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Dissertations / Theses on the topic 'Russian architecture'
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Ng, Man-Hung Daniel. "Commitment in architecture : Russian constructivism." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/78805.
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Thesis (M.Arch)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Bibliography: leaves 100-102.
by Man-Hung Daniel Ng.
M.Arch
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Elliott, Deborah E. "The new architecture Iakov Chernikhov and the Russian Avant-Garde /." Connect to resource, 2006. http://hdl.handle.net/1811/6023.
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Thesis (Honors)--Ohio State University, 2006.Title from first page of PDF file. Document formattted into pages: contains 61 p.; also includes graphics. Includes bibliographical references (p. 60-61). Available online via Ohio State University's Knowledge Bank.
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Holmes, Jeffrey M. S. Massachusetts Institute of Technology. "Vsevolod Meyerhold : modernism, mass culture and the Russian avante garde stage." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/67134.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1994.Includes bibliographical references (leaves 175-178).
As early as 1907, Russian director Vsevolod Meyerhold writes of the need to renovate the theater by "means of new forms and new methods of scenic presentation" predicated on the "collective enterprise" of the author, director, actor and audience. The "new forms and new methods" that Meyerhold refers to undergo an astonishing number of transformations throughout his career as does his understanding of what exactly constitutes a "collective enterprise". While contemporary critics continue to fold Meyerhold's investigation into the modernist paradigm of self-reflexive criticality and autonomy, this thesis claims that Meyerhold's activity, like that of the Russian and Soviet avant-garde, must be considered as nothing less than a willful attempt to constitute fundamentally new modes of theatrical production, dissemination and reception. This thesis tracks the development of Meyerhold's work. First, we will investigate the parallel development of formalist theory in literary criticism and the emergence of high modernism on the Russian stage. Second, we will complicate this formalist description by demonstrating its paradoxical maintenance of the "low". In Meyerhold's work this is manifested in his attempt to reimbue the stage with ritualistic forms of folk experience through the grotesque. Third, we will consider biomechanics, stage constructivism and their impact in transforming the grotesque. The fourth and last section of the thesis will analyze Meyerhold's transformation of audience and author relationships as theorized in the positions of productivism.
by Jeffrey Holmes.
M.S.
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Currier, Janice Arlee. "Golubets, gravehouse, and gate : old Russian traditions and the wooden mortuary architecture in Russia, Siberia, and the North Pacific." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ40538.pdf.
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VERKHOVSKAYA, IRINA LEONIDOVNA. "IAKOV CHERNIKHOV AND THE ARCHITECTURAL CULTURE OF REVOLUTIONARY RUSSIA." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1029443033.
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Pasholok, Maria. "Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.
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This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.
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Sawatzky, Tamara A. "Material culture the Dutch windmill as an icon of Russian Mennonite heritage /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Crawford, Christina Elizabeth. "The Socialist Settlement Experiment: Soviet Urban Praxis, 1917-1932." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493266.
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If capitalist cities are dense, hierarchical, and exploitative, how might socialist space be differently organized to maximize productivity, equitability, and collectivity? That question—central to early Soviet planning specialists—is the basis of this dissertation, which investigates the origins and evolution of the socialist spatial project from land nationalization to the end of the first Five-Year Plan (1917-1932). This dissertation asserts that socialist urban practices and forms emerged not by ideological edict from above, but through on-the-ground experimentation by practitioners in collaboration with local administrators—by praxis, by doing. Existing scholarship on early Soviet architecture and planning relies on paper projects of the Moscow avant-garde—radical, exciting, and yet largely unbuilt. This dissertation, based on new empirical research, uncovers the untold origins of socialist urban practice through the brick and mortar, steel and concrete projects that defined Soviet urban praxis in the 1920s and 30s. Through interweaved stories of three so-called “socialist settlements” in Baku, (Azerbaijan), Magnitogorsk (Russia), and Kharkiv (Ukraine) this study explores how Soviet physical planners and their clients addressed unprecedented socioeconomic requirements. Provisions like affordable housing near the workplace, robust municipal transportation and evenly distributed social services emerged from these experiments to affect far-flung sites in the Soviet sphere for decades to follow. Material gathered from now accessible archives—including architectural briefs, bureaucratic memos, drawings and photographs—finally permits deep inquiry into these significant years and projects. It draws the Soviet case into dialogue with scholarship on industry, urbanization, and social modernization in Europe and the United States, and highlights the contributions of Soviet designers to devise viable alternatives to the capitalist city.Architecture, Landscape Architecture and Urban Planning
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Ryan, Nora. "The apartment question the avant-garde and the problem of the domestic interior in 1920s Russia /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1481673701&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Rodrigues, Guilherme Gasques. "Zaha Hadid : pensamento criativo e montagem de imagens em diálogo com a Vanguarda Russa /." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154016.
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Esta pesquisa aborda a relação entre a arquiteta iraquiana-britânica Zaha Hadid e alguns artistas da Vanguarda Russa. Hadid é mundialmente reconhecida por seus trabalhos na área da arquitetura, urbanismo e design, pelos quais recebeu diversos prêmios durante sua carreira. A arquiteta estudou na Architectural Association e conheceu obras de Kazimir Malevich por meio de seus professores Rem Koolhaas e Elia Zenghelis. Hadid iniciou uma conexão criativa com o projeto Malevich’s Tektonik (1976-77), um trabalho que transportou uma obra de Malevich para o contexto arquitetônico de Londres. A partir deste projeto, a inspiração pelo artista começou a ser potencializada e demonstrada em seu pensamento criativo. Também foram inspirações para a arquiteta os artistas: Moholy-Nagy, El Lissitzky e Naum Gabo. Hadid utilizava desenhos e pinturas de características abstratas semelhantes às obras destes artistas em sua produção arquitetônica. Sendo assim, o objetivo desta dissertação é realizar uma interlocução entre os pensamentos criativos da arquiteta e dos quatro artistas que fizeram parte da Vanguarda Russa. Visto que o fazer arquitetônico de Hadid se realizava em paralelo a um fazer artístico (pinturas), utilizaremos para atingir o objetivo desta pesquisa uma montagem de imagens inspirada em Aby Warburg – historiador de arte alemão. Warburg desenvolveu o Atlas Mnemosyne nos anos de 1920 em Hamburgo, Alemanha. Ele realizou este trabalho para entender como o período da Antiguidade “sobreviveu” no Renascimento. Mnemosyne foi uma montagem com imagens de períodos temporais diferentes que permite visualizar as intricações e relações entre elas. Realizamos uma montagem nominada “Hadid-Vanguarda” com imagens de obras dos quatro artistas e do processo criativo de quatro projetos da arquiteta. Os projetos são: o clube de lazer The Peak, o corpo de bombeiros Vitra Fire Station, o terminal de trem e ônibus Hoenheim-Nord Terminus and Car Park e o Museu de Arte Contemporânea MAXXI. Após as análises das pranchas da montagem, identificou-se três categorias teóricovisuais nominadas por “A Diagonal”, “A Vista Aérea” e “As Camadas”. Cada categoria compete a elementos que aparecem em ambos os pensamentos criativos de Hadid e da Vanguarda Russa. Sendo assim, considera-se que o contato com os artistas russos fez a arquiteta transcender os limites da criação convencional de projetos.
