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1
Cirfi, Walton Mirella. "Antonio Federighi, architetto." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ46509.pdf.
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Chelini, Emanuele <1993>. "Matteo Lucchesi architetto veneziano." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15294.
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Bulfone, Lorenzo. "Von Neumann: non solo architetto." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7909/.
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SPINAZZI, ALBERTO. "Tommaso Temanza: architetto, lettore, scrittore." Doctoral thesis, Università IUAV di Venezia, 2009. http://hdl.handle.net/11578/278585.
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Guidoboni, Francesco. "Giovanni Niccolo' Servandoni (1695-1766) : architetto." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010621.
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Il s’agit d’un projet de thèse doctorale en cotutelle – entre la «Sapienza» Università de Roma et l’Université de Paris I «Panthéon- Sorbonne » – visant à étudier la vie et l’oeuvre architecturale de Jean-Nicolas Servandoni, une figure d’artiste parmi les plus emblématiques et moins connues du XVIIIe siècle. Peintre, architecte et décorateur, Servandoni est connu pour avoir remporté le concours pour le projet de la façade principale de l’église Saint-Sulpice de Paris, et pour le grand nombre des décors réalisés d’abord pour l’Opéra, puis pour la Salle des Machines des Tuileries. Au cours de sa vie il eut la chance de travailler auprès des souverains les plus importants d’Europe, de Paris à Londres, de Madrid à Lisbonne, de Bruxelles à Vienne et encore à Dresde et Stuttgart. Ce travail de recherche s’est fixé pour objectif d’étudier les périodes les moins connues de sa vie, comme sa formation d’abord à Florence puis à Rome, ses premières missions en Angleterre avant son arrivée à Paris en 1724, ses voyages à travers l’Europe, son travail pour les plus importantes familles royales européennes, et les autres commissions d’architecture en France, au-delà du chantier de Saint-Sulpice. La difficulté majeure a été d’identifier les principales sources bibliographiques et documentaires à partir desquelles on a établi des renseignements biographiques qui ont été transmis à travers le temps jusqu’à aujourd’hui. Il était donc nécessaire de réaliser une opération de «nettoyage» de tous les renseignements faux ou inexacts «incrustés» dans les siècles sur la vie de Servandoni. Grâce à ce «nettoyage», il a été possible d’identifier les sources «premières», sur lesquelles reconstruire la biographie de notre architecte. La recherche dans les archives de plusieurs pays a mené à d’importantes découvertes, tel que la présence de Servandoni à Rome entre 1719 et 1720. Ici il résidait dans le palais du Prince Guido Vaini, un homme «entièrement attaché à la France» et lié au milieu du théâtre d’Alibert et Capranica, où Servandoni aurait évidemment pu se former comme scénographe. Tout cela a permis de formuler des hypothèses sur ses contacts dans la capitale de la papauté, comme son lien avec l’atelier de Benedeto Luti dans le Palais de Florence, où travaillaient, parmi d’autres, Jean Paul Pannini et William Kent. Cette étude a donc mis en évidence sa relation étroite et continue avec les britanniques tout au long de sa vie – à commencer par son séjour romain – de sorte qu’on peut relire son oeuvre architecturale avec une nouvelle clé, davantage liée au milieu palladien anglais. En outre, la lecture des documents a permis d’identifier deux enjeux fondamentaux, qui expliquent en même temps la réussite et l’échec de sa carrière : la question de la nationalité de Servandoni et la légitimation de son rôle d’architecte. Servandoni, en effet, par sa naissance italienne – pourtant d’un père d’origine lyonnaise – dès son arrivée en France fut toujours apprécié comme peintre et décorateur «de Florence». Pour sa qualité d’«ultramontain», il fut choisi par le curé Languet de Gergy, comme architecte de la fabrique de Saint-Sulpice, véritable symbole et point de référence de l’Église de Rome à Paris, contre les «novateurs» jansénistes. [...]This research work - a phd thesis in co-supervision between the "Sapienza" University of Rome and the University of Paris 1 "Panthéon-Sorbonne" - was born with the aim of shedding light on the life and work of the architect Giovanni Niccolo Servandoni, one of the most emblematic figures and less-known artist of the eighteenth century.At the same time he was painter, architect and decorator and his name was famous thanks to a large number of sets made for the Opéra and to the design of the façade of the church of Saint-Sulpice in Paris. During his life, Servandoni had the opportunity to travel throughout Europe, where he worked for the major courts of that time, from Paris to London, from Lisbon to Brussels, Vienna, Dresden and Stuttgart.The research work has the objective to investigating especially the lesser-known aspects of the architect's life, like as the period of his training in Florence and Rome, the years where he lived in England before his arrival in Paris in 1724, his travels in Europe and his architectural work as well as the site of Saint-Sulpice, both in France and abroad.Thanks to this research, Servandoni's complete work- so vaguely interpreted as an anticipation of the "goût à la grecque" and the revival of the classicism of the late of eighteenth century - is reinterpreted as the result of his training in Italy and England. It is indebted, in fact, that as well the classicism that characterized the Florentine architecture of that period as his close contact with the English Palladian circle and with the Wren, Vanbrugh and Hawksmoor's works, exercised a great influence on him
Questo lavoro di ricerca - una tesi di dottorato in co-tutela tra la « Sapienza » Università di Roma e l’Université de Paris I «Panthéon- Sorbonne» - è nato con l’obiettivo di far luce sulla vita e l’opera dell’architetto Giovanni Niccolò Servandoni, una tra le figure d’artista più emblamatiche e meno conosciute del XVIII secolo. Allo stesso tempo pittore, architetto e decoratore, il suo nome è rimasto famoso per il gran numero di scenografie realizzate per l’Opéra e per il progetto della facciata della chiesa parigina di Saint-Sulpice. Durante il corso della sua vita, Servandoni ebbe l’opportunità di viaggiare in tutta Europa, dove lavorò presso le più importani Corti dell’epoca, da Parigi a Londra, da Lisbona a Bruxelles, Vienna, Dresda e Stoccarda. Una delle problematiche maggiori che il lavoro di ricerca ha manifestato, è stata la verifica della correttezza delle notizie riportate dalle fonti a stampa, sia antiche che moderne. Le biografie esistenti dell’architetto riportavano infatti una serie di notizie inesatte o completamente infondate, che si erano «incrostate» nei secoli sulla sua figura. Si è resa quindi necessaria un’operazione di «pulizia» delle fonti che ha permesso di risalire ad alcune notizie certe e verificabili nei documeni d’archivio, che sono state la base su cui ricostruire la biografia dell’architeto. Il lavoro di ricerca si è posto l’obieivo di indagare in paricolar modo gli aspei meno noi della vita dell’architeto, come il periodo della sua formazione a Firenze e a Roma, i suoi anni di soggiorno in Inghilterra prima del suo arrivo a Parigi nel 1724, i viaggi in Europa e le commissioni di architettura oltre al cantiere di Saint-Sulpice, sia in Francia che all’estero. La ricerca d’archivio ha condotto a scoperte innovative, come la presenza di Servandoni a Roma tra il 1719 e il 1720, all’interno del palazzo del principe Vaini - uomo «entièrement attaché à la France» e legato all’ambiente dei teatri Capranica e d’Alibert - che ha permesso di formulare alcune ipotesi sulla sua vita e i suoi contatti nella cità pontificia. E ancora, lo studio ha messo in luce il forte rapporto che Servandoni ebbe con l’ambiente culturale inglese durante il corso di tutta la sua vita - già a partire dal suo soggiorno romano - tanto da poter rileggere la sua opera architettonica in una chiave nuova, più legata alla corrente palladiana che all’architettura romana o francese di quegli anni. L’interpretazione dei documenti ha portato inoltre all’individuazione di due tematiche fondamentali che, spiegano allo stesso tempo la riuscita e la crisi della carriera di Servandoni : il problema della sua nazionalità e quello della legitimazione del suo ruolo di architetto. [...]
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ZINI, SILVIA. "PKC: Paffard Keatinge-Clay architetto itinerante." Doctoral thesis, Università IUAV di Venezia, 2015. http://hdl.handle.net/11578/278352.
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ROGNONI, FRANCESCA. "Cola dell’amatrice Architetto nei Cantieri Ascolani." Doctoral thesis, Università IUAV di Venezia, 2019. http://hdl.handle.net/11578/282398.
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EUSEBIO, FLAVIO. "GIACOMO TAZZINI, ARCHITETTO DI TRE CORTI." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/172807.
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Giacomo Tazzini, architect of three courts. Life and work by a versatile architect-engineer in Milan, from Repubblica Cisalpina to Italian Unification.
PhD thesis by Flavio Eusebio
The name of Giacomo Tazzini often comes out in many documents of restoration of buildings in Milan, Monza and other Lombard sites. Nonetheless it hasn’t been never realized a specific research about his work. Tazzini doesn't represent only a stylistic and professional continuances with his master Luigi Canonica. In forty years he creates some extraordinary works, for the aesthetic and the technique, that have changed the face of Milan. The matrix of the aesthetic taste of the facades of his buildings is the Neoclassic one, but in the interiors it is possible to see a progressive evolution of the ornamental language.
