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1
Holder, R. J. "Victorian classical town halls." Thesis, University of Reading, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373468.
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Baxter, Todd A. "Meta-classical architecture thinking beyond the box /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179367078.
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Thesis (Master of Architecture)--University of Cincinnati, 2007.Title from PDF t.p. (viewed on July 17, 2007.) Keywords: Quantum Architecture; Superposition; Duality Includes bibliographical references.
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BAXTER, TODD A. "META-CLASSICAL ARCHITECTURE: THINKING BEYOND THE BOX." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179367078.
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Fu, Haoyu. "From Geometry to Classical." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/85000.
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Durability, Utility and Beauty are the three Vitruvian principles of architecture. They are also my belief of what constitutes architecture. In order to pursue the essence of architecture, I hope to find at least in part an answer through the study of classical buildings that adhere to those principles. Classical architecture is often organized through basic geometric elements such as square, circle and triangle. These geometric elements have endured the history of architecture and suggest being applicable to any contemporary building.
Since ancient time, humans had intimate relationships with animals, including horses. Even today, where the utility of the horse is no longer important, people still love to engage with horses on many levels. From this perspective, a horse is in a way a symbol that syncretize ancient and modern times.
A horse stable offers itself as a great example to study the relationship between man and horse. As a site, Blacksburg, a small town with a significant animal research branch of the university has rich pasture resources. The proposed architecture seeks to recognize the long-standing horse culture in classical terms, a very usable and beautiful ensemble, based on strong principal geometric elements.Master of Architecture
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Sung, Li-wen. "Decoding Chinese Classical Architecture for Contemporary Architectural Design - With Special Reference to Modern Architectural Development in Taiwan." Diss., Virginia Tech, 2006. http://hdl.handle.net/10919/40260.
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This research began with an exploration of the phenomenon of cultural conflict and fusion in the process of architectural modernization in Taiwan. It will examine the impact of modern and contemporary theories on the practice of architecture of the island. It will then seek out the essence of Chinese classical architecture in order to develop an approach for the development of the future Chinese/Taiwanese architecture. In addition, the findings of the study could serve as a reference for scholars who would pursue historical and theoretical studies of in the subject, or for architects who are seeking design concepts to enhance their projects.
The study utilizes an interpretive-historical methodology. It emphasizes that researchers should investigate social phenomena within broader and more complex contexts of what to uncover the underlying cultural factors. To highlight their significance, the author will pursue a hypothetic project to examine and demonstrate the meaningfulness and applicability of the concepts learned from the research.
Efforts were made to discover ways in which Taiwanese and Chinese architectural culture can deal with foreign influences, such that it will be able to enjoy the benefits of modernization while maintaining its unique character and identity. Moreover, it will attempt to uncover ways in which Chinese architecture can in fact influence the global contemporary architectural culture. Finally, it is hoped that this work will produce a useful reference for students, scholars and architects who wish to develop design projects that reflect and celebrate regional cultures.Ph. D.
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PONTES, ANA PAULA GONCALVES. "SILENT DIALOGUES: MODERN BRAZILIAN ARCHITECTURE AND THE CLASSICAL TRADITION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6226@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOO Movimento Moderno da arquitetura afirmou-se nas primeiras décadas do século XX como proposta de ruptura radical com o passado, desejando instaurar uma nova estética afinada com o espírito da era industrial. Sem desconsiderar as profundas transformações que a nova linguagem operou na arquitetura, este trabalho busca investigar os possíveis diálogos entre obras modernas e a tradição clássica, tendo em vista edifícios de arquitetos brasileiros. A discussão insere-se no debate recente da historiografia brasileira, que busca abordar a arquitetura moderna sob seus múltipos aspectos, valorizando as qualidades ambivalentes que tornam as obras mais complexas e interessantes, como já vem fazendo há mais tempo a crítica internacional, sobretudo com as interpretações que apontam para as relações de Le Corbusier com a tradição clássica. Dentre as obras destacadas na análise estão a sede do Ministério da Educação e Saúde do Rio de Janeiro (1936), de Lucio Costa e equipe, com consultoria de Le Corbusier; os palácios de Brasília de Oscar Niemeyer (Alvorada, Planalto e Supremo Tribunal Federal, 1957-58); e o edifício da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (1962-69), de Vilanova Artigas. A escolha de exemplos representativos e ao mesmo tempo variados da produção brasileira permite compreender as diversas formas com que a arquitetura moderna se relacionou com a tradição clássica, especialmente nos momentos em que desejou corporificar nos edifícios os ideais emblemáticos de seu tempo histórico.
The Modern Movement in Architecture gained ground in the first decades of the 20th Century as a proposal of radical rupture with the past, willing to establish a new aesthetic in tune with the spirit of the industrial era. Not wanting to disregard the deep changes which the new language produced in architecture, this dissertation aims to investigate the possible dialogues between modern works and classical tradition, having in mind buildings of Brazilian architects. The discussion is inserted in the recent debate of Brazilian historiography, which intends to approach the modern architecture taking into account its multiple aspects, highlighting ambivalent qualities which make the works more complex and interesting, as the international critic has been showing for some time, especially with the interpretation that points to the relations between Le Corbusier and the classical tradition. Among the works distinguished in this analysis are the headquarters building of Ministério da Educação e Saúde do Rio de Janeiro (Education and Health Department of Rio de Janeiro, 1936), by Lucio Costa and his team, with consultancy of Le Corbusier; the palaces of Brasília by Oscar Niemeyer (Alvorada, Planalto and Supreme Federal Court, 1957-58) 1957-58) Court and the building of the FAU/USP (College of Architecture and Urbanism of São (College of Architecture and Urbanism of São Paulo University, 1962- 69), by Vilanova Artigas. The choice of representative and, at the same time, varied examples of the Brazilian production allows us to understand the different forms with which the Modern Architecture has established relations with the classical tradition, especially when it aimed to embody in the buildings the emblematic ideals of its historical time.
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Stubbs, Jerome D. "A critical reading of Eisenman's "The end of the classical"." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/21661.
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Sumertas, Firuzan Melike. "Female Patronage In Classical Ottoman Architecture: Five Case Studies In Istanbul." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607671/index.pdf.
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The aim of this thesis is to discuss and illustrate the visibility of Ottoman imperial women in relation to their spatial presence and contribution to the architecture and cityscape of sixteenth and seventeenth century istanbul. The central premise of the study is that the Ottoman imperial women assumed and exercised power and influence by various means but became publicly visible and acknowledged more through architectural patronage. The focus is on istanbul and a group of buildings and complexes built under the sponsorship of court women who resided in the Harem section of Topkapi Palace.
The case studies built in Istanbul in the sixteenth and seventeenth centuries are examined in terms of their location in the city, the layout of the complexes, the placement and plan of the individual buildings, their orientation, mass characteristics and structural properties. It is discussed whether female patronage had any recognizable consequences on the Ottoman Classical Architecture, and whether female patrons had any impact on the building process, selection of the site and architecture.
