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1
Choate, James Edwin. "Learning from Frank Lloyd Wright." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23774.
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Jones, Gwyn Lloyd. "Frank Lloyd Wright beyond America." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8z03v/frank-lloyd-wright-beyond-america.
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This thesis is a cultural study of the architecture of Frank Lloyd Wright’s (1867-1959) beyond his homeland of America. It explores Wright’s travels as a means of unravelling his global ambitions and legacy. Wright was born in the age of the horse and cart and died in the age of commercial jet travel; he not only experienced the rapid compression of space and time in methods of travel, but also participated in this globalising movement. His journeys beyond the USA were undertaken to promote his own global philosophy of ‘organic architecture’. Such cross-cultural dialogues are an important part of architectural history and theory, as well as of notions of ‘change’ and ‘progress’, and so within the thesis I re-enact six of Wright’s journeys to these different sites. In addition, I also rethink the traditional academic division of Wright’s career into his ‘Prairie House’ and ‘Usonian’ eras by proposing a third, final epoch constructed around his ‘Legacy’. My methodology for the thesis is based on the concept of gaining ‘situated knowledge’ from direct engagement with ‘Wrightian’ sites to deconstruct his ideas and projects. I also consider how Wright’s global 'organic' doctrine is actually now being experienced, and how people are living with his legacy in the early twenty-first century. The thesis adopts an experimental writing-as-design approach to research and as such I use a narrative mode of writing to negotiate between ‘creative’ and ‘critical’ perspectives of research. This method allows my experience to inform my analysis of Wright’s sites of influence to generate a better understanding of his architecture. Consequently, my layered narrative provides an alternative reading of Frank Lloyd Wright’s globalising ambitions by offsetting with tales of contemporary resistance that reclaim the term ‘organic architecture’ from being a bland global phenomenon to a highly articulated local expression of difference.
3
Boulton, Alexander O. "Frank Lloyd Wright: Architect of an Age." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625790.
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Herrera, Velazco Rodrigo. "Morphing arquitectónico: transformaciones entre las casas usonianas de Frank Lloyd Wright." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/81013.
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Esta tesis investiga sobre el proceso de transformación de la forma arquitectónica, analizando una técnica
específica denominada morphing. La técnica del morphing se utiliza en los gráficos por ordenador para la
transformación de la forma entre dos o más objetos dados. Desde un punto de vista técnico, se revisan y
actualizan las metodologías y aplicaciones existentes, sus características específicas y sus incidencias sobre
la arquitectura. Desde un punto de vista práctico, se utilizan una serie de modelos de las casas Usonianas de
Frank Lloyd Wright, con el fin de experimentar la técnica y ver qué utilidades se pueden obtener a partir de su
lógica de diseño. Como resultado de este análisis se obtiene una metodología genérica para el procedimiento
de un morphing arquitectónico.This thesis investigates the transformation of architectural form, analyzing a specific technique called morphing. Morphing is a technique used in computer graphics to transform a form between two or more given objects. From a technical point of view, the existing techniques are reviewed and updated, as well as their specific characteristics and impact on architecture. From a practical point of view, some models of Usonian houses of Frank Lloyd Wright are used to experience the technique and see which utilities are available from his design logic. As a result of this analysis a generic methodology for the process of architectural morphing is obtained.
5
Nissen, Anne D. (Anne Dorrit). "From the Cheney House to Taliesin : Frank Lloyd Wright and Feminist Mamah Borthwick." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/14731.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.Bibliography: leaves 168-169.
This thesis seeks to investigate the impact of Frank Lloyd Wright 's contact with feminist theory on his design and his thinking. For, in 1912, Wright and his companion Mamah Borthwick co-translated a book by Swedish feminist Ellen Key into English. I argue that Key's notion of an "organic" system of male-female relationships prompted Wright to redefine his notion of what an organic architecture should be; and, that this shift in understanding led to the birth of Wright's first "natural house," Taliesin, which was built for Wright and Borthwick's life together. Ellen Key believed that the values which she associated with women's childrearing responsibilities -- those of love and empathy -- should be honored above all other societal values. These values were to flow out of the house into the public realm, so that in a world transformed by Key's "sex morality," men would share them, and restructure their actions accordingly. Taliesin 's location in rural Wisconsin made it possible for Wright and Borthwick to construct a private life based on respect for the natural forces of sexuality and nature. Therefore Wright could say that "the house married the hill" on which Taliesin sat. Moreover, I believe that Taliesin's design is governed by Key's empathetic approach -- that of listening rather than imposing. Taliesin is not a hierarchical composition of traditional domestic signs; instead, the relationship of space within the house to space outside it is as important, if not more so, than the actual physical fabric in which Wright rendered his individual design statement.
by Anne D. Nissen.
M.S.
6
Sonmez, Filiz. "Organic Architecture And Frank Lloyd Wright In Turkey Within The Framework Of House Design." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607101/index.pdf.
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Nature has been a source of inspiration for many architects, one of them being Frank Lloyd Wright. He re-interpreted the principles of architectural design by searching nature and uncovering its hidden dimensions to introduce his idea called organic architecture, at the onset of the twentieth century. This thesis aims to discuss the offspring of this idea in Turkey, with the awareness of the fact that the Turkish examples of Vernacular and Local architecture have always displayed great concern towards nature.
The developments subsequent to the recognition of organic architecture and Wright in the Turkish Architectural arena are surveyed with reference to significant discussions, competitions, exhibitions, conferences as well as concrete examples of architectural practice. Throughout the study the discussions related to Modernism in Turkey are also referred to taking the misconception of organic architecture into consideration. Since the meaning of and the interpretations concerning organic architecture are different from those made in Europe and the USA, some Turkish architects have also conceived organic architecture different from Wright&rsquos understanding and interpreted it from a merely formal perspective. Wright&rsquo
s approach to &lsquo
house design&rsquo
, which transforms confined, formal, symmetrical boxes into flowing spaces, is focused in comparison to Vernacular and Local examples in Turkey, and the works designed by Contemporary Turkish architects are selected to investigate the application of the principles of design and characteristics introduced by Wright. The concept of space, use of material, relation of the building with its environment, functional requirements and constructional concerns are studied within this context.
7
Kao, Kenneth Ken-Sin Martin. "Frank Lloyd Wright : the role of technology and experimentation in the art of building /." [S.l.] : [s.n.], 1991. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=9478.
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McTurner, Bobbie. "An analysis of Hani Motoko's Hall for Tomorrow (1921) a Frank Lloyd Wright design /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1148152737.
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Thesis (M.A.)--University of Cincinnati, 2006.Advisor: Kimberly Paice. Title from electronic thesis title page (viewed June 3, 2009). Includes abstract. Keywords: Frank Lloyd Wright; Myonichikan; Endo Arata; Hani Motoko; Tokyo; Prairie School Style. Includes bibliographical references.
9
Cruz, Débora de Melo da. "A Influência de Frank Lloyd Wright sobre João Batista Vilanova Artigas = uma análise formal." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/257726.
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Orientador: Maria Gabriela Caffarena CelaniDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo
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Resumo: A gramática da forma, um formalismo desenvolvido por Stiny e Gips (1972) na década de 1970, tem sido utilizada principalmente na caracterização de linguagens de projetos. Além desse uso analítico, ela também tem sido utilizada para a síntese de formas. Este trabalho propõe como método comparativo o emprego de regras gramaticais de uma linguagem para a verificação de semelhanças em obras não pertencentes a ela. Caso não seja identificada a aplicabilidade das regras na obra analisada, em tese, pode-se concluir que não existe influência da linguagem na mesma, ou que essa influência é apenas superficial, não afetando sua estrutura compositiva de maneira significativa Alguns críticos da arquitetura moderna brasileira como Bruand (1998), Sanvitto (1992b) e Irigoyen (2002) sugerem a existência de uma influência das casas de pradaria de Frank Lloyd Wright sobre a primeira fase de João Batista Vilanova Artigas. Neste trabalho pretendia-se verificar se esta influência realmente poderia ser comprovada por meio da metodologia acima descrita, que explora a estrutura compositiva dos exemplares. Para isso, as regras referentes às coberturas da gramática das casas da pradaria de Wright, desenvolvidas por Koning e Eizenberg (1981), foram aplicadas no desenvolvimento das coberturas das casas de Artigas. O método não permitiu comprovar a influência compositiva de um arquiteto sobre o outro, ao contrário do esperado. Foi possível concluir que o método proposto é eficiente para a identificação de influências arquitetônicas de maneira clara e objetiva. O experimento realizado sugere ainda possibilidades de aplicação da gramática da forma no ensino de arquitetura, como auxiliar na comparação entre linguagens arquitetônicas
Abstract: Shape Grammar, a formalism developed by Stiny and Gips (1972) in the 1970s, has been applied mainly to characterize design languages. It has also been employed in shape synthesis. The present work proposes as a comparative method the use of grammatical rules of a certain language for the verification of similarities in works not belonging to the same language. In case the applicability of the rules is not identified in the analyzed work, in thesis, one could conclude that such influence of the language does not exist, or that this influence is only superficial, not affecting its compositional structure significantly. Some Brazilian modern architecture critics, such as Bruand (1998), Sanvitto (1992b) and Irigoyen (2002), have suggested that Frank Lloyd Wright's prairie houses have influenced João Batista Vilanova Artiga's early work. This study intends to verify this influence through the method described above, which exploits the compositional structure of the models. For this purpose the rules developed for the roofs of Frank Lloyd Wright's prairie houses were applied to the roofs of Artiga's houses, so that they could be compared. Contrary to expectations, it was impossible to prove the compositional influence of one architect on the other using this method. The proposed method proved to be efficient in indentifying architectural influences clearly and objectively. Thus the experiment suggests the possibility of applying shape grammars in architectural education, as an auxiliary method for comparing architectural languages
Mestrado
Arquitetura e Construção
Mestre em Engenharia Civil
10
McTurner, Bobbie. "An Analysis of Hani Motoko’s Hall for Tomorrow (1921): A Frank Lloyd Wright Design." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148152737.
