Dissertations / Theses on the topic 'Kahn, Louis I'
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Esenwein, Frederick. "The Organic Imagination and Louis Kahn." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/32120.
Full textMaster of Science
Rodell, Sam. "The influence of Robert Venturi on Louis Kahn." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Thesis/Spring2008/S_Rodell_042508.pdf.
Full textSenbabaoglu, Bilge. "Understanding lighting in architecture of Louis I. Kahn /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422963.
Full textMargalith, Dana. "Louis I. Kahn - Architectural history as mediation." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121259.
Full textDans Louis I. Kahn – L'histoire de l'architecture comme médiation, on explore le travail de l'un des architectes le plus actifs du 20e siècle. Il a été reconnu par les intellectuels pour son rôle d'architecte et de penseur moderne, ainsi que pour ses recherches en histoire et ses références aux œuvres historiques importantes. En étudiant Kahn et son éducation, sa formation en architecture, ses écrits, lectures, voyages, contacts personnels, le contexte dans lequel il travaillait, en plus d'examiner ses dessins personnels et deux de ses projets de design, on comprend son approche de l'architecture sous plusieurs angles. En décrivant le contexte dans lequel Kahn a été éduqué et dans lequel il a pratiqué son métier, la thèse traite d'importants aspects de la pensée et pratique architecturale auxquels Kahn a été exposé, dévoilant ainsi les motivations derrière sa quête philosophique unique. En examinant les dessins de Kahn, la manière dont il incarne les sites historiques qu'il a vus durant ses voyages devient apparent. À travers l'étude du matériel d'archives, la trace des références architecturales que Kahn a étudiées devient visible. Ainsi, dans ses dessins et la conception architecturale pour le Dominican Motherhouse de St. Catherine de Ricci, Media, Pennsylvanie (1965-1969, jamais construit) et le Hurva Synagogue dans la vieille ville de Jérusalem (1967-1974, jamais construit), les références poétiques aux œuvres historiques que sont ses projets sont clairement illustrées, tout en soulignant des concepts herméneutiques et phénoménologiques en relation avec la perception, la mémoire et la compréhension du passé. Par conséquent, à travers Kahn, cette thèse examinera le débat contextuel concernant l'usage de références historiques dans l'architecture moderne du 18ième siècle jusqu'au postmodernisme, et abordera l'importance de la continuité des références dans l'âge de fragmentation. Louis I. Kahn – L'histoire de l'architecture comme moyen de médiation dévoilera le complexe potentiel dans l'étude de la tradition et l'histoire de l'architecture moderne. Elle éclairera les efforts acceptables dans la pensée et la pratique de l'architecture qui intègrent des références historiques et promeuvent l'authenticité et le progrès – deux éléments fondamentaux de l'expression architecturale poétique et innovatrice.
Lorentz, Rafael de Conti. "A qualidade espacial na obra de Louis I. Kahn." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142992.
Full textThe present dissertation is as an analytical study about the work of architect Louis I. Kahn, focusing on its spatial quality, as funded in the interaction between space and people in motion. Three buildings were selected as case studies in order to capture the evolutionary synthesis of space conception happened during Kahn’s career. Each building was submitted to an empirical scrutiny based upon the spatial experience of a moving observer, using a set of tools named as the “method of the observer”. The buildings investigated are put in relation with other Kahn’s buildings, so allowing the development of an analytical discourse embracing since his first works, in the 1930’s, until his death, in 1974. The analysis registers the performance of the buildings in terms of their legibility and their functionality, both understood as qualities inherent to space and the way they shape the user’s experience, so relating them to the building’s spatial conception. The dissertation intends to enlarge the understanding of the findings by considering the evolution of Kahn’s theoretical work, so bringing cause-effect connections between theory and the registered phenomena in the concrete reality of buildings. Eventually, this study aims to enlarge the understanding of the link between Kahn’s work and the architectural environment of the time, so exploring the influences he received and contributions he gave, especially concerning the evolution of modern architecture.
Ho, Jeffrey Kiat. "The philosophy of Louis I. Kahn and the ethical function of architecture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0004/MQ43979.pdf.
Full textPagliara, Sally F. "The understanding and the application of the "unmeasurables" of Louis I. Kahn." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23422.
Full textWeber, Bendicht. "La structure, une question d'architecture : Louis I. Kahn 1944-1974." Paris 8, 2002. http://www.theses.fr/2002PA082161.
Full textThis thesis studies the successive positions of Kahn with regard to the question of structure. It is an analysis of what appears as a true work of investigation, developped over thirty years of pratice and experience (1944-1974). Documents that allow to grasp Kahn's implications in contemporary debates and his attitude toward history, his working drawings, study models and buildings are examined as testimonies of a work of architecture as well as of an intellectual undertaking. Centered on the comparative analysis of designs and of variants or variations of their themes, the research aims to demonstrate how the theoretical approach shifts and is enriched by continuous exchange with engineers and collaborators. Louis I. Kahn's working practice, studied under the light of the question of structure, reveals in this way the intellectual process of the architect
Bhatt, Ritu. "Louis I. Kahn and the organic tradition in American architecture." Kansas State University, 1993. http://hdl.handle.net/2097/36025.
Full textMorshed, Adnan Zillur. "Dialectics of vision : the voyages of Louis I. Kahn, 1950-59." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/68769.
Full textIncludes bibliographical references (p. 110-115).
Kahn's genre of travel sketches offers us a visual basis to map his philosophical meandering. This thesis addresses the sketches produced from Kahn's voyages around the Mediterranean in 1950-51 and 1959 with an aim to understanding the premises that underlie them. During the trips, Kahn conjectured in his graphic oeuvre a dialogical method with the built forms of antiquity. On the one hand, he sought answers to his architectural and epistemological questions to these buildings; at another level, he re-contextualized the buildings in an imagined landscape that would in tum inform his imperatives. The sketches also permit an interesting theoretical commentary as they parallel Kahn's emergence into active architectural career in the fifties. At first encounter, some of them seem to be perplexing, but once extended into the context in which Kahn operated, they reveal an interwoven terrain of concepts that would continuously flower. There is no doubt that in his travel sketches Kahn was fighting a protracted battle about his architecture and that he benefited from the buildings of the past--but mostly at an epistemological level. Kahn raised questions on architecture that could have not been addressed by a formal retrieval of history. In that sense Kahn's travel sketches reappraise and re-propose the lessons of history.
by Adnan Zillur Morshed.
M.S.
Boyer, Jean Marie. "Psychanalyse et architecture : un regard insolite sur Louis Kahn et Le Corbusier." Paris 8, 2014. http://www.theses.fr/2014PA084071.