This thesis studies the relationship between the Iraqi-British architect Zaha Hadid and some artists of the Russian Avant-Garde. Hadid is widely recognized for her work in architecture, town planning and design, for which she received various awards throughout her career. During her time as a student at the Architectural Association School in London, she became familiarized with Kazimir Malevich’s works through professors Rem Koolhaas and Elia Zenghelis. Hadid then initiated a creative connection with arts, and in Malevich's Tektonik (1976-77), she transported Malevich’s work of art to the London’s architectural context. After this project, Malevich’s influence on her work became more evident, with some aspects surfacing in her creative process. Artists such as Moholy-Nagy, El Lissitzky and Naum Gabo also corroborated to her unique creative process. As she used drawings and paintings with abstract features similar to the works of these artists in her architectonic production. Therefore, the goal of this dissertation is to perform an interlocution between the architect’s creative process and the four artists who were part of the Russian Avant-Guarde. Since Hadid’s architectural rendering happened in parallel to her artistic work (i.e., paintings), we will use the Atlas Mnemosyne, a montage of images by Aby Warburg, to achieve the objective of this project. Warburg an art historian developed the Atlas Mnemosyne in the 1920s in Hamburg, Germany. He performed this work to understand how the period of Antiquity "survived" in the Renaissance. Mnemosyne was a montage with images of different time periods that allows visualizing relations between them. We realized a montage named "Hadid-Vanguarda" with images of works by the four artists and the creative process of four architect's projects. The Peak, a leisure club; Vitra Fire Station; Hoenheim-Nord Terminus and Car Park and MAXXI, a museum of contemporary arts are the selected projects. After the montage’s analysis, we identified three theoretical-visual categories nominated "The Diagonal", "The Aerial View" and "The Layers". Each category competes in elements that appear in both creative thoughts - Hadid and the Russian Vanguard. Therefore, we regarded that contact with Russians artists did Hadid transcend the boundaries in the conventional creation of projects.
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Choate, Ksenia. "From "Stalinkas" to "Khrushchevkas": The Transition to Minimalism in Urban Residential Interiors in the Soviet Union from 1953 to 1964." DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/628.
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During the shift from the rule of Joseph Stalin to that of Nikita Khrushchev, people in the Soviet Union witnessed dramatic political, economic, and social changes, evident even in such private aspects of life as residential home interiors. The major architectural style of Stalin's era, known as Stalin's Empire Style, was characterized by grandeur and rich embellishments. The buildings' interiors were similarly grandiose and ornate. By endorsing this kind of design, Stalin attempted to position himself as an heir of classical traditions, to encourage respect for his regime, and to signal his power. When Nikita Khrushchev became the country's leader shortly after Stalin's death in 1953, he proclaimed that "excessive decorations" were not only unnecessary, but harmful. As a result, the standardized panel buildings produced at his initiative were defined by straight, plain lines, and were devoid of literally any architectural details that were not considered functional. These changes in Soviet architecture were reflected in interior design and furnishings: the minimalist aesthetic became their defining characteristic. The purpose of this study is to gain, through examination of existing literature, new insight into why a transition to a minimalist aesthetic was happening in the 1950s and 1960s in Soviet urban interior design. To achieve this goal, the present thesis analyzes works by contemporary scholars on the subject and examines statements the Soviet government as well as Soviet architects and interior decoration specialists made regarding the state's views on architecture and interiors during the period of 1950-1960. While research has been published that explores some aspects of this stylistic transition, the present work is unique in that it identifies and focuses on three distinct reasons for the change to minimalism in Soviet urban residential interiors under Khrushchev: the deficit of apartment space, reduction of construction costs, and ideological motives.
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Makhrov, Alexei Vasilievich. "The architecture of Nikolai L'vov : a study of the architectural relationships between Britain and Russia at the end of the eighteenth century." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15265.
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The thesis offers a reassessment of the works of the Russian architect Nikolai Alexandrovich L'vov (1751-1803). His designs are examined in the context of European architecture. Sources of inspiration for his advanced Neo-Classical style are found in monuments of Greek and Roman antiquity, Renaissance architecture and works of British, French and Italian architects, such as Charles Cameron, Adam Menelaws, Ennemond-Alexandre Petitot and Giacomo Quarenghi. The comparative analysis of L'vov's works with designs of his Russian and foreign contemporaries, for instance Matvei Kazakov, Adrean Zakliai'ov, John Soane, Claude-Nicolas Ledoux and others, highlights the innovative character of L'vov's designs. The investigation of the works produced by L'vov for Catherine the Great, Paul I and the powerful statesman Alexander Bezborodko demonstrates that the architect was entrusted to express political concepts, such as the 'Greek Project', Catherine's plan to liberate Constantinople from the Turks. It is argued that his public buildings and garden scenery of the park of Bezborodko in Moscow were designed as propaganda tools to influence people. The discussion focuses on the consideration of L'vov's interpretation of the ideas derived from European architecture. For example, L'vov was the first Russian architect to declare himself a follower of Palladio. The pioneering study of the Medieval architecture of Moscow produced by L'vov was parallel to the development of the preservationist attitude to national heritage in Britain. He produced ingenious engineering ideas, such as that of the double-shelled dome influenced by the examples of antique and French architecture and adapted to the requirements of Russian climate. He also introduced to Russia the modernised method of building from earth, derived from a French source and modified with the assistance of his Scottish associates. By analysing the relationships between the architecture of L'vov and that of Britain and other European countries, this study seeks to establish his reputation as one of the outstanding European architects of the late eighteenth century.
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Deschepper, Julie. "Entre trace et monument. Le patrimoine soviétique en Russie : acteurs, discours et usages (1917-2017)." Thesis, Paris, INALCO, 2019. http://www.theses.fr/2019INAL0028.
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Comment, pourquoi et par qui les traces matérielles de l’époque soviétique ont-elles, ou non, été préservées en Russie ? Depuis une quinzaine d’années, cette question suscite un intérêt croissant. Alors que le contexte post-soviétique a été largement favorisé pour interroger ces phénomènes, cette thèse montre que pour saisir le destin actuel des monuments et édifices construits en URSS, le prisme du patrimoine et l’étude sur le temps long se révèlent être féconds. Les productions monumentales et architecturales soviétiques ont en effet été mises en patrimoine dès les premières années du régime, puis pendant toute sa durée. Ce travail retrace ainsi la genèse de ces processus de patrimonialisation et explore l’évolution des enjeux que ces derniers recouvrent. Il met en lumière le fait que la constitution d’un patrimoine soviétique joua un rôle déterminant pour le régime, notamment puisqu’elle permit de construire et de contrôler sa mémoire historique. Plus généralement, cette analyse offre un éclairage sur la spécificité du rapport au temps et à l’espace en Union soviétique. Enfin, l’étude des réinvestissements de ces objets patrimoniaux depuis les années 2000 dévoile les ambiguïtés du rapport au passé, tout comme elle révèle des parentés d’acteurs et d’usages de ces derniers avec l’URSS. En somme, cette thèse entend participer à l’écriture d’une histoire culturelle de la Russie, contribuer à l’étude du concept de patrimoine dans le contexte soviétique et donner des clés de compréhension des traitements pluriels du patrimoine socialiste dans les pays post-socialistesWhy, how and by whom have the material remains of the Soviet past been preserved – or not – in Russia? In the last fifteen years, this question has aroused an increasing interest. While scholars have mostly interrogated the multiple stakes raised by Soviet-Era monuments in Post-Socialist contexts, this work contributes to explain the current situation analyzing monumental productions through the prism of heritage and with a long-term perspective. Indeed, most of the Soviet-Era sculptures and buildings were already inscribed and designated as cultural heritage during the Soviet period. This study then scrutinizes the various heritagization processes of Soviet monuments, shedding light on the variety of actors they implicated and examining the evolution of uses, roles and functions of transforming Soviet monumental productions into heritage. The making of a heritage proper to Soviet Russia was indeed consubstantial with the establishment of the Socialist regime, especially because it allowed to create and control over its historical memory. Moreover, this analysis contributes to a broader debate on the relation between heritage as a concept and the understanding of space and time in the USSR. The last part of my dissertation explores the new uses of Soviet monuments since the 2000s, revealing the continuity in terms of uses and actors with the USSR, as well as the ambiguities dealing with the Soviet past. Overall, this dissertation intends to contribute to the writing of a cultural history of Russia, to offer new perspectives on the concept of heritage in Soviet context and to give some keys of understanding of Socialist-Era monument’s treatments in Post-Socialist contexts
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Vujosevic, Tijana. "Architectures of the everyday in 1920s and 1930s Russia." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61555.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 212-221).
