Dissertations / Theses on the topic 'Art and architecture'
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Baird, David A. "Architecture and art /." Online version of thesis, 1990. http://hdl.handle.net/1850/11313.
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Conocimiento, Dirección de Gestión del. "Art & Architecture Source." Ebsco, 2004. http://hdl.handle.net/10757/655262.
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Sledge, David C. (David Christopher) 1968. "The art of ambiguity : (experiencing the Kimbell Art Museum)." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/70346.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Page 135 blank.
Includes bibliographical references (p. 131-133).
This thesis examines the Kimbell Art Museum in Fort Worth, Texas, designed and executed between 1966 and 1972 by the architect Louis I. Kahn. This study responds to a series of design related questions raised in the author's mind upon visiting the Kimbell museum on June 22, 2000. The work will evaluate the buildings' major design elements, beginning with the overall site and building organization, and end with the relationship between structure, space and natural light. The building is documented with numerous photographs taken during my visit to illustrate its experiential aspects. This study examines how the Kimbell Art Museum prompts 'readings and re-readings,' associations, symbolisms, and meanings that may initially appear elusive, contradictory or even obscure. My analysis suggests that Louis Kahn designed the Kimbell to generate obscure readings, or to be more precise, he utilized ambiguous design features capable of being understood in two or more possible senses. My analysis also raises questions such as, 'What types of ambiguity are employed in this museum, and why?', and 'How does the Kimbell Art Museum as both building and experience compare to Kahn's stated design goals?' The lens through which this examination takes place is my own experience of the building, tempered by an examination of the building's documentation compared to what Kahn wrote, sketched and built. This project aims to offer plausible insights into the building'S numerous, seemingly ambiguous design features. The process of reading and re-reading the Kimbell reveals elusive aspects of the building that to date, have not been adequately considered and articulated. The object of this study is twofold: first, enhance understanding and appreciation of Louis 1.
David C. Sledge.
S.M.
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von, Wiedersperg Carolina Sophie. "Kyoto art in nature habitat /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/von_wiedersperg/von_WiederspergC0509.pdf.
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The purpose of this thesis is to find architectural solutions which apply the theoretical findings centered around the biophilia hypothesis. The principles resulting from this investigation should help architecture to soften the separated conditions of the natural and the man-made environment. The application of these principles will then result in the design development of an Art in Nature Habitat in Kyoto, Japan.
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Donati, Gérard. "L'Hypothèse du discours architectural : de l'ordre en architecture, XVe-XVIIe siècle." Paris, EHESS, 1985. http://www.theses.fr/1985EHESA016.
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Rabe, Justin. "Art to Architecture: Translating Sol LeWitt." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1226377750.
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Thesis (Master of Architecture)--University of Cincinnati, 2008.Advisor: Vincent Sansalone. Title from electronic thesis title page (viewed Feb. 5, 2009). Includes abstract. Keywords: LeWitt; conceptual; architecture; series. Includes bibliographical references.
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Kotze, Willem Riaan. "Art Workshop : contextual architecture in light." Diss., Pretoria : [S.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11272008-000720.
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Almousa, Sukaina. "Temporary architecture : an architectural mirage tracing mind/body journey in installation art." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/14281/.
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Architecture and arts practices were arguably kept apart during the first half of the 20th century, resisting an emerging overlap that was conducted by both artists and architects. Installation art has subsequently emerged as an art practice but has shared many qualities with architecture because of its creation of spatial territory. Thus, in contemporary art, installation art has been moving in the fluxes between art and architecture. In the case of installation art, a temporary space is created along with a new kind of engagement and perception of the places around us. It motivates the spectator’s imagination when they are inside, experiencing a shelter that is new to the context. At the same time, it motivates memories of that experience after the installation space is removed. Mediating architecture with a spatial medium like an installation invites a new reading of the space to be applied. This reading opposes the interpretation of architecture as still signs, objects or still images, mainly because of the continuous unfolding of the art installation and the close involvement of the viewer in the spectating journey. Consequently, mediating the exhibition space through an installation creates narratives that are subjective and context-specific, while their transition through other mediums continues to alter the original narrative after the work is dismantled. Driven from the proposition that the event of a temporary installation can be articulated by the ‘event’; a concept that French philosopher Gilles Delleuze addresses in his study: The Fold, which considers the accumulated influence of a number of perceptions of space, the thesis discusses the alternative scenarios of reading the temporary architectural space while focusing on the narrative of these architectural happenings by referring mainly to Mieke Bal’s ‘narratology’ as an approach to this new understanding. Before experiencing examples of installation art, a methodological technique; collage- de-collage-re-collage, is presented as a tool to negotiate the narratives collected from the case studies. It is formulated after a theoretical structure is set to investigate the case studies where a need to develop tools of analysis and representation becomes obvious to the work. The study then tests the proposed theoretical framework on three examples, each of which represents a level of temporality in space. As they unfold, the study tracks the encounters that may be further used as instruments to extend the understanding of installation art in particular and temporary spaces in general.
