Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Center of contemporary art and architecture.
Dissertationen zum Thema „Center of contemporary art and architecture“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Dissertationen für die Forschung zum Thema "Center of contemporary art and architecture" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Dissertationen für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Tartoni, Nicole M. „ART WORKS the creation of a contemporary art center in Johnstown, Pennsylvania /“. Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1179760479.
Der volle Inhalt der Quelle
2
DEGRAAF, NATHAN MARK. „MILIEU, MEANING AND ARCHITECTURE: CONTEMPORARY INSTALLATION ART GALLERY DESIGN“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.
Der volle Inhalt der Quelle
3
Valente, Liz Fagundes Oliveira. „Space and art – interrelations between architecture and contemporary art at Inhotim“. Universidade Federal de Viçosa, 2016. http://www.locus.ufv.br/handle/123456789/8449.
Der volle Inhalt der QuelleAnnotation:
Submitted by Reginaldo Soares de Freitas (reginaldo.freitas@ufv.br) on 2016-09-02T13:13:13Z
No. of bitstreams: 1
texto completo.pdf: 3929198 bytes, checksum: 97d1e9f437e559874e88219c5ebee761 (MD5)Made available in DSpace on 2016-09-02T13:13:13Z (GMT). No. of bitstreams: 1 texto completo.pdf: 3929198 bytes, checksum: 97d1e9f437e559874e88219c5ebee761 (MD5) Previous issue date: 2016-04-18
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação é o resultado de uma pesquisa fenomenológica, onde o objeto de pesquisa são as inter-relações entre a arquitetura e as expressões artísticas contemporâneas em Inhotim. A teoria da fenomenologia entende que a experiência sensorial do espaço é também uma função singular da arquitetura. Em arquitetura ela é demonstrada pela manipulação de elementos materiais e imateriais do espaço, a fim de produzir um impacto nos sentidos humanos. Desde a consolidação da arte contemporânea, particularmente da arte pós- objeto2 como arte ambiental, site-specific, new media, instalações e outras que promovem experiências sensoriais, tem se fortalecido a necessidade preservação das relações entre a obra e seu lugar. Mudanças no caráter essencial da arte, como a arte é, tem interferido no formato coerente dos espaços para arte. Portanto, por meio do estudo de caso do Inhotim, a questão central que direciona esta dissertação é como as mudanças nos paradigmas nas artes trouxeram novas conformações arquitetônicas que melhor acomodam a arte contemporânea. Este trabalho é organizado em três escalas de análise dessa inter-relação: (1) a escala do “fato” artístico em relação ao espaço; (2) a escala da galeria em relação ao fato artístico; e, (3) a escala de todo espaço físico do museu, analisando Inhotim como um todo, lendo sua forma que é orientada por percursos, suas paisagens construídas e seu conjunto arquitetônico. O termo “pós-objeto” foi extraido do CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, p. 181–189, Abril de 2011.
This thesis is the result of a phenomenological research study, where the object of the research is the interrelations between architecture and contemporary artistic expressions at Inhotim. The theory of phenomenology acknowledges that the sensory experience of space is also unique function of space. In architecture it is demonstrated through the manipulation of material and immaterial elements of space in order to produce an impact on the human senses. Since the consolidation of contemporary art, particularly post-object1 art such as environment, site-specific, new media, installations and others that convey sensorial experiences, the need to preserve the relationship between the work and its place has strengthened. Changes in what/how art is have interfered in how art spaces are. Therefore, through the case of the Inhotim, the central matter that this thesis seeks to address is how the changes of paradigms in the arts brought about new architectural conformations that better accommodate contemporary art. This work is organized in three scales of analysis of this interrelation: (1) the scale of the artistic fact in relation to space; (2) the scale of the gallery in relation to the artistic fact; and, (3) the scale of the whole physical space of the museum, approaching Inhotim as whole, reading into its path- oriented form, its created landscapes and architectural set. The term “post-object” was extracted from CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, pages 181–189, April 2011.
O autor não apresentou título em português.
4
Leclerc, Pierre E. (Pierre Emile). „Architectural definition of an environment suitable for contemporary art“. Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/79013.
Der volle Inhalt der QuelleAnnotation:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990.Supervised by Fernando Domeyko.
Includes bibliographical references (p. 111).
The title of this thesis implies a critical consideration of the subject. i.e how do we create. show and consume the product of art today. which environment suits it the best and why. The term itself, contemporary art is actually too vague and encompasses such a long historical period that I will restate its period. for the purpose of this project. to the actual; and its actors: those who are affecting the art community now. The environment that I am proposing here is neither a museum or a gallery space. neither a studio or a housing project. The main intent of this work is to create an environment which is a living one. not a monument to art or to a particular period. It is an environment which can facilitate the creative act: in its process as well as in its consumption. It is an environment which offers to both. curators and artists liberty and stimulation to redefine and confront their particular concerns. which is in my understanding the understanding the beauty of art. i.e. their needs to question and search ones own visions. This thesis is the synthesis of my professional understanding. Working in art for many years and being involved in architecture through my studies here at MIT, I wanted to end by creating an environment which will be a representation of a living place where I , as well as other artists, would want to be involved; where the quality of its rooms and spaces (light, materials, sensual qualities ... ), the discovery through intellectual and physical movement, would offer conception, feelings and images of work to be realised, telling me that there is so much to do once I am out of here!!! Art and its process is a representation of our life. Its physical environment is also a possible interpretation of a physical environment which could be applied to many individuals ...
by Pierre E. Leclerc.
M.Arch.
5
Zhang, Xu. „Art Center on the Lake“. Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/96806.
Der volle Inhalt der QuelleAnnotation:
The water's shore, used for defense, trade, transportation and industry, always plays an important role in a city's development. Buildings were built there to fulfill related practical functions, such as barns, factories or piers. However, at the present time, the functions mentioned above are not the only purpose of the shore, now more entertainment activies happen along the water's edge. Therefore, architecture's roles are changing.
The site is in a small town called Riva San Vitale, which is located at the south end of Lake Lugano, Switzerland. For this small town, lake's shore is usually used by local people as a place for relaxation. Based on my four-month long living experiences there, I decided to design an art center on the lake to enrich residents' daily life.Master of Architecture
A folding method was used in form processing to reflect the mountains' shapes surrounding the town. Through this whole process, my thesis explores how the architecture is used as an instrument to bring art into people's daily life and, at the same time, extend people's life into nature. As a result, the Art Center will become a new plaza of Riva San Vitale.
6
Carpenter, William Joseph. „Center for Art and Architecture: Center for Art and Architecture at the Aspen Institute for Humanistic Studies, Wye River Plantation, Queenstown, Maryland“. Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53286.
Der volle Inhalt der Quelle
7
Nikolic, Bojana. „Light art in Contemporary Architectural Lighting Design“. Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-208660.
Der volle Inhalt der QuelleAnnotation:
This research focuses on understanding the relationship betweenlight art and architectural lighting design and determining towhat extent can aspects of light art be used when designingfunctional lighting for architecture.The first part of this paper looks into the historical applicationof light as a material. Light has been an important element inart even prior to the introduction of artificial light sources, butthe exploration of light as an independent material throughinstallation art only developed in the last century. Similarly inarchitecture, the impact of light on creating and shaping spaceshas been recognized since ancient times, yet it was much longerbefore the development of lighting design as an autonomousdiscipline.In recent years there is an increased need for creative expressionfrom lighting designers who are pushing the boundaries ofcommunication through light. In order to understand the extentto which successful innovative lighting schemes can drawinspiration from artwork, this research further analyses keyvisual and emotional properties of light art, as well as potentialconstraints of functional spaces. Distinction of roles of the artistand designer as well as the conditions in which they work withthe medium of light pose a challenge in relating these twodisciplines.Findings from first two parts of this research are further used toanalyse an example of an architectural lighting project, to drawconclusions about light art’s applicability to functional lighting.