Full textAl architecture is produced by a subject/architect. Psychoanalysis can illuminate the dialectic established between tangible works and the subjective sources, trajectories of Lois Kahn and Le Corbusier (1901-1974, 1887-1965) illustrate this thesis. The study of primordial periods and those of entry into architecture draw the contours of the singularity of the subject as architect. As divided he is the place of manifestations of the unconscious noticeable in his essential writings and during his initiatory journeys. With psychoanalysis are indicated some indices of psychological traits. They influence architectural works and allow situating L. Kahn in the field of neurosis - and Le Corbusier in psychosis. The analysis of their projects is showing in Kahn architecture the insistence of two signifiers - the light and the mass - and in the one of Le Corbusier the images of geometric volumes, identifiable since their childhoods. Kahn’s praxis originates a fantasy - [dollar sign]<˃a - where the object a combines the light and the mass. Le Corbusier, meanwhile, submits a heavy scopic drive feels architecture as “game […] of volumes brought together under light. ” The architecture of Louis Kahn combines its own cause’s objects of desire with others found in the Other. The use going on before aesthetics. Le Corbusier develops universals objects, mortified, he calls “standarts”. They must satisfied an imagined man, sensitive to universal scopic enjoyment created by assembling of objects he hold “in is pocket”
BOTTI, MASSIMILIANO. "Gravitas vs Pondus : Louis I. Kahn e la rappresentazione della massa apparente." Doctoral thesis, Università IUAV di Venezia, 2007. http://hdl.handle.net/11578/278244.
Full textIslam, A. K. M. Zahidul. "Linear multimedia for form and geometry analysis : a case study of Louis I. Kahn's National Assembly Building /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422933.
Full textRAMPAZZO, ALESSANDRA. "Acciaio come paglia, Louis I. Kahn : il caso dell'Indian Institute of Management di Ahmedabad." Doctoral thesis, Università IUAV di Venezia, 2017. http://hdl.handle.net/11578/278731.
Full textFRISO, ISABELLA. "Hic sunt leones, la presenza del limite nell'architettura contemporanea : il Salk Institute di Louis Isidore Kahn." Doctoral thesis, Università IUAV di Venezia, 2014. http://hdl.handle.net/11578/278344.
Full textVilla, Carrero Juan Manuel. "Obra seminal de Anne Griswold Tyng (1951-1953) y su relación con Louis Isadore Kahn : la búsqueda por integrar espacio y estructura a partir de la geometría de la materia." Doctoral thesis, Universitat Politècnica de Catalunya, 2021. http://hdl.handle.net/10803/671508.
Full textLa emergencia de los fenómenos complejos en nuestro tiempo ha obligado a los creadores a reconectar conocimientos en el diseño, ya que, actualmente, muchos presentan una inercia fragmentaria e hiperespecializada. En razón a esto, en la arquitectura se ha despertado hoy día el interés por las figuras históricas ocultas o poco conocidas, próximas a la ciencia y a la tecnología, que por años buscaron respuestas de diseño en la interconexión de distintas dimensiones de lo real, especialmente en conexión con modelos de sistemas generativos. Esta condición o problemática en el quehacer investigativo nos permite aproximarnos a temas más generales en torno a la forma en que el hombre entra en contacto con las ideas y cómo las materializa. En este caso, el interés específico radica en cómo sucede esto en la arquitectura del noreste norteamericano, más exactamente en las derivaciones norteamericanas de las teorías europeas, alrededor de la mitad del siglo XX; esto es, el momento en el cual sobrevino un tráfico de figuras de la ciencia y la tecnología entre Europa y Norteamérica, que nutrió la arquitectura. De manera puntual, este documento se interesa en la figura de la arquitecta Tyng quien mantuvo una fuerte relación profesional y personal con Kahn, una de las figuras más notables de la arquitectura del siglo XX. De esta manera, la inquietud inicial fue: ¿Cómo reconectó ella conocimientos y cómo materializó su obra seminal entre 1951 y 1953? Luego, el objetivo de esta tesis es descifrar el conjunto de normas y reglas que conforman el mundo teórico práctico de Tyng ¿a través de la exégesis de su obra seminal entre 1951 y 1953¿ y su especial relación con Kahn. La respuesta a esta pregunta de investigación fue construida a partir de una visión cualitativa descriptiva-critica, en la que primaron las inferencias inductivas, la abducción y el empirismo metodológico. La descripción física fue privilegiada en este documento, gracias a su existencia en el presente, lo que permitió enfrentar la teoría y el fenómeno manifiesto, así como su comprensión y la de sus leyes internas. Aunado a lo anterior, es importante resaltar que esta tesis abordó un enfoque distinto al habitual y a la vez abrió un espacio de experimentación historiográfica en el que las hipótesis de esas grandes historias fueron puestas a prueba. Los resultados del estudio indicaron cómo el ideal de progreso, unido a la ciencia y a la tecnología en los Estados Unidos de mediados del siglo XX, alimentaron un tráfico de ideas entre el mundo profesional y educativo. Este generó un reajuste en los modelos arquitectónicos reductivos y totalizantes, dominantes en ese tiempo, hecho que dirigió a Tyng en el proceso de articular los conocimientos fragmentados en disciplinas o campos de saber hacia modelos reflexivos interdisciplinarios y transdisciplinarios cercanos a los sistemas generativos. A saber, la ayudó en su búsqueda de las estructuras del mañana. En conclusión, este proceso contribuyó en la construcción de un camino crítico nuevo para la arquitectura y aportó pruebas para reacomodar la historia de Kahn, una de las grandes figuras de la arquitectura. Así mismo, nos mostró las bases de las visionarias teorías de Tyng, lo que representa un acervo invaluable para las investigaciones interesadas por la afinidad al número y por su similitud con las lógicas de diseño asistido por ordenador o por su semejanza con el diseño, cercano al paradigma científico o al pensamiento complejo.
Gill, Sukhtej Singh. "A study of the characteristics of natural light in selected buildings designed by Le Corbusier, Louis I. Kahn and Tadao Ando." [College Station, Tex. : Texas A&M University, 2006. http://hdl.handle.net/1969.1/ETD-TAMU-1727.
Full textAli, Zainab Faruqui. "Environmental performance of the buildings designed by the modern masters in the tropics : architecture of Le Corbusier and Louis I. Kahn in India and Bangladesh." Thesis, Open University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340710.
Full textLayne, Jared Demetrius. "A Market for Barcelona." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/72955.
Full textMaster of Architecture
Dogan, Fehmi. "The role of conceptual diagrams in the architectural design process case studies of the First Unitarian Church by Louis Kahn, the staatsgalerie by Stirling & Wilford Associates, and the Jewish Museum by Daniel Libeskind /." Diss., Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/5398.
Full textEscorihuela, Vitales Mamen. "Colindancias : estudio de las relaciones de forma entre edificios contiguos." Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/386571.