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Barry, Marie Porterfield. "Lesson 06: Divine Architecture." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/7.
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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.
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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.
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Ye, Runzhou S. M. Massachusetts Institute of Technology. "Augmentation as art intervention : the new means of art intervention through mixed reality." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123562.
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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2019
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 73-76).
This thesis explores an emerging art form--mixed reality art the new opportunities, changes, and challenges it brings to art intervention. Currently mixed reality art is in its early stage of development, and there is relatively little scholarship about this subject. However, I believe augmentation as a new art form has great potential in the art field and this thesis aims to address this gap. I argue that augmentation can be used as a new means for art intervention, and that it can bring new opportunities for artists not only to augment the use of sites, but also to create a better cultural and emotional experience for the viewer. With in the scope of mixed reality art, this thesis discusses augmentation of senses, sites, and data; this includes not only the exploration of this medium through a series of my recent artworks, but also includes experiment s of other mixed reality art pioneers. I believe that my art will not only inspire my future creation, but also shed more light on this new art form.
by Runzhou Ye.
S.M. in Art, Culture and Technology
S.M.inArt,CultureandTechnology Massachusetts Institute of Technology, Department of Architecture
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CABALFIN, EDSON ROY GREGORIO. "ART DECO FILIPINO: POWER, POLITICS AND IDEOLOGY IN PHILIPPINE ART DECO ARCHITECTURES (1928-1941)." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054760324.
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KRAKOVICH, LINA M. "Art · Culture · Experience:." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212147757.
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Cheng, Christina Miu Bing. "Postmodernism art and architecture in Hong Kong /." Click to view the E-thesis via HKUTO, 1991. http://sunzi.lib.hku.hk/hkuto/record/B31949861.
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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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Jakeman, Jane. "Abstract art and communication in 'Mamluk' architecture." Thesis, University of Oxford, 1993. http://ora.ox.ac.uk/objects/uuid:83f44ba8-2ba6-4ff1-8732-9e78d65ad5c5.
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Fourteenth-century Cairo saw a movement towards abstract, geometric art. This movement reflected contemporary intellectual interests and represents the culmination of the ascendancy of Islamic philosophy over the humanist vocabulary of art. The thesis seeks explanations for the positive, i.e. for the forms which art actually took, rather than concentrating on prohibitive mechanisms. In architecture, the disappearance of stucco vegetal decoration may have been partly due to the effects of an outbreak of plague, but the main influences on contemporary art and architecture came from the esoteric habits of thought induced by sufism, alchemy and hermeticism, and from the dualist concerns of Islamic philosophy. The thesis discusses the continuity between sufism and Shī'ism, the history of sufism in Cairo as it affected art and architecture, concepts of the microcosm and the macrocosm, and theories of colour, substance and gilding. The thesis examines talismans and other esoteric material. It discusses architectural incorporata, presents a catalogue of Pharaonic material re-used in Islamic architecture, and argues that blocks bearing Pharaonic hieroglyphs represented Hermetic lore and, at entrances to buildings, paralleled the use of Pharaonic references at the beginning of esoteric manuscripts. The detailed discussion of architecture takes the form of an examination of a religious building, scrutinising the underlying principles of decoration and then moving on to specific elements such as the entrance and the mihrab. The thesis discusses, and dissents from, iconographic interpretations of architectural imagery. It attempts to evolve a terminology for discussion and concludes that 'mamluk' is inappropriate as a cultural term, since the influence of the individual patron on art and architecture was less innovative than the intellectual background of the period, and the dissociation of the patron from contemporary society has been over-estimated. It comes to the conclusion that 'an art of the bāṭin' would more effectively express the major influence on the art and architecture of fourteenthcentury Cairo.
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Cheng, Miu-bing Christina. "Postmodernism : art and architecture in Hong Kong /." [Hong Kong] : University of Hong Kong, 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13031351.
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Kraus, Heidi Elizabeth. "David, architecture, and the dichotomy of art." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3325.
