Dissertations / Theses on the topic 'Tadao Ando'

La ricerca ha l’intento di cercare di comprendere come l'architetto giapponese Tadao Ando, proveniente da una formazione autodidatta, da una cultura orientale e da una realtà in cui solo architetti con una specifica formazione possono intervenire su architetture vincolate dalla locale Legge sulla Tutela dei Beni Culturali, si approcci ad una materia di certo per lui nuova, realizzando progetti su edifici dichiarati di interesse dal Ministero dei Beni Culturali o da istituzioni equivalenti. Quindi comprendere, in modo specifico, con quale spirito e/o con quale filosofia Tadao Ando ha approcciato i progetti di restauro su edifici esistenti e quale sforzo interiore ha dovuto affrontare per adeguare la sua idea istintiva ai vincoli storici, culturali, paesaggistici e urbanistici, propri della nostra nazione. Operando, inoltre, in un Paese nel quale l’architettura costituisce una parte cospicua della memoria solida dell’umanità e il recupero dell’esistente patrimonio architettonico è uno degli elementi fondamentali che lega la comunità al territorio, il passato al presente, garantendo a quest’ultimo il futuro; in un Paese nel quale le architetture contemporanee devono, o avrebbero dovuto, dialogare in modo armonico con il preesistente. Per analizzare il suo “modus operandi” si studiano e analizzano tutte le opere che l’architetto ha realizzato o sta realizzando in Italia su edifici di interesse storico-architettonico, tenendo sempre presenti, oltre agli aspetti culturali, anche gli obiettivi della committenza, lo stato di fatto delle architetture oggetto di intervento, l'analisi delle scelte progettuali iniziali, l'indagine di tutti i cambiamenti avvenuti nel corso della progettazione e dell’esecuzione dell’opera e i rapporti che intercorrono tra l’architetto e le Soprintendenze, al fine di comprendere le circostanze in base alle quali Tadao Ando abbia avviato le sue riflessioni progettuali su edifici “antichi”; sulle quali egli è stato in grado di relazionare la sua architettura con l’architettura l’"antica".

Submitted by Isaac Francisco de Souza Dias (isaac.souzadias@ufpe.br) on 2016-06-30T18:10:37Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERTAÇÃO Walkyria Tsutsumi Ferreira Coutinho.pdf: 9876492 bytes, checksum: 742baf97ee9922210070d80a3009cea5 (MD5)
Made available in DSpace on 2016-06-30T18:10:37Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERTAÇÃO Walkyria Tsutsumi Ferreira Coutinho.pdf: 9876492 bytes, checksum: 742baf97ee9922210070d80a3009cea5 (MD5) Previous issue date: 2015-09-15
FACEPE
O presente estudo visa compreender o conceito Ma, inerente na cultura oriental japonesa e identificar os possíveis espaços que caracterizariam esse conceito na produção arquitetônica de Tadao Ando, através do estudo acerca dessa cultura e das distintas abordagens sobre o Ma, como dito por Ando (2000): Arquitetos japoneses, a exemplo de Ito Yotaro, Kiwari – Module of Traditional Japanese Architecture, 1961; Isozaki Arata, Ma – nijunen ato no kikanten, (MA – Twenty Years On) e Kenmochi Takehiko, usam o termo Ma tanto para indicar o espaço físico quanto uma espécie de espaço-tempo. A espacialidade Ma parece ser de frágil visualidade, mas eminentemente comunicativa, ao convidar não só à participação perceptiva do ser humano que vivencia a espacialidade, mas também sua memória e seu pensamento, pela relação do homem com a sociedade e a cultura. (MICHIKO, 2007: p. 84). O sentido japonês do Ma não é algo criado por uma composição de elementos, é algo que toma lugar no imaginário do ser humano à medida que experimenta o vazio arquitetônico gerado pela composição desses elementos. A existência de um conceito exclusivo da cultura oriental e intrínseco a vários gêneros artísticos instigaram a investigação sobre esse tema. A partir de teorias ocidentais que auxiliassem a compreensão do espaço arquitetônico, o presente trabalho busca compreender o conceito Ma e aproximar as distintas culturas. Com esse objetivo de compreender propriamente o conceito do Ma em arquitetura e estudá-lo através do método cientifico, foram analisadas obras do arquiteto contemporâneo Tadao Ando com o fim de exemplificar as possíveis espacialidades Ma presentes nessas obras.
This study aims to comprehend the concept of Ma, inherent in the japanese culture, and to identify possible spaces that could characterize this concept in Tadao Ando’s architectural production, through the study about this culture and from different approaches about Ma, as said by Tadao Ando (2000): Japanese architects, as Ito Yotaro, Kiwari - Module of traditional Japanese Architecture, 1961;Isozaki Arata, Ma – nijunen ato no kikanten, (MA – Twenty Years On) and Kenmochi Takehiko, use the term Ma to indicate physical space and also a kind of space-time. The spatiality of Ma seems to be of a fragile visualization, but eminently communicative, when invites not only to the perceptive participation of human being that lives the spatiality, but also your memory and your thought, through the relationship between man, society and culture. (MICHIKO, 2007: p. 84). The Japanese sense of Ma is not something created by a composition of elements, it is something that takes place in the imaginary of human being as he experience the architectural void created by the composition of these elements. The existence of an exclusive concept of the eastern culture and intrinsic of various artistic genders instigated the inquiry about this theme. From the western theories that assisted the understanding of the architectural void, this dissertation seeks to comprehend the concept of Ma and approximate these different cultures. With this objective of properly comprehend the concept of Ma in architecture and study it through the scientific method, different works of the contemporary architect Tadao Ando were studied in order to exemplify possible spatialities of Ma present in these works.

