Academic literature on the topic 'Disney architectuur'

In recent years Liza Lim has emerged definitively as one of the finest composers of her generation. A series of major works, including Ecstatic Architecture, commissioned for the inauguration of the Walt Disney Concert Hall in Los Angeles, and her third opera, The Navigator have confirmed her possession of a voice that is versatile, evocative, deeply expressive and uncompromisingly modern.

Drawing on insights from a social semiotic perspective as proposed by Halliday (1985), and its adaptation to the grammar of visual design (KRESS; VAN LEEUWEN, 2006), and spatial discourse analysis (RAVELLI, 2000, RAVELLI; HEBERLE, 2016), this article aims to analyze semiotic resources used in EPCOT’s World Showcase, Disney World, Florida, USA, specifically, the eleven thematic pavilions in the attraction. The analysis considered the three metafunctions, adapted from Halliday (1985) to investigate images (KRESS; VAN LEEUWEN, 2006) as well as physical spaces (RAVELLI, 2000). Results show that the representation relies mainly on the reproduction of semiotic resources that are popular in each country in the Showcase, such as monuments, architecture styles and symbols that enable the guests to immerse in the country's culture. The immersion also happens through the consumption in shops with local products and restaurants with local foods, as well as the interaction with local cast members. The composition analysis showed a common pattern regarding the placement of items that are more approachable and real in the lower part, while items that symbolize idealization and fantasy are usually placed in the upper part of the spaces. Overall, despite the concern to portray the countries with authenticity, it can be seen that they are represented in an idealistic and fanciful way which follows the ideology of Disney’s theme parks of providing an environment of perfection and fantasy to the guests.

A simple and now standardised method of project description linking architectural ideas to technical requirements enables sub-contractors to develop their proposals around their own proprietary technologies.Frank O. Gehry and Associates' (FOG/A) sculptural approach to building form is widely known. Their geometrically complex designs and frequently unorthodox use of materials, as in the Guggenheim Museum in Bilbao [1], the Disney Concert Hall in Los Angeles, the Experience Music Center in Seattle, and the Neue Zollhof office complex in Düsseldorf seem to have redefined the idea of what is possible in architecture.

This research examines the representation of Middle Eastern culture local wisdom contained in the film "Aladdin 2019" produced by Walt Disney Pictures. This study aims to examine the cultural symbols of the Middle East. The research method used in this study is a qualitative method with Charles Sanders Peirce's semiotic analysis which divides the sign into three elements namely sign, object and interpretant. Semiotics is the science that discusses or examines the meaning of a sign. The results showed that Middle Eastern cultural symbols in the film "Aladdin 2019" were displayed through 10 scenes selected in the film. Cultural symbols of the Middle East are shown through the habits of the people kissing the right and left cheeks every time they meet relatives, riding camels to travel, livelihoods of people who trade, princess clothes Jasmine and Sultan, building architecture made of bricks and domes as decoration and art that displays traditional Middle Eastern musical instrument namely Gambus. Some interesting facts in the film one of which is the making of the city "Agrabah" as a shooting setting which is a fictitious city in England and property made of authentic jewelry. Penelitian ini mengkaji mengenai representasi kearifan lokal budaya Timur Tengah yang terdapat dalam Film “Aladdin 2019” Produksi Walt Disney Pictures. Penelitian ini bertujuan untuk mengkaji simbol-simbol budaya Timur Tengah. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif dengan analisis semiotika Charles Sanders Peirce yang membagi tanda menjadi tiga elemen yaitu tanda, objek dan interpretan. Semiotika adalah ilmu yang membahas atau mengkaji mengenai pemaknaan dari sebuah tanda. Hasil penelitian menunjukkan bahwa simbol-simbol budaya Timur Tengah dalam Film “Aladdin 2019” ditampilkan melalui 10 scene yang dipilih dalam film tersebut. Simbol-simbol Budaya Timur Tengah ditunjukkan melalui kebiasaan masyarakat cium pipi kanan dan kiri setiap bertemu kerabat, menunggangi unta untuk bepergian, mata pencaharian masyarakat yang berdagang, pakaian putri Jasmine dan Sultan, arsitektur bangunan berasal dari batu bata dan kubah sebagai hiasan serta kesenian yang menampilkan alat musik tradisional Timur Tengah yaitu Gambus. Beberapa fakta menarik dalam film tersebut salah satunya adalah pembuatan kota “Agrabah” sebagai latar syuting yang merupakan kota fiktif di Inggris dan properti yang terbuat dari perhiasan asli.