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In recent decades, the art and life of Jacques-Louis David have sparked a renewed surge of interest in the academic community. It is startling, however, that the often prevalent and imposing elements of architecture found in David's paintings have received little scholarly attention. This study fills a lacuna in David studies by providing a new perspective on his passionate engagement with architecture and its impact on his art. I begin by demonstrating that, following his trips to Rome early in his career, architecture became central to many of the artist's most celebrated compositions. Focusing chronologically on an approximately thirty-year period of the artist's career, I explore key paintings by David that serve as principal examples of the emphasis he placed on architecture and its ability to reaffirm, complement, intensify, and contribute layers of meaning to the central themes of his paintings. Throughout the dissertation, I identify principal architectural elements contained within these works and seek to determine their significance.
David's engagement with architecture began at a young age. He was born into a family of architects and throughout his adolescence was surrounded by some of the most important thinkers, artists, and architects of the eighteenth-century. This unique upbringing and inclusion within Paris's elite cultural milieu had a tremendous impact on how David would come to understand architecture as an aesthetic vehicle capable of enhancing his works with added narrative and metaphorical meanings. The dissertation takes as its starting point an investigation into David's period as a pensionnaire at the French Academy in Rome where he became profoundly inspired by the Antique. David recorded the impact of the Roman experience on his artistic development within the pages of a dozen albums, which contain a vast number of drawings depicting the Italian landscape, ancient buildings and monuments, and antique sculpture. The Roman albums reveal the importance David placed on architecture during this period and mark the beginning of the transformative effect the medium would have on his subsequent work.
David's obsession with the art and architecture of ancient Rome revealed in his Roman albums, for example, combined with his fascination for the popular vedute genre exemplified in compositions by Robert, Panini, and Piranesi, inspired him to reconsider how architecture could be used in new and significant ways in representations of historical subjects. This study investigates the multiple sources of architectural inspiration that served David throughout his career and inspired him to create a powerful architectural language. Comparisons between painting and architecture, including representations of architecture in painting, are fully explored for in the art of David, painting and architecture are not dichotomous. Rather, the two mediums are inextricably linked and together can be understood to embody the thoughts, pursuits, and passions of an epoch.
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Alice, Berglund. "Art for/by Youth." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135774.
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PALCZYNSKI, MATTHEW JOSEPH. "ROTHKO AND ARCHITECTURE." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/213124.
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Art HistoryPh.D.
The overall goal of this dissertation is to identify and examine the neglected aspects of the literature on Mark Rothko's 1958-1959 project to make murals for the Four Seasons restaurant (see Figs. 1-12) in the then-newly opened Seagram Building in Manhattan. These include Rothko's attempts to merge the mediums of painting and architecture in order to create an antagonistic environment in the restaurant; how his visits to Italy before and during the project reinforced this goal; how a good deal of the figurative paintings from Rothko's earliest career anticipated his blend of aggression and architecturally-related themes; the connection between Rothko and Mies van der Rohe, the architect of the building, in regard to the theme of transcendence; and how his experiments with architectural subjects and motifs aligned Rothko with some of the most influential vanguard artists in New York in the late 1950s and early 1960s. Discussions of these topics will suggest that his career-long references to architecture functioned, for him, as something intended to produce discomfort in the viewer. I will show that his acceptance of a lucrative commission to make paintings for a lavish restaurant that might seem at first to suggest pandering to an élite audience had the paradoxical effect of condemning that audience. I intend also to demonstrate that Rothko understood that the project was not merely about making paintings. Instead, for him, it dealt more with the challenge of uniting architecture and painting.
Temple University--Theses
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Phillips, Jessica. "The art of perception." This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Morgan, Nathaniel P. "Untitled (arCHItECTURE)." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242673178.
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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.
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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.
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Mao, Yuhan-Lin. "Computer art and creative tool making." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/78802.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaves 124-126).
A digital paint package has been developed which places attention on the design of personal "brush " patterns. The user generates an image by iterating these pattern modules on the raster display. During the application of a pattern, it can grow, shrink, and change in opacity level under the user's control. This method of digitally creating images was developed in light of the problem of representing visual characteristics effectively while "painting" with a computer graphics system . Allowing the user to design personal brush patterns, which can be stored in a library of patterns, and to make marks by repeating them, expands the potential visual qualities of the image as demonstrated by sample images included in this thesis. Software functions are provided for creating and editing patterns through a menu of selections. These functions treat individual shapes and colors in a pattern as separate entities that can be manipulated. Shapes can be manipulated individually, or as a selected group. The manipulation functions include the following: move, copy, scale, and delete. Software functions are also provided for the editing of color components. One method allows a color's red, green, and blue components to be adjusted. And the other allows its hue, lightness, and saturation levels to be adjusted.
by Yuan-Lin Mao.