These complexes, in addition, are discussed as physical manifestation and representation of imperial female power. Accordingly it is argued that, they functioned not only as urban regeneration projects but also as a means to enhance and make imperial female identity visible in a monumental scale to large masses in different parts of the capital.
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Chibireva, Natalia. "Architecture, ideology and order : the idea of the classical in 1930s architecture and Nazi spatial strategies." Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391395.
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Campbell, Lee Winston. "Recognizing classical ballet steps using plase space constraints." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/61085.
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Lodwick, Marcus Vale. "The monumental architecture of the Cyclades in the classical and Hellenistic periods." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:7df6aa69-4e56-42b7-a581-e786507467a1.
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The aim of this study is to establish the existence of a distinct regional architecture on the Cycladic islands during the Classical and Hellenistic periods. It presents a record of materials and of certain constructional techniques, proportions and forms of Cycladic monumental architecture, from which it is possible to establish and explain the differences and similarities of Cycladic practice with other Greek architectural traditions. It is based on a close examination of all the known major buildings and many fortifications on the Cyclades and Thasos, a colony of Pares with certain similar architectural traits. The first section of the thesis (Chapters 2-4) treats the principal constructional techniques, with separate detailed examinations of the various materials employed, the types and nature of foundation, euthynteria and wall construction. The materials available to the builders played a major part in the nature of these parts, all of which display a pronounced conservatism in technique despite strong influences from outside the archipelago. The second section (Chapters 5-6) looks at a number of significant proportions within Doric colonnades and entablatures, principally outlining the Cycladic tendency for slender columns and a less well established tendency for relatively low architraves throughout the Archaic, Classical and Hellenistic periods; accompanying tables and graphs detail and illustrate the proportions discussed. The final section (Chapters 7-8) studies two particular architectural forms - the tops of triglyphs and Ionic capitals; in the former, particular regional preferences of form are noted, while in the latter there are both conservative and innovative tendencies, as well as strong outside influences. There emerges from this study a local architecture that is conservative in many aspects of its architecture while being receptive to outside influences and even having a certain notable originality of its own. Appendix 1 lists many of the typical traits of essentially Archaic Cycladic architecture, some of which continue into the Classical period. Appendix 2 includes graphs detailing the effect of lower column diameter and column height upon column slenderness. A Catalogue of the Classical and Hellenistic Cycladic and Thasian monuments, together with their bibliography, is included at the end of Volume I.
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Escalante, Ana S. (Ana Stephanie). "Vitruvius on architecture : a modem application and stability analysis of classical structures." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/83710.
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Thesis (S.B.)--Massachusetts Institute of Technology, Department of Mechanical Engineering, 2013.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 65-66).
Imperial Rome has left numerous legacies, the most well-known being its literature and monuments. Though many monuments, such as the Pantheon, are well-preserved, in cases where little physical evidence remains, historians can often use literary sources to inform reconstruction efforts. For more technical studies of Roman construction, technical literature is rare and the contemporary awareness of such literature even less known. When Vitruvius wrote De architectura, he did not intend for it to be a manual for instruction but rather a central source of general architectural knowledge. Directly aimed at architects, contractors, and other individuals involved in the design and construction of buildings, De architectura provides insight into contemporary technical knowledge. One aim of this thesis is to identify the presence of Vitruvian knowledge in imperial Roman structures. De architectura was written during the time of Augustus, therefore Augustan monuments show the immediate impact and relevance of the knowledge presented by Vitruvius. Almost a century later, architectural innovation was a hallmark of Hadrian's reign, but a study of Hadrianic structures demonstrates the longevity of De architectura. A structural analysis of the Teatro Marittimo and Sala dei Filosofi in Hadrian's villa at Tivoli, both influenced by Vitruvian precepts, was carried out to characterize the load distribution in supporting structures. The results of this analysis demonstrate that although Vitruvius gave no quantitative support for his guidelines, his suggestions are structurally sound, even by modem engineering standards.
by Ana S. Escalante.
S.B.
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Roberts, G. "Inigo Jones : the architectural historiography." Thesis, University of Essex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387414.
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Woodward, Robert. "An architectural investigation into the relationship between Doric temple architecture and identity in the archaic and classical periods." Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/4185/.
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The predominant approach to the study of Doric temple architecture during the twentieth century has been the evolution model, which connects a temple’s design directly with its date of construction (Dinsmoor 1950; Lawrence 1996). Thus, the model allows temples to be dated to distinct decades, based upon their ‘key’ proportions, such as the length of the plan. B.A. Barletta’s (2011: 629) recent article entitled State of the Discipline: Greek Architecture discussed the need for constant reassessment of the proportions of Doric temples and their chronology, particularly in light of recent discoveries and new publications, suggesting that a reconsideration of the evolution model was now required. In the same article, Barletta (2011: 630) discussed the growing trend amongst classical archaeologists towards analysing the social role of temples. With the exception of the temple sculpture, which has generally been studied separately (Marconi 2007; Østby 2009; Maggidis 2009: 92-93), the move towards a social understanding of the temple has had little effect upon the study of the buildings’ designs. Although a number of studies have begun to investigate the role of architectural design in conveying meaning (Snodgrass 1986; Østby 2005), the studies are limited, both chronologically and geographically, by the constraints of the evolution model. Given the ‘mathematical’ image of classical architecture studies, and the subject’s “current lack of academic popularity” (Snodgrass 2007: 24), it is perhaps not surprising that a review of the evolution model and the social role of architectural design are long overdue. To this end, this study re-analyses the connection between date and design, demonstrating that a temple’s design was not entirely controlled by the date of its construction. Rather, temple design was affected by the sub-regional inter-group competition which was so prevalent in sanctuaries during the archaic and classical periods and the expression of identity on behalf of the different dedicatory groups.
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Yeroulanou, Marina. "The architecture of Greek treasures and other foreign dedications : stylistic developments and the role of dedicating states and workshops." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391056.
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Guerrettaz, Jean Ellen. "Song of Athens." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997988928.
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Tatla, Helen. "Idea and freedom : the search for form in classical architecture and the Modern Movement." Thesis, University of Edinburgh, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280656.
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Chang, Lian. "Articulation and the origins of proportion in archaic and classical Greece." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86574.
