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Dissertations / Theses on the topic 'Pavilions'
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Leung, Pui-yi, and 梁佩儀. "Refuge and empty pavilions: encountering Ni Zan (1306-1374)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44523798.
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Little, Jeremy Adam. "Pathways and pavilions in a Chesapeake Bay landscape Eastern Shore, Maryland /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3630.
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Thesis (M. Arch.) -- University of Maryland, College Park, 2006.Thesis research directed by: School of Architecture, Planning and Preservation Architecture . Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Leung, Wai-yu, and 梁惠如. "A study of Liu Zongyuan's (773-819) "Essays on pavilions and ponds"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42926324.
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Roveda, Vittorio. "Narrative reliefs of the SW and NW western corner pavilions of Angkor Wat." Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313427.
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GALVEZ, MARCIA FURRIEL RAMOS. "TWO PAVILIONS AT INTERNATIONAL EXPOSITIONS OF THE 20TH CENTURY: IDEAS OF A BRAZILIAN ARCHITECTURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21750@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Dentro de determinado evento histórico, as Exposições Internacionais, foram selecionados para estudo dois projetos de pavilhão brasileiro, para a Exposição da Filadélfia em 1926 e a Exposição de Nova Iorque, em 1939, ambas nos Estados Unidos, de autoria do arquiteto Lucio Costa. Da análise do contexto cultural, da conformação do concurso público e por fim da composição do projeto, pretende-se conectar o tema da representação nacional - específica do programa de pavilhão - ao estudo do desenvolvimento do discurso da arquitetura brasileira em dois momentos distintos de sua história no século XX: o período neocolonial e o moderno. Sendo projetos de um mesmo arquiteto, que consolidou-se como um dos maiores representantes da profissão no Brasil, o estudo é feito de maneira a compreender a formação tanto de sua prática projetual, contemplando a apropriação das formas tradicionais de um passado colonial, como também do seu discurso teórico, discutindo arte e técnica no pensamento contemporâneo.
Within a given historical event, the International Expositions (also called World Fairs), two Brazilian s pavilions projects by architect Lucio Costa were selected for study, to the Philadelphia World Fair in 1926 and the New York World Fair in 1939, both in the United States. The analysis of the cultural context, the conformation of the architectural competition and finally the composition of the projects aims to connect the issue of national representation - program-specific of exposition pavilions - with the Brazilian architecture s discourse development in two different periods of its 20th century s history: the neo-colonial and modern period. As projects of the same architect, who has established himself as one of the greatest representatives of the profession in Brazil, the study is done in order to understand the formation of both his design practice, contemplating the appropriation of traditional forms of a colonial past, as well as his theoretical discourse, understanding art and technique in contemporary thought.
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Almeida, Pedro Miguel Nunes de. "Dimensionamento de estruturas metálicas segundo o Eurocódigo 3: análise comparativa entre diversas concepções estruturais para edifícios industriais." Master's thesis, [s.n.], 2012. http://hdl.handle.net/10284/3520.
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Dissertação apresentada à Universidade Fernando Pessoa para a obtenção do grau de Mestre em Engenharia CivilO objectivo da presente dissertação consiste, numa primeira fase, em fazer uma síntese à norma Europeia EN 1993 (Eurocódigo 3, adiante designado por EC3) e incluindo a introdução de alguns conceitos sobre a concepção e dimensionamento de estruturas metálicas. Numa segunda fase consiste no dimensionamento de estruturas metálicas segundo o EC3 aplicadas a edifícios industriais com vista à otimização da solução estrutural para determinado vão. Nesta segunda fase, com auxílio de um programa de cálculo automático comercial, fazse a modelação de diversos pavilhões com vários vãos e com a mesma altura. Para cada vão escolhe-se a solução mais económica, sendo o critério escolhido para a selecção da melhor solução estrutural o valor traduzido em peso de aço que a estrutura metálica apresenta por metro quadrado de pavilhão em planta. Nesta segunda fase, faz-se ainda uma validação dos resultados obtidos no cálculo automático através desse programa de cálculo comercial com os resultados obtidos pelo cálculo manual utilizando as expressões preconizadas no EC3. Num futuro próximo a norma Europeia EN 1993 à qual corresponde o EC3 será o regulamento Europeu normativo ao nível da concepção das estruturas metálicas e seu dimensionamento, uniformizando deste modo a regulamentação nos vários países aderentes, unificando deste modo os critérios de cálculo e dimensionamento de estruturas metálicas. The purpose of this dissertation is a first step to summarize the European standard EN 1993 which corresponds to Eurocode 3, EC3, going further by introducing some concepts for the design of steel structures. The second step is the design of steel structures according to EC3 applied to industrial buildings in order to optimize the structural solution. In this second phase, a commercial computer software is used; several different spans with the same height are modeled using different solutions. The criteria for the choice of the best solution is the weight of steel in the structure per square meter. The results obtained from the automatic calculation software are validated by hand calculation. In the near future the European standard EN 1993 ( Eurocode 3-EC3) will be the European normative regulation for the conception and design of steel structures standardizing the regulations in the various member countries, there by unifying the criteria for the design of steel structures.
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Herzberg, Matthew Evan. "Regionalism and universality on the Big Muddy a trail of pavilions along the Mississippi River /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/2614.
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Thesis (M. Arch) -- University of Maryland, College Park, 2004.Thesis research directed by: Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Jenkins, Tyler Powell. "Dichotomy of Wall and Dwelling: Four Pavilions and a Tower, A Dwelling in Etlan, Va." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32549.
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This project focuses on the wall as a cross-axis form, one which gives an order to the landscape and a reference for the rest of the building to be set against. The intersections of these walls produce four corners housing four pavilions for dwelling. As the walls extend over the landscape, it culminates with a tower, a dwelling space for a guest, overlooking the surrounding landscape.Master of Architecture
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Gharipour, Mohammad. "Pavilion structure in Persianate gardens: reflections in the textual and visual media." Diss., Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/33831.
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The pavilion structure has been an integral part of Persianate gardens since its earliest appearance at the Achaemenid garden in Pasargadae (sixth century BC). Despite its significance, the scholarly focus on the study of gardens has somewhat sidelined the study of the pavilions and even neglected the cultural context of the development of the pavilions. The pavilion as a theme appears after the maturation of the concept of paradise as a garden in Near Eastern mythological and religious texts. The Quran is the first known text that integrated the two concepts of pavilion and garden in the imaginary paradise. Later, Persian poetry defines specific relationships between human beings, pavilions, and gardens while stressing the psychological and material values of pavilions and gardens.