8
DeGraaf, Nathan Mark. „Milieu, meaning and architecture contemporary installation art gallery design /“. Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148191782.
Der volle Inhalt der QuelleAnnotation:
Thesis (Master of Architecture)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Art Museum; Art Display; Installation Art; Includes bibliographical references.
9
Garrison, John. „The Contemporary Uncanny: An Architecture for Digital Postmortem“. University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1617109466087914.
Der volle Inhalt der Quelle
10
Adamovich, Andrey. „Adaptive Envelope : Contemporary center of visual arts in Frihamnen“. Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34711.
Der volle Inhalt der QuelleAnnotation:
The main idea of my thesis work is to deal with the problem of an adaptive reuse of an existing building, which has been designed many years ago and now lost its function. And the way I am approaching this - is through the idea of infection. What if an existing building becomes infected by new purposes and qualities, and if so then how this move could be performed and realized? Unlike the majority of the adaptive reuse projects, mine has at its core the idea of introducing new feathers and elements in the way that it’s natural and a bit illusive, without contrasting the newly added to already existed. My goal is not to reveal this materiality difference. What I’m presenting today is a completely new envelope but from the inside you still can see this repetition of circular forms and understand that these are the same silos, which at some point were deformed in order to perform a different functions.
11
Gillen, Carolyn. „New Entropy| Exposing Architectural Disorder in Contemporary Spaces“. Thesis, Southern Illinois University at Edwardsville, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129571.
Der volle Inhalt der QuelleAnnotation:
In an effort to unveil the underlying potency of architecture I take banal structures and give them a dynamic intervention. Basic architectural forms are manipulated in a way that alters our relationship to them. Once ordinary, the forms are now anomalistic. It is through this surreal reinterpretation of form and space I hope people are encouraged to examine the world around them. By unconventionally combining materials associated with contemporary building practice, or reinterpreting their functionality, I aim to displace the familiar and emphasize the tension inherent in places we think we know.
12
Rosenwald, Heidi. „Non-linearity as architectural narrative : a center for contemporary composition in three movements“. Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/69754.
Der volle Inhalt der QuelleAnnotation:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1999.Includes bibliographical references (p. 129-133).
A thesis for architecture in three movements: I. Tempo molto moderato. (Theory.) (2767 w). II. Allegro. (Architectural Expression.) (2283 w). III. Gusto. (Final Building.) (3102 w). To see space, one needs a language. To express space, one needs a vocabulary. I have built on an existing vocabulary - one found in the writings of Faulkner - of non-linear narration. Through a series of studies I attempted to translate this literary construct into a language of spatial and experiential expression. In a dialogue with the literary, I added an architectural vocabulary by identifying existing buildings that possessed non-linear qualities. Together, this language and these vocabularies form my tools for articulating my vision. In music one can have shifting tonal centers. In literature separate points of view can create simultaneous stories. How can architecture create a multiplicity of spatial experiences and thrive from an intersection of art forms? From my studies I have abstracted two components that in dialogue lend each other greater significance. The movement through the building - necessarily sequential and physically linear - complements the experience of the spaces: non-linear and open for multiple interpretations. I attempt to express this dichotomy by setting up a tension in the architecture of anomalies to the expected. The space challenges perception and inspires in the moment of overlap (or gap) a re-thinking of the conventional and the usual. The building I will present is the Center for Contemporary Composition. Housed within one building, a multitude of programmatic activities cater to an environment of contemporary music creation and performance. It is a place for short-term residency that encourages idea exchange and intense creativity within a group of composers coming from diverse backgrounds. The building is the medium that renders new ideas in an architectural language, an evocative language derived from an external yet parallel source.
by Heidi Rosenwald.
M.Arch.
13
Ellsworth, Campbell H. (Campbell Harrison). „Approaching the new : a center for the research and performance of contemporary music“. Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/73299.
Der volle Inhalt der QuelleAnnotation:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Includes bibliographical references (p. 66-68).
This thesis examines the idea that the spatial experience of a place can make the activity of being in the presence of a new art form more understandable, more meaningful and more powerful. The premise is that contemporary art is significant for it reflects the goals and spirit of an era, and that it is important for us all to be conscious of and to participate in that spirit. The vehicle for this thesis is the design of a center for the research and performance of contemporary music. It is a place where researchers can study , composers compose, musicians perform and audience observe. And here, each of these individuals will experience a new form of an old art. The form and the experience of moving through the building is intended to bring these individuals, especially the audience, closer to the experience of the new.
by Campbell H. Ellsworth.
M.Arch.
14
Bell, Nicholas Robin. „Small consolations miniature architecture of memory in contemporary American art /“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 78 p, 2008. http://proquest.umi.com/pqdweb?did=1654488991&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Der volle Inhalt der Quelle
15
Li, Kuang. „Towards a Revival of Contemporary Chinese Countryside“. University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438998.
Der volle Inhalt der Quelle
16
Peterson, Nathan James. „Re-imaging China: Ai Weiwei and contemporary Chinese art“. Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5824.
Der volle Inhalt der QuelleAnnotation:
This dissertation connects the life and work of Ai Weiwei to Chinese art history. This field is dynamic and, during certain periods, an influx of outside ideas has revolutionized it. Ai’s belief in democratic values—criticized as being anti-Chinese—is part of a tradition in China emphasizing diversity. From the Hundred Schools of Thought (zhu zi baijia) during the Warring States (475 BCE-221 BCE) to the spread of Buddhism during the post-Han era (220-589), divergent thinking has been part of China’s intellectual development. This diversity, however, has been crushed by ideology during other periods.
Ai embraces diversity as the future of China. His life and work reestablish a narrative of Chinese intellectual history. This narrative is free from ideological mandates to erase the past. Ai looks at everything critically. His art reveals new ways of understanding China. His career also corresponds to the policies of opening China known as Gaige kaifang. As a result, economic issues are recurrent themes in Ai’s work. He questions the value of liberalizing China’s economy when political and judicial systems are still closed. This contradiction could have manifold consequences to the world.
Another feature of Ai’s work is the legacy he inherited from his father, the Modern poet Ai Qing. This legacy is being tasked with modernizing China. The issues about modern China are addressed in this dissertation, and it is contextualized according to a balance between Western and Chinese thought. Ai has passed down this legacy to young artists, and his example recalls the axiom “the green comes from the blue and will surpass it” (qing chu yu lan, er sheng lan.
A student’s abilities have the potential to surpass the teacher’s talent. Ai Qing was a great poet, but his son is his “masterpiece.” Ai Weiwei has hope that the next generation will be better than his. The way they improve it is by including heterodox voices in Chinese society. China is ascendant, but its opaque system appears to be contradictory to Ai’s desire for transparency and the sharing of information globally. The future could resemble the lamenting of Lu Xun’s provincial character Jiujin laotai: “Yes, indeed. Each generation is worse than the last.”