Este estudo propõe uma leitura sobre a poética arquitetônica nas obras de Luis Barragán, Alvaro Siza e Tadao Ando, a partir do elo que estabelecem no binômio construção-natureza.Tomando de suas produções projetos emblemáticos dessa relação, encontramos \"lugares arquitetônicos puros\" (HUET, 1979) que restituem o caráter ontológico da disciplina ao evocarem, nessa fronteira última da arquitetura, questões primordiais da existência humana. No diálogo que propõem entre localidade e síntese moderna, essas \"construções do lugar\" nos revelam, mais do que posturas críticas, inquietudes - ou obsessões - de seus criadores, as quais se concretizam na experiência fenomenológica das obras, por meio da \"desmaterialização\" da própria arquitetura.Barragán, em Los Clubes (1964-1968) - Cuadra San Cristóbal e a Fuente de los Amantes -, impõe agudos contrastes à paisagem para então dissolvê-los, numa \"realidade fantástica\" que consuma a improvável comunhão entre fé católica e desejo erótico; na Piscina de Leça da Palmeira Siza narra o retorno do Homem à Natureza, num \"discurso da técnica\" que desfaz, no caminho entre a cidade e a praia, o muro de concreto em areia e pedra; no Templo da Água, Tadao Ando estabelece um percurso do profano ao sagrado - da razão ocidental à espiritualidade oriental -, pela transmutação simbólica da forma geométrica, regida por vazios radicalmente disponíveis (Ma).Cada capítulo circunscreve individualmente um arquiteto e sua obra por meio de três aproximações sequenciais: inicia com as impressões da visita à obra; passa a pela genealogia da imaginação e formação da linguagem; e fecha o ciclo retornando ao projeto, analisado a partir dos desenhos e dos dados coletados ao longo da pesquisa. Pretendemos, assim, criar uma ponte entre o desígnio projetivo e a expressão obra, para identificar, nesse trajeto, os recursos poético-arquitetônicos utilizados. Na conclusão, são gerados cruzamentos horizontais entre as diferentes manifestações desses recursos nas obras - percurso, muro, água, luz etc. - como tentativa de contribuir para o léxico poético da disciplina.
This study proposes a reading of architectural poetics on the works of Luis Barragán, Alvaro Siza and Tadao Ando, departing from the link that each of them establish on the binomal construction-nature. Considering among their productions the emblematic projects of such a relationship, we can find pure architectonic places (HUET, 1979) that restore the ontological character of the discipline, evoking, through this last frontier of architecture, universal issues of the human existence. In the dialogue they propose between place and modern synthesis, those \"site constructions\" thus reveal rather than critic positions, but basic and primordial disquietudes - or obsessions - from their creators. Those disquietudes become concrete in the phenomenological experience of the place, in the very same \"dematerialization\" of architecture.Barragán, in Los Clubes (1964-1968) - Cuadra San Cristóbal and Fuente de los Amantes -, imposes sharp contrasts to the landscape to then dissolve them in a \"fantastic reality\" that consummates the unlikely match between catholic faith and erotic desire; in Leça da Palmeira Swimming Pool, Siza tells, by a \"technical speech\", the return of Man towards Nature, in a liturgic procedure that undoes, between the city and the beach, the concrete wall into sand and stone; on the Water Temple, Tadao Ando establishes a path from the profane towards the sacred - from the occidental reasoning to the oriental spirituality -, through the symbolic transmutation of the form along radically available spaces (Ma). Each chapter individually circumscribes one architect and his work through three sequential proxies: it begins with the impressions obtained in site visits; then goes through a genealogy of the imagination and the formation of the language; and closes the circle returning to the project, aproached through the drawings and data collected during the research. The goal then, is to create a bridge between the project intentions and the expression of the work, to identify, along this path, the poetic architectural resources that were used. In the conclusion, horizontal crossings are created between different expressions of those resources on the constructions - pathway, wall, water, light etc. - as a way to try to contribute to the poetic lexicon of the discipline.

