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Dissertations / Theses on the topic 'Architectural photography'
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1
Pickersgill, Robert Sean, and sean pickersgill@unisa edu au. "Architecture and Horror: Analogical Explorations in Architectural Design." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090525.162052.
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This thesis examines the relationship between the practice of architectural design and the media through which it is represented. It makes a consistent critical appraisal of the philosophical presumptions under which architectural theory is made, in particular, the relationship between theories of expression and representation. The thesis presents seven distinct projects by the author which developmentally explore the degree to which architecture is able to represent the sublime - in particular through the concept of horror. In this instance horror emerges as a category of excess that supervenes the uses of the term in the genres of film and literary studies. Within the thesis horror describes an (impossible) objective for representation The thesis argues that the environment within which these philosophical questions of 'effect' may most resonantly be explored is, ultimately, digital media. The author draws on contemporary commentary by Jacques Derrida and Georges Bataille, in particular Derrida's discussion of the Parergon and contemporary discussion of l'informe, the informal to support these arguments. It is within the apparently 'real' environments of virtual reality that the presentation of the mise-en-scene of horror may be explored. Immersive digital environments, it is argued, provide an appropriate level of freedom and direction for the exploration of the spatial experience of the abyss. The thesis concludes by presenting observations on the antinomy of aspirations that any materialist theory of architectural practice must attend to when working within digital media.
2
Poe, Rachel. "Architectural insomnia." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5603.
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My artistic practice addresses issues of how memory shapes our identity and how to use memory in order to better understand our perspective. Through the construction of liminal space I reflect upon the subconscious and conscious mind. These images address issues of identity and how longing and nostalgia affect the human psyche. Through photographs of sculptures, paintings and light installations I address the architectural spaces in the world around me as catalysts.
3
Gordon, Sophie. "Monumental visions : architectural photography in India, 1840-1901." Thesis, SOAS, University of London, 2011. http://eprints.soas.ac.uk/12776/.
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4
Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.
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Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photographythe second to theinteraction between architectural photography and architectural theory/practice
and the third to the relation between architectural photography and architectural historiography.
5
Stead, Sarah. "PLACE, SPACE, AND FORM CAPTURED THROUGH PHOTOGRAPHIC MEDITATION." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4193.
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Inspired by Buddhist philosophy, the photographic series Architectural Zen attempts to beautify banal and pragmatic architecture through limiting and preexisting artificial light conditions. The selective illumination of artificial light eliminates the non-essential details and enhances the pure forms and saturated color presented by the camera lens. This encourages the photographer and the viewer to enter a state of meditation. The resulting process is similar to a Zen approach to image making. The ancient Zen artist s compositions are strengthened by a meditation on form and subsequent elimination of the non-essential elements of the subject. Through embracing this Zen mentality and mindfulness,aspects of Eastern aesthetic and balance also appear through the work. The warm glow of artificial lights, long recessed shadows, and surreal colors contribute to the feeling of rest, contemplation, isolation, and solitude. Although the work in Architectural Zen is not directly about Buddhist doctrines, the process of creating the art parallels the ideas and practices of Zen Buddhism and meditation, finding the Buddha nature of typically unappealing architectural forms during a different time of day.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
6
Brüllman, Claire Bonney. "Thérèse Bonney : the architectural photographs /." Online version, 1995. http://bibpurl.oclc.org/web/33468.
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Bakht, Nazli. "Analysis Of The Limits Of Representation Of Architectural Photographic Images In Periodicals." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608921/index.pdf.
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This study aims to analyze the limits of representation of architectural photographic images in periodicals within architectural media that shape today’
s architectural production. This aim is accomplished in three sections
examining the power of image in architecture
examining architectural media and examining the periodicals&
#8217
attitudes towards using architectural photography. A case study is done to uncover the relationship between the photograph and the medium that it takes place on and determine the continuities and discontinuities between the architecture and visual language that is used to &
#8216
represent&
#8217
it. Zaha Hadid is selected as she is one of the leading figures in contemporary architectural culture and her projects are widely published in media. The exemplary periodicals from different cultural domains are selected according to their positions in architectural media. Selected examples are thought to be the representative for each domain. The contextual properties of each domain are outlined and compared through a set of variables. These variables appear to form the ground for the identification of the limits of architectural media within contemporary architectural production. Finally, the case study aims to understand the periodicals&
#8217
attitudes towards using photographic imagery and finally compare architect&
#8217
s intentions and design considerations about his projects and the way it is represented in selected periodicals.
8
Coskun, Esatcan. "Documentation Of Architecture: Photography As An Objective Tool?" Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611407/index.pdf.
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Since its invention, photography has been accepted as a reliable tool for achitecture in terms of its power for creating objective documents of the built-form. The aim of this study, is to question the so-called objectivity and reliability of the photographic representations of the buildings by showing how architectural photography emerges also with an artistic and purely aesthetic character rather than being a mere tool of objective documentation. Taking this formal emphasis on architectural subject as a basis, a broader focus will be given to the photogenic character of the images used in architectural publications. Instead of reflecting real spatial experience, these idealized photographs are used in a given context to constitute a fiction that alters the viewer's understanding of the architectural subject. Therefore, the main question is not whether architectural photography is an objective tool of documentation which is capable to represent architecture as it really is or it is a category of purely artistic activity
it is about how photography alters our vision about architecture and constructs new ideas for architectural discourse. By taking Tabanlioglu Architects'
Dogan Media Center building in Ankara as a key study, this thesis aims to focus this alteration and question the potentials of architectural photography.
9
Boddy, Adrian. "Max Dupain and the photography of Australian architecture." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36005/25/__qut.edu.au_Documents_StaffHome_StaffGroupR%24_rogersjm_Desktop_36005_Vol1_Digitised%20Thesis%20Vol%201%20Compressed%20%20Boddy.pdf.
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This thesis considers Max Dupain (1911-1992) and his contribution to the development of architectural photography in Australia.
Through his continuous and prolific output over six decades of professional photography Dupain greatly stimulated awareness of and interest in Australian architecture.
Before Dupain began specialising in the field, little consistent professional architectural photography had been
practised in Australia. He and some of his close associates subsequently developed architectural photography as both a specialised branch of photography and - perhaps more significantly - as a necessary adjunct to architectural practice.
In achieving these dual accomplishments, Dupain and like-minded practitioners succeeded in elevating architectural photography to the status of a discipline in its own right. They also gave Australians generally a deeper understanding of the heritage represented by the nation's built environment. At the same time, some of the photographic images he created became firmly fixed in the public imagination as historical icons within the development of a distinctive Australian tradition in the visual arts.
Within his chosen field Dupain was the dominant Australian figure of his time. He was instrumental in breaking the link with Pictorialism by bringing Modernist and Documentary perspectives to Australian architectural
photography. He was an innovator in the earlier decades of his professional career, however, his photographic
techniques and practice did not develop beyond that. By the end of the 1980s he had largely lost touch with the
technology and techniques of contemporary practice.
