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Dissertations / Theses on the topic 'Architecture Architecture, American Architectural criticism'
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Reu, Caroline Marie. "Corporate, cirque, commute : an adaptation of situationist theory to contemporary america." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23450.
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Reynolds, Craig A. "Thomas Jefferson’s Designs for the Federal District and the National Capitol, 1776-1826." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3779.
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This dissertation examines six major points: 1) it argues that Jefferson is an architect of the United States Capitol, having direct and final say over its design; 2) it asserts that Jefferson set two nationally influential models of architectural taste as part of his movement to reform American architecture, first in Richmond as the Virginia State Capitol and second in Washington as the United States Capitol; 3) it explores those models to define what Jefferson called “cubic” and “spherical” architecture; 4) it suggests that Jefferson used his political appointments to maximize his influence over the design of the United States Capitol in order to ground the building in classical sources; 5) it surveys the sources Jefferson looked to for inspiration, both printed texts and images as well as extant buildings in Europe and America; and 6) it proposes that Jefferson and B. Henry Latrobe worked hand in hand to execute a design for the United States Capitol that subdued and at times even replaced the official plan adopted from William Thornton’s winning design.
This dissertation starts with the idea that Jefferson’s architectural reform consisted of conjoining vernacular building custom with architecture of the classical tradition. Most of what Jefferson knew about classical architecture came from books. Chief among them are Claude Perrault’s 1684 French translation of Vitruvius’ Ten Books on Architecture and the three London editions of Giacomo Leoni’s versions of Andrea Palladio’s Four Books of Architecture in English translation. Using these print sources, Jefferson reinterpreted many of the standard public buildings of Virginia into temple forms. In addition, Jefferson’s plan to reform public architecture rested on two overriding principles: erecting buildings with masonry and organizing those buildings using the classical orders.
Furthermore, this dissertation proves that, like the ancients, Jefferson wanted to build on a monumental scale. Jefferson’s own plan for a national capitol shaped like the Roman Pantheon, long misunderstood, clearly reinforces this interpretation. Finally, this dissertation demonstrates that Jefferson and B. Henry Latrobe worked in concert to execute a design for the United States Capitol that subdued the official plan adopted from William Thornton’s winning design.
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Shearer, Katherine. "The "Postmodern Geographies" of Frank Gehry's Los Angeles." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1031.
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This thesis examines the ways in which Frank Gehry’s architectural contributions to Los Angeles’ social and built environment have shaped the region’s “postmodern geographies” throughout the 20th and 21st century. Through a focused exploration of three of Gehry’s postmodernist structures in Greater Los Angeles—a house, a library, and a concert hall—this thesis analyses how Gehry and his designs reflected and affected the artistic and socio-spatial development of Los Angeles’ “decidedly postmodern landscape.”
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Hughes, Leah R. "The Tammy Manifesto and the Politics of Representation." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/520.
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The artistic is always political, even if not overtly so—each work carries with it the histories of the artist, the means of production, the subject matter, and the many art historical precedents that overlap and diverge to constitute the theoretical circumstances surrounding it. Since I began translating my lived experience into artworks, I have become interested in the ways in which my personal politics have affected the choices I have made in material and narrative substance. This is a deconstruction of the politics of representation as a method for better understanding the art historical context in which contemporary materials- and performance-based art work exists and to conceptually develop the work I want to produce in the future.
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Andrus, Timothy G. "Stuart Davis's Early Theoretical Writing, 1918–1923: Realism, Cubism, and Dada." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4589.
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This dissertation provides the first in-depth examination of American artist Stuart Davis’s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, inlcuding his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927–1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis’s concept of realism. This study traces the origin of Davis’s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis’s notion of realism informed both the development of his style and his iconography in his works of the 1920s.
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Duffy, Owen J. JR. "The Politics of Immateriality and 'The Dematerialization of Art'." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4641.
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This study constitutes the first critical history of dematerialization. Coined by critics Lucy Lippard and John Chandler in their 1968 essay, “The Dematerialization of Art,” this term was initially used to describe an emergent “ultra-conceptual” art that would render art objects obsolete by emphasizing the thinking process over material form. Lippard and Chandler believed dematerialization would thwart the commodification of art. Despite Lippard admitting in 1973 that art had not dematerialized into unmediated information or experience, the term has since entered art historians’ lexicons as a standard means to characterize Conceptual Art. While art historians have debated the implications of dematerialization and its actuality, they have yet to examine closely Lippard and Chandler’s foundational essay, which has been anthologized in truncated form. If dematerialization was not intrinsic to Conceptual Art, what was it?
By closely analyzing “The Dematerialization of Art” and Lippard and Chandler’s other overlooked collaborative essays, this dissertation will shed light on the genealogy of dematerialization by contending they were not describing a trend limited to what is now considered Conceptual Art. By investigating the socio-historical connections of dematerialization, this dissertation will advance a more far-reaching view of the ideology of dematerialization, a cultural misrecognition that the world should be propelled toward immateriality that is located at the intersection of particle physics, environmental sustainability, science-fiction, neoliberal politics, and other discourses. This analysis then focuses on three case studies that examine singular works of art over a twenty-year period: Eva Hesse’s Laocoön (1966), James Turrell’s Skyspace I (1974), and Anish Kapoor’s 1000 Names (1979-85). In doing so, this dissertation will accomplish two objectives. First, it looks at how these works materially respond to the ideology of dematerialization and provide a means for charting how this cultural desire unfolds across space and time. Second, this dissertation contends that contrary to Lippard and Chandler’s prognostication, dematerialization—and immateriality—does not correlate to emancipation from capitalization. Rather, it will be shown that dematerialization, its rhetoric, and its strategies can actually be enlisted into the service of the commoditizing forces Lippard and Chandler hoped it would escape.
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Marianacci, Caitlyn D. "Old Masterpieces, New Mistress-pieces: Cindy Sherman's Reinterpretations of Renaissance Portraits of Women." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/840.
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This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.
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Ramos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.
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Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.
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Conway, Jennifer S. "The Search for Cultural Identity: An Exploration of the Works of Toni Morrison." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5191/.
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Many of Toni Morrison's African-American characters attempt to change their circumstances either by embracing the white dominant culture that surrounds them or by denying it. In this thesis I explore several ways in which the characters do just that-either embrace or deny the white culture's right to dominion over them. This thesis deals primarily with five of Toni Morrison's novels: The Bluest Eye, Beloved, Paradise, Sula, and Tar Baby.