Three types of resources were consulted to reconstruct the image of pavilion: literary documents (including mythology and poetry), different types of art (ranging from painting to carpets), and historical accounts. Referring to these allows us to explore the diversity of the pavilion's image in each medium and its degree of correspondence to reality. This dissertation explores the diversity of the pavilion (tent, kiosk, or building), its spatial, formal, and functional relationship with gardens as a flexible entity, and its cultural use. The historical accounts discussed in this dissertation prove the existence of buildings in gardens, the common use of tents as temporary residences, gender specificity of pavilions, and the multi-functionality of gardens for encampments, administrative affairs, and pilgrimages.
The pavilion as building is well documented in both visual and literary media. While poetry draws a clear boundary between the garden and building as separate entities, painting merges or separates the building and garden (as courtyard or planted area) physically, formally, and symbolically. The building in poetry is usually associated with the materialistic world, whereas the garden is often associated with the ideal world. This is, to some extent, visible in paintings in which the geometrical design of the building and the courtyard acts as a reference to the material world. The frequent reference to iwan as a consistent design element in painting and travelers' accounts proves its significance as an intermediate space between inside and outside the pavilion as a building.
Tents in gardens appear less frequently in poetry and painting than they do in textual sources. On the other hand, historical documents rarely point to kiosks or semi-open spaces in gardens, whereas kiosks are widely developed in paintings. The examination of paintings also reveals formal and functional similarities between the throne and kiosk. The kiosk appears in close physical and visual contact with natural components of gardens, and even serves as a connector between the garden and building. The pavilion as a kiosk is, however, to a large extent absent in poetry and historical documents probably due to the dominant interest in buildings. This research proves the dominant cultural view on the functional flexibility of Persianate gardens between the 14th and 18th centuries in using pavilion structures varying in form, function, and scale.
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Dantas, André Dias. "Os pavilhões brasileiros nas exposições internacionais." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-15062010-102841/.
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Esta dissertação tem como objetivo revelar a importância da arquitetura dos Pavilhões Brasileiros participantes das exposições internacionais. Esses eventos representaram um valioso campo de provas da arquitetura moderna, servindo de laboratório para novos conceitos e possibilidades. No caso brasileiro, alguns exemplares contribuíram para o desenvolvimento de um processo de afirmação de identidade nacional e de reconhecimento de uma arquitetura brasileira distinta. O surgimento das exposições internacionais promoveu profundas transformações sociais, culturais e tecnológicas, gerando reflexos imediatos na arquitetura mundial. O agrupamento de todos os Pavilhões Brasileiros num único trabalho possibilita uma análise do desenvolvimento da arquitetura nacional, fundamentada no contexto brasileiro e internacional. Os pavilhões mais representativos são destacados e os reflexos que tais obras geraram no âmbito da arquitetura nacional e internacional são analisados.This research aims to reveal the importance of the architecture of Brazilians Pavilions in the international expositions. These events represented a valuable testing ground of modern architecture, serving as a laboratory for new concepts and possibilities. In the Brazilian case, some buildings contributed to the development process of national identity affirmation and recognition of a distinct Brazilian architecture. The rise of international expositions generated profound social, cultural and technological transformations, leading direct impact on the world architecture. The grouping of all the Brazilians Pavilions in a single study allows an analysis of the development of national architecture, based on the national e international context. The most representative buildings are highlighted and the impact that these works created within the national and international architecture are analyzed.
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Jaekel, Paola de Oliveira. "Pavilhões e o campo ensaístico da arquitetura: o caso da Galeria Serpentine em Londres." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-27062017-152844/.
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Este trabalho tem como objetivo a análise de uma tipologia - os pavilhões, dentro de um caso singular que são os Pavilhões de Verão da Galeria Serpentine em Londres. Para se entender tanto a tipologia como o próprio programa desenvolvido em Londres, essa pesquisa se valeu de levantamento bibliográfico sobre o tema e sobre os projetos da Serpentine, assim como visita a um dos pavilhões e a obras do arquiteto desse projeto, o chileno Smiljan Radíc. Como ponto de partida foi usado como referência o autor Moisés Puente e o livro \"100 anos de pavilhões de exposição\", e na sequência, publicações sobre história da arquitetura e monografias sobre alguns arquitetos. Sobre a Galeria Serpentine, a pesquisa teve início com a publicação comemorativa aos dez anos do evento: \"Serpentine Gallery Pavilions\", do autor Philip Jodidio, assim como publicações sobre cada pavilhão. Por fim, foram levantadas as publicações monográficas sobre o arquiteto Smiljan Radíc, assim como sobre o pavilhão de 2014. Com isso, foi possível traçar um panorama sobre esses edifícios na história, e também reconhecer algumas das obras emblemáticas para a disciplina da arquitetura, e a partir daí, analisar as propostas que vem sendo desenvolvidas desde o ano 2000 por essa galeria de arte. Dessa forma, o pavilhão visitado em 2014 é apresentado juntamente com a obra do seu autor em uma investigação sobre o campo ensaístico desse arquiteto, campo esse também verificado na análise de alguns dos pavilhões mais significativos da história.This paper aims to provide analysis of a typology - the pavilions, more specifically the case of the Serpentine Gallery Summer Pavilions in London. In favor of comprehending the typology as well as the developed program in London, this research was based on a selected bibliographical survey on the subject-matter and other Serpentine Gallery projects, additionally to a visit to one of the pavilions and other works by the same architect, the Chilean Smiljan Radíc. It has been used, as starting point, the reference of the author Moisés Puente and his book \"100 anos de pavilhões de exposição\", subsequent to publications on architecture history and monographs by other architects. Regarding the Serpentine Gallery, the research began with the 10-year commemorative publication of the event: \"Serpentine Gallery Pavilions\", from author Philip Jodidio, along with other publications about each pavilion. Lastly, monograph publications were gathered on the architect Smiljan Radíc, as well as on the 2014 pavilion. Therefore, it was possible to draw a panorama on these buildings throughout history, likewise some of its emblematic works for the discipline of architecture, and ther after, analyse the propositions that have been made by this gallery since the 2000s. As a result, the pavilion visited in 2014 is presented along with the author\'s work in an examination of the rehearsal field of the architect, the same field is further analysed in some of the most significant pavilions in history.
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Leung, Wai-yu. "A study of Liu Zongyuan's (773-819) "Essays on pavilions and ponds" Liu Zongyuan (773-819) Ting chi ji yan jiu /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42926324.
