Academic literature on the topic 'Architecture, malta'

Il presente lavoro tratta delle trasformazioni edilizie nell'area centrale del santuario di Tas-Silġ a Malta (presso la baia di Marsaxxlokk), con particolare attenzione alla fase tardo-ellenistica (fine II inizio I sec. a.C.). il luogo di culto fu frequentato a partire dall'età preistorica, e il lobo centrale del tempio, costruito nella fase di Tarxien dell'eneolitico maltese (3000 2500 a.C.), fu mantenuto anche durante gli interventi successivi. L'arrivo sull'isola di genti fenicie (fine VIII sec. a.C.) determinò importanti trasformazioni edilizie riguardanti il tempio e lo spazio sacrificale (VII VI sec. a.C.), la più importante delle quali fu la messa in opera del ground altar arcaico all'ingresso del tempio. L'ultimo degli interventi che modellò il volto del santuario fino alla sua trasformazione in chiesa cristiana fu quello tardo ellenistico. L'intera area del santuario venne racchiusa da un muro di delimitazione dotato di torri e lo spazio antistante il tempio fu monumentalizzato con la costruzione di una corte-peristilio con portici sui quattro lati, la cui ipotesi ricostruttiva è stata affrontata nella tesi attraverso l'analisi dei frammenti di decorazione architettonica conservati.<br>The present work deals with the architectonic transformations in the central area of the Tas-Silġ sanctuary in Malta (close to Marsaxxlokk bay), with special focus on the late-Hellenistic phase (late 2nd early 1st b.c.). The cult site had been attended since the prehistorical age, and the central lobe of the temple erected in the Tarxien phase (3000 2500 B.C.) of the Maltese eneolithic was maintained during the following transformations. The arrival of Phoenician people on the island (end of VIII century) determined important architectural transformations involving the temple and the sacrifical praecinct, (VII VI cent.), which most important was the construction of the archaic ground altar at the entrance of the temple. The last of the major works which modelled the sanctuary face, transforming it into Christian church, was the late-Hellenistic one. The entire sanctuary area is delimited by an enclosure wall with towers and the space in front of the temple is monumentalized with a peristyled court with porches on the four sides, which reconstruction hypothesis was developed in the present thesis through the analysis of the architectural fragments.