The works of Tazzini are very numerous if we consider not only court's assignments such as Royal Palace and the Scala Theatre, but even buildings and interiors for private commitment such as Spinola Palace. These assignments took place in Milan and in other Lombard cities. Sometime he used to design churches even if most of the time the architect that projected these sacred buildings was Tazzini's brother Giuseppe. The presence of Giuseppe has often determined confusion in attributions of altars or facades' projects.
The quantity and quality of discovered drawings made by Tazzini show a very clever figure, great architect and engineer and interior designer, able to consider all the details from the door-handles to the chandeliers. Tazzini represents one of the final complete designer. He has not studied at the university but at Canonica's studio. Considering the hugeness of the documents discovered the research examines only the most important works in Milan, as defined in the subtitle.
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BARBI, SIMONE. "Il carattere civile dell'Architettura: Raffaello Fagnoni Architetto." Doctoral thesis, Università IUAV di Venezia, 2017. http://hdl.handle.net/11578/278739.
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MICHELI, SILVIA. "Un altro architetto finlandese: Erik Bryggman (1891-1955)." Doctoral thesis, Università IUAV di Venezia, 2007. http://hdl.handle.net/11578/278236.
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Grisi, Tinuccio <1964>. "Architettura e verità. Emil Steffann architetto di chiese." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5287/1/grisi_tinuccio_tesi.pdf.
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La ricerca pone al suo centro lo studio dell'opera architettonica di Emil Steffann (1899-1968) la cui produzione realizzata consta, nel breve arco temporale che va dal 1950 al 1968, del ragguardevole numero di trentanove chiese, rappresentando un caso emblematico di progettazione e costruzione di edifici per il culto cristiano in grado di raffigurarne concretamente i principi fondativi liturgici, estetici e morfologici. L'architettura di Steffann, profondamente ispirata dallo spirito religioso, legata a figure primigenie che plasmano lo stare-insieme della comunità nella qualità corporea della materia, dove la presenza liturgica e monumentale si esprime nel silenzio e nella disponibilità di uno spazio circoscritto dai muri e direzionato dalla luce, concorre a definire nell'oggettivo amore per il vero la percezione estetico-teologica e la poetica formativa che connaturano, a nostro parere, progetto e segno della chiesa. Il testo concretizza il primo studio monografico completo di questo corpus architettonico e si basa sulla ricognizione diretta delle opere di Steffann; ne è derivata una narrazione non conseguente a un ordine cronologico o di presupposta importanza degli edifici, bensì che ricerca ed evidenzia corrispondenze tra nodi di una rete ideativa la quale, con diversi gradi di finitezza, in punti non sempre omogenei del tempo e dello spazio, denota un'esperienza autentica del comporre e del costruire. Il racconto individua gli oggetti architettonici, ne discute la consistenza aprendosi a riferimenti altri (in particolare il pensiero ecclesiologico-liturgico di Romano Guardini e quello estetico-teologico di Hans Urs von Balthasar) in grado di illuminarne la genesi e la manifestazione, li lega infine in sequenze analogiche. Una serie di tavole fotografiche originali, parte ineludibile e integrante della ricerca, testimonia dello stato attuale dei luoghi, connotando ulteriormente l'aspetto info-rappresentativo della loro composizione architettonica. In chiusura, la sintesi architetturale vuole essere uno strumento di verifica e progetto, quindi di trasposizione futura, correlato all'elaborazione documentaria.The research puts at its heart the study of the architectural work of Emil Steffann (1899-1968) whose builded production consists, in the short time 1950-1968, in the very considerable number of thirty-nine churches, representing an emblematic case-study of design of buildings for Christian worship, able to show its liturgical, aesthetic and morphological founding principles. The architecture of Steffann - deeply inspired by the religious spirit, linked to primigenee figures that shape the stay-together of the community in the corporeal quality of the material, where the liturgical and monumental presence is expressed into the silence and availability of the space enclosed by walls and oriented by the light - helps to define, in the objective love for the true, the aesthetic-theological perception and the shaping poetic that ingrain, in our opinion, the project and the sign of the church. The text achieves the first comprehensive monograph of this architectural whole, based on the direct survey of the works of Steffann; it arise a story that does not depend on a chronological order or presumed prominence of the buildings, but that research and highlights the correspondences between nodes of a creative network which - with varying degrees of completeness, in not always homogeneous points of time and space - denotes an authentic experience of composing and building. The story identifies the architectural objects, discusses their consistency (to open itselt to other references, particularly the ecclesiological and liturgical thinking of Romano Guardini and the theological-aesthetic of Hans Urs von Balthasar, able to illuminate their genesis and manifestation), then binds them in analogical sequences. A series of original photographic plates, integrant and unavoidable part of the research, shows the current state of the places, further connoting the info-representative aspect of their architectural composition. The architectural synthesis aims to be a testing and design tool.
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Grisi, Tinuccio <1964>. "Architettura e verità. Emil Steffann architetto di chiese." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5287/.
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La ricerca pone al suo centro lo studio dell'opera architettonica di Emil Steffann (1899-1968) la cui produzione realizzata consta, nel breve arco temporale che va dal 1950 al 1968, del ragguardevole numero di trentanove chiese, rappresentando un caso emblematico di progettazione e costruzione di edifici per il culto cristiano in grado di raffigurarne concretamente i principi fondativi liturgici, estetici e morfologici. L'architettura di Steffann, profondamente ispirata dallo spirito religioso, legata a figure primigenie che plasmano lo stare-insieme della comunità nella qualità corporea della materia, dove la presenza liturgica e monumentale si esprime nel silenzio e nella disponibilità di uno spazio circoscritto dai muri e direzionato dalla luce, concorre a definire nell'oggettivo amore per il vero la percezione estetico-teologica e la poetica formativa che connaturano, a nostro parere, progetto e segno della chiesa. Il testo concretizza il primo studio monografico completo di questo corpus architettonico e si basa sulla ricognizione diretta delle opere di Steffann; ne è derivata una narrazione non conseguente a un ordine cronologico o di presupposta importanza degli edifici, bensì che ricerca ed evidenzia corrispondenze tra nodi di una rete ideativa la quale, con diversi gradi di finitezza, in punti non sempre omogenei del tempo e dello spazio, denota un'esperienza autentica del comporre e del costruire. Il racconto individua gli oggetti architettonici, ne discute la consistenza aprendosi a riferimenti altri (in particolare il pensiero ecclesiologico-liturgico di Romano Guardini e quello estetico-teologico di Hans Urs von Balthasar) in grado di illuminarne la genesi e la manifestazione, li lega infine in sequenze analogiche. Una serie di tavole fotografiche originali, parte ineludibile e integrante della ricerca, testimonia dello stato attuale dei luoghi, connotando ulteriormente l'aspetto info-rappresentativo della loro composizione architettonica. In chiusura, la sintesi architetturale vuole essere uno strumento di verifica e progetto, quindi di trasposizione futura, correlato all'elaborazione documentaria.The research puts at its heart the study of the architectural work of Emil Steffann (1899-1968) whose builded production consists, in the short time 1950-1968, in the very considerable number of thirty-nine churches, representing an emblematic case-study of design of buildings for Christian worship, able to show its liturgical, aesthetic and morphological founding principles. The architecture of Steffann - deeply inspired by the religious spirit, linked to primigenee figures that shape the stay-together of the community in the corporeal quality of the material, where the liturgical and monumental presence is expressed into the silence and availability of the space enclosed by walls and oriented by the light - helps to define, in the objective love for the true, the aesthetic-theological perception and the shaping poetic that ingrain, in our opinion, the project and the sign of the church. The text achieves the first comprehensive monograph of this architectural whole, based on the direct survey of the works of Steffann; it arise a story that does not depend on a chronological order or presumed prominence of the buildings, but that research and highlights the correspondences between nodes of a creative network which - with varying degrees of completeness, in not always homogeneous points of time and space - denotes an authentic experience of composing and building. The story identifies the architectural objects, discusses their consistency (to open itselt to other references, particularly the ecclesiological and liturgical thinking of Romano Guardini and the theological-aesthetic of Hans Urs von Balthasar, able to illuminate their genesis and manifestation), then binds them in analogical sequences. A series of original photographic plates, integrant and unavoidable part of the research, shows the current state of the places, further connoting the info-representative aspect of their architectural composition. The architectural synthesis aims to be a testing and design tool.
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Gili, Viviana Maria <1986>. "Edoardo Arborio Mella (1808-1884), restauratore ed architetto." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7398.
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L'elaborato si propone di analizzare le metodologie conservative e di restauro del conte Edoardo Arborio Mella (1808 – 1884), inserendolo all'interno del dibattito europeo sul Neogotico. La schedatura di disegni inediti conservati presso l'Archivio di Stato di Vercelli - che vanno ad integrare il fondo Arborio Mella depositato presso l'Istituto di Belle Arti cittadino - permetterà di esaminare le pratiche adottate dall'architetto nei suoi interventi.
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Lang, Jakob Evelyne Lang Evelyne. "Les premières femmes architectes de Suisse /." [S.l.] : [s.n.], 1992. http://library.epfl.ch/theses/?nr=1079.
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Caraffa, Costanza Chiaveri Gaetano. "Gaetano Chiaveri (1689 - 1770) architetto romano della Hofkirche di Dresda /." Cinisello Balsamo (Milano) : Silvana, 2006. http://www.loc.gov/catdir/toc/casalini04/06503454.pdf.