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Barone, Ana Claudia Castilho. "Ibirapuera: parque metropolitano(1926-1954)." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-31052010-143819/.
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O Parque Ibirapuera é o primeiro parque metropolitano da cidade. Foi concebido como um espaço moderno, destinado ao cultivo do lazer e da cultura da população urbana. Projetado para as comemorações do IV Centenário de fundação de São Paulo, sua história envolveu oposições que foram, até o presente momento, silenciadas. A perspectiva deste trabalho desloca o enfoque do eixo comemorativo, para fazer emergirem os conflitos de posição, sobretudo quanto ao programa do parque. Na época de sua implantação, na década de 50, a construção dos pavilhões do Ibirapuera foi amplamente questionada por um grupo de urbanistas, jornalistas e intelectuais que previam para a área um parque exclusivamente verde. No entanto, os conflitos em torno dessa questão não foram discutidos pela ampla bibliografia já produzida a respeito do parque. Tais conflitos indicam que se delineava um campo de disputas entre os grupos sociais que atuavam na decisão de como o parque deveria configurar-se.Parque Ibirapuera was the first metropolitan park in São Paulo. It was conceived as a modern space, destined to offer leisure and culture to the population. The park was projected to be part of São Paulo´s 4th Centenary celebrations, but its story involves oppositions that have been omitted in further debate. This work displaces the usual focus on the commemorative axle, in order to highlight the conflicts involved in the creation of the park mainly related to its program. By the time of Ibirapuera´s implantation, in the 50´s, the construction of its pavilions was widely questioned by a group of urban planners, journalists and intellectuals who wanted an exclusively green park for that area. Nevertheless, this debate has never been discussed by the large bibliography already produced about the park, even though those conflicts seems to outpoint a battlefield between the social groups that acted in the decisions of the park´s configuration.
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Zelef, Mustafa Haluk. "A Research On The Representation Of Turkish National Identity: Buildings Abroad." Phd thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/924522/index.pdf.
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This thesis is the result of an attempt to record, classify and develop an
understanding of the motivations and dynamics in the design and realization of the
buildings that explicitly or implicitly represent the Turkish identity abroad. In the
meantime it is aimed to reflect on and identify the function of architecture and
buildings in the formulation and representation of national identity. Besides the
analysis of the meanings assigned to the architectural forms, one underlying
intention was to clarify how different aspects of architecture and building processes
could play roles in the construction and representation of national identity within
the context of the embassies, monuments, exhibition pavilions and centers for
cultural and religious purposes.
During the analysis of these architectural works, basic mechanisms of the concept
of identity and its repercussions in relation to physical milieus -i.e. its
comparative nature, its reception by the others- are tried to be elaborated. Cases
other than the Turkish case are referred to when necessary. Viewpoints of variety
of actors in the realization of these works -i.e. architects, diplomats, statesmen and
contractors- are analyzed to elucidate the similarities and differences of
approaches.
iv
Besides the role of international relations, the dominant social, political and
economic characteristics in different historical periods of Turkey and their
implications on the buildings abroad are exposed by this study. Reactions of the
architectural discourse in Turkey to those characteristics concerning the national
identity, i.e. foreign architects, globalization, and promotion of architects by the
state, are elaborated. While some themes are perennial at the discursive and formal
level, variations of attitudes regarding the host context are observed in the study.
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Santos, Jorge António Pereira de Sousa. "O lugar da arte-museu, arquitectura, arte e sociedade." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 2002. http://dited.bn.pt:80/29523.
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Bentley, Katlin. "Water Pavilion." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23783.
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Architecture consists of parts that make a whole. These parts can be defined as decisions, details, joints, spaces, forms. But what if these parts are experiences, specific encounters woven together to create the whole?
This project is a whole, assembled by episodic moments.
The pavilion is designed on Daingerfield Island, located south of Ronald Reagan National Airport along the Potomac River in Alexandria, Virginia. The site offers a panoramic view across the water of the airport, Washington Monument, Jefferson Memorial, and the U.S. Capitol. The Washington Sailing Marina and the Mount Vernon Trail define Daingerfield\'s edges. Despite its name, the now peninsula is a delightful place full of potential activity for sailors, bicyclists, and visitors who want to be near the water.
Along the eastern edge exists an array of trees that provides a natural canopy for visitors who sit along the waterfront and watch the planes arrive and depart from the airport. The project proposes to design a pavilion with a second floor restaurant within these trees, anchored to the water\'s edge. The project removes the existing restaurant on the tip of the peninsula to create space for a park and open up the view across the water of Washington, D.C. In the project, the Mount Vernon Trail extends around Daingerfield Island along the waterfront.Master of Architecture
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Yan, Xin. "Labyrinth Pavilion." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/79487.
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The primitive hut, which is regarded as the initial model of architecture, came from humans' desire to survive and be sheltered from the severe weather outside. Architecture lays its root in practical use but when mankind thrives and begins to flourish, the practical use is no longer the only objective architecture needs to fulfill. My thesis is an exploration of processing architectural design when the practical program becomes the minor factor. The architect's inner pursuit for aesthetic satisfaction becomes the major motive in my thesis.
Instead of a project that has an end, I consider my thesis as a continuing research of recording daily inspirations. Inspirations come from memories and could stimulate creations. Different architectural moments that come from my inspirations are pictured in this project in the aim of inspiring other people.
I am exploring my own identity as a person who studies architecture.Master of Architecture
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Wu, Hao. "Moments in a pavilion." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32344.
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This thesis is my answer to the following question: What is a good building? I believe that a good building must have the moments that can touch people. It should have some spiritual qualities. These moments can be achieved by form, meterial, light, details, and color.Master of Architecture
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Little, Mark Edward. "A Pavilion for Time." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/34107.
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The purpose for this thesis, "A Pavilion for Time", is to allow an unhindered exploration of phenomenological time. It is to go beyond, to transcend a convention towards empiricism. The result is an uncritical state, unhindered, uncluttered, a place of pure perception, an existential autoclave.
As a phenomenological exploration with architecture as the vehicle, this project investigates time as experienced. It is a heuristic excercise. Its goal is to encourage or rather enhance an understanding of phenomenological time. This thesis does not attempt to answer the question "What is time?" but rather, with architecture, examines the question "How do we, as cognizant human beings, exist with time?"Master of Architecture
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Temple, Nigel. "George Repton's Pavilion Notebook : a catalogue raisonne." Thesis, Keele University, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.257707.