Ai’s life and work show that the future of China is far from being determined. What is certain, and what Ai has done through his art, is that China and the world must be engaged. Human rights, specifically the freedom of expression, are paramount. The outcome of the twenty-first century depends on it.
17
MENDES, PATRICIA STEINTHAL DE ANDRADE. „THE INTERLACE OF ART AND ARCHITECTURE IN THE CONTEMPORARY MUSEUM SCENE“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25576@1.
Der volle Inhalt der QuelleAnnotation:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROO intenso movimento em torno da construção, ampliação e reforma dos museus de arte em todo o mundo aponta para uma valorização do papel da arquitetura na circulação da arte, como evento midiático ou como geradora de novas centralidades urbanas, e na adequação dos museus às importantes transformações que ocorrem no campo da arte desde os anos 1960. O trabalho apresenta três abordagens do tema, contempladas uma em cada capítulo. O primeiro examina a participação da arquitetura nas estratégias de representação e de comunicação no ato da exposição, o segundo trata da arquitetura icônica que transforma o museu em imagem e símbolo que circula na mídia a serviço da instituição, uma terceira abordagem coloca o foco na arquitetura efêmera e trabalha com a ideia do museu como espaço contingencial que não se ancora em uma estrutura fixa, mas num sistema de conexões sociais e espaciais.
The intense movement revolving around the construction, expansion and remodeling of art museums throughout the world signals the growing importance of the role of architecture in the circulation of art, whether as a media even or as a generator of new urban centralities, and in the adaptation of museums to the important transformations that have occurred in the field of art since the 1960s. The paper presents three approaches to the theme, each contemplated in a chapter. The first examines the participation of architecture in the communication and representation strategies in the act of exhibition, the second addresses iconic architecture that transforms the museum into image and symbol that appears in the media at the institution s service, the third chapter focuses on ephemeral architecture in the context of art, working with the idea of the museum as an undetermined space that is not anchored to a fixed structure, but to a system of social and spatial connections.
18
Sterthaus, Kerstin. „Motion in architecture and the convergence of art and technology : Art center in Berlin, Germany“. Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1136709.
Der volle Inhalt der QuelleAnnotation:
"The essence of architecture is the power of adaptation to fresh facts.” Berthold LubetkinThis creative project was my way of exploring if a convergence of art and technology in architecture can exist today.This exploration involved two focus points: one was movement and the other was glass technology.Movement was used for the exploration of the spatial relationships within an interpretation of our society today: the movement on the site as well as the inner motion of the single building elements.Glass was my modern technology tool for translating artistic ideas within architecture. It acts as a mediator between inside and outside space, between art and technology and creates a connection to the ‘understanding’ of our society.This paper is presented in five parts. The first part is the introduction to my thesis and the theoretical research about art and technology. Second is the process which I used for this project. The project is the third part. The fourth part is about glass, which represents my way of exploring the convergence of art and technology within architecture today. The last part of this paper is the overall conclusion.Department of Architecture
19
Redenshek, Julie. „Aesthetic Movement Ideals in Contemporary Architecture: The President Garfield Historic Site Visitors Center“. Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32856.
Der volle Inhalt der QuelleAnnotation:
The James A. Garfield National Historic Site in Mentor, Ohio includes numerous structures of mid 19th century Victorian Era architecture. After the grounds became a national landmark in 1945, all new additions conformed to the existing historic style. This Thesis proposes that the existing visitors center be relocated from the carriage house to a new structure on site. This new visitor center is sensitive to the existing however, visually different. This architectural position is contradictory to previous additions in the past 50 years. Therefore, to draw a parallel and in an effort to allude to the past, the contemporary visitor center contains the same philosophical ideals of the Victorian reform Aesthetic Movement. Three of those ideals that are present in the visitor center include horizontality, dynamic space and honesty of structure. For the Aesthetes, horizontality was an influence from Japanese design, while the creation of dynamic space was meant to create an emotional response. Honesty of structure meant that a building should posses a clear and evident expression of its structural system and materials. In other words, using materials for their own sake. Even though over one hundred years have passed since the beginning of the Aesthetic Movement, this thesis is an exploration and continuation of those main ideals into contemporary architecture.Master of Architecture
20
Pearce, Michael. „Vesica : using Neolithic British ritual art and architecture as a model for making contemporary art“. Thesis, University of Plymouth, 2007. http://hdl.handle.net/10026.1/2574.
Der volle Inhalt der QuelleAnnotation:
Can the creative practices of British Neolithic art and architecture be used in the making of contemporary art? This dissertation describes my practice making works of art based on the Neolithic model, presented in a gallery setting and occasionally in the landscape. The creative process is grounded on research into prehistoric British art and ritual architecture and records my process of understanding the work of ancient Britons as a framework for the concurrent process of making new objects for display. Without extensive research and direct experience of the Neolithic art and architecture I would not have been able to create the responsive work that has grown from it. I visited dozens of sites in England, Scotland, and Ireland, immersing myself as much as possible within them, on them and around them; I breathed the damp air and sheltered from the rain under their roofs; I ate in them, I touched, measured and aligned them. I visited them in daylight and at night; summer and winter; on solstices and ordinary days; sometimes by car but mostly on foot. I read copious texts by academic archaeologists in my effort to get into the minds of the people who made these places and got to know the archaeological scene well enough to deliver a paper at the Theoretical Archaeology Group Conference in 2005, taking questions from distinguished Professors Julian Thomas and Mike Parker Pearson. My research included the types of space that remain and explores patterns that exist within the structures, interpreting, based on the archaeology, how the places Neolithic people made might have been used in ritual; in addition it includes an exploration of the decoration and phenomena of the spaces. The process of understanding the Neolithic shaped and transformed my creative practice and profoundly affected my practice of making art and introducing a shamanic theme into the way I share it. The work I make is therefore a response to the ancient practices of the men and women, a collection of objects that a Neolithic artist might make today. Finally the thesis is concerned with identifying three strategies used by contemporary artists; Reconstructing, "Artefacting", and Responding to Neolithic spaces, then documents how these three strategies are used as models in the creation of the practical work that corresponds with the written work. Issues of presentation are explored at some length, born of the dilemmas I experienced when making decisions of where and how to show people what I had made.
21
Nekrošius, Liutauras. „Ideas of Structuralism in Contemporary Lithuanian Architecture“. Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090504_092128-11824.