Full textCada propuesta arquitectónica, al ubicarse en el núcleo consolidado de una ciudad, suscita el falso dilema entre la subordinación del nuevo proyecto a las leyes del conjunto o la preservación de su autonomia. La tesis estudia las relaciones de forma concebidas en una serie de casos en los que, sin hacer ninguna concesión estilistica, se confirma, sin embargo, la identidad del conjunto urbano. Se centra, por tanto, en proyectos, de distintos autores, en los que el emplazamiento comportaba exigentes relaciones de colindancia, por razones diversas: el perfil de la parcela, las características del edificio al que adosarse, la alta cualificación de los espacios urbanos, la necesidad de conexión... Los autores de los proyectos analizados -Le Corbusier, Alvar Aalto, Ame Jacobsen, Louis Kahn y Gordon Bunshaft- habían alcanzado la madurez profesional cuando acometieron estas obras: habían logrado desarrollar un sistema propio de recursos y estrategias de proyecto, continuamente perfeccionado, e imprimían un sello personal distintivo en todo lo que producían. Sin embargo, la característica común de las obras seleccionadas es que suponen una situación nueva o, en cierta forma, anómala,respecto a su registro habitual de trabajo: La Casa Dr. Curutchet, La Plata (1949-1953) -y la casa en el Lago Léman, (1923-24), revisada 30 años después en el primer número de Les Carnets de la Recherche Patiente ,tratada en el epílogo-; las intervenciones en Kluuvi, centro de Helsinki [Edificio Rautatalo (1950-1955), Edificio de la Banca Nórdica (1962-1964) y Librería Universitaria Stockmann (1962-1969)]; el Edificio Jespersen&Son (1952-55) en Copenhague; la Yale University Art Gallery (1951-53), Yale Center for Brítish Art (1969-77) en New Haven; la ampliación de la Albright-Knox Gallery (1958-62) en Buffalo y la Beinecke Rare Book&Manuscript Library en Vale. El objetivo de esta investigación ha sido comprender, a partir del estudio de casos concretos, cómo cada arquitecto modulaba su sistema para responder a localizaciones fuertemente condicionadas, sin renunciar a su modus operandi. Pone de manifiesto, que es precisamente gracias a éste, cómo son capaces de desvelar oportunidades del lugar, inasequibles e invisibles desde otras maneras de aproximarse a él, y cómo consiguen la resolución ejemplar de lo que aparentaban ser limitaciones severas, sabiendo utilizar los recursos propios a favor del conjunto al que se incorporan. La tesis demuestra las siguientes hipótesis: -Diferentes proyectos sobre el mismo sitio revelan lugares diferentes. Se conoce el lugar cuando se hace el proyecto. -Cuanto más universal es un sistema de concepción, mayor capacidad tiene de asumir y contestar sensiblemente a las especificidades de un determinado emplazamiento. -Cuanta mayor sensibilidad hacia el entorno urbano de la propuesta mejor supera los problemas particulares. -La vigencia de cada intervención depende de la honestidad con que se conduce en relación a las circunstancias del presente y delreconocimiento de las circunstancias invariables,las permanencias. El trabajo cuestiona los tópicos desde los que se aborda habitualmente el tema del lugar como condicionante del proyecto de arquitectura: la experiencia directa y prolongada del lugar, la necesidad de visitarlo-capítulo 1-; la especificidad de la estrategia adoptada para cada lugar (capítulos 2 y 3); el recurso a la imitación para salvaguardar la memoria del lugar (capítulos 4 y 5); el cambio ineludible de registro y recursos utilizados para responder a la particularidad de la situación concreta -capítulo 6-, etc. Por el contrario, revela que los valores verdaderamente universales son los únicos capaces de servir a resoluciones concretas muy diferentes. Desvela el nivel al que se resuelve verdaderamente la colindancia entre los edificios, no sólo en el contacto físico sino en la simultaneidad de percepción. Demuestra que es un problema de forma que afirmará la identidad de la obra.
Delpino, Rossana. "De lo inconmensurable a lo mensurable : proceso dialéctico desde el imaginario al proyecto del edificio Richards Medical Research Laboratories 1957-1964." Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/398914.
Full textEl presente trabajo se desarrolla en el periodo inicial de la obra independiente de Louis Kahn hasta el año 1957, cuando realizó el edificio Richards Medical Research Laboratories en la Universidad de Pensilvania. Este edificio marca el momento creador por excelencia, donde descubre ciertos fundamentos que se repetirán luego en su obra posterior y en otros proyectos de su tiempo. Por este motivo se establece un corte en la línea del tiempo hasta el 1957, para entender cómo se gesta la obra y encontrar los substratos subyacentes que conforman el proyecto. La aproximación viene desde dos momentos, que son lo inconmensurable y lo mensurable, es decir desde el mundo de las ideas hasta lo tangible, intentando abrir otro espacio para que lo indecible aparezca y podamos comprender la trascendencia del este edificio en la obra de Kahn y en su tiempo. De esta forma, el trabajo se divide en dos momentos importantes, que se instauran a partir de las palabras de Kahn al referirse al proceso creativo en su trabajo. Este proceso es el paso de lo inconmensurable (la idea), a lo mensurable (el edificio), para volver a ser inconmensurable (trascendencia a partir del edificio). De esta forma abordamos el trabajo en dos partes fundamentales, una denominada de lo ‘inconmensurable a lo mensurable’, y la otra de lo ‘mensurable a lo inconmensurable’. En el primer caso, de lo inconmensurable a lo mensurable, aparecen relaciones que construyen el imaginario de Kahn desarrollando puentes entre sus ideas a través de sus escritos, relaciones profesionales, viajes, la ciudad, relacionándolos con sus proyectos que trabaja en este tiempo y los proyectos que cita como referentes de su obra. En este momento los textos poseen mayor extensión que las imágenes, siendo el ámbito de las ideas las que tendrán protagonismo. Ya en la parte de lo mensurable a lo inconmensurable, tratara principalmente del proyecto de los laboratorios Richards y el laboratorio de Biología que aparecen como extensión del primero. En esta etapa el análisis de los proyectos anteriores, y fundamentalmente del los laboratorios será lo primordial, por este motivo, el proyecto ahora tendrá mayor preeminencia que el texto. En este edificio identifica, nombra y hace explícito el espacio vacío como articulador de la arquitectura, la estructura y las instalaciones. De esta forma, fue posible la individualización de los espacios de servicio con la misma contundencia que aparecen los espacios arquitectónicos, a una escala monumental y mostrando su funcionamiento, como si se tratara de una enorme máquina industrial. Creemos que a partir del edificio Richards, Kahn descubrió el fundamento de su obra, ya que pudo sintetizar en el proyecto, toda la búsqueda de años de trabajo, así como, al mismo tiempo, pudo sedimentar el legado de la historia por medio de sus viajes, las relaciones con su tiempo, y su experiencia con la ciudad. Por otro lado este edificio funciono como un manifiesto de su propia arquitectura, ya que funda las bases de su trabajo, obliterando el aporte de la arquitectura moderna. Kahn va a trabajar una arquitectura solida en vez de una arquitectura diáfana y fina, proponiendo una yuxtaposición de camadas de muros sucesivos, trabajando cuidadosamente la horadación de los mismos. Por medio de esta disposición, opera una serie de procedimientos de apertura del muro de forma casi escultórica, para conseguir efectos de luz, la cual al ser tamizada y filtrada, se convierte en una luz irreal. Lo que se pretende es que del análisis de las esferas de lo inconmensurable y de lo mensurable, en sus diversas aproximaciones de la psique a la materia o vice versa, es que logren resonar la ultima esfera inconmensurable, que es la trascendencia a partir del edificio y sus impactos en su tiempo, siendo este el gran legado de Louis Kahn a su tiempo y a la historia de la arquitectura
Bongartz, Ute Louise [Verfasser]. "Kann die Lokalisation des Vestibularsyndroms beim Hund klinisch eindeutig erfasst werden? / Ute Louise Bongartz." Hannover : Bibliothek der Tierärztlichen Hochschule Hannover, 2018. http://d-nb.info/1162355786/34.