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Addesso, Abbott John. "Contrarchitecture." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/35396.
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A study of how contrasting architectural elements can create a sense of presence. Contrasts
constitute movement, feeling, and energy and are what could be the basis of an architecture that
illustrates these principles. The transition between extremes creates a balance. Through the use of contrasting elements such as rectilinear and curvilinear, light and shadow, density and
sparsity, transparency and opacity, small and large, light and heavy, and compression and
tension, there is a static pulse, where architecture may live.Master of Architecture
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Banci, Selda. "Turkish Pavilion In The Brussels Expo'." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610465/index.pdf.
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This thesis aims to examine the Turkish Pavilion in the Brussels Expo ’
58 in order to comprehend architectural modernization in Turkey during the 1950s. The Pavilion as well as Turkey&
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s participation in the Expo&
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58 can be considered as special cases that provide the significant information about contemporary context of the country. In parallel with the changes occurred in the world in the aftermath of the Second World War, the postwar period in Turkey transformed towards modernist attitudes not only in architectural realm but also in socioeconomic discourses and practices. The case of the Turkish Pavilion has important and remarkable characteristics in many respects of architectural modernization in the country. Having analyzed the Expo &
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58 as an international event, the main part of the study aims to discuss Turkey and the Turkish Pavilion in the Expo with the related and detailed information. This chapter is composed of four main parts. Having discussed the role of the state in the new international structure, the locus of the Turkish Pavilion within contemporary architectural scene is, firstly, examined. The second part intends to reveal the specific characteristics of the Pavilion. The next part is an examination to explain the conscious effort to construct the idea of the synthesis of arts in the architecture of the Pavilion. Finally, the last part explores, firstly, the exhibition and the display objects within the Pavilion in terms of their contents, secondly, the wide-ranging activities and events of the Turkish participation beyond the Pavilion.
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Fu, Xuan. "Chinese moon pavilion at Montrose Harbor Chicago, Illinois." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/770945.
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After studying modern architectural designs during my one-andone-half year residence in the United States, I have deepened my intellectual consciousness for Modern Chinese Architecture, a subject which I had previously researched through my studies in China. As a multi-national country, the United States has absorbed various foreign cultural systems, including the Chinese culture and its architecture. This has revealed itself in part through many unique "China-towns" such as those in New York, San Francisco, Chicago and other major metropolitan areas.Restricted by city planning and highway systems in the in the United States, the Chinese-like buildings in these American Chinatowns can not perfectly show the principles, philosophy and spirit of authentic Chinese architectural concepts. Rather, they are similar only on their facades by incorporating superficially reproduced symbols, responding to a pragmatic commercial need. This problem brings me to an unanswered question of how to present the Chinese concepts of space in modern architecture, and addresses the significant issues I have studied with my colleagues at the Beijing Institute of Architectural Design. After having worked both for S.O.M. in Chicago and at Ball State University I have made a new attempt to understand the philosophy and built forms of my homeland, based on this oneand-one-half year of study and new experience within western architectural design. Combining this older quest with my new experience became the focus of my thesis.Department of Architecture
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Wehtje, Sophie. "Material for an Untitled Pavilion : Architecture as Process." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223542.
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Karlsson, Mikael. "Filantropi under konstruktion : En undersökning av Sällskapet DBW:s samhällsengagemang 1814–1876." Doctoral thesis, Uppsala universitet, Ekonomisk-historiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-172893.
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The 19th century was a time when a large number of voluntary associations were being formed both in Sweden and in Europe as a whole. Their ambition was to engage in health care and poor relief issues as well as in the educational system. Furthermore, the general idea was to promote temperance and foster a sense of thrift among the poor and the working class population. While the starting-point of the thesis was the question as to why the voluntary associations founded various charitable activities as well as how the philanthropy was designed, organised and modified throughout the century, the aim has been to elucidate the motive force and incentives for their social reforms. In order to answer the two main questions of the dissertation, the association De Badande Wännerna (the DBW), which engaged in several philanthropic activities in the Swedish province of Gotland as early as the 1810s, has been selected for a case study. In the literature a number of different reasons have been stressed as to why voluntary associations chose to engage in charitable activities. In order to shed light on what factors that underlay their philanthropic work, the process of negotiation regarding the various institutions established by the DBW, as well as the practical layout of the establishments, have been analysed from the perspectives of a theoretical model based on affinity groups. The study has shown that the incentives of philanthropy were complex. Furthermore, the incentives changed concurrently with the expansion of the public poor relief and educational system, which from the middle of the 19th century took over many of the humanitarian efforts hitherto run by the voluntary associations. The result of this development was that the voluntary associations created new spheres of activity. They continued to fulfil important societal functions, but their establishments also fulfilled a more internal desire for pleasure and delights.
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Carvalho, Kleber Santos. "Pavilhões e centros de exposições em São Paulo: cidadelas modernas do mundo globalizado." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-22032010-163041/.
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Este trabalho estuda as edificações denominadas Pavilhão e Centros de Exposição, com total da área coberta para exposições superior a 20.000m², na cidade de São Paulo. Inicialmente são apresentados os antecedentes das atividades que precederam as atuais Feiras de Negócios e Exposições Industriais e seu rebatimento no espaço desde a antiguidade clássica, passando pelas feiras medievais e pela revolução industrial na Europa até as Exposições Universais, num passado mais recente. A partir desse levantamento é detalhada a operacionalidade dessa tipologia, seus agentes e as relações entre as suas principais atividades, o local onde se encontram e outros equipamentos urbanos com funções complementares. Em seguida, são analisados os exemplos nesta Capital e em outras cidades, procurando extrair os componentes que confi guram um pavilhão ou centro de exposições. Com essa análise chega-se a um programa geral proposto e à representação gráfi ca do arranjo físico dessas edificações (fl uxograma). Por fim, a partir do estudo da dinâmica das feiras e exposições são identifi cadas características que podem influenciar e/ ou determinar a necessidade e confi guração dos espaços. São então apresentadas as principais conclusões sobre o tema central, como contribuições em futuros estudos de exemplares desse tipo de edifi cação, seja para reforma, requalificação ou novas implantações.This paper studies the types of buildings called Pavilions and Exhibition Centers of a covered area in excess of 20,000 sq. m. (215.28 sq. ft) as exhibition space existing in the city of São Paulo. First, a survey is presented on the background of the developments that preceded the current Trade Fairs and Industrial Shows and their reverberations in space, from Classical Antiquity, through Medieval Fairs and the Industrial Revolution in Europe to the Universal Exhibitions. Based on that framework, the operationality of this typology, its agents and the relations underlying its main activities, their location and other urban facilities with complementary functions are detailed. Next, examples from our state capital and from other cities are reviewed, in an attempt to draw the components that characterize a pavilion or exhibition center. These approaches lead the way to a proposed general program and to the graphic representation of the physical layout of these buildings (fl ow chart). Finally, a study on the dynamics of fairs and exhibitions identifi es the characteristics capable of exerting an infl uence and/or determining the need and confi guration of spaces. The main conclusions on the core theme are then set out as a contribution to future studies on this type of construction, whether for the purpose of construction renovation or retrofi tting or for new implementation.