Dupain's reputation, which has continued growing since his death in 1992, therefore arises from reasons other than his photographic images alone. It reflects his accomplishment in raising his fellow citizens' awareness of a worthwhile home-grown artistic tradition.
10
Korah, Thommen. "Robust spatiotemporal analysis of architectural imagery." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 190 p, 2008. http://proquest.umi.com/pqdweb?did=1459917971&sid=8&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Akyol, Melike. "Photograph As An Architectural Document: A Visual Archive For Metu Campus." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614752/index.pdf.
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This thesis aims at providing a pragmatic and conceptual basis essential for the establishment of an architectural photography archive for METU. The goal is to propose a methodology regarding the formation of an archive, which is physically and intellectually &ldquoaccessible,&rdquo
and to inquire future possibilities for its extension. The conceptual framework will be established by focusing on two main topics: theories of art, specifically focusing on photograph as a visual document, and architectural history writing, focusing on the term &ldquo
archive.&rdquo
Photograph as a visual document will be investigated by giving emphasis to its role as a historical evidence. The definition of the term &ldquo
archive&rdquo
given by Michel Foucault will be located in a key position for the construction of a discourse on documentation and historiography. The pragmatic framework will be established by taking as a reference the methodology used by the archives of the Royal Institute of British Architects (RIBA). The content and the scope subsumed under the RIBA archives show similarity to those of a possible proposal for an archive for METU. Current GISAM archives, which consist of METU campus photographs, will be taken as the primary source.
12
Green, Nigel. "Photography and the representation of modernist architectural space : from the melancholy fragment to the colour of utopia." Thesis, University of Kent, 2007. http://www.research.ucreative.ac.uk/id/eprint/1060.
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The questions that this project poses are centred on an examination of photography's relationship to modernist architectural space. Polarising the melancholic and the utopian, the definition of photography is extended to include its manifestation across a number of diverse sites and processes. What is the connection between the processes and technology of photography and its representation of modernist space? How can these relationships inform and articulate a photographic practice? This thesis comprises five key areas of investigation, with each theoretical chapter being followed by a complementary sequence of photographic images. The first section considers the process of `fragmentation' in relation to a body of photographs which I have termed `fragments'. These images reveal the aspirational or utopian content of modernist architecture as a condition of loss or melancholy. The second section develops the notion of the `fragment' in relation to `allegory', which I argue, opens photography to metaphoric interpretation thus taking on the duality of meaning. The third section uses W. G. Sebald's novel Austerlitz and Kracauer's work on history, to locate this duality within Husserl's Lebenswelt. The fourth section shifts the emphasis of inquiry towards an examination of how the utopian emerges within specific aspects of the photo-reprographic process, such as the error of misregistration in colour printing. This forms the basis for a development of the practice into the field of the photographic representation of colour. The fifth section looks at how colour has been added to the monochromatic image in a series of postcards of modernist architecture from the 1930's thus suggesting a site of utopian investment With reference to Kristeva and Benjamin I develop the notion of colour as an excess of meaning indicative of utopian aspiration. The conclusion of the project is firmly located in the practice outcome and a body of work, which I have termed `constructed images'. Representing a convergence of the five themes, these reveal the ability of photography to uniquely articulate the utopian-melancholy polarity, a transformative process, intervening into architectural space to indicate new ways of thinking about it.
13
Worden, Roderick. "In Hiding…" ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1349.
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The conceptual foundation for my work lies in the idea of "interaction." I work towards exposing this idea in its more basic and routine form, as well as the broad scope of it. Ranging beyond the common associations made with human to human interaction, my work enters a number of realms including environmental, architectural, and intra-personal interactions, working amongst the subtleties of each. I seek to create an image of relate-able experience, thus I feel the medium of photography is necessitated, as it is rooted in the idea of documentary and realism, in effect, cataloguing images of or influenced by the outside world.
14
Szumita, Lauren. "Toward a New Landscape: The Architectural Photography of Gabriele Basilico, 1978-1984." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18740.
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Trained as an architect shortly before becoming a photographer of urban spaces, Italian photographer Gabriele Basilico (1944-2013) is celebrated for his work on the city in transition. Beginning in 1978, Basilico refrained from photographing people and turned his attention to the architectural structures that make up a city, an approach that would define the remainder of his career. His focus on architecture and urban landscapes places Basilico in the realm of the "new landscape photography" in Italy, which is recognized for depicting previously overlooked areas of the city, such as defunct industrial sites, with renewed interest.
This thesis investigates three seminal works in Basilico's early career that secure his position in the new landscape photography. I argue that he maintains an intentional subjectivity, an intimate connection with his subject, which manifests itself through a humanistic or anthropomorphic presence in his photographs, articulating the true essence of his urban subjects.
15
Koca, Asli. "Authentication Of Space: The Photograph As A Raw Material For Architectural Production." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12611454/index.pdf.
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This thesis is a critical reconsideration of the relationship of architectural production with its unique mode of representation: &ldquophotography.&rdquo
Photography has been interpreted essentially as a technique and a visual medium to document architecture in general. The &ldquo
photograph,&rdquo
in this sense, is regarded as a representational form of documentation and an artistic and material expression of architecture. Besides this conventional value, this study argues that photography not only provides a new medium for the reinterpretation of architectural space, but also a new material and technique for architectural production. In this respect, this study discusses photography as an emerging tool for architecture in which the photograph is conceived as a raw material. As in the manufacturing of a raw material in an industrial process, the main argument of this study is that as long as a photograph is processed with required components, it contributes to architectural production in a comparable manner. Even it has the potential to produce architectural space in its own right. To understand the nature of this architectural space supported by a variety of physical and non-physical characteristics of photography, this study compares two different ways of architectural production with the aid of photographs. Starting with the assumption that there is a radical change in the conception of photography in architecture from an immaterial quality to material essence, this study argues that the photograph is a raw material that can be used to authenticate architectural space from the initial idea to the built object. Therefore, drawing attention to the changed value of photography for architecture over time, the aim of this study is to establish a critical framework to understand and discuss this contemporary function of photography in architecture.
16
Ditcher, Kamille. "Exploring the Materials of Architectural Development." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32884.
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A factory inspired exploration in the architectural potential of space, material, sound, and light. This thesis is divided into chapters of the media types used for design. Primarily, the materials include photography, drawing, and modeling. The process yields overlap and interchange in ways of design that alter the ways of seeing and of advancing the work. Consequently, divisions of the book reoccur throughout the course of the thesis.Master of Architecture
17
Breger, Alexander J. "Sub-Urbana /." Online version of thesis, 2008. http://hdl.handle.net/1850/7794.
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Sniderman, Julia. "An adaptation of visitor employed photography to study enivironmental [sic] perceptions in the historic/cultural landscape a case study of the Bristol, Rhode Island Historic District /." [Madison, Wisc.] : Univ. of Wisconsin-Madision, 1986. http://catalog.hathitrust.org/api/volumes/oclc/15358719.html.
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Hayt, Andrew, and Andrew Hayt. "Critical Approaches to Architectural Environments: The Photography of Eric Mendelsohn and Wolfgang Tillmans." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/624142.
