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Pustina, Petter. "Arts & Crafts Laboratory." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135596.
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Neumuller, Nadège. "Varron et les beaux-arts : architecture, sculpture, peinture." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC047.
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La thèse de doctorat est consacrée aux aspects afférents à l’art dans l’œuvre de Marcus Terentius Varro, encyclopédiste romain du premier siècle avant notre ère. Son œuvre, en partie conservée, en partie réduite à l’état de fragments, a été transmise notamment par Pline l’Ancien, Aulu-Gelle et différents grammairiens romains. En guise de propédeutique, un développement sur un ouvrage de Varron, les 'Disciplinarum Libri', est proposé, situant les arts libéraux dans un cadre philosophique, suivi de la genèse de la critique d’art varronienne, remontant à Platon et Aristote ainsi qu’à Xénocrate d’Athènes. En parallèle, les conceptions artistiques de Cicéron, contemporain de Varron, sont présentées. S’ensuit une partie consacrée à l’architecture qui s’intéresse aux demeures des hommes, puis aux demeures des dieux. Un excursus se focalise sur la 'uilla' de Varron à Casinum ainsi que sur son tombeau. Dans la partie suivante sont présentés les regards du Réatin sur les sculpteurs grecs et hellénistiques, puis sur ceux de son temps, chacun faisant l’objet d’un développement particulier. La même approche est ensuite employée au sujet de la peinture, proposant des notices individuelles sur les peintres grecs et romains et offrant des prolongements par le biais de l’étude d’une Satire Ménippée particulièrement liée au sujet de la thèse ainsi que par l’analyse de l’œuvre qui a offert à Varron un terrain privilégié pour exprimer ses jugements de critique d’art : le 'De imaginibus'. Une ample synthèse conclusive expose les influences exercées par les opinions et les écrits d’un Varron aux goûts esthétiques marqués d’éclectisme, appréciant des œuvres du passé et du présent, figurant des dieux et des hommes, des paysages et des objets, avec toutefois une préférence marquée pour le classicisme et la tradition. Enfin, un développement final envisage la question de l’influence des écrits varroniens relatifs aux arts sur le classicisme augustéen ainsi que sur la politique de restauration conduite par le vainqueur d’Actium<br>This thesis is devoted to aspects related to art in the work of Marcus Terentius Varro, a Roman encyclopedist from the first century BCE. His work, partly preserved, partly reduced to fragments, was passed on namely by Pliny the Elder, Aulus Gellius, and various Roman grammarians. The first part will emphasize on one of Varro’s works, the 'Disciplinarum Libri', in order to situate liberal arts in a philosophical framework, and on the genesis of varronian art criticism, dating back to Plato and Aristotle as well as Xenocrates of Athens. In parallel the artistic concepts of Cicero, contemporary with Varro, are presented. This section is followed by one dedicated to architecture, relating to men’s dwellings, and the homes of the gods. An excursus focuses on the villa of Varro in Casinum and on his tomb. In the next section, the views of the Reatinian on Greek and Hellenistic sculptors as well as the ones of his era are presented, each being subject of a particular development. The same approach is then applied on painting, offering individual notes on the Greek and Roman painters. Extensions are brought through the study of a Menippean Satire which is particularly related to the topic of the thesis, and by the analysis of 'De imaginibus', the work which gave Varro a fertile ground for expressing judgments of art criticism. A thorough conclusive synthesis exposes the influences exerted by the opinions and writings of Varro, whose aesthetic tastes can be described as eclectic. He enjoyed the works of past and present, depicting gods and men, landscapes and objects, but kept a marked preference for classicism and tradition. A final development considers the question of the influence of art-related varronian writings on Augustan classicism, and considers the restoration policy led by the victor of Actium
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Lotz, Pedri Stefanus. "Sensory circulation : a centre for visual arts." Diss., Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11242008-121355.
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Liu, An. "Read-In Arts." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4878.
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As interior designers, we strive to design everything for our clients, from complex environments to the joinery of a chair. We rarely consider inviting our clients or the users to join us in finishing the space.
Read-In workshop is not a school, but a kind of home, a home belonging to children, which provides the possibilities for children to play, to learn, to occupy, to personalize, and to share. An emotional space that will not limit the user, but keep inspiring them. It helps children notice, think, and grow.
Half of the interior space will be a fixed design, designed and fabricated during the first construction phase. The other Half will be designed as a flexible and changeable “framework” space, which allow the users to reorganize, repaint, and refinish, depending on their evolving educational needs and aesthetic tastes. Therefore, this “incomplete” workshop will share control with children. The contents of the framework will be continuously updated by the children who participate in the Read-In arts programs.
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Beck, Catherine Tacci. "A discipline-based approach towards teaching architecture on the secondary level." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1988. http://www.kutztown.edu/library/services/remote_access.asp.
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Gordon, Catherine. "The Arts and Crafts architecture of the Cotswold region." Thesis, University of Manchester, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601222.
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The Cotswold region is a relatively well-defined, upland district that reaches across the heartland of Britain. It has a rich and complex history and is renown for its natural beauty and its outstanding vernacular architecture. During the second half of the nineteenth century, after a long period of decline, it began to attract the interest of artists, designers and craftsmen, among them William Morris. They were followed by several prominent architects associated with the Arts and Crafts Movement, who welcomed the opportunity to work in the Cotswolds as its unspoilt character provided the perfect environment to foster their principles and beliefs. They were responsible for an impressive number of new buildings and repair and alteration works in the region. This thesis is divided into three parts. The first part provides a general background to the Arts and Crafts Movement in Britain, and to the Cotswold region itself, its history, topography and building traditions. It also describes the special appeal of the region to Arts and Crafts designers and craftsmen who established workshops in the region. Particular reference is made to the achievements of Ashbee and the Guild of Handicraft in Chipping Campden and of Ernest Gimson and the Barnsley brothers in Sapperton. The second part of the thesis examines Cotswold Arts and Crafts architecture according to type. The majority of commissions were for domestic buildings, which range from large country houses to cottages. There are also some important Arts and Crafts community projects and minor ecclesiastical works found throughout the region. A significant proportion of commissions concerned the repair and reuse of old buildings, and these include many of the most inventive and imaginative designs. In the third part of the thesis. the late flowering of Arts and Crafts architectural talent in the region is summarised. Some of the best works date from the inter-war years. Many of these were deSigned by a younger generation of architects and craftsmen, notably Norman Jewson and F.L. Griggs, who gave new direction and purpose to the Movement's architectural ideals. This remarkable group of Arts and Crafts buildings share an admirable sympathy for their surroundings, and they reveal an inventive and informed response to the dominant vernacular precedent. The high standard of design and craftsmanship that was established, together with the notable emphasis on conservation, had important implications at a local and national level. This thesis aims to reveal the significance of this group of Cotswold Arts and Crafts buildings to an evaluation of the Movement's architectural achievements in general.
