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1
Skerry, Nathaniel S. (Nathaniel Standish) 1971. "Transformed materials : a material research center in Milan, Italy." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/70358.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002.Includes bibliographical references (p. 74-75).
[Transformed Materials] is an exploration into today's design methodologies of architecture production. The emergence of architectural form is questioned in relation to the temporal state of design intent and the physical material construct. At a time when there is an increased awareness of the current state of technology, material innovation and methods of fabrication, there are new speculations of what materiality is and can be. This thesis will propose an architecture that emerges through an exploration of the material concept that directly informs and expresses the fundamental ideas of the project. Building methods have changed widely over time, and are co-responsible for creating a dialog between functional requirements, technological invention, and material implication that reflects the current cultural state. Today's architectural products have in a sense reverted back to thin surfaces. Current cultural issues such as socioeconomic, environmental impact, transportability, efficiency, lightness, storability, technology, and mass production, have over time created a state of "thinness ". This project tries to offset the current trend of building by accepting the norms of architectural products, and reinventing their role within a contemporary language that explores more deeply the material qualities and properties associates with it. This thesis will use steel as the primary building material. Steel is a material that has become standardized in how it is shaped and formed, thus its ability to produce an architecture has been reduced purely to a dogmatiC approach of engineered solutions or preconceived results. Steel, is artificial by nature; if we suspend our preconceptions of steel, could the material be designed such that its role is critical in defining space, structure and program in a tectonic system? The area of research and examination will be focused on the design of a Material Research Center (mRC). located in Milan, Italy.
by Nathaniel S. Skerry.
M.Arch.
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Kirkbride, Robert. "The renaissance studioli of Federico da Montefeltro and the architecture of memory /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82902.
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This investigation of the studioli, small contemplation chambers in the ducal palaces of Urbino and Gubbio, considers their position in the western tradition of the memory arts. Drawing upon select images in the studioli, as well as text sources readily available to Duke Federico da Montefeltro (1422--82) and the members of his court, this inquiry examines how the discipline of architecture equipped the late quattrocento mind with a bridge between the mathematical arts, which lend themselves to mechanical practices, and the art of rhetoric, a discipline central to the cultivation of memory and eloquence. As ramifications of material and mental craft, the studioli offered the Urbino court models for education and prudent governance.
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Godfrey, Sara Elizabeth. "Patriotic heterotopias : architecture, city and the nation (Italy 1861-1911)." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1445558/.
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This thesis is an enquiry into what patriotism means as an experience, which is considered through the historical context of the birth of the Italian nation and the 'making' of the patriotic subject. It seeks to raise questions on how patriotism is produced by the subject's dynamic interaction with Others and how it is through the repetition of patriotic spatial practices that a national psyche is formed. To undertake this enquiry four of the most significant spaces in Liberal Italy are analysed---the Cimitero Monumentale (Milan), the Vittorio Emanuele Monument (Rome), Lake Fucino (Abruzzo), the Torre Monumentale di San Martino (Lake Garda)---using Michel Foucault's notion of heterotopias as Other spaces where social identity is formed. At each site it is argued that the individual becomes patriotic through falling in love with the Other. The ideological processes by which this infatuation with the patriotic Other occurs is considered through the different ways in which each site appeals to Utopian images of fathers and mothers. This process is developed from Gilles Deleuze's theory that the boy becomes a man through a tragic oscillation between a paternal sadistic symbolic economy and a maternal masochistic one. From studying the patriotic heterotopias it is apparent that sites situated in the city are characterized by a maternal experience, whereas those in the countryside tend to be dominated by a paternal arrangement. Thus, it is suggested that a national psyche develops from an inner motherland, from which it spirals outwards until it reaches the outer limits of patriotic experience that are defended and guarded by a protective fatherland. These inner and outer experiences are united by what is argued is the principal component of patriotism: learning to live for Others more than for oneself.
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Seegmullser, Rainer Karl. "Shelley and architecture : Romanticism and the semiotics of the architectural descriptions in Shelley's letters from Italy." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306809.
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Ketcham, Barbara. "The use of water in the gardens of the Villa d'Este at Tivoli, Italy." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22726.
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Madge, P. "Architecture and politics in Europe : Italy and the Netherlands 1927-34." Thesis, University of Leeds, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376365.
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Roy, Brian E. "The Baptistery San Giovanni in Florence and its placement within the chronology of Tuscan Romanesque churches /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68134.
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The controversial dating of the Baptistery San Giovanni is approached through formalistic considerations. Formal analyses of the Baptistery and the Duomo of Pisa lead to comparison and isolation of definitive features of Pisan and Florentine styles. As such, the buildings are shown to be prototypes and their respective receptions are traced in the Romanesque churches of Fiesole, Empoli, Lucca, Pistoia and Sardinia. It is concluded that the Baptistery must have been completed before the Duomo of Pisa was begun.
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Schilling, Martina. "The thirteenth-century abbey of Sant'Andrea in Vercelli : the Gothic architecture and its historical context." Thesis, University of Warwick, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369453.
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Seremetis, Constantine M. ""Multi-use" airport design : a new terminal for Malpensa International Airport, Milan, Italy." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/77313.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references (p. 101).
The design of an airport terminal building can be viewed as a specialized case of the design of a large building. One of the major planning and design issues of typical large buildings is that of accommodating multiple uses. Airport terminals are not mixed-use in the sense that commercial and residential space share the same building, but they are from the point of view that they enclose some very specialized functions together with commercial, hotel, office, and meeting space. The trend has been to increase these functions at airports since they are highly concentrated nodes of long range transportation. The particular uses depend largely on the city which the airport serves. The airport's location and proximity to a city should also influence its architecture. The image, materials, and theme of any building are important, but especially so for a terminal which is to welcome people from distant locations. These considerations were applied to a specific case: the design of a new terminal building for Malpensa International Airport in Milan, Italy. The main effort here was to develop a major terminal facility based on a local theme. the arcade.
by Constantine Seremetis.