Der volle Inhalt der QuelleAnnotation:
The research subject comprises the structuralistic ideas that found the meaning in contemporary architectural design and realized projects of Lithuania. The research subject provides more comprehensive disclosure of artistic results in architecture and identifies their place within the context of different scientific and artistic disciplines, as well as contemporary architecture on the whole. The main objective of the research is to establish basic artistic principles and conceptions of structuralistic architecture in Lithuania, their geographic and interdisciplinary links, genesis and forms of expression. To this end, the following tasks have been raised: to establish philosophical-ideological background of structuralistic architecture and its links to the social being in the second half of the 20th century Lithuania; analyze the geographical and interdisciplinary context of structuralistic ideas; explore the social-cultural formants of artistic principles in Lithuanian architecture of the 1960-ies–80-ies; prepare theoretical pattern for valuation of structuralistic ideas in Lithuanian architecture; identify the most significant pieces of structuralistic architecture in Lithuania and their influence on general architecture development in the country. In making the research, the following results innovative on the field of architectural science have been obtained: significant phenomenon in Lithuanian architecture, although poorly analyzed before – Structuralism – has been... [to full text]Tyrime atskleidžiami struktūralistinės architektūros kūrybiniai rezultatai, nusakoma jų vietą skirtingų mokslo ir meno disciplinų bei šiuolaikinės architektūros kontekste. Tyrimo objektas yra šiuolaikinės Lietuvos architektūros projektuose bei įgyvendintuose objektuose įprasmintos struktūralistinės idėjos. Tyrimu siekiama nustatyti pagrindines Lietuvos struktūralistinės architektūros kūrybines nuostatas ir konceptus, jų geografines ir tarpdalykines sąsajas, genezę bei raiškos formas. Darbe sprendžiami šie uždaviniai: nustatomi struktūralistinės architektūros filosofiniai-ideologiniai pagrindai ir jų sąsajos su XX a. antroje pusėje Lietuvoje vykusiais procesais; nagrinėjami struktūralizmo idėjų geografinis ir tarpdalykinis kontekstai; tiriami XX a. 7-ojo–9-ojo dešimtmečių Lietuvos architektūrą formavę sociokultūriniai veiksniai; formuluojamas struktūralistinių idėjų raiškos Lietuvos architektūroje teorinis vertinimo modelis, identifikuojami svarbiausi Lietuvos struktūralistinės architektūros kūriniai ir jų įtaką šalies architektūros raidai. Rengiant disertaciją buvo gauti šie architektūrologijai nauji rezultatai: ištirtas menkai atskleistas, bet labai svarbus kūrybinis reiškinys Lietuvos architektūroje – struktūralizmas; parengtas struktūralistinių idėjų raiškos Lietuvos architektūroje vertinimo teorinis modelis; identifikuoti pagrindiniai šalies struktūralistinės architektūros kūriniai; tyrimas apima ne tik formos ir kontekstų studijas, bet taip pat struktūralistinės... [toliau žr. visą tekstą]
22
Gabrėnas, Arnoldas. „Wood in contemporary Lithuanian architecture: traditions and novations“. Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20130211_132408-31759.
Der volle Inhalt der QuelleAnnotation:
In Lithuanian architecturology, the work is new by its broader and deeper approach to contemporary wooden architecture. The dissertation has analyzed the objects of contemporary wooden architecture, which so far have been discussed only in articles of descriptive character or have not been analyzed or published at all. By revealing the significance of wood in Lithuanian culture, historical development of wooden architecture, the importance of heritage of wooden buildings and ethnic features present in such heritage, the work emphasizes the distinctive place of woodwork in contemporary Lithuanian architecture and culture now influenced by the globalization phenomena. The work deals in more detail with the relationship between traditional and innovative morphologies, and their interlinks in modern architecture. It emphasizes structural and artistic possibilities for the use of wood in contemporary Lithuanian architecture. The work discusses the international experience while revealing important peculiarities of wooden architecture as a phenomenon, which have been lost in Lithuania together with discontinuation of the tradition of wooden architecture during the last occupation of the country. The research contributes to better understanding of the value of wood as a material, which have been forgotten and sometimes still is looked upon rather skeptically, as well as its innovative possibilities in architecture. The work could serve as a theoretical background in improving... [to full text]Lietuvos architektūrologijoje darbas yra naujas platesniu ir gilesniu požiūriu į šiuolaikinę medinę architektūrą. Disertacijoje išanalizuoti šiuolaikinės medinės architektūros objektai, kurie iki šiol buvo aptarti tik pavieniuose aprašomuosiuose straipsniuose arba išvis niekur nenagrinėti ir nepublikuoti. Tyrime atskleidžiant medžio reikšmę Lietuvos kultūroje, medinės architektūros istorinę raidą, medinių statinių paveldo svarbą, jo etninius bruožus, pabrėžiama išskirtinė kūrybos iš medžio vieta dabartinėje Lietuvos architektūroje ir kultūroje, veikiamoje pasaulio globalizacijos reiškinių. Išsamiau nagrinėjamas tradicinės ir novatyvios morfologijos santykis bei tarpusavio sąsajos šiuolaikinėje architektūroje. Išryškintos medžio panaudos konstruktyvinės ir meninės galimybės nūdienos Lietuvos architektūroje. Darbe remtasi pasaulio patirtimi atskleidžiant svarbius medinės architektūros reiškinio ypatumus, kurie prarasti Lietuvoje nutrūkus medinės architektūros tradicijai per paskutinę okupaciją. Šis tyrimas leidžia geriau suvokti visuomenės primirštos ir neretai skeptiškai vertinamos medžio kaip medžiagos vertę, dabartines galimybes architektūroje. Darbas gali būti teoriniu pagrindu tobulinant architektūros, dizaino mokymo programas bei kai kuriuos formalius reikalavimus medinės architektūros projektavimui ir statybai.
23
Becher, Angela. „The monumental imaginary : post-socialist architecture in contemporary Chinese art and film“. Thesis, SOAS, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.710901.
Der volle Inhalt der Quelle
24
Mačiulis, Algimantas. „Trends of artistic expression in contemporary Lithuanian architecture“. Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2013~D_20140217_115649-56749.
Der volle Inhalt der QuelleAnnotation:
The study is holistic, comprehensive, integrated analysis concerning artistic expression of contemporary architectural trends in Lithuania, influences of different Modern architecture trends and their interactions with each other.Apibendrinantis ir holistinis tyrimas atskleidžia ir įvardina iki šiol Lietuvos architektūrologijoje netyrinėtas XX a. antros pusės architektūros kryptys atspindinčias nagrinėjamo laikmečio sociokultūrinius ir politinius procesus. Tyrimo medžiaga nustato Lietuvos architektūros meninės raiškos vietą pasauliniame kontekste,tuo pačiu išryškina vietinės architektūros savitumus. Naujai įvardintos kryptys ir tendencijos sukuria teorinį pagrindą tolesniems Lietuvos architektūros meninių procesų aiškinimams.
25
Hasajová, Zuzana. „ART & ARCHITECTURE - Kulturní stavba v Jižním Centru v Brně (Hudební centrum)“. Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2011. http://www.nusl.cz/ntk/nusl-215826.
Der volle Inhalt der QuelleAnnotation:
The new project in the path of park of New South Center of Brno would by Music center. The device reacts on new regulatives in zone. There is rising the building that prevents direct contact with unpleasant waves of trfic. The fort is so urban arms, in a pleasant thought cluster charmed quality music. Enter the building is accompanied by a pleasant park with urban furniture and modifications, and richness of perspectives uncovered through the viaduct . The main task is Synfonic hall with a capacity of 1300 pax, chamber hall for 280 guests and also small chamber hall for 100 people or future new musicians. The proposal was that the space did not work only during night-life concerts, but also during the day and more so approaching the world of music. Center includes a music school, shops and cafe in the next arm background staff and musicians. Response shapes based on urban morphology continue to the interior, and almost everywhere they appear irregular arms embrace in the lines and space. Architectural design features that expresses fuel building contains. Material for rendering takes hardness and white veined travertine Spis combined with warm interior textil in colors of royal blue, the complet of interior quality complement metalic elements and details with high gloss silver. Come into the embrace of music…
26
JENKINS, JAMES GILBERT. „NEW WORLD TRADE“. University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053541827.
Der volle Inhalt der Quelle
27
Ferrell, Susanna S. „Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums“. Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.
Der volle Inhalt der QuelleAnnotation:
Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.
28
Ney, Jason B. „Transculturalism in Emile Galle's art nouveau Ecole De Nancy and contemporary landscape architecture“. Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1191714.
