Dissertations / Theses 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.

The arrival of the Spaniards to the Colca Valley not only had repercussions in the public sphere but also the native populations were deeply influenced. Notwithstanding the records of these populations in the form of visitas (censuses) and other documentation, the nature of those changes brought about by the application of political-religious discourse on their material culture is unknown. This article aims to further the knowledge of this context of change, through defining the characteristics of the late prehispanic villages of the upper Colca valley and the architectural analysis of Malata, an early Christian doctrina, to understand the transformation of the domestic space based on changes in the public space over the time.<br>La llegada de los espanoles al valle del Colca no solo repercutio en la esfera de lo publico, sino que ademas las poblaciones nativas se vieron ciertamente influenciadas por ello. Si bien existen registros de estas poblaciones en la manera de visitas y otro tipo de documentacion, no se conoce la naturaleza de aquellos cambios que trajo consigo la aplicacion del discurso politico-religioso desde el estudio de su cultura material. Tomando como base algunos casos de organizacion domestica, se delinean las caracteristicas de los poblados del valle alto del Colca, lo que se traduce en el analisis del diseno de su trazo, a partir del estudio sistematico de una doctrina cristiana temprana: Malata. De esta manera, se explora la transformacion de elementos propios del espacio domestico, asi como su organizacion, a partir de cambios en el espacio publico, lo que nos brinda nuevas luces sobre aquellas poblaciones nativas y su transformacion previa al establecimiento de las reducciones toledanas.

Thesis (M.A.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed February 10, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 39-41).

I mitt projekt har jag inspirerats av Folkets Hus-fenomenet. Folkets Hus är vanligtvis en byggnad som erbjuder allmänna samlingslokaler och mötesplatser för olika kulturevenemang, folkbildning, medborgarorganisering och många andra aktiviteter. Eftersom Tensta idag inte har något eget folkets hus är min tanke att stadsdelshuset även kan fungera som ett  sådant för Tensta-borna. Det offentliga rummet har därför fått en central roll i mitt projekt, och skapar en plats som för samman folket och de beslutsfattande i hopp om ett intressant möte. Jag har haft som ambition att skapa en inbjudande plats för såväl personal som besökare. En rymlig plats som kan formas efter behov och där många olika saker kan pågå samtidigt. En plats för det betydelsefulla och det mer lättsamma.<br>In my project i've been inspired by the phenomenon of "Folkets Hus" (≈ community center). Folkets Hus is usually a building that offers public meeting spaces for different kinds of cultural events, study circles, citizen organisations and many other activities. Due to the fact that Tensta doesn't possess their own Folkets Hus today, my intention is that the District Hall will also fill this function for the citizens of Tensta. The public space has therefore been given a crucial role in this project, and creates a meeting space for the people and the decision makers in the community, in hope for a fruitful exchange. My ambition was to create a inviting sphere for staff as well as visitors. An allowing space able to adapt to different needs and where several different events can take place at the same time. A room for the meaningful and for the fun.