M.Arch.
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Andreotti, Libero. "Art and politics in Fascist Italy : the Exhibition of the Fascist Revolution (1932)." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/14179.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Title as it appeared in M.I.T. Graduate List, Sept. 1989: Art and politics in Italy; the Exhibition of the Fascist Revolution.
Includes bibliographical references.
by Libero Andreotti.
Ph.D.
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Pereira, Claudio C. (Caludio Calovi) 1961. "Architectural practice and the planning of minor palaces in Renaissance Italy, 1510-1570." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/69404.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1998.Includes bibliographical references (v. 1, leaves 157-164).
This dissertation proposes to study how the commission and design of minor palaces contribute to the understanding of architectural practice in early 16th century Italy. The particular nature of the small urban palace as a reduced and less expensive version of larger palaces and its recurrent nature in the practice of architects malke this type of building very important in illustrating the changes in the profeSSion at that time. Minor palace commissions also show architects dealing with a growing private market for the exercise of the profession: in Rome, the architect's clients belong to a lesser nobility composed of merchants and professional men (doctors, lawyers, notaries, artists, diplomats, bureaucrats) mostly connected to the Papal civil service. Moreover, the planning of these buildings manifest the increasing specialization of the profession at that time, when expertise in Ancient Roman architecture and the mastering of new instruments of representation (orthogonal projection, perspective, sketches) were added to the usual technical and artistic skills required of an architect. The dissertation focus on how architects define a planning procedure to cope with the new set of circumstances related to the commission of a minor palace (budget, site, program, recurrence). The design of a palace comprised different functions arranged in horizontal sequence with a few vertical connections; therefore, drawings of plans were the central instrument of their design. The dissertation is primarily based on the study of original plans that illustrate the working methods of 16th century Italian architects. Three of them were chosen (Antonio da Sangallo the Younger, Baldassare Peruzzi and Andrea Palladio) based on their activity as ~esigners of minor palaces and the existence of a substantial amount of plans for this kind of building by them. A second part of this work presents a general view of the working procedures employed by these three architects in commissions of minor palaces. Through the study of their drawings and planning procedures, this dissertation intends to illustrate the establishment of the modern sense of architectural practice in 16th century Italy as shown through the design of minor palaces.
by Caludio C. Pereira.
Ph.D.
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Arnardottir, Halldora. "Italianita : debates on architecture and design in Milan 1945-1964." Thesis, University College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325182.
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Malone, Hannah Olivia. "Nineteenth-century Italian cemeteries : the social and political basis of funerary architecture." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648217.
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Horrocks, Paul. "The architecture of the Forum of Pompeii." Title page, contents and synopsis only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phh161.pdf.
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"Thesis presented June 1998, amended February 2000." Includes bibliography. V. I: text -- v. IIa: Figures -- v. IIb: Figures. This thesis demonstrates the falsity of the assumptions that ancient architects followed innate spatial cues or responses in their designs, that ancient people experienced the resulting buildings through the same responses, and that modern scholars can thus reconstruct both the intentions of the ancient architects and the architectural effects experienced by ancient visitors to ancient buildings throught the medium of their own spatial reactions. This underlying belief is contestable given its basis in unproven and untested late nineteenth century theories of perception. The thesis also demonstrates that the assumption made by modern scholars that the architects of the Forum of Pompeii were primarily concerned with uniformly enclosed space, axial symmetry, and orthogonality, is wrong, and is contradicted by the actual form of the buildings around the Forum.
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Touloumi, Olga. "The prison of Regina Coeli : a laboratory of identity in the Post-Risorgimento Italy." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/35125.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.Includes bibliographical references (leaves 97-104).
In my thesis I am studying the prison of Regina Coeli in Rome. Completed in 1892, it occupies the space of the convent after which it was named: the convent of Santa Maria Regina Coeli. The particular prison was built in the aftermath of the Italian unification when national identity was still formulated and the economy industrialized. At the same period, the discussion on prison architecture was shifting from an interest in the panopticon-centered structures to the architecture of the cell. Penitentiaries were transformed from sites of mere constrain, to sites of correction, to later develop into laboratories of identity. Along with the research on the typical cell, the field of criminology was objectifying the criminal body, in pursuit of the delinquent type. Although rarely documented, Regina Coeli was built in this transition before modernity appeared in the structure of the penitentiary institutions.
(cont.) I explore the particular prison not only as the product of this multiple transition, but also as the vehicle to forge it. Being the main custodial prison of the Kingdom of Italy, Regina Coeli constituted the portal to the Italian penitentiary network. The convicts awaiting trial, executing the last part of their sentence or pending transfer to other prisons or penal colonies were situated in the prison. In my thesis the issues of national identity, architectural historiography and identity politics are addressed through the study of the prison of Regina Coeli.
by Olga Touloumi.
S.M.
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Sobrino, Guillermo Manuel. "The villas of Palladio and the transformation of the site /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69700.
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The complex panorama of the Mediterranean area in the fourteenth century compelled Venice to modify its economic patterns. The city started to pay attention to the Italian mainland, developing its agriculture and other industries. But the Veneto was marshy and needed to be drained and improved. The Venetian and mainland aristocracy gradually abandoned commerce for agriculture and land reclamation. Andrea Palladio built many villas for them from which they could administer their estates, transforming the marshes of the Veneto into sites for the villas. Those villas became the perfect place for retirement and contemplation.
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Johns, Ann Collins. "Defining the Gothic in Italy : the Cistercians of San Galgano and civic architecture in Siena 1250-1350 /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Moran, Matthew. "Building and experience in Italy in the first millennium AD : labour, technology, social agency." Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268492.
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Roy, Brian E. "The façade of Santa Maria Novella : architecture, context, patronage and meaning." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34772.