Der volle Inhalt der QuelleAnnotation:
This study looks at the degree to which Emile Galle's theories of symbolic ornamentation are observed in contemporary landscape architecture design. Galle's theories consist of three components: the first relates to the functional aspects of design, and the last two relate to the aesthetic aspects. These three components are used to evaluate three case studies. In the case studies, Bicentennial Commons in Cincinnati and Canal Walk in Indianapolis show a partial though apparent utilization of Galle's theories, while Riverwalk in Milwaukee comes closest of the three to demonstrating the application of Galle's theories in Landscape Architecture. However, none fully exhibit Galle's theories. Nonetheless, the case studies, and in particular Riverwalk, exhibit the initial stages of a renewed interest in ornamentation in which culture is symbolically represented through nature. Landscape Architects, more than ever, are being called upon to embody the meaning of the land through a cultural synthesis in an expression of past/present and man/nature.Department of Landscape Architecture
29
Moser, Susan. „K-12 Educational Programs in Contemporary Art Museums: An Examination of University and Non-University Non-Collecting Institutions of Contemporary Art“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4031.
Der volle Inhalt der QuelleAnnotation:
This museum thesis project will provide an overview of kindergarten through 12th-grade (K-12) educational programs at six non-collecting art institutions within the United States, contextualized within a selected historiography of art museum education. This project is designed to aid the Virginia Commonwealth University Institute for Contemporary Art (ICA). The ICA is a non-collecting institution that will be located on VCU’s Monroe Park campus. As the ICA staff sets out to articulate a vision and scope for its K-12 education programs, it will benefit from the information offered in this thesis project, especially given that there is no existing literature specifically about K-12 programs at non-collecting museums of contemporary art.
30
Heineman, Anna Marie. „Nurturing neighborhoods: Buster Simpson's eco-art“. Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/513.
Der volle Inhalt der QuelleAnnotation:
Buster Simpson is a Seattle-based artist who creates work that revolves around environmental issues in public settings. His ecological messages reach local communities through works that are often funded by percent-for-art programs, non-profit organizations such as schools and museums, and other public institutions. By using recycled materials or by purifying water, Simpson's public art draws attention to the local environment, and his works provide examples of ways that people can care for their local surroundings. My thesis sheds light on Simpson's public and environmental work, detailing the creative manner in which he incorporates history, education, and artistic complexity into his sculptures. Through their aesthetics and their real-world utility, Simpson's works nurture neighborhoods.
31
Mizrahi, M. X. „Lyrical space : the construction of space in contemporary architecture, art and literature in Argentina“. Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1425681/.
Der volle Inhalt der QuelleAnnotation:
This thesis proposes that since 1990 a significant part of contemporary Argentine literature, art and architecture has been characterized by an identifiable quality: spatial lyricism. This new quality manifests in the spatial the aesthetic values that identify the lyric principle, normally related to sound and the verbal. The aim is to define ‘lyrical space’, and to show that space-making processes that validate introspective approaches in literature and visual arts can lead to the emergence of new form and content in architectural space, giving relevance to subjective experience and to the affective response induced in the user. Framed in neo-baroque aesthetics, the evidence puts experience, emotion, memory and identity as the critical material for the construction of space, inducing an ‘exceptional’ state of mind in the user/reader/spectator that recaptures the subjective dimension of seventeenth-century Baroque. A selection of short stories by Jorge Luis Borges and Julio Cortázar, several novellas by César Aira, and a lyrical essay by Alejandra Pizarnik, are read in relation to the visual work of Guillermo Kuitca, Fabián Marcaccio, Lucio Fontana, Leandro Erlich, Dino Bruzzone, Tomás Saraceno and my own. The investigation explores the literary principles on lyricism, linking Hegel’s Aesthetics to post-structuralist thinking, and the category of the figural. To support the analysis further, interviews conducted by myself and by others are also used. Several aspects are unique about the project. The literary is located in the spatial, while the material is located between the spatial and the self. This collision of reading literary work centred on the construction of space, with the reading of spatial qualities in the visual and the verbal in terms of their aesthetic affective response—the emotional effect it arouses—has not been attempted before. The aesthetic affinities that emerge from the interdisciplinary analysis are also new.
32
Krūgelis, Linas. „Relation between novation and tradition in contemporary Lithuanian sacred architecture“. Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20130207_143156-00377.
Der volle Inhalt der QuelleAnnotation:
The research involves two problems of Lithuanian sacred architecture – tradition and innovation. Tradition has been preconditioned by history, habits and customs formed within centuries. Such important factors as wars, occupations and foreign ideologies have also made a great influence. Any spread of religious thought and practice was forbidden and restricted quite for a long time in Lithuania. Under such circumstances the tradition of sacred architecture could not stay vital and develop in full-rate. Deeper and more precise analysis of the aforementioned architecture could contribute to identifying the traditions in designing Roman Catholic buildings and what has remained old in this sacred architecture.
While analyzing church architecture, innovations and the problem of their expression are faced alongside the historic factors. During soviet times, architects were deprived of getting any training in design of sacred buildings, and churches were not built due to atheistic policy of authorities of the time. Believers were even persecuted and priests underwent various repressions. By the order of occupational authorities, churches were purposely destroyed – turned into storehouses or factories, or simply desolated and condemned to destruction. As soon as Lithuania regained its independence, attempts were made to improve the situation. It was started to design and build churches hastily. Soon it was noticed that lack of experience and knowledge has opened the way to mistakes... [to full text]Darbe keliamos ir tiriamos dvi Lietuvos sakralinės architektūros problemos – tradicija ir novacija, jų tarpusavio santykis šiuolaikinėje sakralinėje architektūroje. Tradiciją lemia istorija, per šimtmečius susiformavę įpročiai ir papročiai. Taip pat nemenką įtaką daro tokie svarbūs veiksniai kaip karai, okupacijos ir svetima ideologija. Lietuvoje ilgą laiką buvo draudžiama ir varžoma religinės minties ir praktikos sklaida. Tokiomis sąlygomis sakralinės architektūros tradicija neišliko gyvastinga, buvo trukdoma visavertiškai jos raidai. Platesnė ir išsamesnė šios architektūros analizė padėtų nustatyti, kokios tradicijos ryškėja projektuojant katalikų kulto pastatus, kas išliko sena sakralinėje architektūroje. Nagrinėjant bažnyčių architektūrą, be istorinių veiksnių, susiduriama su novacijomis, jų raiškos problema. Sovietmečiu Lietuvoje architektai nebuvo rengiami projektuoti sakralinius statinius, o ir pačių bažnyčių nebuvo statoma dėl valdžios vykdomos ateistinės politikos: tikintieji buvo persekiojami, kunigams taikomos įvairios represijos. Bažnyčios okupacinės valdžios nurodymu buvo sąmoningai niokojamos – verčiamos sandėliais ar gamyklomis arba paliekamos griūti be priežiūros. Atgavus nepriklausomybę, pradėta padėtį taisyti – imta paskubomis projektuoti ir statyti bažnyčias. Netrukus pastebėta, kad patirties ir išmanymo stoka atvėrė kelią klaidoms ir nepamatuotiems sprendimams. Bažnyčios tuo metu dažnai buvo projektuojamos neprofesionaliai, neatsižvelgiama į subtilius... [toliau žr. visą tekstą]
33
Sivakumar, Anjana. „Contextualizing a Culture in the Diasporic Contemporary“. University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522165271448484.