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Osborn, Connie J. (Connie Jo) 1969. "Martial arts academy : an examination of duration and discrepancy." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/69429.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.<br>Includes bibliographical references (leave 45).<br>Other than the martial component, the primary concern for many of the martial arts is answering the question, "what is self?". The task of answering that question has historically belonged to the martial arts to the extent that they both came out of Buddhist schools of thought. For many of the martial arts self knowledge is one of the principle components. Both Buddhism and Taoism talk about a 'way' of the world, which is also the 'way' of self. Self is the same for everyone as all beings are cut from the same cloth of self. When one asks the question "what is self?", it is quite surmising to hear that self has no inherent features. We have all heard the Buddhist claim that 'all is void', and will probably be more surprised to discover that this means that there is in fact no self at all. The significance of this is revealed when one experiences that the nature of all things is change. This is why there are no features to self, as soon as one defines self, that limited definition falls away and is replaced by a new one. The discovery of this is not as efacing as it may seem, as it offers in exchange for a fixed self, one that can accommodate all things. It is void that permits the presence of things. According to Buddhist thought, all suffering arises from the desire to have things remain the same. Accepting that they won't or can't liberates the self to the enjoyment of being in present time. The immediacy and inherent meaning in all things becomes infinitely available. Within change it is evident that all things are continuous, without distinction one from the other. In every sense, self belongs to the greater body of all existence. In martial arts the practice of meditation is essential. The first lesson of meditation is often to simply observe ones breath. In the observation of the full duration of breathing, the constancy of change becomes apparentand the experiencing of the exclusive truth of now is layed bare. In the performance of martial arts this is vital. As soon as the artists mind stops or fixes in a particular moment, fear may enter, or she may rely on thought rather than being to perform and thus lose the fluidity of free action and become victim to defeat. If in the design of a martial arts academy it was the intention of the architecture to provide evidence of change, it would not be necessary to create change because change is happening at all times and in all places. It may only be necessary to call attention to it. In tracing the lines of overflow of the Rio-Grande River for the course of forty recorded years, I reaffirmed the truth of change. While examining the discrepancy between and among each line I could not find the defining line of the river. I wanted to build th is into the architecture, and so this became my thesis.<br>by Connie J. Osborn.<br>M.Arch.
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Mattis, Olivia. "Edgard Varèse and the visual arts /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659569x.
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Human, Martie. "Encore - performing arts centre." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11212003-110815.
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Winters, Edward John. "Appreciating the visual arts : painting, architecture and images of ourselves." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272117.
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Smith, Casey Wayne 1977. "Material design for a robotic arts studio." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/62367.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002.<br>Includes bibliographical references (p. 59).<br>A growing number of artists are using new electronic and computational technologies for the creation of interactive, kinetic, and behavior-based art. However, users without technical backgrounds often find that there is no simple way to begin creating with these new materials without first learning a wide range of programming and electronic skills. This thesis discusses a set of technologies and activities designed for an introductory robotic art course that enable art students with little technical background to experiment with computation as a medium. The thesis presents case studies to highlight how students engaged with these technologies and discusses how the ideas represented in the course make possible a new model for artist/engineer collaboration.<br>by Casey Wayne Smith.<br>S.M.
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Govan, Christine Noble 1958. "Gathering the landscape : a community arts center on Lookout Mountain." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/79000.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.<br>Includes bibliographical references (p. 48).<br>With a tape measure and a pad of newsprint, to document, understand and re-present a natural place was the first goal of this thesis. From this understanding a new built presence, a redefinition of the site, is sought, to gather its essential properties and bring them close. This thesis aims at achieving a continuity of experience between the built and the natural, at achieving new transformative readings of each, in which one order is juxtaposed against and ·thereby defines the other. Focusing on the exchange between these two worlds, explorations are made into levels of built and unbuilt, into where, how, and how much to transform what was there. Through this interplay of inside and outside, built and natural, permanent and transitory, the intention is to bring to people a new awareness and sense of belonging to the site, of the dynamics of natural forces, and of their specific location in the context of these larger orders. For ultimately, all architecture is an infill project relative to the earth. It is our connection to this outer world upon which our sense of belonging depends.<br>by Christine Noble Govan.<br>M.Arch.
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Francis, Razan. "Secrets of the arts : Enlightenment Spain's contested Islamic craft heritage." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/93011.
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Thesis: Ph. D. in Architecture: History and Theory of Architecture, Massachusetts Institute of Technology, Department of Architecture, 2014.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 258-280).<br>This dissertation examines the artistic and architectural mutations occurring in Spain during the eighteenth century, when Spain decided to participate in the Enlightenment's philosophical project that emphasized the classification of art, crafts, and other knowledge, and thereby raised important questions regarding the value of national heritage relative to a universal one. Spain was always viewed by Northern Europeans and Spaniards alike as tainted by its Muslim history, and its culture seen as semi-Oriental. In endeavoring to become part of the Enlightenment, Spanish artists, architects, natural philosophers, and policymakers struggled to come to terms with two challenging factors: their inheritance from the peninsula's Islamic past, and their corresponding isolation from the institutions of Northern Europe. They were forced to consider the hierarchies of the "liberal" over the "mechanical," intellectual over manual, high over low. The quest of the Spanish crown for economic reform shaped the relations among art, architecture, and crafts, which were manifested in the contrasting institutional stances on those hierarchies in the Academy of San Fernando (est. 1752) and the Economic Societies (est. in the 1770s). This dissertation probes how the reconsideration of past categories in light of the economic reform affected the practice and theory of architecture. It looks at ornament as a key site where Christian Spain sought to confront the marginality imposed upon it during the Enlightenment. Spain's experience-grappling with its Christian Iberian identity, its Arab and Jewish legacies, and its relationship to European institutions-constitutes a neglected episode in the art-historical narrative, one that informs the history of the decorative arts and knowledge construction in the eighteenth century.<br>by Razan Francis.<br>Ph. D. in Architecture: History and Theory of Architecture
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Hanna, Karim M. (Karim Magdy) 1971. "Demistifying MIT : the MIT Center for Culture and the Arts." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28319.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.<br>Includes bibliographical references (p. 75).<br>The Massachusetts Institute of Technology is physically and psychologically isolated from its surroundings. It is an introverted experience. To the public, MIT is hidden under a shroud of invisibility. The goal of this thesis is to demystify MIT. This thesis is proposing a NEXUS, or an interface that acts as a bridge between MIT and its surrounding communities. The Nexus will bring to the public the cultural and performing arts activities that are hidden inside this institute which, in addition to its world-class technology courses, is home to excellent cultural and arts programs. The Nexus will be MIT's showcase for music, theater, visual arts, and community outreach programs. This dynamic place will incite personal exchange between the communities of MIT and the city of Cambridge. By investing in a rich program of cultural entertainment, MIT will be contributing to the enhancement of quality of life of its hometown. Consequently, MIT's public image will be enhanced, and the Institute will become an attractive place for the top researchers and graduate students. The site chosen for the Nexus is currently an undeveloped area located between Albany Street and Vassar Street, at the intersection of Massachusetts Avenue. This site is currently treated as the back alley of MIT. Nonetheless, it is in fact the entrance to MIT, and more importantly, a gateway to the city of Cambridge.<br>by Karim M. Hanna.<br>M.Arch.
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Lipsey, Georgina. "Where land meets water: the Alexandria Performing Arts Center." Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/53083.
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The fundamental premise for this project was the desire to explore one of my fascinations with "movement" of space and “movement” of structure. This was somewhat a reaction to “static” boxed structures which have pervaded our eastern cities for the last few decades, and moreover, a want to inspire life into a fixed object.
The work presented was a process of discovery, the most enlightening being that of "contrast". It became the key to achieve meaning
My original intentions combined with changes experienced over time have resulted in a building, but better, in a transformation and another new place from which to begin.<br>Master of Architecture
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Olshavsky, Peter. "Questions concerning architectural machines: or 'pataphysics in early modern architecture." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110410.