Dans cette thèse, nous avons étudié l'attitude de deux architectes contemporains japonais face au "désordre" de la ville nippone, c'est-a-dire face aux bouleversements provoques par la modernité sur le tissu urbain traditionnel. Notre choix s'est porte sur Tadao Ando et Shin Takamatsu car ils illustraient, d’après nous, deux positions très différentes : recherche d'un ordre perdu pour l'un et accentuation du "chaos" pour l'autre. Dépassant leurs divergence apparentes, l'objectif a été de montrer que leurs recherches architecturales, le rapport entre leurs bâtiments et leurs sites et le rapport a la tradition reflétaient de maniéré plus ou moins antagoniste la relation entre la société japonaise et son environnement (le milieu). Plus globalement, ce travail nous a amenés a conclure que : "les formes urbaines et architecturales dans un pays donne et a une époque donnée sont étroitement liées a la relation qu'entretient la société de ce pays avec son environnement". Face au "désordre" urbain actuel, nous soulignons l'importance de réévaluer la suprématie du bâtiment sur son environnement.

Esta dissertação consiste em um estudo sobre os museus infantis, buscando identificar e analisar um conjunto de questões contemporâneas que hoje participam do ambiente museal. Para a exploração das implicações arquitetônicas desta proposta museológica, foram selecionados três edifícios projetados para abrigar museus infantis: Kodomo no Yakata, de Tadao Ando, no Japão, Lied Discovery Children’s Museum, de Antoine Predock, nos Estados Unidos; e Papalote Museo del Niño, de Ricardo Legorreta, no México.

9 maja bieżącego roku minęło 100 lat od dnia urodzin wybitnego literaturoznawcy, historyka, poety, publicysty, bibliografa, tłumacza – Władysława Abramowicza, którego imię dziś jest nieco zapomniane, bądź zupełnie nieznane. Nikt dotychczas nie napisał obszerniejszej pracy, poświęconej życiu i twórczości danej osoby. Z tego powodu temat swojej pracy sformułowałam następująco:„Władysław Abramowicz. Próba zarysu monograficznego”. Celem danej rozprawy jest próba wydobycia z zapomnienia człowieka, który swoim talentem i pracą przyczynił się do rozwoju kultury i literatury polskiej oraz litewskiej. Praca składa się z czterech rozdziałów. Rozdział I: „Biografia Władysława Abramowicza (1909-1965)”. Rozdział ten zawiera życiorys i krótko zarysowuje działalność i twórczość tego wszechstronnego człowieka. Rozdział II: „Od „świtania myśli” do regionalizmu. Poezja Władysława Abramowicza” - zawiera analizę i interpretację wierszy ze zbiorków: „Świtanie myśli” i „Regjonalne” Rozdział III: „Publicystyka i książki popularnonaukowe”. Ten rozdział przedstawia artykuły i książki napisane przez Abramowicza. Rozdział IV: „Władysław Abramowicz jako tłumacz”. Zawiera przykłady wierszy i prozy litewskich poetów, przełożonych przez Abramowicza na język polski. W zakończeniu danej rozprawy można zrobić następujące wnioski. Władysław Abramowicz to poeta, prozaik, publicysta, który ani za życia, ani po śmierci nie był zauważony. Dziś jego imię znane i kojarzone jest tylko z Biblioteką AN, w której... [toliau žr. visą tekstą]
Šių metų gegužės 9-tą dieną savo 100-asiąs gimimo metines atšventė bibliografas, poetas, publicistas, vertėjas - Vladas Abramavičius, kurio vardas šiandien yra ne tik užmirštas, bet ir visiškai nežinomas. Iki šiol niekas neparašė išsamaus darbo apie šio asmens gyvenimą ir kūrybą. Būtent dėl šios priežasties ir buvo pasirinkta tokia magistrinio darbo tema: „Vladas Abramavičius. Monografinė apybraiža“. Pagrindinis šio darbo tikslas buvo „ištraukti” iš užmaršties žmogų, kuris savo talentu ir darbu prisidėjo prie lietuvių ir lenkų kultūros ir literatūros vystymosi. Darbas susideda iš keturių skyrių. Pirmame skyriuje: „Vlado Abramavičiaus biografija (1909-1965)“, trumpai aprašyta šio asmens biografija ir supažindinama su jo veikla ir kūryba. Antrame skyriuje: „Nuo „minties brėkšmės” iki regionalizmo. Vlado Abramavičiaus poezija“, analizuojami jo vieninteliai du eilėraščių rinkiniai parašyti lenkų kalba: „Minties brėkšmė“ (Świtanie myśli) (1930) ir „Regioninė“ (Regjonalne) (1933). Trečias skyrius: „Publicistika ir mokslo-populiariosios knygos“ skirtas apžvelgti Vlado Abramavičiaus parašytus straipsnius ir knygas. Paskutinis skyrius: „Vladas Abramavičius kaip vertėjas“, kuriame pristatyti Abramavičiaus versti lietuvių rašytojų eilėraščiai ir proza į lenkų kalbą. Darbo pabaigoje buvo padarytos tokios išvados. Vladas Abramavičius tai poetas, prozaikas, publicistas, kuris nei būdamas gyvas, nei po mirties nebuvo pastebėtas. Šiandien jo vardas žinomas ir siejamas tik su Mokslų... [toliau žr. visą tekstą]
On 9th of May 2009 bibliographer, poet, publicist and translator Vladas Abramavičius, whose name is not only forgotten, but also is absolutely unknown, has celebrated his 100th birthday. Until now no one has publicized detailed work about his life and oeuvre. For this reason „Valdas Abramavičius. Monographic outline” was chosen as the theme of this thesis. Main objective of the thesis was to remember man who contributed to the evolution of Lithuanian and Polish culture and literature with his talent. Thesis contains four main parts. First chapter „Biography of Vladas Abramavičius (1909 – 1965)” outlines biography and introduces his work and oeuvre. Second chapter „Form the “dawn of the thought” till regionalism. Poetry of Vladas Abramavičius” analyses two (which were ever published) Polish poetry selection books „Dawn of the thought” (Świtanie myśli) (1930) and „Regional” (Regjonalne) (1933) Third chapter „Opinion journalism and popular science books” presents review of articles and books written by Vladas Abramavičius. Last chapter „Vladas Abramavičius as translator” overviews Lithuanian authors prose and verse translations into Polish. Following conclusions have been made: Vladas Adamavičius as poet, prosaist and publicist has not been recognized nor during his lifetime nor after his death. Nowadays his name is being associated with The Library of the Lithuanian Academy of Sciences, where he had been working for 25 years as head of Manuscripts Department. The... [to full text]