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This thesis is a monograph on the facade of the church of Santa Maria Novella in Florence, Italy. The present appearance of the facade is the result of three building campaigns effected over the period of two centuries (c1300--c1500), and two restorative campaigns conducted in the twentieth century. Each of the three major campaigns is considered in isolation, with attention to reconstructions, formal and comparative analyses, and extensive contextualization and discussion of patronage networks. The twentieth-century interventions are cursorily presented in an epilogue. Major themes developed and continued through the five chapters of the dissertation are: architecture and its projected meanings in late medieval and Renaissance Florence, urban organization, political structures, the Dominican order and the position of the Florentine chapter within local and international ecclesiastical, social and political structures.
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Distretti, Emilio. "Materialities in circulation : Italy and its colonies across time and space." Thesis, University of Portsmouth, 2014. https://researchportal.port.ac.uk/portal/en/theses/materialities-in-circulation(3c9d9bcd-035d-44fb-b25d-fc9891e57a52).html.
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In the context of Italian colonialism, relations between the colonisers and the colonised have often been constructed and conducted through materialities (objects, things and artefacts) as means for the transmission, exchange and exercise of power. Practices of architecture, infrastructure and spoliation have then created and intensified systems of circulation connecting the metropole to the periphery. Along this axis the movement of materialities justified the colonial order within a capitalist system of production, trade, migration, communication and conquest. This dissertation interrogates the relationship between ‘materiality’ and ‘circulation’ as central categories of analysis that allow the evaluation of Italian colonialism as a historical event and the deciphering of the complexities of Italy’s post-colonial present. It offers an in-depth analysis of specific materialities that from the earlier phases of Italian colonisation in the Horn of Africa and Libya up to the post-colonial present have circulated between Italy and its colonies, tying the centre to the periphery. This thesis reveals that as a parallel to the movement of humans between the metropole and the colonies, between the Global North and the Global South, an ensemble of materialities – road infrastructure, an obelisk, anthropometric artefacts and skeletal remains - seem to be epistemologically crucial in describing power relations between the colonisers and the colonised in both the colonial and post-colonial epochs. Formerly instrumental for civilisational claims of Italian superiority in relation to native populations, since decolonisation these materialities have turned into objects of dispute, emblems of postcolonial identities and bargaining chips for posthumous justice for colonial violence and pillage. Within such a context, the discourse on memory and the elaboration of the colonial past together with the definition of new power relations and techniques of government over ‘others’ – migration policies, development and humanitarianism – constantly develop while revolving around those same materialities that, in the first place, served the purposes of the colonial mission.
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Bolgia, Claudia. "The church of S. Maria in Aracoeli, Rome : from the earliest times to circa 1400." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/2963/.
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This thesis aims to reconstruct the history, building phases, original appearance and role in mediaeval Rome of the church of S. Maria in Aracoeli, from its origins to c. 1400. The introduction describes the topographical setting of the church and traces its historiography . The first chapter investigates previous churches, their documentary sources, archaeological evidence and surviving components of church furniture. Patronage, date and original appearance of the so-called ‘ara coeli’, the extant main altar of the former church, are discussed. The second chapter concerns the present church, constructed by the Franciscans after their arrival on the hill in the mid-thirteenth century. The first section covers the building history from a documentary point of view, while the second provides a formal analysis, dedicating a subsection to each surviving part (nave and aisles, transept and adjacent chapel, facade). Archaeological research, together with graphic, epigraphic, literary and documentary sources, establishes the transformations of the building as well as the original plan and elevation of its lost parts (apse and eastern chapels). The third section critically reconsiders the lost decoration of the original apse, its iconography and the reasons for its success. The fourth section focuses on the workshop: analysis of the building technique is combined with the information on the architect gathered from his surviving sepulchral epitaph; the use of spolia and the adoption of gothic window-tracery are also discussed. The final chapter places Aracoeli in its context: the first section examines the civic role of the church as a setting for communal assemblies and a privileged site for judgement, the second considers its role as a favourite site for burial chapels of important Roman families. This thesis clarifies the history and appearance of the Christian site before the Franciscans, and provides a reconstruction of the building stages and original aspect of the present church (as well as of the function of some annexed structures) which differs radically from previous hypotheses, thus situating Aracoeli in a different architectural and cultural framework.
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Becker, Jeffrey Alan Terrenato Nicola. "The building blocks of empire civic architecture, central Italy, and the Roman Middle Republic /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1675.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Sep. 16, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics Classical Archaeology." Discipline: Classics; Department/School: Classics.
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Schorer, Carolyn Jones. "An architecture of connection: a place for music." Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/53109.
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Bailie, Lindsey Leigh. "Staging Privacy: Art and Architecture of the Palazzo Medici." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11049.
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xii, 112 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The Palazzo Medici was a site of significant social and political representation for the Medici. Access to much of the interior was limited, ostensibly, to the family. In republican Florence, however, visitors were a crucial component in the maintenance of a political faction. Consequently, the "private" spaces of the Palazzo Medici were designed and decorated with guests in mind. Visitor accounts reveal that the path and destination of each visitor differed according to his status and significance to the family. The common citizen waited, sometimes for great lengths, in the courtyard, taking in the anti-tyrannical message of the space. The privileged guest, who had more to provide the Medici, was given access to the more private spaces of the residence. Surrounded by art and architecture that demonstrated the faith, education, and wealth of the Medici, he was assured that his support of the family was beneficial to his own pursuits.
Committee in charge: James Harper, Chairperson; Jim Tice, Member; Jeff Hurwit, Member
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Galea, Salvatore. "Recycling industrial architecture into the city fabric : the "Progetto-Bicocca" Pirelli International Competition, Milan, Italy." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/66344.
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Neveu, Marc J. "Architectural lessons of Carlo Lodoli (1690-1761) : indole of material and of self." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100663.
