Dissertations / Theses on the topic 'Contributions in art and architecture'
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Meyer, Mélanie. "Contributions to the study of the architecture and evolution of ribozymes." Phd thesis, Université de Strasbourg, 2013. http://tel.archives-ouvertes.fr/tel-01063838.
Full textWalker, Deborah, and mikewood@deakin edu au. "Giorgio de Chirico and the idea of enigmatic imagery: The innocence of becoming." Deakin University. School of Contemporary Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.104950.
Full textKunasek, Kimberly Ann Oei. "Anne Graham Rockfellow: Who was she? What was her contribution to the history of architecture?" Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278409.
Full textCarr-Trebelhorn, Julia A. "FROM GEOLOGY TO ART HISTORY: CERAMIST ALEXANDRE BRONGNIART’S OVERLOOKED CONTRIBUTION TO THE DEVELOPING SCIENCE OF ART HISTORY IN THE EARLY NINETEENTH CENTURY." UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/4.
Full textBaird, David A. "Architecture and art /." Online version of thesis, 1990. http://hdl.handle.net/1850/11313.
Full textConocimiento, Dirección de Gestión del. "Art & Architecture Source." Ebsco, 2004. http://hdl.handle.net/10757/655262.
Full textGhernaouti, Solange. "Contribution à la normalisation des systèmes ouverts : adressage, architecture de documents, protocoles sur réseau local, un exemple d'intégration de la couche session dans un système d'exploitation." Paris 6, 1986. http://www.theses.fr/1986PA066485.
Full textFenton, Rebecca C. "Contributions/Souvenirs: Contemporary Art and Artists in Mali, West Africa." Miami University Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1209573114.
Full textQuito, Anne. "Art at work potential contributions of an art collection to non-profit organizations /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/456296265/viewonline.
Full textSledge, 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.
Full textPage 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.
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.
Full textKotze, Willem Riaan. "Art Workshop : contextual architecture in light." Diss., Pretoria : [S.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11272008-000720.
Full textRabe, Justin. "Art to Architecture: Translating Sol LeWitt." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1226377750.
Full textAdvisor: Vincent Sansalone. Title from electronic thesis title page (viewed Feb. 5, 2009). Includes abstract. Keywords: LeWitt; conceptual; architecture; series. Includes bibliographical references.
Barry, Marie Porterfield. "Lesson 06: Divine Architecture." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/7.
Full textYe, 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.
Full textThesis: 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
Harris, Patricia Elaine. "Celebrating diversity : an exploration into African contributions to Caribbean residential architecture." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/17202.
Full textMICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: p. 177-180.
The purpose of this thesis is to document, through observation and research, architectural elements of a culture that have contributed to the development of another. As such it represents a way of thinking about the impact of architecture on culture and of culture on architecture. The len~ for this focus is the contributions of African people brought to the Caribbean during the European Slave Trade (1520's--1860's). As it essentially was a world region where the influence of indigenous people was negligible due to their early demise and general lack of an extensively developed architecture, it may almost be regarded as a 'clean slate' upon which the Europeans and Africans devised an architecture based on climate, materials, and tradition modified by colonization/enslavement. As climate and materials were generally similar to those found in Africa, tradition may be considered the most important aspect of this process and is the basis for this thesis and for the exploration of the following questions: What did Africans do to contribute to the architecture of the Caribbean; how did they say, "We are here?" What may have been present in the physical landscape, built and natural, that gave Africans brought to the New World any sense of familiarity of place in an otherwise alien environment? What are some of their contributions that have survived, either through transferal or transformation, physically tangible or attitudinal, that are present in the Caribbean today? In general, what do people do to affect the physical environment when they are in positions of social and economic powerlessness?
by Patricia Elaine Harris.
M.Arch.
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.
Full textXu, Tian Yang Kevin. "Building Ecotheology: Nature Veneration in Architecture and its Contributions to Environmental Stewardship." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592171201279149.
Full textAlvim, Diogo. "Music through architecture : contributions to an expanded practice in composition." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703888.
Full textMailleur, Stephanie. "Imagining roman ports : the contribution of iconography to the reconstruction of roman mediterranean portscapes of the impérial period." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2049.
Full textUnder the Roman Empire, harbours played an important role for the image of the city. They were more than utilitarian constructions. The buildings and monuments were organised within the space of the port in a programmatic way that made up a genuine urban landscape that I have described as a “portscape”. This term, derived from Zanker’s townscape concept, is understood as the urban aspect, layout and design of Roman ports but also as the lived environment with its societies reflected by its cultural characteristics. Despite recent excavations conducted at Roman ports, our knowledge of portscapes under the Roman Empire is very unclear and the reality of port monuments remains poorly understood. Most known ancient Mediterranean ports are not well preserved, and often only preserved archaeologically at the level of their foundations. Whilearchaeologists are able to reconstruct a plan, understanding ports three dimensionally is at best a challenge. What did Roman ports really look like?Due to the lack of ancient sources relating to Roman ports, using iconography could be useful. This research aims to demonstrate that port depictions, quite abundant during the Imperial period and decorating various type of artistic media (coins, ceramics, mosaics, paintings, gemstones etc.), can make an important contribution for learning more about ports as they are the only source of information that allows us to understand volumetrically, the architecture of portsthat no longer survives archaeologically.Through this work, I will see how the pictorial genre of maritime landscape emerged during the Augustan period as well as the process of its diffusion, reception and standardisation in art during the Imperial period. I will also address the issue of the contexts in which port-themed decoration has been found. I will focus on the main characteristics of portscapes by means of a linguistic approach that distinguishes the different messages conveyed by images according to their contexts (domestic, funeral, politics, etc.).By means of three specific case studies, I will demonstrate how it is possible to deal with the iconographic and epigraphic evidence in order to better understand the components of Roman portscapes. Case-study 1 focuses on the weighing control systems (sacomaria). Case-study 2 studies the single monuments that decorated the portscape, such as freestanding column monuments and honorific arches. Case-study 3 aims to better understand cult spaces in portcontexts by using the example of the sanctuaries of Isis.Finally, I will focus on the urban syntax of the portscape through the case-study of the port of Leptis Magna. Enquiry will ascertain the extent to which the urban programme of its portscape corresponded to a standard design in reality and in iconography
KRAKOVICH, LINA M. "Art · Culture · Experience:." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212147757.