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Gloaguen, Yola. "Les villas réalisées par Antonin Raymond dans le Japon des années 1920 et 1930 : une synthèse entre modernisme occidental et habitat vernaculaire japonais." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4008.
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Abordé sous la forme d’une étude de cas, ce travail se situe à la croisée des trois domaines de recherche que sont l’architecturologie (l’étude du processus de création appliquée au domaine de l’architecture), l’histoire de l’architecture moderne et l’histoire du Japon moderne. Il se propose de cerner le processus de conception architecturale par lequel l’architecte tchèque naturalisé américain Antonin Raymond (1888-1976) a réalisé une synthèse entre un modernisme occidental emblématique des années 1920 et 1930 et l’habitat vernaculaire japonais, produit d’une tradition ancienne de la conception de l’espace et de la construction. Organisée en trois parties, la thèse s’ouvre sur une biographie présentant le parcours qui mène Raymond de sa Bohême natale jusqu’au Japon, en passant par les États-Unis. Elle se poursuit avec l’étude des circonstances dans lesquelles il s’établit en tant qu’architecte indépendant à Tokyo, en rendant compte de l’acquisition d’un certain nombre de moyens humains et techniques nécessaires à la pratique architecturale dans le contexte japonais. Enfin, une sélection de dix-sept villas réalisées à Tokyo et des destinations de villégiatures environnantes entre 1921 et 1938 est présentée. L’analyse architecturale détaillée de ces habitations réalisées pour une clientèle d’élite japonaise et occidentale permet d’observer les étapes du développement du processus de création architecturale qui ont permis à Antonin Raymond de proposer une architecture à dimension universelle ancrée dans un contexte local. Par le biais de l’architecture, ce travail illustre ainsi une partie des problématiques et des enjeux soulevés par le processus de modernisation qui caractérise l’histoire du Japon dans la première moitié du XXe siècleIn the form of a case study, this thesis is set at the crossroads of history of modern architecture, history of modern Japan and architecturologie (the study of the creative process applied to the field architecture). The purpose of this research is to define the design process through which Czech born American architect Antonin Raymond (1888-1976) carried out a synthesis between some of the most iconic forms of 1920s and 1930s Western modernism, and Japanese vernacular residential architecture inherited from a long tradition of space conception and construction. The thesis is structured in three parts. Starting with a biographical account of the architect’s first 32 years, the first part deals with the educational and professional journey that led Raymond from his native Bohemia to Japan, via the United States. The second part explores the circumstances of his establishment as an independent architect in Japan, and examines the human and technical means he implemented in order to set up his professional practice in the Japanese context of the 1920s. The third part gives a detailed analysis of a selection of seventeen houses designed and built between 1921 and 1938 for members of the Japanese and international elite community in Tokyo and its surrounding resort destinations. The detailed architectural analysis of these works illustrates the various stages and dimensions of Raymond’s design process, and provides insight into his own proposal for an architecture encompassing both universal and local dimensions. Through the subject of architecture, this study deals with a number of problematics and challenges brought by the process of modernisation in Japan during the first half of the 20th century
12
Nute, Kevin Horwood. "The role of traditional Japanese art and architecture in the work of Frank Lloyd Wright." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281969.
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Florio, Ana Maria Tagliari 1977. "Os principios organicos na obra de Frank LLoyd Wright : uma abordagem grafica de exemplares residenciais." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285151.
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Orientadores: Haroldo Gallo, Anna Paula Silva GouveiaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação tem como objetivo principal a análise de projetos arquitetônicos residenciais do arquiteto moderno Frank Lloyd Wright pelo método gráfico. Segundo Wright, a Arquitetura Orgânica possui princípios, onde se baseiam e se fundamentam os projetos. A análise foi realizada pelo método de investigação gráfica, ou seja, por diagramas e para tanto adotamos itens de análise que favorecessem o estudo sistemático dos princípios de sua Arquitetura Orgânica, a fim de criar diagramas sintéticos interpretativos. Foram selecionadas quatorze obras construídas significativas que representam cerca de 400 residências construídas no total, e que fora dividida em três fases: Residências Prairie, Textile Block e Usonia. Para o melhor entendimento das análises dos projetos na primeira e segunda parte da dissertação foram elaborados textos que estabelecem uma base teórica fundamental a partir de escritos do próprio arquiteto, teóricos, críticos e seus clientes e aprendizes. As análises individuais geraram diagramas interpretativos que revelam como foram concretizados, em formas e espaços arquitetônicos, os princípios de sua Arquitetura. Os diagramas revelam tanto características da individualidade de cada projeto e suas peculiaridades, como a linguagem presente no conjunto da obra de cada fase. As tabelas comparativas revelam as transformações do projeto residencial de Wright em cada fase, bem como em todo o conjunto de sua obra, onde fica claro o amadurecimento e consolidação de uma arquitetura genuinamente norteamericana. A análise por comparação torna clara a riqueza e variedade de uma arquitetura coerente e fundamentada nos mesmos princípios. Essa arquitetura humanista contribuiu ao mesmo tempo para uma nova conceituação do espaço sem desrespeitar a natureza, a região e os indivíduos
Abstract: The main purpose of this dissertation is the analysis of residential projects of modern architect Frank Lloyd Wright by the graphical method. According to Wright, Organic Architecture has principles, where projects are based on. The analysis was carried through by the graphic method of investigation and diagrams. For that reason, we adopt some analysis item that privileged the systematic study of the principles of his Organic Architecture, in order to create interpretative synthetic diagrams. Fourteen significant residences had been selected among all the construct projects, which represent about 400 residences constructed in the total, and divided in three phases: Prairie, Textile Block and Usonia residences. For finest understanding of the analyses of the projects in first and the second part of the dissertation, texts had been elaborated which establish a basic theoretical base from writings of the architect, theoreticians, critics and his customers and apprentices. The individual analyses had created interpretative diagrams that disclose how they were materialized, in forms and architectural spaces, the principles of his Architecture. The diagrams in such a way disclose of the individuality of each project and its peculiarities, as the present language in the set of the projects of each phase. The comparative tables disclose the transformations of the residential project of Wright in each phase, as well as in all the set of each project, where we can clearly notice the mature and consolidation of a genuinely North American architecture. The comparative analysis brings clear the wealth and variety of a coherent architecture and based on the same principles. This humanist architecture contributed at the same time for a new conceptualization of the space without disrespecting the nature, the region and the individuals
Mestrado
Mestre em Artes
14
Garden, James MacDonald. "Harmony and Counterpoint: An Adaptive Reuse of Frank Lloyd Wright's A.D. German Warehouse." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/31063.
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Constructed in his self-acknowledge hometown of Richland Center, Wisconsin, Frank Lloyd Wright was to work on the A.D. German Warehouse twice during his lifetime. Initially constructed between 1917 and 1921, financial woes on the part of the owner led to a shuttered building. In 1934 Wright worked on an adaptive reuse, but the plans were never to be implemented and German lost the building for good.
A careful study of the history of the structure, foregoing todays computers for Wrights triangles, and an analysis of the frieze led me to my own adaptive reuse.
The musical characteristics of harmony and countperpoint found powerful expression in the pairings of vertical and horizontal, light and dark, and new and old. These relational tensions resonated with the internal structure of the transformational geometry and created a powerful resolution between the enclosing massive forms of the original Warehouse and my new design.Master of Architecture
15
Shaw, William R. "Broadacre City : American fable and technological society /." Thesis, Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/10177.