La recherche qui fait l'objet de cette thèse a pour but de combler une lacune sur la connaissance des choix patrimoniaux en époque moderne d’un grand acteur territorial, l’Ordre souverain militaire hospitalier de Saint-Jean de Jérusalem, de Rhodes et de Malte. L’historiographie relative au cheminement de cet Ordre en époque médiévale est considérable et des historiens de grande envergure se sont occupés d’en reconstruire les caractéristiques et les mécanismes administratifs dès son commencement, de Jérusalem à Rhodes. Au contraire, l’étude de l’histoire des chevaliers à l’époque moderne souffre de lacunes: d’une part à cause du fait que de nombreux documents se sont perdus avant l’arrivée de l’Ordre à Malte en 1530, d’autre part, parce qu’il y a de considérables difficultés à repérer les sources parsemées dans les Archives d’État de toute l'Europe. À cette époque historique, quasiment chaque État se précautionnait d’ordres laïcs chevaleresques ou religieux-militaires, mais ceux qui maintinrent une adhérence au modèle original sont en prévalence ceux d’origine médiévale. Certains d’entre eux ont survécu jusqu’à nos jours, en renonçant au versant militaire et en trouvant une nouvelle substance dans l’action charitable : l’Ordre des Chevaliers de Malte est l'un des rares Ordres, sinon le seul, qui a su se reconstruire entièrement. Par apport aux autres ordres religieux-militaires, l’Ordre de Malte se caractérise autant pour sa solide structure hiérarchique administrative, qui se maintient inaltérée pendant des siècles, que pour sa nature patrimoniale et territoriale, qui lui consent d’accroître incessamment sa domination à niveau international, de Jérusalem à Rhodes et Malte, jusqu’à atteindre toute l’Europe de cette époque. Appréhender la hiérarchie administrative de l’Ordre est très important pour reconstruire les retombées directes sur les biens à niveau territorial, notamment à travers le système des commanderies. La consolidation de ce dernier, à partir de l’époque moderne, est pour les chevaliers de Malte un aspect fondamental à fin d’obtenir les ressources économiques nécessaires pour mener à terme la construction de «la ville de l’Ordre», La Valette, à partir de 1565. Les relations établies entre les Grands Maîtres, les papes et les princes italiens et étrangers à la fin du XVIe siècle trouvent une démonstration directe même sous le plan de l’architecture : les échanges épistolaires entre l’Empereur Charles Quint et l’Ordre religieux-militaire suite à la donation de Malte en 1530, et celui entre le Grand Maître Jean de La Valette et Cosme Ier de Toscane concourent à l’idéation d’une ville qui réfléchisse, même sous l’angle architectural, la puissance chrétienne dans la Méditerranée, tels qu’était le cas pour l’Ordre de Malte. À la fin du XVIe siècle, il y a un foisonnement d’idées autour du thème de la ville idéale: il suffit de penser à Vitry-le-François (1545), Carlentini (1551) e Palmanova (1593). Les plus grands ingénieurs militaires de l’époque furent appelés dans les plus importants États italiens et étrangers afin de réaliser les ambitions des papes, ducs, princes et empereurs, en facilitant en Europe la migration de style du langage architectural de la Renaissance tardive ainsi que du Maniérisme. Les voyages d’une ville à l’autre de ces célèbres ingénieurs militaires comportent une retombée directe autant sur les choix du langage architectural, que pour ce qui concerne l’échange constant de main-d’œuvre locale, comme c’est le cas pour la capitale de l’ordre à La Valette. De plus, il y a un rapport symbiotique entre les ingénieurs choisis par l’ordre qui portent de nouveaux modèles architecturaux et urbanistiques et la main-d’œuvre maltaise, formée dans la tradition, qui transmettent le style de la Renaissance tardive même aux plus petites agglomérations<br>This dissertation aims to fill the knowledge gap about the property choices – during the Modern Age – of a great territorial mover, the Sovereign Military Hospitaller Order of Saint John of Jerusalem, of Rhodes and of Malta. The historiography about the events of this Order during the Middle Ages is considerable and very prominent historians have worked to reconstruct its features and administrative machinery from its dawning, from Jerusalem to Rhodes. On the contrary, the research of Knights’ history during the Modern Age is full of lacunae: partly because a lot of documents are lost before the Order arrival in Malta on 1530 and partly because finding the sources – lost in the State Archives of all Europe – is more difficult. During this historical period almost each State has secular orders of knighthood or military-religious orders, but the ones who kept their own adherence to the original model have principally a medieval origin. Some of them survive up to the present day, renouncing the military aspect and finding new life in the charitable spirit: among them, the Order of Malta is one of the few, maybe the only one, that was been able to be completely reconverted. Compared to the other military-religious orders, the Order of Malta is characteristic of both the solid hierarchical administrative structure, all but intact during the centuries, and its property and territorial nature allowing to widen continuously its international rule, from Jerusalem to Rhodes and Malta, and the then known Europe. It is very important to understand the order administrative hierarchy to reconstruct the direct repercussions on the international goods through the system basically of recommendation, which consolidation is – from the Modern Age – an essential aspect for the Knights of Malta to get the economical resources needed to achieve the construction of the so-called “City of the Order”, Valletta, from 1565. The relations existing between the Grand Masters, the popes and the Italian princes to the end of Cinquecento find a direct confirmation in the architectural feature too: the epistolary correspondence between the Emperor Charles V and the military-religious order following the deed of donation of the Maltese Island in 1530, and the one between the Grand Master Jean de Valette and Cosimo I de’ Medici concur to the invention of a city mirroring, also from an architectural point of view, the Christian power in the Mediterranean Sea, as the Order of Malta was. At the end of Cinquecento the ideas about ideal cities topic proliferate: only think about Vitry-le François (1545), Carlentini and Palmanova (1593). The greatest military engineers of the period are called into the more important Italian and foreign States to achieve the ambitions of popes, dukes, princes and emperors, simplifying the style migration of the late Renaissance and Mannerism architectural language in all Europe. The journeys of these famous military engineers from a city to another involve a direct repercussion on the architectural language choices, both in the measure of a constant exchange with the local workers, and as it happens in Valletta, the capital of the order. Moreover, there is a symbiotic relationship between the engineers the order chose, bringing new urban architectural models, and the Maltese workers, grown up in their tradition, handing on the late Renaissance style also to the most minute settlements

