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1
Verheij, Gerbert. "The aesthetic of Lisbon: Writing and practices during the early 20th century." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/404490.
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This study tries to tackle the notion of “urban aesthetics” as it was articulated throughout the first three decades of the 20th century in Portuguese writing on the city, and practised in different forms of spatial production. A diffuse vocabulary – estética urbana, estética citadina, estética da cidade, das edificações, da rua… – signals a persistent understanding of the city as a work of art, both in the way it was experienced – an “urban aesthetic” – and contrived – an “urban aesthetics.” The general ambition of this study is to give visibility to and to reconstruct the conditions of legibility of this set of writings and practices which responded to the once alluring call of the aesthetic. The territory elected to trace the conceptual and practical unravelling of these ideas – so intricately linked to the particularities of place – is Lisbon. In this city, the topic becomes almost unavoidable in writings on urban presents and futures after 1900. Aesthetic arguments were consistently and insistently employed to critically describe urban beauty or, more frequently, urban ugliness, to advocate aesthetic improvement and to justify or criticize concrete ideas and projects. This phenomenon is studied against a background of intense international exchange during this formative phase of the modern planning disciplines, from Town and City Planning to Städtebau and Urbanisme. Aesthetic considerations were manifestly present, and it is argued that aesthetic discourse in Lisbon signals the reception of internationally circulating ideas, words, images and people.
More precisely, this study proceeds to a kind of archaeology of the gaze and discourse of “urban aesthetics,” studying the functions it performed within different social, cultural and political contexts and the relations and tensions with relevant urban realities which pervaded it. One conclusion is that the notion of an “urban aesthetics” remained ill-defined, a common place relying on shared adversity to the modern urban landscape rather than any explicit program or solution. Subsequently, the assimilation by municipal regulation and institutions of public demands of “aesthetic supervision” is reconstructed. The four years of municipal council activity of the architect Miguel Ventura Terra, from 1908 to 1913, were crucial in this tentative articulation of actual practices of aesthetic control and urban design, even if along the subsequent decades they were never given the desired legal and institutional breath.
Finally, during the 1930s the vocabulary of “urban aesthetics” was appropriated by a new generation of architects, urban planners and politicians and put at the service of the urban ideals of a dictatorial New State, signalling the persistence of aesthetic considerations in the local institution of the discipline of planning.
An epilogue proposes that the viewpoint of urban aesthetics can contribute to new perspectives over the production and experience of Lisbon during the first decades of the 20th century.La presente investigación enfoca la noción de “estética urbana” tal como la fueron articulando las escritos sobre la ciudad y los diferentes modos de hacer cuidad durante las primeras tres décadas del siglo XX. Un copioso vocabulario – estética urbana, estética citadina, estética da cidade, das edificações, da rua… – señala un entendimiento persistente de la ciudad experimentada y deseada como obra de arte. La aspiración global de la investigación es dar visibilidad y reconstruir las condiciones de legibilidad a este conjunto de escritos y prácticas que respondían a la llamada antes atractiva del estético. Lisboa es el territorio elegido para rastrear su enredo conceptual y material. Sobre todo a partir de 1900 el tema se vuelve una parada casi obligatoria en escritos sobre el presente y futuro de la ciudad. El uso de argumentos de carácter estético para describir críticamente la belleza o, más comúnmente, la fealdad urbana, para promover mejoras estéticas o para justificar o criticar ideas y proyectos concretos era consistente e insistente. En el trasfondo se apunta el cerrado intercambio internacional durante la formación de las modernas disciplinas urbanísticas, de la Town and City Planning a la Städtebau y el Urbanisme. Dentro del horizonte disciplinar, las consideraciones estéticas tenían lugar relevante, y el desarrollo de la “estética urbana” en Lisboa es interpretado como manifestación de la recepción de ideas, palabras, imágenes y personas que circulaban internacionalmente. Asimismo, se propone una especie de arqueología de la mirada y del discurso de la “estética urbana,” estudiando las funciones que la noción ejercía en distintos contextos sociales, culturales y políticos y las relaciones y tensiones que nacían del embate con realidades urbanas relevantes. Una de las conclusiones es que la noción de “estética urbana” apenas se definía; era un lugar común que se alimentaba más de la hostilidad compartida ante el moderno paisaje urbano que de un programa o solución explícito. Por otro lado, se indaga como las exigencias de la opinión pública de “supervisión estética” eran asimiladas o no en ordenanzas e instituciones municipales o nacionales. Los cuatro años en los que el arquitecto Miguel Ventura Terra integró el ayuntamiento de la ciudad, de 1908 a 1913, resultan decisivos en el pretendido despliegue de prácticas eficaces de controlo estético y diseño urbano, incluso cuando no recibieron la deseada amplitud legal e institucional durante las dos décadas siguientes. Después de 1926 el vocabulario de la “estética urbana” fue, por ende, apropiado por una nueva generación de arquitectos, urbanistas y políticos y puesta al servicio de los ideales urbanos de la dictadura del Estado Novo, sugiriendo que motivos estéticos persistan en la constitución de la moderna disciplina urbanística. Un epílogo propone que la mirada hacia y desde la estética urbana puede contribuir a esbozar nuevas perspectivas sobre la producción y experiencia de la ciudad de Lisboa durante las primeras décadas del siglo XX.