The health of the environment is integral to the health and wellbeing of the people. When the balance between Atua, whenua and tangata is disrupted, desecrated, disturbed or violated, it can have a detrimental impact on these relationships. This research study explored alternative indigenous paradigms for conceptualizing an environmental health framework that would improve the potency and health of all living things. A key question of the research study was to explore how Ngati Kuri sought to strengthen their relationship and connection with the natural world. The Hapu established Te Tai O Marokura health and social services as a vehicle to improve potency: healthy environments, healthy people. The specificity of Ngati Kuri experiences provided a broader context for researching and theorizing about restorative models that utilized traditional knowledge localized to a particular area. Another key question was to examine how Maori cultural values that were embedded within a worldview, could offer insights and constructs for new ways of being and thinking in the modern world. Kaupapa Maori philosophical positioning and theorizing informed the approaches and practices underpinning the study. The key aspects of the methodology were constructed around the tikanga principles of tinorangatiratanga, whakapapa and kaitiakitanga to provide a rationale for the collaboration formed with the Hapu. At the heart of the thesis is the validity given to the collective ownership of indigenous knowledge which challenges the fictional notion of a singular, temporally bound authorship. The thesis reflects the whakawhanaungatanga (reciprocal understanding) relationship between the Tuakana represented by Miriama Kahu and the Teina, Benita Wakefield working collaboratively with the Kaitiaki construct group formed to ensure that the use of indigenous knowledge and its transmission processes had honest transparency. The Tuakana was responsible for providing guidance, wisdom and mentoring to the Teina, the enrolled academic student responsible for producing the written thesis. These innovative collaborative Kaupapa Maori methods and practices in the study have tested the boundaries of conventional doctoral processes, breaking university academic regulations and challenging the western academy in the political nature of collective knowledge production and validity of indigenous knowledge. Qualitative and quantitative processes, approaches and methods were also utilized to inform the study and to ensure reflexivity of research practices. The key findings of the study were: • Improving potency requires a depth of intimacy and connection with all living things that involves a reciprocal understanding of the relationship between Atua, whenua and tangata. • Indigenous knowledge is localized to a spatial area and embedded within a worldview that validates and affirms cultural values and beliefs which continue to have relevance in more contemporary times. • The transformative nature of alternative indigenous paradigms must encompass the totality of creation, humanity and their genealogical and inter-generational linkages to all life. A major contribution of this PhD has been to create new knowledge, ways of thinking and meaning for restoring potency through the environmental health conceptual framework grounded in cultural and spiritual values. The specific focus on Ngati Kuri traditional knowledge authentic to the Hapu and their application, has significantly contributed towards constructing alternative indigenous approaches for meeting the challenges within the modern world.

The field of our study is Francophone African Literature and this thesis explores the themes of marginality and grief both experienced by Princess Akissi in The Blind Kingdom and Princess Pokou in Queen Pokou (2004) during their rise to power in their respective kingdoms. The two novels written by Véronique Tadjo from Ivory Coast, are subjected to thematic analysis because they are both based on similar storylines - that of conflict and rivalry within kingdoms resulting in the exile of the two princesses. One of the novels is set in a pre-colonial period while the other is set in a postcolonial era. Queen Pokou, winner of the 2005 Grand Prix Littéraire d’Afrique Noire (which is the most distinguished prize in Francophone African literature), is a retelling of the founding myths of the Baoulé people of Ivory Coast. In her literary texts, Tadjo transgresses the original legend and her reconstruction of this legend is significant because it challenges the ritual sacrifice made by Princess Pokou in order to free her people and to become queen. In The Blind Kingdom (1990), Tadjo highlights the corruption and injustice of the ruling elite. Space is used to reinforce the King’s domination thus a revolution is necessary to overthrow the exploitative power structures in place. The revolution that takes place relies heavily on the participation of Karim and especially on Princess Akissi who chooses to rebel against her father, King Ato IV in order to stop injustice. This thematic analysis, supported by semiotic theory, aims to establish and demonstrate the relationship between marginality of the two princesses, in particular, and their subsequent grief. It sheds light on the reasons for their exclusion from power as well as the nature of the conflicts that occur as they rise to power. The study postulates that certain myths and images are evoked by the novelist to symbolise the exclusion of the two princesses from power.

