sobre allò que succeeix en l’àmbit europeu, tot establint, quan ha estat factible, connexions entre Barcelona i algun punt de producció important d’Europa.
Finalment, hem volgut considerar com ha afectat la destrucció del patrimoni modernista barceloní a la tècnica de l’esgrafiat en particular.The main purpose of the thesis is to address the artistic phenomenon of the Sgrafitto in Barcelona during the modernista period. The study focuses on the preserved works and, through a process of cataloguing, we analyse the Sgraffito from a technical viewpoint, consider what its previous manifestations are—mainly those of the 18th century— and the differences presented between them, and trace the evolution of the different wall covering solutions leading up to the arrival of the modernista period. From this point, we consider the factors that allow the reintroduction of Sgrafitto as a coating, and analyse their characteristic parameters: the technical process and colour treatment, the architectural typologies where it is used, the location on the wall, the provisions of shapes, and the ornamental repertoires. We also consider the different craftsmen who participate in the development of the design and the application of the Sgraffito, then focussing on the architects who use the Sgraffito technique most abundantly, and in the different stylistic tendencies shown by all of them. At the same time, we also consider the connections of the Barcelonian modernista Sgraffito with other versions in other European Art nouveau cities. Lastly, we make reference to the destruction of the modernist Sgraffito heritage in Barcelona.
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Kiracofe, James Bartholomay. "Architectural fusion and indigenous ideology in early colonial Mexico : a case study of Teposcolula, Oaxaca, 1535-1580, demonstrating cultural transmission and transformation through negotiation and consent in planning a new urban environment /." Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-11082006-133633/.
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Hui, Yat-chuen Alexander, and 許日銓. "Lingnan in a mustard seed: the cultural significance of Shiwan doll-figure decorated pottery roof ridges ontemples in Hong Kong and Macau." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31476946.
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.
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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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Heath, Anne Elizabeth. "Architecture, ritual and identity in the Cathedral of Saint-Etienne and the Abbey of Saint-Germain in Auxerre, France /." View online version; access limited to Brown University users, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3174619.
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Teteriatnikov, Natalia. "The liturgical planning of Byzantine churches in Cappadocia." Roma : Pontificio Istituto Orientale, 1996. http://books.google.com/books?id=W1xhAAAAMAAJ.
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Stadl, Susanne. "Die Kunsttätigkeit der Salesianerinnen im deutschsprachigen Raum /." Lindenberg im Allgäu : Kunstverl. Fink, 2005. http://swbplus.bsz-bw.de/bsz114048088rez.htm.
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García, Fortes Salvador. "La Terracota como elemento ornamental en la arquitectura de Barcelona. Técnicas de fabricación, conservación y restauración." Doctoral thesis, Universitat de Barcelona, 2001. http://hdl.handle.net/10803/84041.
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La investigación se estructura en tres bloques temáticas bien definidos. El primero incide en el momento de inicio de esta arquitectura barcelonesa de la terracota, concretando su contexto, las causas de su génesis y señalando sus protagonistas, provenientes del campo de la arquitectura, de la creación escultórica y de la producción cerámica de la ciudad. Asimismo, se establece la evolución de la utilización de la terracota ornamental en la arquitectura de Barcelona a lo largo de los siglos XIX y XX, desde 1837 a 1968. A lo largo del segundo bloque se enumeran los centros de producción de este material. Se han descrito los procedimientos netamente escultóricos en la creación de modelos y en la realización de moldes. Proceso creativo que se complementa por su manufactura seriada, que utiliza los sistemas de producción de la industria cerámica. Igualmente hemos detallado las manipulaciones necesarias para su ubicación definitiva formando parte de la arquitectura, así como su relación con los elementos constructivos del edificio en el cual se ubica y con los otros materiales ornamentales. Por último, para el reconocimiento de este tipo de material ornamental y de esta arquitectura ha sido necesaria la verificación, mediante un examen exhaustivo, de los cambios sufridos a lo largo del tiempo y su posible deterioro, estableciendo su estado de conservación. Exámenes y análisis previos a cualquier propuesta de actuación de conservación-restauración, necesaria para su protección y pervivencia futura. Propuestas de conservación-restauración que se concretan en la identificación de este patrimonio, en la determinación de los procedimientos legales de protección y de los tratamientos de conservación-restauración que se concretan en la consolidación, limpieza, reintegración volumétrica y cromática y protección.