M.S.V.S.
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Christie, Andrew Leigh. "Investigating anthropogenic existential risks through art." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/91396.
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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 55-56).
Through the creation of an art installation called Local Warming, and by analyzing energy-related art works by other artists, I was able to develop a methodology in my attempt to answer the question of what can be done about anthropogenic threats to humankind. Local Warming is a large array of 72 collimated infrared emitting robotic heaters that provide a "bubble" of heat energy around the user as they pass through the installation. This project serves as an example of how energy-technology development can seem threatening and can also be interpreted as the exact opposite: a system that provides us with direct control over our own energy. This serves as a metaphor for our relationship with energy on a global scale. While we may feel that anthropogenic existential threats, such as global warming, are beyond our control, I would argue that these threats are actually opportunities to improve our own understanding of the universe around us. Ultimately, the presence of a global risk can act as a common-cause around which humankind can rally and thrive. More specifically, my primary interest is provoking a conversation on how anthropogenic existential-risks can be thwarted. My methodology has five repeating stages, in no particular order: identifying motivations, creating physical artwork, developing or borrowing a framework, establishing provocations, and reviewing the artwork of other artists who are creating similar work. For my motivations I make assertions that I do not intend to prove such as "human life is important" or "extinction is an undesirable outcome." The purpose of stating my motivations is not to create an argument about the meaning of life, but to help the reader understand my artistic practice as it relates to the topic of anthropogenic existential risks. The creation of a framework serves as a rudder to help guide the creative process. The questions that arise from the creation of this framework are then used as provocations. These provocations need not be iron clad or consistent in their logical makeup, and they often conflict in a way that produces tension. Lastly, the review of works by other artists enables me to put my own work into context.
by Andrew Leigh Christie.
S.M. in Art, Culture and Technology
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Graziano, Anne M. (Anne Marie). "Towards a new art of reading." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/121696.
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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2019
Cataloged from student-submitted PDF version of thesis.
Reading has a long history, marked with shifts in inscription and language and with evolutions in the architectural typology of the library and reading room. How - and what - we read changes over time. Towards a New Art of Reading imagines a future state of readership, affective reading - capturing and illustrating instances of affective reading through the creation of five reading rooms. These speculations do not aim to predict a singular future of reading, but rather position a possible one - alluding to and depicting a reality based on reciprocities identified in past and present forms of reading. These series of instances, or reading rooms, outline a possible, expanding universe of affective reading.
by Anne M. Graziano.
M. Arch.
M.Arch. Massachusetts Institute of Technology, Department of Architecture
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Skevk, Therese. "Art and Music Profile School." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135474.
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Li, Shuang. "City of Art - Beijing Huantie Art District." Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280176.
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Chinese contemporary art start in 1979, the new art era has led to the emergence of a large number of art workers (artists). Workshop with large space and quiet environment would be the ideal place to do the artwork, Huantie Art District is one of the ideal places in China (Beijing), with low rent and big empty space. In 2017, Huantie Art District faces demolition and reconstruction because of the informal construction, security problem ( the structure of the building), and land-use problems. This kind of situation also occurred in other art districts. From this, I began to think about what kind of way can we help artists maintain their creation and survival in Beijing, as an architecture student, what can I do for them. To weave the broken land, protect the Art District, have a sense of belonging, and become a city within city.
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CABRAL, MARIA CRISTINA NASCENTES. "L`ARCHITECTURE DE L`ART: LE PARADOXE DANS LES MUSÉES D`ART MODERNE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5106@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOUNIVERSIDADE ESTACIO DE SÁ
Le concept de musée d`art moderne est paradoxal. La contradiction consiste dans la coexistence de l`institution musée - dont l`attribution originelle est de s`occuper des objets du passé, destitués de leur contexte originel - avec l`art de l`actualité. Cette contradiction se trouve dans toutes les sphères institutionnelles et artistiques, augmentant pendant le XXème Siècle avec l`apparition du musée d`art contemporain. Ce travail analyse l`édifice- musée comme l`endroit de cette contradiction, à partir de la relation entre les conceptions architecturale et artistique. Dans ce but, se sont analysées des propositions architecturales et muséologues de la première moitié du XXème Siècle, bien que des édifices paradigmatiques de la deuxième moitié du XXème Siècle. Ce sont d`abord étudiés le Musée de la croissance ilimitée de Le Corbusier, le Musée pour une petite ville de Mies van der Rohe et le MoMA-NY. Ce sont réalisés des études de cas du Musée Solomon R. Guggenheim de New York, du Mnam, dans le Centre Georges Pompidou, et du Musée Guggenheim de Bilbao.