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Berger, Aimee E. "Dark Houses: Navigating Space and Negotiating Silence in the Novels of Faulkner, Warren and Morrison." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2732/.
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Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.
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Vines, Jacob L. "Encounters with the American Prairie: Realism, Idealism, and the Search for the Authentic Plains in the Nineteenth Century." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2511.
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The Great Plains are prevalent among the literature of the nineteenth century, but receive hardly a single representation among the landscapes of the Hudson River School. This is certainly surprising; the public was teeming with interest in the Midwest and yet the principal landscape painters who aimed to represent and idealize a burgeoning America offered hardly a glance past the Mississippi River. This geographical silence is the result of a tension between idealistic and empirical representations of the land, one echoed in James Fenimore Cooper’s The Prairie, Washington Irving’s A Tour on the Prairies, and Margaret Fuller’s Summer on the Lakes, in 1843. Margaret Fuller’s more physical and intimate Transcendentalism unifies this tension in a manner that heralds the rise of the Luminists and the plains-scapes of Worthington Whittredge.
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Simons, Gary. ""Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3347.
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Scholars have heretofore under-examined William Makepeace Thackeray's early critical essays despite their potential for illuminating Victorian manners and life. Further, these essays' treatments of aesthetics, class, society, history, and politics are all influenced by the pecuniary aspects of periodical journalism and frequently expose socio-economic attitudes and realities. This study explicates the circumstances, contents, and cultural implications of Thackeray's critical essays. Compensatory payments Thackeray received are reconciled with his bibliographic record, questions regarding Thackeray's interactions with periodicals such as Punch and Fraser's Magazine answered, and a database of the payment practices of early Victorian periodicals established.
Thackeray's contributions to leading London newspapers, the Times and the Morning Chronicle, address history, travel, art, literature, religion, and international affairs. Based upon biblio-economic payment records, cross-references, and other information, Thackeray's previously skeletal newspaper bibliographic record is fleshed out with twenty-eight new attributions. With this new information in hand, Thackeray's views on colonial emigration and imperialism, international affairs, religion, medievalism, Ireland, the East, and English middle-class identity are clarified. Further, Thackeray wrote a series of social and political "London" letters for an Indian newspaper, the Calcutta Star. This dissertation establishes that Thackeray's letters were answered in print by "colonial" letters written by James Hume, editor of the Calcutta Star; their mutual correspondence thus constitutes a revealing cosmopolitan - colonial discourse. The particulars of Thackeray's Calcutta Star writings are established, insights into the personalities and viewpoints of both men provided, and societal aspects of their correspondence analyzed.
In his many newspaper art exhibition reviews Thackeray popularized serious painting and shaped middle-class taste. The nature and timing of Thackeray's art essays are assessed, espoused values characterized and earlier analyses critiqued, and Thackeray's role introducing middle-class readers to contemporary Victorian art explored. Other Thackeray newspaper reviews addressed literature; indeed, Thackeray's grounding of literature in economic realities demonstrably carried over from his critical thesiss to his subsequent work as a novelist, creating a unity of theme, style, and subject between his early and late writings. Literary pathways originating in Thackeray's critical reviews are shown to offer new insights into Thackeray novels Catherine, Vanity Fair, Henry Esmond, and Pendennis.
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Gillen, Carolyn. "New Entropy| Exposing Architectural Disorder in Contemporary Spaces." Thesis, Southern Illinois University at Edwardsville, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129571.
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<p> In an effort to unveil the underlying potency of architecture I take banal structures and give them a dynamic intervention. Basic architectural forms are manipulated in a way that alters our relationship to them. Once ordinary, the forms are now anomalistic. It is through this surreal reinterpretation of form and space I hope people are encouraged to examine the world around them. By unconventionally combining materials associated with contemporary building practice, or reinterpreting their functionality, I aim to displace the familiar and emphasize the tension inherent in places we think we know. </p>
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TAYLOR, SHAWN. "SPEED AND RESOLUTION IN THE AGE OF TECHNOLOGICAL REPRODUCIBILITY." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3888.
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The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.
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Brine, Judith M. C. "The nature of public appreciation of architecture : a theoretical exposition and three case studies /." Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phb858.pdf.
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Hampton, Frederick Jordan. "The American dream towards a new future." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23775.
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Aguilar, Antonio José. "The architecture of the grotesque : the case of Jean-Jacques Lequeu." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23443.
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Watts, Chelsea Anne. "Painting Parisian Identity: Place and Subjectivity in Fin-de-siecle art." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3403.
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In this thesis I provide analysis of several nineteenth-century artworks in order to elucidate the connections between place and identity as expressed in visual representations of Paris. I utilize Bakhtin's idea of the dialogical as a means of identifying multiple subject positions that might be accessed by particular individuals who live in socially constructed spaces specific to fin-de-siècle Paris. I discuss the construction of three performed identities unique to nineteenth-century Paris: the Flâneur, the bohemian, and the primitivist. In each chapter I will parse out the social construction of the spaces where these identities existed and were performed, and link those identities to their discursive functions as particular models of Parisian life. I will discuss the relationship of each representation of identity to Henri Lefebvre's concept of socially-produced space through analysis of the stylistic and compositional choices made by the artist. The visual artworks I discuss include Edouard Manet's A Bar at the Folies-Bergère, Vincent van Gogh's The Outskirts of Paris, Night Café, and Café Terrace at Night, and Henri de Toulouse-Lautrec's Jane Avril and Divan Japonais.
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Crenshaw, Andrew. "The architectural image Finnegans Wake and the text of drawing." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23013.