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SAMBIN, DE NORCEN MARIA TERESA. "Il cortigiano architetto : episodi di cultura aedificatoria ferrarese, 1434-1462." Doctoral thesis, Università IUAV di Venezia, 2001. http://hdl.handle.net/11578/278438.
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MARCIANO, ANTONELLA. "Giovanni Antonio Dosio architetto (1533-1610) e la committenza Acquaviva d'Aragona." Doctoral thesis, Università IUAV di Venezia, 2002. http://hdl.handle.net/11578/278448.
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FALASCHI, GAETA GIOVANNI BRUNO. "Giuseppe Lucatelli Architetto (1751-1828): un segno europeo nella Marca dei Teatri." Doctoral thesis, Università degli Studi di Camerino, 2013. http://hdl.handle.net/11581/401689.
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Vari i motivi che hanno indotto a scegliere il tema: la passione profonda per la musica, presto estesa agli spazi che ne favoriscono la produzione e l'ascolto, e - insieme - l'incoraggiamento dei docenti del dottorato verso temi volti a valorizzare il territorio, e la Marca batte molte regioni per la diffusione e la qualita' architettonica dei teatri. La predilezione particolare per Giuseppe Lucatelli (Mogliano 1751- Tolentino 1828), affermatosi come pittore ma felicemente approdato all'architettura e all'architettura teatrale, e' sopraggiunta con la ricognizione di tanti suoi edifici e la scoperta di intuizioni e sintesi compositive proprie d'un progettista rivelatosi, a sorpresa, non convenzionale e d'orizzonte europeo. Il merito che i grandi dell'arte, della cultura e della politica del suo tempo riconobbero a quella produzione e, per converso, gli scritti modesti e d'occasione ad essa in seguito dedicati hanno rafforzato la scelta; la recente parziale distruzione del primo e forse piu' convincente edificio da lui realizzato l'ha resa, infine, ineludibile. Un violento incendio, divampato nel Teatro Nicola Vaccai di Tolentino il 29 luglio 2008, alle ore 18 circa, dopo l'allontanamento degli operai che nel cantiere li' aperto avevano atteso ad impermeabilizzare il tetto, determinava il crollo di parte del singolare edificio, realizzato appunto da Giuseppe Lucatelli sul finire del ‘700 ed inaugurato in eta' napoleonica. Ancora una volta un'antica sala da spettacolo all'italiana, edificata per produrre azioni sceniche, evocare illusioni, eseguire ed ascoltare al meglio composizioni musicali, per riunire, ricreare e - possibilmente - assimilare tra loro cittadini nella percezione del bello e del dilettevole, ha rivelato la sua estrema vulnerabilita', condizione forse non estranea all'incanto che sale cosa'¬ concepite continuano a diffondere. Le pagine che seguono tenteranno di restituire vita almeno ideale ai poveri resti del ''Vaccai'' risparmiati dal fuoco. Ringrazio tutti coloro che, con cortesia e competenza, hanno facilitato lo svolgimento della ricerca, in particolare l'arch. Pierluigi Salvati, responsabile della Soprintendenza per i Beni Ambientali e Architettonici delle Marche per le province di Ancona e Macerata, nonche' curatore del restauro del Teatro Vaccai di Tolentino, mons. dott. Sandro Corradini, conoscitore degli archivi romani laici ed ecclesiastici, la dott.ssa Laura Mocchegiani dell'Archivio comunale di Tolentino e la dott.ssa Cecilia Guarino dell'Archivio comunale di Mogliano. Ringrazio i professori Maria Luisa Neri e Francesco Maria Quinterio per aver orientato, durante i corsi universitari, il mio interesse verso la Storia dell'Architettura. Ringrazio soprattutto il professor Federico Bellini per aver accettato e svolto con generosita' la funzione di Tutor. * Per il cantiere attualmente aperto nell'edificio cfr. P. SALVATI - A. MAZZONI - D. BATTISTELLI, Tolentino (MC) - Teatro Vaccaj. Lavori di restauro, recupero funzionale, riparazione danni, ricostruzione, ammodernamento, miglioramento e adeguamento alla normativa di sicurezza. Prima parte: dall'emergenza alla consegna dei lavori, in ''Rimarcando'', 6 (2011), pp. 26-39.
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Collavo, Lucia <1966>. "Documenti e ragionamenti su Francesco Zamberlan architetto e ingegnere bassanese (1529 ca. - post 1606)." Doctoral thesis, Università Ca' Foscari Venezia, 2006. http://hdl.handle.net/10579/514.
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Thomas, Frances Ellen. "The Renaissance construction of the "architetto doctissimo" : Bramante in the court of Pope Julius II." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28552.
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Donato Bramante (1 444- 1514) is conventionally represented by Renaissance writers, and twentieth century art historians alike, as the "architetto doctissimo", the "saviour" of the classical manner, and "the inventor and light of all good architecture". Yet, despite a widely promoted programme of architectural renewal under Pope Julius II (1503- 1513), a surprisingly small number of his projects were actually built, or if built, proved structurally sound. Even St. Peter's, the centrepiece of Julius II's imperialistic ambitions, remained incomplete with a few, structurally inadequate walls erected amidst the ruins of the old basilica before Bramante's death. Certainly, the recognition of Bramante as Julius II's Papal Architect was and is based upon more than his actual architectural designs or production. In order to understand the bases of Bramante's image, this study explores the discrepancies between the various discourses surrounding the architect and his production, particularly as they relate to his position as Pope Julius II's principal architect, the historical situation of Renaissance Rome, and contemporary architectural theory and practice. Re-inserting these discrepancies within the specific social and institutional framework which produced them, this thesis addresses these questions: From what specific circumstances was the image of Bramante's "genius" created, and thus created, how did it function in relation to the challenge of alternative historical viewpoints?
Chapter One of the thesis focuses on a number of specific texts to illustrate the interplay of architectural theory, practice and patronage from different periods and sites within the Quattrocento. These discussions, while informed by the specific demands of their respective situations, share a humanistic emphasis on theoretical liberal arts values in their formulation of an intellectual architect type (in difference to the architect of contemporary practice) whose elevated status is seen to reinforce the social position of the patron. Chapter Two deals with the historical documentation of Bramante's image through biographies, records and memorials, including foundation medals issued by the papacy as well as his pamphlet of sonnets on the extant monuments of Ancient Rome, the Antiauarie Prosoetiche Romans In accordance with the general formulation of the ideal architect, the qualities consistently emphasized in Bramante's construction are his knowledge of classical architecture and his skills in poetry, painting and music. Thus he is described in direct opposition to contemporary building practice, which is represented in the literature by his contemporary, Giuliano da Sangallo, whose mechanical arts training and practice serve as a foil to Bramante's characterization as the historical realization of a type previously restricted to theory.
Chapter Three considers Bramante's image within the context of the alternative, contemporary viewpoints which it challenges. These historical discrepancies do not serve to reveal the 'truth' behind a false construction, but signal an alternative position, broadly located in traditional architectural conventions, with which the representation of Bramante's image would originally have been engaged. It is through the active dialogue between these opposing viewpoints and representations, the interests of the papacy and Renaissance Rome, that the complexities and workings of Bramante's image can be understood. Although Julius II relinquished his traditional, symbolic role as the designer of his architectural projects to Bramante, he ultimately achieved greater recognition for himself and the papacy through the promoted image of his learned architect and his grand projects. In this construction, the "great artist" was recognized as an important attribute of the "great patron". This situation, however, did not signal the actual rise in social status of artists often attributed to the Renaissance, but rather its representation ; for ultimately, the patron, in practice if not in name, remained the "architect" of both his client and his projects.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Kempfer, Jacqueline. "Das Amt des Architetto del Popolo Romano : die Geschichte einer Institution unter besonderer Berücksichtigung von Carlo Rainaldi /." Frankfurt am Main : Kunstegeschichtliches Inst, 1994. http://catalogue.bnf.fr/ark:/12148/cb40962627f.
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ZAGAROLI, ANTONIO. "Il nuovo palazzo abbaziale di Loreto di Montevergine nel progetto di Domenico Antonio Vaccaro, "primo architetto di tutta l'Europa"." Doctoral thesis, Università IUAV di Venezia, 1998. http://hdl.handle.net/11578/278420.
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RAMONDETTI, DARIO. "Francisco Keil do Amaral (1910-1975): architetto degli spazi verdi nella Lisbona salazarista : progetti per i parchi della capitale." Doctoral thesis, Università IUAV di Venezia, 2017. http://hdl.handle.net/11578/278752.
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AVON, ANNALISA. ""Renaitre de nouveau antiques" : la Francia del primo seicento e l'opera di Jacques Le Mercier (1585-1654), architetto di Richelieu." Doctoral thesis, Università IUAV di Venezia, 1996. http://hdl.handle.net/11578/278384.
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Mittone, Margherita <1997>. "La figura professionale dell'ingegnere-architetto e il suo ruolo nella conservazione dei monumenti a Venezia tra la fine dell'Ottocento e inizio Novecento." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20936.