O conceito de museu de arte moderna é paradoxal. A contradição consiste na convivência da instituição museu - cuja atribuição original é de se ocupar de objetos do passado, destituídos de seu contexto original - com a arte da atualidade. Esta contradição está presente em todas as esferas institucionais e artísticas, acirrando-se ao longo do século XX com o surgimento do museu de arte contemporânea. Este trabalho analisa o edifício-museu como local desta contradição, a partir da relação entre as concepções arquitetônica e artística. Para tal, são analisadas propostas arquitetônicas e museológicas da primeira metade do século XX e edifícios paradigmáticos da segunda metade do século XX. Inicialmente, são estudados o Museu do crescimento ilimitado de Le Corbusier, o Museu para cidade pequena de Mies van der Rohe e o Museu de Arte Moderna de Nova York. Em seguida, são realizados estudos de caso do Museu Solomon R. Guggenheim de Nova York, do Museu Nacional de Arte Moderna, no Centro Georges Pompidou, e do Museu Guggenheim de Bilbao.
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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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Strydom, Gerrit. "The value of public art in landscape architecture." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/7535.
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To design spaces for public art has become an increasingly difficult exercise due to the constant shifts in the public's social behaviour and attitude towards art. This is exacerbated by the fact that the discipline of art is so unique and diverse it is almost impossible to find a commonly applicable definition. Although these challenges sound daunting, it provide opportunities for creative thinking and unique design solutions. This dissertation is in response to a brief received from the City of Cape Town concerning public art and public space, this brief will be mentioned in detail later. Responding to this brief the dissertation deals with issues of art in public spaces and provides guidelines on how to design these spaces to compliment and celebrate artworks. The document will set up a framework for identifying and designing spaces for public art. The process is through an analysis in the form of a site selection criteria and a spatial selection matrix. Thereafter a set of design guidelines will be drafted and will provide the basis for the design. Finally a design proposal will be executed and complemented by an Environmental Art installation. The emphasis of the dissertation would be to illustrate how art in public space enrich and activate our built environment.
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Conocimiento, Dirección de Gestión del. "Guía de acceso para Art & Architecture Source." Ebsco, 2021. http://hdl.handle.net/10757/655262.
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Rajarajan, R. K. K. "Art of the Vijayanagara-Nāyakas : architecture and iconography /." Delhi : Sharada Publishing House, 2006. http://catalogue.bnf.fr/ark:/12148/cb41321778n.
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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.
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Finnegan, Jacqueline. "Flattened architecture /." South Hadley, Mass. : [s.n.],, 2008. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2008/290.pdf.
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Eisen, Sarajane L. "The healing effects of art in pediatric healthcare: art preferences of healthy children and hospitalized children." Diss., Texas A&M University, 2003. http://hdl.handle.net/1969.1/5772.
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Art is assumed to possess therapeutic benefits of healing for children, as part of patient-focused design in healthcare. Research on adult patients suggests that by infusing art into the healthcare setting, the design may reduce stress that could impede the healing process. Since the psychological and physiological well-being of children in healthcare settings is extremely important in contributing to the healing process, it is vitally important to identify what type of art supports stress reduction. Nature art was anticipated to be the most preferred and have stress-reducing effects on pediatric patients. The objective of this study was to investigate what type of art children prefer, and what type of art has potentially stress-reducing effects on pediatric patients. This study used a three-phase, multimethod approach: a focus group study, a randomized study, and a quasi-experimental study design. Findings from three phases were evaluated. The objective of Phase 1 was to discern what type of art school children prefer, Phase 2 focused on what type of art hospitalized children prefer and to compare these preferences identified in Phase 1. Phase 3 was a quasi-experimental study to determine if nature art has a potentially healing effect on pediatric patients when compared to abstract art or no art at all. The findings of this study demonstrate that nature art is the preferred type of art by children from age 5 to 17. But there were no significant differences among the three art intervention groups of pediatric patients. These findings led to design recommendations regarding what art should be placed in children'ÃÂÃÂs hospital rooms in order to create a stress-reducing, healing environment.
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Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.