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The primary contention of this study is that there are ways to orient architecture other than technological concerns. By studying the nature of architectural machines and their changes through history, their reduction to instrumental and aesthetic concerns is shown to be problematic. These aspects have dominated architectural thinking and making since modernity; however, this history also shows the limits and possibilities of these technological concerns. But modernism has not been homogeneous. During this period, the literary and theatrical works of Alfred Jarry and his science of pataphysics offered a significant approach to engage and resist the machine. His work challenged technological practices through the machine itself. I explore this relative to the human will, knowledge, and creative practices. Modernist architectural machines by Pierre Chareau, Eileen Gray, and Paul Nelson are then studied with respect to this intentionality. Ultimately, these works attempted in various ways to reconcile poetics and ethics in the design of pataphysical machines for living in.<br>La thèse principale de cette étude est qu'il existe d'autres façons d'orienter l'architecture en dehors des préoccupations technologiques. Par l'étude de la nature et les modifications aux machines architecturales dans l'histoire, leur réduction à des préoccupations instrumentales et esthétiques se révèle être problématique. Puisque la modernité, ces aspects ont dominé le domaine de l'architecture. Cependant, cette histoire montre aussi les limites et les possibilités de ces préoccupations technologiques. Mais le modernisme n'est pas homogène. Durant cette période, les œuvres littéraires et théâtrales d'Alfred Jarry et sa science de la pataphysique offre une approche profonde à s'engager et à résister à la machine. Son travail défit pratiques technologiques à travers la machine elle-même. L'étude explore ce rapport à la volonté, la connaissance humaine et des pratiques créatives. Cette intentionnalité est également découverte et étudiée dans certaines machines architecturales modernistes de Pierre Chareau, Eileen Gray, et Paul Nelson. Finalement, tous ces «solutions imaginaires» tentative de réconcilier la poétique et l'éthique en la conception de machines pataphysiques à habiter.
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Tzamou, Ekaterini. "Arts plastiques et architecture en France depuis 1950 : le sculpteur Philolaos." Paris 1, 1996. http://www.theses.fr/1996PA010567.
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Cette thèse consiste, d'abord, en une monographie sur un artiste qui a largement travaillé sur l'art monumental, pour la commande publique et privée. On présente sa biographie dans le premier chapitre et le deuxième tome comporte un catalogue raisonné de ses sculptures monumentales. Le deuxième chapitre est une présentation de ces scupltures par catégorie de matériau et par catégorie de valeur d'usage. Le troisième chaître classe ces oeuvres par catégorie de maitrise d'ouvrage. Dans le quatrième chapitre, on fait une analyse de cette oeuvre à travers les critiques qui l'ont présentée depuis les années 50 jusqu'à nos jours. Cette référence à la critique nous permet d'analyser le regard porté sur la sculpture contemporaine, plus particulièrement sur la sculpture monumentale à connotation sociale, au fil des ans et durant cette période, de sorte que l'on puisse mieux comprendre l'évolution d'une mentalité concernant ce type de création artistique. À travers la monographie, une série de facteurs importants sont éclairés, tels que : l'apport de nouveaux matériaux à la sculpture contemporaine, la nouvelle définition de la valeur d'usage de la sculpture dans les lieux publics et privés, le rôle de la maitrise d'ouvrage dans l'évolution de la sculpture monumentale contemporaine. Les institutions étatiques permettant la création de cet art. De ce point de vue, la monographie sur Philolaos sert d'exemple ou de point de départ pour l'étude de l'art monumental contemporain. Le cinquième chapitre est celui qui se différencie de la monographie, traitant globalement des arts plastiques en rapport avec l'architecture, en France, depuis 1950 jusqu'à nos jours ; ce qui fait le lien avec le titre de la thèse : un historique culturel à travers une monographie.
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Ross, Taylor M. "Manual." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555581017484701.
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Small, Stephen W. ""A national imaging arts museum"." Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53275.
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In designing a National Museum for the Imaging Arts, a dual obligation is created. It is to provide an intimate place for the cherishing of manifestations of the individual, while also creating, at the scale of the nation, a symbol of the civilization. Architecture accepts this obligation through the hierarchical scaling of the referents of order, material, space, and light.<br>Master of Architecture
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Davrius, Aurélien. "Jacques-François Blondel, architecte et théoricien dans le mouvement européen des arts au XVIIIième siècle dans le mouvement européen des arts : ses élèves, ses combats." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30075/document.
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Après avoir travaillé sur "la Place d'Armes de Metz" (2008), puis sur son auteur, Jacques-François Blondel" (2011), le présent travail se propose de se pencher sur l'influence européenne de cet architecte professeur. Sont abordés les thèmes de l'enseignement à l'Académie royale d'architecture, avec son assistant Julien-David Le Roy, la politique des arts menée par Marigny, mais aussi le rôle de l'Antique, et du gothique, dans l'architecture du 18e siècle. Enfin, quelques élèves significatifs du professeur sont passés en revue, tel William Chambers, Simon-Louis Du Ry, Richard Mique, ainsi que ses deux fils Georges-François et Jean-Baptiste Blondel<br>After working on "Place d'Armes de Metz" (2008) and then its author, Jacques-François Blondel "(2011), the present work aims to address the European influence of this teacher architect. Are addressed the themes of education at the Royal Academy of Architecture, with his assistant Julien-David Le Roy, the arts policy of Marigny, but also the role of the Ancient, and the Gothic in architecture of 18th century. Finally, some significant teacher's students are reviewed, as William Chambers, Simon Louis Du Ry, Richard Mique, and his two son Georges-François Blondel and Jean-Baptiste Blondel
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Bernert, Julia M. "Reflex motion : choreographing the design of a performing arts center in Hadley, Massachusetts." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/78970.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1987.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (p. 101-104).<br>This thesis investigates an architectural design process through the techniques of intuitive drawing, conversation analysis, videotaping, site totems, and a reflexive journal. The design project is a performing arts complex in western Massachusetts. The program includes a performance theater for music and dance, an outdoor amphitheater, a rehearsal building, a cafe', and living space for forty performers.<br>by Julia M. Bernert.<br>M.Arch.
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Bourges, Nathalie. "Approche communicationnelle de l'appropriation des équipements culturels par la population locale : les cas du Quai, Forum des arts vivants et du musée des Beaux-arts d'Angers." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM5901.
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DING, YAN. "THE NANJING GARDEN OF ARTS: IN SEARCH OF A NEW CHINESE ARCHITECTURE." The University of Arizona, 1999. http://hdl.handle.net/10150/555391.
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Wong, Yong Yi. "Journeys through architecture : the body, spaces, and arts in Dorothy Richardson's 'Pilgrimage'." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12173/.
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The inter-arts potential of Dorothy Miller Richardson’s life’s work, Pilgrimage, has been gaining critical attention since the end of the twentieth century, with continuous scholarly efforts dedicated in revealing the cinematic, painterly, and musical depths of the novel sequence. Building on such established foundation, this study responds to this inter-arts call of Richardson scholarship by taking an architectural turn, and contends Pilgrimage as a piece of architectural construct—a literary work that demonstrates the coming together of the body, spaces, and arts. Interdisplinary in nature, this study draws on diverse fields of inquiry in its configuration of the architectural as manifested in Pilgrimage, with two interconnecting sections. Merleau-Ponty’s perceptual phenomenology and recent theorisations of body-space interaction in various disciplines, such as cultural geography and anthropology, underpin the first section of the discussion, which attempts to explicate the spatial significance implied in Miriam’s (the protagonist) sensuous interactions with the different kinds of space around or within her. While the first section underscores how the art of literature embodies Miriam’s sensuous-spatial dynamics, the second section illuminates how the spatial arts of painting and architecture come into contact with Pilgrimage. Collaborating biographical, painterly, literary, and phenomenological approaches, the thesis considers the sequence’s manoeuver over the issues of simultaneity, instaneity, moment, and subject matter as the manifestation of literary impressionism. After contemplating Pilgrimage as a piece of literary impressionism, the discussion concludes by considering the sequence as a piece of haptic architecture, with the notion of ‘fragile architecture’ formulated by Juhani Pallasmaa. By re-examining how Miriam’s body, spaces, and arts interact and integrate throughout Pilgrimage, the thesis aspires to bring to light its architectural disposition.