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L'elaborato intende in un primo momento studiare la formazione e la rilevanza culturale della figura professionale dell'ingegnere-architetto a Venezia nel periodo tra la fine dell'Ottocento e l'inizio del Novecento. Dopo aver messo in luce l'ambivalenza della detta figura, attiva sia in settori strettamente tecnici, ma anche teorici e artistici, si utilizzerà come filo conduttore la figura dell'ingegnere-architetto Filippo Lavezzari per comprendere le specificità e la cultura del restauro della figura professionale anzidetta. In un primo momento si analizzerà la carriera di questo personaggio nel settore dell'ingegneria civile e la sua rilevanza nella definizione degli assetti di categoria e la sua visione dello sviluppo urbano della città di Venezia. Dopo, si studieranno gli specifici interventi di Filippo Lavezzari nell'ambito della conservazione del patrimonio monumentale, prima in quanto tecnico attivo a Palazzo Reale, al servizio della Real Casa, e poi come membro della Commissione per la ricostruzione del Campanile di San Marco. Infine, si cercherà di dare una definizione complessiva alla cultura del restauro di Filippo Lavezzari.
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Du, Preez Jaco Andries. "Understanding the architect in enterprise architecture : the Daedulus Instrument for architects." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/57172.
Full textAbstract:
With numerous enterprise architecture management (EAM) methodologies, frameworks,
and tools, there is still no universally accepted standard on what Enterprise Architecture
(EA) really means to practicing architects. Traditionally practitioners concentrated on
specific aspects of EA, such as tools, repositories, components and frameworks. However,
little attention was given to the architect, who completes this trio of system perspectives
(people, process & technology). This thesis reports on the research findings from multiple
studies that investigated diverse factors and attributes that are associated with enterprise
architects; the belief systems of enterprise architects as they pertain to enterprise
architecture and enterprise architecture management; the behavioural styles of enterprise
architects which they follow within their socio-technical environment, as well as enterprise
architect profiles, representing a specific enterprise architect viewpoint. The enterprise
architect belief systems affect the worldview and ultimately the school of thought of the
practicing architect. Similarly, the role and competency of enterprise architects operating
within their working environment affects their behavioural style.
This thesis made use of design science research as a foundational strategy, making use of
various research methodologies including a systemic literature review and qualitative
surveys and the use of the framework for the evaluation of design science research (FEDS).
The design science research strategy allowed for the development of the design artefact as
well as its technology-based implementation, the Daedalus Instrument for Architects (DIA).
DIA can be used in conjunction with existing EA frameworks and methodologies, such as The
Open Group Architecture Framework (TOGAF) for the understanding of architects on why
they operate and perform architectural designs in the way they do. The findings may assist
enterprise architects and EA stakeholders concerned with having the right calibre of person
acting as an enterprise architect fulfilling a specific architecture function within an EA team
or EA practice.
Keywords: Enterprise Architecture, Enterprise Architecture Management, Enterprise
Architect, EA Factors, Architect Attributes, EA Schools of thought, Architect Belief Systems,
Architect Styles, Architect Behavioural Styles, Architect Profiles, Architect Viewpoints,
Architect Archetypes, Daedalus Instrument, Daedalus Instrument for Architects, DIA, EA,
EAM, TOGAF.Thesis (PhD)--University of Pretoria, 2016.
tm2016
Informatics
PhD
Unrestricted
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Arboritanza, Loreno. "Leonardo Ricci: l'abitare (umano) 1950-1970." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/15697/.
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L’architetto Leonardo Ricci (1918-1994), pittore, scenografo, urbanista, docente, è stato un esponente della «scuola fiorentina» che ha come sua figura di riferimento Giovanni Michelucci, suo maestro.
Questa ricerca di tesi ha lo scopo di analizzare i progetti dell’architetto legati al tema dell’abitare, a cavallo tra gli anni Cinquanta-Settanta.
Il tema dell’abitare è un tema che accompagnerà Ricci per tutta la sua carriera.
Fulcro principale del suo progettato è legato ad una concezione «esistenziale» del fare architettura, conferendo allo spazio il primato assoluto: dinamico, continuo, organico, lo spazio viene modellato dagli «atti di vita» di chi lo abita e che solo in ultimo si concretizza in forma: qui il rifiuto dell’architetto di forme prestabilite e dettate da un particolare «stile».
Attraverso lo studio approfondito di tre progetti di residenza (la Casa teorica a Monterinaldi, la Casa Bruno Rossi a Montepiano, la macrostruttura Habitation study), questa tesi vuole indagare e riassumere le principali fasi di ricerca che accompagnano l’architetto in questi anni: dalla diffusione dell’idee organicistiche di matrice wrightiana negli anni Cinquanta a quelle di natura espressionista durante gli anni Sessanta.
Sebbene questi progetti non siano stati realizzati, metteranno in evidenza le principali caratteristiche legate alla sua progettazione e riassumibili nei seguenti punti: linea di terra / aggregazione volumetrica / spazio centrifugo / continuità spaziale / dinamismo spaziale.
In conclusione, lo scopo di questa tesi è di contribuire a una maggiore conoscenza di questo architetto, di cui poco è stato pubblicato e poco ancora si conosce, esaminando le circostanze, le difficoltà e le innovazioni, ancora attuali, che hanno portato Leonardo Ricci alla definizione di spazi inediti dell’abitare.
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Decommer, Maxime. "Les architectes au travail : les conditions d'apparition, d'évolution et d'uniformisation des lieux et des structures d'activités des architectes, 1795-1940." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST1014.
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De la libéralisation des métiers lors de la Révolution à la fondation de l'ordre des architectes en 1940, le milieu de l'architecture est traversé d'actions, de débats et de combats tendant à l'institutionnalisation de la profession d'architecte. Ce long processus, visant la réglementation de l'accès à la profession et l'obtention du monopole sur l'architecture à partir de la définition et de l'affirmation d'une identité sociale et professionnelle unique de l'architecte, est marqué par plusieurs étapes inhérentes au processus de professionnalisation, parmi lesquelles la revendication de l'exercice d'un travail, l'établissement d'écoles de formation, la constitution d'associations professionnelles ou encore la promulgation d'un code de déontologie. La détermination des règles d'activités constitue également un jalon du mécanisme, influant au jour le jour sur l'évolution des modalités de la pratique des architectes. Si plusieurs travaux de recherche ont déjà été consacrés à l'histoire de la profession d'architecte, peu ont traité l'histoire de la détermination de ces règles d'activité et, conséquemment, celle de l'organisation du travail des architectes. À partir de l'étude des lieux et des structures d'activités communément nommées « agences » par les architectes, ce travail ambitionne d'interroger sur le temps long la réciprocité des apports du processus d'institutionnalisation de la profession et de la définition des règles d'activités des architectes. Notre hypothèse générale pose que les grandes forces actives dans le processus d'institutionnalisation de la profession – telles l'État agissant comme maître d'ouvrage public, les grands maîtres d'ouvrages privés nés de la révolution industrielle, les associations corporatistes ou encore l'École des Beaux-Arts – ont, tout en reconnaissant à certains individus le statut, le rôle et parfois anachroniquement le « titre » d'architecte, également influencé, voire codifié, les modes, les conditions et les méthodes de travail des acteurs du milieu qu'elles légitimaient. En reconstituant l'histoire du terme « agence », c'est donc également celle d'un groupe professionnel que nous retraçons. Dans une première partie, les origines du mot « agence », employé dès la fin du XVIIIe siècle et tout au long du XIXe par l'État pour définir les structures d'activité des maîtres d'œuvre répondant à la commande publique, révèlent la force du pouvoir étatique sur la pratique des architectes, à partir notamment de la normalisation de l'acte de la construction ; l'agence des travaux publics apparaît comme un instrument d'homogénéisation. Dans une deuxième partie, la diffusion du modèle d'organisation du travail des architectes conçu par l'État au cours du XIXe siècle aux services publics décentralisés et spécialisés d'architecture, ainsi que sa reprise par certaines compagnies privées d'investisseurs de la révolution industrielle, illustre la transmission de méthodes à divers sous-groupes de la profession. Dans une troisième partie, après l'adoption du code Guadet en 1895 par les associations professionnelles, texte fondateur de l'affirmation de l'exercice libéral, les influences du marché et de la commande sur l'évolution des agences sont observées et expliquent l'introduction et le développement de l'exercice salarié et en association dans la profession d'architecteFrom the liberalization of professions during the French Revolution to the foundation of the Order of Architects in 1940, the architectural world has been confronted to actions, debates and fights, which led to institutionalizing the profession of architect. This long process aimed at the regulation of access to the job and at the monopolization on architecture, through the definition and affirmation of a unique social and professional identity of the architect. It is made of several steps, all inherent in the professionalization process: the claim to a working activity, the establishment of training schools, the creation of professional associations, or the promulgation of a deontology code. The establishing of working rules is also a milestone to this process, influencing day by day the evolution of architects' practices. Already some research have been done in the general history of the profession of architect, but only a few have considered the history of these working rules, and, thus, of the working organization of architects. This research starts from the study of the places and structures, commonly called “offices” (agence) by the architects. It aims at questioning in the long run the reciprocal relation between the institutionalization of the profession and the definition of the working rules of the architects. The general hypothesis is the following: the active forces in the process of institutionalization of the profession – such as the State acting as a public sector contractor, the private sector big contractors born out of the industrial revolution, the corporate associations, the School of Fine Arts – have on the one hand given the status, role and, sometimes in an anachronistic way, the title of “architect”, and on the other hand influenced, even codified, the working conditions and methods of the actors they were legitimating. By reconstituting the history of the term “office”, this research also reconstructs the history of a profession. In a first part, we show that the word “office” has been used from the end of the 18th century and all along the 19th century by the State, in order to define the structures of activity of the project managers dealing with public procurement. This shows the strength of the state power on the architects' practices, through the normalization of the building process. The public works administration appears to be a tool of standardization. In a second part, the pattern for organizing the work of architects, designed by the State during the 19th century, is generalized to the decentralized and specialized architectural public services. It is also used by some private investment companies during the industrial revolution. This illustrates the transmission of methods to different sub-branches of the profession. In a third part, we start from the adoption of the Guadet code in 1895, a seminal text about liberal professions. We show how the growing influences of market and command on offices explain the introduction and development of the salaried and associational employment
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Guillerm, Elise. "L'architecte Jean Dubuisson (1914-2011) : le dessin à l'épreuve des usages." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010590.