This dissertation is an architectural history of Russian everyday life, or byt, in the first two decades after the October Revolution. In this period, the investigation and reform of byt was a project that vastly crossed the limits of the architectural profession. I survey ways in which the quotidian environment was understood, ordered and envisioned in a variety of practices: bureaucracy, literature, theatre, film, urbanism, and design. The dissertation explores the architecture of discrete geographies, sets of tactics and strategies, employed in mapping the terrain of the quotidian. It explores how the official rhetoric of labor and productivity was translated into ethics and aesthetics of existence. The study is ordered chronologically, and according to scale. In the first chapter I explore the manipulation and invention of the everyday object. The second chapter is about the performance of the everyday in Meyerholds's biomechanical theatre, its ties with the Central Institute of Labor, and the charting of the agitated body in action onto the space of the stage. The third chapter captures a moment in the development of the Soviet bathhouse, or banya, , in which the bath, resembling a factory, was conceived of as an efficient, working building, which processed citizens' bodies in their entirety, and in some cases, presented replicas of the world at large. In the fourth chapter I read collective workers' histories to reconstruct the aesthetic of the Moscow Metro and particular modes of perception needed to capture and behold its magnificence. The final chapter is about the efforts of wife-activists, or obshchestvennitsy, to represent a society of surplus and overproduction through their management of nature's bounty.
by Tijana Vujosevic.
Ph.D.
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Savage, David S. "The palaces of Nevskiy Prospect: A translation about their architectural foundation." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291832.
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The thesis consists of a translation of chapters pertaining to the construction and reconstruction of the famous St. Petersburg Anichkov and Beloselskiy-Belozerskiy palaces, detailing the founders, owners, and architects who designed and built them. These translations contain extraordinary and insightful information regarding the development of architectural St. Petersburg. The translated chapters also document the many changes that took place over time with each new resident of the palaces and outline the artistic architectural features of each palace. A preface to the thesis details the research and problems encountered in the process of translation. This annotated and photo-illustrated translation describes the architectural innovation inherent in the construction of each palace and illustrates the current state of restoration. The significance of the translated chapters lies in the fact that they contribute important cultural and historic information to English-language readers about the architectural history of St. Petersburg in its three-hundredth year.
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Sandström, Polina. "A Sense of Russia." Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280839.
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By exploring the relationship between rituals and human behavior in relationship to architectural design the project "A Sense of Russia" searches for answers to new ways of sharing and experiencing culture over national boundaries, creating a stronger and clearer insight by physically engaging the visitor to be part of the other and the yet unknown. Using Russia and the program of the traditional Russian steam bath banya as a set framework, the project aims to address the subject through the implementation of one architectural incision. Questioning what place and shape a fragment of Russia would take in a non-Russian context like Sweden. By going through the different layers of human physical and mental interpretation, a patchwork of sorts, engaging in phenomenological and sociological ideas, this thesis explores how culture could be experienced through architectural design. Through the process of digging, casting and carving the project results in a proposal at the site of The Russian Yard located in Slussen, Stockholm. While unravelling the historical layers on site the proposal aims to offer new impressions and make the visitor behave in new patterns through unexpected scenarios. Trying to make Sweden see, hear, feel and maybe even make a little sense of Russia.
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Vennin, Emmanuelle. "Architecture sédimentaire des bioconstructions permo-carbonifères de l'Oural méridional (Russie)." Lille 1, 1996. http://www.theses.fr/1996LIL10223.
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Des bioconstructions du carbonifère supérieur-permien inférieur affleurent dans le secteur centro-méridional de l'oural. Elles constituent un objectif de choix de par leur similitude avec les dépôts enfouis de la plate-forme russe, riches en hydrocarbures. Ces bioconstructions se situent dans un domaine de transition entre la plate-forme russe et le bassin d'avant-pays pré-ouralien et en illustre chacune des phases principales de développement. Une méthodologie axée sur la paléoécologie, la diagenèse, un découpage séquentiel de haute résolution et une analyse tectono-sédimentaire s'avère indispensable pour l'étude de ces bioconstructions et la caractérisation de leur géométrie. Trois types de bioconstructions ont pu être individualises parmi les six complexes bioconstruits étudiés. L'étude pluridisciplinaire réalisée visant à caractériser l'architecture sédimentaire des bioconstructions permet de dissocier l'impact des facteurs allostratigraphiques et autostratigraphiques influençant leur installation, développement et disparition. Les facteurs écologiques (autostratigraphiques) conditionnent l'organisation des associations fossiles, des successions écologiques et des remplacements de communautés. Les facteurs externes (allostratigraphiques) gouvernent l'espace d'accommodation et influencent la relations avec la production carbonatée.
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Husson, Catherine. "Charles Cameron, un architecte Ecossais en Russie." Dijon, 1988. http://www.theses.fr/1988DIJOL005.
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Charles Cameron, formé par Isaac Ware et adepte de Palladio, publia, après un séjour à Rome en 1768, un livre sur les bains romains. Catherine II l'appela en Russie. Il y supervisa la construction d'un village chinois, transforma les salles d'apparat du palais de Tsarskoe-Selo en appartements et construisit le palais de Pavlovsk. Architecte néo-classique, proche du style Adam.
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Husson, Catherine. "Charles Cameron, un architecte écossais en Russie." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376144417.
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Vronskaya, Alla. "The productive unconscious : architecture, experimental psychology and the techniques of subjectivity in Soviet Russia, 1919-1935." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/93020.
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Thesis: Ph. D. in Architecture in the History and Theory of Architecture, Massachusetts Institute of Technology, Department of Architecture, 2014.Cataloged from PDF version of thesis. "September 2014."
Includes bibliographical references (pages 377-405).
This dissertation examines how Soviet architecture employed the achievements of experimental psychology in order to transform human subjectivity during the Interwar period, particularly in the years defined by the First Five-Year Plan of Economic Development (1928-1932). In this program of forced modernization, every resource-including human muscular, intellectual, and emotional energy-had to be channeled into the construction of an industrialized economy. Inspired by studies of unconscious, physiological responses to visual stimuli and by an accompanying turn to psychologism in the philosophy of science, Soviet architects, artists, and bureaucrats reinterpreted architectural work as the design of subjective perception, the purpose of which was to produce an energetic subject who would actively and efficiently participate in the implementation of the Plan. The dissertation examines three episodes in which Soviet architecture and design aspired to control the unconscious in order produce a new energetic subject. The first part explores the theoretical research on unconscious perception conducted by Nikolai Ladovskii's Rationalist architectural movement, which, following the philosophy of empiriocriticism, strove to economize the energy of perception. The second illustrates how the theory of the unconscious was tested and developed experimentally, assessing the program of wallpainting developed by architect Moisei Ginzburg, Bauhaus designer Hinnerk Scheper, and others as an artistic and architectural discipline that aspired to produce working energy. The third and final episode exemplifies how unconscious perception was put to practical use in the Moscow Central Park of Culture and Leisure under Betti Glan, where creative energy was evoked by material objects and the spatial environment.
by Alla G. Vronskaya.
Ph. D. in Architecture in the History and Theory of Architecture
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Skodock, Cornelia. "Barock in Russland : zum Oeuvre des Hofarchitekten Francesco Bartolomeo Rastrelli /." Wiesbaden : Harrassowitz Verlag, 2006. http://catalogue.bnf.fr/ark:/12148/cb410923014.
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Castaing, Paul. "L'architecture religieuse en Russie : contribution à une étude historique et terminologique." Aix-Marseille 1, 1991. http://www.theses.fr/1991AIX10040.