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Rahmlow, Rebecca Suzanne. ""Indigenous" -- "Vernacular" : negotiating an American history for modernism through the lens of the architectural exhibition." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/43746.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Includes bibliographical references (p. 183-189).<br>After modernism was conceptualized as the "International Style" at the Museum of Modern Art in 1932, historians and critics sought to legitimate American architecture through the construction of a linear ancestry which placed the beginnings of modernism in the nineteenth century, on American soil. Victorian-era revivalism complicated this thread, but it also served as the impetus for a revision of history. The possibilities of interpretation offered by the architectural exhibition, and its key evidence, the photograph, were critical to this endeavor. It is my contention that having first established modernism as the "International Style" and second, located its history in select architectural monuments of the nineteenth and early twentieth centuries, architectural historians and critics spent the remainder of the 1930s deemphasizing European influences by crafting an American heritage for modernism. While modernists initially chose to ignore this revival style architecture, their proliferation, popular appeal, and seeming discrepancies with the present, both socially and formally, inspired two exhibitions which examined these buildings more critically. Lincoln Kirstein employed the term "indigenous" with regard to his 1933 MoMA exhibition, Walker Evans: 19th Century Houses, in order to distance, but not disavow Victorian-era domesticity and society. Conversely, Henry-Russell Hitchcock utilized "vernacular" in his 1934 exhibition at Yale University, The Urban Vernacular of the Thirties, Forties, and Fifties: American Cities Before the Civil War, to establish a formal continuity between Greek Revival antebellum urban architecture and 1930s modernism. In part a reaction to Kirstein's claims, Henry-Russell Hitchcock produced a selective "vernacular" which made the nineteenth century past accessible as a functional precedent for modernist designers.<br>(cont.) This thesis explores the construction, and the impact of these two efforts, which coded revivalism as something "native" to America in order to negotiate a relationship between the modernist present and its seemingly incompatible past.<br>by Rebecca Suzanne Rahmlow.<br>S.M.
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Bentel, Paul. "Modernism and professionalism in American architecture, 1919-1933." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12561.
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Thesis (Ph. D. in Architecture and Environmental Studies)--Massachusetts Institute of Technology, Dept. of Architecture, 1993.<br>Vita.<br>Includes bibliographical references (v. 2, p. 371-395).<br>This dissertation examines the dominant conventions of architectural practice in the United States between 1919 and 1933. It proceeds from two assumptions: first, that by the 1900s, both the American Institute of Architects (AlA) and the numerous professional journals available to architects across the country solidified the profession nationally and yielded a coherent field within which practitioners could debate the content of their professional service; second, that within the context of its national discourse, the architecture profession drew inspiration for its effort to identify a social function for itself from the White City Movement which forged a link between the architect and a national political, industrial and cultural leadership drawn together by American Progressivism. The study focuses on the period following the demise of the White City Movement during which American architects cast off their allegiance to its traditional aesthetic formulae but retained the aspiration to associate themselves and their work with prevailing trends in a national political and social milieu. It demonstrates that in their efforts to redefine the terms of their professional service, American architects invoked the popular terminology of Scientific Management, Technocracy, Fordism, and the nostrums of the 'New Era' and promised 'efficiency' in their work and in the industries they presumed to manage. It reveals that within these efforts of professional redefinition, the professional ideology supporting the architect's aspirations for work converged with a modernist idealism espousing the value of technical expertise as a medium of social emancipation and progress. By giving evidence of a widespread and indigenous modernism that perceived a social benefit in the architect's capacity to utilize industrial technology, this project amends the dominant historical view which attributes the re-emergence of an American Modem Movement in the 1930s to the 'diaspora' of European artists and intellectuals before to WW II. This study has two parts. In Part One, it examines first the canons of Beaux-Arts Classicism and their gradual dissolution after World War I under the pressure of criticism from writers such as Ralph Adams Cram, Louis Sullivan and Lewis Mumford and through the work of the AlA's PostWar Committee; and second, the institutional structure of the AlA and its organizational ideologies in the 1920s. In Part Two, it looks more closely at the evolving conventions of professional service, demonstrating that American architects reached a consensus about the necessity of a 'new' architecture which identified itself in three areas: first, in its rejection of the Beaux-Arts method of interpreting a building program through a stylistic rendition of its social 'character' in favor of design strategies that maximized usable space; second, in its abandonment of the visual paradigm of the White City in favor of the expansionist rhetoric of Regional Planning; and third, in its disavowal of stylistic conventions based on historical precedent in favor of styles that both demonstrated a discontinuity with the past and celebrated an evolving consumerist 'utopia' populated by industrial commodities.<br>by Paul Louis Bentel.<br>Ph.D.
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Wilhelm, Bernard C. "Urban Fabric as a Calayst for Architectural Awareness: Center for Architectural Research." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/564.
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Architects throughout have been forced to practice design surrounded by a society that generally lacks of architectural awareness and interest. A growing trend to transition from a relatively isolated profession into a field that promotes stronger public involvement is critical for architecture to evolve. Within the past 10 years, the growth of architectural centers have begun to dissolve the barrier between the profession and the general public in that their primary function regardless of what form they represent, is to introduce and educate issues of architecture that are an inescapable part of our built environment.
An investigation of architectural research institute precedents, would allow for opportunities to understand how they have engaged professional knowledge with a growing educated public opinion. Promoting the idea of similar functions locally to a skeptic public has to be based on the importance of change, where new technologies are consistently transforming the way we approach design problems. Introducing a variety of techniques to display information, which go beyond any two dimensional format into a three or four dimensional, more tactile, interactive medium, allowing the observer to become engaged in what they are learning is important for individuals to establish meaning. The facility itself would be a catalyst for learning in which design issues are presented and solutions are viewed by the viewer in a multi-sensory way.
The ultimate goal would be able to establish a system of memory responses to allow the general public a better connection with architecture. Creating a center of information housed within a singular building would be a beneficial beginning but it is important to express that information beyond any static building into a contextual environment in which it can be further related with. Adding richness to public spaces that promote cases of good architectural design can be an example that would allow the absorption of concepts through participation. Eventually, the results would lead to more knowledgeable public input about how their built environment is viewed and encourage better design.
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Samalavičius, Almantas Liudas. "Ideas and structures in architectural history." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060210_113316-20103.