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Vahtar, Marta. "Art as integral part of architectural space." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/70223.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1993.Includes bibliographical references (leaves 93-97).
To integrate art with architecture is the intention of every architect. However, many times other requirements overwhelm artistic potential. There are numerous good, simple examples in the history of architecture where solutions to a variety of often functional requirements have produced exceptional artistic expressions, which in tum have inspired contemporary architectural practice. Pre-industrial architecture not only responded to natural conditions in the environment; it employed all the senses as well ·. in its design of living environments. Today, unfortunately, we rarely find that architects pay attention to sound, smell, water, natural cycles, or, almost unimaginable, to time. Our technology encourages us to separate ourselves from nature. However, this same technology can help us to reintegrate ourselves with nature by designing better living environments. This thesis is, therefore, my way of rethinking design principles that shape the contemporary urban environment and often give it such a cold, formal image. My own philosophy of design is given in the introduction. The rest of the thesis is basically the supportive material, which further illuminates the ideas presented in the introduction. The first part discusses some general trends in contemporary society in order to place my own view of design within a broader context, while the second part lists numerous examples from the history of architecture and art to illustrate and further my philosophy. At the end, in the appendix, I present one of my own projects, the Interactive Water Curtain, to concretely show some of the implications of my aesthetics. Through this work I hope to illustrate the richness of various traditional architectural practices that take advantage of sound, water, time (celestial movement), fragrances, and even living creatures in designing places. I hope this will stimulate creative thinking about using not just visual effects in the design of our living environment, but employing acoustic, olfactory, astronomical, ecological, and kinesthetic design in order to create sensually richer and more pleasant environments where people can live in harmony with nature and other living creatures.
by Marta Vahtar.
M.S.V.S.
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Giesecke, Ken 1976. "Deployable structures inspired by the origami art." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/30075.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.Includes bibliographical references (p. 60-63).
My thesis is an exploration of design methods and tools using origami as a vehicle to test their usefulness and coming to terms with their limitations. I have taken my fascination with a particular development in origami and put my belief in its potential for architectural application to the test by way of various investigations: materials and structural analysis, mathematical reasoning, manipulating space and form, parametric modeling, fabrication, and finite element testing. Parting from conventional, figural forms, mathematicians developed open-surface forms together with theorems that governed the ability of these folded forms to fold flat. I selected a particular form, the Kao-fold, for its simplicity, beauty, and structural properties and imagined many exciting possibilities, specifically for its application in designing a deployable structure. I analyzed its crease pattern, exploring variations and their corresponding folded forms. Simultaneously, different material ideas for larger-scale structures were tested and a particular configuration was assessed for internal stresses and its structural stability. Its transformation from a flat sheet to a folded state was scrutinized under the lens of mathematical reasoning, namely trigonometry, by linking the acute angle of its crease pattern and the dihedral angle in its folded state to its final folded configuration. The rigidity of this investigation was offset by the freedom afforded in manipulating paper models. As such, different spatial qualities and forms were explored while addressing the issue of scale and potential applications.
(cont.) The transformational characteristics discovered were digitally simulated via the construction of parametric models, which was a more controlled manipulation of the form in a virtual space. In order to go beyond the realm of representation and address real-life building issues, a temporary open-air shelter was designed and constructed in detail. The goal was to tackle the complexity of assigning materials, designing components and fabricated them. As a final endeavor, the model's construction was tested for its structural stability using a finite element software.
by Ken Giesecke.
M.Arch.
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Sadigh, Kianouche. "L'architecture art déco à Reims." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010602.