Full textAbstract:
L'œuvre de l'architecte Jean Dubuisson prend appui sur une culture artistique familiale et un cursus honorum, couronné d'un Grand Prix de Rome en 1945. Ce parcours académique et sa connaissance de l'avant-garde internationale sont ses principaux atouts face à la multiplication des demandes de l'après-guerre. Sa production vise à concilier deux champs apparemment contradictoires, l'héritage de l'École des Beaux-arts et une modernité affirmée. Marqué par Mies van der Rohe ou Jean Prouvé, il développe une architecture graphique, épurée et innovante, grâce à l'usage de l'aluminium et de matériaux verriers. En région parisienne, dans le Nord et dans l'Est, il contribue à la définition d'un habitat raffiné. À la tête d'une importante agence à Paris, il conçoit des plans de villes, édifie le musée des Arts et Traditions populaires, restaure la villa Savoye. Il obtient des responsabilités institutionnelles et s'engage dans le débat doctrinal : architecte des Bâtiments civils et des Palais nationaux, il enseigne à l'École Saint-Luc de Tournai et préside le Cercle d'études architecturales. Son action est soutenue par les instances traditionnelles de la profession et la sphère technique. Dans ses différentes fonctions, il renouvelle les compétences et les modes opératoires de l'architecte : échanges transnationaux, collaborations artistiques, contribution au design, restauration du patrimoine moderne. Durant un siècle riche de bouleversements, il incarne une modernité hégémonique et affronte ses contradictionsThe oeuvre of the architect Jean Dubuisson rests on an artistic upbringing and a cursus honorum, crowned by a Grand Prix de Rome in 1945. His academic record and knowledge of the international avant-garde were his main assets when faced with the increase of commissions in the post-war era. His production aimed to reconcile two seemingly contradictory fields: the heritage of the École des Beaux-arts and an affirmed modernity. Marked by Mies van der Rohe or Jean Prouvé, he developed a graphie, uncluttered and innovative architecture through the use of aluminium and glassware. He contributed to the design of sophisticated housing in the Paris area and in the North and East of France. White at the head of an important Parisian agency, he designed city plans, constructed the Musée des Arts et Traditions populaires (Museum of popular arts and traditions), and restored the villa Savoye. He gained institutional responsibilities and engaged in the doctrinal debate: as an architecte des Bâtiments civils and Palais nationaux (architect of Civil Buildings and National Palaces), he taught at the École Saint-Luc de Tournai and presided over the Cercle d'études architecturales (society of architectural studies). His activity was supported both by traditional authorities in the profession and by the technical sphere. In the course of his various duties, he renewed the scope of the architect's skills and work methods: transnational exchanges, artistic collaborations, contribution to design, and restoration of modern built heritage. During a century of intense upheaval he embodied hegemonic modernity and faced its contradictions
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White, John Philip Jr. "Architect / Builder: Builder / Architect." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/41299.
Full textAbstract:
Throughout architectural history, the relationship between builder and architect has been ever-changing. Architects traditionally evolved from the building trades with a fundamental understanding of the principals behind construction. Architects have since evolved into a profession based in academics, not in actual tacit knowledge. The current relationship between architects and builders is complex. The Architect questions the ability of the builder. The builder questions the knowledge of the architect. Collaboration has become very difficult. These buildings are an attempt to use the built environment as a tool for both the architect and builder to gain a better understanding of what the other does.Master of Architecture
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Gudelytė, Indrė. "Architekto Justino Šeiboko kūryba." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100803_110143-32939.
Full textAbstract:
Baigiamajame darbe ne tik nagrinėjama J. Šeiboko kūryba, bet ir perteikiamos architekto įžvalgos skirtingų sociokultūrinių laikmečių kontekste, nušviečiama J. Šeiboko pedagoginė veikla, pateikiami kolegų komentarai analizuojamais klausimais. Darbas atskleidžia architekto kūrybinius principus, J. Šeiboko kūrybos vertę ir jai kylančias išlikimo grėsmes. Yra daroma išvada, kad J. Šeiboko kūriniai - vertingi architektūriniu, meniniu požiūriu ir tai yra svarus indėlis į šiuolaikinę Lietuvos architrektūrą. Baigiamojo darbo įvade aprašomas darbo aktualumas ir ištirtumas, tikslas, tyrimo uždaviniai, įvardijami moksliniai nagrinėjimo metodai. Pirmajame skyriuje pateikiama J. Šeiboko kūrybos analizė – aprašomi ne tik ryškiausi, bet ir ne tokie žinomi J. Šeiboko architektūros objektai, atskleidžiamas jo kūrybinės asmenybės vystymasis. Antrame skyriuje į skirtingų laikmečių sociokultūrinį, politinį kontekstą stengtasi pažvelgti ne tik remiantis literatūroje dėstomais faktais, bet ir gretinant juos su J. Šeiboko architekto ir pedagogo įžvalgomis. Darbo pabaigoje formuluojami apibendrinimai. Darbą sudaro: įvadas, du skyriai, apibendrinimai, J. Šeiboko darbų sąrašas, literatūros ir šaltinių sąrašas, iliustracijų sąrašas bei priedas. Darbo apimtis: 90 p. teksto be priedų, 165 iliustracijos, 77 bibliografiniai šaltiniai, priedas.The final thesis approaches the creation of the architect J. Šeibokas as well as his insights in the context of divers sociocultural periods. In addition, the pedagogical activity of the architect is described and the comments of the colleagues are presented in correspondence to some analysed points. The Master paper reflects the essential principles of architect‘s creation and similarly proves the value of J. Šeibokas‘ creation and its survival threats. The main conclusion is, that the works of J. Šeibokas are architecturally and creatively valuable. Consequently, the creation of this architect is a weighty contribution to the contemporary Lithuanian architecture. The introduction of this research work defines the relevance and the exploration level of the Master thesis, the object, the goals and the methods of research used. The introduction also indicates the sources coherent to the research object. The first part of the Master paper is the analysis of J. Šeibokas‘ creation, where not only his most outstanding architectural objects are approached, but also less significant works, thus the development of the architects creative „self“ is revealed. In the second chapter the author of the final thesis intended to take a broader look to the divers sociocultural-political context with reference to J. Šeibokas‘ point of view as an architect as well as a professor. Lastly, the summation of the whole research is stated. Structure: introduction, two chapters, summation, the list of... [to full text]
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Rosenbaum, Laura. "La condition internationale des architectes : le monde en référence : représentations, pratiques et parcours." Thesis, Bordeaux, 2017. http://www.theses.fr/2017BORD0605/document.