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2018
Exame público realizado em 4 de Junho de 2018
A presente dissertação retrata uma investigação teórica ao universo arquitetónico tradicional japonês, procurando adquirir os recursos necessários para comprovar que a concretização prática da obra de Ando surge através das permissas teóricas analisadas. São desse modo encetadas minuciosas indagações, em primeiro lugar ao universo cultural Japonês: inquirindo as suas origens; filosifia, religião e artes, cimentando as proposições do pensamento, acções e motivações do seu povo e, subsequentemente, ao universo arquitetónico: analisando a casa de chá, templos e jardins, figurando a concepção do espaço como elemento intrinseco dos fundamentos tradicionais japoneses. A última temática considerada funde um exame metódico há vida de Tadao Ando, descrevendo o seu percurso e mencionando o seu tributo laboral à arquitetura contemporanea, demonstrada pela génese de várias obras paradigmáticas que magistralmente perpetuou em construção. Será igualmente defendido e demonstrado que os princípios tradicionais japoneses imperam no seu legado arquitetónico.
The present dissertation shows a theorical research of the traditional Japanese architectural universe, seeking to acquire the necessary capabilities to confirm that the implementation of the work of Ando comes through the theorical premises explored. Are thereby undertaken thorough inquiries, firstly to the Japanese cultural universe: questioning its origins; philosophy, religion and arts, cementing the propositions of thought, actions and motivations of its people and, subsequently, to the architectural universe: analyzing the tea house, temples and gardens, featuring the design of space as intrinsic element of traditional Japanese fundamentals. The last considered theme unites a methodical examination to the life of Tadao Ando, describing his steps and mentioning his labor tribute to the contemporary architecture, demonstrated by the genesis of several paradigmatic works that masterfully perpetuated in construction. It will also be defended and demonstrated that the traditional Japanese principles prevail in his architectural legacy.

碩士
國立臺灣科技大學
科技管理所
102
Christianity is a major world religion. It has had an influence on Western development ranging from the intangible, including politics, philosophy, and culture, to the tangible, including typical church architecture in numerous places and the skylines of various important cities. The importance of Christianity can be seen in all of these. The religious development of Christianity reached its peak in Europe in the Middle Ages, when the theocracy overwhelmed the monarchy. Over time, with the gradual rise of human reason, Protestantism, developed by Martin Luther, was spread to numerous places. Because Protestantism was a doctrine that eschewed the decorative, the development of church architecture underwent a dramatic change; Christian architecture was initiated into a new architectural form. Tadao Ando has a particular skill with the use of fair-faced concrete as a building material. This exceptional skill is reflected in one of his masterpieces, the Church of the Light, which occupies a vital position in Ando’s oeuvre. In his work with religious architecture, Ando has redefined the space of the sacred: he has employed a modern architectural language and materials to reinterpret the essence of sacred space. He has contributed a new expression of the place of worship to a Protestantism that has entered the 21th century. In this study, six Christian churches designed by Ando were investigated as research case studies. Literature records and the architectural drawings were compared and analyzed to investigate Ando’s concept of sacred space, his design techniques, and the formal architectural expression of his Christian architecture. Based on the spatial characteristics of religious architecture and the spirituality and architectural characteristics of Ando’s Christian architecture, this study comprehensively investigated how Ando used creative techniques to organize interior space, accommodate the spiritual practice of religious space, and integrate Japanese tradition. Ando created spiritually sacred spaces using architectural techniques along three lines of architectural thoughts: 1. Ando designed and named six churches in reference to natural elements such as light, water, wind, sea, and the sky. Using architectural techniques, such as cruciform openings, ventilation paths, and scenery framing, Ando extracted natural elements from the landscape and converted the elements to vital energies in the churches. 2. Ando integrated the symbolic element of the cross in Christian architecture with the traditional darkness of Japanese spaces. In the construction of the sacred space, he extended the dialogue between dark space and light, one that was initiated by Le Corbusier in the Chapelle Notre Dame du Haut in Ronch thus, the symbolic element of the cross was reinforced. In the Church of the Light and the Chapel of the Sea, atectonic cross-shaped openings were used to introduce natural light into the church. When the natural light enters the internal space and cuts through the darkness, a cross of light appears in the worship space; a mysterious and sacred religious atmosphere is produced. 3. Ando is skilled at using openings to introduce natural light and scenery into spaces. Ando employs natural light and scenery framing to form and purify the atmosphere of spaces of worship. These techniques involve fully opening frames that show exterior scenery, opening cracks to introduce natural light onto plain fair-faced concrete walls, as well as atectonic and dramatic crosses in walls or roofs, to introduce natural light that consecrates the sacred atmosphere in the inner space. By using these opening techniques, Ando integrates nature, natural light, and sacredness into the space of worship, to create strongly affecting spaces of religious spirituality.