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L'essentiel de l'ouvrage est constitue par un dictionnaire explicatif russe-francais des termes d'architecture religieuse russe. Celui-ci est precede d'une introduction qui presente brievement l'etat des recherches dans ce domaine et souligne l'importance du sujet pour l'etude de la civilisation de la russie prerevolutionnaire. Suit une synthese historique qui rappelle, dans ses grandes lignes, l'evolution de l'architecture en bois et en pierre du dixieme au vingtieme siecle et signale en conclusion les manifestations d'une renaissance de cet art dans la russie actuelle (panorama historique). Le dictionnaire proprement dit reunit quatre cent vingt et un termes replaces dans leur contexte lexical le plus courant et suivis d'une traduction ou d'un equivalent. Les termes les plus specifiques font l'objet d'une notice historique. En annexe sont proposes des documents techniques accompagnes de leur traduction ainsi qu'un index des termes francais. Apres la bibliographie, une serie de trente neuf planches regroupant quatre vingt dessins illustre les details d'architecture les plus caracteristiquesThis work is composed mainly of a russian-french explicative dictionary of the terms used in russian church architecture. An introduction briefly presents the state of the researches in this field and outlines how important this subject is for the study of the prerevolutionary civilization in russia. A historical synthesis follows which evocates in its main stages the evolution of wood and stone church architecture from the tenth to the twentieth century. It points out, as a conclusion, to the first signs of a revival of this art in contemporary russia (historical panorama). The dictionary itself gathers four hundred and twenty one terms presented in their most usual lexical context. These are followed by a translation or an equivalent. The most specific terms are explained in a historical notice. In the annex, a technical document and its translation, as well as an index of the french terms, are presented. After the bibliography comes a series of thirty nine plates gathering eighty drawings illustrating the most significant architectural details
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Victoir, Laura A. "Moscow-area estates : a case study of twentieth-century architectural preservation and cultural politics." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670078.
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Medvedkova, Olga. "L'architecture française en Russie au XVIIIe siècle." Paris, EHESS, 2000. http://www.theses.fr/2000EHES0021.
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La thèse est consacrée a l’étude du phénomène de transfert en Russie du modèle architectural français, tel qu'il se constitua a la fin du XVIIe siècle et perdura jusqu’à la fin du XVIIIe siècle. Il était construit comme un modèle moderne de supériorité française par opposition a l’antiquité et a l’Italie, et imposait son propre système d'ordres, ses techniques de construction et d'artisanat, sa distribution intérieure. Le transfert de ce modèle en Russie est étudie a travers les hommes qui en furent les porteurs : architectes et décorateurs français qui travaillèrent en Russie, commanditaires, agents et conseillers, aussi bien russes que français. Ce travail se fonde sur des documents d'archives (rapports, correspondances, mémoires etc. ), les traites d'architecture publies ou manuscrits, les gravures, qui furent le moyen privilégie du transfert, les dessins, les modèles et les œuvres architecturales. Cette recherche s'organise selon une logique a la fois thématique et chronologique. Le premier chapitre est consacre au "modèle français" dans sa naissance a la fin du règne de Louis XIV et dans son évolution au cours du XVIIIe siècle. Le second chapitre est dévolu a l'oeuvre de le blond, premier architecte français invite a Saint-Petersbourg. Le chapitre suivant est consacre a l'application en Russie du modèle versaillais et notamment aux résidences impériales. Le quatrième chapitre a pour objet la façon dont la théorie architecturale française fut adoptée, traduite, interprétée par les russes, depuis le début du XVIIIe siècle jusqu’au sa fin. Mise en oeuvre par un réseau francophile, la création de l’académie des beaux-arts en 1758 a Saint-Petersbourg fait l'objet du chapitre suivant. Le premier professeur d'architecture y fut Vallin de la Mothe, dont l'oeuvre est analysée en détail. Dans le dernier chapitre, on étudie comment le "modèle français" fut confronte sous Catherine II a une nouvelle mode architecturale qui venait d'un réseau international a Rome.
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Jeppesen, Morten. "Partnership and discord : Russia and the construction of a post Cold War security architecture in Europe 1991-2000 /." Oslo : Norsk Utenrikspolitisk Inst, 2003. http://www.gbv.de/dms/sub-hamburg/39554825X.pdf.
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Makhneva-Barabanova, Oxana-Alexandrovna. "Claude-Nicolas Ledoux et l'architecture en Russie." Paris 1, 2006. http://www.theses.fr/2006PA010606.
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Cette thèse examine l'influence de Ledoux sur l'architecture russe qui est inséparable de la culture russe. Nous nous laissons guider par les principes de deux disciplines à savoir de l'histoire de l'art et de la sémiotique. Nous examinons Ledoux comme écrivainvisionnaire et son influence, ainsi que l'influence de Ledoux sur les architectes russes des XVIIIe et XIXe siècles. Les sources du classicisme russe sont en Europe occidentale. La formation du classicisme d'Alexandre a subi l'influence de l'œuvre de J. -F. Thomas de Tomon qui était un adepte des idées ledolciennes et du classicisme français. Nous sommes persuadé qu'il est impossible de traiter le concept de composition dans les exemples russes en le considérant uniquement comme J'imitation aveugle des particularités architecturales de Ledoux. Pour la plupart, les architectes russes n'ont emprunté qu'un assortiment de formes afin de les appliquer à leurs œuvres. L'observation de la Russie ledolcienne des XX" et XX!' siècles permet de voir la renaissance des idées de Ledoux dans l'oeuvre des architectes des XXe et XXI" siècles, à partir d'Ivan Leonidov. L'architecture de Ledoux est revendiquée par toutes les cultures, y compris les cultures révolutionnaires. Cette étude essaie de réunir toutes les informations, à partir de l'influence de Ledoux sur ses contemporains jusqu'à son influence sur nos contemporains.
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Lebedev, Mikhaïl. "Les relations entre la Russie et l'OTAN dans le cadre de la nouvelle architecture de sécurité européenne." Paris 1, 2000. http://www.theses.fr/2000PA010357.
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La thèse est consacrée à l'étude de la genèse et de l'évolution du nouvel ordre sécuritaire de l'après-guerre froide sur l'espace euro-atlantique et à la définition de la place de la Russie dans ce cadre. Elle examine notamment l'établissement et la dynamique des relations entre la Russie et l'OTAN dans le contexte des développements principaux dans le domaine de la sécurité européenne dans les années 90.
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Wilson, Erin Elizabeth. "An Alternative Ancien Régime? Elisabeth Vigée-Lebrun in Russia." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6157.
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In the last few decades interest in the life and work of Elisabeth Vigée-Lebrun has increased significantly, with numerous publications and a retrospective exhibition dedicated to her oeuvre. Yet, while much new and valuable information has been introduced, very little of it deals specifically with the period from 1795-1800 when she lived as an émigré in Saint Petersburg, Russia.
In this thesis I analyze two Russian portraits by Elisabeth Vigée-Lebrun, in relation to two earlier works she painted in Paris, the duchesse d’Orleans (1789) and Marie Antoinette, Queen of France (1783), elucidating the overt similarities to her earlier portraiture practice and exploring the cultural and political climate in which they were created. I argue that the Imperial family as well as the upper echelons of Russian society actively utilized imagery associated with the Ancien Régime to depict a perceived stability at a time when much of Europe was in flux. This political maneuver afforded Vigée-Lebrun the opportunity to live and work in a society similar to the one she left behind in Paris, Russia served thus as a surrogate for Ancien Régime France.
In addition to examining the socio political climate of Russia, I consider portraiture practices in general, noting opposing trends that were developing contemporaneously elsewhere in Europe and review Vigée-Lebrun’s unusual status as an émigré. By contextualizing Princess Anna Alexandrovna Golitsyna and Empress Maria Fyodorovna I provide reasoning for her surprising level of success in Saint Petersburg while simultaneously highlighting the importance of this period in Vigée-Lebrun scholarship.
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Piker, Matthew W. "(re)-Constructivism in Contemporary China." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276952322.
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Urussowa, Janina. "Das neue Moskau : die Stadt der Sowjets im Film 1917-1941 /." Köln : Böhlau Verl, 2004. http://catalogue.bnf.fr/ark:/12148/cb39904171x.
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Texte remanié de: Diss.--Institut für empirische Kulturwissenschaft--Universität Tübingen, 1997. Titre de soutenance : Auf dem Plan und vor der Kamera. Das Bild der sozialistischen Stadt in der sowjetischen Architektur und im sowjetischen Film, 1924-1947.Bibliogr. p. 415-434. Filmogr. p. 407-414. Index.
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Von, Mitschke-Collande Eugénie. "L’architecte-peintre André Beloborodoff, un classique moderne (1886-1965)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040004.