This thesis chronicles an attempt to delve into the murky world of image and semblance, illusion and contrivance. The examination and especially the celebration of image and style--of simulation--throughout recent cultural debate is incisively expressed through the framework of popular culture. Walt Disney World, as a cultural artifact and profit-making commodity, is the consummate model of all the entangled processes of popular culture: a turbulent melange of aesthetic, ethical, and sociological concerns.
America is Disney World; borne of fantasy and ubiquitous iconism. Our cultural atlas reverberates with the energy of cinematic, pulsating and seductive imagery; restrained and unfulfilled by the voyeuristic stance of the pseudo-event.
This study registers a pilgrimage into the shadows of our own creative aspirations: how can we engage in exploring new possibilities for architectural making, addressing imaginatively and ethically the rupture of the fabric symbolically connecting the actor and the drama?

La hipótesis de este trabajo es que la obra americana del arquitecto Josep Lluis Sert (1902-1983) aparentemente homogénea, tiene tres etapas distintas, caracterizadas por la evolución de los intereses formales de su autor.

La primera es la de atención predominante al envoltorio o superficie del edificio, con dos periodos denominados, respectivamente, "la piel gruesa" y "la piel delgada". La segunda es la de utilización extensiva de la fragmentación del volumen del edificio para lograr valores de escala humana. La tercera es la de una búsqueda de control de la configuración de los espacios con utilización de trazados proporcionales y geometrías puras para los espacios más singulares.

El estudio parte del inventario de unos 30 edificios proyectados entre 1955 y 1980 en la oficina de Sert en Cambridge, Massachusetts. Analiza, a lo largo de 4 capítulos, 417 páginas escritas y más de 240 ilustraciones, los más significativos de aquellos edificios, situándolos en contexto y justificando en cada caso su pertenencia a una etapa determinada. Además de los capítulos, reúne en cuatro apéndices una reseña diacrónica de temas complementarios: contexto americano, clientes, colaboradores y, finalmente, ideas. Ello permite la lectura del contenido a dos velocidades. La fuente principal de documentación la constituye la propia experiencia del autor, colaborador durante más de doce años del maestro Sert, a la cual se une material original elaborado a partir de 1983.