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2014
Exame público realizado em 7 de Maio de 2014
O ser humano, desde o momento da sua criação até aos dias de hoje, foi estabelecendo uma íntima e delicada relação com a luz natural. A luz, a matéria e a proporção foram sempre ferramentas fundamentais da arquitectura. A relação directa entre elas deu origem a uma infinidade de resultados diferentes, revelando-se o seu controlo, um exercício muito delicado. Observa-se que, por vezes, a arquitectura se fecha para que a luz tenha mais valor. Não há sombra sem luz, nem luz sem sombra. O arquitecto Tadao Ando sempre projectou consciente dessa mesma realidade e, assim, pegando em três das suas obras, procura-se chegar a um entendimento sobre o papel da matéria, proporção e luz como elementos de passagem de uma actualidade caótica para o "cosmos".

碩士
朝陽科技大學
建築及都市設計研究所
92
This design is to establish a unique tea house based on the process of natural element from Tadao Ando. It is expected that, through the design methodology and analysis of the design rules, the designer will have a reference for evaluation. This design methodology uses case analysis, paper review, observation record, investigation and analysis, and data management to realize the concept of a tea house so that effects of spiritual relief and purification can be achieved. This research will first carry out by collecting and analyzing the projects by Tadao Ando in order to understand the influence of traditional Japanese tea culture to the design industry in Japan. Then, based on the natural processing methods and development of the projects done by Tadao Ando in coordination with observation record, the tea house design rules will be analyzed and discussed. This will serve as a reference for tea house development.

碩士
臺北市立教育大學
視覺藝術學系視覺藝術教學碩士學位班
99
Facing the over exploitation of environment, ecological imbalance and energy crisis in twenty-first century, the relationship between environment and architecture became an important issue. The study adapt action research method and develop a teaching curriculum by integrating Tadao Ando's architecture works which draw natural elements into the building interior where the spirit within the meaning, pay attention to their own culture and history, and with a focus on space aesthetics idea of environmental harmony. The curriculum also combined with the "humanities cultivation" as the core of arts learning to develop architectural teaching design, using the implementation in the elementary school sixth grade's art and humanities visual arts curriculum. The learning goal for students is to appreciate the aesthetics of building space, to understand the importance of harmony between architecture and environment, and to develop planning design, implementation, and problem-solving abilities. With action research manner, observing, recording, and the reflection of the cycle process, the study according to the study analysis summarized in the following conclusions: 1. From the teaching the study found that the architecture works of Tadao Ando draw natural elements into the building interior, and emphasizing the harmony between architecture and environment that affect students’ architecture works which combine natural or environmental setting. 2. Architectural issue based visual arts teaching design can develop students for space and environment that have the planning and design of primary capacity. 3. Visual art teaching design based on architectural issue could develop student’s preliminary planning and design ability for space and environment. 4. The implementation of the teaching study would help student’s cooperative learning , interactive communication, and self-affirmation. 5. Through the teaching study, students could develop "problem solving" ability from architectural models making. 6. By introducing Tadao Ando's history and heartfelt voice of self-learning in architecture in this teaching study, students could experience empathically and take as a positive model. Finally, this study makes some suggestions to the curriculum implementation and references for the future study.

碩士
高雄餐旅學院
旅遊管理研究所
96
Responding to the arrival of personalized era, special interest tourism has become a major type of traveling in the tourism market. The past studies discussed travel market mainly focused on the mass travel market and from the aspect of psychological segmentation. Therefore, this study focuses on SIT(special interest tourism) products ，and discovers TADAO ANDO Architecture Tours which make brand-new products and services. Besides, by means-end theory approaching，we discover the specific travel attribute, and tourist can find out its benefits and personal values through these attributes. By reviewing the literatures of these products and its services, travel attribute, benefits and personal values, the interviews of the business owner and tourists can be proceeded with. And, handing out surveys to the visiting tourists in order to investigate its affect relationships. A total of 200 questionnaires were distributed, and 183 valid questionnaires were returned. The valid return rate was 92 percent. The following are the results：1.Travel attribute are affected by products and services.2.Benefits are affected by travel attribute.3.Personal values are affected by benefits.4. Personal values are affected by travel attribute.5. Benefits are affected by products and services.6. Personal values are affected by products and services. The observational variable of products and services is relatively high with the influential patency of actual products and core products; attribute is relatively high with the influential patency of essential attributes and formal attributes ; The benefits are relatively high with the influential patency of function benefits and psychological benefits ; The value aspect is relatively high with the influential patency of knowledge value and emotion value.