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Cann, Betsy. "The lawn and the forest : architecture and landscape in the work of Thomas Jefferson and Frank Lloyd Wright." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/64842.
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Michaelsen, Carol. "HENRY JAMES, VIRGINIA WOOLF, AND FRANK LLOYD WRIGHT: INTERIORITY, CONSCIOUSNESS, TIME, AND SPACE IN THE MODERNIST NOVEL AND THE." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3192.
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During the Modernist period, generally defined between the years 1890 and 1945, artists were attempting to break away from previous forms and styles. For example, writers like Henry James and Virginia Woolf sought to change the novel by exploring the consciousness of characters, while playing with the ideas of time and space to create the present moment. The thesis explores the modernist techniques used by James and Woolf, but also connects the work of the writers with the architecture of Frank Lloyd Wright. Using Joseph Frank's theory of spatial form, my work explores the similarities between Wright's designs of private residences with the design of space in the novel. All three artists, I argue, are working with spatial form, blending interior with exterior, to provide the reader and the dweller with the opportunity to experience an organic unity, which ultimately results in a freezing of the moment. In addition to Frank's theory, I also incorporate Stanley Fish and Reader Response theory and William James's Principles of Psychology. The reader and the dweller must actively engage with the structure, whether a text or the home, to develop and realize the possibilities of spatial form. Also, William James's ideas about the mind and consciousness influenced Henry James and Virginia Woolf, especially in their focus on character, rather than description. I have chosen James's The Turn of the Screw and The Wings of the Dove along with Woolf's To the Lighthouse and The Waves to study with Wright's Prairie and Usonian residences. Each chapter looks at one novel and Wright's corresponding work during approximately the same time period. By connecting literature and architecture, the thesis provides new ways of thinking about the two disciplines, especially concerning interiority and consciousness. James, Woolf, and Wright are all experimenting with time and space to create a unified experience, and the striking parallels between their work deserves more attention.M.A.
Department of English
Arts and Humanities
English
18
Beck, Turna Hortela. "Características peculiares a pesquisas acadêmicas em áreas de prática projetual no Brasil : abordagem da obra de Frank Lloyd Wright." Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/296.
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Previous issue date: 2011-08-25Fundo Mackenzie de Pesquisa
This dissertation addresses, in its first part, the practice-based research problems in the academic research s architectural area. The purpose is to verify in what proportion research methods, that evolve non-textual analysis process, show up and to interpret them as academic elements of argumentation. The intention is to contribute to the reflection on academic knowledge production and its communication in practice-based areas X required patterns in the academic context. To set a boundary to this research, were analyzed Brazilian academic work (theses and dissertations) attended by about design methods and / or visual approach of the architectural work of Frank Lloyd Wright. Through these studies, a gap was identified: the lack of a deeper iconographic analysis about the influence of the Japanese art and architecture in the North American architect work. The second part of this dissertation, therefore, presents and emphasizes the role of images when the Japanese culture resonance on Frank Lloyd Wright's work is approached. The purpose of this effort has two-fold: the first one is to illustrate and to emphasize the importance of the visual or non-textual material employment, in the academic argumentation construction in the architectural area, which purposes are, for example, to detect or discuss projectual influences. The second intention is the contribution to supply the gap mentioned before, which is, the little attention given by Brazilian academic works about Japanese art s influence on Wright s work. The analysis of the academic works has helped to a better comprehension of which elements and resources, and how they must be employed in an academic research that has the practice-based characteristics. The construction of the exercise in the second part of this work uses the association of text and image, pointing, this way, to evidences that, if the use of non-textual resources, sometimes may be essential to the substantiation of an argumentation, on the other hand, this same argumentation cannot does without the text to be clearly enounced.
Esta pesquisa aborda, em sua primeira parte, a problemática da prática projetual na produção acadêmica na área de arquitetura. O objetivo é verificar em que medida comparecem métodos de pesquisa ligados a processos não textuais de análise e ponderar sobre seu papel como elementos de argumentação acadêmica. A intenção é contribuir para a reflexão sobre produção de conhecimento acadêmico e sua comunicação nas áreas de prática projetual X padrões exigidos no contexto acadêmico. Para limitar o âmbito da pesquisa foram analisados trabalhos acadêmicos brasileiros (teses e dissertações) que contassem com métodos projetuais e/ou visuais na abordagem da obra arquitetônica de Frank Lloyd Wright. Ao proceder com as leituras desses trabalhos foi identificada uma lacuna: a ausência de análises iconográficas mais aprofundadas sobre a ressonância da arte e arquitetura japonesa na obra do arquiteto norte-americano. A segunda parte deste trabalho, portanto, apresenta e enfatiza o papel das imagens quando se fala sobre a ressonância da cultura japonesa na obra de Wright. O objetivo deste esforço tem dupla intenção: a primeira é ilustrar e enfatizar a importância do emprego de material de natureza visual, e não-textual, na construção de argumentações acadêmicas na área de arquitetura, que visem, por exemplo, detectar ou discutir influências projetuais. A segunda é a contribuição para suprir a lacuna identificada acima, qual seja, a pouca atenção dada pelos trabalhos acadêmicos brasileiros sobre Frank Lloyd Wright à ressonância da arte japonesa em sua obra. A análise dos trabalhos acadêmicos buscou contribuir para a melhor compreensão da dinâmica entre os elementos e recursos textuais e não-textuais na elaboração da argumentação acadêmica. A construção do exercício na segunda parte do trabalho utiliza a associação de texto e imagem, apontando assim, para efeito desta investigação, indícios de que se a utilização de recursos não-textuais por vezes se mostra essencial na substanciação de uma argumentação, por outro lado, esta mesma argumentação não pode prescindir do texto para ser claramente enunciada.
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Foresti, Débora Fabbri. "Aspectos da arquitetura orgânica de Frank Lloyd Wright na arquitetura paulista: a obra de José Leite de Carvalho e Silva." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-06022009-111333/.
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Estudos anteriores já destacaram a influência do organicismo na arquitetura brasileira, com ênfase na arquitetura paulista. Porém, a maioria dessas pesquisas aborda arquitetos atuantes na cidade de São Paulo. O objetivo desta dissertação é investigar a influência do organicismo wrightiano na obra do arquiteto José Leite de Carvalho e Silva, que atua no interior do estado de São Paulo, principalmente na região de Campinas. Neste trabalho, procurou-se, inicialmente, expor os princípios da arquitetura orgânica de Frank Lloyd Wright, destacando os principais aspectos de sua carreira e obra. A partir dessa compreensão, procurou-se estabelecer os possíveis vínculos com a arquitetura brasileira e montar um quadro geral da arquitetura moderna paulista, destacando arquitetos cujas obras expressavam um pensamento projetual diferenciado nas décadas de 1940, 1950 e 1960. Esse período abrange também os anos de graduação, na FAU-USP, do arquiteto Carvalho e Silva, que se formou em 1956, e o começo de sua vida profissional. Em seguida, apresenta-se a obra deste arquiteto, descrevendo e analisando algumas residências selecionadas. Apesar de ter sido observada a influência da arquitetura orgânica de Frank Lloyd Wright nas obras estudadas, é importante ressaltar que outros fatores como as condições locais, a experiência profissional individual e as obras de outros arquitetos importantes também atuaram na definição de uma arquitetura própria de todos os arquitetos citados nesta pesquisa.Previous studies have already highlighted the influence of organicism in Brazilian architecture, with emphasis on architecture from Sao Paulo. But the majority of research focuses on architects working in the city of Sao Paulo. The goal of this dissertation is to investigate the influence of Frank Lloyd Wright\'s organicism in the work of the architect Jose Leite de Carvalho e Silva, who works in the state of Sao Paulo, mainly in the region of Campinas. In this work, one tried, initially, to explain the principles of organic architecture of Frank Lloyd Wright, highlighting the main aspects of his career and work. From that understanding, one sought to establish the possible links with the Brazilian architecture showing a general framework of modern architecture of Sao Paulo, highlighting architects whose works expressed a different projetual thought in the decades of 1940, 1950 and 1960. This period also covers the years of graduation, at FAU-USP, of the architect Carvalho e Silva, who graduated in 1956, and the beginning of his professional life. Then it presents the work of this architect, describing and analyzing some selected households. Although it is observed the influence of Frank Lloyd Wright\'s organic architecture in the works studied, it is important to note that other factors such as local conditions, individual work experience and works of other important architects also contributes on defining a personal characteristic architecture of all the architects cited in this research.
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Bernardi, Cristiane Kröhling Pinheiro Borges. "Luiz Gastão de Castro Lima: trajetória e obra de um arquiteto." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-18112008-110634/.