Full textTomassino, Louise, and Mona Rahimzadeh. "Den vita fläcken på märknadsförarnas karta : En studie om hur marknadsförarna hos de stora svenska livsmedelsbutikerna kan förbättra sina förutsättningar hos invandrarkonsumenterna." Thesis, Stockholm University, School of Business, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42537.
Full textDenna studie avser att ur en positivistisk ansats analysera hur marknadsförare bättre kan nå ut till invandrarbefolkningen, inte minst i anslutning till de större utländska högtiderna. Syftet är att försöka få handlarna att förbättra marknadsföringen mot denna målgrupp och nå ut med ett budskap som de kan identifiera sig med. Undersökningen belyser ur ett nytt, innovativt och explorativt perspektiv de faktorer som kan tänkas inverka på marknadsföringen och ägnar särskilt uppmärksamhet åt Parsons teori, Homophily teorin och nischmarknadsföring. Undersökningen är uppdelad i en förstudie där kontakt tagits med reklambyråer för livsmedelskedjor och belyser forskningsproblemet ur deras synvinkel. Huvudstudien genomfördes via en enkätundersökning och syftar till att belysa problemet ur målgruppens synvinkel. Resultatet påvisar att huvuddelen av marknadsförarna saknade tillräckliga kunskaper om invandrargruppen, samtidigt som invandrargruppen visat sig vara mottaglig för olika influenser. Därför föreslår vi att marknadsförarna till större del beaktar invandrarna som målgrupp i sina framtida kampanjer och i större grad försöker tillgodose de behov som de har i egenskap av outnyttjad köpkraft.
Akelev, Evgeny. "Le malfaiteur face à l'état moderne : la criminalité professionnelle et la politique anticriminelle à Moscou et à Paris dans la première moitié du XVIIIème siècle (recherches comparatives)." Paris 4, 2009. http://www.theses.fr/2009PA040024.
Full textBased on analysis of the archives of two major operations against the urban underworld (the trial of Louis-Dominique Cartouche in Paris, 1721-1728, and the case of Van'ka Kain in Moscow, 1741-1756), this thesis provides a comparative study into the world of professional criminals in Europe during the first half of the eighteenth century. The centerpiece of this study is the analysis of biographies of two hundred criminals, including their social and occupational status, how they became uprooted from legal society, and their subsequent integration into the criminal world. These data reveal both similarities and differences in the criminal worlds of Moscow and Paris, though the study shows a distinct resemblance between the underworlds of the two cities. The study also analyzes types of criminal association and distinctive features of their subculture, everyday life among criminals, and their links to non-criminal townspeople. Finally, the study shows that both French and Russian authorities were alarmed by the extension of the underworld in the mid-eighteenth century. Officials struggled against professional criminals with similar techniques in both Paris and Moscow, including the protection of some elements of the criminal underworld in order to control it as a whole
Kallstenius, Marie-Louise. "Läkande rum : - ett examensarbete om arkitektur, psykiatri och läkande miljöer." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-72634.
Full textChardonnet-Darmaillacq, Damien. "Gouverner la scène : le système panoptique du comédien LeKain." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100089/document.
Full textThe aim of this study is to understand the major changes in theatrical practice in the 18th century,through an analysis of unpublished manuscript sources, written by the French actor Henri-LouisLeKain. Self-appointed « king of the boards », LeKain never ceased in his striving to update anddevelop the practice of theatrical production and presentation. To what extent does the power-strugglehe initiated with the decision makers at the the Comédie-Française, throw light on the changes takingplace ? What were his demands ? How did they emerge in the theatrical world of the time, and why ?What strategies did LeKain pursue to achieve his goals ? What did this attempt to seize power consistof in the wider field of theatre ? And how does it affect the governance of French theatrical productionin the widest political and aesthetic sense ? The Registre and all surrounding and accompanyingwritten material arise from LeKain’s desire to arrive at a definition of a theatrical ideal, of which heconsidered himself both the originator and sole repository, and to a lesser extent, from an attempt toformalise the production of the tragedies that he had commissioned.By attempting to place himself at the heart of an apparatus of production such that he could watchover every aspect – artistic, political, economic and moral – LeKain defined the outlines of a system ofcontrol very similar to the panoptic gaze defined by Foucault in Surveiller et Punir
Millán, Seráns Manuel Antonio. "Arquitectura doméstica de Louis I. Kahn (1951-1974)." Master's thesis, 2011. http://hdl.handle.net/10400.26/8126.
Full textAbstract: In the decade of the 1940’s, architects like Louis I. Kahn, along with other contemporaries, initiated the Modern Movement based on “monumentality”, a divergent movement form the established functionalist modernism, that relegates residential architecture (that had achieved it maximum impetus during the prewar period) to occupy a second rank. Towards the end of World War II, confronted with a new social-political context, it became evident that the basis of the modern functionalist movement did not lend answers to the necessities of expression of the emerging society. Kahn, who had up to this time dedicated his career predominantly to the development of functional residential architecture, came to realize that this vocabulary was unable to express the transcendent ideas that the new context demanded. This realization caused Kahn to redirect his efforts towards monumental and institutional projects, projects that undoubtedly define his professional career as well as establish his importance as a key figure in the history of modern architecture. In this manner, the main focus, and consequently the value given to Kahn’s works, centers upon projects of institutional, educational, governmental, religious or cultural character; giving particular relevance to projects that include aspects of “place of gathering” or are of “monumental” character. This focus towards large scale projects did not however imply the cease in the designing of domestic projects for the architect, whom continued to develop this architecture while formalizing the vocabulary used for his monumental works. The focus that has centered, almost exclusively, upon the developments of Kahn’s large scale projects, as has been done up until now, limits a perception of his work as an evolution with multiple jumps in language and sensibilities, a fragmented perception of the evolution of this architect. In this context, this thesis proposes a study of the Domestic Architecture of Louis I. Kahn (1951-1974), encompassing Kahn’s domestic projects from the beginning of his mature career, after his fellowship at the American Academy in Rome, until his death. The study proposes to explore if the domestic, smaller scale, projects of the architect can be considered precursors in the language of his large scale, monumental and institutional projects. With this objective, the study will distinguish the domestic projects that fill the voids of the theoretical and tectonic evolution of the architect, with the intent of establishing a direct and precursory link between these works and those of larger scale, and, in so doing, incrementing their visibility and recognition through the critical analysis of each project of this study, revaluing these works as key projects in the comprehension of the architect’s evolution.
Manaú, Cláudia Castro. "A Lição de Roma: Influências da cidade na arquitetura de Louis Kahn." Master's thesis, 2018. http://hdl.handle.net/10316/81629.