Este estudo aborda a noção de “estética urbana” ou “da cidade,” tal como foi formulada durante as primeiras três décadas do século XX em escritos sobre a cidade, e praticada em diferentes formas de produção de espaço. Um profuso vocabulário – estética urbana, estética citadina, estética da cidade, das edificações, da rua… – assinala um entendimento persistente da cidade experimentada e desejada como obra de arte. A ambição global deste estudo é a de dar visibilidade a e reconstruir as condições de legibilidade deste conjunto de escritos e práticas que respondiam ao apelo outrora tentador do estético. O território elegido para rastrear a trama conceptual e prática destas ideias – tão intrincadamente ligadas às especificidades do lugar – é Lisboa. Sobretudo a partir de 1900 o tema torna-se passagem quase obrigatória em escritos sobre o presente e o futuro da cidade. Argumentos de carácter estético eram mobilizados de forma consistente e insistente para descrever criticamente a beleza e, mais comummente, a fealdade urbanas, para promover “embelezamentos” e para justificar ou criticar ideias e projectos concretos. Este fenómeno é visto contra o fundo de um denso intercâmbio internacional durante a formação das modernas disciplinas urbanísticas, da Town and City Planning à Städtebau e ao Urbanisme. Neste panorama, considerações estéticas marcavam presença, e o florescimento da “estética urbana” em Lisboa é entendida como sintoma da recepção desta circulação internacional de ideias, palavras, imagens e pessoas. Mais especificamente, este estudo propõe uma espécie de arqueologia do olhar e do discurso da “estética urbana,” estudando as funções desempenhadas por este termo em diferentes contextos sociais, culturais e políticos e as relações e tensões que nasciam do seu confronto com realidades urbanas relevantes. Uma conclusão é que a noção de “estética urbana” ficou por definir; era um lugar comum que dependia mais de uma animosidade partilhada perante a moderna paisagem urbana do que um programa ou solução explícita. De seguida, a assimilação (e não-assimilação) das exigências públicas de “supervisão estética” em regulamentos e instituições municipais ou nacionais é rastreada. Os quatro anos em que o arquitecto Miguel Ventura Terra foi vereador da cidade, entre 1908 e 1913, revelam-se cruciais nesta tentativa de articular práticas efectivas de controlo estético e desenho urbano, mesmo se durante as duas décadas subsequentes estas nunca receberam a desejada abrangência legal e institucional. A partir de 1926 o vocabulário da “estética urbana” foi apropriado por uma nova geração de arquitectos, urbanistas e políticos, e posto ao serviço dos ideais urbanos da ditadura do Estado Novo, sinalizando a persistência de motivos estéticos na constituição da moderna disciplina urbanística. Um epílogo propõe que o olhar para e desde a estética urbana pode contribuir a trazer novas perspectivas sobre a produção e experiência da cidade de Lisboa durante as primeiras décadas do século XX.
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Padua, Mary G. "Hybrid modernity : late 20th century landmark parks in China." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/23522.
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This research investigates new spatial forms that have emerged in China's urban landmark parks in secondary cities of the post -Mao era. These forms represent a new stage in China's history of landscape architecture. As design history and innovative design inquiry, a qualitative approach is employed and it draws from: - modernization theory: a framework for understanding transformation in post -Mao China - post -Mao China socio -cultural analysis: changing Chinese identity, nationalism and trends in the arts and architecture - design analysis and history of China's garden /park traditions and the larger context of the evolution of modern landscape architecture in China - analysis of international design trends in contemporary landscape architecture analysis of China's changing institutional context: education and development of the landscape architecture profession. In this research, I asked: has the fusion of international influences with the local Chinese design vocabulary in late 20th century China created a distinctive approach to public park design that is novel? If so, how has this taken place, and what does it mean for landscape architecture in China? Case studies provide a focused empirical setting to understand the new design paradigms and they create the foundation for a theory I call hybrid modernization. The study breaks new ground as the first documentation and analysis of the emergence of modern landscape architecture in twentieth century China. It creates a bridge between the literature in China and the west; and it contributes to closing the gap on the history of modern landscape architecture in China.