Full textAbstract:
Les architectes forment en France une profession originale et à forte identité professionnelle. Denombreux travaux de recherches ont rendu compte d’évolutions, de mutations, d’adaptations à descontextes d’action régulièrement renouvelés. Au-delà de la révolution environnementale ounumérique, de processus de conception qui associent les populations, de conditions économiques etréglementaires plus contraignantes, l’un des phénomènes majeurs de ces deux dernières décenniesest une internationalisation des cursus de formation et des pratiques professionnelles. Bienqu’historiquement en France une majorité d’architectes exerce là où ils ont été formés, un nombrecroissant d’entre eux s’affaire, depuis les années 1980, hors des frontières (expatriation, export,partenariats). Alors que la profession a été pensée dans le cadre de l’État-Nation, la conditioninternationale devient plus fréquente. La thèse montre qu’un « nationalisme méthodologique » necorrespond pas à la réalité des pratiques et des représentations qui dépassent les territoiresnationaux.La sociologie des professions, articulée à des travaux de sociologie de l’international, offre denouvelles grilles de lecture aux pratiques des architectes. Elles montrent que la conditioninternationale s’impose dès la formation et a des effets sur les carrières : plus les étudiants viventd’expériences à l’étranger, plus ils y exercent. Une segmentation professionnelle en est le support :alter-architectes, humanitaires, institutionnels, entrepreneurs et icônes organisent leurs pratiques etcultivent des valeurs d’exercice dans le monde. De même, l’analyse de profils, sous forme deportraits, montre les socialisations en œuvre : les initiés acquis à la cause internationale ; lesuniversalistes dont les valeurs s’expriment à cette échelle ; les stratégiques qui organisent leurbiographie professionnelle à l’étranger ; les bivalents qui alternent travail local et hors des frontières.L’internationalisation d’une partie des diplômés ne transforme pas en profondeur l’identité collectivedu groupe, mais exprime un véritable renouvellement, trop souvent minoré, des dispositifs d’actionset des cultures professionnelles. La recherche combine approches qualitatives et quantitatives, etplusieurs sources : un questionnaire (1698 réponses), des entretiens semi-directifs (77), desobservations in situ, des études de cas, et une analyse documentaire. Les résultats montrent lepassage d’un modèle professionnel traditionnel à un modèle professionnel international. Finalement,plus que dans une mondialisation des échanges, les pratiques des architectes se structurent entre leséchelles d’action nationales et internationales. Une ouverture au monde qui a des chances des’accentuerIn France, architects form a unique profession with a strong professional identity. Numerousresearch projects have reported changes, developments and adaptations to regularly renewedcontexts of intervention. Beyond the environmental or digital revolution, design processes involvinglocal populations, and more restrictive economic and regulatory conditions, one of the majorphenomena of the last two decades is the internationalization of training courses and professionalpractices. Although historically a majority of the French architects practice where they have beentrained, since the 1980s a growing number of them have been working outside the borders(expatriation, export, partnerships). While the profession was conceived within the framework of theNation, the international condition becomes more frequent. The thesis shows that a "methodologicalnationalism" does not correspond to the reality of practices and representations that go beyondnational territories.The sociology of professions, articulated to works of the sociology of the international, offers newinterpretative frameworks of the practices of architects. They show that the international conditionis an integral part of the training and has effects on the careers: the more students gain internationalexperience, the more they practice abroad. This development becomes the basis of a professionalsegmentation: alter-architects, humanitarian and institutional architects, entrepreneurs and iconsorganize their practices and cultivate the value of their profession in the world. Similarly, the analysisof profiles, in the form of portraits, shows the processes of socialization: the insiders favorable to theinternational cause; the universalists whose values are expressed on this scale; the strategists whoorganize their professional biography abroad; the «bivalents » who alternate local and internationalwork. The internationalization of a part of the graduates does not profoundly transform thecollective identity of the group, but expresses a real renewal, too often underestimated, of actionmechanisms and professional cultures. The research combines qualitative and quantitativeapproaches and several sources: a questionnaire (1698 responses), semi-directive interviews (77), insitu observations, case studies, and a literature review. The results show the transition from atraditional national to an international professional model. Finally, more than in a globalization ofexchanges, the practices of architects are structured between the national and international scales ofaction. An openness to the world that is likely to increase
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Bosi, Elena. "“Volevo farmi una casa”. Leonardo Ricci e il villaggio di Monterinaldi: architettura, tecnica e concezione strutturale." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
Find full textAbstract:
Nel 1948 il giovane architetto Leonardo Ricci (1918-94), laureatosi a Firenze con Giovanni Michelucci, acquistò un terreno scosceso nella località di Monterinaldi, vicino Firenze con l’intenzione di costruire una casa-studio per sé e la sua famiglia. Dal 1950 al 1963, affiancato da G. Petrelli, E. Trapani e G. K. Koenig, Ricci realizzò accanto alla sua una serie di case unifamiliari fino a trasformare l’insediamento in una sorta di villaggio comunitario.
Quest’opera è stata sinora analizzata dalla storiografia con uno sguardo non approfondito sui singoli edifici e prevalentemente legato agli aspetti formali e teorici. La presente ricerca si propone dunque di realizzare un’analisi dettagliata del complesso, dal punto di vista sia architettonico che tecnico-costruttive e strutturali, esplorando il legame tra spazio, progetto e matericità dell’oggetto costruito e offrendo una visione a 360 gradi su un’opera emblematica dell’architettura italiana del secondo dopoguerra come il complesso di Monterinaldi.
Nella prima parte si è realizzata un’analisi dei singoli edifici del complesso, realizzando una sorta di abaco tipologico-progettuale e costruttivo; poi si è contestualizzato il risultato all’interno dell’architettura e della sperimentazione costruttiva del secondo dopoguerra in Italia e, più in particolare, all’interno dell’evoluzione dell’opera di Ricci.
In assenza di documenti di cantiere e progetti esecutivi per la costruzione degli edifici, l’analisi tecnico-costruttiva si è fondata sull’esame diretto degli edifici e sul confronto con le opere coeve o successive di Ricci analoghe per funzioni, forme e materiali.
Infine, nell’ultima parte si è operata un’analisi strutturale di casa-studio Ricci, concentrandosi sullo studio del comportamento delle strutture rispetto ai carichi verticali e alla vulnerabilità sismica.
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Franckevičiūtė, Nora. "Universalumo idėja architekto meninėje veikloje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140620_135332-39909.
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Baigiamajame darbe nagrinėjamas universalumo fenomenas architekto meninėje veikloje. Sinkretiška kūryba būdinga įvairių laikotarpių architektams nuo seniausiųjų civilizacijų kultūrų iki šių dienų. Vis dėl to, meistro sąvoka, kuri ne tik Renesanso bet ir ankstesniaisiais laikotarpiais turėjo sinkretiško kūrėjo reikšmę, kinta ir siaurėja specializacijos bei fragmentacijos reiškinių skaidomoje visuomenėje. Gilesnis šios temos tyrimas ir aktualizavimas pasaulio ir Lietuvos architektų kūrybos kontekste reikalingas norint pabrėžti sinkretiškumo svarbą architekto veikloje. Šis akcentas svarbus ne tik formuojant architektūros ir meno objektus, bet ir įprasminant platesnes šiandienos kultūrines, socialines bei gamtines-ekologines aktualijas.
Pirmajame darbo skyriuje – „Renesanso žmogus” – universalaus tipo kūrėjas“ – analizuojamos prielaidos ir istorinė patirtis, kurioje iškyla universalaus kūrėjo-architekto figūra. Nagrinėjama pati „universalaus kūrėjo“ samprata, jos genezė, raida bei aktualumas. Tyrinėjami „meistro“ ir „talento“ apibrėžimai, jų tarpusavio priklausomybė, ryšys bei sąsajos su sinkretiško kūrėjo paveikslu.
Antrajame skyriuje – „Architekto kūrybinio universalumo priežastingumai“ – apžvelgiami kontekstualūs (politiniai-ekonominiai, kultūriniai-tradiciniai, religiniai) aspektai, formuojantys sinkretiškos architektų raiškos poreikį.
Trečiajame skyriuje – „sinkretiškumo fenomeno raiškos formos“ – nagrinėjamos ir tipologizuojamos universaliõs architektų kūrybos sritys... [toliau žr. visą tekstą]The phenomenon of universality in the architect‘s creative activity is examined in the MA Thesis. Syncretism in the artistic expression is a characteristic feature of an architect from the earliest cultures up to the contemporary times. Nevertheless, the concept of a Master which not only in the Renaissance epoch, but also in the earlier historic periods had the meaning of a universal artist, has changed radically due to the processes of fragmentation and specialization in the society. A deeper research in the topic and its actualization is required to accent the importance of universality in the architect‘s activity while forming the objects of art and architecture as well as addressing the contemporary contextual cultural, social and ecological issues. The historical origins of the phenomenon of universality in the architect‘s creative activity are studied in the first chapter. The notions of the „Universal artist“, „Master“ and „Talent“ as well as their historical interpretations and relevance are analysed. Contextual political-econimic, cultural-traditional and religious aspects of the phenomenon of universality in the architect‘s creative activity are analysed in the second chapter. Various fields of the architects‘ universal creative activity are studied in the third chapter. First of all, the traditional forms of the universal artistic expression are analysed. Secondly, the change of concepts of creativity and art in the beginning of the modern era are examined... [to full text]
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Rush-Ossenbeck, Cody T. "The Architect." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1314715765.
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Hambraeus, Victorson Mattias. "After the Architects." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-159201.
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Developed from a desire to explore alternative ways of addressing aspects of architecture, the project After the Architects tells the story of the KTH School of Architecture building through the eyes of me - one of its many users. The project consists of a film, an exhibition and a hand book with mental excercises. Investigating the tools we have at hands as architects in the context of storytelling as a mean of communication, I wanted to dissect the many layers of interpretation and experiences a building consists of. It is often said that the core of a building is what it does and how it does this. Since buildings, rooms and spaces are experienced differently by everyone, I think the active use of subjectivity is the best way of approaching this theme. The KTH School of Architecture building has been my second home for five years. It has hosted architecture education since 1970, but after the summer of 2015, it is entering a new phase as the school is moving to a new building. Therefore, as a student leaving the building, I’m using my subjectivity as a tool for investigating the relationship between the course of time, the school building, and myself. Which effects and stories has it staged over the years and how has the building affected me, on an intellectual-, as well as on a personal level? Some of the themes I’ve been working with are; the aspects of time, memories and nostalgia, the different roles of a building, spaces as references, and the interplay between perspective, interpretation and meaning.Sprunget ur en önskan att undersöka alternativa sätt att diskutera arkitektoniska aspekter skildrar projektet After the Architects historien om KTH arkitekturskolans byggnad sett genom mina ögon i egenskap av en av dess många användare. Projektet består av en film, en utställning och en handbok med tankeövningar. Genom att använda mig av formen av historieberättande vill jag belysa den mängd av lager av tolkningar och upplevelser som en byggnad skapar förutsättningar för. Det sägs att kärnan i vad en byggnad är består av det den gör och hur den gör detta. Eftersom vi upplever byggnader, rum och platser på olika sätt anser jag att en aktiv användning av det subjektiva perspektivet är det bästa sättet att ta sig an detta ämne. KTHs Arkitekturskola har varit mitt andra hem de senaste fem åren. Sedan 1970 har det inrymt arkitekturutbildningen i Stockholm, men efter vårterminen 2015 går byggnaden in i en ny fas, då skolverksamheten flyttar till en ny byggnad. I egenskap av en student som lämnar byggnaden använder jag mig av min subjektivitet som ett analysverktyg för att undersöka relationen mellan tidens gång, byggnaden och mig själv. Vilka upplevelser och historier har den iscensatt genom åren och hur har byggnaden påverkat mig; både på ett intellektuellt- och på ett känslomässigt plan? Några av de teman jag arbetat med är: tiden & byggnaden, minnen & nostalgi, byggnadens olika roller, platser som referenser, och sambandet mellan perspektiv, tolkning och meningsskapande.