Full textA influência da viagem tornou-se um fator determinante para o desenvolvimento da arquitetura ao longo dos séculos. Neste contexto, Louis Kahn foi uma figura crucial para a arquitetura do século XX, posicionando-se na transição entre o Movimento Moderno e a situação pós-moderna. Numa altura em que a arquitetura se encontrava em crise, fez do passado um caminho para a sua renovação, proporcionando com os seus edifícios uma experiência arquitetónica única. A nova arquitetura que cria surge dotada de um caráter monumental transmitindo, entre outros aspetos, a imponência das ruínas romanas. A presente dissertação pretende apurar qual a influência da cidade de Roma na arquitetura de Louis Kahn através da análise de dois casos de estudo: a First Unitarian Church and School, em Rochester, New York, e a Phillips Exeter Academy Library, em Exeter, New Hampshire. A investigação passa, em primeiro lugar, por um pequeno enquadramento do arquiteto Louis Kahn de modo a perceber o seu surgimento na área da arquitetura, as suas referências e experiências, tendo sempre como foco central aquela de Roma e, por último, por um estudo mais detalhado do seu contacto com Roma tendo como finalidade perceber a mudança no seu modo de encarar a arquitetura e de que forma a cidade permaneceu inspiradora para as suas obras futuras. Esta investigação surge apoiada no meu conhecimento pessoal a partir da experiência vivenciada in loco em Roma, bem como na minha recente deslocação aos casos de estudo escolhidos, que me proporcionaram uma maior compreensão da relação que proponho. A cidade teve um grande impacto em Louis Kahn sendo possível verificar através dos seus escritos, o fascínio que desenvolve pelas ruínas que desvendam as grandes construções da Antiguidade Clássica como basílicas, coliseus, panteões e termas. A influência surge assim personificada através da reprodução de algumas temáticas que descobre em Roma, podendo estas ser divididas em três grandes grupos: a Monumentalidade, a Materialidade e a importância da Luz. Conclui-se que, nas suas obras, Louis Kahn faz uma síntese entre Modernidade e Tradição tendo na memória a experiência romana.
The influence of travelling has become a determining factor for the development of architecture over the centuries. In this context, Louis Kahn was a crucial figure for the twentieth-century architecture, positioning himself in the transition between the Modern Movement and the postmodern situation. At a time when architecture was in crisis, it made the past a path to its renovation, providing with its buildings a unique architectural experience. The new architecture that creates appears endowed with a monumental character conveying, among other aspects, the imposing Roman ruins. The present dissertation intends to ascertain the influence of the city of Rome in the architecture of Louis Kahn through the analysis of two cases of study: the First Unitarian Church and School in Rochester, New York, and the Phillips Exeter Academy Library in Exeter, New Hampshire. The research is firstly carried out by a small framework of the architect Louis Kahn in order to perceive its emergence in the area of architecture, its references and experiences, always focusing on that of Rome and, finally, a more detailed study account of his contact with Rome in order to perceive the change in his way of facing the architecture and in what way the city remained inspired for his future works. This research is based on my personal knowledge from the experience I had on the ground in Rome, as well as from my recent visit to the chosen case studies, which gave me a better understanding of the relationship I propose. The city had a great impact on Louis Kahn being possible to verify through his writings, the fascination that was developed by the ruins that unravel the great constructions of Classical Antiquity like basilicas, coliseums, pantheons and thermal baths. Influence appears thus personified through the reproduction of some themes that it discovers in Rome, being able to be divided into three great groups: Monumentality, Materiality and importance of the Light. In conclusion, in his works, Louis Kahn makes a synthesis between Modernity and Tradition, bearing in mind the Roman experience.
Ho, Heng-Chung, and 何衡重. "Louis I. Kahn Between Architectural Theory and Practice." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/21837968185082376584.
Full text國立臺灣科技大學
工程技術研究所建築學程
87
Abstract The purpose of this paper is to clarify the relationship between thinking and doing in architectural design. That is, we want to know what is the relationship between architectural theory and practice. This research focuses on Louis I. Kahn who is a master we can inspire his conception from his works and seeks through a thorough investigation of his writings, speeches, interviews and projects to understand the connection between his theory and practice. Louis I. Kahn usually divides a thing into two parts : spiritual and material, and divides the spiritual into objective and subjective. So this paper takes this view to analyze Kahn''s theory. From this research we know the aim of his theory is to create an objective spiritual discourse and finally to decide what building he can create to express this kind of spirit. This type of theory is different from Funtionalism and Expressionism, which were current in the world during his time. The framework of this paper includes three parts : the antecedents of Kahn''s theory, Kahn''s theory and the analysis of Kahn''s works. From the research we understand that the antecedents of Kahn''s theory include his belief that the man-made grows out of the natural. Louis I. Kahn believes that a natural thing combines the spiritual and the material. So what is the man-made must possess the same character as the natural does. From this view he defines architecture. He believes in studying architecture we must focus on the spiritual level --- architectural spirit, desire and nature. The material level --- building matter, program and shape is to express the spiritual level. Louis I. Kahn creatively uses some keywords to express this special concept in the realm of architecture. The keywords include : "silence" and "light" --- used to comment on the essence of things, "wonder", "realization", "form", "inspiration" and "design" --- used to comment on the process of man-made creation, and "institution", "beginning", "order", "structure", "material" --- used to comment on the discipline of architecture . From the analysis of his works we can discover that because he stresses the idea of "desire to be" and "order" he produces some particular design mode. Through the "desire to be" he produces a design mode of defining the quality of architectural elements and how to expresses this quality. Through "order" all the character elements are put under the same rule to complete a whole. Thus, the material building will have some ability to reveal you what his thinking is.
Magusteiro, Flávia Marina dos Santos 1988. "Espaço e forma : entre Louis Kahn e Steven Holl." Master's thesis, 2017. http://hdl.handle.net/11067/2777.
Full textExame público realizado em 23 de Abril de 2014
A presente dissertação propõe assimilar questões para nós fundamentais da arquitectura. Interessa-nos assim questionar como esta se constitui e se desenvolve a partir de dois sistemas: espacial e formal. A forma e o espaço são temas gerais e complexos na arquitectura, pelo que fazemos a sua distinção através da referência a dois arquitectos: Louis Kahn e Steven Holl. Para melhor compreensão dos processos arquitectónicos inerentes a cada arquitecto, optou-se por um enquadramento histórico no âmbito de um sistema espacial na época da arquitectura do Modernismo, e um sistema formal compreendido no Pós-Modernismo. Em que respectivamente se enquadram Kahn e Holl. É conhecida a concretização espacial de Kahn pelo método ordenador dos espaços que servem e os servidos. Steven Holl compõe uma organização formal por intermédio de um moldar dos espaços direccionados para a sensibilidade da experiência de um indivíduo no lugar e na própria arquitectura. O interesse particular em entender estas estratégias é resumido nas intervenções do artista plástico Gordon Matta-Clark, onde o mesmo demonstra a obtenção de espaço e forma pela supressão de matéria de edifícios pré-existentes.
Gomes, Cristiana Barroso Lourenço. "What will be has always been : Louis I. Kahn." Master's thesis, 2013. http://hdl.handle.net/11067/3152.
Full textExame público realizado em 20 de Dezembro de 2013.