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Tokpassi, Hervé. "Les parlementaires bordelais et les arts au XVIIIème siècle : architecture et collections." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30008.
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Par leur position sociale, les parlementaires constituaient la catégorie la plus influente et l’une des plus riches au XVIIIème siècle. Ils jouissaient également d’un prestige culturel qui les plaçait dans l’élite cultivée du Siècle des Lumières. Ce travail vise à établir les rapports que les parlementaires bordelais entretinrent avec les arts et les milieux artistiques. La première partie évoque le Parlement de Bordeaux et le mode de vie de la noblesse robine notamment à travers la fortune de ses membres et la place du groupe parlementaire au sein des grands foyers intellectuels et culturels bordelais. La seconde partie est consacrée à l’étude du patrimoine bâti. Elle fait état des réalisations architecturales que commanditèrent les magistrats, grands bâtisseurs dont les imposants hôtels particuliers richement parés et les prestigieux châteaux viticoles, conservent encore le témoignage de leur puissance. La dernière partie se propose d’analyser le cadre de vie mobilier et les différentes collections rencontrées chez Messieurs du Parlement, qui montrent leur goût et traduisent les sensibilités artistiques de cette classe d’humanistes éclairés. L’étude s’achève par la mise en évidence d’un éventuel mécénat parlementaire<br>Through their social position, the members of Parliament were the most influential and the richest class in the eighteenth-century. They also had the cultural prestige that allowed them to be in the well educated elite of the Age of Enlightenment. This work is to establish the relationship between the members of the Bordeaux Parliament and the artistic environment. The first part discusses the Bordeaux Parliament and the robine nobility’s lifestyle specifically through the fortune of his members and the place of the parliamentary group within the cultural and intellectual elite of Bordeaux. The second parts deals with the study of the architectural heritage. It states the architects achievements financed by the magistrates "master builders", whose imposing, private, and richly adorned hotels plus the prestigious chateaux, still represent their power at the time. The last part analyses the furniture design and style and the different collections of the Members of Parliament, that show the taste and the artistic sensibilities of this enlightened class. The study ends by identifying a possible patronage from the members of Parliament
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Canevet, Rozenn. "Ambiance versus "ambiente" : essai d'une généalogie en art, architecture et design." Paris 8, 2012. http://www.theses.fr/2012PA083966.
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Il est désormais admis que la seconde moitié du XXème siècle a mis à mal l’hégémonie du régime scopique au profit d’une immersion psychosensorielle. En sont nées un certain nombre de productions - tant en art qu’en architecture ou design -, jouant sur des expériences psychologiques plus que sur des formes stables, favorisant la temporalité à l’immédiateté, le processus au signe. Si les termes installation ou environnement ont fait usage, celui d’ambiance est resté inconsidéré. Or, en le prenant comme fil rouge, on s’aperçoit de sa portée fondamentale tant sur les plans artistiques que technologiques ou idéologiques. Mais c’est avant tout son opposition fonctionnelle – son versus – avec le terme italien ambiente qui s’avère particulièrement édifiant. A l’heure où l’on parle d’artiste architecte ou de designer artiste, il semble essentiel de rappeler que si ces termes sont communs à ces disciplines, leurs enjeux diffèrent sensiblement selon leurs champs d’application. L’ambiance s’accorde aux notions de format, de signes, de conditionnement en exacerbant le potentiel dissociatif des technologies. Elle s’oppose aux caractéristiques de l’ambiente comparables à l’expérience d’un paysage physique comme mental où la temporalité fait acte. La relation de l’individu au monde est ainsi réinterrogée comme l’idéal utopien de la conscience du sujet. Car si le caractère éminemment moderne d’ambiance comme d’ambiente est incontestable, c’est pourtant toute une critique de l’esthétique moderniste de l’autonomie qui se tisse dans leurs déclinaisons de formes des années cinquante à nos jours<br>It is now accepted knowledge that in the second half of the 20th Century the predominance of a retinal system has been replaced by psycho-sensory immersion. From this, a certain number of works in art, architecture and design – based more on psychological experiences than on traditional forms – have grown, advocating temporality over immediacy and the process of representation. If the terms installation and environment have become common currency, that of ambiance still remains negligible. Following through this train of thought we become aware of the significance of the term, whether artistic, technological or ideological but it is above all in its role -– as counterpart – to the Italian term ambiente that proves to be particularly instructive here. At a time when an artist could be construed as an architect, the designer an artist, it would appear essential to remember that the terms common to these aforementioned disciplines could have potentially encourage crossover and dialogue, their goals and their scope however differ significantly, depending on their implementation. Hence, ambiance is consistent with the concept of size, of representation, of conditioning, highlighting the potential of disassociation between technologies. This is in opposition to the characteristics of ambiente that conform more to the experience of a physical or mental landscape where the relation between the individual and the world is re-examined as the utopian ideal of ones own consciousness. If the eminently modern characteristic of ambiance as ambiente is undeniable, it remains nevertheless a critique of the modernist aesthetic of autonomy that has from the 1950's to the present day woven through their variant forms
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Moretti, Flavia Brito Garboggini. "The reconstruction of the public/private boundary at the Arts Center area." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/23766.
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Tharaud, Marie-Amélie. "L’Art nouveau dans les arts décoratifs et l’architecture à l’Exposition universelle de 1900." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP036.
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L’Exposition universelle de 1900 à Paris a constitué pour les acteurs du mouvement Art nouveau une rencontre unique par son envergure internationale. Si cet événement a longtemps été déconsidéré, il représente pourtant pour l’Art nouveau – appréhendé dans son acception internationale – un moment de confrontation et l’occasion, pour certains pays, de mettre en valeur leur modernité stylistique. La première partie de la thèse s’attache à comprendre les raisons de la présence de l’Art nouveau à l’Exposition, et donne une vision d’ensemble des édifices et objets d’art se rattachant au mouvement. Elle examine ainsi les enjeux artistiques, mais aussi politiques et commerciaux, que porte l’Art nouveau pour les pays participants. La seconde partie traite de la réception critique du mouvement par ses contemporains, en observant leurs réactions, diverses sinon opposées, selon les artistes et les nationalités représentées. En effet, par son caractère tantôt cosmopolite, tantôt nationaliste, l’Art nouveau est alors loin d’être perçu comme un mouvement homogène et l’Exposition suscite un ensemble de polémiques qui contribuent autant à le définir qu’à le discréditer. Enfin, la troisième partie étudie les conséquences à plus long terme de l’Exposition : en analysant les répercussions pour les artistes, l’entrée de l’Art nouveau dans les musées européens, les expositions suivantes, et les prolongements du débat artistique, elle cherche à évaluer la place de l’Exposition universelle dans l’histoire de l’Art nouveau. Un volume d’annexes réunit des plans et des vues générales de l’Exposition universelle, ainsi qu’un catalogue iconographique de plus de 800 numéros, illustrant l’Art nouveau présenté à l’Exposition dans les arts décoratifs et l’architecture<br>The 1900 Paris World’s Fair represented, for the artists of the Art Nouveau movement, an encounter unique by its international audience. Though this event was overlooked for a long time, it was nevertheless a moment of confrontation and the occasion, for some countries, to showcase their stylistic modernity. The first part of the dissertation endeavours to understand the reasons of the Art Nouveau presence at the Fair and gives an overview of the buildings and the decorative art objects which can be linked to this style. It examines the artistic, but also political and commercial stakes of Art Nouveau for each country. The second part examines the critical reception of Art Nouveau by its contemporaries, observing their diverse or even antagonistic reactions, according to the artists or the nationalities. Indeed, alternately cosmopolitan and nationalist, Art Nouveau was then far from being perceived as a homogeneous movement, and the Fair sparked a series of debates that contributed as much to define it as to discredit it. Finally, the third part studies the long-term consequences of the Fair: by analyzing the repercussions on the artists’ careers, the admission of Art Nouveau in European museums, the following exhibitions and the continued artistic debate, this part aims at assessing the place of the Fair in the history of Art Nouveau. A volume of annexes gathers maps and general views of the Fair, along with a catalogue of more than 800 entries, illustrating the Art nouveau works exhibited in decorative arts and architecture
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Flickinger, Mark John 1956. "An examination of Post-Modernism in landscape architecture." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/277836.