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Desde a década de 50, o ensino de arquitetura em São Paulo enfocou uma grande discussão de valores éticos e estéticos, tendo como centro difusor a Faculdade de Arquitetura da USP e como principal articulador Vilanova Artigas. Na época, duas linhas se divergiam no âmbito do discurso arquitetônico, dentro e fora da universidade: os racionalistas e os organicistas, ou como costumavam se declarar, os corbusianos e os wrightianos. Os dois grupos geraram no seio da discussão moderna nacional, debates interessantes que foram muitas vezes além do aspecto arquitetônico. Entre os declaradamente wrightianos estava o jovem Luiz Gastão de Castro Lima, formado pela FAU-USP em 1954, depois de ter cursado dois anos na Politécnica. A recuperação de sua produção acadêmica e arquitetônica, ainda que pautada na experiência relativa de uma trajetória individual, é capaz de ilustrar uma parte da história da arquitetura que ficou por muito tempo às margens da historiografia.Since the 50\'s, the teaching of architecture in Sao Paulo has focused on a broad discussion of ethical and aesthetic values, having as its diffuser centre the Faculty of Architecture and Urbanism of Sao Paulo (FAU-USP), and as its main articulator Vilanova Artigas. At the time, two streams used to have different ideas about the architectural discourse: the racionalistas and organicistas, or as they used to call themselves, corbusianos and wrightianos. The discussions generated by these two groups have sometimes gone beyond the architectural aspect. Among the wrightianos was Luiz Gastão de Castro Lima, who graduated by FAU-USP in 1954 after two years studying at Polytechnic school. The recovery of his academic and architectural production is able to illustrate a part of the history of architecture that was, for a long time, kept on the edge of historiography.
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Karpouzas, Helena. "A casa moderna ocidental e o Japão : a influência da arquitetura tradicional japonesa na arquitetura das casas modernas ocidentais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2003. http://hdl.handle.net/10183/11432.
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O presente trabalho tem por objetivo demonstrar a influência da Arquitetura Japonesa Tradicional sobre o Ocidente, evidenciando as relações diretas das casas tradicionais japonesas com as primeiras casas modernistas ocidentais do início do século XX, através da analise de seus conceitos,de suas técnicas e de suas composições. Primeiramente, mostra-se a história, a concepção espacial e os elementos da Arquitetura Japonesa Tradicional, para se ter a compreensão de como os japoneses percebem, distintamente do Ocidente, o mundo físico e a sua dimensão psicológica. A seguir são selecionadas algumas obras do arquiteto ocidental Frank Lloyd Wright que demonstram as influências recebidas através do seu contato com o Japão, traçando assim um paralelo entre Arquitetura Japonesa Tradicional e Arquitetura Moderna Ocidental. Por fim, procura-se o entendimento de um novo produto gerado, quando as expressões e as técnicas japonesas tradicionais se fundem com as formas e com os espaços ocidentais.This paper aims on demonstrating the influence of Traditional Japanese Architecture on the West, pointing out the direct reletions between the Tradicional Japanese Houses and the first modern houses in the begining of 20th century, through the analysis of its concepts, techniques and composition. Firstly the history, the spatial conception and the elements of the Tradicional Japanese Architecture are presented in order to understand how japanese perceive the physical world and its psychological aspects. Some work of western architect Frank Lloyd Wright,which demmonstrate the influences of his contact with Japan, are selected to follow, therefore stablishins a paralel between Japanese Traditional and modern western architecture. Finaly, an understanding of a new product is pursued, when the tradidional japanese expression and technics merge with western form and space.
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Martin, Saiz Diego. "El Guggenheim Museum de New York. Interpretación del papel de la estructura a través de la colaboración entre Frank Lloyd Wright y Jaroslav J. Polivka." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/78010.
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Arquitectura y estructura han ido siempre íntimamente ligadas, pero con la
aparición del acero y el hormigón surgieron nuevas necesidades formales o
estéticas. El Estilo Internacional se inclinó por separar la retícula estructural de
los cerramientos. En cambio, la Escuela de Chicago forjó las bases de una
arquitectura optimizada y racional. Frank Lloyd Wright, entre estas dos
situaciones, optó por seguir las pautas naturales de los materiales, de forma
“orgánica”, recuperando la integración entre los diferentes componentes de la
arquitectura.
Dentro del recorrido sobre el papel de la estructura en la historia de la
arquitectura, parece apropiado detener el análisis en la obra de Frank Lloyd
Wright y su particular utilización de la estructura. El Guggenheim Museum es el
edificio que recoge muchas de las constantes, por lo que merece la pena estudiarlo
analizándolo a través de su estructura. En este sentido, la figura de Jaroslav J.
Polivka resulta de particular interés debido a la colaboración mantenida con
Wright. De esta relación surgen en ocasiones las claves, no sólo de las soluciones
concretas de la estructura, sino de los condicionantes finales dentro del conjunto
arquitectónicoArchitecture and structure have always been closely related, but the advent of the steel and reinforced concrete created new needs in the formal aspects. The International Style opted to separate the structural framework from the walls. On the other hand, the Chicago School forged the basis of a rational and optimized architecture. Between these two situations, Frank Lloyd Wright chose the approach of following the natural patterns of materials, in ¿organic¿ manner, recovering the interaction between the different elements of the architecture. Into the range about the role of the structure in the history of architecture, it seems appropriate to stop the analysis in the work of Frank Lloyd Wright and his particular use of structure. The Guggenheim Museum is the building that reflects many of the constants, so it is worth analyzing its structure. In this sense, the figure of Jaroslav J. Polivka has a particular interest because of his collaboration with Wright. From this relationship sometimes arise the keys, not just the specific solutions for the structure, but the final conditions within the architectural form. Key words Architecture, structure, Structural typologies, Frank Lloyd Wright, Jaroslav Joseph Polivka, Guggenheim Museum, Organic Architecture, Plates and shells, Cantilevers, Dendriform columns.
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Soler, Monrabal Carlos. "MECANISMOS DE IMPLANTACIÓN. ESTRATEGIAS DE APROXIMACIÓN. La secuencia de aproximación y acceso en la obra de F. Ll. Wright." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/62528.
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[EN] This research deals with the study of the architectural project as a response to where it implants and makes putting the focus on the sequence alignment as a resource. To do this, the study of the relationship between the form that a building and outer space defined therein, is crucial. The way we approach a building outer space conditions this set.
Through analysis, we intend to deepen the relationship between the resulting form of architecture and how the sequence alignment and access to it is organized.
To achieve this goal, the work of Frank Lloyd Wright is chosen as a vehicle on which to reflect about the relationship between the sequence alignment and access, implementation mechanisms adopted and their impact on the project approach.[ES] La presente investigación aborda el estudio del proyecto arquitectónico en su respuesta al lugar donde se implanta y lo hace poniendo el foco en la secuencia de aproximación como recurso disciplinar. Para ello el estudio de la relación entre la forma que adopta un edificio y el espacio exterior que este define, es determinante. La manera en que nos aproximamos a un edificio condiciona el espacio exterior que este configura. Mediante el análisis, se pretende profundizar la relación que existe entre la forma resultante de una arquitectura y la manera en que se organiza la secuencia de aproximación y acceso a la misma. Para alcanzar este objetivo, se escoge la obra de Frank Lloyd Wright como un vehículo sobre el que reflexionar a cerca de la relación entre la secuencia de aproximación y acceso, los mecanismos de implantación adoptados y su repercusión en el planteamiento del proyecto.
[CAT] Aquesta investigació aborda l'estudi del projecte arquitectònic en la seva resposta al lloc on s'implanta i ho fa posant el focus en la seqüència d'aproximació com a recurs. Per això l'estudi de la relació entre la forma que adopta un edifici i l'espai exterior que aquest defineix, és determinant. La manera en què ens aproximem a un edifici condiciona l'espai exterior que aquest configura. Mitjançant l'anàlisi, es pretén aprofundir la relació que existeix entre la forma resultant d'una arquitectura i la manera en què s'organitza la seqüència d'aproximació i accés a la mateixa. Per assolir aquest objectiu, s'escull l'obra de Frank Lloyd Wright com un vehicle sobre el qual reflexionar a prop de la relació entre la seqüència d'aproximació i accés, els mecanismes d'implantació adoptats i la seva repercussió en el plantejament del projecte.
Soler Monrabal, C. (2016). MECANISMOS DE IMPLANTACIÓN. ESTRATEGIAS DE APROXIMACIÓN. La secuencia de aproximación y acceso en la obra de F. Ll. Wright [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62528
TESIS
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Kohlmann, Andrya Campos. "Wright e Siza : a qualidade espacial em dois museus." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/151172.