Louis I. Kahn foi um dos arquitectos mais importantes do século XX, deixando um legado escrito, desenhado e construído de interesse irrefutável. O seu percurso é, pode dizer-se, angustiado, mas completo - ele inicialmente aceita, depois concebe e, por fim, deixa o movimento moderno para se dedicar à procura de conhecimentos incontestáveis na Antiguidade Clássica. Desta procura, surge uma das suas ideias fundamentais - I Love Beginnings, Assim, esta investigação tem como objectivo perceber de que modo Louis I. Kahn aplicou todo o seu conhecimento e herança que aprendeu do passado na concretização das suas obras de arquitectura. Estes ensinamentos surgem numa altura em que é urgente pensar a arquitectura e, sobretudo, saber fazer arquitectura. A estrutura geral da dissertação baseia-se quatro partes fundamentais. A primeira parte corresponde à Introdução, na qual se revela o método adoptado e se introduz o tema, tendo em conta a vida de Louis I. Kahn. No Capítulo I, analisa-se a vida do arquitecto, com o intuito de conhecer as influências que teve, as viagens que fez e os ideais que defendeu. No Capítulo II, houve a necessidade de analisar duas grandes obras de Louis I. Kahn, com o propósito de perceber a importância do que anteriormente foi estudado. As obras analisadas foram o Instituto Salk para Estudos Biológicos, em La Jolla, e o Instituto Indiano de Gestão, em Ahmedabad. No fim desta dissertação, é possível concluir que Louis I. Kahn criou bases sólidas e firmes, tanto pelo seu conhecimento como pelos seus ideais, conseguindo criar obras arquitectónicas de enorme valor.
Louis I. Kahn was one of the most important architects of the twentieth century, leaving a written, designed and built legacy of irrefutable interest. His journey is, it can be said, distressed but complete - initially he accepts, then conceives and finally leaves the modern movement to devote himself in the search of incontestable knowledge in Classical Antiquity. From this search arises one of his fundamental ideas - I Love Beginnings. Thus, this research aims to understand how Louis I. Kahn has applied all his knowledge and heritage leamed from the past in achieving its architectural works. This lessons take place at a time when its urgent to think of architecture and mainly to know how to make architecture. The general structure of the dissertation is based on four main parts. The first part corresponds to the Introduction, in which it is revealed the adopted process and introduced the subject, taking into account the life of Louis I. Kahn. In Chapter I, it is analyzed the life of the architect, in order to know the influences he had, the trips he made and the ideals he defended. ln Chapter II, there was the need to analyze two major works of Louis I. Kahn, in order to realize the importance of what was previously studied. The analyzed works were the Salk institute for Biological Studies in La Jolla and the Indian Institute of Management in Ahmedabad. At the end of this dissertation it’s possible to conclude that Louis I. Kahn created solid and firm bases, both by his knowledge and by bis ideals, managing to create architectural works of great value.
田榮瑜. "The Dialectic Of Humanism In Louis I. Kahn''s Architecture." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/41593136384489572275.
Full text中原大學
室內設計學系
85
This dissertation seeks to illustrate the evolution of humanism between modernism and postmodernism through discussion of Louis I. Kahn and the humanist qualities in his architecture. Through its prevalence of Marxist social movements and mechanization, modernism has complicated our reference points for studying the development of humanism. By heralding new technology and democracy, it has also introduced a type of purism in design, the chief purpose of which is to destroy bourgeois humanism and thus pave the way for humanism''s integration with society. The diligence of modernist architects to change the destiny of architecture has not, however, succeeded in resolving mankind''s perennial conflict between thought and emotion. The humaism in Kahn''s work symbolizes a personal reflection on modern architecture. It has confronted modernists with their fundamental defeat and initiated change in the chaos brought by their mechanical and industrial values. To achieve this, Kahn applies the Beaux Arts tradition in his work, reconstructing a classical, static, and stable architectural order in which rationality serves as a conduit.But just as reflections on modemism have led Kahn back to the Beaux Arts tradition, they have also allowed him to transcend that tradition. In this sense, his form of humanism is a unique aesthetic concept that resolves the contradictions between modemism and Beaux Arts. adding new aspects to both schools in the process. Since the 1960s, however, philosophical critique of the concept of subjectivity has engendered a type of "post-humanism." This trend has shifted the course of architectural development by giving rise to deconstructuralist architecture. From a dialectical point of view, it is still too early to announce the death of traditional humanism at the hand of its radical counterpart, or to suggest that Kahn''s architectural concepts have lost currency under strong critique. What we are witnessing rather is a new architectural concept in the making, even as the inherent logical crises of that concept become more apparent. If these crises cannot be effectively overcome, designs to eradicate the concept of subject from architecture will likely remain nothing more than a protective amulet for achieving self-satisfaction in architectural creation. One of the unmistakable traits of deconstructuralist architecture is its incongruity between architectural creation and philosophical discourse. This disparity compels us to reexamine the relation between philosophical interpretation and architecture in the postmodern world. It also demands further creative speculation on the position of subjectivity in architecture. The framework for such speculation must not only vertically cohere with historical change, but also horizontally consider the complex relation between humanity and environment as well as the social orders ungovernable by mankind. Only in this manner can we conceive a third subjective position beyond modernism and post-modernism.
Oliveira, Pedro Freire. "A questão do espaço central na obra de Louis Kahn." Master's thesis, 2014. https://repositorio-aberto.up.pt/handle/10216/76987.
Full textThe north american architect Louis I. Kahn (1901-1974) is identified as one of theessential figures of the transient architectural time of the second half of the 20thcentury. Kahn's late architectural maturation would reveal a unique work, with aparticular point of view in the fields of theory, architectural methodology, pedagogy,construction and drawing, designing iconographic buildings and spatialities full ofpoetic character. The present thesis focuses on the compositive dimension thatenlightens all his work, specially the centrality and concentricity motifs that becomeconstant in his work, mainly after the Bath House, in 1951. Along with this quality, hisarchitecture explores the symbolic and plastic characteristics of geometrical forms,like the square and the circle, utilizing/using them to develop centralized spacesconditioned by proportional and order principles. The eight Louis Kahn's projectanalyses intend to understand the central space exploration in his architecture and theway the compositive processes and geometric forms are articulated to create thosespaces.
Oliveira, Pedro Freire. "A questão do espaço central na obra de Louis Kahn." Dissertação, 2014. https://repositorio-aberto.up.pt/handle/10216/76987.
Full textThe north american architect Louis I. Kahn (1901-1974) is identified as one of theessential figures of the transient architectural time of the second half of the 20thcentury. Kahn's late architectural maturation would reveal a unique work, with aparticular point of view in the fields of theory, architectural methodology, pedagogy,construction and drawing, designing iconographic buildings and spatialities full ofpoetic character. The present thesis focuses on the compositive dimension thatenlightens all his work, specially the centrality and concentricity motifs that becomeconstant in his work, mainly after the Bath House, in 1951. Along with this quality, hisarchitecture explores the symbolic and plastic characteristics of geometrical forms,like the square and the circle, utilizing/using them to develop centralized spacesconditioned by proportional and order principles. The eight Louis Kahn's projectanalyses intend to understand the central space exploration in his architecture and theway the compositive processes and geometric forms are articulated to create thosespaces.
Gomes, Ana Rita Rodrigues. "A materialização de um instante o limiar entre o silêncio e a luz na obra de Louis I. Kahn." Master's thesis, 2016. http://hdl.handle.net/10316/98917.
