To see the other types of publications on this topic, follow the link: Poetic architecture.
Dissertations / Theses on the topic 'Poetic architecture'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Poetic architecture.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Petersen, Matthew Zane. "Poetic essence in architecture." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/petersen/PetersenM0510.pdf.
Full text
2
Davidson, Bradley Ross. "Poetic intent in architectural design." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23392.
Full text
3
Brady, Noel Jonathan. "Towards the poetic." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/71405.
Full textAbstract:
Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Includes bibliographical references (leaves 159-163).
Born out of a concern for the world, this philosophy of artifact makes a case for a particular way of making. It is a search for things which mediate between ourselves and the earth. It is a search for those things which allow us to dwell, for things that anchor our belonging. It is a search for things which are formed from a principle which is a cultural, a historical, formed from something deep within us. Moreover it is an explanation, better still a belief about what we are about. I am not going to talk about poetry or literature per se. I will be talking about poetry as the springing point from which 1 will talk about our works. I will look at the nature of things. the things we make mediate between the earth and ourselves in some way. In each things we make we can read our relationship to the earth, or non-relationship as the case may be in our present alienating world. These things gather the earth and ourselves together and make sense by our willing. For anything to be born into the void, the distance between us and the earth there must be an idea, a thought. We concertize those images in the thing, to be anchored and made real. In creating these things we have the power to bring to the thing values we consider worthwhile. This essay will be a case for those values which allow belonging to occur, which makes dwelling possible. To return to poetry, or rather the poetic let us look at language for a time. In ordinary language we use naming to make the world understandable and precise. We can begin to communicate reality through this naming. Thus language anchors our existence and is tied to the things by this act of naming. Poetry, however, transcends this connection. It brings about meaning through the juxtaposition of different things. It creates its meaning by association and by metaphor (translation), bringing it alive in another way. It becomes a thing in itself. It stands on its own, outside of ordinary language, it mediates between reality and us. It is not tied to a thing as a name is, rather it brings earth and humanity together, it mediates just as a thing does. It becomes a living thing in its own right revealing for us the earth and us to the earth. And so to architecture that is truth, an architecture that echoes and mirrors reality, illuminates its existence and allows for dwelling. In a way this is a search for truth via the artifact. Dwelling depends on belonging which in turn depends on reality and our knowing of it, particularly as truth. I hope to show a way which lies beneath our false constructions to achieve that which has been elusive, a sense of belonging in order that I might find ground upon which I can truly build.
by Noel Jonathan Brady.
M.S.
4
Alene, Anne C. "Shirai Seiichi| Japan's poetic modernist." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10099856.
Full textAbstract:
Shirai Seiichi’s education in the context of the interwar events influenced his path and molded him into a defender of idealism. Starting from the early evolution of his ideas, Shirai’s significant concepts are outlined to show how they stood apart from and challenged the Japanese modernist debates over the architectural responses to war and industrialization. Examples of Shirai’s early work along with surrounding historical events show how Shirai’s perceptions of the use of space and its manifestation in architecture, based on Kantian ideas of a priori creation, contradicted orthodox modernist architectural theory and practice. Shirai’s evolving theories and their impact on his design are introduced through his early training and related projects. However, it is his unrealized plan for the Genbakud? that is analyzed as primary evidence for the idea that Shirai was the only mid-twentieth century Japanese architect who could effectively express the sad destiny of the nuclear age. Last, specific examples of Shirai’s mid to late career work to demonstrate how his conceptual framework evolved. Interviews, commentary, and theoretical analyses of his works show his unique trajectory and role in contrast to his modernist colleagues, and provide insight into Shirai’s investigation into the universality and potential of the human spirit (fuhen no anima). Finally, recent discussion about constructing the Genbakud? based on Shirai’s blueprints raise the idea that Shirai’s early ideals are now ready to be presented in the post-modernist age.
5
Marks, Thomas. "The poetry of architecture : aspects of poetic form from Wordsworth to Thomas Hardy." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540159.
Full text
6
Papa, Jason M. "Trauma Institute - Detroit Michigan community realized through poetic architecture /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212168896.
Full textAbstract:
Thesis (Master of Architecture)--University of Cincinnati, 2008.Advisor: Vincent Sansalone (Committee Chair), Jay Chatterjee (Committee Co-Chair). Title from electronic thesis title page (viewed Feb. 8, 2009). Includes abstract. Keywords: poetic; architecture; experiential; socialization; language; built environment. Includes bibliographical references.
7
Annunciação, Viviane Carvalho da. "Exile, home and city: the poetic architecture of Belfast." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-30102012-123412/.
Full textAbstract:
The present thesis is concerned with how the poetry written in Northern Ireland throughout the twentieth century reifies the city of Belfast through language, metaphor and imagery, compiling a concrete constellation of aesthetic experiments. It also examines how its poets have represented not only Belfasts concrete and architectural landmarks, but also its historical and spatial displacements. Due to the Anglo-Irish Treaty in 1922, through which Ulster remained a constitutive part of the British Isles, while the South started to build the foundations of what was going to become the Republic of Ireland, Northern Irish poets have built a poetic landscape that has been instead incessantly fragmented through the motifs of alienation and displacement of subjectivity. Through the analysis of the Belfast poems by the poets Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis and Miriam Gamble, the thesis shows the poetic architecture of Belfast points to wider sociological spaces. It is never alone, or even single, but always plural and globally referential. Through a space of confluence which brings together dissimilar discourses, the selected poems present a desire to possess Belfast artistically, a city where art, history and memories intermingle and interact in a dynamic manner. Images, styles and ideas are carried from generation to generation and create a constellation of fearful and hopeful dreams. It engages past and present in a fruitful reflection on identitarian and artistic belonging.A presente tese tem como objetivo compreender como a poesia escrita na Irlanda do Norte representa a cidade de Belfast durante o século vinte. A hipótese defendida pela tese é a de que o trabalho poético com a métrica, figuras de linguagem e imagens cria uma constelação de experimentos estéticos. O trabalho também compreende como os poetas recriaram não somente os pontos de referência arquitetônicos de Belfast, mas também os seus próprios deslocamentos históricos e geográficos. Devido à assinatura do tratado anglo-irlandês em 1922 através do qual o Ulster se manteve parte das Ilhas Britânicas e o sul começava a 7 construir as fundações do que seria chamada futuramente de República da Irlanda, os poetas pertencentes à Irlanda do Norte criaram uma paisagem poética que é incessantemente fragmentada por meio da alienação e do deslocamento subjetivo. A análise dos poemas de Belfast escritos por Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis e Miriam Gamble, demonstra que a arquitetura poética de Belfast aponta para espaços sociológicos mais abrangentes. A cidade não é retratada singularmente, mas em sua conexão com outras localidades globais. Por meio de um espaço de confluência, que agrupa discursos diversos, os poemas selecionados apresentam um desejo simbólico de possuir Belfast, uma cidade em que arte, história e memórias interagem de forma dinâmica. Imagens e estilos são passados de geração para geração, criando uma constelação de sonhos aterrorizantes e esperançosos, que engajam passado e presente em uma reflexão sobre pertencimento identitário e artístico.