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This thesis explores the meaning of Modernism and Post-Modernism in landscape architecture and asks if contemporary landscape architecture can be classified as Post-Modern. Art, architecture, and landscape architecture were examined during the Industrial and Post-Industrial Eras to see if there is a correlation between each discipline's stylistic movements. Arguments both for and against the existence of a Post-Modern Movement in landscape architecture are presented. It is concluded that art and architecture are the current leaders in creating innovative, historically memorable landscape designs, and that there is need for further exploration, teaching, and debate about contemporary design history and theory.
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Loschiavo, Michael Wright. "Performance Architecture: A Center for The Performing Arts at The Ohio State University." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/42784.
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Performance architecture is not just an empty tagline, but the description of a full-bodied design solution through the relationship shared by form and function. Form is the source that provides an impression - of the space, of the performance, or of the experience. Function is the resource - for the space that becomes a classroom, an office, a conference room, a practice room or studio, and the performance hall. This thesis is a Center for the Performing Arts, and as a building that provides for a variety of needs, it responds by embodying a diverse range of design solutions for each space within.<br>Master of Architecture
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Horner, Elizabeth. "Sir Frank Brangwyn (1867-1956) designs for interiors, architecture and the decorative arts." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542373.
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Tomiczek, Marek. "Juliusz Nagórski (1887-1944), un architecte, élève de l'Ecole des Beaux-Arts, entre Paris et Varsovie." Paris 4, 2000. http://www.theses.fr/1999PA040234.
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Juliusz Nagorskii (1887-1944), dans les années 1905-1910 élève de l'École des Beaux-arts à Paris. Pour la première fois il présente le projet de diplôme en 1914 (refusé) et pour la deuxième fois en 1926 (accepté). De retour en Pologne (1910) il commence sa carrière d'architecte indépendant qui dure jusqu'à sa mort survenue au cours de l'insurrection de Varsovie en 1944. Elève de l'académie Julian à Paris il effectua également de nombreux dessins, peintures, sculptures et même décoration de théâtre. Son activité d'architecte comprend aussi des travaux d'urbanisme et la restauration des bâtiments anciens. Parmi environ 90 projets connus jusqu'à maintenant (plus 4 projets d'études effectués encore à Paris) nous trouvons des thèmes aussi variés que : bibliothèque-musée, hôtels, bâtiments scolaires, immeubles de rapport, stades, bâtiments industriels, un salon d’édition, une ambassade, hôtels particuliers et résidences urbaines, villas, résidences secondaires, constructions de sport et de recréation, bâtiments administratifs, bureaux, gare de chemin de fer, palais et manoirs. Il faut encore mentionner plusieurs exemples de l'architecture dite "petite" - compositions des monuments, intérieurs des magasins, des bureaux, d'une banque et d'une poste, autels d'église, porches, une plaque commémorative, un tombeau et une chapelle sépulcrale. Nagorski fut l'architecte dont les œuvres ont subi une influence considérable de l'architecture née au sein de l'École des Beaux-arts à Paris et qui restait fidèle à la culture française au cours de toute son activité professionnelle. Au début ce fut une fascination nette de la culture française et de son histoire en générale, plus tard la dite influence prendra une forme plus concrète. Dans le deuxième cas Nagorski se sert des motifs employés par des architectes contemporains français et parfois il s'inspire même des projets concrets. Il s'agit ici des travaux des architectes tels que : Louis Sue, Michel Roux-Spitz, Henri Sauvage, Robert Mallet Stevens, Auguste Perret, Le Corbusier et Roger6Henri Expert. Le développement artistique de Nagorski suivait donc les tendances générales européennes et surtout françaises. En plus l'architecte montrait une grande habilité en transformant les modèles de l'architecture ancienne polonaise ….
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Boswell, David M. "The Kitsons and the arts : a Leeding family in Sicily and the West Riding." Thesis, University of York, 1994. http://etheses.whiterose.ac.uk/14161/.
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Fashionable though it has become to bewail the demise of Gradgrinds in the 19th Century economy, the creation of a civilised urban style of life in industrial Britain was an equally remarkable achievement. In Leeds, the Kitsons were one of the families capable, by the turn of the century, of supplying educated entrepreneurs for the professions and cultural activities as well as local business. The architectural practice of F.W. Bedford and S.D. Kitson was notable for the domestic work and decorative design of the partners, who won commissions for a variety of significant public buildings as well as the commercial and licenced victualling work that became mainstays after the Great War. Sydney Kitson, then convalescing with T.B., became sparked with an interest in the life and works of John Sell Cotman. He researched and amassed a vast study collection of his drawings and watercolours which culminated in the publication of what is still the definitive biography of the artist just before his own death in 1937. Robert Kitson, like his friend Cecil Hunt, became an artist, learning the craft of watercolour painting on sketching tours with Sir Alfred East and Sir Frank Brangwyn. He regularly exhibited his work at the R.B.A. and had one-man exhibitions at the Fine Art Society and the Red/ern Gallery. He was, from 1900, an active member of the Leeds Fine Arts Club, in which Ina Kitson Clark, the wife of the Kitson locomotive company's managing director, played a leading role for half a century with Ethel Mallinson. The involvement of ladies like these, including Beatrice Kitson who become the first female Lord Mayor of Leeds in 1942-3, in the social and cultural activities of the city was extensive as well as pioneering and if need be, formidable. After his father's death R.H. Kitson made his home in Sicily where he designed and built a spacious villa with spectacular views of Mount Etna from its many terraces. Brangwyn designed the entire dining room and some other furniture, which was only part of the wide variety of work he undertook for Kitson between 1903 and 1916. This included oil paintings and watercolours, presentation jewellery and caskets, and the Verge for the new University of Leeds. But the decorative commission of the mosaics for the Life of St. Aidan was one of the supreme artistic achievements of the era in Britain. Although Taormina remained his base, Robert Kitson travelled widely, sketching all the time. In Leeds he, Sydney and Edwin Kitson Clark were co-opted members of the Art Gallery and Museum sub-committees. They did much to realise the policy of establishing a collection with a historic series of British watercolours and Robert regularly lent and presented contemporary prints and drawings. In his own work, as in his collecting, he was appreciative of what was new in the more traditional developments in art. But, although he came to admire the work of Sickert, John Nash and 1.0. Innes, he did not follow Sir Michael Sadler and Frank Rutter in their enthusiasm for expressionist art and what is termed Modernism. All of them united in encouraging the discussion and display of arts and crafts as well as the formation of the Leeds Arts Collection Fund for the public gallery. Through their own architectural and artistic creativity, their scholarship and patronage of other artists, their substantial presentations to the collections of the City Art Gallery, and their active support for local organisations, this generation of ~tsons demonstrated a resourceful and single-minded devotion to the city, to the development of whose economy they acknowledged their position. They were enthusiastic cultural entrepreneurs. Following the main text, there is a series of Appendices cataloguing the works of the Bedford and Kitson practice until about 1922. and a summary of the contentsof R.H.K.'s Sketchbooks and S.O.K.'s Cotmania Journals. Although not attempting a catalogue raisonee, the illustrations of the architectural practice. the Brangwyn commissions. creating Casa Cuseni, and the art of Robert Kitson, are intended to provide the only extensive visual record of a corpus of work that has remained largely unattended for almost half a century since Robert Kitsons's death in 1947 and that of Sydney Kitson a decade earlier.