Full textSilêncio e Luz, apresentam-se como termos recorrentes na construção do discurso arquitetónico. No entanto, ambos os vocábulos surgem associados ao seu sentido quotidiano: o silêncio como ausência de ruído e a luz como fonte de iluminação. Contudo, entre 1960 e 1970, o arquiteto americano Louis Kahn, reflete sobre a possível ‘origem’ da Arquitetura, problematizando silêncio e luz, como termos que traduzem as premissas de existência e presença, respetivamente. Kahn introduz ainda, à medida que vai aprofundando a sua teoria, as questões de imensurabilidade e mensurabilidade, que definirão os planos nos quais os vocábulos: silêncio, luz, existência e presença se vão desenvolvendo. A presente tese explora, numa primeira fase, seguindo as declarações de Kahn, o que significa a questão da existência na obra construída e qual o papel do arquiteto face à origem da sua obra. Posteriormente, problematiza-se a questão da presença em Arquitetura, compreendendo como pode o corpo construído, tornar-se mais do que um simples objeto. Por fim, compreende-se o que, para Kahn, se apresenta como o resultado da relação que se estabelece entre existência e presença: o ‘Tesouro da Arte’, surge como o último conceito introduzido pelo arquiteto no desenvolvimento das suas reflexões. O processo utilizado na compreensão da teoria de Kahn, surge de forma homónima às suas declarações, nas quais o arquiteto refere que a obra surge, primeiro, no plano Imensurável (no qual deve ser questionada qual a origem da mesma), seguindo para o plano Mensurável (no qual o corpo arquitetónico se torna palpável) para, finalmente, regressar ao plano Imensurável (no qual a obra passa a ser percecionada pelos sentidos físicos e psíquicos do utilizador). O discurso metafórico e, muitas vezes, poético de Kahn, surge como base fundamental no desenvolvimento do presente trabalho, destacando-se a conferência de 1969 (Zurique), intitulada Silence and Light, como suporte principal na presente compreensão da importância da integração da história da Arquitetura como a ‘origem’ da própria Arquitetura.
Silence and light are presented as frequent terms regarding the architectonic speech. Nonetheless, both words appear affiliated in their daily meaning: silence as the lack of noise, and light as the source of lighting. However, between the 60’s and 70’s the American architect Louis Kahn, questions the possible ‘origin’ of Architecture by questioning silence and light as terms that could translate assumptions of existence and presence, accordingly. Kahn also introduces, while going deeper in his theory, questions about Immeasurable and Measurable dimensions that will define the plans where the words: silence, light, existence and presence are developed. Following Kahn’s thoughts, this thesis explores, on the first stage, the meaning of existence in constructed architecture buildings, and what is the architect’s role towards the origin of his work. Later on, it focuses on the meaning of presence in Architecture, understanding how a built volumetry becomes more than a simple architectural object. Last but not least, this thesis reflects what is to Kahn the result of the relationship established between existence and presence: ‘The Treasury of Art’, – is the last concept introduced by the architect towards the development of his reflections. The process used to understand Kahn’s theory emerges as a homonymous form of his own words, where he refers that the construction begins, firstly from the Immeasurable (where the origin of the Architecture should be questioned), moving to the Measurable (where the architectonic body becomes palpable), returning to the Immeasurable (where the construction is perceived through the physical and the psychical senses of the user). Kahn’s metaphorical and perhaps poetic speech emerges as a crucial base towards this thesis. His words were specially emphasized at the 1969’s conference (Zurich) themed Silence and Light. This conference worked as the main support to understand the relevance of Architecture’s historical integration as the ‘origin’ of itself.
Stuart, Kristopher Mark. "On architecture, nature, and man (Frank Lloyd Wright, Louis I. Kahn)." Thesis, 1993. http://hdl.handle.net/1911/13790.
Full textMarques, Inês Alexandra Ferreira. "O sistema construtivo como factor determinante da luz natural : na arquitectura de Louis I. Kahn." Master's thesis, 2016. http://hdl.handle.net/10316/31548.
Full textLouis Kahn foi dos arquitectos mais marcantes do século XX. Os seus edifícios são de escala monumental, quase monstruosa, de uma presença enorme no espaço. A sua obra é, desde uma análise mais geral até ao pormenor, perfeita, como se cada elemento, cada parede, cada forma geométrica, mesmo até cada sombra projectada ao longo do dia tivesse sido pensada e pertencesse ali desde sempre. São cerca de 200 as obras que Louis Kahn completou. Nesta dissertação são analisados quatro casos de estudo dentro delas: a primeira Igreja Unitária, a Assembleia Nacional de Bangladesh, a Biblioteca e Academia de Philips Exeter e o Museu de Arte Kimbell. Estas obras são a prática das suas teorias e conceitos defendidos sobre a arquitectura. São eles a importância que Kahn dá à cultura do local de implantação do edifício, muitas vezes através dos materiais utilizados, o facto de remeter às origens, as formas geométricas simples por que opta, a definição de cada programa, a ideia de reinventar cada projecto, etc. A teoria mais importante nesta dissertação é a que ele mais destaca na sua arquitectura, a luz natural. O próprio arquitecto explica que um determinado espaço só é espaço quando recebe luz natural. Para além disso, e indo mais longe, a luz natural está associada à escolha do sistema construtivo, onde a luz destaca a construção, as paredes e os ângulos, e a construção dá origem a entradas de luz. Para Kahn, a estrutura é quem dá resposta à ordem geomérica do edifício e, vice-versa, refere também que a geometria é a única orientação para a construção (Citado por Moneo, A&V, em Paricio, 1994, p. 78). A estrutura expressa-se claramente em todos os seus projectos, convertendo-se num dos elementos que dá ordem e que explica a maneira como se organizam o projecto e o edifício. A luz natural é o elemento que determina a nossa percepção da arquitectura. É pela sua presença que conseguimos apreciar diversas qualidades dos espaços: o tamanho, a geometria da forma, a textura, a cor... É talvez o elemento com a maior influência sobre a atmosfera de um lugar. A iluminação correcta intensifica o impacto poético e emocional de um projecto. A iluminação natural de edifícios e de espaços interiores tem possibilidades de manipular a luz praticamente intermináveis, e é o estudo dessas possibilidades que esta tese trata, associado ao sistema construtivo da obra, segundo o pensamento e as teorias do arquitecto Louis Kahn.
Louis Kahn was one of the most important architects of the XX century. His buildings are of a monumental scale, almoust a monstrous scale, with a big presence in the space. His work, from a general analysis till the detail, is perfect, as each element, each wall, each geometric shape, even every shadow projected throughout the day had been thought and belonged there since allways. There are about 200 works that Louis Kahn was completed. In this dissertation are analysed four study cases between them : the Primary Unitary Church, the Nacional Assembly of Bangladesh, the Library oh Philips Exeter and the Kimbell Art Museum. These buildings are the practice of his theorys and concepts that he defend about architecture. For example, the importance that Kahn gives to the culture where the building will be implanted, the most of times through the choice of the materials, the fact of referring the origins, the simple geometrical shapes for wich he opts, the definition of wich program, the ideia of reinventing wich project, etc. The most important theory in this dissertation is the one that he most shows in his architecture, the natural light. The architect explains that a space is only a space when recieves natural light. Futhermore, the natural light is associated to the choice of the constructif system, when light give importance to the construction, to the walls and angles, and the construction gives origin to the enters of light. For Kahn, the structure is “who” gives an answer to the geometric order of the building and, vise versa, he says that geometry is the only orientation to conctruction. Structure expresses herself clearly in all of his projects, converting in one of the elements that provide order and explain the way how the project and building are organized. Natutal ligh is the element that defines our perception of architecture. Because of his presence we can apreciate different space qualities : the size, the geometry of the form, texture, colour, etc. Light is the element with more influence about the atmosphere of a place. The correct illumination intensifies the poethic and emotional impact of a project. The natural illumination of the buildings and interior spaces have interminable possibilities of manipulating light and is the study of these possibilities that this dissertation talk about, in association with the constructif system of the building, in the thinking and theories of the architect Louis Kahn.