8
Hjort, Ebba. "Responding Objects – Poetic Design and Healing Spaces." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7837.
Full textAbstract:
Today's social climate and working environments expose us to excessive expectations and demands and more and more people are diagnosed with stress-related illnesses. My degree project is an investigation of poetic design, healing spaces and fatigue syndrome and the importance of adapted health care environments that strengthen treatment and recovery. My mother has fatigue syndrome, she has been ill for over six years, and she still has severe symptoms that probably never fully will go way. So, the purpose of this project is, on the one hand an attempt to get a deeper understanding of her situation, and on the other, to shed some light on this illness that is getting more and more common, especially amongst women. Research shows that spending time in nature has healing effects for those with mental illness. Using my definition of poetic design as a method, I have transposed qualities of nature into an indoor environment that reconnects to humans deep and genetic relationship to nature. I am proposing a new type of health care space with a much-needed holistic approach. Focus is on treatments such as mindfulness, basal body awareness and yin yoga as well as different kinds of therapy and activities in a space close to nature. A holistic space including a garden, an indoor space and a piece of furniture that are designed to respond to the non-measurable and invisible symptoms of fatigue syndrome.
9
Rutkauskaite, Egle. "Urban Solitude : A Journey through a Geo-Poetic Archipelago of Umeå." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-133168.
Full text
10
Sturich, Matthew Alexander. "The poetic image : an exploration of memory and making in architecture and film." Thesis, Manhattan, Kan. : Kansas State University, 2005. http://hdl.handle.net/2097/85.
Full text
11
Levy, Marshall Ira. ""A misreading of tropological space" : an investigation of Harold Bloom's theory of poetic transumption in the construction of a dialectical spece in architectural drawing." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22404.
Full text
12
HAMILTON, CRAIG A. "PURPOSE, PLACE, EXPERIENCE: INTEGRATING THE RATIONAL AND POETIC IN THE DESIGN OF A NAPA VALLEY WINERY." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148328840.
Full text
13
Ng, Edward Yan-Yung. "The romantic meaning of light : from codified modelling to a poetic & interpretative basis of light in architecture." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239496.
Full text
14
Carter, Jennifer Jane. "Recreating time, history, and the poetic imaginary: Alexandre Lenoir and the Musée des Monuments français (1795-1816)." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18473.
Full textAbstract:
This dissertation is a hermeneutic and philosophical study of the emergence of the narrative museum in late eighteenth-century France. An early example of this genre, Alexandre Lenoir's creation of the short-lived Musée des Monuments français (1795-1816) out of the deposits to a post-revolution sculpture depot at #14 Rue de Petite-Seine on Paris's Left Bank, purported to recount the history of the French nation through the chronological and aestheticized arrangement of a collection of sculpture, funerary monuments, and architectural fragments. These objects had, since mid-October 1790, found temporary refuge at the former monastery of the Petits-Augustins, and under Lenoir's guardianship they became the nucleus of an evolving display that highlighted the evolution of French art and history. In his scenographic installations in the cloisters and halls, church, courtyards, and garden at the Petits-Augustins, Lenoir recreated a philosophical parcours that sought to materialize through the art object six centuries of French artistic heritage and history, beginning with the thirteenth century and culminating with the birth of the French republican nation in the last decade of the eighteenth century. Part monument to French accomplishment, part mythic narrative, Lenoir's project was an embodiment of Enlightenment ideals in its deliberate attempt to provide moral and didactic instruction to its visiting publics through the sequencing of objects in choreographed spaces. Yet the Musée's claim to didacticism must be qualified, for the reality was that this museum was born of the unique social, historical, and political circumstances of the French Revolution – a singularly tumultuous and radically transformative moment in modern social history – and in form and content the Musée bore witness to a society coming to terms with beginnings and endings in ways that recalled the paradoxes of the very horizon in which the institution first took shape. Lenoir's almostCette dissertation est une étude herméneutique et philosophique sur l'émergence du musée narratif à la fin du XVIIIe siècle en France. Un des premiers exemples de ce genre, le Musée des Monuments français (1795-1816) a été créé par Alexandre Lenoir à partir d'une collection de sculptures d'un dépôt post-révolutionnaire au # 14 de la rue de Petite-Seine sur la Rive Gauche de Paris. Ce musée prétendait présenter l'histoire de la nation française par l'arrangement chronologique et esthétique d'une collection de sculptures, de monuments funéraires, et de fragments architecturaux. Depuis le mois d'octobre 1790, ces objets avaient trouvé refuge dans l'ancien monastère des Petits-Augustins, et sous la direction de Lenoir, ils sont devenus le noyau d'une collection qui allait mettre en lumière l'évolution de l'art et de l'histoire de France. Dans les installations scénographiques du cloître, des halls, de l'église, des cours, et du jardin des Petits-Augustins, en recréant un parcours philosophique Lenoir cherchait à matérialiser par des objets d'art, six siècles d'héritage artistique et historique en commençant par le treizième siècle et en culminant avec la naissance de la République Française dans la dernière décennie du XVIIIe siècle. En partie monument en l'honneur des accomplissements de la nation fraçaise, en partie narratif mythique, le projet de Lenoir est une matérialisation des idéaux des lumières dont le but délibéré était d'assurer une instruction morale et didactique aux visiteurs par la présentation d'une suite d'objets dans des espaces chorégraphiés. Cependant, ces intentions didactiques doivent êtres précisées, parce qu'en réalité ce musée est né des circonstances sociales, historiques et politiques particulières qui caractérisent la Révolution Française – une époque particulièrement tumultueuse et radicalement transformative de l'histoire sociale moderne – et dans sa forme et son$
15
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.