Cette thèse doctorale consiste en une investigation sur la pénétration des différentes formes et types d’influence française sur la politique stratégique de l’Ordre de Saint Jean, et la perte graduelle de la domination espagnole à Malte. Elle examine l’influence française consécutive sur l’architecture maltaise au cours du XVIIᵉ siècle qui résulta de ce changement d’allégeance. À cette fin, les facteurs politiques, stratégiques, sociaux et esthétiques, ainsi que la formation et les carrières des différentes personnalités concernées, en particulier les ingénieurs militaires français, sont examinés afin de comprendre l’importance de leur rôle sur le développement des fortifications des îles maltaises et sur l’idiome architectural local. Les relations des chevaliers appartenant aux trois Langues françaises avec la Cour de France sont étudiées dans leur contexte historique. Cet aspect est aussi examiné à travers la fréquente correspondance entre les Grands Maîtres et les rois Louis XIII et Louis XIV. L’étude montre comment l’arrivée sur la scène locale d’ingénieurs militaires eminents, durant l’été 1645, signale le passage de l’Ordre de la sphère d’influence de l’Empire espagnol à la française. Les ingénieurs militaires français s’activent dans l’archipel maltais depuis que Vauban avait donné à la France la primauté du développement de l’architecture militaire dans la seconde moitié du XVIIᵉ siècle. L’importance de Médéric Blondel, le premier ingénieur résident français, comme catalyseur du développement de l’influence française sur l’architecture maltaise est démontrée. Ce travail examine comment son influence se reflètera sur les architectes maltais de la fin du XVIIᵉ siècle et sur les éléments classiques qui sont introduits dans l’architecture baroque maltaise imprégnée de l’école classique d’architecture française très appréciée par Louis XIV<br>This doctoral thesis consists of a research-based investigation on the different forms and types of French influence within the strategic politics of the Order of St. John and the gradual loss of Spanish domination in Malta. It examines the French influence on Maltese architecture during the seventeenth century that resulted from this change of allegiance. For this purpose the political, strategic, social and aesthetic factors, as well as the study of the formation and careers of the different personalities involved, are analysed in order to understand the importance of their role on the development of seventeenth century fortifications of the Maltese Islands and on the local architectural idiom. The various connections of the Knights belonging to the three French Langues with the French Court are therefore investigated in their historical context. This is also examined through the frequent correspondence between the Grand Masters and Kings Louis XIII and Louis XIV. The study shows how the arrival on the local scene of eminent French military engineers during the summer of 1645, marks the passage of the Order from the Spanish sphere of influence to the French. The French military engineers were active in the Maltese archipelago since Vauban had put France at the helm of the development of military architecture in the second half of the seventeenth century. The importance of Médéric Blondel, the first French resident engineer, as a catalyst of the development of French influence on Maltese architecture is investigated. The study examines how his influence is reflected on the work of Maltese architects at the end of the seventeenth century and on the classical elements which are introduced into Maltese baroque architecture that is highly influenced by the classical school of French architecture so greatly appreciated by Louis XIV

A prática conserveira foi uma das mais importantes indústrias, bem como uma das maiores fontes de riqueza, em Portugal, no séc. XX. Na região do Algarve, esta foi dinamizadora e relevante a vários níveis, sendo que a instalação da primeira fábrica, em 1879, deu início à ocupação industrial deste território. Com a presente investigação, pretendeu-se estudar as implicações urbanísticas e arquitetónicas da indústria conserveira, com foco no surgimento e evolução da mesma no Algarve, nos seus edifícios, na relação com o espaço envolvente e nas relações urbanas e territoriais. Este estudo incidiu sobre as quatro urbes mais importantes para esta indústria – Lagos, Portimão Olhão e V.R.S.A. – sobre as quais se procedeu à análise da sua evolução urbana, a par do surgimento e desenvolvimento da indústria de conservas. Procurou-se, ainda, perceber se esta indústria teve influência no surgimento de programas arquitetónicos e na estruturação urbana de zonas industriais ou residenciais; Abstract: The practice of conservation was one of the most significant industries, being one of the largest wealth sources of Portugal in the 20th century. In the Algarve region, this particular industry was important on several levels and with the first factory appearing in 1879, the industrialization of that territory started. We intended to study the implications of the canning industry in the urban and architectural scope, focusing on the beginning and evolution of this industry in Algarve, its buildings in relation to the surrounding space and the urban and territorial relations. This study focused on the four most significant cities for this industry – Lagos, Portimão, Olhão e V.R.S.A. – analyzing their urban evolution from the start and development of the canning industry. We tried to look further into these, to understand if this industry influenced the implementation of architectural programs or the urban structuring of industrial or residential zones.