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Berkant, Cenk. "L'Impero Ottomano e l'Italia, le relazioni in architettura: Il caso di Smirne." Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3421713.
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This thesis aims at analyzing and emphasizing the works of Italian architects and engineers who were active in Izmir, during a period spanning from 1850s to 1930s. The presence of Italian architects and engineers in the Ottoman Empire goes back to the Tanzimat (1839, the Ottoman Reform Movement) which provided the foundation for changes in a range of areas including urban renewal programs. It was a necessity to invite Western architects and engineers to plan new urban areas which extended existing urban settings of the time and to erect new buildings reflecting European styles. This study focuses on the works of four Italian architects and engineers who were active in Izmir: Luigi Storari (1821-1894), Luigi Rossetti (1876-1949), Stefano Molli (1858-1917), and Giulio Mongeri (1873-1953).Questa tesi si propone di mettere in evidenza e analizzare i lavori degli architetti e ingegneri italiani attivi a Smirne dalla seconda metà dell’Ottocento agli anni Trenta del Novecento. La presenza degli architetti italiani nell’Impero Ottomano risale alle riforme ottocentesche denominate Tanzimat (1839), che diedero un impulso fondamentale alla trasformazione urbanistica in senso occidentale. Perché ciò avvenisse, era indispensabile invitare architetti e ingegneri occidentali per costruire nuovi edifici secondo lo stile in voga in Europa, e progettare l’apertura di strade in modo da permettere prolungamenti e futuri ampliamenti delle città. Questo lavoro si focalizza soprattutto su quattro architetti e ingegneri italiani, che furono attivi a Smirne, quali sono Luigi Storari (1821-1894), Stefano Molli (1858-1917), Luigi Rossetti (1876-1949) e Giulio Mongeri (1873-1953).
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Schmidt, Annette. "Ludwig Eisenlohr ein architektonischer Weg vom Historismus zur Moderne ; Stuttgarter Architektur um 1900 /." Stuttgart : Kommissionsverlag : Hohenheim, 2006. http://catalog.hathitrust.org/api/volumes/oclc/70574079.html.
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Slightly revised version of the author's dissertation as acccepted by the Universität Stuttgart in 2005.Copyright 2006 Archiv der Stadt Stuttgart. Includes bibliographical references (p. 625-640).
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Caycedo, Juan C. "The City Architect." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/216.
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It could be the most powerful tool any community might have to develop their built environment. Yet, due to political, social/cultural or economic factors, in most cities, it has been relegated to a secondary role or eliminated altogether. The ?City Architect? or ?Urban Design Director? is an underestimated area of professional expertise that can perform a missing role in the implementation of community visions, plans, and codes. The lack of proper tools and community design expertise in planning and architecture has produced a fragmented, flawed ?design? through ad hoc roles in shaping pieces of the built environment. There is a growing need for professionals with city design and urban architecture (?civic art?) expertise and education to guide community visions, plans and codes (particularly form-based codes) through their long-term implementation working with private developers, property owners, architects, elected officials, city departments, and the public on a parcel-by-parcel, building-by-building review and refinement process. This individual should be vested with the knowledge and capacity to direct the form of the city towards the future. The city architect should have the capacity to challenge and change the course of the city urban development as it evolves maintaining an environmentally sustainable and socially conscious vision. As Communities are shaped by different natural and artificial forces, the city?s evolution as an organic process has been the focus of study by many scholars and practitioners. This is a step by step method that procures the development of the city as a series of individual single steps towards a greater vision. Other professionals and urban planners have focused their efforts on developing formulas as a way to shape the city within a preconceived armature. Either way, there is a need of an individual (?Director?) that understands the political power to influence the development of communities and is empowered to enforce regulations that achieve cohesive sustainable and livable places. The city architect must understand of the aesthetic, socio/cultural and economic factors and the importance of context and contextual principles that lie intrinsically within the ?soul? of the community and are fundamental to new place making. The city architect must be capable to interpret and adjust the regulating mechanisms as required maintaining the city?s identity without necessarily imposing prescribed ideas that could alienate some groups and disconnect the community. Design professional rely less on formulas learned at school than on the improvisation learned within the professional practice. This unarticulated, largely unexamined process has been the subject of investigation of individuals interested in the study of the ?practice of the design? and is fundamental in the vital creativity of the city architect.
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Flores, Carol Ann Hrvol. "Owen Jones, architect." Diss., Georgia Institute of Technology, 1996. http://hdl.handle.net/1853/20841.
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Barreau, Joëlle. "Être architecte au XVIIe siècle : Libéral Bruand, architecte et ingénieur du roi." Paris 4, 2004. http://www.theses.fr/2003PA040271.
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Libéral Bruand (1631-1697) fut à la fois architecte, ingénieur du roi et l'un des premiers membres de l'Académie royale d'architecture. Son grand œuvre est l'Hôtel royal des Invalides qu'il bâtit de 1671 à 1676. Par ailleurs, il a bâti des maisons et des hôtels destinés à des commanditaires aisés (aristocrates ou financiers). Il a contribué à créer la typologie de la "maison de maître" en y introduisant les innovations techniques et distributives des hôtels des années 1630-1650. Son art privilégie le respect du programme, la clarté de l'ordonnance et la sobriété de l'ornement. Cette étude est la première monographie d'un architecte emblématique de la seconde moitié du XVIIe siècle ayant cumulé toutes les fonctions du monde du bâtiment de son époque. Elle est fondée sur de nombreuses sources et archives inédites provenant notamment du Minutier central des notaires. Outre l'étude systématique des quatorze ouvrages déjà connus de l'architecte, ces recherches ont permis de lui attribuer vingt-trois œuvres supplémentaires et d'en réfuter quatreLibéral Bruand (1631-1697) was concurrently an architect, a Royal Engineer, and one of the first members of the Royal Academy of Architecture. His great work was the Hôtel royal des Invalides that he built from 1671 to 1676. In addition, he built houses and hôtels intended for a wealthy clientele (aristocrats and financiers). He participated in creating the typology of the "maison de maître" by introducing technical and distributive innovations in hôtels in the years from 1630 to 1650. His art is characterized by a close respect of the program, clarity in planning, and sober ornamentation. This study is the first monograph dedicated to an architect who is representative of the second half of the seventeenth century and who had all the professional qualifications of the builder's milieu of his day. It is founded on abundant source material and unpublished archives, in particular the notarial records of the Minutier central des notaires (Archives nationales, Paris). Beyond the systematic study of the fourteen works that were previously credited to the architect, this research has made it possible to credit him with an additional twenty-three works and to deattribute four
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Svoboda, Jiří. "Architekt Jiří Voženílek ve Zlíně." Doctoral thesis, Vysoké učení technické v Brně. Fakulta architektury, 2010. http://www.nusl.cz/ntk/nusl-233229.
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Jiří Voženílek was born on August 14th, 1909 in Holešov. He attended high school in Prague, where he also studied architecture at the ČVUT and he became a university professor at this institution in the 1960’s. Later, he became the main architect of The Capital of Prague. He started to work for the Baťa Company on April 20th, 1937. His first task was to assist the architect Vladimír Karfík on the Roman Catholic Church project in Otrokovice-Baťov. Then he became the leader of the collective 276, Construction Department no. 8 and the head architect as well. He cooperated with architect Jaroslav Fragner for the Baťa Company on the creation of the urban concept called The Industrial City of Kolín in 1940-41. He created an interesting industrial project, The Rendering Plant in Otrokovice–Baťov on his own. Several of his other architectural works can be found in the former Baťa factory in Zlín, particularly the factory buildings no. 15 (built in 1946-47) and no. 14 (built in 1947-48). However, the most famous work of Jiří Voženílek is the Collective House in Zlín. He is the author of many famous urban projects in his homeland and around the world as well. He became the head of the group of architects who created the Regulation Plan of Zlín in 1946-47, which is valid even today.
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Hill, Jonathan. "Creative users, illegal architects." Thesis, University College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312161.
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The central message of this thesis is that architecture is made by use and by design. To use a building is to alter it, by for example physically transforming it, using it in unexpected ways, or conceiving of it anew. The user can be passive, reactive or creative, whatever the character of the space he or she inhabits, but space can affect use, and each design suggests a certain user. Questioning the binary opposition of the architect and the user this thesis proposes a third entity: the creative user who can also be an 'illegal architect'. As a design strategy which recognises the creative role of the user in formulating architecture, it proposes a theory of montage in which the gaps are as important as the fragments. In contrast to traditional theories of montage, the 'montage of gaps' aims not to shock but to remain unresolved, to be remade by each user.