The insular nature of the Maltese archipelago provides a unique opportunity to explore trade and cultural change from the Neolithic to the Bronze Ages in the central Mediterranean. I hypothesize that, during the period in which the Maltese islands were experiencing a form of isolation—owing either to their distance from Sicily and other populated regions, to the collective formation of an inwardly-focused culture, or to a combination of these factors—it is unlikely that pottery played a significant role as either an import or export in the archipelago’s exchange relationships with other communities in the central Mediterranean. I accordingly propose that ceramics were only significant in the interaction networks between Malta and its neighbors during periods when the archipelago was culturally connected to Sicily. Except for a limited number of archaeometric studies (Barone et al. 2015; Molitor 1988; Mommsen et al. 2006), analysis of similarities among ceramic wares produced in Malta and elsewhere that allow archaeologists to draw conclusions about the nature of Malta’s connectivity to other communities has been based on macroscopic observation. The present study builds on the few archaeometric studies by determining the provenance of ceramic samples based on their trace elemental composition. Included in this study were both clay samples and ceramic artifacts representing each of Malta’s chronological phases from the Neolithic to the Bronze Ages. Specifically, in order to address the question of the role that pottery played in the prehistoric trade of the Maltese islands, 392 Maltese ceramic sherds were analyzed using a Bruker III-V handheld portable X-ray fluorescence device, which revealed the relative abundance of six trace elements, namely thorium, rubidium, strontium, yttrium, zirconium, and niobium. The trace elemental composition of the Maltese pottery was compared with that of 18 Sicilian ceramic sherds and clay samples from both Malta and Sicily. The results of this research support my hypothesis in part, suggesting that neither ceramics nor raw clay materials played a significant role in overseas trade during Malta’s period of cultural isolation, which extended from the Ġgantija phase to the end of the Tarxien phase. On the other hand, ceramics played a more active role in Malta’s interaction networks during periods of connectivity with Sicily, for instance in the Neolithic Age. This study also provides the first chemical evidence that Malta exported pottery to Sicily during the Bronze Age and that Malta’s contact with Mycenaeans was indirect in nature. The findings presented here thus contribute to understanding Malta’s role in trade and interaction networks from the Neolithic to the Bronze Ages and point to new approaches to exploring the cultural change that becomes apparent in the Maltese Temple Period.

L'origine de ce travail remonte à 1977 lorsque J-C. Poursat mit au jour, au nord de l'atelier de Sceaux, un dépôt de céramique MT III dont A. Dessenne avait signalé l'existence en 1956. L'abondance et la qualité du matériel découvert jetait un jour nouveau sur l'ultime occupation du site. Il était en effet admis que la fin du palais marquait aussi la fin de la ville maliote et que l'occupation après le MR I b, particulièrement au MR III, n'était qu'une survivance dispersée dans un habitat pauvre et isolée du reste de la Crète. Par ailleurs cette thèse était déjà en contradiction avec les développements récents de la recherche en ce domaine : les fouilles de la Canée, Kommos, Archanes, Cnossos et Palaikastro ont montré que la période qui suit la destruction des palais minoens n'est pas celle d'un abandon et d'un appauvrissement général des sites et que la situation est plus contrastée et complexe qu'on ne l'avait d'abord pensé. Il était donc nécessaire de reprendre l'étude de Malia à la fin du bronze récent et de voir ce qu'était devenue la ville une fois détruit le palais. La période concernée couvre le MR II et le MR III -jusqu'au MR III c-, c'est-à-dire ca. 1450-1100. Les données disponibles sont, d'une part, le matériel découvert lors des fouilles sur le site depuis 1915 et en particulier celui mis au jour au nord de l'atelier de Sceaux depuis 1988 ; d'autre part, les documents en linéaire b de Cnossos dans la mesure où on a récemment proposé d'identifier Malia avec un des. . .

Thesis (M.A.)--University of Oregon, 2002.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-240). Also available for download via the World Wide Web; free to UO users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p1411593.