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Stephens, Stanton. "Charles and Ray Eames : furniture, architecture, interior design, film and photography." Thesis, De Montfort University, 1991. http://hdl.handle.net/2086/4252.
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Reilly, Andrew J. "Sound + architecture." This title; PDF viewer required. Home page for entire collection, 2005. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Bickel, Nichole. "Architecture as mediator." This title; PDF viewer required. Home page for entire collection, 2006. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Shepherd, Rupert Graham. "An examination of Giovanni Sabadino degli Arienti's writings on art and architecture." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.480624.
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Macagnano, Marco. "A centre for the performing arts catalyst for urban regeneration /." Pretoria : [s.n.], 2000. http://upetd.up.ac.za/thesis/available/etd-11282005-124553.
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Holmes, Elizabeth Geesey. "The Virginia Museum of Fine Arts: its Founding, 1930-1936." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625838.
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Rautio, Aapo. "Student community house : Master’s thesis on adaptive reuse and unacademia in the Umeå Arts Campus." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-171830.
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Verhulst, Catharina A. "Design criteria for purposefully ambiguous expression : proposal for a theater / performing arts school in Kenmore Square." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/78069.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH<br>Includes bibliographical references (p. 137-142).<br>Inclusion of zones which possess sufficient ambiguity to provide multiple use, character and meaning, generating an environment supporting freedom of interpretation and expression, is explored in this thesis. Conceptually, examples are borrowed from ecology, Futurist painting , and humor. A new theater / performing arts school complex is designed for Kenmore Square in Boston, Massachusetts, to interpret and communicate ideas. Creating forms which have the character of overlap, lack of fit, and incompleteness allow for physical architectural expression which may be purposefully ambiguous. To be purposefully ambiguous presupposes an underlying, and often subtle, level of conflict. The potency of architectural ambiguity is suggested by the amount of humor or surprise generated. This thesis explores the nature and character of regions of overlap. Such regions can be generated by introducing design elements which suggest their opposites and lead to confrontation. Disturbance can be both external to the design (allogenic) and internal (autogenic). It is my contention that this condition of dissonance is as beneficial in the architectural world, as it has been to the growth of artistic expression in painting. Rather than primarily relying on historical precedence, the principles of hierarchy, subordination, proportion and inflection are used within an environment of instability to generate relationships for the design of a theater school complex. Architectural comparables and conceptual models have been utilized to illustrate design intentions.<br>by Catharina A. Verhulst.<br>M.Arch.
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Pezolet, Nicola. "Spectacles Plastiques : reconstruction and the debates on the "Synthesis of the Arts" in France, 1944-1962." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/79183.
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Thesis (Ph. D. in Architecture: History and Theory of Art)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.<br>Cataloged from PDF version of thesis. "February 2013."<br>Includes bibliographical references (p. 311-332).<br>My dissertation examines the collaborative efforts of different individuals and groups - such as Le Corbusier, the Salon des Réalités Nouvelles, Groupe Espace, and the Internationale Situationniste - which advocated a "synthesis of the arts" in the time period that corresponds to the Liberation until the beginning of the Fifth Republic. I consider a wide range of archival sources and projects, from the collective decoration of permanent buildings to temporary installations in galleries by way of outdoors art exhibitions and theatrical performances, many of which were sponsored by Eugene Claudius-Petit and the newly founded French Ministry of Reconstruction and Urbanism. The "synthesis of the arts" discourse was more than a faint humanist echo of the Wagnerian model of the Gesamtkuntwerk, or "total work of art": it was one of the primary routes along which the cultural and political conflicts of French modernization and governmentality were discussed. My study locates the "synthesis of the arts" amidst the effort to renovate a universalizing discourse linked to modernist art, on the one hand, and a nascent welfare state notion of public space (and its correlative rhetoric of beauty, hygiene, functionality, and accessibility), on the other. As such, the postwar synthesis discourse not only reflected but directly participated in the development and expansion of the French "cultural state". Rather than showing this discourse as unitary, the dissertation explores its complex and sometimes contradictory dimensions by analyzing the political and social connotations of three different categories: a heroic model, associated with the figure of Le Corbusier; a bureaucratic model, developed by Groupe Espace (1951-1956); and an oppositional model, deployed by AsgerJorn, Pinot-Gallizio, and others who became associated with the Situationists (1954-1962). Case studies include Le Corbusier's Usine Claude et Duval in Saint-Dié and Unité d'Habitation in Marseille, Bernard Zehrfuss and Felix Del Marle's Regie Nationale Renault factory complex in Flins, Michel Ragon and Jacques Polieri's first Festival d'Art d'Avant-Garde, and Cobra and Situationists enviroments such as the Architects' House and the Cavern of Anti-Matter.<br>by Nicola Pezolet.<br>Ph.D.in Architecture: History and Theory of Art
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Macagnano, Marco. "A Centre for the Performing Arts: catalyst for urban regeneration." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/29892.
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Salvokop, the site chosen for this project, is due for some major changes in the next few years. Current development on Freedom Park, the future Gautrain initiative as well as a new drive by the local municipality to integrate the area into the CBD of Pretoria through a major 'Cultural Spine' throught the city make Salvokop a future destination of major interest. The Centre for the Performing Arts seeks to appeal to all facets of South African culture through a medium of expression that all appreciate: the medium of performance art. Specifically speaking, perfromance art applies to music, dance and drama. It is the ambition of this project to cater for al these forms on a level with which both public and performer may participate. Integration into the urban landscape is key, with this Centre engaging with the intended urban fabric of the area in such a way as to create a ariety of indoor and outdoor recreation and performance spaces.<br>Dissertation (M Arch (professional))--University of Pretoria, 2005.<br>Architecture<br>unrestricted
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Economides, Aliki. "Modern Savoir-Faire: Ernest Cormier, “Architect and Engineer-Constructor,” and Architecture’s Representational Constructions." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467511.
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This dissertation is a historical study of the life and work of French-Canadian architect and engineer, Ernest Cormier (1885-1980), who is considered to be among the most important Canadian architects of his generation, yet about whom relatively few scholarly studies exist. In light of the range of issues raised by Cormier’s work and their degree of importance to an understanding of Canadian culture at large during the first half of the twentieth century, this dissertation argues that no other architect operating in Canada during the interwar period made a contribution that touched on so many salient issues as Cormier did.
A cosmopolitan figure who tapped into everything available to him, Cormier’s multidisciplinary practice spanned over five decades in his native city of Montréal, and reflects his synthesis of diverse influences, his role as an agent of cultural transfer, and his remarkable degree of savoir-faire in everything he undertook. Entrusted with important commissions at local, national and international levels, Cormier’s contribution merits further study both as a milestone in the development of architecture in Canada, and for what it reveals about the charged sociocultural dynamics of Montréal at that time, which was then the cultural and economic capital of the country.