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Este trabalho tem como principal objetivo a análise da qualidade espacial em dois museus, a Fundação Iberê Camargo em Porto Alegre e o museu Guggenheim em Nova York. A Fundação Iberê Camargo foi escolhida em função da aclamação de crítica que recebeu e seu destaque no panorama arquitetônico da cidade gaúcha, onde o trabalho foi desenvolvido. Da mesma forma, o museu Guggenheim foi selecionado por ser uma edificação icônica, consagrada no imaginário arquitetônico mundial. Os dois exemplares foram escolhidos também, e principalmente, em função de suas semelhanças em termos de partido arquitetônico e forma, programa, dimensões e escala. As análises serão realizadas à luz do conceito da qualidade espacial, noção essa definida pela relação como os espaços acolhem, ou não, o corpo dos usuários. A pesquisa consiste, portanto, em um trabalho de natureza prática/empiríca, que buscará avaliar os desempenhos das edificações a partir da aplicação do “método do observador”. Para tal, serão utilizados parâmetros de avaliação como a legibilidade e a funcionalidade de diversas situações ao longo dos percursos analíticos realizados em ambas as edificações.This work aims to analyze the spatial quality in two museums, Fundação Iberê Camargo in Porto Alegre and Guggenheim Museum in New York. Fundação Iberê Camargo was chosen due to the critical acclaim it has received and its prominence in the architectural panorama of Porto Alegre, city where the work was developed. Similarly, the Guggenheim museum was selected because it is an iconic building, enshrined in global architectural imagination. The two buildings were chosen also, and mainly, due to their similarities in terms of architectural concept and form, program, size and scale. Analyzes will be carried out in the light of spatial quality, a concept that is defined through the relationship of space and body, and the way the first receive, or not, the second. This work is, therefore, a work based on practical/empirical approach, which seek to evaluate the performance of these buildings from the application of “the observer method”. In order to achieve this, evaluation parameters such as legibility and functionality, will be used in various situations along the analytical paths performed in both buildings.
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Rowland, Michelle M. "Manifestations of Ebenezer Howard in Disneyland." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002225.
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Steele, Kelly. "The advancement of Taliesin's preservation through Internet communication." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1133735.
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The Taliesin Preservation Commission works to preserve Taliesin - Frank Lloyd Wright's Wisconsin estate in Spring Green, Wisconsin - while educating the public about the importance of Taliesin and Wright. The Commission is a private, not-for-profit organization whose future depends on private donations and grants. Creating a presence for the Commission on the Internet will allow the organization to substantially achieve its goals by increasing awareness and education while heightening funding opportunities. This project created a website for the Taliesin Preservation Commission. The effort involved background research into the Internet, its capabilities, the Commission, and their needs. While this information supported the development of the project, the project focused on the web authoring. The primary activities included site content development, site organization, research, writing of text, graphic development, page design, and HTML code writing. In addition, the project secured website storage space and dial-up access for the Commission. It concluded with the launching of the Taliesin Preservation Commission's website at www.taliesinpreservation.org.Department of Architecture
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Njoo, Alex Haw Gie, and alexnjoo@bigpond net au. "Organic architecture : its origin, development and impact on mid 20th century Melbourne architecture." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090326.160848.
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Australia in the early 50s followed a decade or so of frenzy activities in the visual arts. This resurgence of Australian art which led to its recognition in the UK and the United States also brought about a renewed recognition in the quality of domestic architecture. New boundaries in the design of the Australian home were being redefined, both in theory as well as in practice. Although the decades between the two Great Wars saw the importation of such influences as the Californian Bungalow and Art Deco styles (shades of Dudok, Mendelsohn etc.), it was during the post-war years that the term organic architecture that was much discussed by a wide range of practitioners of the time. This research aims to trace the journey of organic architecture from its origin to Australia and provide some insight into the workings of those who claimed to have practiced it.
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Bauer, Caroline. "L'agence André au temps de Jacques et Michel (Nancy, 1929-1973) : architecture, réseaux et filiations." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010573.
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Notre étude s’intéresse à l’agence André entre 1929 et 1973, période d’activité des frères Jacques et Michel André, architecte et ingénieur. Nous interrogeons leur production dans son contexte spatial et historique, à la lumière des notions de filiations et de réseaux. Issus d’une importante dynastie d’architectes en Lorraine, ils bénéficient d’un héritage à la fois matériel et intellectuel. Cet ancrage, soutenu par la foisonnante École de Nancy du début du siècle, favorise les réseaux de proximité comme les échanges culturels internationaux. Les frères André prolongent ce dynamisme critique en s’impliquant dans le Comité Nancy-Paris,l’Union des artistes modernes et la revue L’Architecture d’aujourd’hui. Dans l’Entre-deux guerres,ils sont les premiers architectes à collaborer durablement avec Jean Prouvé, avant d’associer à l’agence Claude, le fils de ce dernier, dans les années 1960. Proche des entrepreneurs locaux, les deux frères questionnent la valeur constructive de l’architecture :ils s’attachent à atteindre la perfection technique et expérimentent les matériaux. Cette recherche traverse leur production, depuis leur première grande réalisation, l’Institut de zoologie, inspiré par les procédés de Frank Lloyd Wright, jusqu’au musée de l’Histoire du fer,symbole de gloire industrielle régionale. Tandis que les années 1930 constituent une période d’intense créativité, l’agence développe après-guerre les outils nécessaires pour faire face à une commande massive, notamment postale, et se met en quête de productivité. L’agence des frères André constitue ainsi un témoin privilégié des bouleversements de la production architecturale au cours du XXème siècleOur study focuses on the André agency between 1929 and 1973, period of activity of thebrothers Jacques and Michel André, architect and engineer. We question their production inits spatial and historical context, in the light of the notions of filiation and networks. Comingfrom a large dynasty of architects in Lorraine, they benefit from both material and intellectuallegacy. This rooting, supported by the teeming École de Nancy in the early century,promotes close networks as well as international cultural exchanges. The André brothersextend this critical dynamic by getting involved in the Comité Nancy-Paris, the Union desartistes modernes (UAM) and the L'Architecture d'aujourd'hui magazine. During the Interwarperiod, they were the first architects to work sustainably with Jean Prouvé, before associatingClaude, the son of the later, to the agency in the 1960s. Close to local building contractors,the two brothers question the constructive value of architecture: they focus on reaching ontechnical perfection and experimentation on materials. This research goes through theirproduction, since their first major achievement, the Institute of Zoology, inspired by FrankLloyd Wright’s processes, to the museum of iron history, symbol of the region's industrialglory. While the 1930s are a period of creativity, the agency develops postwar the toolsneeded to face intense order, in particular postal, and shifts toward a quest for productivity.The André agency thus constitutes a privileged witness to the upheavals of architecturalproduction during the 20th century
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McClellan, Kelsey Erin. "The Organic Imperative." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1304604481.
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Escoda, Pastor Carmen. "El magnetismo del lugar en la arquitectura. Un análisis a través del dibujo de las diferentes estrategias de intervención en el paisaje a partir de la arquitectura del Movimiento Moderno." Doctoral thesis, Universitat de Barcelona, 2007. http://hdl.handle.net/10803/84054.
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El emplazamiento es y siempre ha sido un condicionante de la obra arquitectónica, pero ha sido a partir de la arquitectura del Movimiento Moderno que se le ha otorgado un papel protagonista en ese juego de relaciones que se producen entre la obra y su contexto, entrando a formar parte inextricable del proceso proyectual y de su representación gráfica. Para poder formular una reflexión sobre las incidencias diversas del lugar en la arquitectura y alcanzar los principales objetivos de la investigación, a lo largo de esta tesis se muestran, a través de diferentes proyectos, distintas estrategias con respecto a la implantación y conformación de esa arquitectura en la que los hitos del lugar están presentes en cada momento. La incorporación de innovadoras tecnologías de construcción y de nuevos materiales conlleva un nuevo lenguaje arquitectónico, una especial sensibilidad por el entorno y nuevos procesos de experimentación tanto a nivel formal como contextual posibilitando un diálogo más estrecho con el lugar.
A partir de ese momento también en el campo de la representación gráfica se producen cambios, en parte debido a la aparición del cine y de la fotografía, que junto a otros factores facilitan la obtención de una visión más amplia, más de conjunto y a la vez más personalizada e intencionada. Aparecen los apuntes de viaje, los fotomontajes y las perspectivas aéreas y se hace especial énfasis en las primeras tomas de contacto con el lugar.
Ya desde los años 50, muchos teóricos han definido la arquitectura como arte del lugar, paralelamente a la definición de la arquitectura como arte del espacio. Tanto el espacio como el lugar pasan a considerarse explícitamente como esencia de la arquitectura.