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This dissertation searches for the origins of western ideas of proportion in the archaic and classical Greek conceptual terrain of articulation. We think of articulation, in the first instance, as having to do with the joining of parts to fabricate an object, such as in the physical connection of pieces of wood, cloth, metal, or stone. However, the early Greek language that described these craft processes also, and inextricably, spoke in a number of ways about what it meant for a person, thing, or the world to be beautiful, healthy, and just. Taking Homer as its primary source, Part One therefore explores archaic ideas of bodily experience (Chapter One); of crafts (Chapter Two); and of the interrelations between the two (Chapter Three). These chapters lay emphasis on how the language and concepts of articulation constructed a worldview particular to early Greece. Part Two then examines early ideas of proportion, in social and political life as depicted by Homer (Chapter Four); in classical ideas about the medicalized human body and the civic body of the polis (Chapter Five); and in the cosmogonic theories of Empedocles and Plato (Chapter Six). In so doing, I aim to demonstrate how ideas of articulation allowed for and expanded into those of proportion, binding together the ordering of bodies, of the kosmos, and of crafts, including architecture.Cette dissertation cherche l'origine des idées occidentales de proportion à partir du concept de l'articulation dans la Grèce archaïque et classique. De nos jours, l'articulation est perçue comme étant le jointoiement de pièces pour fabriquer un objet, telle la connexion physique entre des pièces de bois, tissu, métal, ou pierre. Toutefois, dans le grec archaïque, les mots utilisés pour décrire ces procédés d'assemblage parlaient aussi, et inextricablement, de la signification pour une personne, une chose, ou le monde, d'être beau, sain et juste. La première section de la dissertation explore, à partir de l'oeuvre d'Homère, les idées archaïques d'expérience corporelle (chapitre un); de métiers d'art (chapitre deux); puis de leurs interrelations (chapitre trois). Ces chapitres mettent l'emphase sur la manière dont le langage et les concepts d'articulation construisirent une perception du monde particulière à la Grèce antique. Ensuite, la deuxième section examine les idées antiques de proportion, dans la vie sociale et politique telle que dépeinte dans Homère (chapitre quatre); dans les idées classiques du corps humain médicalisé et le corps humain civique de la polis (chapitre cinq); puis dans les théories cosmogoniques d'Empédocle et de Platon (chapitre six). Ainsi, cette dissertation vise à démontrer comment les idées d'articulations permirent d'une part et évoluèrent d'autre part en celles de proportions, fusionnant l'ordre du corps, du cosmos, et des métiers d'art, incluant l'architecture.
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Armpis, Eleni. "The architecture and spatial organisation of Asklepieia in mainland Greece, the islands and western Asia Minor." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369602.
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Suber, Lauren Jessica Brown. "Rituals, Roots, and Rectangles: The Classical Tradition in Early American Portraiture." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625706.
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Aviv, Lee. "The Classical Unconscious: A Critique of the Paradoxical Design Projects of Peter Eisenman." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367943654.
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Basarrate, Iñigo. "An English architect in Spain : five projects by Edwin Lutyens." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25690.
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Although the work of Edwin Lutyens has received much careful scholarly study since the 1980s his important projects in Spain remain very little known. Presently, only a brief article by Gavin Stamp and Margaret Richardson is devoted solely to Lutyens' work, and they are merely touched on in his published biographies, especially that by Christopher Hussey. Unfortunately, Lutyens was unable to complete his Spanish commissions, mostly because of the deterioration of Spain’s economy and social order in the 1930s, and this has played a major role in keeping these projects in the dark. Furthermore, the devastation caused by the Civil War obliterated most of the evidence once held in Spanish archives. Some of the projects of Edwin Lutyens in Spain are remarkable and unique for their use of what may loosely be termed a ‘Spanish style’. The identification of this characteristic can be understood as demonstrating a growing knowledge of and appreciation for Spanish architectural heritage on the part of British architects and architectural historians by the end of the nineteenth century. At the same time, the fact that the design of important private residences in Spain were commissioned to an English architect shows the growing anglophilia of Spanish economic and political elites under Alfonso XIII's reign. During these years, the economic and political ties between Britain and Spain became closer than ever before, which also had an impact on the architecture of the time. Ultimately, this dissertation is predicated on the assumption that it is important to study further, and understand better, the Spanish projects of Edwin Lutyens in order to gain fuller and further insight into his methods as a designer. The first three of them (the first project of the Palace of El Guadalperal, the Palace of La Ventosilla and the Palace for the Count de la Cimera) cast light on Lutyens´s work during the Great War years, a relatively obscure period of his career which was, however, extraordinarily fruitful. The second project for the Palace of El Guadalperal is even larger than his previous Spanish projects, approaching the grandeur and magnificence of the Viceroy’s House in Delhi. In this respect there may be seen to be a correspondence between these otherwise discrete and apparently un-related projects, running from Britain, through Spain, all the way to India. Moreover, given their scale, along with the design input required to make them successful and coherent buildings, they must be appreciated as pivotal moments in the design development, if not built oeuvre, of Edwin Lutyens as an architect. Finally, the Reconstruction of Liria Palace, is not only his last commission in Spain but it can also be considered as the last building he designed. Only when these projects are brought to the fore and analysed properly can a full understanding of Lutyens as an architect be reached.
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BO, ELENA. "Archaeoacoustics, from antiquity to nowadays: contemporary use of the classical ancient architecture for performing arts." Doctoral thesis, Politecnico di Torino, 2017. http://hdl.handle.net/11583/2687278.
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Present conditions of Roman and Greek ancient theatres of the Mediterranean basin are critic from the point of view of the architectural conservation. The remarkable acoustics that characterized them in antiquity was not anymore attested by the latest main researches in this field (i.e. ERATO project in 2006). This represents an obstacle for the proper usage of these spaces as contemporary performance spaces. In fact, despite their status, a high number of theatrical and musical festivals still take place in these environments every year.
This research deals with the re-usage of the ancient classical theatres nowadays. Two main topics are investigated: a) the evaluation of measuring and simulating techniques in their application to the open-air conditions; b) the enhancement of the ancient theatres’ acoustics through passive-acoustic solutions. Two case studies were chosen: the ancient theatre of Tyndaris, TYN, and the ancient theatre of Syracusae, SYR.
In the first part of the thesis, acoustical measurements performed in TYN and in SYR on the basis of the ISO 3382-1 are reported. Acoustical parameters Reverberation Time, RT (s) – labelled as T20 – Clarity for speech and for music, C50 and C80 (dB), and Sound Strength, G (dB), are calculated as indicated in the standard. Their analysis reveals similar results to those obtained during ERATO project, in terms of RTmid and Gmid parameters. Evaluation of the Impulse response-to-Noise Ratio, INR (dB), attests measurement quality for all the frequencies, except for 125 Hz.
The critical analysis of the applied measuring protocol 3382-1, which actually refers to indoor environments, shows the necessity of a specific standard for outdoor spaces. Direct-to-Reverberant energy Ratio, DRR (dB), is proposed in this thesis as alternative parameter to characterize the open-air theatres. Measured and simulated DRR values are statistically evaluated to assess their reliability, together with the values of standard parameters T20, C50, C80 and G.
Following recommendations by JCGM-100, a high number of repetitions is necessary to guarantee consistent results, and to reduce errors that could occur in open-air spaces. Measurement uncertainties due to repeatability are calculated for each parameter in the case of TYN, and compared to the relative Just Noticeable Difference, JND. Results evidence that only G and DRR are able to detect systematic differences among the different positions in the theatre. T20, C50, C80 result to be more affected by random effects, due to unstable outdoor conditions.