Cormier was particularly active during the interwar period, which was an important time in the advent of cultural modernity in the province of Québec, and in the development of a national consciousness among French Canadians. Focused primarily on the close study of two very different yet interrelated projects by Cormier that date from this period, this dissertation contends that the house he designed for himself (1930-31) and the main pavilion of the Université de Montréal (1924-43) are his most important works, both for what they reveal about his sustained commitments as well as for the innovative ways in which they address the conditions of modernity, and thus, critically illuminate the opportunities and constraints of their time and place.
Heavily reliant on the study of archival materials alongside empirical analyses of the buildings, and readings from a range of interdisciplinary sources in order to take account of the work’s meaning and significance within and beyond architecture culture, a central leitmotif of this study is the theme of ‘construction’ construed both as a preoccupation internal to Cormier’s oeuvre and as a theoretical orientation driving my analysis of his work. In the first instance, the figure of the constructeur [constructor] is incorporated into Cormier’s professional title to better align himself with French architecture and engineering culture, particularly with the work of Auguste Perret, whom he greatly admired. As well, for Cormier, construction in the sense of building things, is inseparable from design, and finds sustained expression in his deep curiosity for how things are made, his investment in making at all scales across diverse métiers and media, and his exacting standards for all of his work to be well executed. Finally, keenly attendant to architecture’s communicative function, this dissertation examines the profound representational role played by the Cormier residence and the Université de Montréal in the construction of identity at the respective scales of the individual and that of a collective.<br>Architecture, Landscape Architecture and Urban Planning
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Andrade, Marques Inês Maria. "Arte e habitação em Lisboa 1945-1965. Cruzamentos entre desenho urbano, arquitetura e arte pública." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/145901.
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Esta tese tem como objeto a produção de arte pública na cidade de Lisboa, nas grandes unidades habitacionais de promoção pública que se planearam e edificaram no período definido entre 1945 e 1965: Alvalade, Olivais Norte e Olivais Sul.
A obra de arte pública é assumida como um facto urbano, integrado num percurso de conformação do espaço. Cada uma das áreas é estudada desde a sua génese até ao seu estádio consolidado sob três aspetos: o plano de urbanização, o processo de edificação e a participação de artistas na produção de obras de arte pública, de modo a entender como se cruzam no espaço as variadas ideias e intenções ao nível do plano e dos projetos, e como estas sugerem ou condicionam o surgimento da obra de arte pública.
O período escolhido - as duas décadas seguintes ao fim da Segunda Guerra Mundial - permite apreciar a entrada e o desvanecimento dos ideários modernos racionalistas nos modos de pensar e construir a cidade. Através do estudo de Alvalade, Olivais Norte e Olivais Sul pode acompanhar-se a intromissão dos princípios da Carta de Atenas, primeiro limitada a pequenas unidades de urbanização [Alvalade], depois assumida à escala de uma célula experimental [Olivais Norte] e finalmente posta em prática numa grande malha residencial, mas onde se sentem já as tensões com outras correntes modernas, abrindo caminho às primeiras ruturas com o documento de 1933 [Olivais Sul].
Neste processo de desagregação do vocabulário urbano tradicional e de abandono dos figurinos oficiais impostos pelo regime desde o início da década de 1940, o objetivo principal da tese é perceber como é que arte pública se adequou aos edifícios e espaços públicos de configurações absolutamente novas, geradas pela aplicação destes novos paradigmas e formulações estéticas. É também perceber ao serviço de que intenções a obra de arte pública foi sendo chamada a pontuar o espaço da cidade.
A presente tese aborda uma produção artística geralmente negligenciada: a arte pública que acompanha a arquitetura e o urbanismo modernos. Apesar de quase exclusivamente circunscrita aos exemplos lisboetas, ensaia também uma aproximação exploratória à produção de arte pública para o universo da habitação social, de grande relevância no contexto do pós Segunda Guerra e décadas subsequentes. Se para arquitetos e urbanistas a habitação tinha sido desde o início do século XX tema de eleição e de demarcação doutrinária, foi também um campo que cativou artistas socialmente engajados, provenientes de várias linhagens estéticas e políticas, mas que tinham em comum uma intenção de aproximação ao espaço do cidadão comum.
Esta tese move-se entre várias áreas disciplinares. Além de perspetivar a arte pública no seu contexto arquitetónico e urbano, por se enquadrar conceptualmente na abordagem proposta pelo Cer Polis, a autora adapta a metodologia da história oral como forma de resgatar parte da informação necessária à escrita da tese.
PALAVRAS CHAVE - Arte Pública, Áreas residenciais, Urbanismo residencial, Síntese das Artes, Integração das Artes, Movimento Moderno<br>This PhD thesis aims to study the production of public art in the city of Lisbon, in major public promotion housing units that were planned and built in the period between 1945 and 1965: Alvalade, Olivais Norte and Olivais Sul.
The work of public art is assumed as an urban fact, part of a plan of shaping the space. Each area is studied from its origin to its consolidated stage under three aspects: The urbanization plan, the process of building and the participation of artists in the production of works of public art
The period chosen - the two decades following the end of the Second World Warallows us to appreciate the input and the fading ideals of modern movement ideals in the ways of thinking and building the city. The study of Alvalade, Olivais Norte and Olivais Sul, allows us to monitor the interference of the principles of the Athens Charter, initially limited to small urbanization units [Alvalade], later adopted to the extent of an experimental cell [Olivais Norte] and finally put in place in a large housing estate, but where tensions with other modern currents could already be felt giving way to the first breakthroughs with the document of 1933 [Olivais Sul].
In this process of dissolution of the traditional urban vocabulary and abandonment of the official models imposed by the regime since the early 1940s, the main objective of the thesis is to understand how the public art adapted itself to public buildings and spaces of absolutely new configurations, generated by the application of these new paradigms and aesthetic formulations. It is also to understand with what intent the work of the public art was being called to mark the city space.
This thesis concerns an often overlooked artistic production: the public art that accompanies modern architecture and urbanism. In spite of being exclusively limited to the Lisbon examples it also rehearses an exploratory approach to the production of the public art to the universe of social housing, which had great relevance in the context of the post Second War and subsequent decades. Having in mind that to modern architects and urbanists housing had been the subject of election and doctrinal demarcation since the beginning of the twentieth century, it was also a field that captivated socially engaged artists from various aesthetic and political lines, who had a common intention of approaching the space of the ordinary citizen.
This thesis moves between several subject areas. Besides appreciating public art in its architectural and urban context, because it fits conceptually the approach proposed by Cer Polis, the author adapts the methodology of oral history as a way to redeem part of the necessary information to write the thesis.<br>Aquesta tesi té com a objecte la producció d'art públic a la ciutat de Lisboa, a les grans unitats habitacionals de promoció pública que es varen planificar i edificar en el període comprès entre 1945 i 1965: Alvalade, Olivais Norte i Olivais Sud.
L'obra d'art públic és assumida com un fet urbà, integrat en un procés de conformació de l'espai. Cadascuna de les àrees és estudiada des de la seva gènesi fins al seu estat de consolidació sota tres aspectes: el pla d'urbanització, el procés d’edificació i la participació d'artistes en la producció d'obres d'art públic.
El període escollit - les dues dècades que van seguir al final de la Segona Guerra Mundial - permet apreciar l'entrada i l’esvaïment dels idearis moderns en les maneres de pensar i construir la ciutat. L'estudi d’Alvalade, Olivais Norte i Olivais Sul permet seguir la intromissió dels principis de la Carta d'Atenes, inicialment limitada a petites unitats d’urbanització [Alvalade], posteriorment assumida a l'escala d'una cèl•lula experimental [Olivais Norte] i finalment posada en pràctica sobre una gran malla de caràcter residencial, però on se senten ja les tensions amb altres corrents moderns, obrint el camí a les primeres ruptures amb el document de 1933 [Olivais Sul].