This thesis explores a range of architectural issues that are raised by the oeuvre of the artist Gordon Matta-Clark (1943-1978). In particular, it examines the ways in which his oeuvre might expand our understanding of the central tenets of architectural modernism, and valorise some issues that modernism downplays or denies. The thesis developed as a response to an awkwardness observed around the reception by both architects and the art world of Matta-Clark's work. It proposes that recent changes in this reception have involved the erasure rather than the acknowledgement of the causes of such awkwardness. In contrast to this general tendency, the thesis suggests that these causes are significant, and that for architecture in particular they provide a resource that can raise a number of important questions for the contemporary situation.

I am interested in experiences and knowledge that is passed on from generation to generation, and in a broad sense this is the starting point of my thesis project.  I am of Kurdish descent, and I knew early on that I wanted to make a project that related to Kurdish tradition. I was specially intrigued by Kurdish weaving craft and how this particular tradition could be architecturally interpreted and used as a tectonic component. I wasn´t interested in simply reproducing traditional architecture, but rather using certain techniques and methods as a way of conceiving something new. Within my family, there is experience in weaving. With their knowledge, it has helped me technically but also with issues relating to the social and traditional. The study is based on developing design techniques of Kurdish weaving techniques and principles. My design technique has mostly been focused on the slit tapestry technique, more commonly known as kelim, where openings are created when two separately woven areas of weft meet along adjacent warps and do not interlock. Using this technique, there is room for spontaneity, which has allowed me to use the weave frame and warp to develop my design technique. In addition to weaving tradition, the project is also based on Kurdish vernacular architecture as well as Islamic architecture in terms of climatic and social aspects.<br>Jag är intresserad av erfarenheter och kunskap som förs vidare från generation till generation, och i en bred mening är detta utgångspunkten för mitt examensarbete. Jag är av kurdisk härkomst, och jag visste tidigt att jag ville göra ett projekt som relaterade till kurdisk tradition. Jag var speciellt fascinerad av kurdisk vävning och hantverk, och hur denna tradition kunde omtolkas arkitektoniskt och användas som en tektonisk komponent. Jag var inte intresserad av att helt enkelt reproducera traditionell arkitektur, utan snarare att använda vissa tekniker och metoder som ett sätt att skapa något nytt. Inom min familj, finns det erfarenhet av vävning. Med sin kunskap, har det hjälpt mig tekniskt men även med frågor som rör den sociala och traditionella. Studien bygger på att utveckla designtekniker and kurdisk vävtekniker och principer. Min designteknik har främst varit inriktad på slit tapestry tekniken, mer känd som kelim, där öppningar skapas när två separat vävda områden väft möts längs intilliggande varptrådar utan att låsas. Med denna teknik, finns det utrymme för spontanitet, vilket har tillåtit mig att använda väv ramen och varpen att utveckla min designteknik. Förutom vävning tradition, är projektet också baserat på den lokala successiva arkitekturen samt islamisk arkitektur när det gäller klimat-och sociala aspekter.

The thesis addresses the question of dwelling as a challenge and concern in the twenty-first century. It does so on the basis of three works of art, all exercising radical spatial reconfigurations of existing residential buildings. The thesis argues that these works created in the twentieth century bring strategies forward for a contemporary living space of interest today. Furthermore, that the agency of the artistic gesture exceeds the scope of the architectural work when addressing the subject of home and house in critical ways. The importance of this engagement lies in an incompatibility observed between ideas about dwelling and the experience of the contemporary age. A prevalent desire for a permanently settled and stable living space is at odds with increasingly transient and nomadic present-day lifestyles – the thesis asks how come such concepts without application endure. Literary works, concerned with the process of modernisation in the twentieth century, are called upon to qualify this problem of dwelling in our time. While the texts provide insight into the dialectics of the modern, the chosen works of art unfold three living spaces settled in the moment of their making. When answering the immediate contextual setting with an environment for living beyond conventional building practices, Gordon Matta-Clark’s Splitting (1974), Kurt Schwitters’ Merzbau (1927-37) and Gregor Schneider’s HAUS u r (1985-today) give clues to the nature of the contemporary dwelling. As a living space beyond conceptualisation, this dwelling does not require a whole house to be held in place nor does it rely on walls for spatial differentiation. Instead, a framework for coexistence is articulated as a space of resistance to the forces of the modern, threatening to render all dwellers homeless. The thesis challenges the contemporary architect with the task of participating in the creation of this space.