Two acoustic software, Odeon and CATT-Acoustic, are investigated in their simulation of the open-air conditions. The reliability of simulated results is related to algorithm sensitivity to the variation of the input variables, which are controlled by the operator. Simulation uncertainty due to variability of the input values of absorption and scattering are defined for each parameter in the case of SYR. Results show that lower values than their JNDs are obtained for all the parameters, except for T20, C50, C80 when CATT-Acoustic is used. The lower uncertainty means that the software algorithm is less sensitive to absorption and scattering variation. Concerning the calibration procedure of the models, the comparison of measured/simulated results shows that, among all the parameters, only G and DRR results are in agreement.
In the second part of the thesis, curved orchestra shells for the enhancement of the acoustics of TYN and SYR are defined by means of computational design. Genetic algorithms allow researches based on an optimization criterion, which in this case is the maximization of the number of reached listeners with a perceived level over the measured Background-Noise-Level, BNL + 10 dB(A). Simulated results of the orchestra shells show significant improvements of the theatres acoustics for G and DRR. This parametric approach allows the realization of feasibility studies, and it is transferable also to other similar ancient theatres.
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Basagac, Ozge. "Presentation Of Classical Archaeological Sites In Virtual Environment Case Studt: Sagalassos." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606471/index.pdf.
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ABSTRACT
PRESENTATION OF CLASSICAL ARCHAEOLOGICAL SITES
IN VIRTUAL ENVIRONMENT
CASE STUDY: SAGALASSOS
BASAgAÇ, Ö
zge M.S, Department of Architecture in Restoration Supervisor: Dr. Fuat GÖ
KÇ
E July 2005, 123 pages Parallel to the growing concern for the protection and presentation of archaeological sites, virtual environments (VE) are in use for visualization purposes since mid 1980&rsquo
s. This thesis investigates the potentials and problems of presenting a classical archaeological site in VE from the viewpoint of conservation science, to ensure the welfare of the remains. The study is handled in two sections as a conceptual part and a case study. The conceptual part, first dwells upon the history, aim and techniques of the VE presentations. This section ends with the development of criteria for the evaluation of VE presentations of classical archaeological sites. For the case study, the antique city of Sagalassos is investigated through its history, urban tissue, architecture, multidisciplinary studies and VE projects. The thesis concludes with general remarks on the presentation of classical archaeological sites in VE and proposes some solutions to improve the presentation of Sagalassos in particular.
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Patronos, Sotiris. "Public architecture and civic identity in classical and Hellenistic Ionia : the cases of Miletus and Priene." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:0360e977-4ac9-4abb-a4ce-c547ae7d9cda.
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The main objective of this thesis is to investigate how works of public architecture, both alone and as components of the general urban layout, were related to the selfperception and identity of the ancient Greek polis community. And further, how the gradual evolution and change of this identity affected the history and associations of the buildings and the overall appearance of the city. The study concentrates on the Classical and Hellenistic periods with emphasis on the process of transition, and the geographical region of Ionia, which in that particular period lay at the centre of the historical developments that would bring important changes to Greek poleis and their communities. Miletus and Priene were selected as case studies because both were founded in the Classical period and continued to develop throughout the Hellenistic, are extensively excavated and published, and offer sufficient material for study. Miletus allows insight into large and influential polis communities, while Priene offers evidence for small ones with more limited means. In the first chapter, fundamental concepts such as 'collective identity,' 'cultural community,' 'cultural memory,' 'monumentality,' etc. and also those of 'city,' 'citystate' and 'polis community' are defined and analyzed, and their relation to each other and to architecture is discussed. In the second and third chapters, the architectural development of Miletus and Priene is examined against its historical background, in the light of the principles and associations observed in the first, theoretical part. In the final chapter, the developments and tendencies observed in Miletus and Priene are placed into context with similar phenomena that occurred in other poleis of the region and the Greek world in general during the process of transition from the Classical to the Hellenistic era. The discussion is based around the main axes of civic life i.e. the economic-political, socio-cultural, religious etc., and around issues of particular concern at the time such as the effects of monarchy and the growing role of the individual.
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Sheppard, Marilyn. "The music of architecture." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/35914.
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Music, as a performing art, transports us to distant moments and spaces than those we are in the present time. A hundred musicians playing Brucknerâ s Scherzo on Symphony No. 7 could make us feel emotionally moved; it could make us feel joy, anger, anguish, delight, peace, fear, freedom. Music has the ability to change our mood, to make us go through a series of feelings. This, I believe, has to do with how it involves you in it.
Arthur Schopenhauer also says: â The effect of music on the mind, so penetrating, so immediate, so unfailing, and also the after-effect that sometimes follows it, consisting in a specially sublime frame of mind, are explained by the passive nature of hearing just describedâ 3. This penetrating component of music, so immediate, of which Schopenhauer speaks, is how the Sublime is experienced through it. Music could even elevate the soul of those who are most open to perceive it.
What is that â sublimeâ moment that happens when you are listening to a live orchestra and get moved by the experience? Are we capable of achieving that moment through the use of architectural elements alone? I believe the answer is yes.
There is more to the moment than just the music itself, and that a â sublimeâ moment can be experienced in many contexts. There are elements that are common to this experience, primarily the presence of the Four Classical Elements.
With this in mind, I came to the idea that by including Air, Fire, Earth and Water into my project, then I would be a step closer to having the users go through a sublime experience.Master of Architecture
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Stevenson, Christine McKee. "The design of prisons and mental hospitals in the neo-classical period, with special reference to the work of C. F. Hansen (1756-1845)." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283737.
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Lewis, David Correll. "Revealing the Parthenon's logos optikos : a historical, optical, and perceptual investigation of twelve classical adjustments of form, position, and proportion." Diss., Georgia Institute of Technology, 1994. http://hdl.handle.net/1853/23998.
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Östman, Leif E. "A pragmatist theory of design : The impact of the pragmatist philosophy of John Dewey on architecture and design." Doctoral thesis, KTH, Architecture, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-196.
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This study is an inquiry into design-theoretical aspects of architectural design in Finland based mainly on the pragmatist philosophy of John Dewey. The study comprises two case studies. The . rst case deals with a young family designing their future home – a detached house built from prefabricated components – in cooperation with an architect. The second case deals with the design process of a leading Finnish architect, Professor Ilmari Lahdelma, as he prepares his proposal for an architectural competition for a new city library in Lohja, a competition he eventually wins. The case describes and interprets Lahdelma’s design process, the processes of other competition entries made by the of. ce staff, as well as the process of the jury’s evaluation of the competition entries. The two cases are analysed and interwoven with aspects from three different theoretical perspectives: existing design theories, Pierre Bourdieu’s . eld theory and John Dewey’s thinking regarding art and research. In the study I argue that Dewey’s philosophy can provide a framework for a design-theoretical epistemology. I also arrive at conclusions regarding the interpretation of some key design-theoretical concepts and the position of design theory and its structures. I further argue that the Finnish architectural competition system is a strong tool for generating developments in the production of the architectural avant-garde, which acts as the leading light for the rest of the . eld of architecture. The present study also highlights the gap between ‘high-’ and ‘low culture’ in the . eld of architecture, yet points out that the design of a simple family house – assumedly a case of ‘low culture’ – is by no means trivial to the family itself, and is indeed . lled with moments of aesthetic experiences, which is a central issue in Dewey’s description of creative processes.