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Min, Shu. "Evolving Vernacular Architecture: Case Studies in Sichuan, China, 18th-20th Century." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15474.
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This thesis investigates how and why Sichuan courtyard dwellings evolved to adapt to changing social and cultural conditions from the 18th to the 20th century. Located in south-western China, Sichuan courtyard dwelling share some similarities with those in other regions of China but have its unique characteristics. While much of the existing scholarship studies Sichuan vernacular architecture from a static perspective, this research examines the development of Sichuan vernacular architecture as a dynamic process of immigration, localization, and acculturation. The research is based on three in-depth case studies and fifteen auxiliary cases. Using research methods including archival research, interviewing, site observation, and spatial analysis, the thesis adopts a holistic research framework to examine architectural space, social relationships, everyday life and cultural meaning of selected examples. The thesis shows that Sichuan courtyard dwellings in the 18th century were not developed from local architectural forms, but imported from inland China along with the wave of immigration. With the process of localisation in the 19th century, the characteristics of Sichuan vernacular dwelling such as grey space, flexible layout, extended eave, and small sky-well came into being to adapt to the new natural and cultural environment. The study also found that the social relationships and everyday life of the Sichuan residents were driving forces for the creation of the interesting spaces. The study also shows that many Sichuan courtyard dwellings in the 20th century were the results of compromise and eclecticism: their domestic spaces were organized within the traditional spatial framework as a cultural inheritance, while their westernized facade revealed the process of acculturation. Through these findings, the thesis contributes an original perspective to the understanding of Sichuan vernacular architecture as an evolving process over time.
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Njoo, Alex Haw Gie, and alexnjoo@bigpond net au. "Organic architecture : its origin, development and impact on mid 20th century Melbourne architecture." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090326.160848.
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Australia in the early 50s followed a decade or so of frenzy activities in the visual arts. This resurgence of Australian art which led to its recognition in the UK and the United States also brought about a renewed recognition in the quality of domestic architecture. New boundaries in the design of the Australian home were being redefined, both in theory as well as in practice. Although the decades between the two Great Wars saw the importation of such influences as the Californian Bungalow and Art Deco styles (shades of Dudok, Mendelsohn etc.), it was during the post-war years that the term organic architecture that was much discussed by a wide range of practitioners of the time. This research aims to trace the journey of organic architecture from its origin to Australia and provide some insight into the workings of those who claimed to have practiced it.
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Marcus, Karen K. "Twentieth century Chinese architecture : examples and their significance in a modern tradition." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/78994.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.Includes bibliographical references.
If one were to seek a unifying factor in this relatively short period of a modern Chinese tradition, it might be surprising to find that amidst the jolts of passing out of a feudal era into the twentieth century, the ancient principles of yin and yang still provide the jagged thread with which to attach the modern Chinese culture to the ancient one. This integration of opposing forces causes the pendulum to swing in any cross section of both material and nonmaterial form. Although this idiosyncratic leitmotiv is often to be found locked in a state of contradiction (the antithesis), the principles nevertheless provide a flexible structure and the leeway for change; as Chinese history has proven that rigidity most often results in decline and defeat. Moreover, it has provided a base for the growth of knowledge, readily adapting to the Marxist and Maoist methodology of dialectical materialism in this modern era.
by Karen K. Marcus.
M.S.
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Kotob, Basel. "Spatial layering : an effect of Cubist concepts on 20th century architecture." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/67730.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.Includes bibliographical references (p. 81-83).
The discourse of architecture has been greatly affected by the revolutionary ideologies introduced by the rise of Cubism earlier in this century. Cubism had an impact on all the arts; there was a particular affinity between the ideas of construction in Cubism and those of architecture resulting in a closer relationship between art and architecture in this century than in preceding centuries. Three of the four architects discussed in this thesis have had explicit interest in the visual arts; Le Corbusier himself was an established artist. Examining this twentieth century phenomenon has been the task of this thesis, and in particular the concept of layering found in Cubist works and its influence in the formation of new devices of spatial expression. Devices, such as fragmentation, motion and multiple interpretations found in Cubist layering were incentives for architects to investigate the application of the concepts in architecture. I suggest that the fusion of the concept of layering with that of space resulted in a new concept, "spatial layering". Some architectural examples dating after the period following the first war are examined for evidence of these influences, and relationships between them are discussed. Finally, conclusions are proposed regarding the characteristics of the concept of spatial layering as a continuing paradigm of space in architecture.
Basel Kotob.
M.S.