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Original contribution. A discussion of Carlo Lodoli's bi-fold understanding of indole (inherent nature); with respect to both meaning in architecture and the education of architects.Carlo Lodoli (1690--1761) exists as a footnote in most major history books of modern architecture. He is typically noted for either his influence on the Venetian Neoclassical tradition or as an early prophet to some sort of functionalism. Though I would not argue his influence, I doubt his role in the development of a structurally determined functionalism. The issue of influence is always present as very little of his writings have survived and his built work amounts to a few windowsills. He did, however, teach architecture. I propose to explore the pedagogic potential of Lodoli's lessons of architecture.
Lodoli's teaching approach was not necessarily professional in that he did not instruct his students in the methods of drawing or construction techniques. Rather, his approach was dialogical. The topics were sweeping, often ethical, and ranged from the nature of truth to the nature of materials. Existing scholarship pertaining to Lodoli most often focuses upon his students' production of texts, projects, and projections. Andrea Memmo's Elementi dell'Architettura Lodoliana (1786, 1833) and Francesco Algarotti's Saggio sopra l'architettura (1756) are both specifically named by the respective authors as advancing Lodoli's architectural theories. Often overlooked are the apologues, or fables, used by Lodoli in lessons to his students. The main source for these fables is the Apologhi Immaginati (1787). Others were included in Memmo's Elementi. Apologues from both sources have been translated for the first time into English and can be found in Appendix I of the dissertation.
I look specifically to these stories to understand and illustrate Lodoli's approach to making, teaching and thinking. This is understood through Lodoli's characterisation of the identity of materials and of the self. Within this dissertation I intend to flesh out the textual and architectural fabric surrounding the pedagogic activities of the Venetian Friar known as the Socrates of Architecture, Carlo Lodoli.
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MacElwee, Andrea L. (Andrea Laurel). "Allegory and the architecture of Francesco Borromini." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22545.
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This thesis relates the aspirations (examined in political treatises, literary programs and scientific treaties) of Pope Urban VIIIth with the allegorical spaciality of the architecture of Francesco Borromini. The projects initiated under the patronage of the Pope are particularly related to the Pope's election. Urban's personal impressa, the Angelic Sun is an emblem of this election, a reborn sun, a second personal birth and the elevation of the Angelic Pope (the leader of the age of the Holy Spirit). This is allegorically a metamorphosis like the re-birth of Daphne into Laurel; the Tree of Aeneas and Rome and the principal Barberini impressa. As a dynastic emblem the Laurel unites the cosmic territories of the sun and the moon, the traditional emblems of cosmic kingship and world domination. The metaphysical marriage to Rome (coronation and marriage are ritually linked, like the union of the sun and the moon) metaphorically appropriates the capacity of giving birth through construction, to a new city, an intellectual city in the image of Urban, the threshold for spirit. The architecture 'contains' this intellectual body (city), a dynastic emblem of the Angelic Pope.
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Trend, Faith Charlotte. "Church design in Counter Reformation Venice." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8329/.
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This thesis explores how Venice's church architecture was shaped by the Counter Reformation between 1550-1700. It provides a snapshot of the situation with four pertinent case studies representing the broad spectrum of Venice's churches. Chapter One focuses on San Nicolo di Ldo, a church that was part of the proactive Cassinese Congregation. The church was rebuilt entirely and represents an almost ideal response to the Counter Reformation. Chapter Two looks at the rebuilt parish church of San Moise and it tackles the compromises that inevitably came with many competing factors. Chapters Three and Four look at how older churches were renewed and retrofitted with new features, adapting their existing structures to cater for new requirements as stipulated by the Council of Trent decrees or pamphlets such as Carlo Borromeo's Instructiones. Chapter Three hones in on Santo Stefano, a large monastic Gothic church, while Chapter Four looks at the considerably smaller Byzantine parish church of San Nicolo dei Mendicoli. This thesis highlights many similarities between the four buildings (and others in Venice), which exemplify key facets of the reform movement and the pluralistic and complex challenges faced by each church.
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Gross, Felix [Verfasser]. "Architecture, tectonic control and instability of the submarine continental margin offshore Mount Etna, Italy / Felix Gross." Kiel : Universitätsbibliothek Kiel, 2015. http://d-nb.info/1077211716/34.
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Flint, A. S. "Building the Virgin's House : the architecture of the Annunciation in central and northern Italy 1400-1500." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/11167/.
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This thesis examines the architectural settings constructed by painters for their depictions of the Annunciation, seeking to understand how and why painters employed them. The first, fundamental function of pictorial architecture was to organise the scene, demarcating the spaces allotted to each of the protagonists, often through the use of a central architectural dividing element such as a wall or a column. At the same time it constructed the narrative, and provided concrete metaphors for the Immaculate Conception, with the passage of the Holy Spirit through an arch acting as a stand-in for its entrance into Mary herself. Having established these compositional essentials, painters were then able to use architecture to add further resonances to their images, employing it to expound upon the character of Mary and the intense holiness of the Annunciation itself. Echoes of explicitly sacred places and spaces – tabernacles, cloisters, and chapels – could, for example, serve to imbue Mary’s house with a sanctity entirely suited to an event which represented the moment at which Christ appeared on earth. Finally, architecture could promote an audiences’ direct, meditative engagement with the scene portrayed by placing it in contemporary, recognisable architectural settings, thereby collapsing the distance between the remote biblical event and the viewer’s present. These works with realistic and recognizable buildings existed on a continuum (no painting lacked imagined, fantastical, and ideal elements in its pictorial architecture) with Annunciations that contained buildings that were to varying extents fantastical or imaginary. Instead of aiming the to allow the viewer to connect directly with the Annunciation, their inclusion was at least in part as a strategy to distance the events portrayed from them, emphasising the sanctity of the episode. Overall, this study aims to reinsert architecture into the center of our understanding of these Annunciations, demonstrating that it was far from just background decoration but was instead fundamental to both the conception and reception of these works. It is hoped that having proved the central importance of architecture in these works, this study will encourage a reassessment of architecture’s role in Italian Renaissance painting more generally.