En aquest procés de dissolució del vocabulari urbà tradicional i d'abandonament dels models oficials imposats pel règim des de l’inici de la dècada de 1940, l'objectiu principal de la tesi és comprendre com l'art públic es va adequar als edificis i espais públics amb configuracions absolutament noves, generades per l'aplicació d'aquests nous paradigmes i formulacions estètiques. Ho és també entendre al servei de quines intencions l’obra d’art públic va ser cridada a marcar l'espai de la ciutat.
La present tesi valoritza una producció artística generalment oblidada: l’art públic que acompanya l’arquitectura i l’urbanisme moderns. Malgrat estar exclusivament circumscrita als exemples lisboetes, intenta també una aproximació exploratòria a la producció d'art públic per l'univers de l'habitatge social, de gran rellevància en el context de post-segona guerra mundial i les dècades posteriors. Si per arquitectes i urbanistes moderns l’habitatge havia estat des d’inicis del segle XX un tema d’elecció i de demarcació doctrinària, fou també un camp que va captivar artistes socialment compromesos, provinents de diferents línies estètiques i polítiques, però que tenien en comú una intenció d'aproximació a l’espai del ciutadà comú.
Aquesta tesi es mou entre diverses àrees disciplinàries. Més enllà de posar en perspectiva l’art públic en el seu context arquitectònic i urbà, pel fet d’enquadrar-se conceptualment en el plantejament proposat per Cer Polis, l'autora adapta la metodologia de la història oral com una forma de recuperar part de la informació necessària per l’escriptura de la tesi.
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Boyd, Kelly Elizabeth. "Mme. de Pompadour: Self Promotion and Social Performance through Architecture and the Decorative Arts." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/90.
Full textAbstract:
The structure of this thesis relies on the physical locations of Mme. de Pompadour. Although the chapters are roughly chronological, beginning with her arrival at Versailles in 1745 and ending with her death in 1764, this work makes no attempt to comprehensively chronicle the entirety of her involvement in the decorative arts. Rather, it focuses on several specific aspects of her patronage, with the goal of illuminating her social position and public image, and how she worked to control the two. Chapter One deals with the first rooms Mme. de Pompadour inhabited, from 1745-1750. These upper apartments characterize her early attempts to convey meaning through décor and to shape social interactions within a constructed environment. Chapter Two follows Mme. de Pompadour’s move downstairs, to the lower apartments in 1750. This move parallels an important evolution in her role at court and seeks to explore how her newly political functions were expressed through these interior spaces. Chapter Three is more expansive, examining three architectural projects undertaken by Mme. de Pompadour and Louis XV on her behalf, over the course of her nineteen years at court. These independent homes represented an opportunity for Mme. de Pompadour to actively work to change public perception of herself and her role, an opportunity that she did not waste.
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Kauffman, Tim. "An Arts & Crafts Experiment in Sustainable Architecture: Exploring Parallels for Inspiration and Experimentation." Thesis, The University of Arizona, 2001. http://hdl.handle.net/10150/596957.
Full textAbstract:
Assuming that there are parallels between Arts and Crafts architecture and sustainable
architecture, these parallels should inspire experimentation when creating regional forms of sustainable
architecture.
An analysis of these parallels presents the design approaches of each type of architecture in
the first two sections of this study. Arts and Crafts architecture is taken as the point of origin, and a
discussion of sustainable architecture follows. The study includes a summary of the historical
context which helped form both sets of ideals in architecture, as well as the important characters
who practiced & shaped these ideals. Within the major categories of design approaches presented as
parallels, architectural examples and historical background information highlight how these design
approaches are embodied within the buildings and designs from each period.The third section studies these parallels in a regional context -the Southwestern U.S., and, in
particular, Tucson, Arizona. It describes the context and a brief history of the region and the city
itself. Its goal is to present a clearer understanding of the physical, cultural, and architectural forces
that should shape any regional approach to sustainable arts and crafts architecture in Tucson.The final section presents the design of a residential house in Tucson as a series of 2-
demensional, 8x11 illustrated pages. The process as represented herein can be thought of as the
embodied energy of a search for information and inspiration. Ideally, this process of inquiry, design
and construction will help to solve some of the environmental problems which face the residents of
Tucson, the Southwestern U.S., the country and even the world today and into the future.It is hoped that the establishment of these parallels will highlight an historical precedent for
the development of regional, sustainable, and beautiful, small scale residential architecture in the
future. It is hoped that the final outcome of this research will contribute to improving the well -being
of its occupants and of its site. Ideally, the design process, as documented, will also reflect the
artistic ideals and beauty which both the Arts and Crafts movement and the belief in sustainable
devlopment share and search for with respect to architecture.
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Chandler, Aleta Nadine. "Vernacular Whimsy." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1994.
Full textAbstract:
This thesis supports the Master of Fine Arts exhibition entitled Vernacular Whimsy at Johnson City Area Arts Council, Johnson City, Tennessee, November 1-13, 2008. The exhibition is comprised of thirty ceramic sculptures presented on pedestals. The exhibition presents the artist's investigation and reinterpretation of regional architectural elements. Practical consideration of structure, technique, and influence is discussed. Included are detailed images as well as a complete catalog of the thesis exhibit.
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Esquier, Francis. "Arts du lieu : essai sur l'espace concret de la statuaire et de l'architecture." Paris 10, 1996. http://www.theses.fr/1996PA100125.
Full textAbstract:
Comment fonder les categories spatiales de la statuaire et de l' architecture ? en conciliant une conception kantienne remodelee de l'espace avec les theses relatives a la chose et au lieu dans la phenomenologie moderne. A(xiome)1 : l'espace n'est pas le lieu, et inversement. A2 : au lieu et a l'espace est inherente une orientation verticale par rapport a la terre. A3 : l'espace, comme intuition a priori specifique, est un principe de coordination sur le mode de la facticite. A4 : le lieu est un principe de coappartenance sur le mode de la presence. A5 : un lieu est dit co-haerent s'il place en coappartenance necessaire. A6 : en tant que choses l'edifice ou la statue sont des lieux. A7 : la beaute est l'expression d'une forme esthetique. A8 : l'art est la production de formes esthetiquement pregnantes. A9 : la pregnance esthetique ou pregnance de forme est le resultat de la pregnance d'une forme (gestalt), mais ne s'y reduit pas. A10 : la co-haerence locale est une condition de la pregnance de forme dans les arts plastiques, selon un rapport d'homologie.
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Archard, Kathryn M. (Kathryn Maria). "New into old--building into/onto/around/alongside : a school for the arts in Boston's Theater District." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/63210.
Full textAbstract:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.<br>Includes bibliographical references (p. 104-107).<br>The premise of this thesis suggests that these empty and abandoned buildings lying in the heart of various historic districts in our cities be "collaged" together as part of a newer ensemble of spaces. It is proposed that the transformation of these buildings begins with a careful study of the existing underlying systems of order which governed their organization initially (and which may now serve to inform and provoke a more successful synthesis of new into old), continues with the metamorphosis of the buildings themselves, with the erosion of the strict boundaries which enclose them, and concludes with the establishment of large-scale connections of these structures to their surroundings. The vehicle through which this method will be examined is a school for the arts (drama, dance and music) located in Boston's historic theatre district, selected because a purely preservationist strategy for renewal here would not be appropriate. This approach aims to retain what is most significant of this district in terms of its spatial organization, historic character, and tradition, while bringing in those activities which will help to "weave" it back in to the present. The traces of the old will be reinforced by the intervention of the new, thereby establishing a palimpsest of time which captures and exhibits a rich integration of new and old together.<br>by Kathryn M. Archard.<br>M.Arch.