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Long, Richard C. "Resort architecture : the architecture of leisure." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/22355.
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Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
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Berns, Torben. "The paradox of a modern (Japanese) architecture /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38463.
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This thesis analyzes the problems and contradictions inherent in modernity's levelling of the fabricative and political realms. Seeking a broader perspective on the origins of aesthetic culture and aestheticized politics, it examines the relation of architecture to technology, culture, and politics. The thesis examines the consequences of the Enlightenment and "Radical Enlightenment" (understanding the rise of the modern nation-state as a direct consequence of the 18th century's yoking of history and nature) from the perspective of Japan and its encounter with modernity. Japan as a modern nation-state, neither part of the European Enlightenment nor colonized by its instruments, was able to initiate a unique discourse around the question of history and the concomitant issues of identity and nihilism.The thesis tracks the discourse through architecture as the terms shift and become more and more indistinguishable from the Western manifestations from which the Japanese architects wished to claim distinction.
The discussion on difference and possibility---cultural identity and the creative project---as fundamental questions for a contemporary practice of architecture is undertaken through an analysis of the polar positions of Tange Kenzo and Shirai Sei'ichi.
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Higgins, Steven A. "The recent past in Indiana : guidance and identification." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390317.
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Buildings of the modern period have traditionally been absent from most architectural surveys. Part of the reason for this lies in the fact that very few guides have attempted to provide meaningful and accurate terms for post-World War II buildings, leaving surveyors without any meaningful way to categorize such structures. The purpose of this creative project, then, is to provide an accurate and meaningful means of applying style and building form categories to post-1941 architectural resources.The creative project first examines major trends in the movement to preserve and, more specifically, to document recent past resources throughout the United States. Primary and secondary sources, both popular and professional, are examined to determine the most common and appropriate labels being applied to modern architectural resources. From this, an illustrated style guide for identifying modern Indiana architecture is created.The creative project then provides a statewide survey of post-1941 architectural resources with both photographic and written documentation as an illustration of how to apply the determined styles and forms.Project narrative -- Catalog of recent past architectural movements.
Department of Architecture
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Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
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Deser, Abigail. "Defining the public three moments of audience address in 20th century artistic production." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/65672.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.Includes bibliographical references (leaves 141-148).
This paper examines strategies of audience address as manifest in the work of the Russian avant-garde of the 1920s, the sculptural practices of the American Minimalists and the critics who served to define their endeavors, as well as the more recent projects of institutional critique that have characterized one trajectory of post-minimalist artistic production. Vladimir Tatlin and EI Lissitzky attempted to meet the demands of a newly-forming proletariat class by siting their work in the space of political and public activity. This effort to engender a simultaneous collective response, a notion theorized by Walter Benjamin, was unsuccessful: Lissitzky returned, instead, to the space of exhibition, the conventional arena of artistic discourse, where he designed a series of exhibition rooms that created an active spectator and made visible the ordering systems of the institution. Seen in light of these radical precedents, Minimalism and its critics appear to have been caught in an approach whose departure point was the physical and phenomenological nature of the object and its context-a retreat from the path initiated by Lissitzky. With the arrival of conceptual art some fifty years later, the late Constructivist explorations would re-emerge as the practice of institutional critique. These latter modes of artistic production have examined the socio-political and economic underpinnings of the institution, the composition of its audiences, and the modes of art viewing that it has promoted.
by Abigail Deser.
M.S.
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Li, Bao, and 李保. "Searching for a new Chinese architecture: an investigation of architecture in China since 1949." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B3122135X.
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Onori, Maurizia. "Neo-Mamluk and Neo-Norman funerary architecture in Palermo, 19th-20th century." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30295/.
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Black, George David. "The architecture of collage." Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/24080.
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Whiting, Sarah. "The jungle in the clearing : space, form and democracy in America, 1940-1949." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8748.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001."February 2001."
Includes bibliographical references (p. 237-248).
Combining aesthetic theory with theories of the public sphere, this dissertation examines the brief appearance of a publicly empathetic civic realm in the United States during the 1940s. The argument begins with a reevaluation of the debate over monumentality initiated in modernist architectural circles, which included such figures as Sigfried Giedion, Lewis Mumford, Henry-Russell Hitchcock, and Philip Johnson. Centering on the city, this debate recast monumentality in terms more progressive than commemorative; it posited open-ended architectural and urban strategies that offered a non-restrictive yet sympathetic public resonance. If empathy is understood as the viewer's physical and psychological engagement with an object, then the 'publicly empathetic' collects and communicates the public 's individualized engagements. The term 'publicly empathetic' underscores the distinction between totalitarian consensus, exemplified by the modernism of Mussolini's fascist Italy, and what Alexis de Tocqueville identified in 1835 as America's collective individualism, which persisted in the 1940s under the umbrella of Franklin Roosevelt's New Deal. Springboarding from Ernst Cassirer and Susanne Langer's philosophies of symbolic form as unconsummated symbol, I argue that the modernism of this period did not define the public but rather expressed architecture's publicness through the recasting of form, programming, and modernism's public mandate. The chapters of this dissertation examine in turn the texts, projects and urbanism of this empathetic modernism. The projects constituting this realm are both public and private in nature; they include Charles Franklin and ...
by Sarah Whiting.