A través del análisis de varios proyectos arquitectónicos a partir del Movimiento Moderno, obras emblemáticas por todos conocidas, se trata de observar y de señalar los aspectos más relevantes del proceso creativo del proyecto bajo el prisma de la consecución de ese fin de integración con el lugar. Ello nos llevará a una serie de reflexiones en busca de unas intenciones y de unas estrategias comunes entre los diferentes casos analizados, al margen de los saltos generacionales, ya que tanto se hablará de una obra de Wright como de una obra de Siza. En esta búsqueda se insistirá en una serie de conceptos fundamentales como el de las trazas y fuerzas vivas del lugar, organicidad y proceso orgánico, la ruptura de la caja, el continuum topográfico, el dinamismo de la componente horizontal y la descomposición, conceptos con los que comulgarán todos los arquitectos seleccionados.
De este modo la tesis abre un camino de reflexión sobre la importancia del lugar en la arquitectura y de cómo se conforma esa arquitectura que nace en ese lugar de manera que no estropee el paisaje donde se implanta, sino todo lo contrario, que lo reordene y que lo mejore, contribuyendo paralelamente al interés por la formación de nuevas investigaciones en esta línea.
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Haun, Katherine K. "Insulating the exterior wall of historic buildings : analysis of the Park Inn Hotel." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390316.
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Insulating the exterior wall of an historic property can have the benefits of increasing thermal comfort for occupants as well as reducing energy use for heating and cooling. Concerns expressed by preservationists that insulation can lead to the degradation of the building structure or its historic fabric. Using the Park Inn Hotel, an early twentieth century commercial property designed by Frank Lloyd Wright, the application, feasibility, ramifications and potential benefits of applying insulation to the exterior wall was studied. Analysis for insulation includes evaluation of the historic characteristics, construction of the exterior wall, heat loss calculations, and how moisture will be transported through the wall. It was found that the key to determining if the exterior wall of a historic building can be insulated successfully without damage to the historic characteristics of the building or to the building itself, is in understanding how the building was designed and how it deals with moisture. With a thorough understanding of these elements, one can ascertain if insulating the exterior wall of his/her historic building is appropriate.Department of Architecture
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Ciampaglia, Fernanda. "Gallano Ciampaglia. Razões de uma arquitetura." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-30082016-110923/.
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\"Galiano Ciampaglia. Razões de uma arquitetura\" - estuda um arquiteto que identifica as bases da profissão no ofício do pai, um mestre-canteiro a serviço de Ramos de Azevedo. Vinculado com seus pares, Jacob Ruchti e Miguel Forte, à historiografia da cidade através do edifício-sede IAB-SP, Galiano Ciampaglia (n.1913) é também protagonista do pioneirismo da Escola de Engenharia Mackenzie que, em 1939, forma a primeira turma de arquitetos paulistas reconhecidos pelo Ministério da Educação e da Saúde. Desenhado a partir de fragmentos de quase um século, o caráter do estudo é em primeiro lugar de natureza histórica. O diferencial do gênero é agregar a um estudioso de Frank Lloyd Wright e à uma produção focada na casa paulista, uma personalidade e uma formação ao mesmo tempo pragmática e erudita, fundamentais à compreensão de sua obra e de sua reserva.\"Galiano Ciampaglia. Reasons for an architecture\" studies an architect that identifies as bases for his profession, his own father\'s occupation, as a master - mason that worked for Ramos de Azevedo. Together with his partners, Jacob Ruchti e Miguel Forte, Galiano Ciampaglia (born 1913) is connected to the history of the city as one of the designers of IAB-SP\'s main office. He is also a graduate of Mackenzie Engineering School\'s first class of architect\'s officially recognized in São Paulo by the Ministry of Education and Health. Drawn from the scraps of nearly a century, the essence of the study is primarily historic. The differentiation in this case is to add to this Frank Lloyd Wright admirator and a residential specialist, a personality and background at the same time pragmatic and erudite, fundamental to the understanding of his work and heritage.
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Müller, Fábio. "O templo cristão na modernidade : permanências simbólicas & conquistas figurativas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/5745.
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O estudo enfoca a arquitetura religiosa moderna, no intuito de apreender as permanências simbólicas e as conquistas figurativas alcançadas pelos arquitetos modernistas para dar forma e representação ao templo, em tempo dito ‘dessacralizado’ porque materialista e espiritualmente plural. Fundamentalmente, compila e sistematiza, por similaridades ideológicas, funcionais, simbólicas, tipológicas e formais, o legado eclesiástico projetado e/ou construído no mundo ocidental cristão entre os anos 1850 e 1960, grosso modo. Em sincronia, apresenta suas condições de origem, razões e significados e analisa como os pressupostos modernistas aplicaram-se ao fato arquitetural das novas catedrais, igrejas paroquiais, capelas locais e obras eclesiásticas várias, católicas e protestantes. Revela, também, seus produtores – financiadores, incentivadores, projetistas e construtores – analisando a atenção dada ao tema pelos mais eminentes nomes do período e realçando agentes inestimáveis, desprezados pela ‘bibliografia oficial’ do Movimento Moderno. Nas entrelinhas ensaia, ainda, discussão crítico-interpretativa de obras paradigmáticas ao debate por conjunção especial de fatores, no sentido de identificar as estratégias e signos modernos válidos à prática arquitetural contemporânea.
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WILSCHUTZ, SETH DOUGLAS. "Embodying Civil Society in Public Space: Re-Envisioning the Public Square of Mansfield, Ohio." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1112648545.
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Diemer, Merlin Janina. "O "rompimento da caixa" e suas conseqüências na prática do projeto residencial no século XX." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/11039.
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Esta dissertação objetiva mostrar conseqüências ocorridas na prática do projeto residencial provenientes do “rompimento da caixa”. O trabalho investiga um conjunto de residências unifamiliares concebidas durante o século XX, selecionadas por possuírem uma característica comum: serem decorrentes do rompimento da composição univolumétrica iniciado a partir da arquitetura de Frank Lloyd Wright, que “destrói a caixa” compartimentada convencional sem abandonar a ortogonalidade de linhas. A partir do “rompimento da caixa” no início do século XX, foi produzida uma nova classe de elementos mais genéricos e abstratos. Com a arquitetura Neoplástica de Van Doesburg e de Rietveld em meados dos anos de 1920, o plano surge como um elemento de arquitetura na composição das formas. Na primeira parte, através de revisão bibliográfica, o trabalho aborda uma rápida trajetória de aspectos da composição, desde o código clássico até a revisão dos elementos de arquitetura na vanguarda moderna, abordando também os primórdios do Neoplasticismo. A pesquisa considerou a hipótese de que as residências investigadas sigam a lógica construtiva oriunda dessa corrente. Na segunda parte, através da investigação de características espaciais, formais e compositivas, foram agrupados em capítulos os resultados obtidos da verificação de projetos de cinco arquitetos selecionados: Mies van der Rohe, Frank Lloyd Wright, Richard Neutra, Eduardo Souto de Moura e João Álvaro Rocha.This dissertation shows the “destruction of the box” consequences in residential project. The work investigates a set of “single-family residences” projected in XX century. These houses were elected for presenting a common characteristic: to be decurrently of the “destruction of the box”, initiated from the architecture of Frank Lloyd Wright, who "destroys the conventional box" without abandoning the orthogonality of lines. From the "destruction of the box", in the beginning of century, a new class of elements was produced, more generic and abstract. With the Van Doesburg´s and Rietveld´s Neoplastic architecture (1920), the wall appears as an element in the composition of the forms. Firstly, with a bibliographical revision, the work approaches a fast trajectory in the composition, since the classical architecture, until the revision of elements in the modern vanguard, and approaches the beginning of the Neoplasticism. A research considered the hypothesis, where the investigated residences follow the constructive logic of the Neoplasticism. From there, through the inquiry of spaces characteristics, formal and compositive, the results had been grouped in chapters, gotten through the verification of projects of five selected architects: Mies van der Rohe, Frank Lloyd Wright, Richard Neutra, Eduardo Souto de Moura and João Álvaro Rocha.
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Müller, Fábio. "O templo cristão na modernidade 1920 | 1970." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/34693.