El patrimoni religiós immoble esdevenia una assignatura pendent per la didàctica del patrimoni. Aquest patrimoni tan nombrós en el nostre territori i tan lligat als esdeveniments del passat històric, a les estètiques artístiques o a les emocions es presentava buit d’interpretacions que ajudessin a entendre la complexitat d’aquests espais. Aquest buit va motivar la recerca generant contínuament qüestions i dubtes que van impulsar els passos d’aquest treball perquè en paraules d’Hobsbawm (2013), estem en un temps de ruptures; la societat, la cultura i també la religió viuen aquest temps de ruptures. Però, com afecten aquests canvis a la comprensió del seu patrimoni cultural? Podem descodificar els grans monuments religiosos del passat ignorant els seus propis codis? Es pot comprendre la materialitat de la cultura sense els valors immaterials que l’han generat i li donen significat? Pot la didàctica i l’educació patrimonial donar resposta a aquestes qüestions? Aquestes qüestions i la consecució dels objectius i les hipòtesis expliquen doncs que la recerca tingui dues parts necessàries i diferenciades. En primer lloc, es realitza un estudi diagnòstic del patrimoni religiós medieval català a partir d’una mostra de 112 immobles per tal de conèixer els usos i funcions actuals d’aquest patrimoni, les fórmules o estratègies de presentació emprades així com els missatges que se’n deriven. La pauta d’anàlisi dissenyada posava l’accent en els models educatius, els missatges, la gestió i els públics destinataris. Un cop fet aquest diagnòstic era necessari triar un d’aquests immobles pel segon estudi: el Reial Monestir de Santa Maria de Poblet. Aquest segon estudi, el del cas de la recerca, es divideix en tres fases diferenciades: una primera fase exploratòria on s’analitzen les activitats dutes a terme pel cenobi mitjançant una pauta d’observació no participant i l’experimentació dels primers pilotatges; una segona fase de documentació i disseny del programa educatiu multimodèlic flexible (PEMF), i una tercera fase d’experimentació d’activitats i avaluació mitjançant tècniques grupals de grups de discussió o focus group amb 33 participants provinents del grau de Mestres en Educació primària de la Universitat de Barcelona. El tractament i anàlisi de les dades qualitatives es va realitzar amb el programa informàtic ATLAS.TI mitjançant la subdivisió en cinc categories o famílies d’anàlisi. El resultat dels diferents grups de discussió obre un camí cap el disseny de programes educatius patrimonials basats en factors com la sorpresa, l’empatia, la varietat i la interactivitat.
This thesis seeks to fill a gap in heritage education when it comes to the subject of built religious heritage. Though Catalonia and Spain are teeming with such heritage sites, which are intimately linked with historical events and artistic movements and rich in emotional depth, the analytical vacuum around them makes it difficult for them to be understood in all their complexity. Setting out to address this shortfall threw up a number of questions and doubts. If, as per the title of Eric Hobsbawm's posthumous 2013 work, we are living in "fractured times," how are society, culture and religion being shaped by this backdrop and how do the changes involved affect the comprehension of cultural heritage? Can we decode major religious monuments dating back to past times without being versed in the codes that underlay their construction? Can tangible culture be understood without reference to the intangible values that inspire it and give it meaning? To what extent can heritage education and teaching answer these questions? Owing to the nature of the issues at hand and the aims of my research, the thesis is necessarily split into two distinct parts. The first part consists of a diagnostic study of Catalan medieval religious heritage based on a sample of 112 heritage sites, with a view to identifying how they are currently used, the presentational methods and strategies being employed there and the messages that these convey. The framework for this analysis centers on the educational models in place, the messages communicated, the management of the sites and the target audiences. Following on from this broad overview is an in-depth case study of one of the aforementioned sites, Poblet Monastery. This case study is in turn divided into three sections, relating to the three stages of work completed. The first was an exploratory phase involving a non-participatory, observational analysis of the activities carried out at the monastery and the launch of the first pilot tests; the second revolved around drawing up and documenting what I term the Flexible Multi-model Education Program (Programa Educatiu Multimodèlic Flexible, PEMF); and the third consisted of conducting experimental activities and assessment through focus groups featuring 33 students from the University of Barcelona's Bachelor's Degree in Primary Education. The qualitative data gathered were processed, analyzed and broken down into five categories or "families" using the computer program ATLAS.ti. The results from these discussion groups provide a roadmap for the design of heritage education programs based on attributes such as the element of surprise, empathy, variety and interactivity.

Aquest estudi planteja que l’arribada de la modernitat a l’arquitectura catalana va consistir principalment en un canvi metodològic en la manera de dissenyar. Per demostrar-ho examina la metodologia de disseny de l’habitatge plurifamiliar a Barcelona entre els anys 1875 i 1936 a partir dels expedients d’obra dels fons documentals particulars de vint-i-nou arquitectes. La transformació en la metodologia de disseny es dona principalment per quatre factors: l’arribada de la reproductibilitat tècnica dels plànols, la configuració del sistema de notació arquitectònica, la concepció de l’edifici com a sistema i, finalment, la consolidació del plànol i el projecte com a formats de referència. Aquests factors impliquen la transformació del mètode tipològic, el qual es caracteritza pel disseny fet entre l’estudi i l’obra, l’ús de models preestablerts per la tradició local i l’ús de l’oralitat com a eina principal de treball, en el mètode projectual, el qual es caracteritza pel disseny integral a l’estudi, el projecte com a horitzó de treball i l’ús del dibuix i el llenguatge visual com a eina heurística, analítica i comunicativa. Aquesta transformació metodològica implica el pas d’una cultura de l’arquitectura oral a una cultura de l’arquitectura dibuixada on el dibuix i el llenguatge visual assumeixen gradualment totes les facetes del disseny i no només contribueixen a definir la pròpia idea de disseny sinó que transformen radicalment la forma de pensar l’arquitectura pel que fa a dinàmiques cognitives, socials i econòmiques. Les noves dinàmiques es caracteritzaran per la jerarquització, l’anàlisi, la simplificació, la prefiguració, l’abstracció, la imposició individual, la professió liberal, la internacionalització, l’abstracció visual, la resolució de problemes, el finalisme i l’apriorisme. La transformació radical del mètode de disseny i la instauració del mètode projectual és una aportació genuïna de la modernitat en arquitectura que convida a definir i a jutjar sota nous paràmetres el llegat material i discursiu de l’arquitectura moderna.
This study suggests that the arrival of modernist architecture in Catalonia consisted mainly of a methodological change in the way of designing. To demonstrate this we examine design methodology in multi-family housing works in Barcelona between 1875 and 1936 based on the private records of twenty-nine architects. The transformation of the design methodology is given primarily by four factors: the arrival of mechanical reproduction of plans, the configuration of an architectural notation system, the conception of the building as a system, and the consolidation of the plan and the project as key formats. These factors lead to the transformation of the typological method, which is characterized by the design both at the study and at the construction site, the use of pre- established traditional models and the use of orality, into the projectual method, which is characterized by designing the whole work at the study, having the project as core working format and using drawing and visual language as a heuristic, analytical and communicative tool. This methodological transformation involves the passage of an oral culture to a drawn culture in architecture, where drawing and visual language gradually assume all facets of design and not only contribute to defining the idea of design itself but also they radically transform our way of thinking architecture in terms of cognitive, social and economic dynamics. These new dynamics are characterized by hierarchy, analysis, simplification, prefiguration, abstraction, individual imposition, liberal profession, internationalization, visual abstraction, problem solving, finalism and apriorism. The radical transformation of the design method into the project method is a genuine contribution of modernity in architecture that invites us to define and judge under new parameters the material and discursive legacy of modernist architecture.