Ph.D.
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Kerr, Philip Gregory. "Liturgical spaces : procession in the Catholic church." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/21641.
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Liu, Bingkun, and 劉秉琨. "Laszlo E. Hudec and modern architecture in Shanghai." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31651586.
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Pickering, H. Elbert III. "A way of making architecture." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23068.
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Sharp, Leslie N. "Women shaping shelter." Diss., Georgia Institute of Technology, 2004. http://hdl.handle.net/1853/7268.
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Tavel, Jose Enrique. "A theory of architecture based on the synthesis of bricolage and linguistic devices." Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/21742.
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Choi, Yoon Kyung. "The spatial structure of exploration and encounter in museum layouts." Diss., Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23301.
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Baumer, Andreas. "Urban rejuvenation : a contemporary urban topology for the information age." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137647.
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A changing perception based on the appreciation for information in our era allows a broader idea and different understanding of life as a system driven by the flow of information. Simultaneously, our understanding of 'the' urban was broadened. It enabled us to perceive urban structures as living organisms beyond their physical manifestation and separated from human control. Like species, our cities are great products of evolutionary forces and contain invaluable information worth preserving.When writing about urban spaces, urban is understood as a system which is constituted not so much by built forms and infrastructures, but as a heterogeneous field that is constituted by intervention and lines of forces and action. These lines form the coordinates of an urban topology that is not based on the human body and its movements in space alone, but also on relational acts and events within the urban system. These relational acts can be economic, political, technological or tectonic processes, as well as acts of communication. The urban is therefore quite different from the physically defined spaces of events and movements.The focal point of this paper is to explore the relationship between the spaces of movement, the spaces of events and the relational systemic 'spaces'. It will be attempted to identify fundamental processes behind urban design. Rules are derived from connective principles in complexity theory, systems theory, pattern recognition, and artificial intelligence.Department of Architecture
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GALVEZ, MARCIA FURRIEL RAMOS. "TWO PAVILIONS AT INTERNATIONAL EXPOSITIONS OF THE 20TH CENTURY: IDEAS OF A BRAZILIAN ARCHITECTURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21750@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Dentro de determinado evento histórico, as Exposições Internacionais, foram selecionados para estudo dois projetos de pavilhão brasileiro, para a Exposição da Filadélfia em 1926 e a Exposição de Nova Iorque, em 1939, ambas nos Estados Unidos, de autoria do arquiteto Lucio Costa. Da análise do contexto cultural, da conformação do concurso público e por fim da composição do projeto, pretende-se conectar o tema da representação nacional - específica do programa de pavilhão - ao estudo do desenvolvimento do discurso da arquitetura brasileira em dois momentos distintos de sua história no século XX: o período neocolonial e o moderno. Sendo projetos de um mesmo arquiteto, que consolidou-se como um dos maiores representantes da profissão no Brasil, o estudo é feito de maneira a compreender a formação tanto de sua prática projetual, contemplando a apropriação das formas tradicionais de um passado colonial, como também do seu discurso teórico, discutindo arte e técnica no pensamento contemporâneo.
Within a given historical event, the International Expositions (also called World Fairs), two Brazilian s pavilions projects by architect Lucio Costa were selected for study, to the Philadelphia World Fair in 1926 and the New York World Fair in 1939, both in the United States. The analysis of the cultural context, the conformation of the architectural competition and finally the composition of the projects aims to connect the issue of national representation - program-specific of exposition pavilions - with the Brazilian architecture s discourse development in two different periods of its 20th century s history: the neo-colonial and modern period. As projects of the same architect, who has established himself as one of the greatest representatives of the profession in Brazil, the study is done in order to understand the formation of both his design practice, contemplating the appropriation of traditional forms of a colonial past, as well as his theoretical discourse, understanding art and technique in contemporary thought.
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Jane, Van Horn Mary. "Towards a critique of the architecture of consumption." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/22412.
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Rodrigues, Bruno Silva. "As micronarrativas em Portugal : de Almada Negreiros a Ana Hatherly : a brevidade literária narrativa em Portugal no século XX." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:bcb0c981-3c78-4cf8-8ef6-c3a04ec1a05f.