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Lu, Qiang. "The art of traditional architectural ornaments in northern China." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3297119.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2007.Title from dissertation home page (viewed Sept. 25, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0705. Adviser: Henry Glassie.
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Doroszenko, Rebekah. "Improvement and the Scottish rural estate : Sir Archibald Grant at Monymusk, 1715-1778." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6865/.
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The purpose of this study is ultimately to analyze the influence of cultural attitudes on the treatment of the Scottish estate in the first half of the 18th century (c.1715 – c.1776), making particular reference to the ideology of improvement, through the use of Sir Archibald Grant of Monymusk as a case study. Grant’s improvement of his estate is not understood as literally agricultural or economic development alone, but as a complex ideological commitment to the transformation of land, landscape and society. Whilst Grant of Monymusk has been discussed with reference to economic improvement, the relationship between his role as a publically acknowledged improver and his patronage of art and architecture, as well as his attempts at publication, has not been subject to similar interest. This thesis uses an innovative interdisciplinary approach which draws on archaeological as well as art historical methodologies. It discusses a wider range of estate commissions, in particular Grant’s patronage of the portrait artists John Smibert and William Robertson, the poet John Ogilvie, his commission of the architectural surveyors Alexander Jaffray and Robert Robinson, as well as his work to construct planned villages at Kirktown of Monymusk and Archiestown. The thesis attempts to place these commissions within the context of recent studies of improvement which emphasize its role as an ideology with cultural implications. The use of an individual case study allows for a more in depth discussion of specific reactions to historical and ideological change, providing a narrative of a specific site and thus creating an individual response towards broader cultural and scientific developments.
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Ramsey, Holly B. "Tolan-designed county courthouses in Indiana." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390315.
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The father and son architectural firm of T.J. Tolan & Son and later Brentwood S. Tolan designed seven county courthouses in Indiana, more than any other architectural firm but one. The Tolan firm also designed courthouses throughout the Midwest. Little is known about these architects, except that neither was formally trained. However, the Tolans designed high caliber courthouses that are viewed as some of the best in the state. Using primary and secondary sources, this thesis is an assessment of the courthouses constructed in Indiana by the architectural firm T.J. Tolan & Son and by Brentwood S. Tolan in the context of courthouses constructed in Indiana from the same period.Department of Architecture
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Dathe, Stefanie. "La Vera Cruz in Segovia dialektische Untersuchung zu Ursprung, Baugeschichte und Funktion eines romanischen Zentralbaus in Alt-Kastilien /." Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften, 2001. http://catalog.hathitrust.org/api/volumes/oclc/47702819.html.
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Kirkbride, Robert. "The renaissance studioli of Federico da Montefeltro and the architecture of memory /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82902.
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This investigation of the studioli, small contemplation chambers in the ducal palaces of Urbino and Gubbio, considers their position in the western tradition of the memory arts. Drawing upon select images in the studioli, as well as text sources readily available to Duke Federico da Montefeltro (1422--82) and the members of his court, this inquiry examines how the discipline of architecture equipped the late quattrocento mind with a bridge between the mathematical arts, which lend themselves to mechanical practices, and the art of rhetoric, a discipline central to the cultivation of memory and eloquence. As ramifications of material and mental craft, the studioli offered the Urbino court models for education and prudent governance.
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Dluzak, Catherine M. "An investigation into the influence of the Tiffany Studios in the ecclesiastical stained glass windows commissioned in Indianapolis, Indiana between 1880-1930." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1118169.
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This thesis investigates the influence of the Tiffany Studios in ecclesiastical stained glass windows of Indianapolis, Indiana. The Tiffany Studios was a leading stained glass manufacturer at the turn of the century and popularized the use of opalescent glass in stained glass commissions. The following study will briefly look at the history of stained glass, discuss the life of Louis Comfort Tiffany, characterize the work of the Tiffany Studios, and evaluate the ecclesiastical stained glass windows located in Center Township commissioned between 1880-1930. The evidence contained within the stained glass summaries suggests that Tiffany Studios did influence the commission of stained glass windows in Indianapolis during the period under review.Department of Architecture
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Vance, Nicole Ashley. "Integrators of Design: Parsi Patronage of Bombay's Architectural Ornament." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6053.