This research presents the work of the Japanese architect Kazuo Shinohara (1925-2006) and studies five of his residential designs as epitome of his oeuvre. lts development is understood as a continuous quest to reconcile two key elements, the house and the city, in order to put emotional the heart of domestic space. These two elements were present in his preoccupations from the beginning of his career but he only managed to merge them in his last designs. lt is based on the assumption that this is one of the first in-depth research studies developed beyond the conventional segmentation and explanation of his work. lt thus considers it more important to open new perspectives on Shinohara's oeuvre than to foc us exclusively on one of them, a task that might be pursued later on. Analyzing sorne of Shinohara's first writings and using as a starting point his simultaneous design of two very different houses, House in White and House of Earth (1964-1966), this thesis delineates a connecting line among three more choice projects's panning 20 years of practice, thus shedding a new light on Shinohara's design methods and helping explain their unity behind their apparent dissimilarities: Tanikawa House (1972-1974), House in Uehara (1975-1976) and House in Yokohama (1982-1984). After a general description of Shinohara's relevance and main ideas on tradition, domesticity and the city, it continues with the argumentation of why a certain group of projects has been left out of this research and analyzes the five projects of this evolution, pointing out their common traits and their consistency with the general exploration about the house as a work of art started by Shinohara in 1964. Further original contributions of this thesis to the field of Shinohara's studies consist in the translation for the first time into English of a founding article, "The House is Art" (1961), and an abridged version of "Subjectivity of Residential Design" (1964), and the reproduction of a previously unpublished text by Shinohara, "A Discourse On Tokyo; From Tokyo, Via Kazuo Shinohara: An Objective" (1998). In a separate volume this thesis incorporates the original construction designs for the five houses, with English captions.
Aquesta investigació presenta l’obra de l’arquitecte japonès Kazuo Shinohara (1925-2006) i n’estudia cinc dels seus dissenys residencials com epítom del seu treball. El seu desenvolupament s’entén com una recerca contínua que mira de conciliar dos elements clau, la casa i la ciutat, per tal de posar l’emoció al cor de l’espai domèstic. Aquests dos elements ja eren presents en les seves preocupacions des de l’inici de la seva carrera, però només va aconseguir fusionar-los en els seus últims dissenys. Es basa en la constatació que aquest és un dels primers estudis d’investigació en profunditat desenvolupats més enllà de la segmentació i explicació convencionals del seu treball. Per tant, considera que ara és més important obrir noves perspectives sobre l’obra de Shinohara que centrar-se exclusivament en un dels seus aspectes, una tasca que pot ser desenvolupada en el futur. Analitzant alguns dels primers escrits de Shinohara i utilitzant com a punt de partida el disseny simultani de dues cases molt diferents, la Casa en Blanc i la Casa de la Terra (1964-1966), aquesta tesi traça una línia de connexió entre tres altres projectes signifi cats, abarcant vint anys de pràctica, per tal de llançar una nova llum sobre els mètodes de disseny de Shinohara i ajudar a explicar la seva unitat darrere de les seves aparents diferències: la Casa Tanikawa (1972-1974), la Casa a Uehara (1975-1976) i la Casa a Yokohama (1982-1984). Després d’una descripció general de la rellevància de Shinohara i de les seves idees principals sobre la tradició, la domesticitat i la ciutat, continua amb l’argumentació de per què un determinat grup de projectes s’ha quedat fora d’aquesta investigació i l’anàlisi dels cinc projectes d’aquesta evolució, assenyalant els trets comuns i la seva coherència amb l’exploració general, iniciada per Shinohara el 1964, de la casa com una obra d’art. Altres contribucions originals d’aquesta tesi en el camp dels estudis de Shinohara consisteixen en la traducció per primera vegada en anglès d’un article fundacional, “La casa és art” (1961), i una versió abreujada de “Subjectivitat del disseny residencial” (1964), i la reproducció d’un text inèdit de Shinohara, “Un discurs sobre Tòquio; des de Tòquio, via Kazuo Shinohara: Un objectiu“ (1998). En un volum a part s’inclouen els projectes executius originals per a les cinc cases, amb traduccions en anglès de les principals llegendes.