Full textAlice, 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.
Full textValente, 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.
Full textMade available in DSpace on 2016-09-02T13:13:13Z (GMT). No. of bitstreams: 1 texto completo.pdf: 3929198 bytes, checksum: 97d1e9f437e559874e88219c5ebee761 (MD5) Previous issue date: 2016-04-18
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação é o resultado de uma pesquisa fenomenológica, onde o objeto de pesquisa são as inter-relações entre a arquitetura e as expressões artísticas contemporâneas em Inhotim. A teoria da fenomenologia entende que a experiência sensorial do espaço é também uma função singular da arquitetura. Em arquitetura ela é demonstrada pela manipulação de elementos materiais e imateriais do espaço, a fim de produzir um impacto nos sentidos humanos. Desde a consolidação da arte contemporânea, particularmente da arte pós- objeto2 como arte ambiental, site-specific, new media, instalações e outras que promovem experiências sensoriais, tem se fortalecido a necessidade preservação das relações entre a obra e seu lugar. Mudanças no caráter essencial da arte, como a arte é, tem interferido no formato coerente dos espaços para arte. Portanto, por meio do estudo de caso do Inhotim, a questão central que direciona esta dissertação é como as mudanças nos paradigmas nas artes trouxeram novas conformações arquitetônicas que melhor acomodam a arte contemporânea. Este trabalho é organizado em três escalas de análise dessa inter-relação: (1) a escala do “fato” artístico em relação ao espaço; (2) a escala da galeria em relação ao fato artístico; e, (3) a escala de todo espaço físico do museu, analisando Inhotim como um todo, lendo sua forma que é orientada por percursos, suas paisagens construídas e seu conjunto arquitetônico. O termo “pós-objeto” foi extraido do CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, p. 181–189, Abril de 2011.
This thesis is the result of a phenomenological research study, where the object of the research is the interrelations between architecture and contemporary artistic expressions at Inhotim. The theory of phenomenology acknowledges that the sensory experience of space is also unique function of space. In architecture it is demonstrated through the manipulation of material and immaterial elements of space in order to produce an impact on the human senses. Since the consolidation of contemporary art, particularly post-object1 art such as environment, site-specific, new media, installations and others that convey sensorial experiences, the need to preserve the relationship between the work and its place has strengthened. Changes in what/how art is have interfered in how art spaces are. Therefore, through the case of the Inhotim, the central matter that this thesis seeks to address is how the changes of paradigms in the arts brought about new architectural conformations that better accommodate contemporary art. This work is organized in three scales of analysis of this interrelation: (1) the scale of the artistic fact in relation to space; (2) the scale of the gallery in relation to the artistic fact; and, (3) the scale of the whole physical space of the museum, approaching Inhotim as whole, reading into its path- oriented form, its created landscapes and architectural set. The term “post-object” was extracted from CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, pages 181–189, April 2011.
O autor não apresentou título em português.
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.
Full textPALCZYNSKI, MATTHEW JOSEPH. "ROTHKO AND ARCHITECTURE." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/213124.
Full textPh.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
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.
Full textCheng, 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.
Full textJakeman, 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.
Full textCheng, 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.
Full textKraus, Heidi Elizabeth. "David, architecture, and the dichotomy of art." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3325.
Full textGraziano, Anne M. (Anne Marie). "Towards a new art of reading." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/121696.
Full textThesis: 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
Mao, Yuhan-Lin. "Computer art and creative tool making." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/78802.
Full textMICROFICHE 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.
Christie, Andrew Leigh. "Investigating anthropogenic existential risks through art." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/91396.
Full textCataloged 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
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.
Full textMorgan, Nathaniel P. "Untitled (arCHItECTURE)." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242673178.
Full textLi, Shuang. "City of Art - Beijing Huantie Art District." Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280176.
Full textDEGRAAF, 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.
Full textEisen, 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.
Full textGiesecke, Ken 1976. "Deployable structures inspired by the origami art." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/30075.
Full textIncludes 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.
Vahtar, Marta. "Art as integral part of architectural space." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/70223.
Full textIncludes 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.
Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.
Full textMatherat, Philippe. "Contribution à l'augmentation de puissance des architectures de visus graphiques." Grenoble 2 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376159604.
Full textSadigh, Kianouche. "L'architecture art déco à Reims." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010602.
Full textOn 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
Mole, Amanda Lee. "Irony in the art of architectural construction." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/22409.
Full textMoham, Carren D. "The contributions of four African-American women composers to American art song." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250881412.
Full textMoham, Carren Denise. "The contributions of four African-American women composers to American art song /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487945015618126.
Full textCABRAL, 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.
Full textUNIVERSIDADE 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.
Finnegan, Jacqueline. "Flattened architecture /." South Hadley, Mass. : [s.n.],, 2008. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2008/290.pdf.
Full textKaji-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.
Full textRajarajan, 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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