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Mare, EA, and A. Rapanos. "The sacred and profane symbolism of space in classical Greek architecture: the temple complex of Apollo at Delphi and the Athenian Acropolis." South African Journal of Art History, 2007. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001354.
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Under consideration are the temple layouts at Delphi and the Athenian Acropolis which were shaped in
completely different ways. What they have in common, however, is that both represent an architecture
on two hierarchic levels: the upper or sacred level as symbolised by the eternal principle expressed in
both elevated Doric temples, which are placed in dramatic juxtaposition with features in their natural
settings (earth, horizon, sky); and the lower, human level which is represented by the auxiliary buildings
of the approach areas of these temple complexes. The latter buildings are smaller than the main
temples and are marked by complexity and ambiguity in that they are imperfect, of varied design
and not oriented to a geometric axis, which is in complete contrast to the serenity of the fully articulated
superior Doric order exemplified by the Temple of Apollo at Delphi and the Parthenon on the
Athenian Acropolis. In both cases the focus will be on the perceptual totality of the group designs.
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Febvey, Agnes. "Apollon Pythien à Délos." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20081.
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Le sanctuaire d'Apollon à Délos accueillit en son sein, dès la fin du IVe s., un Pythion, bâtiment consacré à l'Apollon de Delphes, désigné dans les comptes des hiéropes sous le nom de Pythion, ou de « naos aux trois statues ». Les mentions répétées de ce nom dans l'épigraphie délienne, ainsi que les dépenses engagées dans divers travaux de restauration et d'aménagement, témoignent de l'importance de cet édifice. On sait qu'il possédait un lanterneau et abritait trois statues, un palmier et un foyer qui brûlait en permanence. Sa localisation, liée à celle de l'Autel de cornes, a longtemps fait problème, mais elle semble probable maintenant que le Kératôn est identifié de façon certaine : le Pythion correspondrait à l'édifice ionique construit par les Athéniens au IVe s, dont les vestiges sont visibles au Nord-Ouest de la plaine du Hiéron d'Apollon, entre l'Artémision au Nord et le Kératôn au Sud. L'examen des ruines de l'édifice, fondé sur un raisonnement purement architectural, puis l'analyse des sources épigraphiques concernant le Pythion, de manière à mettre à l'épreuve les apports des textes et ceux de l'étude architecturale, permettent d'établir l'identification de l'édifice ionique et du Pythion et d'apporter une synthèse sur l'architecture et l'histoire du Pythion de DélosFrom the end of the 4th century AC, the sanctuary of Apollo in Delos took in a Pythion, a building consecrated to the Delphian Apollo, known in the account of the Delian hieropes as Pythion, or "naos with the three statues". The repeated mentions of this name in the Delian inscriptions, as well as the expenses involved in various restoration works or alterations, bear witness to the importance of the building. We know that it possessed a lantern and sheltered three statues, a palm tree and an hearth that burned continuously. Its location, linked to the one of the Altar of Horns, was a issue for a long time, but it seems probable now that the Keraton is certainly identified : the Pythion could correspond to the ionic edifice built by the Athenians in the 4th century AC, which remains can be seen North-West of the plain of Apollo's Hieron, between the Artemision to the North and the Keraton to the South. The correspondance between the ionic building and the Pythion is based on the study of the ruins, from a purely architural point of view, then on the exam of the epigraphic sources, in such a way that we put to the test the contributions from the texts and the architectural study, before proposing a synthesis on the architecture and the history of the Pythion
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Carter, McKee Kirsten. "Genius Loci of the Athens of the North : the cultural significance of Edinburgh's Calton Hill." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/15833.
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At the eastern end of the Edinburgh World Heritage Site, a protrusion of volcanic rock known as Calton Hill is situated on the northern side of the Waverley Valley. This area sits approximately 100m above sea level at its highest point - around 20m higher than Princes Street in the First ‘New Town’ and at approximately the same height as the Castle Esplanade in the ‘Old Town’ of Edinburgh. During the early nineteenth century, the hill and its land to the north were developed, to extend the city of Edinburgh towards the Port of Leith, in order to open up new routes of access and communications between the port, the city, and the surrounding lands to the south and east. The resulting development provoked debates on the best approach to the development of the urban landscape, the suitability and resonance of specific architectural styles within the urban realm, and the use of public funds for large-scale urban development projects. In addition, the visual prominence of the hill in the city presented a stage for massive changes to the visual context of the boundaries of the city, the relationship between the Old and New Towns, and Edinburgh’s relationship with its surrounding countryside. This blurring of the rural and the urban alongside new interpretations of the classical and the gothic, further emphasised the discordance between societal classes, initially marked out by the mid 18th century expansion of the first New Town and which became further emphasised during the city’s industrial expansion in the latter half of the 19th century. The great care over the choice for the hill’s architectural character as an allegorical commentary on Scotland’s role within the constitutional development of the United Kingdom became muddied throughout the 19thcentury, as shifts in both societal perceptions and government constructs resulted in an evolution of the hill and its structures within the mindset of the Scottish populus. Although the structural evolution of the site during the later 19th and 20th centuries had lesser visual impact on the urban realm, as Scottish national identity swayed from a political to a culturally led discourse in architectural terms, perceptions of the structures on Calton Hill were considered to be representative of Scottish support for the construct of the British State during the 19th century. This was further confirmed by the development of the Scottish Office in the 1930s on the southern side of the hill, and the failed establishment of a Scottish Parliament in 1979, which was to be sited in the vacant Royal High School building. This culminated in the site becoming the focus for grassroots led campaigns for Scottish Independence and Home Rule by the later 20th century. This thesis therefore focuses on the changing relationship between the perception of the hill and its structures over time, by exploring the architectural evolution of the site within broader aesthetic, social and political dialogues. It considers the extent to which the site, its structures, and the discourse surrounding the development of the hill represent the nuances that define Scotland as a nation, and help us to further understand how Scots viewed their identity, within both a British and Scottish context from the late 18th to the early 20th centuries. This approach not only places the architecture on the hill within a broader discourse surrounding architecture’s relationship with national, state and imperial identities, it also demonstrates how a more nuanced exploration of urban landscapes can contribute to a better understanding of the contemporaneous societies who developed the urban realm, and the events and debates that surrounded their development. Due to the wide variety of themes that this thesis explores, and the extended timeframe that this work covers, the geographical limitations of the study area are mercurial in their extent, changing focus with the issues being discussed throughout the text. However, for clarity and for ease of reading, the physical study area has been defined as that of the external limits of Playfair’s 1819 plan for the Third New Town (Plate ii), which in the present day is defined through the following locations: The southern limit is the North Back of Canongate; the northern limit is the bottom of Leith Walk, at the intersection with Great Junction Street; the western limit is where Waterloo Place meets Princes Street, and follows Leith Street to the top of Broughton Street; and the eastern boundary is at the junction of Easter Road, Regent Road and Abbeymount, running down Easter Road to meet Leith Walk at its northernmost point.