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This thesis is concerned with the development and implications of a critical mode of inquiry into the architectural environment as it is articulated in the photographic projects of German artists Eric Mendelsohn (1887-1953) and Wolfgang Tillmans (b. 1968). These projects are understood as being in opposition to a conventional subordination of photography to architecture. The architectural photograph has consistently been reduced to the role of a tool in the proliferation of structures of global capitalism, facilitating the rise of homogeneous and disconnected built environments. Through an examination and comparison of Mendelsohn’s 1926 book Amerika: Bilderbuch eines Architekten with Tillmans' 2014 video installation Book for Architects, this thesis argues that the visual strategies employed in these works reflect similar concerns regarding the state of architectural practice, providing alternative avenues of inquiry for architects, and highlighting the necessity for deeper engagement with the phenomenological qualities of the architectural environment.
20
McCain, Ian Carl. "Prolonging Architectural Design: How can Image Be Manipulated to Extend Vitality." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212067831.
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Thesis (Master of Architecture)--University of Cincinnati, 2008.Advisors: Michael McInturf (Committee Chair), Rebecca Williamson (Committee Co-Chair). Title from electronic theses title page (viewed Sept. 6, 2006.). Includes abstract. Keywords: Image; Vitality; Imagery; Photography. Includes bibliographical references.
21
Otte, Gary (Gary James) Carleton University Dissertation Architecture. "Photographing the void: the camera and the representation of Islamic architecture." Ottawa, 1999.
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22
Galstyan, Vigen. "TRANSLATING RUINS: Photography of Cultural Heritage and the Project of Armenian Cultural Modernity, 1860-1904." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20230.
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Perceptions regarding the uptake of photography in the Middle East during the medium’s ascendancy in the second half of the nineteenth century have transformed profoundly since the publication of Nissan Perez’s pioneering 1988 publication Focus East. Scholars working in art history, anthropology, cultural, gender and post-colonial studies have come to acknowledge that the Middle East was a pivotal site and subject for the development of photography’s aesthetics and disciplinary regimes. However, the legacy of the Armenian photographers who played a dominant role in this context, remains one of the more contested and ambivalent aspects of nineteenth-century photographic studies. Focusing on the photography of historical architecture and material heritage by the Abdullah Frères, Ohannes Kurkdjian, Mateos Papazyants and Gabriel Nahapetian, this thesis is the first attempt to view these indigenous photographers within the framework of the Armenian cultural revival of the 1860s-1900s. My research in archives and libraries in Yerevan and Paris has uncovered a wealth of new primary material that demonstrates the significant involvement of these photographer-scholars in the construction of modern idioms of collective selfhood. Based on these findings, this dissertation points to the ideological function of historiographical photography in Armenian scholarly networks as representational tools that negotiated the conflicting demands of the nineteenth-century international photographic market and the agenda of nation-building. Made as documentary evidence of architectural and archaeological patrimony, the photographs in question operate as testing grounds for an iconography of visual self-representation for a dispersed and fragmented ethno-cultural group. As such, the case studies I present here can be considered a novel mode of visual historiography that traverses geo-political, linguistic and cultural divides in order to establish a critically constituted, shared framework for the collective imaginary. Though lacking a centralised rhetoric, this discursive project metabolised through consistent and prominent efforts, which have been left out of analyses pertaining to early Middle-Eastern photography. Following the philological discovery of historical architecture by the local intelligentsia in the early-nineteenth century, Armenian historiographical photography eventually become a device for an empowering restaging of Armenian identity and culture. Drawing on psychoanalytical theory of melancholia, I examine how this process led to the reconstitution of the ‘Armenian’ image as a simultaneously historicised and modern phenomenon. The study of Armenian ‘heritage’ photography provides an understanding of the transcultural aspect of nineteenth-century indigenous photography, which operated outside of the binaries of colonial resistance and self-orientalisation. Amalgamating the aesthetic modalities of European visual culture with traditional iconography drawn from local, medieval traditions, this photographic output enabled a dialectical view of the ‘national’ past as a product of historical and cultural developments. The syncretic, critical nature of such photography ultimately offered its Armenian makers and consumers more fluid and emancipatory avenues of self-representation in the context of emergent, nineteenth-century discourses on national belonging.
23
Richardson, Emily. "Articulating space : the translation of modern architectural space into filmic space through artists' film and moving image practice." Thesis, Royal College of Art, 2019. http://researchonline.rca.ac.uk/3844/.
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Using a practice-based method, the outcome of this research is a trilogy of films looking at three post-war modern prototype houses built by British architects. The examples chosen are: H.T. 'Jim' and Betty Cadbury-Brown's 3 Church Walk; Aldeburgh, Suffolk (1962); John Penn's Beach House, Shingle Street, Suffolk (1969) and Richard and Su Rogers' Spender House and Studio, near Maldon, Essex (1968). With each of the films a house is reconstructed on film, reactivating the architectural space as filmic space. The films explore the interaction between architectural space and its filmic translation using artists' film and moving image practice as a method to examine how the relationship between moving image and sound can activate architectural space to create a sensory experience on film, and to determine how the physical traces remaining contribute to new possible readings of the architectural examples considered. The combined research project and the films examine two architectures that are inhabited simultaneously: physical architectural space and filmic architectural space. Techniques and conventions of both documentary and artists' film and moving image practices such as critical and reflexive filmmaking, direct observation, archive research materials, sound composition from location recording and archive sound are used to rework space in filmic terms. Taking an individually tailored approach to each of the soundtracks of the films highlights the role of sound in activating architectural space on film. Following the premise of the house as a phenomenological concept set out by Gaston Bachelard and examining Giuliana Bruno's notion of the film viewer as voyageur as opposed to voyeur, the shift from optic to haptic is explored through my practice to examine how an architectural space can be translated to film in a way that goes beyond functional description into the realm of the poetic, narrative and the event. Several case studies of artists' films by Heinz Emigholz, Elizabeth Price, Man Ray and John Smith that take the modern house as subject are analysed to demonstrate a range of approaches to articulating space on film. How each one allows for a particular reading or understanding that operates outside of the official historical narratives of modern architecture is discussed. In the context of wider research into the interrelationships between film and architecture and the role moving image and sound play in interpretations of architectural space, this project shows how this practice-based method arrives at a contribution to knowledge of the particular buildings chosen, and how this method contributes to current readings of the modern house in film. New knowledge is generated on each of the case study buildings as evidenced through the films, which are an artistic response to each of the houses and through the writing, which gives a historical, theoretical and formal context to the works produced. In capturing these houses lost to architectural history, reactivating the spaces through moving image and sound the films, both individually and as a trilogy are a contribution to knowledge. Each acts as a record of a significant example of 1960s design at a moment in its history, adding to the archive of each and providing material for further research in the area.
24
Barnay, Oscar. "La photographie & le projet architectural : Penser l'image dans le processus créatif des architectes." Electronic Thesis or Diss., Saint-Etienne, 2023. http://www.theses.fr/2023STET0043.