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Pannier, Olivier. "Jean-Camille Formigé, architecte." Versailles-St Quentin en Yvelines, 2004. http://www.theses.fr/2004VERS031S.
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Formé à l'école des Arts décoratifs, puis à l'école des Beaux-Arts, Jean Camille Formigé (1845-1926) devient architecte en 1871. Il connait ses premiers succès comme collaborateur de Ballu et Deperthes, les architectes de l'Hôtel de ville de Paris, dont il poursuivra l'oeuvre. Très vite reconnu par ses pairs, il devient archéologue, puis urbaniste. Entouré des plus grands artistes de son époque: Garnier, Eiffel, Rodin, Laurens, Formigé réintroduit de manière magistrale la couleur, technique, l'ornement, dans une architecture toujours adaptée aux nouveaux programmes. On le consulte dans toutes les grandes occasions: les grands concours d'édifices publics, ou les aménagements urbains de la ville de Paris: le métro aérien, les parcs et jardins, le cimetière du Père Lachaise, ou les serres municipales. Devenu très jeune un homme public grâce aux palais réalisés pour l'exposition universelle de 1889, son finira par sombrer dans l'oubli. Pourquoi? Pour répondre à cette question, il est nécessaire d'analyser le contexte dans lequel Formigé exerce, avant de commenter son travail. Cet artiste très prolixe, d'inspiration classique, précurseur de l'Art Nouveau, ne cherche pas à se démarquer de son temps. Au contraire, son oeuvre constitue un étonnante synthèse des courants en vigueur, et fait de lui un des plus brillants représentants de son époque. Un catalogue raisonné, à partir d'une sélection d'oeuvres inédites tirées du dépouillement de son fonds d'agence illustre cette thèse. Formigé, avant d'être architecte, archéologue ou urbaniste, était avant tout un dessinateur hors pair.
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Clementoni, Antonella <1967>. "Gli architetti e l'archeologia: Roma 1922-1938." Doctoral thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10366.
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Attraverso l’analisi di documenti custoditi negli archivi della capitale, sono stati presi in esame una serie di interventi e di progetti che hanno coinvolto le aree archeologiche di Roma nel periodo 1922-1938, dall’avvento del fascismo fino alle due grandi mostre del 1937-1938: la Mostra Augustea della Romanità e la Mostra del Restauro dei Monumenti nell’Era Fascista, filo conduttore della ricerca. Attraverso questi due eventi si sono ripercorsi questi sedici anni in cui è stata indagata l’opera di quattro personaggi: Corrado Ricci, Alfonso Bartoli, Antonio Munoz e Gustavo Giovannoni. Dei brevi capitoli sul loro ruolo in cui viene messo in evidenza il clima conflittuale tra gli organi ministeriali e il Governatorato. Lo scopo finale della ricerca sarà quello di collocare questa epoca nella più giusta dignità, troppo spesso negata; dove si è sempre preferito condannare le scelte urbanistiche negative, tralasciando le attività di restauro o dando ad esse uno sguardo rapido e severo.
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BATISTA, ANTONIO JOSE DE SENA. "ARCHITECTS WITHOUT HALO: THE ACTION OF M.M.M. ROBERTO AND HENRIQUE MINDLIN ASSOCIATED ARCHITECTS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34834@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA historiografia da Arquitetura Moderna Brasileira tende a privilegiar a construção de uma coerência ficcional que determina grupos aos quais todos arquitetos atuantes naquele período são anexados. No entanto, uma análise mais detalhada traz à tona a existência de múltiplas formas de ação que não concorrem para tal unidade fictícia. Dentre eles estão os arquitetos que trabalham prioritariamente para o mercado da construção civil, que lhes impõe regras, meios, relações econômicas, que contaminam seu modo de operação projetual. Essa tese busca, através da análise de dois escritórios de arquitetura cariocas – MMMRoberto e Henrique Mindlin Arquitetos Associados - perceber de que maneiras as imposições do mercado alteram a obra de tais escritórios, fazendo-os adquirir características de concepção de projeto e de organização funcional que os torne distintos de outros escritórios atuantes no mesmo período.
The historiography of Brazilian Modern Architecture tends to favor the construction of a fictional coherence; determining groups to which all architects that have worked in that period are attached to. However, a more detailed analysis brings to light the existence of multiple forms of action that do not compete for this fictitious unity. Among them, architects who work primarily for the construction market, which imposes rules, resources, economic relations, that contaminate their modus operandi. This thesis tries to determinate by the analyses of two modern architectural offices – MMMRoberto and Henrique Mindlin Arquitetos Associados - in which ways the market impositions do change the work of these architectural firms, leading them to acquire different design characteristics and organizational methods.
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Eilering, Brad. "From Architect to Sculptor." Thesis, Southern Illinois University at Edwardsville, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793975.
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My thinking once privileged the logical path as my architecture training had taught me to do, has grown to include equally the emotional influences of my lived experience. The unique contributions of each of my parents have come to bear on this change in thinking and in my development as a sculptor. My mother was a maker of textiles. Within her works, she clearly communicated a message of appreciation to the wearer, as represented in the multitude of carefully crafted stitches. My father is an architect. In his drawings of buildings, I see order, form, and the expression of space clearly articulated. Together, my parents imparted their lessons to me during my formative years. These influences carried me forward, yet I always viewed them distinct from one another. The self-reflective experience of graduate school revealed a relationship between these different ways of making that I had not initially realized. This has had a direct impact on the type of work I produced in which I tried to expand these boundaries.
This thesis speaks to my journey from being an architect to becoming a sculptor.
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Brun-Ozuna, Barbara Suzanna. "Marshall Robert Sanguinet, Architect." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332820/.
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Sanguinet was one of the most important early architects in Texas. His partnership with Arthur and Howard Messer was responsible for the development of Arlington Heights, a prominent resort community. With partner Carl Staats and later partner Wyatt Hedrick, Marshall Robert Sanguinet designed most of the early towers of the Fort Worth central business district. In addition, the firm also designed residences, churches, educational facilities, courthouses, and club buildings in Fort Worth as well as in Dallas, Houston, San Antonio, and Wichita Falls, where branch offices are located.
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Mancini, Francine Trevisan. "Sajous architecto: presença e atuação profissional 1930-1959." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-28052014-142210/.
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O objetivo desta pesquisa é construir um quadro abrangente sobre a biografia e a produção arquitetônica do arquiteto francês Henri Paul Pierre Sajous (1897-1975), que projetou e foi responsável pela construção de inúmeras obras, no Brasil e na França. Para o desenvolvimento deste trabalho, foi delimitado como recorte analítico o período entre 1930 e 1959, intervalo em que o arquiteto teve o Brasil como palco das suas atividades. Dentro deste período, diversos projetos foram executados pelo profissional, porém foram selecionados para análise individual apenas os edifícios de grande porte existentes até hoje. Com o intuito de estudar o panorama arquitetônico e os agentes envolvidos na produção de cada uma destas obras, foi elaborada uma pesquisa específica sobre cada edificação eleita, baseada nas visitas in-loco, nas pesquisas bibliográficas e em documentos pertencentes à família Sajous. O elenco destes registros selecionados permite compreender as diretrizes arquitetônicas que o arquiteto valorizava, que aplicou no Brasil, sempre vinculado aos aspectos da sua formação acadêmica francesa, visto que era formado na École Superieure des Beaux Arts de Paris e também diplomado pelo governo francês (DPLG). Através da reunião das informações, pretende-se abordar academicamente, a vida e a obra do arquiteto que, embora não tenha aderido à moderna temática Corbusiana, foi um profissional conceituado em seu tempo. Deixou, em pontos centrais do Rio de Janeiro e de São Paulo, edifícios importantes que constituem uma relevante contribuição para o quadro arquitetônico no país.The purpose of this research is to construct a comprehensive picture of the French architect Henri Paul Pierre Sajous (1897-1975), both biographical and architectural production, who designed and was responsible for building several works in Brazil and France. To deploy this work, the period between 1930 and 1959 was defined as an analytical approach, time which the architect had Brazil as the scene of their activities, and included only large buildings implemented and remaning. With the aim of studing the architectural panorama and the actors involved in the production of each of these works we present a specific research on each building, based on on-site visits, bibliographical research and the documents belonging to Sajous family. These registers allow us to understand the applied projectual method used by the architect in Brazil, always linked to aspects of his academic French graduation, as he got his degree at the École Superieure des Beaux Arts in Paris and was also licensee by the French government (DPLG). It is intended to reveal, between academic rules and gathering information, the life and work of the architect, who has not adhered to modern Corbusians precepts, he was a respected professional at his time. He planned significant buildings in some central points of Rio de Janeiro and Sao Paulo, deserving special attention in the architectural production in Brazil.
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Kemper, Steven Thomas. "STRAIGHT, CURVING, COLORFUL: THREE ARCHITECTS." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1150983131.
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Thesis (M.M.)--Bowling Green State University, 2006.Document formatted into pages; contains 1 score (vii, 27 p.) For clarinet in B♭ and violoncello, with computer for live electronic processing and pre-recorded sounds.