Full textAbstract:
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.
16
Bucknell, Clare. "Poetic genre and economic thought in the long eighteenth century : three case studies." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:71e97b4d-c009-487c-8efb-fdb71eefa080.
Full textAbstract:
During the eighteenth century, the dominant rhetorical and explanatory power of civic humanism was gradually challenged by the rise of a new organising language in political economy. Political economic thought permitted radically different descriptions of what laudable private and public behaviour might be: it proposed that self-interest was often more beneficial to society at large than public-mindedness; that luxury had its uses and might not be a threat to liberty and political integrity; that landownership was no particular guarantee of virtue or disinterest; and that there was nothing inherently superior about frugality and self-sufficiency. These new ideas about civil society formed the intellectual basis of a large body of verse written during the long eighteenth century (at mid-century in particular), in which poets engaged enthusiastically with political economic arguments and defences of commercial activity, and celebrated the wealth and plenty of Britain as a modern trading nation. The work of my thesis is to examine a contradiction in the way in which these political economic ideas were handled. Forward-looking and confident poetry on public themes did not develop pioneering forms to suit the modernity of its outlook: instead, poets articulated such themes in verse by appropriating and reframing traditional genres, which in some cases involved engaging with inherited moral values and philosophical preferences entirely at odds with the intellectual material in hand. This inventive kind of generic revision is the central interest of the thesis. It aims to describe a number of problematic meeting points between new political economic thought and handed-down poetic formulae, and it will focus attention on some of the ways in which poets manipulated the forms and tropes they inherited in order to manage – and make the most of – the resulting contradictions.
17
Castro, Cleusa de. "Collage: justaposição e fragmentação em arquitetura." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-24032010-095120/.
Full textAbstract:
Este estudo propõe a discussão da arquitetura contemporânea e sua correlação com as artes plásticas dentro de uma abordagem específica da estética decorrente da poética da collage que invade o universo artístico desde sua descoberta no Cubismo até as mais diversas manifestações da arte contemporânea. Na arquitetura a manifestação da poética da collage dá-se naqueles edifícios cujo caráter seja resultado da somatória de partes e de valores agregados que contribuem para a formação de um corpo arquitetônico que se distancia conceitualmente daqueles de nítido caráter unitarista. A verificação da transposição de princípios fundamentais que definem a obra de arte de collage para a arquitetura por meio da análise de obras modernas e contemporâneas permite a aproximação destas distintas manifestações culturais e possibilita justificar certo descaso com que esta arquitetura é tratada pela crítica tal qual acontece com a collage nas artes plásticas, por serem consideradas como obras híbridas e conseqüentemente marginais.This study suggests the discussion of contemporary architecture and its correlation with fine arts within a specific approach of aesthetics due to the collage poetic that invades the artistic universe since its discovery in Cubism until the most several manifestations of contemporary art. In the architecture, the expression of poetic collage takes place in those buildings whose character is result of sum parts and values that contribute for the formation of an architecture body that is far conceptually from the ones with clear character unitarist. The verification of transposition of fundamental principles that define the work of art of collage to architecture through the analysis of modern and contemporary works allows approximate these different cultural events and provides some justification for negligence with this architecture is treated by criticism, that happens with collage in the fine arts, being regarded as hybrid works and therefore marginal.
18
COFFMAN, BRIAN EDWARD. "THE POWER OF RISK: POETICS OF STANDARDIZED WOOD CONSTRUCTION." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1083186226.
Full text
19
Mickala, Cyrille. "Habiter : sciences, phénoménologie et herméneutique à partir de Gaston Bachelard et Maurice Merleau-Ponty." Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30030.