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The history of architecture in Western countries and Lithuania is researched from various points of view. Such significant elements of architecture as light, color, sound, and water so far have been studied as far as their relation to the architecture of certain specific historical periods is concerned. However, up till now research of this kind was limited to deep, yet narrow, fragmented and specialized views of certain historical periods, or research projects were concerned with certain specific aspects of connections between works of architecture and metaphysical beliefs. Because of this, research of architectural history still lacks a thorough account of how metaphysical, religious, and philosophical worldviews affected the artistic expression of architecture of different periods. Without a sufficient amount of research of this kind, it is impossible to reconstruct a thoroughly consistent and more or less total view of the historical development of architecture. On the other hand, it strikes one as obvious that while the history and theory of architecture is being studied in Lithuania, we witness a lack of research work on the concepts of light, color, sound, and water that dominated during certain historic periods. Their impact upon the development of architecture needs to be analyzed and evaluated synthetically in a way that is consistent with a generalized approach, and with the help of research methods applied in the history of ideas and principles of analysis... [to full text]<br>Architektūros istorija Vakaruose ir Lietuvoje yra tyrinėjama įvairiais aspektais. Apie tokius reikšmingus architektūros elementus kaip šviesa, spalva, garsas ir vanduo yra buvę reikšmingų specializuotų studijų šių reiškinių sąveikos su vieno ar kito istorinio laikotarpio architektūros kūriniais aptarti. Tačiau iki šiol tokio pobūdžio tyrimai apsiribodavo siaurais, fragmentiškais, griežtai specializuotais žvilgsniais į atskirų kultūros istorijos tarpsnių architektūrą arba tokio buvo pabrėžiami tik tam tikri, labai specifiniai sąveikos tarp architektūros kūrinių ir to meto pasaulėžiūros aspektai. Todėl nėra pakankamai ištyrinėta atskirais istorijos tarpsniais vyravusių metafizinių, religinių ir filosofinių pažiūrų įtaka meninei architektūros raiškai. Nesant tokių tyrimų, neįmanoma adekvačiai rekonstruoti architektūros istorinės raidos vaizdo. Nagrinėjant architektūros istorijos ir teorijos problematiką Lietuvoje, akivaizdu, kad labiausiai trūksta darbų, kuriuose atskirais kultūros istorijos tarpsniais vyravusių šviesos, spalvos, garso ir vandens sampratų įtaka architektūros meno raidai būtų įvertinta sintetiškai, apibendrintai ir nuosekliai, pasitelkus idėjų istorijos tyrimo metodologiją bei tarpdisciplinių kultūrologinių tyrimų analizės principus. Tai paskatino gilintis į minėtų elementus santykius ir sąveikas su architektūra nuo seniausių iki moderniųjų laikų, pasitelkiant idėjų istorijos atveriamas tyrimo galimybes. Tokios problematikos ir tyrimo perspektyvos pasirinkimas... [to full text]
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Kimball, Tim. "Architectural Symbiosis." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1682.
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The world is facing two fundamental problems. The first problem is a rapidly increasing demand for energy. The second problem is increasing greenhouse gas emissions that are directly resulting from our energy consumption. The primary greenhouse gas in question here is carbon dioxide produced from the burning of fossil fuels. It has been demonstrated through scientific articles and studies that carbon dioxide is directly linked to rising atmospheric temperatures. Buildings represent a significant percentage of this CO2 production.
Many architectural theses and treatises have been written advocating architecture that is more energy efficient and which uses sustainable materials and processes as necessary steps towards solving the global warming crisis.
With the threat of global warming looming, everyday architecture must go through a transformation. Sustainable buildings should not be limited to rarefied architectural gems. Instead, sustainable architecture should become a commonplace condition in the built environment. In order to achieve this, we need sustainable architecture that not only addresses the environmental issues but also pays for itself and pays the building owner for taking on such a task.
To answer this need, I intend to design a mixed-use multifamily building that exists in the environment as a living system. As all living things, it must function utilizing the resources available in that environment. It must have a practical and economically viable on-site energy production and storage methodology that is environmentally benign and takes advantage of freely available natural resources. It must react to changes in the environment to better manage its resources and it must be able to store resources for later use. Lastly, it should foster sustainable living practices of its occupants.
By building in this way, architecture can take on a new role as symbiant rather than parasite in the environment, producing its own pollution free energy and clean water. Each building acts as a life support system for its inhabitants but is also part of a macro scale biosphere. If resources are managed carefully, an exportable energy surplus can be generated representing an economic benefit to the owner. This provides an economic directive to adopt sustainable practices.
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McCuskey, Caitlin Anne. "Mapping Architecture as Archive: Stories in the Walls." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1529578729584707.
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Gurbuzbalaban, Melis. "Autonomy: Re-appreciation Of Architecture." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605555/index.pdf.
Full textAbstract:
The contradiction between architecture&rsquo<br>s &ldquo<br>autonomy&rdquo<br>, its existence as an entity
with its own &ldquo<br>disciplinary specificity&rdquo<br>- and its social &ldquo<br>engagement&rdquo<br>, its
involvement in culture, ideology and economy, has been the subject of
numerous discussions in architectural discourse, initially in Europe and later in
North America. It is argued in this thesis that although &ldquo<br>autonomy&rdquo<br>and
&ldquo<br>engagement&rdquo<br>seem contradictory to each other, architecture&rsquo<br>s &ldquo<br>critical status&rdquo<br>is
rooted in this contradiction. Autonomy is regarded as one of the essential sides
of architecture&rsquo<br>s dual position. This suggests that the in-between, or in Stanford
Anderson&rsquo<br>s terms, &ldquo<br>quasi-autonomous&rdquo<br>status of architecture can only be
sustained through its existence as an entity that has a certain degree of
autonomy. Autonomy is an agent for architectural discourse to isolate
architecture from its involvement in the external reality and increase awareness
within the discipline by concentrating on its specific knowledge. Autonomy aids
architecture to pretend to be &ldquo<br>detached&rdquo<br>while in reality it is &ldquo<br>engaged&rdquo<br>. To
focus on the autonomous dimension of architecture, to search for architecture&rsquo<br>s
own intrinsic qualities, helps to produce knowledge within the discipline and
provides a &ldquo<br>critical distance&rdquo<br>for architecture to resist any &ldquo<br>external authority&rdquo<br>.
Thus this thesis intends to explore the potentials of the conceptualization and
problematization of &ldquo<br>autonomy&rdquo<br>in architecture and its employment as a critical
tool by architectural discourse to re-assess architectural practice. The private
house projects designed by Boran Ekinci in Turkey are exemplified and utilized
for the re-conceptualization of the term and enable the transfer of the discourse
related with autonomy to the local context where the issue hardly gained a
popularity. By doing so, both the appreciation of autonomy in general and reappreciation
of architecture in Turkey are aimed.