Esta dissertação aborda tentativas e possibilidades, no contexto contemporâneo, da prática arquitetônica se estabelecer como prática crítica e, nesse processo, construir interlocuções com práticas artísticas que respondem a anseios comuns. Tomamos como foco de análise parte da produção teórica e prática desenvolvida pelo arquiteto Bernard Tschumi (1944- ), pensando-a e interpretando-a com o auxílio da reflexão e da produção elaboradas principalmente por dois artistas paradigmáticos, Gordon Matta-Clark (1943-1978) e Hélio Oiticica (1937-1980). Tais criadores se interessaram pela dimensão política e emancipatória das manifestações de arte ou de arquitetura que extrapolam seu campo específico de atuação e incorporam reflexões sobre comportamento, espaço, cidade e esfera pública. Assim podemos distinguir, no interior de trajetórias distintas com desdobramentos e coerências internas particulares, e através de um olhar que possui certa distância histórica, alguns pontos de contato que, apesar de indiretos, certamente não são inexpressivos. Evidenciam um repertório comum de idéias que foram compartilhadas por distintas manifestações estéticas na década de 1970, um momento histórico marcado pela vontade de transformação da realidade. Nessa ocasião, manifestações de arte e de arquitetura estabeleceram interlocuções através do desejo de participar de debates culturais mais amplos, que incluíam reconsiderações sobre o papel social da arte, sobre a noção de \"público\" e sobre o poder que poderia ser atribuído aos acontecimentos efêmeros.<br>This dissertation discusses attempts and possibilities to establish architectural practice as a critical practice within the contemporary context and, in this process, to build interlocutions with artistic practices that respond to common aspirations. Our analysis focuses on part of the theoretical and practical production developed by architect Bernard Tschumi (1944- ), considering and interpreting it based on the reflections and production created principally by two paradigmatic artists, Gordon Matta-Clark (1943-1978) and Hélio Oiticica (1937-1980). These artists were interested in the political and emancipatory dimensions of artistic or architectural manifestations extending beyond their specific field of expertise to incorporate reflections on behavior, space, the city, and the public sphere. Thus, within different trends with particular developments and internal coherence, viewed from a somewhat historical distance, one can distinguish several points of convergence that, albeit indirect, are far from insignificant. These points reveal a common repertoire of ideas that were shared by different aesthetic manifestations in the 1970s, a historical moment marked by the desire to transform reality. At the time, artists and architects established interlocutions upon demonstrating their desire to participate in broader cultural debates, which included reconsiderations about the social role of art, the notion of \"public\", and the power that could be attributed to ephemeral events.

Le Japon est un lieu de prédilection pour Marta Pan (née à Budapest en 1923 et ayant vécu à Saint-Remy-lès-Chevreuse de 1954 a 2008). C' est le pays où elle a produit le plus, surtout depuis 1984, et où elle a été récompensée par un praemium imperiale en 2001. La présente étude tente de dévoiler le secret des intérêts réciproques entre cette artiste et le Japon. L'examen formel et chronologique de chacune de ses oeuvres in situ au Japon révèle sa pertinence et son accord avec le site naturel ou architectural en tant qu'art de paysage, domaine interdisciplinaire. La forme abstraite, elliptique et symbolique de Marta Pan présente la spatialité moderne mais aussi traditionnelle, du point de vue des méthodes employées dans divers jardins japonais, tel le jardin sec du temple Ryôanji. L'affinité de son art avec les manifestations artistique, culturelle et spirituelle du Japon permet de remonter jusqu'à la source de cette artiste : les photographies végétales de Karl Blossfeldt et l'inspiration de celui-ci, c'est-à-dire la pensée de la nature chez Goethe. Et cette affinité semble indiquer vers quoi le phénomène de non-lieux de notre espace post-industriel pourrait trouver son issue.

The main aim of the project is to create a multifunctional complex, which should provide an overall space for public entertainment, art and culture. It is also important to say that this project is trying to focuse on the younger generation and their needs. On the other hand, the region seeks to promote leisure for all ages. Program of the project has provided a clear definition of the concept and objectives that should be achieved in this infrastructure. That provides a number of options, such as how to split function in the area, or how to create a functional program for new and existing buildings of the whole area.

The theme of this thesis are surfaces made of unburned earth and used in architecture. The thesis focuses mainly on detailed mapping and analysis of the present state. However, it does not omit the historical roots of earthen surfaces in the area of today`s Czech Republic. In these roots it looks for connections with contemporary practice. The thesis deduces conclusions from thorough evaluation of the present situation – it shows perspectives and possible drift of the future development of earthen surfaces. Both in the field of architecture and in areas broadening this field.