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L’architecte-peintre, scénographe et paysagiste émigré russe André Beloborodoff est un artiste oublié de la première moitié du XXème siècle. Il commence une carrière prestigieuse dans la Saint-Pétersbourg prérévolutionnaire, sous l’égide du renouveau néoclassique. En exil, il a vécu et travaillé à Londres, à Paris et à Rome, où il était connu pour ses vues d’Italie et ses chefs-d’œuvre architecturaux, le château de Caulaincourt en France et la villa Pepoli pour Maurice Sandoz à Rome. L’œuvre extrêmement originale et personnelle est influencée par les divers courants et pays dans lesquels il a vécu : la Russie impériale, la France de l’entre-deux-guerres d’une élite privilégiée, l’Italie artistique fasciste avec le mouvement Novecento mais aussi métaphysique avec ses amis Giorgio De Chirico, Savinio, Dalí et Eugène Berman. L’Italie et le classicisme transcendent son art et son architecture. Il y intègre discrètement la modernité et l’associe au monde surréaliste et onirique. Beloborodoff fait partie d’un petit groupe d’architectes-décorateurs privilégiés au service d’une élite de luxe. Ses égaux sont Emilio Terry, Jean-Charles Moreux, Tomaso Buzzi et Armando Brasini. Eternellement métaphysique, inconnu jusqu’à présent et défendu par Mario Praz, il est un acteur majeur du réalisme magiqueThe Russian émigré architect and painter, stage and garden designer André Beloborodoff is a forgotten artist from the first half of the 20th century. Under the aegis of the neoclassical revival he embarked on a prestigious career in pre-revolutionary Saint Petersburg. In exile he lived and worked in London, Paris and Rome, where he became known for his Italian scenes and his architectural masterpieces, the Château de Caulaincourt in France and the Villa Pepoli for Maurice Sandoz in Rome. His highly original and individualistic work was influenced by the various movements and countries within which he lived: Imperial Russia; the inter-war France of a privileged elite; the artistic, fascist Italy by not only the Novecento movement but also the metaphysical movement with his friends Giorgio de Chirico, Savinio, Dalí and Eugène Berman. Italy and classicism perfuse his art and architecture through his subtle blending of modernity into a surrealistic and dreamlike world. Beloborodoff was part of a small group of privileged architects and interior designers working for an extravagant elite. His peers were Emilio Terry, Jean-Charles Moreux, Tomaso Buzzi and Armando Brasini. Eternally metaphysical, as yet unknown and championed by Mario Praz, he is a major protagonist of magical realism
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Alekseyeva, Anna. "Planning the Soviet everyday : reimagining the city, home and material culture of developed socialism." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:241245c9-e5c1-4f11-8e2c-051b9a601088.
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This thesis explores professional visions for the planning of everyday life during the period of developed socialism. Considering a wide range of disciplinary literature, including architecture, urban planning, design and sociology, this thesis analyses how professionals imagined residential and domestic life in an urbanised and technologically advanced socialist society. Continuing the narrative of Khrushchev’s modernising programme to reform everyday life (byt) into the post-Khrushchev period, the thesis follows professionals of the last two Soviet decades who criticised the rationalising and collectivising planning paradigm inaugurated during the preceding decades. Professionals argued that this paradigm had produced a dehumanised and alienating everyday environment in the city and the home. After setting out the theoretical framework and the historical context of developed socialism, the first empirical section addresses urban residential life. It focuses on the microdistrict planning unit to illustrate how professionals, disillusioned with functionalist planning, searched for ways to humanise the city and adapt it to the behaviours and needs of urban residents. Part two investigates shifting professional views on the home and the everyday processes associated with it, such as cooking and cleaning. No longer seen as a utilitarian space in which everyday processes transpire, the home came to be understood as a personal and emotionally resonant place. Part three focuses on material culture, investigating evolving views on consumption and aesthetics. It illustrates how professionals endeavoured to rehabilitate the object world and align it with populist preferences while nonetheless maintaining a commitment to technological and forward-looking principles. In contributing to the scholarly understanding of developed socialism, this thesis contends that the 1970s-1980s saw experts embrace individual agency and popular sentiments. This turn did not, however, signify a turn towards individualism or de-politicised malaise: professionals maintained their utopian aspirations to engineer and control everyday life.
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Nicoud, Guillaume. "Une galerie issue des Lumières : la galerie impériale de l’Ermitage et la France de Catherine II à Alexandre Ier (1762-1825)." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4015.
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Cette présente étude propose d’éclairer l’apport de la France durant la première étape du développement de la galerie impériale de peintures, qui donna naissance au Musée de l’Ermitage, à Saint-Pétersbourg. C’est durant cette période que se constitue et se sanctuarise, comme nous tenterons de le démontrer, la galerie des souverains russes au sein d’un nouveau complexe palatial adossé au palais d’Hiver – siège du pouvoir –, en un établissement qui prend rapidement le nom – français – d’« ermitage ». Ce travail se divise en trois parties. Après une présentation de l’apport de la France sous Catherine II (1729-1762-1796), à travers l’étude de la construction des bâtiments de l’Ermitage d’une part, et la formation des collections d’autre part, nous traiterons ensuite des règnes de Paul Ier (1754-1796-1801) et surtout de son fils Alexandre Ier (1777-1801-1825), afin de déterminer comment ils ont géré cet héritage, en soulignant ce que ces souverains ont puisé en idées et en œuvres en France. Il reste enfin à établir, dans un troisième temps et au terme de cette première étape de l’évolution de l’Ermitage, comment la France a stimulé la mutation de la galerie impériale en un établissement tendant de plus en plus vers le muséeThis study proposes to clarify the contribution of France during the first stage of development of the Imperial Gallery of Paintings, which gave birth to the State Hermitage Museum, in Saint Petersburg. It is during this period that the gallery of the Russian sovereigns, within a new palatial complex, is gathered, organized and housed immediately just next to the Winter Palace – the seat of power – in an establishment which is quickly given the – French – name, “Hermitage.”This study is divided in three parts. First, the study will present the contribution of France under Catherine the Great (1729-1762-1796), by examining both the construction of the Hermitage’s building and the formation of the collections. Secondly, we will delve into the reigns of Paul I (1754-1796-1801) and especially his son, Alexander the Great (1777-1801-1825), in order to determine how they managed this inheritance, by highlighting how these sovereigns used the ideas and artworks from France. Finally, the study will establish, how, at the end of this first stage of the evolution of the Hermitage, France stimulated the transformation of the Imperial Gallery into an institution whose trajectory arced towards becoming a museum
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Essaïan, Elisabeth. "Le plan général de reconstruction de Moscou de 1935 : la ville, l'architecte et le politique : héritages culturels et pragmatisme économique." Paris 8, 2006. http://www.theses.fr/2006PA083318.
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Cette thèse porte sur le Plan général de reconstruction de Moscou de 1935. Elle analyse ce projet d’urbanisme comme résultant d’héritages culturels antérieurs à la Russie soviétique, qui trouvent leur prolongent grâce à la permanence des acteurs. Elle étudie le processus de fabrication de ce projet en tant que résultat de l’interaction entre l’architecte et le décideur politique. Elle montre l’importance, malgré la dimension symbolique de cette opération, du facteur économique. Enfin, elle met en évidence les décalages entre le projet et sa réalisation effective et analyse les mécanismes d’arrangement du projet à la ville existanteThis thesis deals with the General Reconstruction Plan for Moscow of 1935. This plan is analysed in terms of Russian cultural traditions from before the Soviet period which survived due to the continuity of personnel. The genesis of the plan is studied in terms of the interaction between architects and political leaders. Particular attention is paid to economic factors, despite the symbolic dimension of the operation. Finally, the thesis demonstrates the gap between the proposed plan and its ultimate realisation and analyses the means by which the plan was adapted to the existing city
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Krüger-Stephan, Ulrike. "Ideen zur posttransformativen Stadtentwicklung : untersucht am Diskurs über das Ochta-Zentrum in Sankt Petersburg (Russland)." Master's thesis, Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6270/.
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In den größten Städten Russlands werden aktuell Entwicklungstendenzen sichtbar, welche die Frage nach einem Ende der postsozialistischen Transformation aufwerfen. Ein Beispiel für derartige – posttransformative – Entwicklungstendenzen bildet die Planung und Verwirklichung ikonischer Architekturprojekte. Diese sollen vor allem Innovations- und Wettbewerbsfähigkeit symbolisieren. Vor Ort sind sie aber insbesondere dann umstritten, wenn sie die überkommenen städtebaulichen Traditionen in Frage stellen.