Full textAbstract:
Est-il encore possible de vivre et d’habiter l’espace aménagé et construit en particulier, quant à considérer le déluge technoscientifique et industriel qui détermine et influence le domaine de l’architecture moderne ? Le rationalisme et le fonctionnalisme d’une certaine tendance de l’architecture moderne en intégrant les progrès technoscientifiques et industriels dans le monde de la maison, semble condamner l’expérience d’habiter à une crise irréversible. L’activité architecturale se voulant conforme aux progrès scientifiques et techno-industriels, elle impose à l’expérience pratique de la maison et préscientifique des lieux de vie, des normes de vie découlant de la seule raison. C’est en général une architecture et un urbanisme modernes abstraits et fonctionnalistes qui se développent en suivant la voie de l’objectivité rationnelle ouverte par Galilée et Descartes, ils maîtrisent, administrent et esthétisent le tout du monde ainsi que toutes les expériences humaines à l’espace en les dépouillant des considérations poétiques, mythologiques et affectives. Ainsi, la construction des institutions humaines d’habitation devient dans l’identification de la crise d’habiter, un « processus technologique prosaïque dérivant directement de la raison mathématique, d’un diagramme fonctionnel, ou d’une règle de combinaisons formelles » au désavantage de l’expérience concrète d’habiter. Mais si l’architecture n’a pas affaire qu’à elle-même, si elle n’est pas une pratique qui trouve sa fin en elle-même puisqu’elle s’ouvre vers l’autre, comment peut-on philosophiquement toujours espérer habiter authentiquement, originairement et poétiquement le monde et l’espace de la maison en particulier ? La philosophie, par l’approche phénoménologique et herméneutique à partir de Gaston Bachelard et Merleau-Ponty, présente pour l'expérience moderne d'habiter, des voies significatives originales qui permettent de répondre à la crise qu’elle connait. En renouvelant autrement que par la seule connaissance rationnelle les relations de l'homme à l'espace, elle se présente comme une voie remarquable de ré-compréhension, de relecture et de ré-enchantement de l’expérience originaire d’habiter le monde, la ville et l’espace de la maisonIs it still possible to inhabitate and live the laid out and constructed space in particular, as for considering the techno and industrial flood that determines and influences the field of modern architecture? Rationalism and functionalism of a given trend of modern architecture by incorporating techno and industrial progress in the world of home, seems to condemn the experience of living in an irreversible crisis. The architectural activity wanting to meet scientific and techno-industrial progress, it requires practical experience in home and prescientific places of life, of living standards arising from the only reason. It is a general an architecture and a modern, abstract and functionalist urbanism that develop along the path of rational objectivity initiated by Galileo and Descartes, they control , manage and aestheticize the whole world and all human experience to space by stripping poetic , mythological and emotional considerations. Thus, the construction of human institutions housing becomes in identifying the crisis of living a «prosaic and technological process deriving directly from the mathematical reason, a functional diagram, or a rule of formal suits «in drawback of the concrete experience of living. But if the architecture does not matter to itself, if it is not a practice that is an end in itself because it opens to another, how can we still philosophically hope to authentically, originally and poetically live the world and the space of the house in particular? Philosophy, by phenomenological and hermeneutic approach inheritated from Gaston Bachelard and Merleau-Ponty presents to the modern experience of living, original significant ways that respond to the crisis it faces. Renewing differently more than the only purely rational knowledge the relations of man to the space, it presents itself as a remarkable way of re- understanding, rereading and re-enchantment of the original experience of inhabitating the world , the city and the space of the house
20
Seegmullser, Rainer Karl. "Shelley and architecture : Romanticism and the semiotics of the architectural descriptions in Shelley's letters from Italy." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306809.
Full text
21
Kouros, Panos 1962. "Ruinscapes in poetry and architecture." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/67729.
Full textAbstract:
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.Vita.
Includes bibliographical references (leaves 123-126).
The purpose of this study is to interrelate poetry and ruin in their multiple modalities of being together. Ruin reveals the poet's intentions, visualizes the poetic attitude as such, and functions as mirror and model for poetic constructions. On the other hand, poetry, as measure for authenticity in architecture, reveals and elucidates phenomenology of ruin-dwelling. Ruinscapes are examined in the domain of poetry, whether intentional or unintentional, integral or fragmented, and in the domain of architecture, whether intentional or unintentional, integral or fragmented. Architecture and poetry ruinscapes manifest a common aesthetics based on different configurations of the tragic, which is the conflict of man and physis, physis and creation, creation and man. Poetry ruinscapes are being considered in their physicality, in a unified word-object relation, which reflects a language-world continuum. Openness is being discussed in the context of visual grids, the fragmentary, effacement and breaking, cryptograms, elliptical transcriptions, errors, letter phanopoeias, and palimpsests. Architectural ruinscapes are seen as spatial manifestations of the conflicting dipoles which constitute the poetics of ruin-habitation: inside and outside, nearness and beyond, rootness and errance, narrow and infinite, intimacy and strangeness, appropriation and exile, etc. Ruins are classified according to earthly or cosmic Openness, reflecting the existentials of human habitation. Categories discussed are the "aethreon" and "trilithon" ruinscapes, the "passing dwelling", the Byzantine dome and column, Roman ruinscapes and the Gothic. This present investigation is inseparable from my own poetic ruin-work, as documented at the end. Theoretical research and poiesis -- as "making" -- form here a corpus of interconnected dispositions, anticipations, recollections.
by Panos Kouros.
M.S.V.S.
22
Nikolovska, Lira. "Poetics of furniture : augmenting furniture with technologies." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/37267.
Full textAbstract:
Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.Includes bibliographical references (leaves 117-120).
This dissertation focuses on one genre of new hybrid objects, namely furniture augmented with electronics. It explores the role of furniture as mediators of social interactions, as well as its potential for eliciting emotional and social responses from users. To understand the ways in which augmentations of furniture are manifested, examples of augmented furniture have been analyzed and classified into three taxonomies - by functionality, autonomy and design strategy. The dissertation does not focus on furniture situated in activities or scenarios for work-related themes, but in the theme of small moments, everyday, non-instrumental social interaction scenarios between people (for example, dinner at a table, conversation with a friend, walking on the street or reading a newspaper). Although the small moments scenarios may appear marginal, they are in fact the very glue of our daily lives. Three furniture projects are developed to explore the mediating role of furniture. They are the Conversation Table, Stealing Table and Orev Bench. The design strategy applied for addressing small moments through these projects can be best described as poetic. The projects are attempts to encourage moments of playful reflection and ultimately help their users learn more about themselves and about the objects they use.
by Lira Nikolovska.
Ph.D.
23
Kerlin, Patricia Ann. "Cultural poetics in the making of public space." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/22723.
Full text
24
Cureton, Paul. "Drawing in landscape architecture : fieldwork, poetics, methods, translation and representation." Thesis, Manchester Metropolitan University, 2014. http://e-space.mmu.ac.uk/580030/.