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Kruszka, Ethan. "The Thornton Biennial: The Kruszka Pavilion: The 29YR Apology." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000589.
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Capdevila, Werning Remei. "Construing reconstruction : the Barcelona Pavilion and Nelson Goodman's aesthetic philosophy." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39307.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 86-93).
This thesis explores Mies van der Rohe's Barcelona Pavilion through the lens of Nelson Goodman's philosophical categories of the autographic and the allographic in order to determine what constitutes the building's identity. The Pavilion was originally designed as a temporary structure for the 1929 International Exposition in Barcelona and rebuilt in 1986 as a permanent building. The reconstruction of this iconic building provokes a complex questioning about the identity of the Barcelona Pavilion in particular and of any architectural work in general. Goodman's notions are unique criteria to deal with issues of identity and authenticity in architecture. The autographic identifies a category of works that cannot be replicated, i.e., every difference between a work and even its closest copy makes a difference to the work's identity. In contrast, the allographic identifies a category of works that can be replicated, i.e., the difference between an original and its duplication is irrelevant to the work's identity. By examining the Barcelona Pavilion through the lens of these notions, this thesis shows that Mies's building is a hybrid case in which the autographic and the allographic criteria are inextricably linked.
(cont.) To consider the 1986 Pavilion simply as a copy does not completely define its identity status; conversely, to conclude that they are two instances of the same work or that they are two different buildings is not accurate, either. This case illustrates the complexity that arises when trying to establish what constitutes the identity of an architectural work in general and, at the same time, allows us to reconsider Goodman's statements regarding architecture.
by Remei Capdevila Werning.
S.M.
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KASSAB, MAROUN GHASSAN. "HERMENEUTICS OF ARCHITECTURAL INTERPRETATION: THE WORK IN THE BARCELONA PAVILION." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1029444277.
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Kassab, Maroun Ghassan. "Hermeneutics of architectural interpretation the work in the Barcelona Pavilion /." Cincinnati, Ohio : University of Cincinnati, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1029444277.
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D'Souza, Nicola Laila. "Natural forms through geometry and structure design of the parachute pavilion /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1116255406.
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Kempster, Coryn. "O! Canada? : a pavilion for the 2010 World Exposition in Shanghai." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/42080.
Full textAbstract:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (p. 114-[115]).
While ninety percent of new buildings in Canada are built with light wood framing, the conventions of this construction method are seldom challenged, the economic systems behind their materials scarcely exposed, and the accumulative impact on our cities, while often questioned, is seldom answered. Through the design of a pavilion for Canada at the Shanghai World Exposition in 2010 this thesis aims to draw these elements together to stand as a critique of the single family home that is their apotheosis. Also addressed are the ramification of large crowds on the display of objects, the potential for representing national identity without recourse to romanticism or nostalgia and economic and ecological responsibility in view of the ephemeral nature of expo pavilions.
by Coryn Kempster.
M.Arch.
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Li, Yujing S. B. Massachusetts Institute of Technology. "Creases and folds : applying geometry to a pop-up fashion pavilion." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59199.
Full textAbstract:
Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010.Includes bibliographical references (p. 52).
This thesis explores the architectural opportunities embedded in geometric folding by studying the limitations and possibilities of a variety of patterns. In particular; the thesis focuses on the Yoshimura or diamond folding pattern. By manipulating specific rules guiding the diamond fold, the surface can be adapted to enclose a variety of volumes for different programs.The adaptations of the diamond fold rules are tested in a design for a pop-up fashion pavilion. The result is a geometric form that acts as a canopy, enclosure and inhabitable surface to hold program elements such as a marketplace, small fitting rooms, and a runway.
by Yujing Li.
S.B.
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D’souza, Nicola Laila. "Natural Forms Through Geometry and Structure: Design of the Parachute Pavilion." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116255406.
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Machovská, Věra. "Prezentační pavilon Papírny WANEMI, a.s. v Zábřehu." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2010. http://www.nusl.cz/ntk/nusl-215657.
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In order to achieve a uniform impression of proposed territory, I connected to my previous work, in which I solved a space of biocenter. A proposal of off-road ramparts, which optically connected to hills behind a factory, was the main idea of the biocenter. Consequently, the huge area of factory objects was decomposed. During proposing of presentation pavilion a building in the form of off-road ramparts was created. This building then will be naturally harmonized with character of park in the solved green belt.
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Park, Gillian. "The Pavilion Women's Photography Center, 1983-1993 : deciphering an 'incomplete' [feminist] project." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22160/.
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This thesis is the first historical study of The Pavilion Women’s Photography Center, which was founded in Leeds in 1983. It is a contribution to the institutional and curatorial history of feminist cultural practices in Britain. It addresses the work of artists Brenda Agard, Yve Lomax, Ingrid Pollard, Jo Spence, Maud Sulter and Marie Yates, making sense of them in the context of their exhibition at The Pavilion during the 1980s. In order to understand the significance of The Pavilion, I have deployed the Grounded Theory Method [GTM] in the analysis of an oral archive created in 2014, which includes statements of ten participants involved in The Pavilion from 1983–1993. From these statements I derived from the GTM method of coding a concept—‘Feministing Photography’. This concept captures the priorities, investments, and effects of The Pavilion project. It also enables me to situate The Pavilion in relation to the larger question of the way in which photography became a site of critical inquiry during the 1980s for feminist artists concerned with complex questions of sexual difference and the entanglements of gender, class and race. In enlarging upon the concept, ‘Feministing Photography’, as it can be read in the context of The Pavilion’s aims, I also contribute to the historical study of: key shifts in arts policy in Britain; the significance of artist-led spaces; the politics/aesthetics relation; the practices and politics of representation; the emergence of feminist debates and practices; and the history of feminist exhibitions and events. Furthermore, by focusing on The Pavilion, I also make Leeds visible as one of the spaces in which these key issues converged in the early 1980s. The thesis is also significant for its reflections on issues of encountering the past and the archive. It identifies a methodology through which to locate, within the ‘mute’ archive, traces of The Pavilion’s aesthetic and political significance in terms of its ambition, practices and place in a larger picture of cultural politics in the 1980s. Finally I argue that The Pavilion should be understood as an ‘incomplete’ project. In doing so, I aim, through the thesis, to make visible what can be learnt by ‘looking back’ at feminist strategies in the 1980s for thinking the challenges facing feminist cultural practices in the present.