Der volle Inhalt der Quelle
34
Javůrek, Aleš. „ART & ARCHITECTURE - Kulturní stavba v Jižním Centru v Brně (Taneční centrum)“. Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2011. http://www.nusl.cz/ntk/nusl-215785.
Der volle Inhalt der QuelleAnnotation:
Connection between park "Jižní Centrum" and waterfront of river Svratka. Finding the best position in park for cultural building - Dancing center. Park => City interior Viaduct=> Enfilade Functional parts of park => Rooms Surroundings of Dancing center => Living room Dancing center => Screen Dancing studios => Pixels
35
Wheeler, Eleanor Teresa. „The role of architectural ceramics in contemporary site-specific art : an analysis from the perspective of the art practitioner through four case studies of commissioned artworks“. Thesis, Northumbria University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266180.
Der volle Inhalt der Quelle
36
Hachicha, Sahnoun Ines. „Interactions entre les arts contemporains, les créations architecturales et les conceptions design : le design comme dispositif communicationnel dans la société contemporaine“. Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0306/document.
Der volle Inhalt der QuelleAnnotation:
L’art contemporain devient de plus en plus quelque chose qui s’applique à l’environnement quotidien, il entretient un dialogue fécond avec l’architecture, le design, le numérique, etc… Il est bien une création au niveau du mécanisme de la pensée et de l'imagination, d'une idée originale chargée d’esthétique qui s’exprime en effets perceptibles. L’architecture de même, se situe dans une hiérarchie de valeurs établie dans un processus dialectique de l’histoire. Ainsi, dans l’architecture comme dans l’art, se maintient un noyau irréductible de contenu et de valeurs. Soumise à un processus d’urbanisation généralisée, l’architecture tend à se dissoudre en tant qu’objet plastique autonome pour se fondre et s’étaler elle aussi en zones immenses et indifférenciées. Cette thèse se focalise sur l’interrelation perpétuelle entre la production artistique, la création architecturale et la conception design, qui sont d’une part dans une interaction continue, et d’autre part influencés par d’autres divers mouvements des arts, essentiellement les arts contemporainsContemporary art is becoming more and more something that applies to everyday environment, it maintains a fruitful dialogue with the architecture, design, digital, etc. It is a creation in terms of the mechanism of thinking and imagination, of an original idea full of aesthetics that is expressed in noticeable effects. Architecture, as well, is located in a hierarchy of values established in a dialectic process of history. Thus, in architecture as much as in art, there remains irreducible core content and values. Subject to a widespread urbanization, architecture tends to dissolve as an autonomous plastic object to melt and spread, too, in huge and undifferentiated areas. This thesis focuses on the perpetual interplay between artistic production, architectural design and design concept, which are, on the one hand, in a continuous interaction, and on the other hand, influenced by other various movements of arts, mainly contemporary arts
37
ZONNO, FABIOLA DO VALLE. „COMPLEXITY POETICS: THE CONTEMPORARY TOPOS AND THE LIMITS OF ARCHITECTURE IN BETWEEN ART AND LANDSCAPE“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21625@1.
Der volle Inhalt der QuelleAnnotation:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROPoéticas da Complexidade: o lugar contemporâneo e os limites da Arquitetura entre Arte e Paisagem analisa trabalhos de arte/arquitetura que, participando do chamado campo ampliado, após os anos 1960, partem de uma relação com o sítio para re-instaurar a paisagem. As obras estudadas se diferenciam das posturas arquitetônicas contextualistas que, em defesa do lugar como permanência, propuseram uma recuperação historicista do passado. As poéticas da complexidade expõem o lugar contemporâneo através de um tipo de abordagem que considera a multiplicidade, a incerteza, a incompletude, a ambiguidade, a contradição e os fluxos em devir. Também redefinem o lugar da arte/arquitetura no campo da cultura, em um deslocamento passado-futuro, e propõem uma revisão dos modos de operação artística. A tese busca entender os processos contemporâneos e a redefinição dos limites da arquitetura como um movimento de autocrítica em direção ao experimentalismo das artes como forma de questionar o formalismo, o funcionalismo e a representação da noção de estabilidade. Assim, pontos em comum são explorados: a apropriação de imagens do cotidiano, a abordagem conceitual, discursiva e ficcional da arte, a noção de processo e a problematização da autoria, a experiência fenomênica e espaçotemporal, a abertura ao acontecimento e a performance. Este estudo afirma que dois movimentos estão em processo: a aventura da reinvenção da paisagem como campo ativo – imagético, fenomênico, discursivo e performático, e da reinvenção dos mediums artísticos a partir de poéticas diferenciais que assumem a complexidade contemporânea.
Complexity Poetics: the contemporary topos and the limits of Architecture in between Art and Landscape analyzes works of art and architecture that, taking part in the expanded field, after the 1960´s, are intertwined with the sites, to refound the landscape. This thesis investigates the contemporary places as a contextual practice which considers the multiplicity, the incertitude, the ambiguity, the contradiction and the transformations to come. These works establish a critical revision of modernism as well as of the contextualism which defended place as permanence, proposing a historicist recuperation of the past. On the contrary, complexity poetics discuss the place of art/architecture in the contemporary cultural expanded field, in a shift past-future, and propose a revision of art’s operational modes. This study is an attempt to understand the contemporary processes and the re-definition of architecture’s limits as a movement of self-criticism towards experimentalism in arts, that goes against formalism, functionalism and the representation of stability. Points of common that stand out: the appropriation of everyday images and signs, the conceptual, discursive and fictional character of art, the notion of process, the phenomenal and spatial-time experience, the événement and the performance. This study asserts a two-way movement: the ongoing adventure of the reinvention of landscape as an active field - imagistic, phenomenal, discursive and performatic, and the reinvention of artistic mediums through differential poetics which assume contemporary complexity.
38
Yue, Sam Sing Bai. „Developing a dialogue between old and new: North Carolina University Center for Art and Architecture“. Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53313.
Der volle Inhalt der QuelleAnnotation:
In the preservation of a small historic church, a state-wide education center for the arts is proposed due to the similarity of their inherent and adaptive nature in function.
A similar sized, new building mass with a contemporary design style is added to the old church; it will also utilize a competitive contrast to the old church in its design. The integration of the old and the new buildings will find new meanings within historic preservation.Master of Architecture
39
Thompson, Leslie J. „On the Art of Fortification: A New Visitor's Center to Revitalize Fort Washington Park“. Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/33364.
Der volle Inhalt der QuelleAnnotation:
During the 18th and 19th centuries, the evolution of artillery has commanded the evolution of military architecture. Fortifications physically depict a representation of the history of engineering and architectural principles; including strategic site placement, materiality, construction methodology, principles of weaponry, defense and design layout. Visiting any one of these enigmatic and monumental structures offers a walk into the past, a glimpse into the ideologies, cultures and sentiments of its conception. Fortifications, particularly American fortifications, lay silent waiting for visitors to unlock their contributions to the national and local historic fabric. Fort Washington is one such structure located within Fort Washington Park, Maryland perched above the Bank of the Potomac River where it long protected the Nation's Capital.