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Le projet est au cœur du processus de création des architectes. Pratique de conception par anticipation, le projet s’appuie par essence sur la production et la communication de formes de représentations diverses, variées et complémentaires. Parmi elles, la photographie tient une place particulière. Elle est omniprésente, à toutes les phases du projet, et elle est marquée par un singulier rapport de ressemblance au réel. Sa place dans la pratique des architectes demeure pourtant étrangement impensée, alors même que de nombreuses autres disciplines ont largement défriché le terrain.Cette thèse entend interroger la place de la photographie dans le processus créatif des architectes, questionner le rôle et l’impact des représentations dans le projet, ainsi que questionner la culture de l’image des architectes. Il s’agit autant de comprendre les usages existants, leur origine et leurs enjeux, que d’ouvrir de nouvelles pistes potentielles. Il s’agit avant tout de lever le voile sur les impensés entourant la place de la photographie et de l’image dans le projet architectural. À travers cette recherche émerge l’hypothèse d’une pratique du projet d’architecture abordé en tant qu’enquête, dans laquelle les pratiques de la photographie au sens large révèlent tout leur potentiel créatif et heuristique.Ce projet de thèse est mené en parallèle d’une pratique de création de l’auteur, qui fera l’objet d’une exposition au sein de laquelle la soutenance de la thèse prendra placeThe project is at the heart of the creative process of the architect. As a practice of anticipatory design, the project essentially relies on the production and communication of diverse, varied and complementary forms of representation. Among these, photography holds a special place. It is omnipresent, at every stage of the project, and is marked by a singular relationship of resemblance to reality. Yet its place in the practice of architecture remains strangely unexplored, even though many other disciplines have largely cleared the field. The aim of this thesis is to explore the place of photography in the creative process of architects, to examine the role and impact of representations in the project, and to question the image culture of architects. The aim is as much to understand existing uses, their origins and what is at stake, as to open up potential new possibilities. Above all, the aim is to lift the veil on the unthought-of issues surrounding the place of photography and of the image in the architectural project. Through this research, the hypothesis emerges of a practice of architectural design approached as an investigation/inquiry, in which the practices of photography in the broadest sense reveal all their creative and heuristic potential.This thesis project is being carried out in parallel with the author’s own creative practice, which will be the subject of an exhibition at which the thesis defence will take place
25
Hemsoll, David. "Studies in architectural and artistic imitation during the time of Raphael and Michelangelo." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6053/.
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The work collected together here examines the distinctive conceptual approaches taken by Renaissance architects, during the period c. 1480-1550, towards the designing of their buildings. It analyses the designs of a wide range of buildings from the period by architects including Raphael, Michelangelo and numerous others. The conclusion reached is that many of these architects adopted approaches based, ultimately, on ways of thinking (about art as well as architecture) that had surfaced in late fifteenth-century Florence; and that their approaches were not just similar in many key regards but also corresponded closely with theories of language and literary imitation being aired at around the same time. The essays also explore how certain differences in approach, especially between Raphael and Michelangelo, were directly paralleled by differences in literary theory. Also proposed is that the design methods formulated specifically by Raphael in the years before his death (1520) became the template for those followed by many subsequent ‘High Renaissance’ architects; and that the architectural term ‘order’, which was coined by Raphael before becoming commonplace in architectural theory, had its origins in literary theory. As for the design methods taken up by Michelangelo, it is argued that these were initially comparable to those followed by Raphael, but that they gradually diverged in a way that was very much in line with his conceptual thinking about sculpture and painting, until they became, at a fundamental theoretical level, incompatible with those of his later contemporaries.
26
Ashworth, Brad. "Architecture Lucida : photography and design--a center for photographic studies." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23780.
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Koetz, Laurent. "Louis-Auguste Boileau (1812-1896) : une figure d'architecte-inventeur au XIXe siècle." Electronic Thesis or Diss., Paris 1, 2020. http://www.theses.fr/2020PA01H078.
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L’étude du parcours de Louis-Auguste Boileau (1812-1896), offre l’opportunité d’éclairer la question du statut de l’invention dans la pratique architecturale au XIXe siècle. Menuisier devenu architecte, Boileau revendique la posture de l’inventeur créant une « nouvelle forme architecturale » en réponse aux attentes de son temps et développant une réflexion historique fondée sur l’élucidation des lois du progrès. La première partie de la recherche est consacrée à l’étude des processus qui permettent à Boileau d’assimiler les matériaux nécessaires à la construction de sa théorie de l’invention au cours de l’histoire. La seconde s’attache à comprendre les mécanismes par lesquels Boileau innove, qu’il s’agisse de méthodes d’évaluation des coûts de la construction, de systèmes architectoniques ou de stratégies de communicationInvestigating the career of Louis-Auguste Boileau (1812-1896) provides a rare opportunity to shed light on the status of invention in nineteenth-century architectural practice. Boileau, a trained joiner who embraced the profession of architect, claimed to be the inventor of a "new architectural form" responding to the expectations of his time that led him to develop a historical reflection based on the interpretation of the laws of progress. The first part of the dissertation examines the various processes that allowed Boileau to comprehend the necessary materials in order to build his theory of invention throughout history. The second part analyses the mechanisms of invention set by Boileau to evaluate construction costs, architectural systems and establish communication strategies
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Costa, Eduardo Augusto. "'Brazil builds' e a construção de um moderno, na arquitetura." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281584.
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Orientador: Iara Lis Franco SchiavinattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta dissertação de mestrado trata da compreensão de uma das mais importantes obras publicadas quanto a uma arquitetura moderna brasileira. Publicação realizada pelo MoMA/NY, em 1943, intitulada Brazil Builds e que, ainda, instaura uma matriz historiográfica para a arquitetura brasileira, vinculando a arquitetura tradicional com as realizações dos arquitetos modernos. Trata-se do dimensionamento da cultura nacional, na primeira metade do século XX, especificamente em relação à política cultural levada a cabo pelo ministro Gustavo Capanema, durante a República Nova e sua decorrência no campo da arquitetura. Finalmente, discute-se a construção de uma cultura visual da arquitetura a partir da uma série de documentos visuais realizados por diversos fotógrafos, dentre os quais se destaca G. E. Kidder Smith. Cultura visual que se pretendia como ordem da cultura nacional, neste caso, ordem de uma cultura arquitetônica moderna brasileira
Abstract: This Master's dissertation aims to understand one of the most important works published about a Brazilian modern architecture. Publication accomplished by the MoMA/NY, in 1943, entitled Brazil Builds it was responsible for the foundation of a historiographic matrix for the Brazilian architecture, vinculating the traditional architecture with the modern architects. It is also about the dimensioning of the national culture in the first half of the 20th century, specifically related to the national cultural politics taken by the minister Gustavo Capanema, during the New Republic and its influence to the architecture. Finally, it talks about the construction of a visual culture to the architecture by a series of visual documents done by photographers, amongst who G. E. Kidder Smith stands out. Visual culture that was intended as an order of the national culture, in this case, order of a Brazilian modern architectural culture
Mestrado
Politica, Memoria e Cidade
Mestre em História
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Figueiredo, Fernando Stankuns de Paula. "O novo mundo do espaço: Le Corbusier e o papel da fotografia na mediação entre o público e a arquitetura." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-16112012-151004/.