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Literary works and other manifestations that demonstrate, disseminate or stimulate the practice of extremely brief narrative texts have increasingly been gaining ground in the 21st-century. This phenomenon, which varies in intensity depending on the country - seemingly more substantial in the American continent and more timid in European countries - has ramifications more or less on a global scale. Naturally, there has been, over the last few decades, a greater awareness of the dissemination of this type of productions, thanks to the visibility that new information technology, above all the Internet, has afforded. This tendency, however, just like any other human activity, is bound to have antecedents. To analyse its roots may help us to understand its relevance today. The research carried out here has as its object of study extremely brief narrative texts produced in Portugal. It focuses on a period of time which, it will be argued, is of utmost importance for the presence of micro-narratives in the Portuguese literary landscape: the period situated between the dawn of modernism at the beginning of the 1910s and the post-revolutionary moment when Ana Hatherly publishes the third volume of her overarching project entitled Tisanas, in 1980.
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Pratt, Tracy E. "An exercise in good house design." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/21678.
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Suarez, Mauricio C. "Mayan-inspired architecture : a study of the revival movements in late 19th and 20th century Mexico." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/21673.
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Flanagan, Stephen R. "Architecture and light : a bridge between science and theology, the measurable and the immeasurable." Thesis, Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/23135.
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Atwood, Jeffrey Terrell. "The new perspective." Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/12233.
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Kim, Juho. "Interaction between industrialized building systems and architecture : generic principles of variations with industrialized building systems." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63357.
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Tarkay, Guse. "Evaluation Of Urban Regeneration Issues For An Early 20th Century Quarter: Kadikoy-yeldegirmeni." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611926/index.pdf.
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In the 60s, a new notion gentrification was used as a kind of residential transformation and gained importance in the 1970s and 1980s through the world. The notion used for the quarters invaded by upper income people and transformed to eloquent and expensive quarters after some renewal projects. This process is criticized because of some negative effects such as, displacement of old residents, increase of the prices in the area, appearance of conflict between the people of community and disappearance of social diversity.
Different waves of gentrification caused transformations in some urban quarters of istanbul. Yeldegirmeni, as an early 20th century historical urban quarter of Kadiköy, is a potential area that may face with the threat of gentrification in the coming years because of some properties like historical character of the quarter, location that is close to the Kadikö
y center, diverse transportation facilities and the existence of pioneers and investors. Considering that sustainable settlements of a city upgrade the environmental quality and life patterns of the inhabitants, provide social unity between them, increase the social consciousness, this thesis proposes a sustainable regeneration model for Yeldegirmeni to avoid gentrification. iskele Street in Yeldegirmeni is selected to make the spatial and social analyses in the quarter. According to these analyses, a pilot regeneration proposal which includes physical needs, physical interventions, functional decisions, social and environmental recommendations and average total cost is provided for iskele Street. Taking into the pilot regeneration proposal of one street, some decisions are constituted for the regeneration process throughout Yeldegirmeni.
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White, Steven Robert. "A confluence of thinking: The influence of 20th century art history on American landscape architecture." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278634.
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Since beginning my graduate studies in landscape architecture, I have encountered many situations in class in which references to art were used. I discovered a connection in the usage of the jargon of art in landscape architecture study. People, for the most part, do not know what landscape architects do or who we are. In this thesis I will make the case for aligning the profession of landscape architecture with the fine arts and humanities. An art history component in the curriculum and education and training of landscape architects would augment their design and presentation skills in the workplace. I have included the results of a survey questionnaire that I sent to 65 landscape architecture teaching faculty representing 38 landscape architecture programs in the United States. These individuals held either a Bachelor of Fine Arts degree, a Master of Fine Arts degree, or they had a scholarly research interest in art.
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YAKUSHENKO, Olga. "Building connections, distorting meanings : Soviet architecture and the West, 1953-1979." Doctoral thesis, European University Institute, 2021. https://hdl.handle.net/1814/71643.