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2013
Exame público realizado em 26 de Fevereiro de 2014
Esta dissertação tem por base a análise dos conceitos da estética e arquitectura tradicionais do Japão, à luz da sua influência e contemporaneidade no momento presente. Foi analisada, a integração e contributo das correntes religiosas que maior influencia tiveram na definição dos conceitos de belo, bem como, o diálogo destes princípios estéticos com a arquitectura tradicional japonesa. Pretendeu-se aferir de que modo estes princípios compositivos são preponderantes no trabalho de arquitecto Tadao Ando, assim como, o modo como se realiza a transição dos mesmos, para uma arquitectura que dá resposta às necessidades da sociedade actual.

碩士
亞洲大學
資訊多媒體應用學系
102
Asia University Museum of Modern Art is the name of the designer designed by Tadao Ando and it is Taiwan's first building designed by Tadao Ando. It is also the world's first university museum Tadao Ando built and becomes an international landmark in Taichung. Asia University Museum of Modern Art on October 24, 2013 officially opened. However, if the Asian Art Museum in terms of service quality meets consumer expectations, it needs further confirmation. Therefore, the purpose of this study is to evaluate the service quality of the Asian Art Museum of the university by the questionnaire survey. The results can be used as a reference in the business decisions of Asia University Art Museum. In this study, a questionnaire was constructed based on PZB model by a convenience sampling method. Reliability analysis, validity analysis and statistical analysis were conducted by statistical software SPSS. Furthermore, importance-performance analysis was used to identify the advantages and disadvantages of service quality. Finally, the causality methods were used to identify causal relationships key elements of service quality in order to improve service quality with limited resources and the least cost. Upon statistical analysis, the research results show that the overall satisfaction is significant with respect to the occupation and the art museum ticket price, respectively. The results of the most dissatisfactory group are “commerce” in the occupation and “too expensive” in the art museum ticket price, respectively. Through the importance-performance analysis, the results show that there are eight items of competitive advantages and the most important five items are the “the overall environment of the art museum is clean”, “facing with large crowd during the exhibition, the art museum has clear movement line planning”, “personnel of the art museum can provide customers with immediate service or answers”, “the art museum has clear public facility indicators” and the “grooming and dressing of personnel of the art museum is neat and orderly”.The item that requires urgent improvement is “the problem of clear utterance during explanation by the service personnel of the art museum”. There are three suggestions presented by this research on how to improve customer satisfaction: (1) for customer group that their occupation is commerce should contact more frequently in order to establish a good public reputation;(2) reduction on the ticket price should be considered or sales promotion activities should be planned in order to attract more customers; (3) in regard to the clear utterance during explanation by service personnel, employee training should be enhanced. If art museum decision-maker can adopt the above suggestions, then the satisfaction of customer can be enhanced and more customers can be attracted. Key words: Tado Ando, art museum, satisfaction, service quality

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2021
Exame público realizado em 14 de Junho de 2021
Foi objetivo desenvolver e apresentar um estudo cujo tema se intitula “O Betão Armado como elemento de expressão plástica da arquitetura”, a partir da importância que a eleição de determinados materiais escolhidos para o processo construtivo, têm na dimensão plástica e figuração e consequentemente na imagem que o objeto arquitetónico terá na paisagem, seja ela urbana ou rural. Ao longo da história, desde a construção dos mais elementares refúgios até aos edifícios eruditos, a formatação plástica sempre teve uma relação com os valores sensoriais, visuais e táteis. Assim sendo, poder-se-á dizer que o material como expressão tem a capacidade vinculativa na imagem e na forma de fazer cidade. Como tema deste trabalho, foi eleito o Betão Armado como o material definidor de conceitos e de imagens de obra construída. Desde a Revolução Industrial, novos materiais emergem na materialização das obras, tais como o ferro e o vidro. No século XX, o “betão armado”, surge nessa panóplia de materiais e foi sobretudo a partir do Movimento Moderno, com o contributo dos “mestres da arquitetura moderna” com o objetivo de novas indagações e propósitos de mudança e na procura de uma nova dimensão da arquitetura para o homem, independente das limitações impostas pelo passado que este material assume grande protagonismo. No início como elemento estrutural e a partir dessa função como elemento de recurso plástico. Com este estudo, análise, leitura e interpretação, pretende-se atingir um conhecimento mais profundo sobre este material, como elemento de expressão e compreender a sua capacidade plástica, os seus conceitos, seus ideais. E como consequência, a relação entre este material e a forma do corpo arquitetónico e seus valores, a sua capacidade de formulação plástica como resultado de ideia e ideais, bem como a intenção, na materialização de uma obra. Assim sendo, será, através do estudo e leitura e análise das obras dos arquitetos, Oscar Niemeyer (1907-2012), Tadao Ando (1941- ) e de Peter Zumthor (1943- ), que se estabelece este percurso. Esta eleição recai nestes arquitetos, por estes serem os mestres de referência no domínio do recurso à utilização do Betão Armado, apresentando uma vasta obra, onde está expressa de forma invulgar a capacidade deste material como elemento transformador.
The present study aims to present the material "reinforced concrete" as an element of plastic expression of architecture, starting with the importance that the choice of certain materials in the construction process, has in the plastic, figurative dimension and, consequently, in the image that the architectural object will have in the landscape, be it urban or rural. Throughout history, from the construction of the most elementary refuges to the most erudite buildings, the plastic expression has always had a relationship with sensory values, in particular visual and tactile ones. It could be said that the material used as a plastic expression has the capacity to tie the image and way of making the city. Being the theme of this work, reinforced concrete was chosen as the defining material for concepts and image of constructed work. Since the Industrial Revolution, new materials have emerged in the materialization of works, namely iron and glass. At the beginning of the twentieth century, the “reinforced concrete” appears in this panoply of materials and it is mainly from the Modern Movement, with the contribution of the “masters of modern architecture”, that it acquires its greatest expression. Thus, new questions were raised and the purpose of changing material plastic expression, in search of a new dimension of architecture (regardless of the limitations imposed by the past), allowed this material to assume its major role, in the beginning as a structural element and from that, as a plastic resource element. Based on the analysis, interpretation and reflection on various works by the great masters, it is intended to achieve a thorough knowledge of this material as an element of expression and to understand its plastic capacity, its concepts and the underlying ideals. As a consequence, to understand the relationship between this material and the shape of the architectural body and its values, its capacity for plastic formulation as a result of idea and ideals, as well as the intention in the materialisation of a body of work. Therefore the present study is established by the reading, analysis and reflection of the body of work of the masters, namely the architects Oscar Niemeyer (1907-2012), Tadao Ando (1941-) and Peter Zumthor (1943-). The choice of these architects is due as they are the reference masters in the domain of the use of reinforced concrete, presenting a vast body of work, where the capacity of this material as a transforming element is expressed in an unusual way.