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Leutenegger, Paolo, Carlo Vergano, Rainer Herzinger, Jürgen Weber, Nicola Bassetto, Fabio Belluschi, Riccardo Cardani, et al. "The roof wing opening system of the UAE pavilion at EXPO 2020." Technische Universität Dresden, 2020. https://tud.qucosa.de/id/qucosa%3A71228.
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The UAE Pavilion will be a major attraction at Expo 2020 in Dubai. The roof of the building consists of 28 operable wings made of carbon and glass fiber, having masses ranging from 5 to 18 tons and total lengths in the range of 30 to 65 m that have to be actuated by a dedicated mechanism. In this paper we present the turn-key project for the design, manufacturing, installation, test and commissioning of the Roof Wing Opening System, which represents a unique system world-wide for operating the wings. It consists of one Hydraulic Power Unit with approximately 1 MW of installed power, 2 km of piping working at the nominal pressure of 210 bar, 46 hydraulic cylinders with 1.5 tons of mass each and the complete automation and control subsystem that includes 9 separate PLCs, dedicated software, 2.000 sensors and control points, and over 20 km of harness. One major challenge is the control of the wings. Part of them, due to their huge dimensions and masses, are actuated using two or three hydraulic cylinders that have to be properly synchronized during the movement, preventing unwanted displacements in order to avoid stresses on the wing mechanical structure and ultimately permanent damages. Due to the nature of the project, a final validation of the control algorithms can be done only at system level during the commissioning phase. Therefore, particular care has to be devoted to the verification strategy, anticipating the behavior of the system in the early validation stages and following a V-model approach, in order to identify critical situations and reduce the overall risk. After a brief system description, we will explain how the verification has been approached by using system level simulations and dedicated testing activities on specific subsystems. In particular, we will detail the verification of the control algorithms that has been performed on a dedicated Hardware-Inthe- Loop system first, followed then by dedicated tests on a reduced wing mock-up, allowing the study of the system behavior under the most critical conditions. These include the application of external forces with specified profiles. Finally, we will provide the actual status of the system installation, testing and commissioning activities that have been running in Dubai since January 2019.
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Lu, Meng. "In Between." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/25432.
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This thesis is about openness in the architecture.
After traveling and experiencing many different cities in Europe, I was intrigued with open spaces in cities, which offer a stage for different public interactions. I discovered that all these public spaces are formed by the surrounding architecture. This made me wonder about how architecture, as it becomes more independent today, could express and embody this openness within itself.
I picked up my site at the end of the King Street in Old Town, Alexandria, Virginia, which is currently unappealing to the public. I decided to create a urban plaza for the waterfront in an architectural way by generating a pavilion, which will provide various kinds of information and satisfy needs to the visitors and public.
The pavilion has several different services and lies in an area with flood issues. In response to these conditions, I made all the projects suspended between columns and assigned them different heights according to the context of the site and their own functions. The different levels of the projects generate vertical open spaces in order to let the surrounding environment flow seamlessly into the pavilion.
The entire project has been organized under a glass structured roof with a central staircase that ascends from King Street to the Potomac River, which has all the accesses to each level. There is a designed channel in the middle bay, placed within the girder to direct rain back into the river.Master of Architecture
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Malík, Lukáš. "ZOO BRNO – TROPICKÝ PAVILON." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2018. http://www.nusl.cz/ntk/nusl-377241.
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The assignment was to create a design of a tropical pavilion at the Brno Zoo. The most important aspect influencing the overall solution is the unique location of the existing pavilion, located at the top of the hill. In the wider area there is a forested landscape. There is an opportunity to build new exhibition spaces with regard to the future development of the zoo. So how to proceed with such assignment? The exhibition of the pavilion focuses on fauna and flora of the rainforest: Central America and the Amazon. The proposal envisages the demolition of the existing pavilion, which is currently unsuitable and obsolete. Part of the new pavilion is also the design of outdoor exposure areas. The main inspiration for the new pavilion was the Mayan Pyramid in the jungle. The outdoor expositions are inspired by the relief of the Amazonian landscape.
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Lundie, Casper H. "Cinematic space : events pavilion and digital media gallery at the union grounds Johannesburg." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/45298.
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The transition from Apartheid urban space to – something else – draws our attention from the fixing moments of historically divided cities to the experience of mobility, interaction and the dynamism of space.
(Robinson 1999: 163)
This dissertation will approach the modern, post-colonial and post-apartheid African city as experimental ground for exploring, understanding and expressing spatial dynamics through the visual language of cinema. The proposal intends to mediate between the complex historical context which is manifested in the built fabric of the city and the new dynamic and often unstable urban conditions of Johannesburg, by specifically focusing on the contrasting conditions of the Johannesburg Art Gallery and the Noord Street Taxi Rank.
The role of cinema as a philosophical device in this dissertation is to produce a point of inception, an assemblage, or a terrain of encounter through which the project will be further investigated and articulated. The principal aim of the dissertation is to effectively react to contrasting aspects of both heritage and transience, whilst simulating the Cinematic Gaze, by creating a public platform that serves as an aperture for viewing as well as an urban stage with the potential to be viewed.
The hypothesis states that, if successfully applied, cinematic space can accentuate the unique and vibrant conditions of the inner city. This will ultimately lead the city dweller to a better sense of association with his/her immediate surroundings and a better comprehension of his/her role in place-and-time in the urban environmentDissertation (MArch(Prof))--University of Pretoria, 2014.
Architecture
MArch(Prof)
Unrestricted
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King, Taryn V. "[We are] designing : the South African pavilion for world expo 2020, Dubai, UAE." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60183.
Full textAbstract:
The 'Beyond' as Bhaba1 (1994:1) conceives it, is "neither a
new horizon, nor a leaving behind of the past"; rather it is the
borders to the present.