En 1978, Rem Koolhaas publie Delirious New York, manifeste du sur-urbanisme contemporain (le programme invente le site). L'ambition de cette thèse est d'illustrer la poétique opposée du sub-urbanisme (le site invente le programme) à partir de la petite ville d'Ithaca (siège de l'université de Cornell) qui est l'inverse géographique de Manhattan (lac / île). Notre argumentation se développe en 3 temps: 1) Une thèse géographique consacrée aux 3 fondateurs de l'université: un ingénieur autodidacte, un amateur d'architecture et un extraordinaire botaniste 2) Une antithèse urbanistique qui suit Colin Rowe, O. M. Ungers et Rem Koolhaas jusqu'à l'époque où ils viennent chacun échafauder à Ithaca les intrigues de leurs 3 manifestes respectifs: Collage City, Berlin as a Green Archipelago et Delirious New York 3) Enfin une synthèse poétique consacrée à l'earth artist Robert Smithson (dont l'œuvre atteint sa maturité à Ithaca), à l'anarchitecte Gordon Matta-Clark (le meilleur étudiant que Colin Rowe ait jamais eu à Comell), et à Vladimir Nabokov (qui s'inspira d'Ithaca pour créer l'un des hyperpaysages les plus étonnants de la littérature contemporaine)<br>In 1978, Rem Koolhaas published Delirious New York, the manifesto for contemporary super-urbanism (the program invents the site). The ambition of Palimpsestuous Ithaca is to illustrate the reverse poetics of sub-urbanism (the site invents the program), by focusing on the town of Ithaca (seat of Cornell University) which is the geographical opposite of Manhattan. Our demonstration is articulated in 3 parts: 1) a geographic thesis devoted to the 3 founding father of the university: a self-made engineer, an architecture enthusiast and an inspiring botanist; 2) an urbanistic antithesis following architects Colin Rowe, OM. Ungers and Rem Koolhaas up to the moment when they came to Ithaca to build up the plots of their respective manifestoes: Collage City, "Berlin as a Green Archipelago", and Delirious New York. 3) a poetic synthesis devoted to earth artist Robert Smithson (whose artistic adventure reached its maturity in Ithaca), anarchitect Gordon Matta-Clark (the best student Colin Rowe ever had at Cornell), and Vladimir Nabokov (who fantasized Ithaca into one of the most fascinating hyperlandscapes of contemporary literature)

La majorité des sites égéens protohistoriques nous a livré une masse considérable d'éléments d'architecture en terre (briques, éléments de torchis, enduits de murs ou de sols,. . . ). La plupart du temps ignorés des archéologues. Le plus souvent, leur conservation n'est due qu'à leur cuisson accidentelle, ce qui rend leur étude difficile à effectuer. Malgré tout, ce travail -à l'interface entre archéologie et archéométrie- s'efforce de démontrer ce que l'étude de ces matériaux de construction peut apporter à la connaissance des sociétés du passé. Le matériel étudié provient principalement des sites de Dikili Tash en Macédoine grecque (5e millénaire avant notre ère) et de Malia en Crète (-2000-1100 ). . . Les produits transformés tels que la terre à bâtir ou les matériaux carbonates nous informent sur les structures architecturales et les différentes technologies, mais aussi sur l'environnement dans lequel évoluaient les hommes et les liens qu'ils entretenaient avec leur milieu. Les analyses montrent qu'il existait bien une notion de choix concernant la terre destinée à la construction. Il apparaît que les matériaux de construction utilisés possédaient, en théorie et pour autant que l'on puisse en juger, des propriétés adaptées à l'usage que l'on a voulu en faire : "terres" imperméables pour les toits ou les sols, plastiques et cohésives pour les murs. . . On ne peut plus ignorer aujourd'hui ce que l'étude physico-chimique des enduits, que l'on a l'habitude de n'aborder que du seul point de vue de l'esthétique, peut apporter à l'archéologue. Elle représente en effet un complément indispensable à la connaissance de la peinture murale au sens large du terme, au même titre que l'iconographie. L'établissement d'une typologie applicable à l'ensemble de la Crète minoenne, basée à la fois sur la fonction et la composition, le montre, sur le plan technologique et chronologique<br>The most part of the protohistoric aegean sites has given a lot of pieces of earth architecture (pieces of bricks or daub, wall or floor-plasters. . . ). These are usually ignored by the archaeologist. This work, placed between archaeology and archaeometry, want to demonstrate that these construction materials can serve as a source of information of the past societies. The archaeological fragments came from Dikili Tash in Macedonian Greece (5th millenium bc), and from Malia in Crete (2000-1100 bc). The materials used give us informations about architectural structures, technics of building and relations between men and the environment. The analysis have proven that the clay was choosen because of special physical characteristics (waterproof properties for roofs and floors, cohesive earth for walls. . . ). For wall-plasters, physico-chemical analysis were indispensable complements for stylistic and iconographic studies. A typology of plasters, based on function and composition, bring up technological and chronological informations