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Ville front placée quatre ans durant sous les bombardements, à la fin de la guerre, Reims est ravagée et détruite. La reconstruction s'effectue dans un contexte de gestion individuelle des indemnités sans que l'état ou les collectivités locales n'intervienne dans les choix des habitants. C'est ainsi que l'Art déco (à la fois un style et le reflet d’une époque) a trouvé sa place dans la ville, d'une façon naturelle. Reims renaît de ses cendres et atteint, le premier rang pour le nombre de permis de construire déposés en France, mêlant à une trame urbaine remodelée (par un plan de restructuration) sa nouvelle apparence inspirée par l'Art déco. Ce style a permis de répondre aux besoins des habitants meurtris par la Guerre, par la conjugaison judicieuse de l'art et de l'industrie. L'architecture qui résulte de cette reconstruction valut à la ville la dénomination de «capitale de /'Art déco ». Les rémois ont pu s'approprier ce style à travers une expression plus personnelle : l'originalité de l'architecture Art déco réside dans le fait que l'ornement se revêt de signification, non seulement il souligne la structure et fait corps avec l'édifice, mais selon les figures choisies et même la variété des plantes, il se révèle porteur d'émotion et pourvu de profondes significations. A titre d'exemple, la pomme de pin, symbole d'éternité se voit sur plusieurs des façades de la période de la reconstruction à Reims. Bien que les ravages aient largement démontré l'inverse, faire sculpter un tel symbole, c'était indéniablement nier le message des destructions. Ainsi, ce patrimoine doté d'un symbolisme unique et émouvant, est devenu aujourd'hui un élément de l'identité rémoiseOn the front lines for four years under bombardments, at the end of the war, Reims is ravaged and destroyed. The reconstruction is made in a context of individual management of the allowances without the state or the local authorities intervenes in the choices of the inhabitants. This is the way the Art deco (at the same time a style and the reflection dune period) found its place in the city, in a natural way. Reims is reborn of its ashes and achieves, the first rank for the number of building permits requested in France, involving with a remodeled urban network (by a restructuring plan) its new appearance inspired by the Art deco. This style allowed to meet the needs of inhabitants bruised by the War, by the sensible conjugation of the art and of the industry. The architecture which results from this reconstruction was worth in the city the nickname of " capital of the Art deco ". The inhabitants of Reims were able to appropriate this style through a more persona! expression: the originality of the architecture Art deco lies in the fact that the ornament puts on meaning, not only he underlines the structure and is at one with the building, but according to the chosen figures and even the variety of plants, he shows himself carrier of emotion and provided with profound meanings. As an example, the pine cane, the symbol of eternity is on several of the facades of the period of the reconstruction in Reims. Although the devastation widely demonstrated the opposite, make sculpture such a symbol, it was unmistakably to deny the message of the destructions. So, these holdings endowed with a only and moving symbolism, became today an element of the Reims identity
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Mole, Amanda Lee. "Irony in the art of architectural construction." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/22409.
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Cosovic, Daniela. "FABRIC ARCHITECTURE: BODY IN MOTION." Master's thesis, Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002606.
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Verbeeck, Kenny. "Randomness as a generative principle in art and architecture." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/35124.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.Includes bibliographical references (leaves [87]-[98]).
As designers have become more eloquent in the exploitation of the powerful yet generic calculating capabilities of the computer, contemporary architectural practice seems to have set its mind on creating a logic machine that designs from predetermined constraints. Generating form from mathematical formulae thus gives the design process a scientific twist that allows the design to present itself as the outcome to a rigorous and objective process. So far, several designer-computer relations have been explored. The common designer-computer models are often described as either pre-rational or post-rational. Yet another approach would be the irrational. The hypothesis is that the early design process is in need of the unexpected, rather than iron logic. This research investigated how the use of randomness as a generative principle could present the designer with a creative design environment. The analysis and reading of randomness in art and architecture production takes as examples works of art where the artist/designer saw uncertainty or unpredictability as an intricate part of the process. The selected works incorporate, mostly, an instigating and an interpreting party embedded in the making of the work.
(cont.) The negotiations of boundaries between both parties determine the development of the work. Crucial to the selected works of art was the rendering of control or choice from one party to another - whether human, machine or nature - being used as a generative principle. Jackson Pollock serves as the analog example of a scattered computation: an indefinite number of calculations, of which each has a degree of randomness, that relate in a rhizomic manner. Pollock responds to each of these outcomes, allowing the painting to form from intentions rather than expectations. This looking and acting aspect to Pollock's approach is illustrated in the Jackson Pollock shape grammar. Ultimately the investigation of randomness in art is translated to architecture by comparing the Pollock approach in his drip paintings to Greg Lynn's digital design process in the Port Authority Gateway project. In the Pollock approach to digital design agency is given to the tools at hand, yet at the same time, the sheer indefinite number of designer-system interactions allows the design to emerge out of that constructive dialogue in an intuitive manner.
by Kenny Verbeeck.
S.M.
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McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
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This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.
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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.
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Kim, Amy M. "Connections : the structural details of an art gallery." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/67437.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.Includes bibliographical references (leaves 34-35).