Besonders gut zeigt sich das beim Ochta-Zentrum, einem Geschäfts- und Kulturzentrum mit 400 m hoher Dominante, das nach dem Willen des Gazprom-Konzerns am Rande der historischen Innenstadt Sankt Petersburgs errichtet werden sollte. In der Hochphase der Diskussion beschäftigte das Projekt nicht nur die Stadtbevölkerung, sondern auch die Führungsriege der Russischen Föderation und die UNESCO. Die Analyse des Diskurses über das Ochta-Zentrum ermöglicht daher ebenso Erkenntnisse über Tendenzen der Stadtentwicklung Sankt Petersburgs wie über Strategien der russischen Innen- und Außenpolitik.Recent trends in the development of major Russian cities are raising questions about the end of post-socialist transformation. Post-transformative urban trends have become visible in the context of the planning and realization of iconic architectural projects. Their purpose is to symbolize a capacity for innovation and competitiveness. At the local level, however, they are subject to controversial debates, especially when challenging regional traditions of urban planning. The Okhta-Center, a business and cultural center with a skyscraper reaching a height of 400 m, serves as a good example. The Gazprom Group intended to build the complex at the edge of the historical city center of Saint Petersburg. During the height of the debate the project involved not only the citizens of Saint Petersburg, but also the leadership of the Russian Federation and UNESCO. Analyzing the discourse regarding the Okhta-Center therefore allows insights into current trends of urban development in Saint Petersburg as well as strategies of Russian domestic and foreign policies.
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Nealy, James Allen Jr. "THE METRO METROES: SHAPING SOVIET POST-WAR SUBJECTIVITIES IN THE LENINGRAD UNDERGROUND." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1404224329.
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Dofková, Jekaterina. "Avantgarda 20.-30. let - Praha a Moskva." Doctoral thesis, Vysoké učení technické v Brně. Fakulta architektury, 2016. http://www.nusl.cz/ntk/nusl-242846.
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The relationship between Czech and Russian avantgarde has not been properly examined, therefore the aim of this research was to understand the real facts and uncover “ the blind spots“ connected with the specific development of avantgarde architecture in Czechoslovakia and Soviet Union. A comprehensive and moreless thorough detailed reconstruction of the interwar period has been created with the help of comparative and historiographic analysis. This period used to be interpreted quite contrarily under the political pressure of the Soviet regime. The thesis analyses the influence of the political regime on architecture, determines the reflection of the events in the Soviet Union on the opinions of Czechoslovak architects by means of testimonies about mutual contacts, mutual criticism and cooperation in the sphere of architecture. The thesis brings and concludes new information regarding Czech architects who were designing and working in the Soviet Union. The research is based on archive documents, articles from specialized contemporary magazines and debates between Czech and Russian architects.
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Ya-hui, Chang, and 張雅惠. "The symbolism of ancient Russian church architecture." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/63077105651237606700.
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碩士淡江大學
俄羅斯研究所
89
Russian culture and art, which includes Russian architecture, occupies a prominent place in the world’s cultural heritage. Russian church architecture not only contains the gem of Russian culture and art but also provides an emotional as well as spiritual anchor for the Russian people. Russian church architecture inherits from Byzantine culture and develops into a unique style by bringing into local folk elements. The Russian church is characterized by vivid ethnic elements; their style reflects Russians’character, their ways of thinking and aesthetic standard . The daily lives of the Russian people are closely related with Orthodox Church and churches thereof, of course. The study of ancient Russian churches offers a glimpse into the Russian people’daily lives and promotes the world’s understanding of Orthodox Church and its values. In addition, the undertaking also facilitates exchange and integration between Russian culture and others. The church is the intermedium between human and God . Through the building of the church, human express their dependence on religion in a concrete and complete way. This way, the church, replete with symbolic signs, also becomes a symbolization of culture. Hence, a study of how abstract ideas through concrete architecture languages become symbolic signs of spiritual ideals will contribute to understanding of human culture. Such a study will promote a deeper understanding of the symbolic meaning of ancient Russian church architecture. The present thesis traces the development of ancient Russian church architecture since the introduction of Greek Orthodox in the 10th century to the 16th century. Classic churches of each period, including the wooden church distinctive of northern Russia, will be discussed. The researcher uses the historical method to collect, classify, and sort out data, thereby reconstructing a historical context. In addition, the thesis employs various methods such as comparative study, participant observation, and in-depth interview to achieve an objective and comprehensive analytical and comparative study. Main topics of the study are as follows: (1) the characteristics and meanings of the internal and external structure of ancient Russian church architecture (2) the basic structure of ancient Russian church architecture and its rationale (3) the difference between ancient Russian church architecture and Byzantine church architecture (4) the effect and influence of ancient Russian church architecture on religious and secular life (5) the influence and contribution of ancient Russian church architecture to Russian culture (6) the evolution of ancient Russian church architecture (7) the symbolic meanings of ancient Russian church architecture. For Russians, the church is not simply a religious architecture; it carries profound symbolic meanings. As they see it, the church is a heaven on earth, representing the beauty of the spiritual. The church symbolizes the universe as well as the integrated society; it is the intermedium between man and the universe. Although ancient Russian people did not fully appreciate the symbolism of the church, this was not considered an imperfection. For people of the Middle Age in particular, a clear and explicit concept is not necessary; what matters is the emotional experience. Simply put, what is symbolized is not concrete content or something thatcan be directly understood. Rather, it is an intuitive feeling that a symbolism conveys. Moreover, internal contradiction always exists within the symbolic worldview and lacks a philosophy of the mean. The symbolism was confronted with a watershed during the reign of Ivan IV. when internal contradiction further intensified. Later, the whole symbolism faded out in people’s mind, hence the collapse of the Russian symbolic worldview. To be sure, it is difficult for a foreigner to understand Orthodox Church through its church architecture: there is cultural, ideal difference, not to mention the language barrier. Yet this is the most correct and approachable way, for the soul of Orthodox Church is here, in the church.
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Gachot, Richard. "Nicholas B. Vassilieve : modernism in flight." Thesis, 2007. http://hdl.handle.net/2152/21279.
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Tiagusheva, Tatiana. "Chrám Pokrovu přesvaté Bohorodice Marfo-marijského kláštera v Moskvě." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-408836.
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The subject of the master's thesis is the Church of the Protection of the Mother of God in the Marfo-Mariinsky Convent in Moscow, the early work from 1908-1912, which has not drawn attention in the Czech scientific literature. A special chapter is devoted to the history of the Marfo- Mariinsky Convent, its founder Grand Duchess Elizabeth and her personality and conventual life. The church is described in an analytical way as a specific Gesamtkunstwerk, which unites architecture, interior decoration, sculptural decorations and iconography. The analysis and the interpretation of the church focus on references to the traditional Russian architecture. Two chapters distinctively explain the place, which the church takes in Alexey Viktorovich Shchusev's and Mikhail Vasilyevich Nesterov's numerous works. The thesis contains documents of the church and exterior and interior photos.
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Helal, Bechara. "Les laboratoires de l’architecture : enquête épistémologique sur un paradigme historique." Thèse, 2016. http://hdl.handle.net/1866/19061.
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Si les lieux et les pratiques de l’architecture sont communément décrits par des termes empruntés aux arts (atelier, création, œuvre), la discipline a recours de façon croissante à des termes scientifiques (laboratoire, expérimentation, recherche). Cet intérêt contemporain pour des activités liées à la recherche scientifique se cristallise autour du « laboratoire architectural », une notion aujourd’hui courante dont les premières matérialisations remontent à la fin du XIXe siècle et dont la présence se renforce avec le récent « tournant numérique ». Or ce terme reste aujourd’hui sans définition claire. Qu’est‐ce qu’un « laboratoire architectural »? Quels éléments en constituent‐ils le modèle théorique? Quels sont les enjeux liés à l’émergence de la figure du laboratoire en architecture ? Pourquoi et pour quoi les architectes ont-ils recours à la figure du laboratoire ?