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
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.
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.

The diploma thesis deals with the architectonic tendencies in 1980s in Czechoslovakia which were aside the stream of the official design studios and The Czech architects Union. The aim of the diploma thesis, based on the particular examples of free architectural groups, exhibitions and other activities they had in common, to create vivid and complex image of tendencies in monitored period. The situation of centralized building production is described in the introducing part - what made the youngest and middle generation of architects to attempt at the change of architectonic production and also the status of own profession. In individual chapters you can learn about syndicates "Středotlací", "Vokolo Vosmýho", "Obecní dům" and "Zlatí Orli". The first common exhibitions of graphic artists and architects in early 80s and later the exhibitions of painted/paper architecture arranged by "Technical magazine" between 1985 and 1990 are introduced in the paper. It introduces the activity of Jiří Ševčík who was the essential theorist of contemporary architecture. He devoted his work to mediate foreign, most often postmodern, theory of architecture. The thesis is trying to pass an opinion on the specific point of view of contemporary local interpretation of postmodernism and also to introduce application of...

Laudatory poems describe how the Amsterdam Town Hall evokes a wondrous combination of dismay and delight in everyone who visits the building. This chapter sees these laudatory poems as interesting loci to observe how criticism in the Dutch Golden Age relied on the rich concept of wonder to explore the overwhelming impact of art and architecture, as well as to laud the patrons, founders, and owners of art and architecture. Moreover, this chapter clarifies how thinking about the impact of art and architecture bloomed in the Netherlands thanks to the appropriation of ancient rhetorical and poetical thought, such as (pseudo-)Longinus’ treatise Peri hypsous.

Branson, the largest in the cluster of small towns in the southwestern section of Missouri has become the fastest growing, particularly in terms of greatest tax revenue, in the state as well as the Number One Coach Destination for American vacationers and the Number Two Vacation Destination in America, just behind Disney World in Orlando and just ahead of the Mall of America in Minneapolis. 4500 miles from Lisbon, nestled in the foothills of the Ozark Mountains, the once sleepy little town of Branson, with an actual population 3706, is now the “country music capital of the universe,” as so stated in 1991 by Morley Safer on the Number One news show “60 Minutes.” This presentation will examine Branson, Missouri as an emblematic “City of Choice” in which the future public realm in America is designed by and constructed with an architecture of entertaining leisurely delights and an urban space confined to the interior of the automobile which seem to embody and epitomize our post-industrial desires as we search for “souvenirs of experience.” If, the apparent “success” of Disney World, Mall of America and Las Vegas portend of a society that regards shopping as a cultural engagement, leisure as a means of self-definition and history as a passive theme-park experience, then one can propose that Americans love to shop, surf and sightsee. It will be the assumption of this paper that Americans love to shop, to shop in the traditional sense; to surf as it applies and extends shopping, thereby making it the most pervasive paradigm for the exercise of choice; and to sightsee as it is a spectator activity similar to TV watching and auto-driving in America.