Full textAbstract:
By analysing landscape architectural representation, particularly drawing, the thesis contribution will develop the mode and process of making - poesis: between production and representation. Extending the work of James Corner on drawing within landscape architecture (1992), the thesis will develop a positive hermeneutics from the novelist Italo Calvino (1997) in which this agency of drawing can be understood and conceived. From this framework of operation, a number of drawing methods are to be developed - particularly heuristics and scoring which creates a positive valence for landscape architectural production. The focus will lie within the process or translation of drawing into landscape, or its process of ‘becoming’ (Vesely 2006, Evans 1996, 2000, Deleuze 1992). This focus will be contextualised amongst others by the work of: Paolo Soleri (1919- 2013), Wolf Hilbertz (1938-2007) and Lawrence Halprin (1916-2009). The agency of drawing is to be situated in broader theories of space and ‘everyday life’ particularly by extracting critical neo-Marxist notions and readings of social productions of space as found in Henri Lefebvre (1901 -1991) (De Certeau 1984, 1998, Lefebvre, 1991, 1996, 2003, Soja 1996, 2000 & Harvey 1989. 1996). The thesis contribution to knowledge will thus chart drawing use, communication, alternative strategies, and new concepts of urban environments; a ‘poetic mediation on existence’ (Kundera 1987). This very movement & ‘becoming’ whilst containing analysis, in each separate component, has yet to be collectively discussed in a constructive and meaningful way. This inturn will reflect back on the role of representation in the shaping and conception of space – this is the role of drawing in landscape architecture. This knowledge is enabled using methods of interdisciplinary exhibition, educational modules, oral history interviews and the history of professional landscape architecture practices, as well by deploying a visual literacy method within the thesis (Dee 2001, 2004).
25
Van, Rensburg Rudolf Johannes. "The poetics of light and the glass architecture of the Modern." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-04302005-103834.
Full text
26
Zhang, Yimeng. "Chinese drawing, architectural poetics : traditional painting as a semantic representation of modern architectural design." Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/667320.
Full textAbstract:
This thesis is partly an attempt to explore the potential of pre-modern Chinese painting, on its distinctive formats and schemes to achieve spatial depth and time duration, as a way to interpret and design architecture. By a survey on changing modes of Chinese traditional landscape and cityscape paintings in different scales, the poetic language of painting will be gradually explored. Beyond pictorial techniques, language is concerned with an ideological level of understanding and experience. Thus, it signposts a wider significance of architectural representation – as a verbal medium to express narrative and critic semantics besides visual effects.
In this thesis, we will also see how traditional painting remains a base in the ideating process of several contemporary Chinese architects, so to avoid a mere uncritical imitation of international models. A subtle fusion of contemporaneity with cultural identity afforded by the presence of taken concepts from traditional painting, allows this architecture to increase its meaning and dimension.
Lastly, understanding such processes of ideation can possibly provide us assistance in the intuitive formulation of ways to enrich Western architecture. Particularly, establishing poetic connections to our cultural traditions can be a useful strategy to prevent Western architecture's frequent falls into empty excesses of utilitarianism, iconicism or simple banality.Esta tesis en parte intenta explorar la capacidad de la pintura china pre-moderna en sus peculiares formatos y esquemas para lograr expresar la profundidad del espacio y la duración del tiempo, como una manera de interpretar y diseñar arquitectura contemporánea. Mediante un estudio de la pintura tradicional de temática paisajística y urbana, y a diferentes escalas, se analizará el lenguaje poético de la pintura china. Más allá de las técnicas pictóricas, este lenguaje se sitúa en un nivel ideológico de comprensión y experiencia; expresa, por tanto, una gama de significados más amplia que la mera representación arquitectónica, actúa como lo haría un medio verbal para expresar una semántica de tipo crítico y narrativo, además de los consiguientes efectos visuales. En esta tesis, también veremos cómo la pintura tradicional sigue siendo la base del proceso de creación de ideas de varios arquitectos chinos contemporáneos para evitar así una mera imitación acrítica de modelos internacionales. Una fusión sutil de la contemporaneidad con la identidad cultural proporcionada por la presencia de conceptos de la pintura tradicional permite a esta arquitectura ganar nuevas capas de significado y dimensión. Por último, comprender tales procesos de ideación puede brindarnos ayuda en la formulación intuitiva de formas de enriquecer la arquitectura occidental. En particular, establecer conexiones poéticas con nuestras tradiciones culturales puede ser una estrategia útil para prevenir las frecuentes caídas de la arquitectura occidental en los excesos vacíos del utilitarismo, el iconicismo o la simple banalidad.
27
Swetzoff, Martha W. (Martha Watriss). "Sonic images and visual poetics : exploring a methodology for sound and image relationships." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/70169.
Full textAbstract:
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Title of videocassette: Tales of love and glory. Videocassette is VHS format.
Includes bibliographical references (leaves 113-116).
by Martha W. Swetzoff.
M.S.V.S.
28
Hughes, Jonathan. "Toward a Poetics of Green Building." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427981120.
Full text
29
Glass, Andrew T. "Revealing a Digital Tectonic Intelligence of Digital Fabrication, a Poetics of Detail." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1398759553.
Full text
30
Livermon, C. R. "A proposed design methodology : introducing the poetics of architecture to an engineered structure." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/11701.
Full text
31
Lynch, Patrick. "Practical poetics : rhythmic spatiality and the communicative movement between site, architecture and sculpture." Thesis, London Metropolitan University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681225.