Connections describes the physical means by which the building transforms concept into reality. These connections link between user and building; site and building; program and building; art and public. This study uses as a starting point a previous design project where advances technology allowed and informed the complex geometry and overall composition of the building. This thesis investigates the assemblage of the major building components to demonstrate how the connections make the building. This model will show how these technologies best realize the intent of the program. This art gallery gives up-and-coming local and regional artists and designers the opportunity to exhibit their work. The combination of the building and program will increase the interaction between the general public and art. The building design distinguishes itself from the typical temple- or vault-like quality of the art museum and exhibits a more inviting form. These connections not only make the building; they connect art and public in a more dynamic relationship.
by Amy M. Kim.
M.Arch.
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Rogers, Sarah A. (Sarah Anne). "Postwar art and historical roots of Beirut's cosmopolitanism." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45935.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.Includes bibliographical references (v. 2, leaves 304-316).
This dissertation charts the production of Lebanese cosmopolitanism from the nineteenth century to the present, examining how this putatively national trait is established through the visual arts. It contends that in order to understand the strategies of a group of artists who have come to represent artistic production in the aftermath of the Lebanese civil war (1975-1990), we must consider the historical formation and failures of Lebanese cosmopolitanism as a national myth. The end of the civil war coincided with a period of celebratory globalism in the art market, and in the following decade postwar artists from Beirut garnered the attention of the western art world. Exhibition catalogues and critical reviews alike characterized this body of work as emerging out a tabula rasa for the visual arts: no audience, no institutions, and no markets. This dissertation argues instead that the postwar generation did not develop out of a historical eclipse created by the civil war, but is part of the much longer history of Lebanese cosmopolitanism. By resituating the postwar generation within this history, we can understand the mechanisms by which the western art world fabricates a mythology of a local art. Tracking Beirut's transition from under the Ottoman Empire and French Mandate to an independent capital besieged by civil war through to the postwar period, I identify those moments when the project of defining Lebanese art comes to the forefront.
(cont.) Integrating an analysis of art works, archival material, institutional histories, and art historical narratives this dissertation suggests that the relationships between the terms cosmopolitan, national, and art are socially constituted and discursively produced. Rather than the innate outgrowth of the independent nation state of Lebanon, cosmopolitanism in this context is revealed as an ideological tools used to entrench internal ethnic boundaries, referencing a particular correlation between Lebanon and Europe, and constructing a national vision historically tied to the Maronite Church of Mount Lebanon. Contextualizing the postwar generation within this longer history allows for an understanding of the broader processes by which history is either made present or obscured in the intersecting imaginative geographies mapped into Lebanon.
by Sarah A. Rogers.
Ph.D.
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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.
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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.
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Swarbrick, Elizabeth Joy. "The medieval art and architecture of Scottish collegiate churches." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12210.
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Collegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were skilled singers and organists. Many founders also made provision for their burial within their collegiate churches so that they could garner the maximum spiritual benefit from the organisations that they had founded. To the author's knowledge, this is the first in-depth account of the art and architecture of Scottish medieval colleges. This thesis looks closely at the architecture, furnishings, rituals, music, imagery, and commemorative functions of the forty-nine collegiate churches founded in Scotland. A close concentration on this institutional form has meant that buildings, artworks, and practices which have hitherto not received significant scholarly attention have been carefully scrutinised. Furthermore, by looking at so many aspects of collegiate churches, the present study enriches an understanding of these institutions by providing a more holistic picture of their functions and significance. Ultimately this thesis examines why physical and aesthetic enrichment went hand in hand with the founding of a college, and what role this material culture had in regards to how collegiate churches functioned.
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Linartas, Darius. "Significance of Creative Competitions to Lithuanian Art of Architecture." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20120106_101159-04287.
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The subject matter of the research is architectural competitions in Lithuania to begin with their origin (end of the 18th century) up to the present times (2010). The dissertation aims at disclosing the significance of architectural competitions to art of architecture in Lithuania, improvement of architects’ professional excellence and public meaning of competitive selection, as well as analyzing the preconditions for improvement of the competition system. The following tasks have been raised and formulated:
1. to explore the genesis of architectural competitions and review the historical development of architectural competitions in Lithuania starting from its origins to the present day;
2. based on specific examples of architectural competitions in Lithuania, to analyze the main types of competitions and their purposes, disclose their peculiarities and meaning;
3. to perform the critical analysis on organization process of architectural competitions in Lithuania (preparation of requirements, rules, involvement of society to the design process and evaluation) and further existence and quality of the competition winning design projects; and
4. to disclose the peculiarities of public, architectural and professional significance of creative competitions.
The dissertation has an introduction, three chapters with separate summaries, general conclusions, lists of bibliography and author’s publications on the dissertation subject, list of illustrations and two appendices.
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