Through my research, I propose to answer the following questions: How did the evolution of artillery and its unique site influence the design layout of Fort Washington? How does one begin to revive and restore such an extraordinary site? How can the architecture of today spark the interest of visitors while encompassing the needs of local residents? My proposal for a new, multifunctional visitor center tries to embrace, respect and reflect the existing structures by inspiring wonder among tourists and attracting local residents while also allowing for their restoration and self-sustainment.Master of Architecture
40
Masud, Rahat Haveed. „Materialising the spiritual in contemporary painting in Pakistan : an artist's exploration of figurative art and Sufism“. Thesis, Kingston University, 2010. http://eprints.kingston.ac.uk/20229/.
Der volle Inhalt der QuelleAnnotation:
This practice led doctoral thesis explores the meaning of spirituality and its manifestation in figUrative art in the wider historical, religious and artistic contexts of Pakistan, alongside the presentation of a new body of artistic work which explores the contemporary possibilities of materialising spirituality in a predominately Muslim culture. The illustrated thesis engages with these two interconnected but distinct forms of research which underpin its two-part structure. The first part, Section A, comprises four chapters which investigate the various cultural and religious contexts of figurative art with particular reference to Muslim painting; Islamic attitudes to figurative art based upon the study of Islamic law and the various interpretations of the Qur'an and the hadith. It assesses the impact of colonial and postcolonial politics on the arts produced in the Indo Pak Sub-continent and the specific area that later came to constitute Pakistan (a pre-dominantly Muslim country) after the Partition of 1947. The section concludes with im exploration of Islamic spiritual ideals of truth and beauty, through Sufi thought, including the significance of for Allah and the concept of Tauhid. or His Oneness. The three chapters in the second part, Section B, represent a critical reflection on ongoing artistic practice as a female figurative artist in contemporary Pakistan. Drawing upon autobiographical material and fieldwork conducted at Sufi shrines as part this research, I discuss the series of more than twenty five paintings, drawings and siœtcnes which aim to materialise the spiritual. These are supported by a thirty minute documentation of the shrine culture with a voice over along with a video installation film on a DVD exploring the concept of fana or 'spiritual annihilation', which is the key aspect of the shrine culture. In conclusion the vital concern of finding means to materialise the concept of spirituality by creating a body of art work is an effort to fill the gap in Pakistani painting the impact of Sufi philosophy on artistic endeavours is yet to be fully explored in contemporary painting in Pakistan.
41
Lee, Keunhye. „Trace of everyday performance : a contemporary reinterpretation of the 'ondol' and 'dot-jari'“. Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13704/.
Der volle Inhalt der QuelleAnnotation:
This practice-based research investigates floor-based living, focusing upon the realm of Korean everyday life. My particular concern is with the relation of the body to domestic space through memorised rituals, such as cleaning, polishing and removing shoes. The thesis asks the question: how does space determine and respond to such repetitive activity? It traces how the spatial typology of the floor, so important for Korean architecture, has been transformed by changes in such domestic activities. I present a series of design responses that draw upon everyday domestic performance, addressing a number of issues such as ritual, trace and materiality. By developing a spatial practice focusing on the ondol (traditional Korean floor heating) and the dot-jari (floor mat), this research explores territory that is un-theorised and underdeveloped as a subject in a Korean contemporary design context. The floor is a way to explore the wider role of ritual and trace in the construction of symbolic space, and is central to the Korean cultural and spatial identity. My research therefore explores floor-based living as a manifestation of a social practice: one that has spatial consequences. The Korean expression of ilsang ei eisik (everyday ritual) is defined here as a bodily-embedded activity that is inherent within the culture. A series of my spatial installations, such as Trace of Ritual Ceremony (2014), Beyond the Boundary (2015), Invisible Space (2015) and Spatial Extension (2016), deal with issues of transience, warmth, comfort and tactility, locating my everyday performance in architecture or public space. The gathering of dispersed visual research materials is a significant part of my methodology, and the research has involved compiling and editing images into the thesis in order for it to be conceived as a visual archive.
42
Duffy, Owen J. JR. „The Politics of Immateriality and 'The Dematerialization of Art'“. VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4641.
Der volle Inhalt der QuelleAnnotation:
This study constitutes the first critical history of dematerialization. Coined by critics Lucy Lippard and John Chandler in their 1968 essay, “The Dematerialization of Art,” this term was initially used to describe an emergent “ultra-conceptual” art that would render art objects obsolete by emphasizing the thinking process over material form. Lippard and Chandler believed dematerialization would thwart the commodification of art. Despite Lippard admitting in 1973 that art had not dematerialized into unmediated information or experience, the term has since entered art historians’ lexicons as a standard means to characterize Conceptual Art. While art historians have debated the implications of dematerialization and its actuality, they have yet to examine closely Lippard and Chandler’s foundational essay, which has been anthologized in truncated form. If dematerialization was not intrinsic to Conceptual Art, what was it?
By closely analyzing “The Dematerialization of Art” and Lippard and Chandler’s other overlooked collaborative essays, this dissertation will shed light on the genealogy of dematerialization by contending they were not describing a trend limited to what is now considered Conceptual Art. By investigating the socio-historical connections of dematerialization, this dissertation will advance a more far-reaching view of the ideology of dematerialization, a cultural misrecognition that the world should be propelled toward immateriality that is located at the intersection of particle physics, environmental sustainability, science-fiction, neoliberal politics, and other discourses. This analysis then focuses on three case studies that examine singular works of art over a twenty-year period: Eva Hesse’s Laocoön (1966), James Turrell’s Skyspace I (1974), and Anish Kapoor’s 1000 Names (1979-85). In doing so, this dissertation will accomplish two objectives. First, it looks at how these works materially respond to the ideology of dematerialization and provide a means for charting how this cultural desire unfolds across space and time. Second, this dissertation contends that contrary to Lippard and Chandler’s prognostication, dematerialization—and immateriality—does not correlate to emancipation from capitalization. Rather, it will be shown that dematerialization, its rhetoric, and its strategies can actually be enlisted into the service of the commoditizing forces Lippard and Chandler hoped it would escape.
43
Chen, Karen Y. „Constructing Historical Truth: An Examination of the Chinese Art Market As A Reflection of China’s Concerted but Conflicted Contemporary Reconciliation with its Problematic Past“. Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/877.
Der volle Inhalt der QuelleAnnotation:
This paper examines the connection between art and nationalism in Chinese culture and asserts that the recent market boom and price jump in Chinese fine art reflects a concerted yet conflicted effort by the Chinese government and Chinese society as a whole to reconcile with a problematic twentieth-century past. The paper first delves into the historical practice of utilizing art to construct political narratives though Ming-Qing dynasties before examining how antiquarianism was utilized by Mao Zedong himself and by the modern day Chines Communist Party.
44
Fuller, Rachel Jane. „Furnishing the self : encounters with homemaking in contemporary London middle-class homes“. Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/39293/.
Der volle Inhalt der QuelleAnnotation:
This thesis contributes to a growing literature on identity and the home. The study's findings enrich understandings of the way people organize the material culture of their homes, and the way objects and practices are drawn into their self-storying. The study reveals the agency in homemaking as a creative practice and highlights the particularity of homemaking experience. It expands the context for understanding the creative work of designing and producing the contemporary home. Home is a key site of intensive consumption and emotional investment in identity. Possessions in the home and in our interactions with them are integral to our experience and construction of who we are in the world. We make our interior landscape visible to ourselves and onlookers through our choice of objects, arrangements and practices. And yet insight into the lived experience of everyday homemaking is elusive. This calls for empirical research to engage directly with the subjective world of individuals. My thesis examines an archive of rich experiential data gathered in informal conversations conducted with homemakers in twenty-five middle-class London homes. Their narrations of subjective experience have been used to explore how people think and feel about their homes, and how and why they arrange certain things in certain ways within those homes. Identity is understood as a storied accomplishment and homemaking is formulated as a means of organizning experience. Material is part of self-representation and is regarded as a narrative resource. A reading of narratives and images in the light of this conceptualisation reveals the meaning in the object and the object in narrative. The theses demonstrates the endeavour of homemaking as a form of creative production that is empowered by individual agency and fuelled by storying interaction.