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Alyasin, Ghaza. "The architecture of function : Understanding House K at San Giovenale." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-415058.
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Between 1961 and 1963 a large terraced Etruscan building on the southside of the Acropolis at the archaeological site of San Giovenale in Italy was excavated. The building, named House K, remained largely unpublished and unstudied throughout the years, leaving our picture of the ancient settlement at San Giovenale incomplete. This thesis aims to get a better understanding of the Etruscan architecture, settlement, culture, and society at San Giovenale, by doing an architectural analysis of the building of House K, using unpublished field journals, drawings, and photographs. By comparing the architecture of House K and any structural elements immediately connected with the building, to other structures at San Giovenale, as well as other Etruscan sites, this thesis set out to learn: what kind of structure House K is; what function it had; what its relative dating is; what role it played in the settlement at San Giovenale; and what it can tell us regarding the society and culture at San Giovenale. Using environment-behaviour relations and building archaeology, the study first examined the structural elements of House K, before comparing House K to other structures at San Giovenale built 700–400 BCE. Thereafter, the study looked at parallels outside of San Giovenale, looking at the sites of Acquarossa, Luni sul Mignone, Poggio Civitate, Cerveteri, Pyrgi, Montetosto, Vulci, and Narce. Finally, a discussion was had regarding the character and function of House K, whether it was public, private, sacred, or profane. In the course of the study, an architectural chronology of San Giovenale was established, which dated the construction date of House K to between c. 565 BCE and the late 6th century BCE. The interpretation of the function of House K that seems most probable is that it was a monumental building complex of administrative, political and/or religious significance, which probably also acted as a residence for the ruling elite at San Giovenale – in other words: a palazzo. House K being a palazzo would mean that there was a centralised authority at San Giovenale, suggesting that there was some sort of ruler or leader at the top of the social hierarchy, splitting the social division at San Giovenale further than it was previously believed to have been.
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Motz, Christopher F. "The Knowledge Networks of Workshop Construction in the Roman World." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1617107290345316.
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LaManna, Kathleen. "Power and Nostalgia in Eras of Cultural Rebirth: The Timeless Allure of the Farnese Antinous." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/176.
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Little did Hadrian know in 130 A.D. that when he deified his beloved departed Antinous, in order to provide a unifying symbol of worship for his diverse empire, that he was instead creating a lasting symbol of the antique world. This thesis examines the power of nostalgia and its successful use by two formidable men from different eras in Rome: The Emperor Hadrian and the extravagantly wealthy Renaissance merchant Agostino Chigi. Though separated by centuries, each man used the nostalgic allure of the beautiful youthful male figure of Antinous to gain power and influence in his own time and to leave a lasting impact on generations to come. Using the statue known as the Farnese Antinous I will show that these very different men were not so different after all: each understood the human tendency to romanticize the past, and each attempted to evoke a feeling of nostalgia for the past from those they sought to “conquer.” Hadrian used portraits of Antinous to unite an empire and cement his place in history; Agostino used one of those very same portraits in commissioned artworks by Raphael to earn his place among the nobility of his day, and to leave a lasting legacy for his descendants.
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Roe, Sarah Elizabeth. "Shaping houses : integrating the physical and socio-cultural in the domestic architecture of Ancient Sicily." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/280261.
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In this thesis I explore how physical and socio-cultural factors interact to shape domestic architecture by analysing the form, layout, and construction of houses from Sicily dating from the Neolithic to the end of the Hellenistic period. This time range encompasses two primary domestic building traditions: single-spaced round houses that dominate from the Neolithic through to the end of the Late Bronze Age, and large, multiple-spaced rectilinear structures that characterise the Archaic period onwards. As such the domestic architecture of Sicily provides the opportunity to study not only two distinct ways of building, but also the dynamics within them and the changes that occurred as one evolved into the other during the Early Iron Age: a period of transition that is often studied in isolation or only in relation to the earlier or later context, rather than as an integral part of this island’s history. A critical analysis of building techniques and materials in the context of available resources and their material properties alongside local environmental conditions reveals correlations between the choice of materials, construction techniques, and topographical and climatic conditions, as well as the form taken by the building as a whole. Comparative analyses were also carried out of house size, form, and degree of subdivision within and between the building traditions. The picture presented shows an increase in total size and subdivision (despite the relatively stable size range of individual spaces within the houses) from the Neolithic to the Hellenistic period and implies a developing desire for options to separate people and activities. Finally, close diagrammatic studies of the layout and spatial organisation of the houses bring to light the structuring of these domestic spaces: the use of architectural features and artefacts to provide a sense of division in single-spaced buildings; greater layers of access and control of movement incorporated into the larger, rectilinear houses with their multiple spaces; and the arrangement of these to allow for the lighting of interior rooms. Combined with the results above, these reveal patterns in the development of building traditions on Sicily and how they relate to, encompass, and entangle the dynamic socio-cultural and physical parameters that make up the wider landscapes they are a part of: notions of identity and its formation and transmission, social structure and stratification, topography and climate, and material structural properties. Altogether this allows for the development of a deeper and more holistic understanding of the relationship between building and living, of how physical and socio-cultural parameters integrate and influence the construction of houses, and how these all come together in the building traditions that are both shaped by us and shape us.
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Hodges, Charles Thomas. "Forts of the Chieftains: A Study of Vernacular, Classical, and Renaissance Influence on Defensible Town and Villa Plans in 17th-Century Virginia." W&M ScholarWorks, 2003. https://scholarworks.wm.edu/etd/1539626396.
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Günther, Stefan. "Klassicismens interiörer : inredningskonst och arkitekturprofiler från Vitruvius till Tessin = Classical interior architecture : the history of interior detail in Italy, France and Sweden from Vitruvius to 1700 /." Stockholm : Norstedt, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4003.
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Schlicher, Jeremy T. "A Multi-Genre Adaptive Performance Hall." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148489621.
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Sakarya, Ilham. "Defining Spatial Distribution Of Storage Vessels In Ancient Burgaz At The Fourth Century B.c." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1253244/index.pdf.
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This research is an investigation of the spatial organization of household activities and especially the storage facilities in Ancient Burgaz. The four well-preserved houses at the Northeast Sector, their artefact assemblages which come from the final occupation floor level dated to the 4th century B.C., and the storage containers have been evaluated. The spatial distributions of the artefacts were studied through the use of quantitative methods with the objective of identifying storage spaces in Burgaz houses. The results of this quantitative analysis and the observations regarding Burgaz houses have been compared to other contemporary sites in ancient Aegean.