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Hill, Michael. "Cardinal Scipione Borghese's patronage of ecclesiastical architecture, 1605-1633." Phd thesis, Faculty of Arts, 1998. http://hdl.handle.net/2123/16344.
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DeLaine, Janet. "Design and construction in Roman imperial architecture : the Baths of Caracalla in Rome /." Title page, table of contents and abstract only, 1992. http://web4.library.adelaide.edu.au/theses/09PH/09phd334.pdf.
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Mason, David Robert. "'New lamps for old' : English responses to the restoration of monuments in Italy, ca. 1860-1890." Thesis, De Montfort University, 1997. http://hdl.handle.net/2086/4115.
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.
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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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Platts, Hannah Frances Mary Landsbrough. "Art, architecture and landscape in 'villa' residences of Italy from c. 1st B.C. to c. 2nd A.D." Thesis, University of Bristol, 2006. http://hdl.handle.net/1983/5b1fc526-6934-4796-9dbb-72b0fadbf67e.
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Kanerva, Liisa. "Defining the architect in fifteenth-century Italy : exemplary architect in L. B. Alberti's De Re aedificatoria /." Helsinki : Academia scientiarum fennica, 1998. http://catalogue.bnf.fr/ark:/12148/cb391068384.
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Korkuti, Arian. "Ratiocinium in the Architectural Practice of Giuseppe Terragni and its role in the relationship between architecture and the city during the modern movements in Italy." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/101842.
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The architectural practice of Giuseppe Terragni (1904-1943) takes place during the twentieth century modern social movements, as architecture and urban form follow a major shift in the political conditions, in Italy and beyond. This dissertation is a demonstration of the quest for the rational in the architectural practice of Giuseppe Terragni. Furthermore, it sorts out the role of Terragni's practice in the dichotomous relationships between city and architecture as well as state and project. Initially, it is the obligation of this dissertation to address questions of principles, in order to build a plenum for the relationship between the city and architecture. It traces movements through translation and transformation of architectural impression, in form and type, and its meta in concinnity, in terms of legacy, legitimacy, and the rational in idea.
THESIS. The implicit rational in architecture exists in hierarchical order that allows for it to form unity of the whole that any of its constituents cannot form individually. It should be the architect's duty to fully reconcile all the elements in action – for and against form – in architecture, and demonstrate that the resultant is not a mere compromise but a necessary optimal condition. Therefore, I start with a stance in which I attempt to show how Giuseppe Terragni, in his ratiocinium, explicates the implicit rational in architecture, against the sea of protean political conditions.
Giuseppe Terragni can be understood in his convictions which we may be able to sort out through his words, works, and deeds. In his pursuit of the rational Giuseppe Terragni offers a clue to the time and actions taking place, as if he were to remind us of the Homeric song about the deeds of men with convictions under their destiny and their ironic tragicomedy. Terragni's Danteum is the one instance where destiny seems closer to fulfillment. Dante Alighieri's dream of the glorious empire seems to materialize in the signs of the monarchy and its savior – Mussolini. Since the fascist movement concerns itself with questions of legitimacy that in lineage shifts between histories of origins and middles, the shifting in language plays an important role in the sorting out of factum and verum. Languages that enter into this play shift laterally mainly between Greek, Latin, and Italian. And, at times Dardanian and Proto-Albanian, both Illyrian dialects, enter the play.
METHOD. Many aspects of this inquiry demand specific research methods as shown through the general and specific instances of man's activity as work which results in that which is made (factum) and the pursuit of that which is true (verum). Therefore, method in the sense of search for the way concerning purpose in what is made is conducted through istoria and historiography. Meanwhile, the search for truth, as it does not concern itself with the same scope as factum, requires philosophy as means towards knowledge, to sort out questions regarding truth. This dissertation follows certain Italian philosophers as guides in the pursuit. Not the least among them is Giambattista Vico who proposes that universal laws of development of men and society can be traced through the union between verum and factum. So, verum and factum become characters of the same play. Philology, love for reason, as a subspecies of philosophy, is a means toward knowledge in unraveling of the layers of the rational in the making. Additionally, in this inquiry, I employ analogies, diagrams, ideograms, and images, which demonstrate the quest for the rational in the architectural practice of Giuseppe Terragni.Doctor of Philosophy
The architectural practice of Giuseppe Terragni (1904-1943) takes place during the twentieth century modern social movements, as architecture and urban form follow a major shift in the political conditions, in Italy and beyond. This dissertation is a demonstration of the quest for the rational in the architectural practice of Giuseppe Terragni. Furthermore, it sorts out the role of Terragni's practice in the dichotomous relationships between city and architecture as well as state and project. Initially, it is the obligation of this dissertation to address questions of principles, in order to build a plenum for the relationship between the city and architecture. It traces movements through translation and transformation of architectural impression, in form and type, and its meta in concinnity, in terms of legacy, legitimacy, and the rational in idea. THESIS. The implicit rational in architecture exists in hierarchical order that allows for it to form unity of the whole that any of its constituents cannot form individually. It should be the architect's duty to fully reconcile all the elements in action – for and against form – in architecture, and demonstrate that the resultant is not a mere compromise but a necessary optimal condition. Therefore, I start with a stance in which I attempt to show how Giuseppe Terragni, in his ratiocinium, explicates the implicit rational in architecture, against the sea of protean political conditions. Giuseppe Terragni can be understood in his convictions which we may be able to sort out through his words, works, and deeds. In his pursuit of the rational Giuseppe Terragni offers a clue to the time and actions taking place, as if he were to remind us of the Homeric song about the deeds of men with convictions under their destiny and their ironic tragicomedy. Terragni's Danteum is the one instance where destiny seems closer to fulfillment. Dante Alighieri's dream of the glorious empire seems to materialize in the signs of the monarchy and its savior – Mussolini. Since the fascist movement concerns itself with questions of legitimacy that in lineage shifts between histories of origins and middles, the shifting in language plays an important role in the sorting out of factum and verum. Languages that enter into this play shift laterally mainly between Greek, Latin, and Italian. And, at times Dardanian and Proto-Albanian, both Illyrian dialects, enter the play. METHOD. Many aspects of this inquiry demand specific research methods as shown through the general and specific instances of man's activity as work which results in that which is made (factum) and the pursuit of that which is true (verum). Therefore, method in the sense of search for the way concerning purpose in what is made is conducted through istoria and historiography. Meanwhile, the search for truth, as it does not concern itself with the same scope as factum, requires philosophy as means towards knowledge, to sort out questions regarding truth. This dissertation follows certain Italian philosophers as guides in the pursuit. Not the least among them is Giambattista Vico who proposes that universal laws of development of men and society can be traced through the union between verum and factum. So, verum and factum become characters of the same play. Philology, love for reason, as a subspecies of philosophy, is a means toward knowledge in unraveling of the layers of the rational in the making. Additionally, in this inquiry, I employ analogies, diagrams, ideograms, and images, which demonstrate the quest for the rational in the architectural practice of Giuseppe Terragni.