Full textAbstract:
My thesis is that urbanity is a function of the communicative movement between the natural and social conditions of a site, as revealed in architecture and sculpture, and most clearly in their continuity. In order to deal with the effects upon modern design and architectural thinking of dead metaphors like 'technology, 'form' and 'space', I critique and reject their use in architectural discourse, by returning to the philosophical tradition of 20th century phenomenology - Husserl and Heidegger, Merleau-Ponty, et al- in order try to reveal the power of spatiality in 20th century thought, and its central importance to modern art and architecture. This led to new ways of making site-specific, topographic and spatial sculptures, and in some cases led to brilliant and urbane syntheses of architecture with sculpture - revealing the potential communicative depth of spatiality. Central to characterizing this communicative depth was recovering the cultural - rather than formal or picturesque - continuity of Renaissance and Classical poetics. Whilst the iconographic, social and political aspects of this continuity arc standard features of interpretation, far less noticed is the tradition of Eurhythmia. Rhythm was traditionally seen as an aspect of measure - therefore invoking justice (cf. Plato's Divided Line in the Republic) and mediation; and these animate a rich geometric poetics that is more profound than the usual understanding. A vital aspect of the character of urban spaces - arguably the most communicative of architectural settings - is the rhythmic characteristics of situations and the natural world that are revealed in urban topography and architectural physiognomy, and often articulated most emphatically in sculptures. Crucially, the revelation of the structure of relationships between site, place, social life, the natural world, etc., which make up the architectural conditions for civic praxis, is the basis also of ornament and decorum in the arts generally. However, when architects confuse their work with sculpture - misunderstood as '(arm' rather than rhythmic spatiality - the philosophical and communicative potential of architecture is diminished. My thesis concerns the conditions of the possible recovery of this potential in urban terms.
32
Namei, Mercedeh. "The architecture of poetry the Iranian Embassy in Washington, D.C /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179337402.
Full textAbstract:
Thesis (M.S.)--University of Cincinnati, 2007.Title from electronic thesis title page (viewed July 12, 2007). Includes abstract. Keywords: Architecture; Poetry; Shahnameh; Shähnameh; Embassy; Iran; United States Includes bibliographical references.
33
NAMEI, MERCEDEH. "THE ARCHITECTURE OF POETRY: THE IRANIAN EMBASSY IN WASHINGTON, D.C." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179337402.
Full text
34
Krohn, Andersson Fredrik. "Kärnkraftverkets poetik : Begreppsliggöranden av svenska kärnkraftverk 1965–1973." Doctoral thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-71799.
Full textAbstract:
The first Swedish commercial nuclear power plant was ordered in 1965. By 1973 it had been inaugurated, and building work had begun on the remaining three facilities that became the locations of Swedish large-scale nuclear power production. This thesis explores what kind of architectural objects, in a broad sense, the nuclear power plants in Sweden was discursively constructed as during these years. During the post war years enormous expectations were in Swedish politics attached to the implementation of nuclear power technology. An important discursive figure was that energy was of fundamental importance to society. Simultaneously it was articulated that nuclear power would provide an unlimited supply of energy. Society therefore was on the verge to a completely new era, an era which was to materialize through the nuclear power plant. Drawing upon Norman Fairclough’s theorization of discourse, three different orders of discourse are delineated wherein the nuclear power plant during the period 1965–1973 could be conceptualized as building: a discourse order of architecture, of landscape and of cultural heritage. It is a question of what sort of collective identity that is constructed through the utterances on nuclear power plants. Through the orders of discourse not only objects are produced, but also a who, on a collective level, that is producing them. These orders of discourse are connected to three different specific modes of temporal orientation which are formative for collective identity: towards the future, the past, and a position outside of history. Through an analysis of utterances and narratives in magazines, official texts, films, etc., this examination shows that in contrast to an international context, the nuclear power plant in Sweden was almost completely negated within the discourse order of architecture. Instead it was within the discourse orders of landscape and of cultural heritage that the nuclear power plant was to be conceptualized.
35
Caicco, Gregory Paul. "Ethics and poetics : the architectural vision of Saint Francis of Assisi." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35858.
Full textAbstract:
Contrary to the view of many interpreters that Francis of Assisi (1181--1226) dabbled in church renovation for a few years following his first conversion experience in 1205, architecture remained a central preoccupation until his death in 1226. His creative practice ranged from hermitage planning to the clothing design of its occupants, from architectural legislation to the composition of psalms to be sung in the hermitage churches. Through the medieval art of memory, Francis formed his architectural intentions around two contemplative foci: first, the symbol of the tau, which became his attire, prayer position, signature, talisman for healing the sick and the crucifixion of Christ imprinted on his flesh in the stigmata; and second, the chapel of the Portiuncula, which Francis renovated himself to be the cave of the annunciation and the nativity, the womb of Mary and a portion of heaven on earth where angels descended. With its hedge-bound monastery. it became the prototype for construction among his followers. As the art of memory aimed at an ethics, so did his architecture strive to inspire communal good through narratives of compassion, voluntary penance and humility.The Portiuncula was copied throughout the Franciscan order, but as the order grew its commitment to poverty waned. As a result, buildings began to deviate from Francis' ideals. Rather than resort to prescriptive architectural legislation, Francis addressed this dilemma through an intricately choreographed performance of his death whose poetic image would be unforgettable for those who wished to imitate him in word, deed and architecture. Two years after this event the Basilica of San Francesco in Assisi, built by his friend and hand-chosen successor, Br. Elias, rapidly rose to house the newly canonized saint. Its earliest form, narrative and symbolism, also widely imitated, seems to illustrate aptly Francis' architectural vision: if the Portiuncula was the Bethlehem of the order, the Basilica's tau plan became its Jerusalem. From these two prototypes Italian mendicant architecture for the next century drew its meaning and form.
36
Seaman, Bill. "An examination of a specific network of poetics from the realm of language-image-sound relations." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/77516.
Full textAbstract:
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references.
It is my intention in this paper to examine the network of poetic relations which I explore in my art work. This document is divided into two main sections: part one deals with a number of art historical foci in regard to language, image, and sound relations. Part two focuses on selected video works of mine which synthesize aspects of this art historical data. In both sections a set of ideas intrinsic to the work will be defined. Language, image and sound elements in my work are not dealt with in a hierarchical manner. Since these elements appear simultaneously in the video work, the following writing will approach them in a way which examines how they function individually as well as in relation to each other. It is the artist's intention to create a resonant poetic network through the dynamic interaction of language, image and sound elements.
by William Curtis Seaman.
M.S.V.S.