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Buhlfaia, Saeid Ali. "Historical Background Of Libyan Mosque Architecture: Assessment And Criticism Of Mosques In Ajdabiya City." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12607855/index.pdf.
Full textAbstract:
The study attempts to trace the development of mosque architecture in Islamic history, in modern architecture in the world, specifically focusing on the history of the mosque in Libya. It investigates whether the conformity of mosque components and finishing is due to historic, current and local Islamic prescriptions<br>due to functional purposes and necessities, or merely as an imitation of the stereotype styles
for loyalty to mental and habitual traditions regardless of functions.
The main objective of this thesis is to study &lsquo<br>the lack of innovation&rsquo<br>in mosque architecture, especially in the Libyan case. The thesis investigates the factors which may have caused this phenomenon and attempts to explore whether there is possibility to innovate mosque design. For this end, the thesis analyzes and evaluates urban, spatial, architectural and performance properties of the existing mosques in
city of Ajdabiya in Libya, the results of which are expected to help architects in developing the innovations in mosque design.
Finally, the study asserts that acceptance of innovation is possible under the given circumstances: there are differences from one mosque to another, there are variations
of mosque elements in terms of type and form, already varying from region to region. The main reasons for the absence of innovations are found to be due to unqualified designers who lack creativity, fear for the vulnerability of the heritage and some misconceptions and misinterpretations in terms of religious prescriptions.
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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
Full textAbstract:
Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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Gerhart, Andrea L. "Leslie F. Ayres, an accomplished architect and architectural renderer." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214381.
Full textAbstract:
Leslie F. Ayres was an accomplished architect and architectural illustrator. His appreciation for and keen sense of art is apparent in his meticulous and poetic architectural illustrations. Mastering the skill of architectural drawing established Ayres as a designer, but he wasalso a builder. A successful architect, like Ayres, is both an artist and a builder, having the capability to guide a concept from design to construction. Leslie Ayres understood and valued this critical link needed to establish himself as a professional architect.He had a significant influence on the modern movement of architecture in Indiana, and a pioneering role of integrating gardens into his overall architectural designs. His designs utilized the functionalism of the modern movement, uniting the latest in building technologies: steel, concrete, and glass. However in contrast to many modernists, his designs would often reflect architecture based on precedents, incorporating Classical and traditional elements. Moreover, Ayres had a holistic approach to architecture that distinguished him from other modernist architects, in which every detail including light fixtures, interior finishes, and the surrounding landscape, related to the whole design idea.<br>Department of Architecture
30
Luxemburger, Elaine. "The transition from the beaux arts tradition to the bauhaus influence in American architectural education." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23063.
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Mills, Robert Kemp. "The city and its waterfront an urban edge." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23146.
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White, Deborah. "Masculine constructions : gender in twentieth-century architectural discourse : 'Gods', 'Gospels' and 'tall tales' in architecture." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw5834.pdf.
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Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.
33
Merwood, Joanna. "Towards the architecture of the future : César Daly and the science of expression." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23202.
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The writing of the French architectural theorist and critic Cesar Daly (1811-1894), editor of the influential Parisian journal, the Revue generale de l'architecture et des travaux publics, may be considered to be representative of the ambivalence of the supposed 19th century dialectic between scientism and metaphysical idealism. For Daly the physical and representational needs of society expressed in architecture were always and forever inextricably linked by the universal and permanent pattern of History. Although it was his fundamental thesis that the human sensibility was more important than any other consideration in the creation of architecture, his theory is paradigmatic of the contemporary ideology which attempted to define and systemise the expressive role of architecture according to rational scientific principles, and resulted in the concept of architecture as a prescriptive and predictive process.<br>Given the separation of architectural form and content, presence and meaning, and the consequent challenge to the possibility of shared experience initiated in the Enlightenment which is still an inherent part of our contemporary architectural thought, it is crucial to re-examine the architectural theory of the 19th century as the origin of the modern condition. This thesis is a critical examination of Daly's collections of polemical articles from the Revue as artifacts of architectural knowledge, through an analysis of their form and content in relation to other significant 19th century architectural texts.
34
Krissberg, Alex. "Crafted Architecture, An Investigation into Handcrafted Glass Techniques." Thesis, Konstfack, Keramik & Glas, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6362.
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This paper is an investigation into the crossroads of traditional and contemporary glass craft techniques. Through innovative methods in the workshop I have set out to bring glass into the public sphere using the potential for handcraft in architecture.
35
Bambury, Jill Ellen. "The church in the 'hyperghetto' : an architectural investigation into an African American neighbourhood in New Orleans, Louisiana." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708793.
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Spears, Richard Wayne. "The Lyndon Baines Johnson Presidential Library: A Manifestation of Political Rhetoric in Architectural Form." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276976993.
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Grilc, Brandon. "Stealing Home: How American Society Preserves Major League Baseball Stadiums, Ballparks, & Fields." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18547.
Full textAbstract:
This study focuses on a cultural phenomenon that is driven by the demolition of Major League Baseball stadiums, ballparks, and fields. Prompted by their inherent role in the evolution of the sport and the inadequacies of the existing historic preservation framework, this study examines how American society preserves this utilitarian form, after their demolition, through observations, data collection, and analysis. In doing so, this study exposes that Major League Baseball stadiums, ballparks, and fields are preserved through the use of nine overlapping preservation methods, which memorialize five significant features. However, though these preservation methods do not prevent Major League Baseball stadiums from being demolished, they do illustrate how our society alternatively preserves historically and culturally significant resources when the existing historic preservation framework is rendered incompatible.
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Yamaguchi, Kiyoko. "Philippine urban architectural history : transformation of the poblacion architecture from the late Spanish period to the American period." 京都大学 (Kyoto University), 2005. http://hdl.handle.net/2433/145170.
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Kyoto University (京都大学)<br>0048<br>新制・課程博士<br>博士(地域研究)<br>甲第11700号<br>地博第14号<br>新制||地||5(附属図書館)<br>23343<br>UT51-2005-D449<br>京都大学大学院ｱｼﾞｱ・ｱﾌﾘｶ地域研究研究科東南ｱｼﾞｱ地域研究専攻<br>(主査)教授 加藤 剛, 教授 田中 耕司, 助教授 ABINALES Patricio<br>学位規則第4条第1項該当
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French, Kenneth J. "Critical Sustainability: A Constructivist Appraisal of LEED Certified Architecture in Cincinnati, Ohio." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1216331308.