Orientação: João Filipe Ribeiro Borges da Cunha<br>Desde o início das civilizações que as aldeias, vilas, cidades ou qualquer outro tipo de aglomerado habitacional, fazia recurso ao uso de vias mais curtas, acessos rápidos e menos cansativos entre pontos de comum interesse. Estes percursos, muitas vezes, surgem do nada, inadvertidamente, despropositadamente, de maneira muito espontânea e sem que se saiba em concreto qual foi a sua origem. Estas situações sucedem com muita frequência nos caminhos de pé posto que por norma resultam num verdadeiro percurso de êxito, por possuírem caraterísticas suficientemente fiéis ao que seria um percurso ideal para os habitantes. Porém a evolução do meio urbano e a necessidade de urbanizar estes percursos, aos quais é suposto manter ao máximo a sua identidade, após o seu redesenho com recurso a estratégias de planeamento, torna-se em determinadas zonas, indispensável o recurso a meios mecânicos facilitadores de percurso. Em Lisboa, no Chiado, e no Algarve, em Albufeira, mais propriamente na praia do Peneco, os nossos casos de estudo, a escolha foi baseada nas caraterísticas topográficas e na consolidação urbana, uma vez que a morfologia do seu relevo é por excelência favorável para encontrar, analisar e comparar soluções que fizeram recurso a elementos facilitadores de um percurso urbano. Vamos abordar casos concretos e aprofundar a nossa pesquisa, realçando que, de certa forma, temos um tema pouco explorado, porém de muita importância quando aplicado no estudo do território urbano.<br>From the beginning of civilizations that villages, towns, cities or any other type of housing, recourse to the use of shorter roads, quick access and less tiresome between points of common interest. These shortcuts often come out of nowhere, inadvertently, unintentionally, very spontaneously and without knowing in concrete what their origin was. These situations happen very frequently in footpaths, since they usually result in a true success, because they have characteristics sufficiently faithful to what would be an ideal course for the inhabitants. But the evolution of the urban environment and the need to urbanize these routes, which are supposed to keep their identity to the maximum, after their redesign using the techniques of urban planning becomes, the use of mechanical means facilitating the course becomes indispensable in certain zones. In Lisbon, at Chiado and in Algarve, at Albufeira more precisely on the beach of Peneco, our case studies, the choice was based on the topographic characteristics and urban consolidation, since the morphology of its relief is par excellence favorable to find, analyze and compare solutions that made use of elements that facilitate an urban route. We will address concrete cases and deepen our research, noting that in a certain way we have a little explored topic, but of great importance when applied in the study of urban territory.

Neste caderno, vai ser apresentado um trabalho de projeto de arquitetura. O trabalho tem como base um concurso de Arquitetura de 2007 para a construção do Novo Edifício Sede e Creche da AMI, sendo aqui relançado no âmbito da unidade curricular de Projeto Final de Arquitetura do ano letivo 2019/ 2020. A escolha deste exercício, num contexto académico tem como principal objetivo proporcionar aos alunos uma aproximação da realidade da profissão pela resolução de um programa com a complexidade que este apresenta, bem como a aproximação do desenho de arquitetura ao detalhe de projeto de execução. O projeto é proposto para Alcântara, local com uma malha urbana bastante consolidada, e com um passado ligado à indústria, mas que ultimamente tem sido alvo de vários projetos e propostas de requalificação urbana, de modo a modernizar esta zona de Lisboa. A proposta de exercício teve como objetivo contribuir para esta intenção transformadora de modernidade sem, no entanto, esquecer a sua envolvente. Na zona norte do terreno, uma malha antiga com edifícios de pequena escala, na zona sul, uma zona em desenvolvimento, com novas infraestruturas de grandes escalas. Com esta proposta pretende-se fazer uma ligação entre estas duas realidades, de modo a manter a coerência e o desenho urbano da zona de Alcântara com a criação de novo edificado e espaço público.<br>In this notebook, an architectural design work will be presented. The work is based on a 2007 Architecture competition for the construction of the New Headquarters Building and Day Care of AMI, being re-launched here within the scope of the Final Architecture Project of the academic year 2019/2020. The choice of this exercise, in an academic context, has as main objective to provide students with an approximation of the reality of the profession through the resolution of a program with the complexity that it presents, as well as the approximation of architectural design to the detail of the execution project. The project is proposed for Alcântara, a place with a very consolidated urban mesh, and with a past linked to the industry, but that lately has been the target of several projects and proposals for urban requalification, in order to modernize this area of Lisbon. The exercise proposal that aims to contribute to this modernity intention, however without forgetting its surroundings. On the north side of the land, an old grid with small scale buildings, on the south side, a developing area, with new large scale infrastructures. This proposal aims to make a connection between these two realities, in order to maintain the consistency and urban design of the Alcântara area with the creation of a new building and public space.