37
Basu, Anindita 1978. "Full-contact poetry." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/61131.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002.Includes bibliographical references (leaves 113-116).
Full-Contact Poetry is a digital play space for children's poetic expression. It is a software environment in which children can express their poetic thoughts, create their interpretations of writing by others and also share these expressions. The environment combines ideas from literary theory and analysis with constructionism to extend tools for poetic expression. Children can experience poetry by playing with words as objects, experimenting with typographic effects, moving words through space and navigating into and through the text, while also being able to incorporate and reconfigure sound and image. In this thesis, I first describe the Full-Contact Poetry environment then continue with a discussion of a workshop I led for six weeks with a small group of teenagers from Boston. The workshop raised many important issues that fall under the interconnected themes of: finding a voice, creating a language and negotiating context. The experience required negotiations at many levels from our small group. Each member needed to find an individual voice both as part of the group and as a poet. As a group, we needed to develop a language with which we could discuss the work that we were creating since the traditional language regarding poetry, or even workshops, did not quite apply. Finally, we were faced with new contexts. The workshop setting encouraged a classroom feeling, yet it was not a classroom. We were working with technology, but not in the way the children were accustomed-likewise with poetry. The thesis explores the challenges of facilitating an environment to support children's expression and the role that personal models play in shaping that environment.
Anindita Basu.
S.M.
38
Caicco, Gregory Paul. "Ethics and poetics, the architectural vision of Saint Francis of Assisi." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50123.pdf.
Full text
39
Wiszniewski, Dorian Stephen. "Architecture and unavowable community : architecture and community as affirmation of insufficiency and incompleteness." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/9595.
Full textAbstract:
My thesis concerns how architecture can actively participate in processes of community-formation without reducing its creative processes to the oppositional tensions, prejudices and instrumentality of conventional left/right or bottom-up/top-down politics, “two poles of the same governmental machine.” By elaborating the architect as craftsman-author, my thesis explores Community and processes of political and poetic Representation. It is critical towards the biopolitics of governance. Theorisation is drawn principally from the political philosophy of critical theory, phenomenology and hermeneutics. My thesis promotes the architecture of “unavowable community.” Rather than forming communities by grouping likenesses together, and architecture forming their limits to either secure self-sufficiency or protect against insufficiency, architecture is tasked with finding methodologies for delimiting community-formation based on affirmative views of incompleteness and insufficiency. It is arranged in three Sections: Section I sets out the political and representational ground from which the investigation into community begins – it is a brief investigation into historical processes of forming community; Section II sets out possibilities for rethinking community – it is an investigation that shifts questions of craftsmanship, authorship, politics and representation from the search for appropriate community form to processes for becoming community; Section III is an investigation into the processes of craftsmanship and authorship directed towards the unpredictable but nonetheless “coming community” – it sets out a methodology for how an architect might go about proposing community.
40
Allen, Charlotte Joan. "Towards an architectural language : relationships between self, poetry, and idealogy." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/23987.
Full text
41
Evans, Megan, and not supplied. "Towards a poetics of light: the conceits of light." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070418.095100.
Full textAbstract:
Towards a Poetics of Light; The Conceits of Light is a critical quest to map associations between rhetorical figures, psychological defences and spatial tropes in an attempt to conceive a poetic design that enacts conceit. Light is an emblem which echoes with an abundance of representations in literature, history, art and architecture and parallels may be drawn between their resemblances however apparently remote. Love, knowledge, hope and creative passion mark turns in the threads that knot ideas and their representations together. Return of the Immortals, the final project in a series of works exploring these parallels and representations, gathers together a cascade of tropes to structure a spatial experience which culminates in The Conceits of Light.
42
ZONNO, FABIOLA DO VALLE. "COMPLEXITY POETICS: THE CONTEMPORARY TOPOS AND THE LIMITS OF ARCHITECTURE IN BETWEEN ART AND LANDSCAPE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21625@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROPoéticas da Complexidade: o lugar contemporâneo e os limites da Arquitetura entre Arte e Paisagem analisa trabalhos de arte/arquitetura que, participando do chamado campo ampliado, após os anos 1960, partem de uma relação com o sítio para re-instaurar a paisagem. As obras estudadas se diferenciam das posturas arquitetônicas contextualistas que, em defesa do lugar como permanência, propuseram uma recuperação historicista do passado. As poéticas da complexidade expõem o lugar contemporâneo através de um tipo de abordagem que considera a multiplicidade, a incerteza, a incompletude, a ambiguidade, a contradição e os fluxos em devir. Também redefinem o lugar da arte/arquitetura no campo da cultura, em um deslocamento passado-futuro, e propõem uma revisão dos modos de operação artística. A tese busca entender os processos contemporâneos e a redefinição dos limites da arquitetura como um movimento de autocrítica em direção ao experimentalismo das artes como forma de questionar o formalismo, o funcionalismo e a representação da noção de estabilidade. Assim, pontos em comum são explorados: a apropriação de imagens do cotidiano, a abordagem conceitual, discursiva e ficcional da arte, a noção de processo e a problematização da autoria, a experiência fenomênica e espaçotemporal, a abertura ao acontecimento e a performance. Este estudo afirma que dois movimentos estão em processo: a aventura da reinvenção da paisagem como campo ativo – imagético, fenomênico, discursivo e performático, e da reinvenção dos mediums artísticos a partir de poéticas diferenciais que assumem a complexidade contemporânea.