A arquitetura indígena é uma das mais importantes fontes de referência de construções realmente sustentáveis em diferentes aspectos: ambiental, social, cultural e econômico. Os povos indígenas seguem uma visão de mundo mais integral na relação entre homemnatureza e, assim, contribuem para a revisão de conceitos e princípios dos atuais paradigmas socioculturais da sociedade moderna envolvente. Os Mbyá-Guarani conservam fortemente sua cultura material com princípios que condizem com uma arquitetura sustentável, utilizando materiais, técnicas, sistemas e processos construtivos de baixo impacto ambiental. Nesse sentido, assim como outros povos indígenas, seguem lutando pela preservação dos ambientes naturais, espaços onde estão os elementos simbólicos e materiais necessários para a reprodução de sua cultura. Porém, são poucas referências e estudos sobre a arquitetura indígena, devido a pejorativos históricos que levaram à sua desvalorização. Além disto, há uma invisibilidade social de povos existentes ainda hoje, principalmente na região sul do Brasil. Esta pesquisa visa suprir essa lacuna acadêmica, abordando o universo da arquitetura do povo Mbyá-Guarani no Rio Grande do Sul, baseada no estudo de caso do Tekoá Nhüu Porã - terra indígena inserida em área de Mata Atlântica, localizado no município de Maquiné. Nesse local, há abundância de recursos naturais tradicionalmente empregados, onde os Mbyá desenvolveram uma tipologia arquitetônica singular no Estado, empregando o xaxim como material construtivo. Objetivo: caracterização da arquitetura Mbyá-Guarani, com base em princípios de sustentabilidade e em espaços sócio-ambientais apropriados. Metodologia: baseada no método etnográfico e dimensões de sustentabilidade, considerando princípios e conceitos etnológicos desse povo indígena. Resultados: contextualização físico-espacial da área habitacional; descrição da tipologia arquitetônica, por meio dos materiais, técnicas, sistemas e processo construtivo; e análise da sustentabilidade da tipologia construtiva. Espera-se que o reconhecimento da arquitetura Mbyá-Guarani contribua para políticas públicas mais adequadas às especificidades desse povo indígena, bem como amplie a discussão sobre comunidades sustentáveis através da compatibilização entre o saber acadêmico e do saber autóctone.<br>The indigenous architecture is one of the most important sources of reference for truly sustainable construction methods, which take account of such diverse criteria as environmental, social, cultural, and economical. The indigenous people have a more open minded vision of the world regarding the relationship between man and nature and therefore, provide an invaluable contribution to a review on the concepts and principles of the current social and cultural paradigm of the modern society. The Mbyá-Guarani robustly protect their material culture following principles that are relevant to a sustainable architecture utilizing materials, techniques, systems and building procedures of low environmental impact. In similar circumstances to other indigenous groups, they struggle to preserve these natural environments, areas where symbolic elements are crucial to the procreation of their culture. On the other hand, there are few references and research information concerning the indigenous architecture issue. This is mainly due to historical pejorative issues that have led to its devaluation as well as the social invisibility of the surviving indigenous peoples nowadays, especially in Southern Brazil. This research aims to contribute to this academic gap, by focusing specifically upon the architecture of the Mbyá-Guarani people in the State of Rio Grande do Sul. This is based on a case study in Tekoá Nhüu Porã, which is a native land inside the Rain Forest, located in the district of Maquiné. In this area there is a plentiful supply of natural and traditional resources and it is where the Mbyá-Guarani have developed a particular architectural style using the xaxim giant tree fern as the primary construction material. Objective: categorization of the Mbya-Guarani architecture based in sustainable principles in appropriate social and environmental areas. Methodology: based on the ethnographic method and on sustainability dimensions, regarding ethnologic principles and concepts of this indigenous people. Results: Define the relationship between the physical and spatial correlation of the living area and the description of the architectural style through the systems, techniques, materials and the building process as well as the analysis of the sustainability of this style. This will substantially reinforce the promotion of more appropriate public policies highlighting the needs of this indigenous group. Additionally, it will throw open the debate about sustainable communities by readdressing the balance between the knowledge based in the academic and autochthonous worlds.