These boundaries of the present are the "that from which
something begins its essential unfolding", according to
Heidegger (1978:356). Unfolding as a consequence of the
intersection of time and space, produces complex, as
opposed to unitary or reductive, figures of difference and
identity in Bhaba's (1994:2) view.
It is with these 'complex figure of difference and identity' which
enact 'hindsight' to re-describe our cultural contemporaneity;
to re-inscribe our human, historic commonality, that this
study is interested in. Within the context of nation branding,
these figures offer an alternative to the archetypal western
approach to identity construction.
The western approach to nation branding is based on two
critical assumptions; firstly, that modern nations are composed
of homogeneous societies, and secondly, that these societies
share a common culture.
It is here that the problem lies, for at its essence, South Africa
is pluralistic. We are a multicultural rainbow nation. We do not
have typical shared myths, historical memories and a mass
public culture due to historical and more recent political
struggles within our country. Consequently, we do not follow
the typical western approach to nation branding. It is therefore the intention of this study to make use of Bhaba's
(1994) theory of the 'Beyond' and his notions of Interstices and
Cultural Hybridity as adjectives and means of complex culture
production, introduced above, to propose an alternative
multicultural South African identity to be spatially transcribed
into the South African pavilion at the Expo 2020, Dubai UAE.
To this end, the study conducted a Hermeneutical, Social
Visual Semiotic and Lexical analysis of I-JUSI, the selected
hybrid culture. The results of the examination produced
seven brand indicators. These indicators in conjunction with
a set of design principals; established via a precedent study
of artifacts, interiors, buildings and landscapes that explored
or expressed the nation's new emerging collective national
identity, will be used to spatially embody the design concept
for the pavilion.Die "Anderkant" (1994:1) soos Bhaba dit verstaan, is nie 'n "nuwe horison" maar ook nie " 'n vergeet van die verlede" nie, dit is liewer die grense van die huidige. Hierdie grense van die huidige is "dit wat waarvan iets sy noodsaaklike ontplooing begin", volgens Heidegger (1978:356). Ontplooing, as 'n gevolg van die kruising van tyd en ruimte, skep komplekse beelde in kontras met die unit?re of reduserende, beelde met verskille en identiteite uit Bhaba (1994:2) se oogpunt. Dit is met hierdie "komplekse beeld van verskil en identiteit" wat "nawete" implementeer dat ons ons kulturele tydelikheid kan her-definieer; om ons menslike, historiese ooreenkomste te her-graveer, dit is die studie waarmee ons onself mee bemoei. Binne die die begrip van handelsmerking bied hierdie beelde 'n alternatief tot die argetipiese westerse benadering tot identiteits konstruksie. Die westerse benadering tot handelsmerking is gebaseer op twee kritiese aannames: eerstens, dat moderne nasies van homogene samelewings saamgestel is, en tweedens, dat hierdie samelewings 'n algemene kultuur deel. Dit is hier waar die probleem l?, want Suid Afrika is wesentlik pluristies. Ons is 'n multi-kulturele re?nboog nasie . Ons besit nie tipiese legendes wat gedeel word onder ons nie en historise herinneringe en 'n massa publiek as gevolg van historiese en meer onlangse politiese stryd in ons land. Dus as 'n gevolg, volg ons nie die tipiese westerse benadering tot nasie handelsmerking nie. Die doel van hierdie studie is dus om gebruik te maak van Bhaba (1994) se teorie van die "Anderkant" en sy nasies van tussenruimtes en kulturele hibridisasie as byvoeglike naamwoorde, en wyses van kompleks kultuur produksie, soos hierbo bekendgestel, om 'n alternatiewe multikulturele Suid Arikaanse identiteit voor te stel en om die studie op 'n ruimtelike wyse op skrif te stel binne die Suid Afrikaanse Paviljoen by die "Expo 2020, Dubai UAE". Vir hierdie doel omvat die studie 'n hermeneutiese, sosiaal visuele semoitiese en leksikale analise van l-JUSI, die verkose hibried kultuur. Die resultate van die ondersoek het sewe handels indikators gewerf. Hierdie merke, tesame met 'n stel ontwerp beginsels ,het deur middel van 'n presedent studie van artefakte, interieurs, geboue en landskappe wat die nasie se nuwe ontluikende kollektiwe persoonlike identiteit uitdruk, gaan gebruik word om die ontwerp konsep van die pawiljoen ruimtelik uit te druk.
Mini Dissertation (MInt (Prof))--University of Pretoria, 2016.
Architecture
MInt (Prof)
Unrestricted
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Wei, Zhou. "Peony transplanted : Pai Hsien-yung and the preservation of Chinese Kunqu." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5994.
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This dissertation examines the preservation of Chinese kunqu, one of China’s indigenous operatic genres, in recent years with a special focus on renowned writer Pai Hsien-yung’s new adaptation of classic kunqu play The Peony Pavilion (Mudan ting). I use this adaptation as a case study to demonstrate how the actual shape of a stage production can be determined by a producer’s choice between tradition and innovation. The contention between the two variables can be identified in the hundreds of years of kunqu history. The introduction provides a brief overview of the ascension of kunqu to its dominance as a national opera between late Ming and early Qing dynasties (late sixteenth century to early nineteenth century). The first two chapters analyze the downfall of this genre and its struggle for existence and development from mid-Qing through the turbulent twentieth century with particular emphasis on exploring the interplay between tradition and innovation. The next two chapters focus entirely on Pai Hsien-yung’s stage production of Peony and its wide distribution. The last chapter examines the latest kunqu production modes developed under the influence of Pai’s approach. Through this detailed analysis of Pai’s kunqu production and its impact, this research identifies one of the most prominent trends in kunqu preservation and development in the twenty-first century. It explores the dialectical approach adopted in this trend to handle the relationship between tradition and innovation, and the particular redefinition of audience construction. A renewed wave of kunqu preservation efforts within China during the past decade created a favourable environment for Pai’s productions. The success of his works has drawn new attention to the opera and eased kunqu crisis to a fairly large extent. The most significant contribution of Pai’s works to Chinese kunqu discourse can be seen from the expansion of audience base, particularly among the educated youth, and the increasingly varied and creative strategies for kunqu production and distribution. These changes have greatly transformed the overall Chinese kunqu scene, and ushered in a new era when new kunqu stage works are made into collages of intrinsic kunqu aesthetics and certain traditional artistic values. Pai’s ability to negotiate a space for kunqu amidst fierce competition against the many different forms of modern entertainment has restored people’s confidence in both kunqu and Chinese cultural traditions at large. Pai’s experience of finding a particular balance between tradition and innovation, between art and market, has contributed critically not only to the emergence of more hybridized kunqu productions, but also to the preservation and development of other forms of traditional Chinese performing arts genres in the age of globalization and commercialization.