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O estudo trata sobre o templo cristão na modernidade no período 1920 a 1970 de modo a resgatar, reconhecer e posicionar essa produção, digna de estudo, no contexto da arquitetura do século XX. Panorama acerca do tema, apresenta compilação e sistematização do concebido em capelas, igrejas paroquiais e catedrais, relacionando cristianismo e tempos modernos para identificar e avaliar os reflexos litúrgicos e simbólicos, por um lado, e funcionais, construtivos e estilísticos, por outro, numa inter-relação de homem, arte e sagrado no período. Historiografia crítica sobre o assunto, além de reunir e lançar juízo sobre as obras, recolhendo constatações gerais e peculiaridades como contribuição ao estado da arte moderna, desvela autores e incentivadores destacados em movimentações e resultados arquitetônicos para o templo cristão, afirmando suas importâncias e promovendo seu devido reconhecimento. Por tese, comprova a relevância da arquitetura do templo cristão como programa na modernidade, demonstrando sua continuidade, em quantidade e qualidade e evidenciando que a representação icônica do sagrado, que acontece através do tempo no templo, não se esvaiu ou perdeu-se nesse tempo histórico, tendo continuado o Cristianismo, através de outras construções marcantes, o trabalho inexorável de amparo e consolação espiritual a que se dedica a mais de dois milênios.The study deals with the Christian temple in the modern period from 1920 to 1970 in order to rescue, to recognize and position this production, worthy of study in the context of twentieth century architecture. Panorama on the subject, has designed the compilation and systematization in chapels, parish churches and cathedrals, linking Christianity and modern times to identify and assess the liturgical and symbolic reflections, on the one hand, and functional, constructive and stylistic, the other, by a cross-relation of man and sacred art in the period. Critical historiography on the subject, besides gathering and lay judgments about the works by collecting general findings and peculiarities as a contribution to the state of modern art, unveils encouraging authors and movements in outstanding architectural and results for the Christian church, affirming their importance and promoting their due recognition. In theory, demonstrates the relevance of the Christian church architecture as a program in modernity, demonstrating its continuity, in quantity and quality, showing that the iconic representation of the sacred, what happens over time in the temple, not faded or lost at this time history, Christianity has continued through other landmark buildings, the relentless work of spiritual support and comfort that is dedicated to more than two millennia.
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François, Arnaud. "La Vision ciné-photographique et l'apparition de l'architecture moderne." Paris 3, 2001. http://www.theses.fr/2001PA030061.
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Comment les architectes ont-ils pu developper une "esthetique materielle" de l'architecture, alors que la philosophie de la representation repose sur l'impossibilite d'atteindre immediatement la realite, si ce n'est a travers les formes de l'esthetique ? notre these consiste a demontrer que c'est la cine photographie qui est a l'origine de ce bouleversement en transformant le sens de l'esthetique. La photographie, en tant qu'image analogue a celle de l'oeil, va inciter l'architecte a imaginer la decouverte de la realite en apparence materielle. Puis, l'espace et le temps abstraits vont devenir les dimensions de la physiologie de la vision. Ensuite, a travers la pulverisation de la realite, propre a la matiere photographique, l'architecte va s'imaginer sentir de l'interieur la physique du corps des batiments. L'invention du cinema, en tant que projection lumineuse en mouvement, analogique a l'image du reve, va hisser le visible physique au plan de l'imagination. L'un va s'imaginer "voir" vivre de l'interieur la forme organique. L'autre estime que l'imagination est quasiment interne a l'oeil. Ainsi, l'espace et le temps abstraits sont assimiles aux dimensions de l'espace physique. Puis, avec l'arrivee du parlant, le concept n'est plus un moyen d'atteindre scientifiquement la realite corporelle en soi, il devient une dimension du "visible". L'architecture n'est plus l'art de former un corps, elle devient un art du "visible". Cette these se developpe a travers l'etude des architectes et theoriciens majeurs de l'architecture moderne : viollet-le-duc, ruskin, sitte, van de velde, wright, le corbusier et mies van der rohe. Ainsi, l'histoire recente de l'architecture, et plus generalement de l'art et de la philosophie de la modernite, est inseparable de celle de la cine-photographie. Mais alors, quelle est cette histoire secrete menee par les images ? n'a-t-on pas encore decouvert les veritables pouvoirs de la connaissance esthetique en soi ?
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Pierce, Kathryn Alisa. "The architect as collector: Karl Kamrath’s collection of Frank Lloyd Wright." Thesis, 2009. http://hdl.handle.net/2152/ETD-UT-2009-08-346.
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Houston modern architect, Karl Kamrath (1911-1988), collected books, periodicals, and archival material that document the career and legacy of Frank Lloyd Wright. Kamrath identified himself as a collector of Wright and a devotee to the principles set forth by the master architect. In this thesis, I present Kamrath’s collection by organizing the materials by subject, considering how Kamrath marked books and journals, and drawing connections between his collecting interests and his architectural work.
Kamrath collected and consumed information on Wright and organic architecture and then presented his own articulations of the principles in built form. His interest in organic architecture was evident in his projects that blended into the landscape and satisfied the individual needs of each client. The purpose of this thesis is to contribute to the story on Karl Kamrath, adding the details of the collection he donated to The University of Texas at Austin.text
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Uphues, Robert Joseph. "The skyscrapers of Frank LLoyd Wright." 1989. http://catalog.hathitrust.org/api/volumes/oclc/20863997.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 1989.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 73-76).
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Wasser, Elise Louise. "Writing about Wright : Edgar Kaufmann jr.'s analyses on Frank Lloyd Wright." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1598.
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For many years authors have repeated stories and myths about Frank Lloyd Wright, overstating purported influences and unjustly degrading periods of Wright’s work. Discrepancies in Wright’s own discourses have not made the task of characterizing him any easier. To better understand Wright’s works and influences, the focus must shift to those who have authored the narratives about Wright. Among the most important of these was Edgar Kaufmann jr. [sic].
Other early Wright commentators, such as Henry-Russell Hitchcock, Grant Carpenter Manson, and Bruno Zevi are usually mentioned before Kaufmann, but Kaufmann published more about Wright than any one else, until his death in 1989. Hitchcock worked on twenty-two books and articles about Wright, Manson on nine, and Zevi on seventeen. Kaufmann authored thirty works about Wright, more than Zevi and Manson combined. Kaufmann is generally referred to as the son of Fallingwater, but his Wrightian scholarship and design theory extended far beyond his role in bequeathing his family’s famous retreat. Kaufmann’s writing career spanned over three decades and included more than forty works, with topics about Wright, “Good Design,” skyscrapers, and the museum industry. His writings reveal a complex scholar who at times was led by the trends of his time, and who was not afraid to reevaluate and redefine his past work.
From Kaufmann’s first article about Wright in Art News, to his work establishing Fallingwater’s tour program, he communicated Wright’s methods and analyzed his rhetoric. During Wright’s lifetime, Kaufmann followed his wishes for interpreting his work. But after Wright’s death, Kaufmann was swayed by a number of contemporary ideas, such as indeterminacy and systems. Most of Kaufmann’s writings focused on Wright’s later architecture, clarifying his rhetoric, discussing his influences and space, and telling the history of Fallingwater. Kaufmann is a key figure in the narrative about Wright because of his unique perspective as a student, a client, and a friend that no other historian can claim. Deciphering Kaufmann’s writings allows for an examination of one of the major voices behind Wright’s story.text
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Bruechert, Daniel Carson. "Frank Lloyd Wright and the automobile designs for automobility /." 2006. http://purl.galileo.usg.edu/uga%5Fetd/bruechert%5Fdaniel%5Fc%5F200608%5Fmhp.
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Alofsin, Anthony. "Frank Lloyd Wright the lessons of Europe, 1910-1922 /." 1989. http://books.google.com/books?id=bE5QAAAAMAAJ.
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Martins, Minouche Alarcão Taveira 1990. "Frank Lloyd Wright e o Museu Guggenheim de Nova Iorque." Master's thesis, 2017. http://hdl.handle.net/11067/3066.
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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2016Exame público realizado em 23 de Fevereiro de 2017
O trabalho tem como objetivo o estudo do museu Guggenheim de Nova Iorque, abordando-se a sua conceção, construção, reabilitação e ampliação. Previamente, estuda-se a evolução do museu através da história no sentido de serem encontrados elementos característicos que se mantêm ao longo do tempo. Estudase, igualmente, a vida e a obra de Frank Lloyd Wright, as várias influências que sofreu e que se vieram a refletir na obra em estudo. O conceito de corpo, perspetiva e movimento no espaço são abordados tendo em conta as características originais da obra.
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Stuart, Kristopher Mark. "On architecture, nature, and man (Frank Lloyd Wright, Louis I. Kahn)." Thesis, 1993. http://hdl.handle.net/1911/13790.
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Mircea Eliade suggests that man's impulse to build stems from the need to physically distinguish the world of culture from the world of nature. Man builds in an attempt to perfect the natural world. It is Henry David Thoreau's assertion that nature, of which man is only a part, is already perfect. In Loren Eiseley's view, man must balance his culture with his irrevocable attachment to nature. Architecture, as an expression of culture, mediates between nature and man. Architecture's creation is inspired through man, and informed by nature. From the earliest civilization this has been true. Thus we may compare the work of Frank Lloyd Wright and Louis I. Kahn, finding that, while their work differs considerably in appearance, in spirit it is remarkably the same. From the work of Wright and Kahn we may conclude that Architecture is indebted to nature as well as to the spirit of man.