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Montaguti, Sofia. "A Mirror on the World : Roman Architecture in Tergeste in the First and Second Centuries AD and the Reproduction of Social Order and Identity." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-385916.
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This thesis will investigate how Roman monumental architecture in Tergeste dating to the first and second centuries AD reflected and reaffirmed the social order of the city, and how it was used in the creation and maintenance of identities. The material used will be two select structures, the basilica and theater, located in the eastern and north-eastern sections of Tergeste, respectively. By using theories of social architecture, agency, identity, and compounding them with the ideology of Roman urbanism, focus will be placed on how movement within a structure and the occupation of its different locales influenced the adoption of particular roles and self-conceptions. A number of statues and dedicatory inscriptions associated with the architectural structures will serve to further corroborate these points, and to add information about whether a specific type of identity was favored above others in the city. The results will provide a first overview of how architecture responded to the social reality in Roman Tergeste, in the hope to encourage further research in this direction.
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Gris, Jeremias Ferran. "Escenografía del poder en la arquitectura romana. Una reflexión metodológica para su estudio." Doctoral thesis, Universitat Rovira i Virgili, 2015. http://hdl.handle.net/10803/402485.
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Aquesta tesi té com objectiu estudiar la arquitectura romana, tant la gran arquitectura pública com la privada, des del punt de vista de la construcció de la seva imatge visual. Això suposa aproximar-nos als processos de disseny arquitectònic dels espais interiors. Estudiar la dimensió espacial fa necessària una representació més pròxima a l’experiència personal; els instruments de representació virtual són una plataforma amb molt potencial però és important no perdre la visió analítica i conceptual en la seva aplicació. En aquest sentit, la tradició dels estudis de l’arqueologia de l’arquitectura, que com veurem es remunta al segle XVIII, pot ser un bon referent. La interpretació i reconstrucció de la imatge de diferents edificis romans ens permetrà aproximar-nos a l’experiència personal d’aquests espais, a la percepció de l’escenografia i representativitat. Amb això ens introduïm en l’estudi del valor semàntic de l’arquitectura romana: la decoració, les formes del llenguatge clàssic, la composició, la concepció espacial i jerarquització d’espais. Es tracta d’entendre la imatge visual de l’edifici des del punt de vista de l’espectador, el ciutadà romà que transitava per aquests edificis. L’arquitectura, com tot objecte cultural, reflexa la societat que la va construir. En l’època republicana, l’arquitectura pública i privada romana eren compartiments estancs. L’aspiració del poder va portar a les grans famílies aristocràtiques a incorporar a les seves residències elements que reflectien la imatge de l’arquitectura pública, tot aspirant a instituir-se del seu prestigi i solemnitat. Aquest procés va culminar en la Casa d’August, la residencia privada del jove Octavià i que es va convertir en la seu del poder de Roma.Esta tesis tiene como objetivo estudiar la arquitectura romana, tanto la gran arquitectura pública como la privada, desde el punto de vista de la construcción de su imagen visual. Esto supone aproximarnos a los procesos de diseño arquitectónico de los espacios interiores. Estudiar la dimensión espacial hace necesaria una representación más próxima a la experiencia personal; los instrumentos de representación virtual son una plataforma con mucho potencial pero es necesario no perder la visión analítica y conceptual en su aplicación. En este sentido, la tradición de los estudios de la arqueología de la arquitectura, que como veremos se remonta al siglo XVIII, puede ser un buen referente. La interpretación y reconstrucción de la imagen de distintos edificios romanos nos permitirá aproximarnos a la experiencia personal de estos espacios, a la percepción de la escenografía y representatividad. Con ello nos introducimos en el estudio del valor semántico de la arquitectura romana: la decoración, las formas del lenguaje clásico, la composición, la concepción espacial y jerarquización de espacios. Se trata de entender la imagen visual del edificio desde el punto de vista del espectador, el ciudadano romano que transitaba por estos edificios. La arquitectura, como todo objeto cultural, refleja la sociedad que la construyó. En época republicana, la arquitectura pública y privada romana eran compartimentos estancos. La aspiración del poder llevó a las grandes familias aristocráticas a incorporar en sus residencias elementos que reflejaban la imagen de la arquitectura pública, aspirando a instituirse de su prestigio y solemnidad. Este proceso culminó en la Casa de Augusto, la residencia privada del joven Octaviano y que se convirtió en la sede del poder de Roma.
This thesis aims to study the Roman architecture, both large public and private architecture, from the point of view of building its visual image. This approach involves the processes of architectural design of the interior spaces. Study the spatial dimension calls for a closer representation to personal experience; virtual representation instruments are a platform with great potential but we must not lose the analytical and conceptual vision in his application. In this sense, the tradition of studies of the archaeology of the architecture, as we will be back to the eighteenth century, can be a good reference. Interpretation and image reconstruction of various Roman buildings allow us to approach the personal experience of these spaces, the perception of the scenery and representativeness. Thus we get into the study of the semantic value of Roman architecture: the decor, the forms of classical language, composition, spatial design and hierarchy of spaces. It is about understanding the visual image of the building from the point of view of the viewer, the Roman citizen who was passing through these buildings. Architecture, like any cultural object, reflects the society that built it. In republican era, the Roman public and private architecture were closed compartments. Aspiration of power led to the great aristocratic families to incorporate elements in their homes that reflect the image of public architecture, aspiring to be instituted of its prestige and solemnity. This process culminated in the House of Augustus, the private residence of the young Octavian and became the seat of power of Rome.
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Potts, Charlotte R. "Accommodating the divine : the form and function of religious buildings in Latial and Etruscan settlements c.900-500 B.C." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:0befda08-4f9a-4a4b-8969-31f5c29b2108.
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This thesis examines the changing form and function of non-funerary cult buildings in early Latial and Etruscan settlements in order to better describe and understand the advent of monumental temples in the archaeological record. It draws on a significant quantity of material excavated in the past forty years and developments in relevant theoretical frameworks to reconstruct the changing appearance of cult buildings from huts to shrines and temples (Chapters 2 to 4), and to place monumental examples within wider religious, topographical, and functional contexts (Chapters 5 to 7). This broader perspective allows a more accurate assessment of the extent to which monumental temples represent continuity and discontinuity with earlier religious architecture, and furthermore clarifies the respective roles of Latium and Etruria in the transformation of cult buildings into distinctive, prominent parts of the built environment. Although it is possible to find many different accounts of religious monumentalisation in existing scholarship, this thesis holds that traditional narratives no longer accurately reflect the archaeological evidence. It sets out a sequence of developments in which early religious architecture was a dynamic, rather than conservative, phenomenon. It demonstrates that temples were not the inevitable product of a natural progression from open-air votive deposition to monumentality, or simply an imported concept, but rather a deliberate response to the opportunities offered by an increasingly mobile Mediterranean population. It also contends that Latium played a more important role in formulating the characteristic components and functions of central Italic temples than previously thought. This thesis consequently offers a new account of early religious architecture in western central Italy as well as an alternative interpretation of its monumentalisation.