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Caroselli, Susan L. "The Casa Marliani and palace building in late Quattrocento Lombardy." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/12079575.html.
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Querard, Alexandra Eurith. "On the art of historia : the restoration and extension of the Casa del Mantegna." Thesis, Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/23733.
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Campo, Bruno <1984>. "The Pleistocene-Holocene Transition in the Po Plain (Italy): Stratigraphic Architecture and Sequence Stratigraphy from a Highly-Subsiding Basin." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7540/1/Tesi_dottorato_XXVIII_ciclo_Bruno_Campo_Esame_Finale_2016.pdf.
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This work focuses on the Late Pleistocene-Holocene transition in the southern Po Basin. Five areas were investigated, with the aim of unraveling the role of different allogenic factors (climate, eustacy, sediment supply) on stratigraphic architecture in the last 45 ky. The study starts from the distal portion of the basin (the coastal plain deposits) and then moves towards increasingly internal areas: the alluvial sector characterized by the Po channel belt deposits, and the mud-prone interfluvial succession between the Apenninic margin and the Po channel belt. In the coastal sector, high-resolution facies analysis, along with a well-constrained chronostratigraphic framework, led to the accurate paleoenvironmental reconstruction of the last 45 ky BP depositional history along the 93 km-long transect. It is also provided a sequence stratigraphic interpretation for the whole sedimentary succession. In the Po channel belt sector, based on 28 radiocarbon dates, facies interpretation from high-quality core descriptions and freshly-drilled continuous cores, the contrasting stratigraphic architecture of Late Pleistocene and Holocene deposits was highlighted. Changes in lithofacies and channel stacking patterns reveal the vertical superposition of amalgamated fluvial-channel sands (Late Pleistocene) and mud-dominated deposits (Holocene), with isolated fluvial-channel bodies. We also attempted to establish the link between facies architecture, sea-level fluctuations and climate changes. The 3rd study area (interfuvial succession) was selected to test a new method for paleosol identification, on the basis of geotechnical properties generated from pocket penetrometer values.
Through the reconstruction of the Biferno coastal deposits (4th study area, located ca. 300 km south of the Po Plain) we had the opportunity to document two coeval (Late Pleistocene - Holocene) coastal sedimentary successions, diverging in terms of shelf gradient and proximity to the LGM-lowstand Po Delta. The 5th study area, broadly coincides with Ferrara, was selected to show how high-resolution stratigraphic studies can be used for aquifer protection.
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Campo, Bruno <1984>. "The Pleistocene-Holocene Transition in the Po Plain (Italy): Stratigraphic Architecture and Sequence Stratigraphy from a Highly-Subsiding Basin." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7540/.
Full textAbstract:
This work focuses on the Late Pleistocene-Holocene transition in the southern Po Basin. Five areas were investigated, with the aim of unraveling the role of different allogenic factors (climate, eustacy, sediment supply) on stratigraphic architecture in the last 45 ky. The study starts from the distal portion of the basin (the coastal plain deposits) and then moves towards increasingly internal areas: the alluvial sector characterized by the Po channel belt deposits, and the mud-prone interfluvial succession between the Apenninic margin and the Po channel belt. In the coastal sector, high-resolution facies analysis, along with a well-constrained chronostratigraphic framework, led to the accurate paleoenvironmental reconstruction of the last 45 ky BP depositional history along the 93 km-long transect. It is also provided a sequence stratigraphic interpretation for the whole sedimentary succession. In the Po channel belt sector, based on 28 radiocarbon dates, facies interpretation from high-quality core descriptions and freshly-drilled continuous cores, the contrasting stratigraphic architecture of Late Pleistocene and Holocene deposits was highlighted. Changes in lithofacies and channel stacking patterns reveal the vertical superposition of amalgamated fluvial-channel sands (Late Pleistocene) and mud-dominated deposits (Holocene), with isolated fluvial-channel bodies. We also attempted to establish the link between facies architecture, sea-level fluctuations and climate changes. The 3rd study area (interfuvial succession) was selected to test a new method for paleosol identification, on the basis of geotechnical properties generated from pocket penetrometer values.
Through the reconstruction of the Biferno coastal deposits (4th study area, located ca. 300 km south of the Po Plain) we had the opportunity to document two coeval (Late Pleistocene - Holocene) coastal sedimentary successions, diverging in terms of shelf gradient and proximity to the LGM-lowstand Po Delta. The 5th study area, broadly coincides with Ferrara, was selected to show how high-resolution stratigraphic studies can be used for aquifer protection.
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Allen, Joanne. "Choir stalls in Venice and northern Italy : furniture, ritual and space in the Renaissance church interior." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3603/.