45
Brown, Brittany. „Ancestral Landscapes: a Study of Historical Black Cemeteries and Contemporary Practices of Commemoration Among African Americans in Duval County, Jacksonville, Fl“. W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1550154005.
Der volle Inhalt der QuelleAnnotation:
The end of slavery in North America presented an opportunity for African Americans in Jacksonville, Florida to reinvent themselves. The reconstruction era brought about new social, political, and economic opportunities for African Americans living in Jacksonville. Despite the failure of Reconstruction and the implementation of Jim Crow, Jacksonville gave birth to a vibrant African American aristocracy. Jacksonville's Black elite comprised of doctors, lawyers, morticians, religious leaders, business people and other professionals. Jacksonville's Black elite thrived in the early half of the twentieth century, many of them used their knowledge and skills to contribute to the social and economic development of Jacksonville's African American community. During this period, Jacksonville's African American aristocracy provided their community with legal protection, healthcare, vocational training, employment opportunities, goods, and other critical services such as life insurance and burial. This study centers on a historical African American cemetery cluster that was established during the early twentieth century by Jacksonville's Black aristocrats. This cemetery cluster consists of four cemeteries which include: Pinehurst, Mount Olive, Sunset Memorial, and Memorial. This cluster is located on the Northside of Jacksonville city, along the intersecting roads of 45th street and Moncrief road, and contains an estimated 70,000 African American burials. I argue that this cemetery is reflective of the social, political, and economic changes undergone by Jacksonville's African American community.
46
Simpson, Donald E. „Civic Center and Cultural Center| The Grouping of Public Buildings in Pittsburgh, Cleveland, and Detroit and the Emergence of the City Monumental in the Modern Metropolis“. Thesis, University of Pittsburgh, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3573264.
Der volle Inhalt der QuelleAnnotation:
The grouping of public buildings into civic centers and cultural centers became an obsession of American city planners at the turn of the twentieth century. Following European and ancient models, and inspired by the World’s Columbian Exposition in Chicago in 1893 and the McMillan Commission plan for the National Mall in Washington, D.C. in 1901, architects sought to create impressive horizontal ensembles of monumental buildings in urban open spaces such as downtown plazas and quasi-suburban parks in direct opposition to the vertical thrust of commercial skyscrapers. Hitherto viewed largely through the narrow stylistic prism of the City Beautiful vs. the city practical movements, the monumental center (as Jane Jacobs termed it) continued to persist beyond the passing of neoclassicism and the rise of high modernism, thriving as an indispensable motif of futurist aspiration in the era of comprehensive and regional planning, as municipalities sought to counteract the decentralizing pull of the automobile, freeway, air travel and suburban sprawl in postwar America. The administrative civic center and arts and educational cultural center (bolstered by that icon of late urban modernity, the medical center) in turn spawned a new hybrid, the center for the performing arts, exemplified by Lincoln Center and the National Cultural Center (the Kennedy Center for the Performing Arts), as cities sought to integrate convention, sports, and live performance venues into inner-city urban renewal projects. Through the key case studies of Pittsburgh, Cleveland, and Detroit, one-time juggernauts of heavy industry and twenty-first century regions of rust-belt collapse, this study examines the emergence of the ideology of grouping public buildings in urban planning as well as the nineteenth century philology of the keywords civic center and cultural center, terms once actively employed in discourses as diverse as Swiss geography, American anthropology, Social Christianity, the schoolhouse social center movement, and cultural Zionism. It also positions these developments in relation to modern anxieties about the center and its loss, charted by such thinkers as Hans Sedlmayr, Jacques Derrida, and Henri Lefevbre, and considers the contested utopian aspirations of the monumental center as New Jerusalem, Celestial City, and Shining City on a Hill.
47
Paek, Seung Han. „Urbanism, Signs, and the Everyday in Contemporary South Korean Cities“. The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404664900.
Der volle Inhalt der Quelle
48
Zheng, Yalan M. S. „The 798 Art Zone, the European Avant-Garde in China“. University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378197416.
Der volle Inhalt der Quelle
49
McGUIRE, KATHRYN McCORMICK. „BODIES AT PLAY“. University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin983565700.
Der volle Inhalt der Quelle
50
Almeida, Rafael Goffinet de. „Arte, Arquitetura e Cidade nas investigações de Dan Graham“. Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-13102016-115116/.
Der volle Inhalt der QuelleAnnotation:
Este estudo buscou analisar a produção do artista norte-americano Dan Graham, enfocando a estreita relação que manteve com a arquitetura e a cidade ao longo de sua trajetória. Realizada em meios e suportes bastante diversiicados, a produção deste artista é bastante representativa do desenvolvimento da arte contemporânea a partir da década de 1960, marcado pela superação de códigos artísticos que culminaram com o rompimento dos limites ísicos dos museus e galerias. Através de intervenções em revistas, de suas performances e instalações, de seus recentes pavilhões de aço e vidro e de uma extensa produção de textos, Graham mobilizou conteúdos distintos provindos de campos como os da psicologia, do cinema e também da arquitetura para investigar a condição da arte, da cultura e das espacialidades na sociedade contemporânea. Por meio da justaposição entre suas obras e seus textos, onde lida mais explicitamente com questões exteriores à arte, torna-se possível identiicar a articulação entre a prática e o pensamento do artista, percorrendo de maneira mais aprofundada suas relexões sobre as estruturas sociais ou culturais operantes em contextos espaciais especíicos, seja dentro da galeria ou fora dela. Ao inal, espera-se que a síntese dessas questões permitam revelar os novos olhares construídos por Dan Graham sobre o campo da Arquitetura e Urbanismo, a partir de questionamentos que lhe são exteriores e que apresentam natureza distinta: suas propostas estéticas indagam as formas de produção da cidade contemporânea, sobretudo em relação à natureza cultural e social de seus espaços.This study investigates the production of the American artist Dan Graham, focusing on the close relationship he mantained with the architecture and the city throughout his carrer. Held in very diverse mean and supports, the production of this artist is quite representative of the contemporary art development from the 1960s, marked by overcoming artistic codes that culminated in the disruption of physical boundaries behind museums and galleries. Through the interventons in magazines, performances and installations, his recent steel and glass pavilion and the extensive production of texts, Graham mobilized different contents stemmed from ields such as psychology, cinema and also the architecture to investigate the condition of art, culture and spatiality in contemporary society. By the juxtaposition of his works and his writings, which most explicity the deals with external issues to the art, it is possible to identify the articulation of Graham´s practice and thought, observing more deeply his relections on the social and cultural structures operating in speciic spatial contexts, either inside the art gallery or outside of it. At the end, it is expected that the synthesis of these isseus allow us to reveal the new perspectives built by Dan Graham on the ield of Architecture and Urbanism, pointing questions from a external and different nature: his aesthetical proposals inquire the contemporary city forms of production,especially in relation to cultural and social nature of their spaces.