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O foco principal desta dissertação é o estudo da relação entre arquitetura e fotografia, tendo como premissa o fato de que o registro fotográfico nunca é neutro e sempre apresenta uma versão particular sobre aquilo que registra. A pesquisa trata especificamente da exposição Le Corbusier - Novo Mundo do Espaço (New World of Space), organizada pelo The Institute of Contemporary Art de Boston (ICA) em 1948 e realizada também no MASP em 1950, com utilização de muitas fotografias. Buscamos contribuir para o estudo do papel da fotografia na mediação entre o público e a arquitetura nos museus modernos, espaço de difusão e afirmação de ideias no campo da arquitetura e cultura modernas. O arquiteto franco-suíço Le Corbusier, cuja obra foi apresentada na exposição estudada, é considerado um dos maiores protagonistas do modernismo. Expoente da arquitetura moderna, era também um grande conhecedor da fotografia. O arquivo histórico do MASP e o acervo do Instituto Lina Bo e Pietro Maria Bardi forneceram as principais fontes para enfrentar o tema da pesquisa e especificamente da exposição, cuja descrição minuciosa e análise constam desta dissertação. As perguntas que nortearam esse estudo foram: qual é o valor que a fotografia assume nas exposições de arquitetura? Será que ela pretende trazer a realidade na forma de documento ou seria uma (re)interpretação dos que nos é apresentado pelos arquitetos em seus projetos? As fotografias são apresentadas a partir de seu valor artístico ou informativo? E qual seria a relação das fotografias com os outros elementos da exposição, tais como desenhos e maquetes? Concluímos, por meio de nosso estudo, que o projeto expográfico do MASP para a montagem da exposição de Le Corbusier mostrou-se mais moderno e arrojado do que o da instituição onde a mostra foi organizada originalmente e mais condizente com a proposta da obra do arquiteto.The main focus of this dissertation is the study of the relation between architecture and photography, based on the premise that the photographic register is never neutral and always presents a particular version of what was registered. This research is specifically about the exhibition New World of Space held by The Institute of Contemporary Art in Boston (ICA) in 1948 which was also presented by the Museu de Arte de Sao Paulo (MASP) in 1950, including many photographs. We intend to contribute to the study of the photographs role in the mediation between public and architecture in the modern museums, considered the place for diffusion and ideas statements on the architecture and modern culture fields. French- Swiss architect Le Corbusier, whose work is presented in the exhibition in study is considered one of the most outstanding protagonist of Modern Movement. Considered to be the exponent of architectural modernism, Le Corbusier also had a great knowledge about photography. MASPs historical archives and the collection of Lina Bo and Pietro Maria Bardi Institute were the main source of information for this research and specifically for the exhibition itself, which detailed description and analysis can be found here. The present study was guided by the following questions: what is the value of photography on architectural exhibitions? Does photography intends to show the truth as a document or is it a (re)interpretation of what is presented to us by the architects in their projects? Are the photographs presented for their artistic or informative value? And what is the relation between photography and the other elements of the exhibition, such as sketches and models? Based on our studies our conclusion is that the expographic project in MASP is more modern and aldacious, in accordance with Le Corbusiers work proposal.
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Edgar, Brenda Lynn. "Le motif éphémère : ornement photographique et architecture au XXe siècle." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010585.
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Cette thèse reconstitue la généalogie d'un genre ornemental méconnu, celui de la photographie décorative. Né avec la photographie au XIXe siècle, au moment même du plus fort débat autour de la question de l'ornement, le photographique devient un véritable paradigme pour la décoration à l'époque contemporaine. De la création de motifs par le biais de la caméra, outil de stylisation moderne par excellence, à l'emploi de l'épreuve comme matière décorative, le photographique constitue un genre d'ornement à part entière, propre au siècle de la machine, de Freud, du capitalisme.Tout au long du XXe siècle, le photographique revêt de sa nouveauté des formes traditionnelles de la décoration murale : papier peint panoramique, fresque murale, vitrail, témoignant de la pérennité de la volonté de dématérialiser l'architecture par l'image. Un phénomène qui atteint son paroxysme dans la façade photographique au tournant du XXIe siècle. En examinant sous l'angle de leur valeur l'ornementale des exemples peu ou pas connus du XXe siècle, le et corpus réunit des photographes comme Laure Albin-Guillot et Thomas Ruff, des architectes comme Le Corbusier, Berthold Lubetkin, Jean Nouvel et Herzog & de Meuron. En plus de situer le photographique dans l'ornementation moderniste, la thèse met aussi au jour la pratique de l'artiste russo-britannique Eugene Mollo dans l'entre-deux-guerres. En filigrane de l'histoire, une production commerciale qui démontre la rémanence du phénomène et souligne l'importance de l'invention technique dans les arts industrielsThe thesis reconstructs the history of photographic ornament. Little known in the history of 20th century architecture, photographic ornament appeared in the 19th century, with the advent of photography itself at one of the most critical moments in the history of ornament. Introduced both as a means to create motifs and as a motif in and of itself in the form of prints and transfers, the photographic paradigm became one of the most important for ornament in the contemporary era. The photographic constitutes a nex genre specific to the century of the machine, of Freud and of capitalism.Throughout the 20th century, photography was udes to modernise traditional forms of mural decoration : panoramic wallpapers, murals, frescos and stained glass. It thus reveals the persistence of the will to dissolve architecture with images, a phenomenon whiwh reaches its apogee in the photographic façade at the turn of the 21th century. The thesis examines examples of large format photography from the 20th in terms of their ornamental value, bringing together a divers corpus of photographers, such as Edward Steichen, Laure Albin-Guillot and Thomas Ruff, and architects such as Le Corbusier, Berthold Lubetkin, Jean Nouvel and Herzog & de Meuron. In addition to identifying the photographic as a form of ornament in modernist architecture, the thesis also brings to light previously unknown practices such as that of thr Russian-British artist Eugene Mollo during the interwar period. Throughout this history, a commercial production parallel to artistic creation highlights the persistence of photographic ornament and the importance of technical invention in the industrial arts
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Raina, Priyanka. "Architectures for computational photography." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82393.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2013.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 93-94).