This dissertation is a study of the early career of the American architect-turned-artist Gordon Matta-Clark (1943–1978) that spans the years 1968 to 1972. Immersing himself in SoHo’s vibrant artistic community, of which he was both a catalyst and a nexus, Matta-Clark worked through the essential ideas and concerns that would inform his practice during this condensed but incredibly generative four-year period. The works that resulted are heterogeneous, united less by specific media than by a shared constellation of concepts. Foremost among these concepts is energy: a key trope in the cultural, theoretical, and artistic discourses of Matta-Clark’s late-1960s and early-1970s moment. In histories of this period (spurred, in part, by the attention paid to Matta-Clark’s peer, Robert Smithson), energy has often been aligned with entropy: a negative movement that leads to an ultimate stasis. In contrast, Matta-Clark marshaled energy as a creative force: a motor of the "metamorphic" processes that his works both enacted and pursued. By focusing on these four years, my study opens new perspectives on both Matta-Clark’s project and the artistic and discursive formation, Postminimalism, from which it is inextricable. In doing so, I defamiliarize art history’s current conception of Postminimalism, “requestioning” (to adopt Matta-Clark’s neologism) its central term, process, through his creative energetics.

Orientação: Luís Conceição<br>O presente estudo foi desenvolvido no âmbito do Mestrado Integrado em Arquitectura, na forma de dissertação final de mestrado, por fim à sua conclusão. Como tema foi escolhido o desenvolvimento urbano de Portimão, na sua relação com a muralha quatrocentista, no sentido de apurar a influência desta na malha urbana da cidade e, consequentemente, a sua importância na organização e funcionamento da mesma. O facto de ainda não ter sido publicado um estudo deste género foi aspecto fundamental para a escolha do tema, pelo que um dos objectivos desta dissertação tem por base a divulgação da história da cidade, num sentido analítico quanto ao seu desenvolvimento urbano e expansão territorial, procurando contribuir para um maior conhecimento sobre Portimão e incentivar novos estudos sobre a matéria, nas mais diversas áreas científicas. Não obstante, sendo este um exercício particularmente focado na influência da muralha para o urbanismo de Portimão, é objectivo específico desta dissertação verificar a pegada da referida muralha no traçado, forma e funcionamento da cidade. Foram desenvolvidos trabalhos de recolha, selecção e análise de dados (publicações e outros artigos passiveis de interesse, que possam contribuir através de documentos escritos, peças desenhadas e/ou apontamentos fotográficos), que permitiram conhecer e analisar a história da cidade e sua expansão territorial, a sua estrutura urbana a cada momento e respectiva evolução; trabalhos de elaboração de cartografias, que promoveram a análise e apresentação dos resultados obtidos; e trabalhos de tratamento de imagem, indispensáveis à exposição das conclusões retiradas do estudo. Concluiu-se com o presente estudo a efectividade de influência da muralha para a forma urbana e funcionamento da cidade, com maior visibilidade em áreas de vizinhança mais próximas.<br>This study was developed within the Master in Architecture in the form of final dissertation, pointing to its conclusion. The subject chosen was the urban development of Portimão and its relation with the medieval walls, in order to understand the influence of them in the urban trace and, consequently, its importance for the urban organization and functioning. The fact that there haven’t been published a study of this kind was primary aspect for the choice of the subject, for what one of the purposes of this study has for base the spreading of the history of the city, in an analytical direction for its urban development and territorial expansion, looking forward to contribute for a bigger knowledge of Portimão and stimulate new studies on the substance, in the most diverse scientific areas. Not obstante, being this an exercise particularly focused in the influence of the walls for the urbanism of Portimão, is specific goal of this dissertation to verify the footprint of the cited walls in the tracing, forms and functioning of the city. There were developed works of retraction, selection and analysis of data (publications and other articles likely of interest, that can contribute through written documents, drawn parts and/or photographic notes), that allowed to know and analyze the history of the city and its territorial expansion, its urban structure at each moment and respective evolution; works of cartographic annotation, that allow the analysis and presentation of the gotten results; and works of image treatment, indispensable to the exposition of the conclusions of the study. We concluded that the referred walls are indeed important for the city shape and functioning, in a more notorious way in nearby areas.