This research project investigates the creation of immersive contemplative viewing experiences within my visual arts practice by identifying and adapting the fundamental elements of Japanese contemplative space into my aesthetic and conceptual lexicon. Contemplative experience is an intrinsic aspect of the human experience which has become increasingly scarce in this age of perpetual overstimulation and increasing secularisation. The primary goal of the research project is to provide a significant opportunity for new audiences to engage in meaningful contemplative experience informed by the centuries-old principles of yūgen 幽玄, ma 間, and hikari to kage 光と影 within Japanese architecture. The studio-based research first explores the creation of contemplative objects constructed with glass, followed by a series of maquettes of potential immersive contemplative environments. The research culminates with the immersive installation, Lux Mandala, which utilises the material characteristics of glass microspheres to synthesise the ephemeral optical phenomenon of the “glory” into a meditative encounter with light, shadow, space, transience and profundity. By aesthetically locating the viewer at the centre of this phenomenon, the viewer’s presence and perceptual mechanisms complete a participatory loop, allowing the phenomenon to enter into existence while enabling the viewer to reflect upon its nature, notions of perception and transience, and the significance of their own presence within this evanescent tableau. The outcomes of this research project represent a significant new nexus between visual arts practice, immersive experience, and the essence of Japanese contemplative space.

Lam Yan-wing.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (leaves [101]-[106]).
Abstracts in English and Chinese.
Abstract in English PP --- p.i-ii
Abstract in Chinese pp --- p.iv-v
Chapter Chapter One --- Introduction pp --- p.1-10
Chapter Chapter Two --- Early Life of Yanaihara Tadao and Influences on his Ideological Development pp --- p.11-26
Chapter Chapter Three --- Ideas of Yanaihara Tadao in Prewar and Postwar Period pp --- p.27-77
Chapter - --- Christianity and Socialist Ideas: Which was the Right Way to achieve the Utopian Society?
Chapter - --- "Colonial Policies, Racial Equality and Foreign Relations"
Chapter - --- War and Pacifism
Chapter - --- Christianity and Japanese Tradition
Chapter Chapter Four --- Yanaihara Tadao's Ideology and the Contemporary Situation pp --- p.78-94
Chapter Chapter Five --- Conclusion pp --- p.95-100
Bibliography

Ce travail a pour but d' analyser la facon dont deux romancieres africaines, Veronique Tadjo et Calixthe Beyala, reussissent a rendre leurs romans plus proches de leurs experiences personnelles en tant que femmes. En exploitant des formes innovatrices, elles arrivent a depeindre les complexites de la condition de la femme. Pour mieux comprendre ces nouveaux procedes d' ecriture, nous montrerons l' importance de la forme ainsi que le rapport entre la forme et le contenu dans les romans A Vol d'oiseau (1986) et Le Petit Prince de Belleville (1992). Nous commencerons en situant le moment litteraire ou elles ecrivent dans le courant de la litterature africaine. Dans le premier chapitre, nous examinerons la forme des deux romans en nous basant, en partie, sur quelques concepts tires de Esthetique et theorie du roman de Mikhail Bakhtine. Le deuxieme chapitre portera sur le rapport entre la forme et son contenu. Nous pourrons conclure qu' a travers deux formes differentes l' une de l' autre, Veronique Tadjo et Calixthe Beyala proposent une solution originale pour l' emancipation des femmes africaines dans une ecriture variee et dynamique.