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Defence date: 26 April 2021Examining Board: Professor Alexander Etkind (European University Institute); Professor Catriona Kelly (University of Oxford); Professor Pavel Kolář (University of Konstanz); Professor Anatoly Pinsky (University of Helsinki)
The transnational history of the Soviet Union often goes against everything we know as citizens of the post-Soviet world. We are used to imagining the Iron Curtain as an impermeable obstacle and any meaningful connection between the Soviet Union and the rest of the world as clandestine, unofficial, and potentially subversive. But it was not always the case. I wish to open my thesis with a short dramatic exposition from the memoir of one of the protagonists of my thesis, the Soviet architect Felix Novikov: Soon [after the speech against the extravagances in architecture in 1953] the architectural bosses went abroad in search for examples worthy of emulation. The head of the Union of architects of the USSR, Pavel Abrosimov, left for Italy, Aleksandr Vlasov went to the US, Iosif Loveĭko who, in his absence became the chief architect of Moscow, left for France. After, each of them gave a talk about his impressions to the colleagues in the overcrowded lecture hall of the Central House of Architects. A year after the “historical” (without irony) speech the Party and government decree “On the elimination of extravagances in housing design and construction” appeared […] in the text of this document were such lines: “Obligate (the list of responsible organizations followed )… to be more daring in assimilation of the best achievements… of foreign construction.” The true “reconstruction” resulted in architecture that I call Soviet modernism started from this moment.”
Chapter 4 ‘Anatole Kopp: Enchanted by the Soviet' of the PhD thesis draws upon an earlier version published as an article 'Anatole Kopp’s town and revolution as history and a manifesto : a reactualization of Russian constructivism in the West in the 1960s' (2016) in the journal ‘Journal of Art Historiography’
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Clouten, Kirstin. "Architectural significance of the recent past." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214379.
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An investigation of architecturally significant buildings constructed within the last fifty years, in the Midwest and the application of preservation theories to these significant buildings, to aid in evaluation strategies and preservation implementation.Recognition of recent past construction as candidates for architecturally significant cultural resources and the application of preservation theories to these buildings make for good design and preservation practice. Part of our responsibility, as preservation professionals is to promote the preservation of significant structures, regardless of the date of construction. Since there is no established process to aid in preserving recently constructed buildings of architectural significance, it is necessary to develop strategies to assist in the evaluation process.Department of Architecture
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Yu, Yang. "Remaking Xiamen overseas Chinese and regional transformation in architecture and urbanism in the early 20th century /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39558083.
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Turnipseed, Mary Faith. "Ways of making within dematerialized space." Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/24075.
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Achmadi, Amanda. "The Architecture of Balinisation : writings on architecture, the villages, and the construction of Balinese cultural identity in the 20th century /." Connect to thesis, 2007. http://eprints.unimelb.edu.au/archive/00003322.
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Colley, Dorothy M. "Fragments of the ideal : engaging the contemporary American city." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/23187.
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Asbury, Robert M. "The role of the new town in social change : the British new towns program." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23773.
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Jones, Doyle Michael. "Masonry ornament : applications of masonry construction in post-modern architecture." Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/24139.
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Tardio, Marco Carlos. "Interventions into the city." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/24172.
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Bartsch, Katharine Ann Ruth. "Re-thinking Islamic architecture : a critique of the Aga Khan Award for Architecture through the paradigm of encounter /." Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09PH/09phb293.pdf.
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Thesis (Ph.D.)--University of Adelaide, School of Architecture, Landscape Architecture and Urban Design and Centre for Asian and Middle Eastern Architecture, 2005."July 2005" Includes bibliographical references (leaves 305-327).
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Hardwick, Carole. "The dissemination and influence of Willem M. Dudok's work in the climate of modernism in architecture in Australia, 1930-1955." Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/18154.
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The thesis studies the role of the European modem architect, the Dutchman Willem Marinus Dudok, in the dissemination of certain aspects of the concepts of architectural modernism in Australia from 1930 to the mid-1950s, and examines the manner in which his works and ideas were actually transferred. The thesis establishes the significance of Dudok's role in the Australian architectural context. An introductory discussion of European architectural modernism is presented so that Dudok's position can be understood in relation to it. This is followed by an examination of Dudok's professional life and architectural works. His buildings are analysed according to general principles and specific characteristics, all of which are illustrated by examples. Dudok's standing as an important modem architect is supported by a study of his relationship to European modern architecture, including prior and contemporary Dutch architecture. The connections between Dudok and Frank Lloyd Wright and their respective architectures are briefly investigated. Australian modernism is discussed in broad terms to establish the cultural context within which modem architecture evolved in that country. The development of modem architecture is described by examining the architectural debate conducted at the time of its emergence, and by an analysis of modern buildings. Architects, from both the public and private sectors, whose buildings demonstrate an understanding of the principles and Ill practice of modern architecture are identified and their work is examined for any evidence of Dudok's intluence. The thesis also examines the vehicles through which such Australian architects became aware of Dudok's architecture and demonstrates that these were many and diverse. Three significant means are identified: first, photographs of Dudok's architecture and articles about it in Australian and overseas professional and popular journals; second, the experiences of those Australian architects who travelled to the Netherlands specifically to look at Dudok's architecture; third, the awareness of his work that existed among Australian architects working in the United Kingdom. Of particular note was the role of the Architectural Association in London in informing Australian architects about Dudok. This thesis suggests that many modem buildings designed and built in Australia during the period 1930 to the mid-1950s displayed characteristics in their built form that can be directly sourced to Dudok's architecture. It concludes that Dudok had a widespread influence on modern buildings in Australia during the 1930s and 1940s, and his intluence remains evident in occasional buildings designed during the early 1950s.