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Dobisová, Šárka. "ZOO DVŮR KRÁLOVÉ - VSTUPNÍ PAVILON." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2010. http://www.nusl.cz/ntk/nusl-215682.
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The goal of the thesis is an architectural study of the main building entrance to the zoo in Dvůr Králové. Building combines functions of cash, various refreshments, sale of souvenirs, art workshops, lecture hall and central toilets. Thanks partly covered outdoor spaces, visitors can use the adjacent sleeping and sitting activities, such as a playground or a safari train. Area meets the criteria for a large number of visitors during the peak season.
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Chuděj, Tomáš. "Pavilón pro EXPO 2015 v Miláně." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2014. http://www.nusl.cz/ntk/nusl-216095.
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The motto of the Expo 2015 in Milan, is "Feeding the planet, energy for life." The main idea of the design of the pavilion is Food – energy for life. The attempt of the thesis lies in pointing on rational eating and a healthy lifestyle. Not only is the reason the influence on an individual, but the influence on a whole society. The thesis is devoted to a solution of a thematic function of the pavilion, a way of presentation, a detailed solution of the pavilion construction and subsequent recycling of the pavilion.
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Jingyi, Zhang. "Three faces of a space : the Shanghai pavilion room (tingzijian) in literature, 1920-1940." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61807.
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From the 1920s to the 1940s, the pavilion room, or Tingzijian—the small room above the kitchen in an alleyway house—accommodated many Shanghai sojourners. Tingzijian functioned as lodging and as a social space for young writers and artists. For many lodger-writers, the Tingzijian was a temporary residence before they left around 1941. In the interim, Tingzijian life became a burgeoning literary subject, even a recognized literary category.
This study explores what meanings people ascribed to Tingzijian, and the historical and the artistic function of the space in Chinese literature of the 1920s and 1930s. Scholars have traditionally viewed “Tingzijian literature” as the province of leftist “Tingzijian literati” (wenren) who later transformed into revolutionaries; this study reveals the involvement a much greater variety of writers. We find a cross section of the literary field, from famous writers like Ba Jin 巴金 and Ding Ling丁玲, for whom living in a Tingzijian was an important stage in their transition from the margins to the center of the literary field, to a constellation of obscure tabloid writers concerned less with revolution than with common urbanites’ daily lives.
This study illustrates the heterogeneity of “Tingzijian literature” by identifying three trends in use of Tingzijian as a trope: 1) Shelter: exhibiting quotidian life in Tingzijian, thereby generating an iconic imaginary of “petty urbanites” 小市民 as a distinct socio-economic class; 2) Tomb: narrating the sense of confinement engendered by these cramped spaces, and connecting such physical, mental, and emotional entrapment to intellectuals’ social and psychological oppression; 3) Stage: mocking the “Tingzijian literati” via diagnoses of their pathological shortcomings, especially bogus expressions of revolutionary ardor or patriotic commitment—a backlash against the Tingzijian writer, who had become a recognizable, if contested, cultural figure.
I base my conclusions on close textual and contextual readings of primary materials, including periodicals such as Shen Bao 申报, Modern Times 现世报, and Shanghai Guide 上海生活, diaries, memoirs, literary works, movies, and stage plays. Secondary sources include studies of Shanghai culture, architectural history and Chinese literary history.Arts, Faculty of
Asian Studies, Department of
Graduate
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Zhu, Sicong. "Poetic feeling in a thatched pavilion attributed to the Chinese Yuan artist Wu Zhen." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4983.
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In this thesis, I explored the visual and textual connotations of the handscroll painting Poetic Feeling in a Thatched Pavilion attributed to the Chinese Yuan dynasty artist Wu Zhen, and discussed this piece of work in terms of its relation to the long history of Chinese literati painting.
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Lian, Olav Benneth. "Quaternary geology of the Fraser Valley area, Big Bar Creek to Pavilion, southcentral British Columbia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21302.pdf.
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Juknevicius, Vilius. "Digital Design and Fabrication within Technical and Economical Limitations." Thesis, KTH, Arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-181318.
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Today, designing in digital environment is far less limiting than the physical reality that the product will end up in - stresses and forces, physical material properties, manufacturing possibilities, economic considerations and etc. are to a large extent not present in digital design tools. With many of these being directly computable it would make sense to introduce these restrictions from the physical world to the digital design environment. By doing this with we could take account of the inevitable restrictions from the very initial design phases and considerations, hopefully enabling us to make better informed decisions and designs.Idag, designar i digitala miljön är betydligt mindre begränsande än den fysiska verkligheten att produkten kommer att hamna i - spänningar och krafter, fysikaliska materialegenskaper, tillverkningsmöjligheter, ekonomiska överväganden och etc. är i stor utsträckning inte finns i digitala designverktyg. Med många av dessa är direkt beräkningsbar det skulle vara meningsfullt att införa dessa restriktioner från den fysiska världen till den digitala designmiljö. Genom att göra detta med vi kunde ta hänsyn till de oundvikliga begränsningar från mycket ursprungliga utformning och överväganden, förhoppningsvis gör det möjligt för oss att fatta bättre underbyggda beslut och designer.
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Reising, Natasha M. "[re] PRESENTING DETROIT_ The Woodward Avenue Tour." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306503019.
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Tomisová, Irena. "Prezentační pavilon Papírny WANEMI, a.s. v Zábřehu." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2010. http://www.nusl.cz/ntk/nusl-215730.
Full textAbstract:
THIS THESIS DEALS WITH A DESIGN OF PRESENTATION PAVILION OF WANEMI, A.S. PAPER-MILL IN ZÁBREH. Project of the factory includes plans of green zone where are located administrative facilities, restaurant, temporary pavilion and permanent pavilion. Presentation pavilion is designed as multifunctional building where is placed the permanent exhibition of company Wanemi as well as temporary exhibitions. This facility can be also used for different kinds of events, such as seminars, exhibitions, cultural events and conferences. Hall with terraced auditorium and seminar room with variable wall positioning system is designed in this facility for such occasions. The building is equipped with appropriate facilities for visitors buffet. The visitors can also use nearby standing terraces connected with water reservoir.