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"Protecting Usonia: A homeowner's and site manager's resource for understanding and addressing common preservation concerns in Frank Lloyd Wright's Usonian home." Tulane University, 2018.
Find full textAbstract:
The primary goal of this thesis is to provide owners and stewards of Usonian homes with as many possible resources to make informed maintenance and conservation decisions, believing that in giving these resources to those most involved with the process these extant Usonian homes will be preserved to the highest degree of integrity. It was vital that most of the information come from homeowner’s themselves, as they have the most current, in-depth and practical knowledge about common preservation concerns in the Usonian style of home. As a part of this goal first hand knowledge from the Usonian homeowners were collected, analyzed, and synthesized to develop a usable resource based on their experiences and additional research and recommendation from professionals in the field. The secondary goal of this project is to contribute to the current database of the Frank Lloyd Wright Building Conservancy on Usonian homes. The results of the survey will be included in the database and will contribute to their mission. The Frank Lloyd Wright Building Conservancy works to provide in-depth resources for homeowner’s as well as serves as one of the premier advocates for the preservation of Wright’s extant buildings. As such, they offer extensive practical preservation resources for all Wright homeowners. This paper, and the data collected from the survey, will serve to increase their knowledge base and, therefore, their ability to provide more in-depth resources to all homeowners, stewards, and scholars0
SPK
specialcollections@tulane.edu
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"Protecting Usonia: A Homeowner's and Site Manager's Resource for Understanding and Addressing Common Preservation Concerns in Frank Llyod Wright's Usonian Home." 2017.
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Lopes, Diana Lourenço. "Arquitetura orgânica de Frank Lloyd Wright: a procura da intemporalidade dos seus princípios." Master's thesis, 2018. http://hdl.handle.net/10071/17645.
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A Arquitetura Orgânica surgiu enquanto um meio de articulação entre o Homem, a Natureza e a Arquitetura. O Arquiteto Frank Lloyd Wright definiu este conceito e exteriorizou-o
nas suas obras práticas mas também teóricas. Entendemos que o conceito definido por este
Arquitecto ainda hoje é válido, uma vez que contribui para a construção de soluções de projeto
que dêem resposta a problemas contemporâneos. Assim, o presente trabalho promove uma
análise a um conjunto obras realizadas por este Arquiteto, no sentido de revisitar e validar a
sua definição.
O método de investigação seguido baseou-se na análise de quatro obras teóricas específicas do arquiteto, no sentido de recolher e tratar a informação necessária à leitura dos
fundamentos do conceito em questão, bem como da sua evolução ao longo do tempo. Complementarmente, identificaram-se os princípios e as características da arquitetura orgânica
identificadas por Frank Lloyd Wright, e validaram-se estas no contexto atual.
Finalmente, concluímos que esta investigação possibilitou um alargamento do entendimento do conceito da arquitetura orgânica, conforme definida por Frank Lloyd Wright, promovendo a integridade dos seus princípios e características à contemporaneidade, em conformidade com as necessidades atuais sem que se perca a vinculação entre o Homem, a Natureza e a Arquitetura.Organic Architecture has emerged as a means of articulation between Man, Nature and Architecture. The Architect Frank Lloyd Wright defined this concept and externalized it not only with his practical but also theoretical works. We understand that the concept defined by this Architect is still valid today, since it contributes to the construction of design solutions that responds to contemporary problems. Thus, the present work promotes an analysis to a set of works carried out by this Architect, in the sense of revisiting and validating its definition. The research method followed was based on the analysis of four specific theoretical works of the architect, in order to collect and process the information necessary to read the fundamentals of the concept in question, as well as its evolution over time. In addition, the principles and characteristics of the organic architecture identified by Frank Lloyd Wright and validated in the current context. Finally, we conclude that this research allowed a broadening of the understanding of the concept of organic architecture, as defined by Frank Lloyd Wright, promoting the integrity of its principles and characteristics to contemporaneity, in accordance with the current needs without losing the link between the Man, the Nature and the Architecture.
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Srinivasan, Urmila. "Approaches to the Use of Geometry in Architecture: A study of the works of Andrea Palladio, Frank Lloyd Wright, and Frank Gehry." 2009. http://hdl.handle.net/1969.1/ETD-TAMU-2009-05-608.
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Geometry deals with form, shape, and measurement and is a part of mathematics
where visual thought is dominant. Both design and construction in architecture deal with
visualization, and architects constantly employ geometry. Today, with the advent of
computer software, architects can visualize forms that go beyond our everyday
experience. Some architects claim that the complex forms of their works have
correlations with non-Euclidean geometry, but the space we experience is still
Euclidean. Given this context, I have explored possible correlations that might exist
between mathematical concepts of geometry and the employment of geometry in
architectural design from a historic perspective. The main focus will be to describe the
two phenomena historically, and then investigate any connections that might emerge
from the discussion. While discussing the way geometry has been approached in
architecture, I have focused on the Renaissance, Modern, and Post-modern phases as
they have a distinct style and expression. Andrea Palladio, Frank Lloyd Wright, and Frank Gehry's works will be case studies for the Renaissance, Modern, and Post-modern
phases respectively.
One of the important conclusions of this study is that architects use geometry in a
more subconscious and intuitive manner while designing. Certain approaches to
geometry can be determined by the way an architect deals with form and space. From
the discussions of the works of Palladio, Wright, and Gehry, it can be concluded that
from a two-dimensional simple approach to form and space in architecture, there has
been a development of thinking about complex forms three dimensionally. Similarly, in
mathematics, geometry has developed from a two-dimensional and abstract description
of our surroundings to something that can capture the complex and specific nature of a
phenomena. It is also shown that architects rarely come up with new concepts of
geometry. Significant developments in geometry have always been in the domain of
mathematics. Hence, most correlations between geometry in architecture and geometry
in mathematics develop much later than the introduction of those concepts of geometry
in mathematics. It is also found that the use of Euclidean geometry persists in
architecture and that later concepts like non-Euclidean geometry cannot be used in an
instrumental manner in architecture.
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Penim, António Manuel da Silva 1967. "A fluidez do espaço nas casas de Frank Lloyd Wright : um estudo da Jacobs House." Master's thesis, 2013. http://hdl.handle.net/11067/262.
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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2011Exame público apresentado em 12 de Junho de 2012
Com a presente dissertação, explora-se o conceito de fluidez, tão característico do modernismo. Num primeiro momento, define-se o conceito de fluidez. Este passo justifica-se pela diversidade dos significados e usos que lhe são atribuídos. Depois, procura-se entender como é que este conceito surgiu, primeiro no campo da física, depois no domínio das artes e, finalmente, no seio da arquitectura. O que é que faz com que determinados espaços apelem ao movimento e como é que o corpo – sempre em movimento - percepciona o espaço. Expoente da fluidez, analisa-se a obra de Frank Lloyd Wright e o seu percurso no domínio do espaço, sem se esquecer a sua vida, porque Wright só foi o arquitecto que foi pela vida que teve. Atendendo à elevada articulação dos seus espaços, explora-se o conceito de fluidez aplicado à Jacobs House. Observadas as características que lhe andam associadas, mostra-se a fluidez do projecto.
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Oliveira, António Maria Dourdil Bispo Pessanha de 1986. "O tijolo aparente nas obras de Frank Lloyd Wright, Alvar Aalto e Álvaro Siza Vieira." Master's thesis, 2017. http://hdl.handle.net/11067/2897.
Full textAbstract:
Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2012Exame público realizado em 24 de Janeiro de 2013
A presente dissertação incide no estudo da aplicação do tijolo aparente nas obras de Frank Lloyd Wright, Alvar Aalto e Álvaro Siza Vieira. O objecto de estudo desta dissertação é: "A evolução e o protagonismo do tijolo aparente na história da arquitectura". Serão lidas criticamente as obras dos arquitectos Frank Lloyd Wright, Alvar Aalto e Álvaro Siza Vieira. Procurar-se-à evidenciar as qualidades conferidas pela aplicação do tijolo aparente. Serão objecto deste estudo comparativo as obras "Robie House" e "Oak Park", de Frank Lloyd Wright, "Muuratsalo Experimental House" e "Säynätsalo Town Hall", de Alvar Aalto e "Biblioteca da Universidade de Aveiro" e "Schilderswijk West apartaments", de Álvaro Siza Vieira. Por último serão justificadas as opções do projecto desenvolvido no âmbito da cadeira de Projecto III, particularmente a sua relação com a aplicação do tijolo aparente e as qualidades espaciais que desse uso resultam.