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Thesis (Master of Architecture)--University of Cincinnati, 2008.<br>Advisors: Robert Burnham (Committee Chair), David Saile PhD (Committee Member). Title from electronic thesis title page (viewed Apr. 19, 2010). Includes abstract. Keywords: Sustainability; USGBC; LEED; sustainable architecture; sustainable theory; architectural criticism. Includes bibliographic references.
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Pinzon, Latorre Andres Augusto. "The Influence of Courtyards Thermal Comfort Study in Bogota, Colombia." Thesis, Illinois Institute of Technology, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10681398.
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<p> In the last twenty years, there has been a decrease in the quality of social housing projects in Bogotá, in part because private developers have replaced the Colombian government as the main agent. Degradation of social housing has been associated with related sickness of residents due to cold thermal conditions, particularly in children and seniors. In this context, business profitability has played against healthy indoor environments. </p><p> A common misconception of building in Bogotá’s mild climate (tropical) is that indoor thermal comfort is not a problem. It is based on the fact that outdoor conditions are relatively constant throughout the year without strong seasons, which in theory make acceptable conditions for thermal comfort of building occupants. Moreover, since residential buildings in Bogotá are naturally ventilated and no have space conditioning, thermal adaptation is expected to be more important. </p><p> Previous investigations on thermal comfort in the city have focused on the interaction between the local climate and a particular building configuration, but most have not explored occupants’ perceptions of comfort nor have they investigated how urban form and architectural features such as communal courtyards may influence thermal comfort. </p><p> This dissertation aims to better understand occupant perceptions of thermal comfort within the context of environmental conditions, personal adaptability, and urban form in Bogotá. The hypothesis is that an urban fabric that enhances solar access will improve the potential of a building to deliver a satisfactory thermal comfort to its occupants and energy savings in electric lighting. To test this hypothesis, courtyard buildings are explored as a way to connect people with the daily rhythms on their environments and reinterpret these spaces in the scenario of a larger and a denser city. </p><p> A multidisciplinary approach is used to address these enquiries, and through a field study thermal comfort is investigated in Bogotá. This methodology integrates knowledge from architecture, psychometrics, and statistics. The field study is performed on two residential projects that represent different urban configurations: the first project is organized in lineal blocks and the second project is organized around a central courtyard. </p><p> In total, 75 apartments participate in the study: 37 in the first project and 38 in the second project. Data are collected from them through environmental logging and surveying of residents. Information about temperature, relative humidity, radiant temperature, and light intensity is obtained through monitoring, while information about: thermal sensation, thermal preference, clothing value, and physical activity is obtained through surveys. </p><p> Statistical correlations, estimations, comparative tests, and summary statistics are used to analyze the data. These comparisons allow for an investigation of the influence of environmental conditions on occupants’ thermal sensations, the margins of acceptability of residents in multifamily housing, the influence of building features on thermal comfort of real environments, and the influence of courtyards as a solution for problems of comfort and energy consumption. </p><p> Key findings include: (1) outdoor climatic conditions (in addition to indoor climatic conditions) were associated with the thermal sensation of residents, suggesting that the indoor and outdoor climates are more connected across the building envelope boundary in these types of buildings that in environmentally controlled buildings; (2) the range of thermal adaptability of residences in these buildings was larger than in environmentally controlled buildings, suggesting that personal choice factors (e.g., choosing to wear more clothing to keep warm) are used to regulate comfort sensations in the absence of more advanced environmental control; and (3) the presence of a large central courtyard increases levels of comfort and also appeared to reduce electricity consumption for lighting. </p><p> The comparison suggests that the courtyard typology in multi-family residential buildings can be used to improve thermal comfort in social housing in this climate. Overall, this study offers a key insight into the complex interactions between climate, urban form, architectural design, and human behavior in governing human thermal comfort.</p><p>
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van, Strien David Samuel. "American Electric Power: Surface, Model, & Text." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492199443310933.
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Chavardès, Benjamin. "Paolo Portoghesi et la voie post-moderne : le débat architectural dans l’Italie de la seconde moitié du XXe siècle." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30100.
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A la chute du régime fasciste, l'Italie entre dans une reconstruction matérielle mais également idéologique et culturelle. En architecture, cette entreprise se traduit par des débats sur le lien à la tradition, le dialogue entre histoire et pratique du projet architectural et sur le rapport renouvellé entre l'édifice et la ville. Dans ce contexte, le post-modernisme trouve, à l'occasion de la première Biennale d'architecture de Venise, le territoire propice à son expression. Ce renouvellement intellectuel de la discipline est analysé à travers une trajectoire particulière : celle de Paolo Portoghesi. Cet architecte occupe tout au long de sa carrière des positions prépondérantes au sein de la discipline, dans l'enseignement, la recherche, la presse, l'édition et la pratique.La thèse a pour objectif de mettre en évidence à travers les discours et l'œuvre de cet architecte et les témoignages de ses contemporains, le rôle qu'il a joué dans l'histoire de la seconde moitié du XXe siècle. Après avoir étudier sa production en tant qu'historien de l'architecture, spécialiste du baroque romain (chapitre 1), l'étude démontre comment ces travaux sont utilisés dans la conception architecturale, faisant de lui un représentant de la critique opératoire (chapitre 2). L'étude de son action en tant qu'enseignant, directeur de publication et président de la Biennale de Venise permet de la positionner au sein de l'école romaine d'architecture (chapitre 3) et comme l'un des personnages centraux du post-modernisme en Europe (chapitre 4). Enfin, son parcours permet d'illustrer la transition qui s'opère entre une volonté d'adéquation avec l'esprit du temps pour une théorie de l'esprit du lieu, d'abord à travers la conception de la ville contemporaine (chapitre 5), puis à travers l'énoncé du concept de géoarchitecture<br>Following the fall of the Fascist regime, Italy enters a phase of rebuilding and reconstruction, also on an ideological and cultural level. In the field of architecture, this phenomenon triggers debates about the link to the tradition, the dialog between history and practice of the architectural project, and a renewed relationship between the buildings and the city. This environment and the First Venice Biennale are conducive to Post-modernism theories to develop themselves. This intellectual renewal of the discipline is here analyzed via a particular focus: Paolo Portoghesi's one. This architect holds throughout his carrier several major positions in the educational field, research field, press sector, book publishing and also as a practitioner.The thesis aims at highlighting the role Portoghesi played in the history of the second half of the twentieth century, through his texts and works, and the testimonies of his contemporaries. After examining his work as an architectural historian and a Roman Baroque specialist (Chapter One), the study shows how his researches are used in the architectural conception, making him a representative of the operative criticism (Chapter 2). Considering his action as a teacher, Editor in Chief and President of the architectural section of the Venice Biennale, enables to position him in the Roman School of Architecture (Chapter 3) and as one of the major characters of Post-Modernism in Europe (Chapter 4). His life's path illustrates the transition between willing to stick to the spirit of the time and the theory of the genius loci, firstly through contemporary city conception (Chapter 5), then with the concept of “geo-architecture”
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Bružas, Almantas. "Miesto įvaizdį formuojančių šiuolaikinės architektūros vietoženklių reikšmė. Vilniaus, Kauno, Klaipėdos atvejai." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20141030_150950-62843.