Computational photography refers to a wide range of image capture and processing techniques that extend the capabilities of digital photography and allow users to take photographs that could not have been taken by a traditional camera. Since its inception less than a decade ago, the field today encompasses a wide range of techniques including high dynamic range (HDR) imaging, low light enhancement, panorama stitching, image deblurring and light field photography. These techniques have so far been software based, which leads to high energy consumption and typically no support for real-time processing. This work focuses on hardware architectures for two algorithms - (a) bilateral filtering which is commonly used in computational photography applications such as HDR imaging, low light enhancement and glare reduction and (b) image deblurring. In the first part of this work, digital circuits for three components of a multi-application bilateral filtering processor are implemented - the grid interpolation block, the HDR image creation and contrast adjustment blocks, and the shadow correction block. An on-chip implementation of the complete processor, designed with other team members, performs HDR imaging, low light enhancement and glare reduction. The 40 nm CMOS test chip operates from 98 MHz at 0.9 V to 25 MHz at 0.9 V and processes 13 megapixels/s while consuming 17.8 mW at 98 MHz and 0.9 V, achieving significant energy reduction compared to previous CPU/GPU implementations. In the second part of this work, a complete system architecture for blind image deblurring is proposed. Digital circuits for the component modules are implemented using Bluespec SystemVerilog and verified to be bit accurate with a reference software implementation. Techniques to reduce power and area cost are investigated and synthesis results in 40nm CMOS technology are presented
by Priyanka Raina.
S.M.
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Brüllmann, Claire Bonney. "Thérèse Bonney : the architectural photographs /." Zürich : Zentralstelle der Studentenschaft, 1995. http://catalogue.bnf.fr/ark:/12148/cb37009246c.
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Persson, Skare Ragnar. "Exploring Architecture : Time, Photography and Virtuality." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-169193.
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The thesis project explores the architectural themes of time and virtuality in two parts. The first theme - time - is investigated through a photographical study of Kulturhuset in Stockholm, searching for physical traces of change. The study also reveals a faster time scale relating to the inhabitants and users of space. The second part of the project relates to the photographs, building on the technique of the camera obscura to investigate the theme of virtuality. Through three full scale tests and different experiments, an attempt was made to manipulate the border between the physical and the virtual, demonstrated in a room obscura built up at the courtyard of the School of Architecture during the Diploma Days in June 2015. The project moves from the observational part of the photograph into a physical exploration of what architecture is, how it works and possibly what it could be, from virtual to physical and back again. As a whole, the project is a collection of thoughts, of sights, of connections and of experiences.Examensarbetet undersöker de arkitektoniska begreppen tid och virtualitet i två delar. Det första temat - tid - undersöks genom en fotografisk studie av Kulturhuset i Stockholm, ett sökande efter fysiska spår av förändring. Studien visar också en snabbare tidsskala som relaterar till användaren och brukaren av rummet. Den andra delen av projektet utgår från fotografierna och använder camera obscurans teknik för att undersöka temat virtualitet. Genom tre fullskaliga tester och olika experiment prövades gränsen mellan det fysiska och det virtuella, och demonstrerades slutligen i ett rum obscura som byggts upp på gården i Arkitekturskolan under Diploma Days, juni 2015. Projektet rör sig från ett observerande i fotografiet till en fysisk undersökning av vad arkitektur är, hur arkitektur fungerar och eventuellt vad det skulle kunna vara, från det virtuella till det fysiska och tillbaka igen. Som helhet är projektet en samling tankar, sevärdheter, kopplingar och erfarenheter.
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Malan, Andre. "The use of historical photographs as source for cultural histor : the Sammy Marks photograph collection." Diss., University of Pretoria, 1996. http://hdl.handle.net/2263/37292.
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During his sojourn on earth man leaves traces behind. Subsequent generations can
follow these traces through research in order to find out more about his forebears. The
term document can be interpreted much wider than referring to written material so that
different types of material can serve as source from which this knowledge can be
drawn. Pictorial sources is one subsection underneath which photographic material in
turn resorts.
This study looks at the use of historical photographs as source from which the cultural
historian can draw information .. Historical photographs are often merely seen and used
as illustration material while they are sources in own right. It is the only source which
captures and eternalises a moment in time visually.
Unfortunately it is still a human with all his faults and deficiencies who stands behind
the camera. That means that although the photograph as source is generally speaking
very reliable and objective, historical criticism still has to be applied. To err is human,
over and above wilful misrepresentation. Furthermore there are certain pitfalls and
limitations inherent to the photograph.
At the Sammy Marks Museum just east of Pretoria, a large collection of photographs
has been preserved which shows the everyday life of the Marks family over a long
period of time. By examining these photographs a clear picture can be formed of the
everyday life of a well-to-do Victorian family in the Transvaal during the period 1890
to 1920. The actual images captured by the camera tell the story of these people's weal
and woe like words cannot do.
No source can be all-revealing .on its own. The photographs and the information drawn
from them, are supported and confirmed by references and quotations from the personal
correspondence of the family of which much has also been preserved. It is kept at the
University of Cape Town. The biography of Sammy Marks by Richard Mendelsohn
(Cape Town, 1991) as well as other literary sources has been studied and applied.
The study also contains a broad background sketch of the period and its spirit. By
making comparisons between the findings about the lives of Sammy Marks and his
family and what is known generally about the people of the time, one can see to what
degree they conformed or differed. The development of photography itself is also.
briefly discussed. The historical photographs which were preserved by the Marks family, serve as
example of how valuable such photographs are for our knowledge and the eventual
reconstruction of the past. Without them the task of the physical restoration of the
house, outbuildings and garden to their original shape would have been much more
difficult. At the same time and even more important, they breathe life into the house
through the information they contain about the people who used to inhabit it.Dissertation (MA)--University of Pretoria, 1996.
gm2014
Historical and Heritage Studies
unrestricted
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White, Douglas Burton. "Light in Architecture: Smithsonian Museum of Photography." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64853.
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This project will address light use in a museum. The focus and the program will require give and take in order to provide sources of natural light without compromising conservation standards. The building will house exhibits of film and photography, including theatres, dark rooms, prints, and projections as well as all the necessary program to support the building including a cafeteria, restrooms, a gift shop, as well as indoor and outdoor gathering spaces.
The building site is in DC. When choosing a site I consulted with the National Capital Planning Commission's urban plan of Washington. They have published on their website a study that has listed the city's potential monument and museum sites. When evaluating these sites I decided to use views to and from the sites, as well as acreage to dwindle down the options.Master of Architecture
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Catrica, Paulo. "Subtopia : photography, architecture and the new towns programme." Thesis, University of Westminster, 2012. https://westminsterresearch.westminster.ac.uk/item/8z4y8/subtopia-photography-architecture-and-the-new-towns-programme.
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Subtopia aims to build a cognitive map of the contemporary condition of the New Towns in the United Kingdom. The written argument proposes an archaeology of the visual paradigms that inform the photographic representation of landscape and architecture. It investigates and discusses the history and the historiography of those visual paradigms through the scrutiny of content (subject) and form (aesthetics) in order to acknowledge a critical viewpoint to the photographs of Subtopia. Assuming a descriptive mood, the photographs of the visual component endorse landscape as a cultural construction. They look into urbanism and architecture as ideological epitomes, seen through the organization of public spaces. As visual fragments of a non-existent whole, the intent is to create an imaginary new town by assembling photographs from five different towns, chosen according to the different historical and political phases of the New Towns programme: Stevenage (1946), Harlow (1947), Cumbernauld (1955) Runcorn (1964) and Milton Keynes (1967). The thesis contributes to new knowledge in the history and the historiography of the New Towns in Britain. The written theory proposes a critical investigation of historical representations of architecture and the urban space, discussing the cultural environment that informed the photographs. Aiming to go beyond the sheer contextualization of the visual component, the writing examines how photographs engage with the discourses of history, architecture and urbanism. Through a dual subjective mode, as documents and as artistic representations, the photographs of the visual component Subtopia look at and trace distinctive elements of the landscape design and architecture, aiming to create an allegory of the New Towns Programme. Ultimately, the thesis proposes a new understanding in the representation of the ‘social’ landscape and the ideological expectations of the post-war urban planning in Britain.