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This thesis seeks to re-establish the significance of choir stalls in Venice and northern Italy and seeks to place stalls in their artistic, liturgical and spatial context. Although now situated in remote locations in the church, stalls were once highly prized items of furniture and considered to be praiseworthy artistic structures in their own right. As the location for religious ritual, the elevated status of the choir area was reflected in the detailed and sophisticated design of its wooden furniture. Through an analysis of visual and documentary material, stalls will be brought to the fore to consider broader questions. What can documents reveal about Renaissance workshop practices and the relationship between craftsmen and patrons? How did the form of stalls reflect their use in religious ritual and the organisation of sacred space? How did choir furniture develop as an independent medium within the artistic context of the Renaissance church interior? Four main topics will be considered in the first four chapters: the visual history of stalls; the contracting procedure; the use of stalls in liturgical practices; and changes to choir placement. Chapter One reconstructs the stylistic history of north-Italian choir stalls from the fourteenth to early sixteenth centuries and contains an excursus on the development and meaning of intarsia iconography. Chapter Two focuses on choir contracts, which confirm that choir furniture was a considerable investment and a potential source of rivalry between church communities Chapter Three moves the focus away from stalls as material objects to their role in liturgical practices. An excursus on the established use of misericords in Carthusian liturgy will demonstrate the close interaction between form and function in stall design, and places Italian stalls in the context of their European counterparts. The placement of choirs in the church interior will be examined in Chapter Four using case studies of choir placement in different secular and religious houses, in particular the Franciscan Observants, Franciscan Conventuals and the Dominicans. Although changes in choir placement are often associated with liturgical reforms implemented by the Council of Trent, church renovations in fact occurred well before this period. Two Venetian case studies demonstrate the value of examining individual choir precincts in their original stylistic and spatial context. Chapter Five focuses on stalls in the Benedictine nuns’ church of San Zaccaria in Venice, completed by the Cozzi workshop in 1464. The choir precinct in the Frari in Venice is amongst the best-preserved choir precincts in Italy and is discussed in detail in Chapter Six; the circumstances of its construction are closely related to new choir furniture in the Santo in Padua. Specific terminology is explained and collated in the Glossary and an Appendix contains transcriptions and translations of significant documents.
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Farrar, Linda. "Gardens of Italy and the Western provinces of the Roman empire : from the 4th century BC to the 4th century AD /." Oxford : Tempus reparatum, 1996. http://catalogue.bnf.fr/ark:/12148/cb36162125q.
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Moretti, Laura. "Dagli Incurabili alla Pietà : le chiese degli ospedali grandi di Venezia tra architettura e musica, 1522-1790 /." Firenze : Olschki, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017044031&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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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 géoarchitectureFollowing 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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Marfella, Claudia. "Art, industrial design, science and popular culture : modernism and cross-disciplinarity in Italy and Great Britain, 1948-1963." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/33746/.
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Conceived inside a chronological frame, which starts in 1948, the year the Institute of Contemporary Arts in London founded, and ends in 1963, when Gillo Dorfles wrote a crucial essay on industrial design, concluding more than a decade of discussions, the thesis aims to examine some artistic and cultural phenomena identified in Italy and Great Britain, and seen as the acknowledgement or as the reaction to modernity. Topics and fields taken in consideration within the thesis are technology, science (fact and fiction), vision of the future, the relationship between arts and the awareness of industrial design as a new discipline. All these aspects, that might seems unusual in relationship with visual arts, are perceived as the expression of a second phase of Modernism. The British personalities included in the thesis are Reyner Banham, Richard Hamilton, Nigel Henderson, John McHale, Eduardo Paolozzi, Alison and Peter Smithson, all members of the Independent Group. With the presence of architects, visual artists, photographers, critics and, in a broader sense, designers, the group encompassed a variety of popular interests, with the inclusion of mass‐produced goods. The Italian figures presented in the thesis – Gillo Dorfles, Bruno Munari, Ettore Sottsass and Giuseppe Pinot‐Gallizio – focused on industrial design objects, viewed as a new artistic branch, to promote, to plan or to question. Other recurring figures analysed in the thesis are Max Bill, Asger Jorn and Tomás Maldonado, who give international connections to the themes and British and Italian personalities examined. In order to provide a wider understanding of the 1950s and their crucial function in the story of post‐war Europe, the thesis aims to emphasise the role played at different level by British and Italian visual artists, designers and critics, and explain the reasons that, in the following decade, would push Italy in its industrial miracle and Great Britain at the peak for its popular culture, pop music and fashion creativity.
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Hairabian, Alex. "3-D stratigraphic architecture, sedimentary processes, and petrophysic properties of deep-water resedimented carbonates (Cretaceous, Gargano Peninsula, South-East Italy)." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM4735.