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McFeat, Lin Gillian. "The architecture of colonisation : the concept of depiction : Colon : the colonisation of a(a)rchitecture : the depiction of the concept." Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09PH/09phm1432.pdf.
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Includes bibliography. This thesis examines deconstructive writings, employing those strategies as a basis for re-forming approaches to architecture. A theory is posited that a distinction must be made between architecture as idiom and architecture as medium, expressed as a separation between architecture as a built form, Architecture the Idea and A(a)rchitecture as a new direction for framing an approach to its discourse.
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Lesniak, Piotr Jerzy. "Towards Warsaw of the future : exhibiting, archiving and moving through architectural imaginaries." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22998.
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Thesis argument: There is a Culture of Violent Reductivism in Representing Warsaw, which means that: Warsaw is reduced to a symbol of heroism in the hands of God/History or the Expert; imagining is reduced to historic imaginary and by the same token futuristic imaginary; both based on a positivist-romanticist system of thought; the reductivism deploys philosemiotic violence (acts of offering with expectations attached); the reductivism/violence is a symptom of a ‘neurosis’ of the social national/imaginary; the reductivism stops Warsaw/Poland from imagining present and future more openly. An alternative is to represent Warsaw as a series of post-historical objects that: are discrete texts, singular images, drawings, physical objects; are paradigmatic and analogical; they move from specificity to specificity; offer different forms, where ‘form’ is non-objective and means relationship; are a series of critiques, reflections, descriptions that work as architectural hypotheses; represent three exemplar imaginaries of Warsaw (the Birth, the Rebirth, the Second Rebirth); together form a ‘distracted’ architectural archive of Warsaw’s imaginaries. In this way, the thesis posits an example of a methodology of representing Warsaw that opens the possibility for Warsaw/Poland to imagine itself differently. Key themes: Culture of violent reductivism in representing Warsaw, reduction of Warsaw to a symbol of heroism, domination of the historic futuristic imaginary, philosemi(o)tic violence, neurosis of the social imaginary (guilt), positivist romanticism, post-historical object, paradigmatic knowledge, non-objective form, seriality of representation, architectural hypothesis, three imaginaries of Warsaw, ‘distracted’ archive of imaginaries.
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Noll, Jena. "The residential architecture of Cuno Kibele in Muncie, Indiana, 1905-1927." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133739.
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Cuno Kibele was the most prolific and most influential architect to live and work in Muncie, Indiana, in the first decades of the twentieth century. From 1905 to 1927, Kibele designed Muncie's grandest public buildings as well as schools, churches, factories, and commercial buildings. Kibele is most often identified with these buildings. The purpose of this thesis is to study a portion of Kibele's work that has been generally overlooked, his residential designs.Kibele was a reputable residential designer in Muncie. He was a sought-after architect for the city's rising middle class who lived in the suburbs just outside of town. Kibele's residential designs were unlike his other types of commissions in their simplicity and restraint of form and style. Kibele did not include stylistic details in his residential designs to the extent that he did in his other commissions. The few stylistic elaborations that Kibele did include in his residential designs were common-place Craftsman and Prairie style details.Kibele's residences were not high style or innovative in design, however they incorporated the latest social thinking and technological advances. In the early decades of the twentieth century, middle class residential design in America underwent a dramatic transformation. The Victorian home, with its rambling, asymmetrical plan, dense cluttered interior, and ornate detailing was pushed aside in favor of a new, modem aesthetic that favored simple clean lines, reduction of ornamentation, and an open interior arrangement. Kibele's residential commissions demonstrate the modem design principles that resulted from this transformation: the inclusion of modem technological advances; a kitchen redesigned for efficiency; simpler outline and reduction of ornamentation; a simple, open floor plan; and provisions for healthy living.Department of Architecture
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Chan, King-lok. "A neglected heritage typology in the New Territories the Western-Chinese eclectic style rural buildings of the early 20th century /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B42188982.
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Etchegoyen, Emilio G. "Historical context as it affects the base of the skyscraper." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/24114.
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Pereira, Teresa Matos. "A primitividade do ver ou a renúncia da razão na arte do primeiro modernismo em Portugal." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2001. http://dited.bn.pt:80/30084.
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