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Robertson, Duncan Paul. "Recovering geometric models from photographs of architectural scenes." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.616042.
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Pelser, Suraya. "(De)Constructing worlds: high Modernism, architecture and photography." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/27852.
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Since the last decade of the twentieth century, there has been renewed interest in photographing high Modernist structures and architectures. A significant portion of these images has tended towards the autotelic or spectacle, with far fewer functioning as social commentary or critique. However, the need for an independent and critical photography of architecture remains. Such a practice furthers our understanding of the lasting legacy of architectural modernity and its ongoing impact/s. This dissertation investigates the critical representation of high Modernist structures, architectures, and urban planning in specific works by contemporary artists and photographers, Andreas Gursky, Filip Dujardin, David Goldblatt, and Beate Gütschow. However diverse their practice, each of these artists and photographers engages with the authoritarian impetus of high Modernism: a drive towards social order and control enacted through its structures and architectures. Through investigation of a range of photographic projects produced with a view to critique the social expression of high Modernism, I argue that contemporary photography which takes architecture as its subject has the ability to communicate wider notions about society. These artists and photographers reveal the degree to which humanity has been elided by high Modernist architectures and planning. By discussing these projects I contribute to a relatively under-researched area of study.
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Albahari, Steven W. "Photographic representation." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/71053.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 51-52.
by Steven W. Albahari.
M.S.V.S.
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Rodríguez, Gustavo A. (Gustavo Adolfo Rodríguez Martin) 1974. "Blurring spatial limits : photography and spatial definition." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/69765.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002.Includes bibliographical references (leaves 69-71).
The Image based space of vision has substituted functional space as a stage of contemporary life, the relationships between physical spaces are constantly being redefined by the change from function to image, forcing us to live in a state of spatial indeterminacy, in a Blurred space that lacks a specific formal, territorial or social definition. The notion of " limits" is constantly being questioned and redefined by th is transition, giving way to overlapping interpretations of the meaning, shape and function of limits and the spaces that they contain. These undetermined or Blurred limits are permeable elements that allow interaction through them at different levels of engagement (visual, tactile or spatial). The Blurred space is, then, not characterized by confusion, but by a multiplicity of interactions between its components, its visual space becomes the spatial generator of our image-based culture. The power of photography as a representational tool allows us to explore blurred representations of space to understand the spatial characteristics of the photograph's altered space and its relationship to the user. This thesis looks at the Blur's qualities and explores its conceptual possibilities as a design tool by studying the relationship between its components, its relation to vision and its spatial characteristics. The blurred space of the image becomes descriptive of the visual Blur, yielding information about the spatial characteristics of the Blur and its possible translation into architectural space.
by Gustavo A. Rodriguez.
S.M.
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Chávez, Saldarriaga María Alejandra. "Centro de Artes Visuales." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656638.
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En la actualidad existe un gran interés y mucho potencial de las personas por las artes visuales, sin embargo, Lima carece de un espacio específico para la CREACIÓN, EXHIBICIÓN, DIFUSIÓN Y CULTURA de estas.
Lo más cercano que encontramos en Lima que podría estar relacionado a las artes visuales son pequeñas infraestructuras, ya sean escuelas o institutos, que no cuenta con los espacios y áreas necesarias para su correcto desarrollo. Carecemos de lugares especializados en propagar nuestra cultura y en difundir el desarrollo artístico.
Por este motivo, se propone la creación de un Centro de Artes visuales, que incentive e incremente la cultura y sea un espacio de referencia para la exhibición, la creación artística y la investigación, divulgación e interpretación de las artes visuales; rebasando el concepto de los museos como un lugar sólo de exhibición y de las escuelas como un lugar sólo de enseñanza, logrando un lugar donde se realicen ambas actividades, teniendo un aprendizaje integral del arte.
El Centro de Artes visuales se emplaza en el distrito de Santiago de Surco en el cruce de la AV. Encalada con Jirón Aldebarán, lugar con gran congestión vehicular y peatonal. Se busca crear a través de la arquitectura un espacio de convivencia, un espacio público que le dé un respiro a la congestión vehicular y peatonal existente en dicho cruce.At present there is great interest and great potential of people for the visual arts, however, Lima lacks a specific space for the CREATION, EXHIBITION, DISSEMINATION AND CULTURE of these. The closest that we find in Lima that could be related to the visual arts are small infrastructures, whether schools or institutes, which do not have the necessary spaces and areas for their proper development. We lack specialized places to propagate our culture and to spread artistic development. For this reason, the creation of a Visual Arts Center is proposed, which encourages and increases culture and is a reference space for the exhibition, artistic creation and research, dissemination and interpretation of the visual arts; going beyond the concept of museums as a place only for exhibition and schools as a place only for teaching, achieving a place where both activities are carried out, having a comprehensive learning of art. The Visual Arts Center is located in the district of Santiago de Surco at the intersection of AV. Encalada with Jirón Aldebarán, a place with great vehicular and pedestrian congestion. Through architecture, the aim is to create a space for coexistence, a public space that gives a break from the vehicular and pedestrian congestion that exists at said intersection.
Tesis
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Levitsky, Maria. "Invisible Cities: Photographic Fictions of Architecture." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1457.
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The artist's process in which she examines the built environment through the medium of black and white photography. By tracing the trajectory of her awareness of architecture from her early career as a dancer, to the making of photographic images, the artist illuminates the process of deconstructing architectural and pictorial space into fragmented yet illusionistically convincing photographic montages. Influenced by the urban localities in which she dwells, she tells the story of being captivated by the post-industrial landscape of Williamsburg, Brookyn, NY, followed by landing in New Orleans and her fascination with post-Katrina architecture. Grounded in the analog techniques of traditional black and white photography, Levitsky describes the various means by which she alters her images to create visionary reconstructions of buildings in transitional states.
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Blankinship, Erik Jackson 1974. "Building history : learning with archival photographs." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/64553.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (leaves 49-50).
In many classrooms, learning about history means memorizing facts from textbooks, films, and other media. It is rare for students to engage in authentic historical activities - analyzing multiple documents to look for similarities and variations and ultimately assembling interpretations of past events. In this thesis, I present a set of tools, called Image Maps, that allow students to conduct historical inquiry within their own communities. Rather that reading about the history of a community, students are encouraged to photograph the buildings in their neighborhoods. The cameras they use have been augmented with global positioning system (GPS) receivers and digital compasses. The metadata provided by these sensors are used to retrieve historical images of the locations that students photograph. This collection of photographs is used as evidence for hypotheses about how and why a city has changed over time. In this document, I explain how the integration of geographic information systems (GIS) and digital photography can lead to new ways of thinking about local history. I describe the hardware and software used to make historical photographs accessible for reasoning about community change. I also describe preliminary evaluations that show how sophisticated reasoning can occur when students are made to develop their own interpretations of historical photographs.