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Les dépôts gravitaires carbonatés peuvent former d'importants volumes à la transition plate-forme/bassin; notamment en domaine tropical où les biotopes néritiques carbonatés sont de prolifiques usines à sédiments pouvant être redéposés dans le milieu marin profond adjacent. Ce travail porte sur les dépôts gravitaires carbonatés d'âge Crétacé de la Péninsule du Gargano (SE Italie). Une cartographie géologique détaillée et la modélisation numérique 3D (supportées par un MNT obtenu par LIDAR héliporté) ont été couplées à des analyses sédimentologiques et biostratigraphiques afin de caractériser l'évolution spatiale et temporelle de systèmes de dépôts gravitaires distincts. Les surfaces stratigraphiques 3D ont été restaurées afin d'évaluer l'impact de la paléo-topographie sur la distribution spatiale et la géométrie des corps. La corrélation avec les séries de plate-forme de même âge a permis d'établir les relations entre nature des resédimentations (sables vs. brèches) et le niveau marin. Les données qualitatives et quantitatives d'affleurements ont permis de générer des modèles numériques 3D de lithofacies à partir de méthodes de simulations stochastiques. Enfin, des mesures des paramètres physiques des roches ont été couplées à des analyses pétrographiques afin de d'évaluer l'impact de la fabrique sédimentaire et des types poreux sur les propriétés acoustiques et réservoirs de ces carbonates. Cette approche multidisciplinaire démontre l'importance du couplage de méthodes d'analyses de terrain dites «traditionelles» avec des donnés numériques et la modélisation 3D afin d'améliorer la caractérisation et les modèles des systèmes et réservoirs sédimentairesCarbonate gravity flow deposits can form significant volumes at the platform-to-basin transition; especially because tropical shallow-water carbonate environments are major sediment factories, the products of which, early lithified or not, are likely to be redeposited in the adjacent deep marine domain. This work has focused on the Cretaceous resedimented carbonates of the Gargano Peninsula (SE Italy). Extensive geological mapping and 3-D numerical modelling (supported by a LIDAR DEM) were associated to sedimentologic and biostratigraphic analyses to assess the spatial and temporal evolution of distinct deep-water depositional systems. Key 3-D stratigraphic surfaces were restored to investigate the impact of the paleo-topography on the geometry and spatial distribution of the gravity flow deposits. Correlation with the coeval shallow-water platform series has served to assess the relationships between the nature of the resedimented carbonates (i.e. bioclastic sands versus breccias) and sea level. Qualitative and quantitative outcrop data were transferred into 3-D numerical models of lithofacies that were generated at seismic scale with stochastic simulation methods. Finally, petrophysical measurements were coupled with quantitative petrographic analyses to assess the impact of sedimentary fabrics and pore types on acoustic and reservoir properties of carbonate gravity flow deposits. This multidisciplinary approach demonstrates that coupling traditional field work analyses with outcrop numerical data (e.g. LIDAR-derived) and 3-D geological modelling is a relevant method for improving outcrop characterization and conceptual models of sedimentary systems and reservoirs
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Luscombe, Desley School of History UNSW. "Inscribing the architect :the depiction of the attributes of the architect in frontispieces to sixteenth century Italian architectural treatises." Awarded by:University of New South Wales. School of History, 2004. http://handle.unsw.edu.au/1959.4/31896.
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This study investigates the changing understanding of the role of the ???architect??? in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of ???architect.??? The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the ???architect,??? as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the ???architect??? having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the ???architect??? and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio???s Regole generali di architetura sopra le Cinque maniere de gli edifici cio??, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell???antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli???s translation of Alberti???s De re aedificatoria titled L???architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro???s translation and commentary on Vitruvius??? De???architetura titled, I dieci libri dell???architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d???Aquileggia, 1556; and Andrea Palladio???s I quattro libri dell???architettura, 1570. A second aim for the study was to review the usefulness of frontispieces as an historical archive. It was found that frontispieces visually structure important ideas by providing a narrative with meaning as an integral part of the illustration. In this narrative frontispiece illustrations prioritise concepts found in the accompanying text and impose a hierarchical structure of importance for fundamental ideas.
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Konijnenburg, Johan Hendrik van. "Sedimentology and stratigraphic architecture of a cretaceous to lower tertiary carbonate base-of-slope succession, Gran Sasso d'Italia, Central Apennines, Italy /." [Zurich] : ETH, 1997. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=12361.
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Garnier, Lorraine. "Recherches sur les façades dans l'architecture domestique de l'Italie romaine (IIe s. av. J.-C. - IIe s. ap. J.-C.)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3118.
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La recherche vise à replacer la façade, face majeure d’une habitation, au cœur d’un discours sur l’architecture domestique romaine – lequel a souvent délaissé cet espace. L’étude se focalise sur l’Italie centro-méridionale entre le IIe s. av. J.-C. et le IIe s. ap. J.-C. mais propose également une incursion en Italie du nord. Elle porte sur un corpus constitué de villas de plaisance et de maisons construites sur les remparts de certaines cités littorales : elle s’intéresse donc à une architecture domestique appartenant aux catégories supérieures de la société. L’objectif est de comprendre la place et le rôle de la façade dans la conception de l’espace domestique et de son rapport avec l’extérieur. Trois types de sources sont envisagés : les sources archéologiques, base du travail, les sources écrites, les sources iconographiques. Trois angles d’analyse principaux sont développés : ils définissent une approche à la fois architecturale, spatiale et sémiologique, menée dans une perspective diachronique. Il s’agit en effet d’étudier les conditions et les modalités du développement d’une « architecture de façade » dans la construction domestique et d’en analyser les formes, les significations, les évolutions. Les trois premiers chapitres sont ainsi consacrés aux façades des villas, étudiées dans le cadre d’une périodisation en trois temps. Un quatrième chapitre traite du cas des maisons urbaines de front de mer, qui présentent l’intérêt de posséder deux façades opposées, l’une vers la ville et l’autre vers l’extérieur de la cité : ces domus sont envisagées de manière synchronique, dans leurs rapports à la fois avec l’architecture de villa et l’architecture domestique urbaineThis research is concerned with the façade in Roman domestic architecture, a topic often neglected by previous studies in the field. The study focuses on residential villas and houses built on the ramparts of some coastal cities in central-southern Italy (and to a lesser extent in northern Italy) between the 2nd century BC and the 2nd century AD. This research aims at defining the role of the façade in the design of domestic space and in its relationship with its environment. It brings together archaeological data, written sources and iconographic documents. I approach the subject from three main viewpoints – architectural, spatial and semiological – and in a diachronic perspective, in order to study the conditions and terms of the development of a "facade architecture" in domestic buildings and to analyze its forms, meanings and evolutions. The first three chapters are dedicated to a chronological study of the façades of villas. Three main periods have been defined for this study (2nd c. BC ; 1st c. BC from Sylla to August ; 1st and 2nd c. AD). A fourth chapter deals with the case of houses built on urban seafront. These houses are of particular interest insofar as they have two opposing fronts, one towards the town and the other towards the outside of the city. I study, from a synchronic viewpoint, the forms of their façades, in connection with both villa architecture and urban domestic architecture