Complexity Poetics: the contemporary topos and the limits of Architecture in between Art and Landscape analyzes works of art and architecture that, taking part in the expanded field, after the 1960´s, are intertwined with the sites, to refound the landscape. This thesis investigates the contemporary places as a contextual practice which considers the multiplicity, the incertitude, the ambiguity, the contradiction and the transformations to come. These works establish a critical revision of modernism as well as of the contextualism which defended place as permanence, proposing a historicist recuperation of the past. On the contrary, complexity poetics discuss the place of art/architecture in the contemporary cultural expanded field, in a shift past-future, and propose a revision of art’s operational modes. This study is an attempt to understand the contemporary processes and the re-definition of architecture’s limits as a movement of self-criticism towards experimentalism in arts, that goes against formalism, functionalism and the representation of stability. Points of common that stand out: the appropriation of everyday images and signs, the conceptual, discursive and fictional character of art, the notion of process, the phenomenal and spatial-time experience, the événement and the performance. This study asserts a two-way movement: the ongoing adventure of the reinvention of landscape as an active field - imagistic, phenomenal, discursive and performatic, and the reinvention of artistic mediums through differential poetics which assume contemporary complexity.
43
ERBAUGH, ADAM. "THE INTERACTION OF POESIS AND TEKNE IN TECTONICS." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147903245.
Full text
44
Hellmuth, Daniel F. "Poetry and the art of building : Goethe's morphology as applied to architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/24077.
Full text
45
Prince, Charles Weston. "Resonant forms, architecture in the poetry of Seamus Heaney and Derek Walcott." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49886.pdf.
Full text
46
Youssef, Lyndl Thorsen. "Architecture, A Public Engagement with: Purpose, Poetry, Place, Prospect, Program, Principle, Process." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/35089.
Full textAbstract:
The purpose of the Times Square Civic Center is to deal with the street as a living, breathing member of the community just as the street was treated in the Old Town of the 18th Century. The Times Square Civic Center demonstrates ways in which architecture engages its public by allowing visitors to take part in its identification, function and composition as it takes on the aspect of a gentleman.Master of Architecture
47
Cartmell, D. "Edmund Spenser and the literary uses of architecture in the English Renaissance." Thesis, University of York, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377294.
Full text
48
Pilard, Nicolas. "Architecture, dessin, discours." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3071.
Full textAbstract:
L'art contemporain, de dé-définition en dé-définition, a évolué dans certains de ses développements, principalement sous la forme conceptuelle, vers une utilisation toujours plus prononcée du langage verbal, reléguant les préoccupations plastiques au second plan. L'architecture, art qui semble s'incarner fondamentalement dans la matérialité, connaît des évolutions analogues. Des architectes se positionnent sur le terrain du concept, faisant du discours l'outil principal de leur recherche. Partant de l'idée que pensée plastique et pensée verbale fonctionnent selon des modalités distinctes, nous avons étudié l'oeuvre, autant écrite que bâtie, d'architectes contemporains dont l'utilisation du texte est prépondérante dans la création. Nous avons distingué trois formes de discours - la forme poétique - qui fait du discours une oeuvre, la forme théorique - convoquant des concepts philosophiques, et la forme mathématique, qui ambitionne la création d'un méta-langage au service de la conception - et nous avons tenté de comprendre leur rôle respectifs dans la projétationContemporary art, through « de-definitions », has evolved in some of its developments, mainly in the conceptual form, into an ever more pronounced use of verbal language, relegating the plastic concerns to the background. Architecture, which seems to be embodied fundamentally through materiality, experiences similar trends. Some architects are positioned on the field of concepts, making speech the primary tool of their research. Based on the idea that plastic thinking and verbal thinking operate under separate arrangements, we studied the work, written and built, of contemporary architects for whom the use of text is prominent in creation. We have identified three forms of discourse, the poetic form - which makes speech a work of art, the theoretical form - convening philosophical concepts, and the mathematical form, which aims at creating a meta-language serving the design - and we tried to understand their respective parts in the project planning
49
Feng, Zhenzhen. "The House: to be accompanied and to be alone." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83568.
Full textAbstract:
It is the house that has spaces above ground and spaces beneath the ground. The part above ground is separated into three volumes. The first space is for the owner to accompany with friends and family members, which is a significant part of one's life. The second space is the owner staying with close friends where they can work and design together. The third space is only for the owner where he can sleep, read and relax. Sometimes, the owner feels depressed, he prefers to run away from sadness like a child. Thus, I design a series of spaces for the owner to get away like a child. He can take a journey to get rid of sorrow by going through the underground spaces. The journey of the owner, created by a series of experiencing spaces underneath, starts from the third space. The owner will travel spaces containing different lights, sounds, and views. The owner can stop by during the journey to experience the spaces. He will gradually forget sadness and sorrow by the pleasure created by various experience. The owner will hear echoes when he sings in the spaces and will notice the sound of his footsteps and will view different scenes from various light tubes. Finally, the owner will reach a destination; it is a tower without a roof. He can experience starry night, rain, sunshine and so forth. He eventually reaches a place near nature, which is still one part of The House.Master of Architecture
50
Williams, Aidan. "Architectural emptiness : on a reinterpretation of the architectural implications of Heidegger's concept of dwelling." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/fe948d78-8f2e-44e9-8cbb-53fe7e2b07d8.
Full textAbstract:
This thesis reinterprets the architectural implications of Heidegger’s concept of dwelling. In particular it stresses the importance of the concept of poetry on dwelling that was outlined in ‘ ... Poetically Man Dwells ... ’. This essay from Heidegger’s late period has been less frequently quoted in the literature of the architectural profession than some of Heidegger’s more well known essays. The importance of poetry is developed in this thesis through creative practice explorations of Heidegger’s philosophy supplemented by deep textual analysis. By developing Heidegger’s concept of poetic dwelling, it is possible to reinterpret his ideas about building in richer ways than have previously been carried out in architecture. We will discover that space has a particular kind of emptiness that allows for poetic experience. Ways of building that manifest this emptiness can be considered building for dwelling. The focus on poetic dwelling unravels previous architectural interpretations of Heidegger’s concept of dwelling. These interpretations tend to focus on the creation of a certain type of product rather than on enabling the poetic dwelling process. Consequently, by shifting this understanding of dwelling new links can be suggested to the work of architectural writers and practitioners who hitherto have not been considered to be Heideggerian.