Full textAbstract:
Architektūros vietoženklių statyba – vienas ryškiausių visuotinių miestokūros reiškinių, kuris Vakaruose stebimas ir nagrinėjamas jau daugiau nei dešimtmetį. Tačiau į urbanistinėje aplinkoje išsiskiriančius architektūros objektus dar dažnai žvelgiama pro pusės amžiaus teorijų prizmę. Pirmojoje tokio pobūdžio disertacijoje pasiūlytas miesto įvaizdį formuojančių šiuolaikinės architektūros vietoženklių tyrimo modelis, kuris leidžia išsiaiškinti miesto įvaizdį formuojančių šiuolaikinės architektūros vietoženklių reikšmę. Teoriniai aspektai čia yra suderinti su praktiniais. Metodologiniu pagrindu čia tapo R.Barthes išplėtoti teksto analizės principai, akcentuojantys prasminį – giluminį – kūrinio lygmenį. 1990–2010 m. pastatyti Vilniaus, Kauno ir Klaipėdos įvaizdį formuojantys šiuolaikinės architektūros vietoženkliai čia traktuojami kaip vizualus tekstas. Remiantis sukurtuoju tyrimo modeliu buvo išsiaiškintos urbanistinėje aplinkoje vietoženklius išskiriančios fizinės, estetinės ir kitos funkcijos bei išskirtinės dislokacijos ypatybės. Architektų bei eilinių Vilniaus, Kauno ir Klaipėdos miestiečių sociologinė apklausa (buvo apklausti 363 skirtingo amžiaus ir išsilavinimo asmenys) leido sukurti miestų įvaizdžiui svarbių šiuolaikinės architektūros vietoženklių reikšmės atvaizdus, kuriuos sudaro 9 būdingos vertės. Matematinės statistikos priemonėmis atlikta šių verčių dažnio koreliacija su vietoženklius urbanistinėje aplinkoje išskiriančiomis ypatybėmis padėjo surasti patikimus... [toliau žr. visą tekstą]<br>In the global urban development, the construction of new architectural landmarks is one of the most prominent phenomena, which has been widely observed and analyzed in Western Europe for more than a decade. However, in urban areas, distinctive architectural objects are still often viewed through the prism of the half-century theories. The key innovation proposed in the thesis is a construction of the research model that helps to explore the meaning of the contemporary architectural landmarks important for the city image. The theoretical aspects in the dissertation are in line with the practical ones. Methodological basis there were the text analysis principles developed by R. Barthes, emphasizing meaningful level of an object. From 1990 to 2010, built in Vilnius, Kaunas and Klaipėda image forming modern architecture landmarks here treated as a visual text. The research model reveals aesthetic, physical and some other features of contemporary architectural landmarks (exceptional location, distinctive function), distinguishing them in the urban context. In total, 363 respondents of citizens and architects groups were interviewed in the sociological survey and it led to the creation of The images of meaning, which consist of nine key values. In order to process the data of the survey and to find the correlation between the contemporary architectural landmarks’ values frequency and aesthetic, physical, and the distinctive function, the exceptional location characteristics... [to full text]
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Rocha, Eva. "Antithetical Commentaries on X, Y and the Disruption of Being." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4278.
Full textAbstract:
Through discursive essays and poetic narrative, Antithetical Commentaries on X, Y and the Disruption of Being explores the tenuous relationship between modes of measurement and the struggle for human relevance in the post-contemporary digital age. In the introductory essay, “Not the Feather, but the Bird”, I give an overview of the inherent problems of object-oriented ontology, and how it relates to aesthetics and social issues of our times. In the Developmental Overview, I detail how I developed my installation approach and techniques, particularly with regard to the three-way dynamic of the artist:work:viewer relationship and how it can encourage a ‘transgression’ that leads to the possibility of a transformative awareness of being. Subsequently, I present a series of ‘antithetical’ commentaries that neither explain nor expand the installation, rather, they create a non-binary duality that, through an entirely non-linear anti-narrative, work to erode the overlay of personal, civic and collective grids present in the memory space/time referenced in the video, TAG. Finally, in “Grid: Towards a Transgressive Humanism.” I propose a path by which installation art might serve to create transgressive opportunities for viewers, rather than the transcendence sought through religious rituals, which often reinforce stigmas, fears and authoritarian social dynamics, or worse, the reductive loop, of many contemporary approaches to art which proclaim
their detachment in wordy displays, essentially leading to a form of aesthetic nihilism. This Transgressive Humanism is not presented as a dogma, but rather a revitalization of the work as a vessel of possibilities, an agent of creative growth for the artist and the viewer.
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Jung, Ronald Luis da Cruz. "A arquitetura e as ferramentas digitais : uma visão do projeto arquitetônico." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/116048.