La thèse s’organise en deux grandes parties, chacune structurée autour d’une série de questions complémentaires dans le but de rendre compte de la façon la plus complète de la nature du laboratoire architectural. La première partie apporte un éclairage historique sur la création de la figure du laboratoire architectural et se conclut sur une explicitation des grands éléments constitutifs d’un modèle du laboratoire architectural. Les cas étudiés sont le Architectural Laboratory du Massachusetts Institute of Technology (MIT), les nombreux laboratoires architecturaux des avant-gardes russes des années 1920, et le cas remarquable qu’est le Laboratory for Design Correlation fondé et dirigé par Frederick Kiesler à l’Université Columbia (1937–1942). Cette étude de cas se conclut sur la formulation des trois grands éléments constitutifs d’un modèle du laboratoire architectural qui sont 1. l’instrumentation matérielle, 2. la méthode de travail, et 3. les échanges sociaux. La seconde partie explicite chacun de ces trois axes en montrant de quelle manière ils ont structuré trois grandes catégories de laboratoires architecturaux, soit 1. le laboratoire comme ensemble d’instruments, 2. le laboratoire comme application d’une méthode et 3. le laboratoire comme flux d’échanges sociaux. La conclusion de la thèse traite des multiples enjeux que soulève le laboratoire architectural en abordant celui-ci dans sa relation à la discipline et hors de la discipline et se clôt sur la formulation d’un modèle théorique du laboratoire architectural.
A travers l’explicitation de ce qui apparait comme un « paradigme du laboratoire », cette recherche épistémologique se veut une contribution à la théorisation de l’architecture contemporaine.Architectural sites and practices are commonly described in terms borrowed from the arts (studio, creation, masterpiece) and yet, the architectural field relies increasingly on scientific terms (laboratory experimentation, research). This contemporary interest in activities related to scientific research appears to coalesce around the now common notion of "architectural laboratory". Its first materialization dates back to the late nineteenth century and its presence has greatly increased since the recent "digital turn", although this term remains, to this day, still not properly defined. What is an "architectural laboratory"? What elements form its theoretical model? What are the issues related to the emergence of the figure of the "architectural laboratory"? Why and for what purpose do architects refer to the figure of the laboratory? The thesis is organized into two parts, each part being structured around a series of additional questions in order to access the complex nature of the architectural laboratory. The first section provides a historical perspective on the appearance of the figure of the architectural laboratory and concludes with an analysis of the major components of the architectural laboratory model. The case studies are the Architectural Laboratory of the Massachusetts Institute of Technology (MIT), the numerous architectural laboratories of the 1920s Russian avant-gardes and the remarkable case that is the Laboratory for Design Correlation founded and directed by Frederick J. Kiesler at Columbia University (1937–1942). This case study results in the formulation of the three major components of a model of architectural laboratory: 1. the material instrumentation, 2. the working method, and 3. the social exchanges. The second part will clarify each of these three axes, showing how they have structured three major categories of architectural laboratories, being 1. the laboratory as a set of instruments, 2. the laboratory as application of a method, and 3. the laboratory as social exchange flows. The conclusion of the thesis tackles the multiple issues raised by the architectural laboratory by considering the impact of this notion both within the discipline of architecture and outside of its limits. The thesis concludes with the formulation of a theoretical model of the architectural laboratory. Through the clarification of what appears to be a "paradigm of the laboratory", this epistemological research is a contribution to the theory of contemporary architecture.
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Górzyński, Makary. "Miasto, społeczeństwo, przyszłość: architektura i przestrzenie nowoczesności Kalisza przełomu XIX-XX wieku." Doctoral thesis, 2019. https://depotuw.ceon.pl/handle/item/3586.
Full textAbstract:
Przedmiotem pracy są przemiany urbanistyczne, nowa architektura publiczna i dyskusje o rozwoju Kalisza
w okresie rosyjskiej dominacji politycznej w Królestwie Polskim po powstaniu styczniowym, przerwane przez wybuch I wojny światowej. Celem dysertacji jest analiza polityki władz gubernialnych, magistratu oraz aktorów społecznych takich jak stowarzyszenia czy organizacje społeczno-kulturalno-gospodarcze względem rozwoju
i modernizacji tego wieloetnicznego miasta na pograniczy imperiów rosyjskiego i niemieckiego. Prezentacja
i analiza zebranego materiału historycznego – opartego o rosyjskojęzyczne archiwa administracji cywilnej, bogate źródła drukowane, kwerendę prasową, kolekcje rysunków architektonicznych, map, planów i ikonografii – została ułożona wedle klucza chronologiczno-problemowego. Układ rozdziałów wyznaczają przemiany polityczne w rządzeniu miastem z perspektywy działań gubernatorów i mianowanych przez nich prezydentów, kierujących magistratami – zestawione z procesami zmieniających się horyzontów gospodarczych czy demo-graficznych rozwoju urbanistycznego Kalisza przełomu stuleci. W opracowaniu zawarto zarówno szereg pytań i zagadnień metodologicznych historii architektury, dotyczących problemów badania procesów nowoczesności. Obejmują one inspiracje praktyką badawczą „Teorii Aktora-Sieci” w odniesieniu do architektury, przewartościowania w stosowaniu kategorii „historyzmu” do analizy architektury, jak i włączenie w perspektywę metodologiczną inspiracji krytyką postkolonialną w kontekście ziem polskich pod zaborami. Po przedstawieniu stanu zabudowy i kształtu urbanistycznego Kalisza w początkach omawianego okresu oraz scharakteryzowaniu kierunków postyczniowych reform administracyjnych, struktury demograficznej i społecznej populacji miasta kolejny rozdział wstępny zawiera charakterystykę miejscowego środowiska architektonicznego i rynku budowlanego. Część analityczna pracy przedstawia główne inwestycje miejskie, budowle publiczne i przemiany przestrzeni publicznych Kalisza w latach ok. 1870-1914. Omawiane są między innymi: przebudowa ulic i placów miasta w latach siedemdziesiątych, połączona z budową sieci gazowej, rozbudowa Kalisza i kwestie powstania nowej dzielnicy na Piskorzewiu, inicjatywy budowy wodociągów i kanalizacji, kierunki debat o higienie publicznej i higienizacji przestrzeni, kampania budowy gmachów publicznych w latach osiemdziesiątych takich jak odwach, strażnica pożarowa czy rzeźnia. Kluczowe znaczenie w analizie zajmują debaty publiczne o nowym ratuszu, teatrze czy przemianach przestrzeni zielonych – skwerów, promenad a także parku, jak i sprawa budowy reprezentacyjnego soboru prawosławnego i procesy zawłaszczania przez administrację gubernialną, kierowaną przez wpływowego Michaiła Daragana, miejskich projektów – ratusza czy teatru. Przedmiotem analizy jest też wpływ budowy sieci kolejowej w guberni kaliskiej na rozwój miasta oraz kontrast między ambicjami wielkomiejskimi jego elit a kryzysem mieszkaniowym i budowlanym jaki spowodowała spekulacja gruntami w okresie budowy połączenia kolejowego z Łodzią i Warszawą (1898-1902). W zmienionych warunkach gospodarczych i politycznych początków XX wieku (kolej, kryzysy gospodarcze i polityczne, rewolucja 1905-1907) doszło do analizowanego w pracy powiększenia granic Kalisza (1906), opracowania projektu jego urbanistycznego zagospodarowania i przebudowy, w pewnym stopniu wcielonego w życie. Dysertacja omawia też działania stowarzyszeń i organizacji w tworzeniu własnych centrów życia publicznego i kreowania wzorców architektonicznej oraz urbanistycznej nowoczesności przed Wielką Wojną, w okresie, w którym cele polityki partyjnej mieszały się z osobistymi interesami oraz aspiracjami do stworzenia z Kalisza wielkomiejskiego ośrodka handlowego i cywilizacyjnego. Stan miasta w 1914 roku oraz bilans postyczniowego półwiecza przedstawia część podsumowująca.The aim of this dissertation is to examine the urban development, construction of the new public architecture and discussions regarding modernization of the Polish provincial town of Kalisz at the turn of the nineteenth and twentieth centuries. The time scope of the study is limited to the period following the suppression of the Polish January Uprising against Russian Empire (1864-1864) and the outbreak of the Great War in 1914. It describes the development of an emerging industrial city, located on the western outskirts of the Russian Empire, within the Polish Kingdom. This work seeks to depict the dynamics of the urban politics of the Russian imperial administration (governorate agendas in Kalisz), the local municipal administration (magistrat) and important actors of the social life, namely the major Kalisz’s societies promoting the agenda of modernization and urban change. The importance of the case study of Kalisz lies not only in its urban history (an emerging industrial town that trippled its population from the 1900s to the 1914, reaching ca. 65 000 inhabitants), but also in the political, ethnic, economic or national variety of its social life, based on the local Polish, Jewish, German or Russian populations, all acting under the Russian imperial regime. Stucture of this dissertation comprises of three parts: methodological and historical introduction, followed by the main block of detailed analysis of the aforementioned urban issues and finally, closing remarks. Author discusses improvements in public infrastructure, debates and initiatives regarding urban planning, emerging discourses of the public higiene, including its impact on private and public architecture. Among the main architectural projects of crucial importance to this work are the new town hall (1887-1891), the municipal theater (1895-1900), modernization of the municipal gardens, or several new building types introduced to Kalisz during the 1900s by the several cultural, financial or educational societies (like buildings for a public bath or a modern, co-educational school). Also the Warsaw-Lodz-Kalisz railway project is discussed in detail, offering interpretation of its impact on the Kalisz’s urban growth and changes in urban space and social life. Relevant points of methodological reference to this work include the Albena Yaneva’s and Bruno Latour’s proposals to apply inspirations of the Actor-Network Theory to architectural history, postcolonial studies and the network of the ‘spatial turn’ practices in the recent architectural history. Dissertation is based on a wide range of archival files of the nineteenth-century Russian administration in the Polish Kingdom, various, mostly Polish press sources from the period and collections of architectural drawings, maps and imposing database of historical iconography, including reproductions of photographs, postcards, drawings documenting or depicting Kalisz from the period.