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The seaport of Bombay is often referred to as India's "Gothic City." Reminders of British colonial rule are seen throughout South Bombay in its Victorian architecture and sculpture. In the heart of Bombay lies the Victoria Terminus, a towering, hybrid railway station blending gothic and vernacular architectures. Built at the height of the British Empire, the terminus is evidence of the rapid modernization of Bombay through the philanthropy of the Parsis. This religious and ethnic minority became quick allies to the British Raj; their generous donations funded the construction of the "Gothic City." The British viewed the Parsis as their peers, not the colonized. However, Parsi-funded architectural ornament reveals that they saw themselves on equal footing with Bombay's indigenous populations. The Parsis sought to integrate Indian and British art, design, and culture. Through their arts patronage they created an artistic heritage unique to Bombay, as seen in the architectural crown of Bombay, the Victoria Terminus.The Parsi philanthropist, Sir Jamsetjee Jeejeebhoy was the most influential in Bombay's modern art world. He was chosen with other Indian elites to serve on the selection committee for the Great Exhibition of 1851 in London. He selected India's finest works to demonstrate India's rich tradition of the decorative arts. In turn, these works were viewed within the Indian Pavilion by the Victorian public and design reformer Owen Jones. Jones used many of the objects at the India Pavilion in his design book, The Grammar of Ornament. This book went on to inspire the eclectic architectural ornament of Victorian Britain and eventually Bombay. Jeejeebhoy sold the majority of the works from the exhibition to the Victorian and Albert Museum and the Department of Sciences and Art in South Kensington. The objects were studied by design students in South Kensington who were later hired by Jeejeebhoy to be instructors at the Bombay School of Art. This school taught academic European art alongside traditional Indian design forthe purpose of creating public art works. Thus, the Parsis were important cultural mediators who funded British and Indian craftsmen to create symbols of "progress," such as the Victoria Terminus, for a modern India.
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Mugnai, Niccolo. "Architectural decoration and urban history in Mauretania Tingitana (Morocco)." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/36703.
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This PhD thesis aims to offer a new contribution to the study of regional Roman architectural decoration, focusing on the province of Mauretania Tingitana (northern Morocco). The analysis of the ornament is linked with that of the buildings where these architectural elements were employed. In addition to the reconstruction of local history and urban trajectories, the investigation is further extended to a broader extra‐provincial level, with particular attention to North Africa and the Mediterranean. The selected timeframe spans from the late Mauretanian period (c. mid‐first century BC) to the main phase of Roman provincial era (first to third century AD), also providing a glimpse into Late Antiquity (fourth to sixth centuries AD). The discussion in Volume I (Text) is based on the results of the field research carried out in Morocco, from 2011 to 2014, at four archaeological sites: Volubilis (Ksar Pharaoun); Banasa (Sidi Ali bou Djenoun); Sala (Chellah, Rabat); and Lixus (Tchemmich, Larache). The fieldwork involved the recording of the elements of architectural decoration preserved there, the vast majority of which are unpublished. The collected data were used to build up the typological classification presented in summary in Volume I and in full detail in Volume II (Appendix). The study also includes observations on the materials kept in the archaeological museums at Rabat, Tangier and Tétouan, and those from other important sites of the province (Thamusida and Zilil). The analysis shows how different artistic traditions were merged together in Tingitana during the Roman period: the persistence of pre‐Roman (Punic and Hellenistic) substrata; the influence of Roman official art and architectural decoration; and the creation of local‐style ornament. This mixture of styles is also reflected in the design of buildings and public spaces in each town, hinting towards the identification of equally mixed urban communities. The research has revealed the architectural vitality of this territory at the edge of the Roman world, while also illustrating a significant degree of adaptation of orthodox rules of Roman architecture.
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Prickett, Douglas B. "Ornamentalism /." Online version of thesis, 1990. http://hdl.handle.net/1850/10938.
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Packer, John Aidan. "Influences of Ancient Egypt on architecture and ornament in Scotland." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7708.