Full textAbstract:
Esta pesquisa procura investigar o processo de projeto na arquitetura e como o mesmo passou a ser influenciado nas últimas décadas pelas ferramentas digitais que surgiram desde então. Busca estabelecer uma visão sobre o projeto arquitetônico questionando a existência de um novo paradigma. Para isso analisa a produção acadêmica brasileira dos últimos anos que exploraram ou desenvolveram teorias sobre a utilização de ferramentas digitais afim de estabelecer um ponto de partida. Através da bibliografia expõem uma visão e uma defesa de uma forma de projetar e de como as ferramentas digitais podem auxiliar este processo sem criar deturpações de uso. Por fim o texto contrapõem duas arquiteturas: a arquitetura silenciosa - sóbria - que busca adequar-se à cidade e tão bem aguenta o passar do tempo e a arquitetura digitalista, focada no "inusitado", que está muito mais voltada à possibilidade de exploração midiática da edificação e que tantos problemas traz aos usuários e à sociedade.<br>This research investigates the design process in architecture and how it came to be influenced in the past few years by digital tools which emerged since then. It seeks to establish a vision about the architecture design methods by questioning the existence of a new paradigm. Thereunto it analyzes the Brazilian academic production of the past few years which explored or developed theories about the use of digital tools in order to establish a starting point. Through literature, it exposes a vision and a defense of a way of designing and how digital tools can assist this process without creating distortions of its use. Finally, the text contrasts two types of architecture: the silent, sober architecture, which seeks to adapt to the city and as well support the passage of time and changes of its uses, and the "digitalist" architecture, focused on the "unusual", which turns to the possibility of the media exploitation of the building and the many problems it brings to users and society.
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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.
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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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Merida, Victor M. "Life in the Penit: Framing and Performing Miami's Graffiti Subculture." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1184.
Full textAbstract:
In the tradition of the Birmingham School of cultural studies, this thesis focuses on Miami’s graffiti subculture and the conflicts between market economies and economies of social meaning. As a reference point, I consider Miami’s “Penits”: the name given to the seemingly abandoned buildings where graffiti is performed. Short for penitentiary, the term derives from the 1980s after a large building rumored to be a prison was defunded midway through its construction. After this first reclamation, every other graffiti heterotopia in Miami has been similarly recoded as spaces that mock structures of discipline and industry.
Through Michel Foucault’s biopolitical framework I argue that the sovereign state and marketplace conspire to dually criminalize and commoditize the subculture’s performative defiance. I conclude by illustrating how the market itself reinforces the carceral archipelago by framing the subculture’s vandal aesthetic through the normalized, self-interested boundaries of conduct that the market itself deems il/legal.
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Barbosa, Gabriela Biana. "Arquitetura contemporânea em Maceió (1980-2008): uma reflexão crítica." Universidade Federal de Alagoas, 2009. http://repositorio.ufal.br/handle/riufal/692.
Full textAbstract:
Many transformations took place in Maceió in the last 30 years. The decade of 1980
was marked by the growth of the city and by the construction of vertical buildings.
Besides this, the tourism was stimulated in Maceió (called by the marketing of
Paradise of the Waters ). This period was a very productive and representative time of
a generation of active architects in the State of Alagoas. Nevertheless, the Alagoas`s
architecture and of his capital - Maceió - was not sufficiently analysed, when a shortage
of publications is noted, being opportune and when a reflection necessary on the
architecture produced during these years. How to understand the contemporary
architecture produced in Maceio?. This dissertation of master's degree aims to analyze
critically the contemporary architecture in Maceió during the years 1980 to 2008. The
methodology is divided in three stages: (i) literature review (ii) collects of local data -
the lifting of local data was obtained through newspapers, specialized magazines,
exhibitions of architecture of the Architects' Institute of Brazil Department Alagoas
and of the conversations and round tables of two Seminars of Contemporary
Architecture in Alagoas and (iii) analysis of data from the perspective of architectural
critics. As a result of reflection shows that it is possible to find local examples that go
beyond modernism, related to phenomenology and structuralism, and the almost nonexistent
post-structuralism. This research contributes to a better account of the teaching
and practice, and address the lack of material on the subject.<br>Fundação de Amparo a Pesquisa do Estado de Alagoas<br>Muitas transformações ocorreram em Maceió nos últimos 30 anos. A década de 1980
foi marcada pelo crescimento da cidade e pela verticalização. Além disto, estimulou-se
o turismo em Maceió (denominada pelo marketing de Paraíso das Águas ). Este
período foi uma época muito produtiva e representativa de uma geração de arquitetos
atuantes no Estado de Alagoas. Apesar disso, a arquitetura de Alagoas e de sua capital -
Maceió - não foram suficientemente analisadas, constatando-se uma escassez de
publicações, sendo oportuna e necessária uma reflexão sobre a arquitetura produzida
durante esses anos. Como compreender a arquitetura contemporânea produzida em
Maceió?. A presente dissertação de mestrado tem como objetivo analisar criticamente a
arquitetura contemporânea em Maceió durante os anos de 1980 a 2008. A metodologia
divide-se em três etapas: (i) revisão de literatura (ii) coleta de dados locais - o
levantamento de dados locais foi obtido através de jornais, revistas especializadas,
mostras de arquitetura do Instituto de Arquitetos do Brasil Departamento Alagoas e
das palestras e mesas redondas de dois Seminários de Arquitetura Contemporânea em
Alagoas e (iii) análise dos dados sob o enfoque da crítica arquitetônica. Como resultado
desta reflexão verifica-se que é possível encontrar exemplares locais que vão além do
modernismo, relacionados à Fenomenologia e ao Estruturalismo, sendo quase
inexistente o Pós-estruturalismo. Esta pesquisa contribui para uma melhor ponderação
sobre o ensino e exercício da profissão, além de suprir a falta de material sobre o
assunto.
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Hall, Timothy W. "Surface, substance and the status quo pop cultural influences on architectural design /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085069145.
Full text
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Guo, Yuqiao. "Post-disaster Transitional Housing for Displaced People." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/pomona_theses/124.
Full textAbstract:
Post-disaster displacement, with the increasing frequency and intensity of natural disasters, is quickly arising to become one of the most serious humanitarian challenges in the 21st century. As post-disaster housing spans several phases, the transitional housing phase is equally crucial as emergency sheltering and permanent housing: as dwellers remain in transitional housing projects up to years, their physical and emotional wellbeing is directly influenced by their surrounding built environment. Existing literature and practice have not paid enough attention to the built structures of post-disaster transitional housing. This thesis revisits past practices world-wide and architectural theory in the 20th century. Arguing that current transitional-housing design methodology is still deeply rooted in early 20th century Modernist ideologies, this thesis ties the missing link between architectural theory and humanitarian built environment design. Through examining theories and case studies, this thesis stresses the importance of approaching post-disaster transitional housing through the lens of architectural design, and makes suggestions for future improvements.