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Porzilli, Sara. "Rilevare l’architettura in legno. Protocolli metodologici per la documentazione delle architetture tradizionali nel Nord Europa. I casi studio dei villaggi careliani in Russia." Doctoral thesis, 2015. http://hdl.handle.net/2158/990007.
Full textAbstract:
Abstract/ITA
La tesi di dottorato proposta vuole esplicitamente affrontare il tema delle metodologie di rilievo e rappresentazione per la documentazione e l’analisi dell’architettura in legno. La ricerca è stata condotta non solo affrontando il tematica da un punto di vista pratico o semplicemente operativo, ma ha voluto approfondire le attività di ricognizione e studio per la comprensione del luogo, del genius loci, delle tradizioni e della vita di questi contesti. La ricerca proposta vuole esplicitamente affrontare la trattazione del tema dell’architettura in legno con un duplice approccio: di tipo teorico e di tipo operativo metodologico, per poter definire e sviluppare sistemi rappresentativi adeguati allo studio delle opere lignee. La tesi è composta da tre parti, più una quarta dedicata alle conclusioni. La prima affronta le tematiche relative al costruire in legno considerando il tema da un punto di vista teorico, relazionato al dibattito di natura filosofica sul concetto di ”capanna primitiva”, offrendo una panoramica sulle principali teorie sostenute da personaggi illustri come Vitruvio, Laugier, Semper e Rykwert fino ad arrivare ai nostri giorni e riguardando l’architettura del legno da un punto di vista tecnologico, legato alla definizione delle caratteristiche generali del materiale e all’individuazione delle principali tecniche costruttive. In questa parte sono presentate le diverse tradizioni architettoniche presenti nei paesi del Nord Europa, proponendo un panorama di esempi e documentazioni di architetture in legno. La seconda parte è dedicata nello specifico all’area di studio della Carelia (Federazione Russa), con un approccio metodologioco che va dal generale (inquadramento territoriale, sociale e paesaggistico) al particolare (introduzione alle metodologie operative di studio e presentazione dei casi analizzati). Nella terza parte vengono illustrate le diverse metodologie di rilevamento e le procedure necessarie per svolgere le diverse indagini, presentando i villaggi careliani scelti come aree campione per lo sviluppo delle metodologie di analisi e i risultati ottenuti su ciascun caso studio in base alle finalità descrittive stabilite. La quarta parte, dedicata alle conclusioni, vuole fondere gli aspetti teorici approfonditi con i risultati pratici e tecnici ottenuti dalle attività di rilievo e rappresentazione; vengono tracciate le linee guida per lo sviluppo di protocolli metodologici atti alla documentazione, analisi, rappresentazione e gestione sul patrimonio territoriale e architettonico della Carelia. Il principale contributo che questa ricerca vuole offrire è lo sviluppo e l’elaborazione di procedure scientifiche, tecniche e operative, per la documentazione di strutture in legno, maturate grazie alle esperienze condotte sui villaggi lignei tradizionali in Carelia all’interno del progetto europeo Wooden Architecture. La ricerca pone le basi per determinare le modalità di esecuzione dell’indagine, individuando gli aspetti fondamentali per l’analisi e per il censimento di sistemi complessi. E’ stato elaborato un confronto tra modelli culturali che ha permesso di considerare gli elementi principali del rilievo, della rappresentazione dell’architettura e dell’ambiente in un percorso dove la ricerca teorica abbraccia la sperimentazione pratica e viceversa con l’intento di stabilire le linee guida fondamentali per il rilievo dell’architettura in legno.
Abstract/ENG
The doctoral thesis proposal originally wanted to address the issues of how-to-do research on wooden buildings, a comparison and analysis not only practical matters or simply linked to detection techniques, but also going deeper to know the place, in the sense of understanding of genius loci, the traditions, the life that exists around and inside these contexts.
The thesis consists of two main section: a theoretical and a practical approach, their interaction and meeting with the practice. The index structure of the thesis is mainly composed of three parts, plus a fourth part devoted to conclusions. The first part deals with the general characteristics and aspects related to wooden architecture. In Chapter 1 deals with the theoretical discourse of the concept of “primitive hut” offering a wide scenery of the main theories or historical thesis supported by the great personalities of architecture, from Vitruvius, Laugier, Semper Ryckwert until a reflection on modern age. Chapter two, however, approaches the topic from a technological point of view and more related to the investigation on the wooden material, its characteristics from a static point of view and structural, on the positive and negative aspects related to its use within construction. The third chapter is devoted to the illustration of the different traditions of wooden architecture in several European countries, offering a wide panorama of cases and examples of architecture and building techniques peculiar to different geographical areas. The second part, aims to introduce the research area, entering into specific in the context of architecture in Northern Europe, particularly in Karelia. Starting from the description of the aspects of a general nature, landscape and environment, you get to have a detailed knowledge about the architecture of wood in this particular context.
The third part is the most scientific and technical, which are addressed in the different survey methods of detection, direct, indirect, laser scanners, photo modeling, illustrating the specific procedures necessary to carry out this type of investigation and presenting the results according to stated purposes. The discussion of these topics ranges from technical explanations and case studies to practical matters in which it is possible to have a direct feedback and interaction between practical and theoretical approaches. The fourth part, combines and blends the more theoretical aspects of the opening chapters with the practical part of the subsequent chapters. Drawn from the global experience there are offered excellent considerations which are made of the theoretical study and archive research and practical experience of evaluation and validation of the research objects. Research-theory-practice triangle always offers new insights into the world of wooden architecture. The main, important contribution that this research has investigated is the development and elaboration of scientific-technical and operational protocols and tools for the documentation of wooden structures. Understanding how the survey should be performed, locating the primary aspects fundamental to the analysis at the moment when one is confronted with wooden artifacts. To develop the census system, filing with which to define the descriptions useful for the technician who may devote attention to architecture. When this part is well taken care of, also the value assessment of wooden architecture becomes easier.