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This work seeks to identify the forms and origins of Ancient Egyptian architecture and the complex historical progress which brought these to Scotland, identifying the affinities shared by both countries and their evolving role from their first arrival to the present day. The thesis follows Egypt’s first appearance in Scottish legend and its later influence, at the close of the 16th century, in the practices of organised Freemasonry, to be followed, from the second quarter of the 17th century, by numerous obelisk sundials and with the construction of the first pyramid towards its close. In the 18th century, single obelisk monuments with Masonic implications appeared, and the outstanding significance of the Scottish Enlightenment and its fascination with Antiquity are noted. That this coincided with the Grand Tour encouraged Scottish aristocrats, architects, and artists to observe, to study and to be inspired by Egyptian forms, principally in Rome, which then appeared in Scottish country house and garden. The first recorded visit of a Scot to Egypt, in 1768, led to the delayed publication of an account in 1793 and the century closed with the outbreak of the British military campaign in Egypt against Napoleon’s invading forces. The participation of Scots troops led to a new familiarity with the land and, albeit from France, there were produced the first accurate details of the country’s monuments and an ensuing enthusiasm for an ‘Egyptian Revival’. This thesis goes on to record the 19th century absorption with mourning, when the use of Egyptian symbols, aided by industrial methods of production, grew to a peak, allied to new archaeological discoveries by visiting Scots and the growth of accurate publications. These two latter, increased by the growing number of Scots who visited the country, influenced the use of Egyptian themes in a wide range of buildings, religious, domestic and industrial. The 20th century rejection of both religion and commemoration, except in acknowledgement of the sacrifice of those who gave their lives in the First and Second World Wars, led to the decline of Egyptian mourning themes and new building techniques left little place for Egyptian references which were mainly reduced to mere surface ornament. This thesis concludes with an important 21st century military example which contains within it, a unique range of Egyptian symbols of commemoration.
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Boram-Hays, Carol Sue. "A history of Zulu beadwork 1890-1997 : its types, forms and functions /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488195154357662.
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Bagchee, Nandini 1968. "Book illumination and architectural decoration : the Mausoleum of Uljaytu in Sultaniyya." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/64549.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (p. 101-109).
This thesis examines the conventions of two-dimensional articulation in architecture and its relationship to book illumination in early fourteenth century Iran. By examining the illuminations in a series of imperial Qurans copied in the first quarter of the fourteenth century and comparing them to the architectural decoration of contemporaneous buildings in llkhanid Iran, the thesis proposes that it is the rigor of geometric elaboration in two-dimensional planes that make such a comparison across media plausible. The taste for increasingly complex two-dimensional geometric extrapolations and the creation of layered surfaces, such as those exhibited in the decorative designs of the Mausoleum of Uljaytu in Sultaniyya, Iran, ultimately engender a perception of architecture that alludes visually to an rendition of two dimensional space that is common to both painting and architecture.
by Nandini Bagchee.
S.M.
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Ibrahim, Gehan Samir Ali. "The role of architectural representations in the context of Islamic decoration." Thesis, SOAS, University of London, 2006. http://eprints.soas.ac.uk/28675/.
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The role that architectural representation plays within Islamic decoration is a subject that has been neglected and requires investigation. This study aims to address the subject of the role of architectural representation in relation to the various objects of art and architecture, their context, types and significance, and to present a comprehensive interpretation of the history and meaning of examples of architectural representation. It draws attention to the artistic splendour and sacred associations of representing architectural iconographies in Muslim art. As such, it is the first study to attribute the significance of the architectural form to the function of the art object and to interpret the meaning of its architectural forms as "signatures" of their artists. It is also the first to propose the relationship between the significance of the architectural representation, the artistic techniques and methods used in its representation within the corpus of Muslim art. The fields of examination are divided into two areas: architectural iconographies on architecture and on art objects. In volume one, the brief general introduction summarizes the present state of research, discusses the source and explains the chosen approach to the material. The three following chapters deal with the significance of architectural representation in Muslim art. Chapters one and two outline the cultural, religious, and social origins of the architectural representation on architecture and on art objects, and discuss the various interpretations of its significance. The artistic structure of the architectural forms and its contribution to the meaning and significance of the architectural representation are then examined in chapter three. In volume two, the photographic material of the thesis is assembled containing colour and black and white photographs.
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Harwood, Haupuru. "Characteristics of traditional and contemporary art and design on Auckland urban marae a thesis submitted in partial fulfilment of the requirements for the degree M.A [Master of Arts] (Art and Design), Auckland University of Technology, Te Waananga Aronui o Tamaki Makau Rau, 2003." Full thesis. Abstract, 2003. http://puka2.aut.ac.nz/ait/theses/HarwoodH.pdf.
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Min, Hyerim Choi. "Encountered surfaces /." Online version of thesis, 1993. http://hdl.handle.net/1850/11971.
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