The work at hand deals in a broader way with the placement of the Slavic Epic from an architectural point of view. The author first focuses on the role of historical monumental canvases in relation to the formation of the national identity and looks in this respect at some Czech monumental canvases before the Slavic Epic was painted. Another chapter deals primarily with the Slavic Epic. It presents a detailed view on a difficult process of finding a tailor-made exhibition space for the monumental canvas from the point Alfons Mucha started with its painting until the present time. It also shows specific demands on a building in which the Slavic Epic should have been placed. The next chapter presents all projects that have been made so far to build a new exhibition space for the Slavic Epic. Based on the analysis of this work the final chapter describes author's own ideal proposal of a complex architectural solution of the exhibition space which also encompasses exhibition management and marketing.

Orientação: Patrícia Alexandra Dias Santos Pedrosa<br>O espaço público exprime-se de diversas formas e variáveis dentro das metrópoles contemporâneas, cuja ideia de centralidade assume um papel relevante na estrutura das mesmas, pondo constantemente em evidência a qualidade de vida urbana e as vivências adquiridas. A constante evolução da forma urbana tem na praça um dos elementos determinantes para o desenvolvimento da malha urbana, revelando-se como o lugar público, estimulando o uso e apropriação do mesmo. Desta forma denota-se importante o conhecimento continuado das potencialidades e necessidades adjacentes à vida urbana. A dissertação elaborada tem como objetivo principal a análise da Ribeira das Naus em Lisboa, quanto à apropriação do espaço público e as diversas formas de comportamento exibidas pelos atuais utilizadores. Inicialmente são referidos três autores com abordagens e reflexões distintas em relação ao espaço público e à sua possível análise, posteriormente desenvolve- se um enquadramento da evolução histórica da praça e do jardim no tecido urbano. Na contextualização do caso de estudo procede-se a uma abordagem histórica do território ribeirinho de Lisboa quanto à evolução da malha urbana e da apropriação ribeirinha evidente ao longo dos séculos. A análise da Ribeira das Naus processa-se segundo a elaboração de mapeamento e registo de atividades e ocupação do espaço, execução de inquérito aos utilizadores do espaço e respetivos dados obtidos, síntese do mapeamento de apropriação e análise dos dadosrecolhidos. Depreende-se através deste trabalho que a importância do espaço público na vida contemporânea se traduz no equilíbrio para a vida humana, proporcionando diversos estímulos e sensações ao cidadão urbano, numa constante ativação da vida pública que contribui constantemente para o processo evolutivo das metrópoles.<br>The public space is expressed in different ways and variables within contemporary metropolises, whose idea of centrality takes an important role within structures, constantly highlighting the quality of urban life and acquired experiences. The constant evolution of the urbanformhasinthesquareoneofthedeterminantelementsforthedevelopmentoftheurban grid, which is revealed as the public space, encouraging it’s use and appropriation. Thus denotes an important on going knowledge of the potential and needs adjoining to urban life. The present dissertation has as it’s main goal the analysis of the Ribeira das Naus in Lisbon, regarding the appropriation of public space and the different forms of behavior exhibited by contemporary users. Initially there are referenced three authors with distinct approaches and refletions about public space and some possible analysis, subsequently develops an framework of the historical evolution of the square and garden in the urban tissue. In the context of the case study, proceeds to a historical approach of the riverside territory of Lisbon as the evolution of urban mesh and clear riverside/waterfront ownership over the centuries. The analysis of the Ribeira das Naus proceeds according to the development of mapping and activities registration and occupation of space, fullfilment of an inquiry to users of the space and respective data, synthesis of ownership mapping and analysis of collected data. Through this work emerges the importance of public space in contemporary life, reflected in the balance for human life, providing various impulses and sensations to the urban citizen, in an constant activation of public life that constantly contributes to the metropolis evolutionary process.

In this theoretic-practically focused diploma thesis I deal with the issue of an abandoned site and its potencial for the art creation itself. Firs I attempt to foreshow the modern aspects of the art in relation to the urban outskirts creation. I focus on the distinct graffiti phenomenon an its role within the cultural developement of the modern society. In connection with forementioned I aspire to define the phenomenon of site and space. Furthermore I adress the importance of the outskirts with reference to the environmental psychology. Afterwards I carry through a critical reflexion of the theoretical knowledge fragments and apply new findings while resolving the creative task. In the practical part of this thesis I create triptych of wall paintings in the environs of an urban outskirts on the topic of an abandoned site and consequently I carry out their explication.