BOSI, ROBERTO. "Lo spazio della soglia. La lezione dei viaggi nell'’opera di Louis i. Kahn." Doctoral thesis, 2017. http://hdl.handle.net/2158/1130599.
Full textMerrill, Michael [Verfasser]. "Louis Kahn and the Dominican Motherhouse : problems of space / von Michael Merrill." 2007. http://d-nb.info/1009589601/34.
Full textLiou, Fang-jia, and 劉芳嘉. "Integration of construction and piping distribution in Louis I. Kahn`s buildings." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/72912317193558448639.
Full text國立臺灣科技大學
建築系
96
Building technology and environment control had been innovated since new energy source and new building materials were discovered after decade 40`s. The environmental control equipments were invented so building space had to integrate the piping system, the air-conditioning systems and fluorescent lamp. The integration of the piping system has two different ways: one is to cover equipment pipes with hung-up metal ceiling in international style building; another is to use practical building-construction to integrate equipment pipes. Louis I. Kahn’s work is a model which better integrates building equipment systems in the construction elements. The thesis attempts to research Louis I. Kahn’s five public works awarded in Twenty-five Year Award founded in 1969 by AIA. These works are: the Yale University Art Gallery, the Salk Institute, the Exeter University Library, the Kimbell Museum and the Yale University British Art Center plus Richard Institute. Also above these research cases, we analyze and conclude how Louis I. Kahn operates the integration of pipes in the process of space shaping through articles, papers, architecture designs. Besides these research techniques I had also made 3d model to fathom Louis I. Kahn’s building equipment systems integration. Moreover, I explore the detail that combines with construction elements and equipment pipes. Based on the construction logic which reflects what the desire of space is and how the space is constructed, we could know that Louis I. Kahn thought of elaborating the essence of material and the ways of rational construction to integrate the equipment pipes. Further, Louis I. Kahn explain the space features of different types of building by applying different construction and structural forms to realize the desire of the space in rational construction form.
Fleming, Steven Peter. "The bed maker's model a thematic study of Louis I. Kahn's 1961 article "Form and design" in terms of Plato's theory of forms as treated in The Republic." Diss., 2003. http://www.newcastle.edu.au/services/library/adt/public/adt-NNCU20040329.192248/index.html.
Full textPeters, Patrick A. "An analysis of daylighting in the works of Alvar Aalto and Louis I. Kahn." Thesis, 1989. http://hdl.handle.net/1911/13384.
Full textSrivastava, Amit. "Encountering materials in architectural production: the case of Kahn and brick at IIM." Thesis, 2009. http://hdl.handle.net/2440/63373.
Full textThesis (Ph.D.) -- University of Adelaide, School of Architecture, Landscape Architecture and Urban Design, 2009.
Fleming, Steven Peter. "The Bed Maker’s Model: A Thematic Study of Louis I. Kahn’s 1961 Article “Form and Design” in Terms of Plato’s Theory of Forms as Treated in The Republic." Thesis, 2003. http://hdl.handle.net/1959.13/24826.
Full textPhD Doctorate
Fleming, Steven Peter. "The Bed Maker’s Model: A Thematic Study of Louis I. Kahn’s 1961 Article “Form and Design” in Terms of Plato’s Theory of Forms as Treated in The Republic." 2003. http://hdl.handle.net/1959.13/24826.
Full textPhD Doctorate
Alves, Bruno Miguel Gonçalves 1969. "A obra de Manuel Vicente : leitura crítica pelos ex-colaboradores." Master's thesis, 2019. http://hdl.handle.net/11067/4666.
Full textExame público realizado em 25 de Julho de 2019
Esta dissertação, tem como objectivo, o estudo da obra e da metodologia do arquitecto Manuel Vicente. Assenta em dois casos de estudo, representativos de escalas diferentes, bem como assim, de tipologias diferentes. Metodologicamente, vamos estudar e ler criticamente as obras a que equivalem diferentes fases e modus operandi do arquitecto. O contributo dos ex-colaboradores de Manuel Vicente, através das entrevistas concedidas, são pedra basilar, adquirindo as suas citações, durante o estudo, um carácter omnipresente. No primeiro grande capítulo, estudamos o Posto Operacional dos Bombeiros da Areia Preta, ou POBAP, analisando os pressupostos do seu desenho, desde o momento da definição dos planos urbanísticos da zona onde se insere; a Areia Preta, em Macau; passando pela malha da implantação, geometria, luz, e culminando nos elementos de forte génese Pop e de grande componente comunicativa da cidade. Dentro do mesmo capítulo, há uma abordagem ao tema da luz, como elemento definidor de espaço. Criamos um paralelismo entre a obra de Manuel Vicente e a de Louis I. Kahn; incluindo questões fenomenológicas e Poéticas do Espaço, presentes na obra de Gaston Bachelard. No segundo capítulo, o caso de estudo, é o Bairro Social do Fai Chi Kei, localizado na Bacia do Patane, também em Macau. Na consequência da ausência do elemento fisico, fruto da sua demolição em 2010, não existiu estudo in loco. Centramo-nos assim, nos testemunhos dos ex-colaboradores de Manuel Vicente, nas memórias das gentes de Macau e críticas do panorama internacional. O principal objectivo, é invocar a memória vivencial e a dimensão afectiva daquele edifício e daqueles espaços, destrinçando também a sua dimensão física. Procura-se ainda o enquadramento no tempo, ou seja, do passado ao presente.
This dissertation has as its objective the study of the work and methodology of the Architect Manuel Vicente. It rests on two case studies, representatives of different scales, as well as, different typologies. Methodologically, we will study and read critically the works that match different phases and different modus operandi of the Architect. The contribution of his former collaborators, through the interviews ceded, are the cornerstone of this work. Their quotes, during the study, acquire an omnipresent character. In the first major chapter, we will study the POBAP, or, Posto Operacional dos Bombeiros da Areia Preta, and explore the particulars of its design. Since the moment of the urban planning of the area where its implanted; the Areia Preta area, in Macau; until the implantation grid, geometry, light, and culminating in the elements of strong Pop genesis and of great communicative component of the city. In the same chapter, there is an approach to the theme of Light, as defining element of space. We create a parallel beetween Manuel Vicente´s and Kahn´s work, including space phenomenological and poetic matters, present in the work of Gaston Bachelard. In the second chapter, the case study referes to the Fai Chi Kei social housing, located in the Patane Basin, also in Macau. In the absence of the physical element, as the result of its demolition in 2010, there was no in loco study. We focus thus, on the testimonies of Manuel Vicent´s former collaborators, but also on the memories of the Macao people and criticism of the international scene. The main objective is to invoke the experiential memory and the affective dimension of that building and of those spaces, untying too, its physical dimension. We also seek to place it in a timespan, or in other words, from the past to the present.