Erik Jackson Blankinship.
S.M.
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McDonald, Mary Catherine. "National Museum of Film and Photography." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/33106.
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Between the National Gallery of Art and the National Museum of Natural History in Washington, D.C., the National Museum of Film and Photography design thesis explores issues of architecture at a scale of cultural significance. This thesis is the architectural manifestation of a museum as a research institution, separate from, yet contributing to an educational mission. It is inspired by the thin line between the two worlds, the public museum and the unseen, though often larger, private archive. In this thesis, a home for a treasury of artifacts was designed, so that they might be experienced, and for their intrinsic value.
This design thesis explores the role of context, scale, and geometry in a building for the National Mall, as well as the critical requirements and specialized program of a museum. The orthogonal and radial geometry of the city are echoed in the plan. The building program, as well as the physical opportunities of the site, led to the form of the building. The simultaneous cycles of the artifact, the visitor, and the worker, and how they related to the role and amount of natural light also contributed to the form. The thesis is also developed based on the relationship between an object or a film, and a viewer.Master of Architecture
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MARCHETTI, GUSTAVO. "DESIGN REVIEW: ARCHITECTURE AND PHOTOGRAPHY IN MÓDULO MAGAZINE (1955-1965)." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=32491@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente trabalho apresenta uma reflexão sobre a relação entre arquitetura e fotografia no contexto das revistas especializadas ao longo do período de modernização acelerada que se deu no Brasil a partir da década de 1950. Com o amparo de uma investigação sobre o histórico da fotografia de arquitetura e da consolidação do modelo de revista ilustrada moderna, foi realizada uma breve análise gráfica da revista Módulo em seu primeiro período de circulação (1955-1965), com o objetivo de verificar na publicação elementos identificados na pesquisa e discutir a importância da memória gráfica na historiografia da arquitetura moderna brasileira.
This work presents an examination on the relationship between architecture and photography concerning the specialized magazines through the rapid process of modernization that took place in Brazil from the 1950s. Supported by an investigation on the history of architectural photography and the development of the modern illustrated magazine standard, we conduct a brief graphical analysis of the first circulation phase of Módulo magazine (1955-1965), aiming to relate some of the publication aspects to the research made and ratify the importance of graphic memory to the Brazilian modern architecture historiography.
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Jurado, Barroso Pauline. "Photographier des ruines modernes, en témoin d'une histoire de l'urbanisme récent." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES041.
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La « défonctionnalisation » d’une architecture transforme intégralement la lecture de l’objet: les traces d’usure ont une charge symbolique et expressive qui en modifient sa réception. Les «ruines modernes» renvoient à une obsolescence précoce qui caractérise une époque dans laquelle l’industrialisation des procédés de construction incite au remplacement de l’ancien par le nouveau et multiplie les destructions. Elles sont étroitement liées au progrès et à l’accélération du renouvellement des constructions urbaines. Les architectures des grands ensembles sont les derniers symboles de l’ère moderne menacés par la destruction ; elles intriguent et fascinent par leur fragilité et leur monumentalité. La photographie artistique peut-elle proposer une contribution critique qui invite à porter un autre regard tout en cherchant à susciter un questionnement sur les ruines comme composantes du paysage urbain actuel ? Il semble que la reconsidération des ruines par la création est possible. L’objet de recherche de cette thèse n’est pas la ruine en elle-même, mais ses représentations par la photographie. Il ne s’agit pas de proposer une méthodologie, ni un guide pour photographier les ruines, mais de présenter les questionnements émergeant de pratiques photographiques des espaces en déshérence, en tant qu’expériences spatiales, culturelles et sensiblesThe « Defunctionalization » of architecture completely transforms the reading of the object : traces of erosion have a symbolic and expressive charge that modifies its interpretation. «Modern ruins» refer to early obsolescence, characteristic of the industrialization of building process which encourages the substitution of old things by new ones and increase destructions. They are closely linked to progress and the acceleration of urban renewal. Tower blocks of social housing appear to be the ultimate symbols of modern structures threatened by destruction; their monumentality and weakness intrigue and fascinate. How could artistic photography offer a critical contribution that changes the way we gaze at ruins as a component of actual urban landscape? It seems that reconsidering ruins through creation is possible. The subject matter of this thesis is not the ruin itself but its representations through photography. It’s not about proposing a methodology neither a guide to photograph ruins, but to present some questions that arises from photographic practices of derelict spaces as spatial, cultural and sensitive experiences
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Chesnais, Pascal Roger. "A graphic/photographic arthroscopy simulator." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/72263.
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De, Kadt Christopher R. J. "Digital reconstruction of District Six architecture from archival photographs." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/6390.
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Word processed copy.Includes bibliographical references (leaves 88-92).
In this thesis we present a strategy for reconstructing instances of District Six Architecture from small sets of old. uncalibrated photographs that are located in the District Six Museum photographic archive. Our reconstruction strategy comprises two major parts. First, we implement a geometry reconstruction framework. based on work by Debevec et al. [1996]. This is used to reconstruct the geometry of a building given as little input as a single photograph. The approach used in this framework requires the user to design a basic model representing the building at hand. using a set of geometric primitives, and then define correspondences between the edges of this model and the edges of the building that are visible in the photographs. This approach is effective, as constraints inherent III the geometry of architectural scenes are exploited through the use of these primitives. The second component of the reconstruction strategy involves texturing the reconstructed models. To accomplish this, we use a combination of the original textures extracted from the photographs, and synthesized textures generated from samples of the original textures. For each face of the reconstructed model, the user is able to use either the original texture material. synthesized material, or a combination of both to create desirable results. Finally, to illustrate the effectiveness of our reconstruction strategy, we consider three example cases of District Six architecture and their reconstructions. All three examples were reconstructed successfully, and using findings from these results, critical analyses of both aspects of our strategy are presented.
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Schnarr, Christopher E. "Moments between the surface : photography and fiction." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935913.
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Architecture exists as shelter, separating space into the inside and the outside. This separation is a crucial point in our experience of architecture. This separation is the first moment of physical interaction with the construct in our penetration of the construct. However, architecture is not only a physical language. It is nonphysical, in that architecture is defined as the art and science of building, etc. This separation, internally, both produces the architecture as well as the ideas that are produced from the architecture. Architecture is held in-between, the movement or passage from one to the other is perceived as an external transition and an internal passage into the realm of arts and sciences. The mediation in passage from one to the other may be perceived through the dialectic. This allows architecture to contain both external and internal mediation of extremes.Department of Architecture
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PERVIZ, ERVIN. "THE CINCINNATI MUSEUM OF BLACK AND WHITE PHOTOGRAPHY." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179415583.
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