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Barry, Kristin Marie. "The New Archaeological Museum: Reuniting Place and Artifact." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212080498.
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Botté, Agnès. "Les hôtels particuliers dijonnais de 1610 à 1715." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040209.
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Au XVIIe siècle, Dijon, capitale de la province, est le lieu où résident les membres des organes politiques, administratifs et financiers. La ville connaît alors un remarquable essor de la construction privée. Les bâtisseurs sont principalement les officiers des cours souveraines, parlementaires ou conseillers à la chambre des comptes, qui satisfont leur besoin de représentation sociale en commandant des demeures dignes de leur rang : l’hôtel est bien l’illustration de ceux qui détiennent le pouvoir, le lieu à la fois d’une démonstration sociale, architecturale et artistique.Cette étude, première synthèse sur les hôtels particuliers dijonnais de 1610 à 1715, est abordée selon trois axes de réflexion : les commanditaires, les architectes et leurs réalisations. L’analyse architecturale des hôtels, qui laisse une large part à la distribution, permet une étude comparative avec Paris et les autres grandes villes parlementaires du royaumeIn the seventeenth century, Dijon, capital of the province, was the place where proposed members of the political, administrative and financial bodies chose to live. The city therefore experienced a remarkable boom in the construction of private residences. The builders were mainly officers of the sovereign courts, members of parliament or advisors to the Board of Auditors who wanted to satisfy their need for social representation by ordering houses worthy of their rank : the private mansion was the illustration of people of power, place both a demonstration of social standing, architectural and artistic.This study, the first synthesis of the private mansions of Dijon from 1610 to 1715, is approached according to three lines of thought: the commissioners, the architects and their constructions. The architectural analysis of mansions which leaves a large part to the distribution, allows the comparison with Paris and other major cities of the parliamentary kingdom
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Li, Jiyuan. "Construction Simulation of Wudian Using 3-D Graphics and Animations." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429212482.
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Frejman, Axel. "Religious continuity through space : Four phases in the history of Labraunda." Thesis, Uppsala universitet, Antikens kultur och samhällsliv, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-175302.
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Labraunda has a long and manifold history. The sanctuary starts out small in the Archaic period, is the most important in Karia during the Hekatomnid dynasty, reverts to a more normal position during the Hellenistic time, and is finally converted into a Christian sanctuary in the Late Roman period. This study aims to investigate the spatial pattern of what the visitor could have been perceived as religiously important at the sanctuary, in four different phases. Plans of the architecture and theory about ritual activity have formed the basis for analysing religious importance. What this study has shown is that a movement of religiously important space can be observed at Labraunda. Moving away from the origins at the Split Rock, for a long period being concentrated to the Temple Terrace, and consequently moving out to the two churches built outside the temenos.
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Hague, Stephen G. "A modern-built house ... fit for a gentleman : elites, material culture and social strategy in Britain, 1680-1770." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2fc553a3-8922-4793-b893-e6686518e61e.
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A 1755 advert in the Gloucester Journal listed for sale, 'A MODERN-BUILT HOUSE, with four rooms on a floor, fit for a gentleman'. In the late-seventeenth and eighteenth centuries, 'gentlemen's houses' like the one described evolved as a cultural norm. This thesis offers a social and cultural reading of an under-studied group of small free-standing classical houses built in the west of England between 1680 and 1770. By developing a profile of eighty-one gentlemen's houses and one hundred and thirty-four builders and owners, this study unites subjects such as the history of architecture, landscapes, domestic interiors, objects and social development that are often treated separately. The design, spatial arrangement, and furnishings of gentlemen's houses precisely defined the position of their builders and owners in the social hierarchy. The 1720s marked an important shift in the location and meaning of building that corresponded to an alteration in the background of builders. Small classical houses moved from a relatively novel form of building for the gentry to a conventional choice made by newcomers often from commercial and professional backgrounds. Gentlemen's houses projected status in a range of settings for both landed and non-landed elites, highlighting the house as a form of status-enhancing property rather than land. Moreover, gentlemen's houses had adaptable interior spaces and were furnished with an array of objects that differed in number and quality from those lower and higher in society. The connections between gentlemen's houses and important processes of social change in Britain are striking. House-building and furnishing were measured strategic activities that calibrated social status and illustrated mobility. This thesis demonstrates that gentlemen's houses are one key to understanding the permeability of the English elite as well as the combination of dynamism and stability that characterized eighteenth-century English society.
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Tan, Adrian Hadipriono. "While Stands the Colosseum: A Ground-Up Exploration of Ancient Roman Construction Techniques using Virtual Reality." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429228335.
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Duarte, Claudio Walter Gomez. "Geometria e aritmética na concepção dos templos dóricos gregos." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-25032010-101226/.
Full textAbstract:
A concepção arquitetônica dos templos dóricos gregos é estudada na perspectiva da Arqueologia da Arquitetura stricto sensu. Verificamos a relevância e o papel que teve a aplicação da geometria e da aritmética como recursos técnicos e metodológicos para o desenvolvimento do projeto do templo dórico grego no século V a.C., visando esclarecer e estabelecer vínculos entre tais ramos da matemática e a lógica subjacente que norteou os arquitetos, tanto em projeto como nas aplicações precisas em obra. Para isso, abordarmos os fundamentos científicos da arquitetura grega a partir da análise de 10 templos clássicos hexastilos (configuração canônica da ordem dórica) fazendo um balanço crítico sobre o alcance e o limite das teorias modernas que desenvolveram modelos de interpretação para o projeto do templo dórico grego. Adotamos como ponto de partida, e referência fundamental, os artigos publicados por J. J. Coulton em meados da década de setenta, no periódico The Annual of the British School at Athens, e vamos sistemáticamente atualizando o debate apoiado nas discussões mais recentes.The Architectural conception of the Greek Doricos temples has been studied in the perspective of the Archaeology of the Architecture stricto sensu. We had verified the role and the relevance that the geometry and arithmetic applications such as the technical and methodology resources for the design development of the Greek Doric temple in V century B.C., in order to clarify and to establish links between mathematics branches and the underlying logic that had been guiding the architects, as much in projects as in the accuracy applications for the building constructions. In a way to approach the Greek architecture scientific fundamentals from the analysis of 10 hexastilos classic temples (canonic configuration of the Doric order) making a critical balance on the limit and the reach of the modern theories that had developed interpretation models for the design of the Greek Doric temple. We adopt as basic reference and starting point, the articles published for J.J. Coulton in middle of the seventy decade, in the periodic The Annual of the British School at Athens, and systematically go bringing up to date the debate supported in the most recent discussions.