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1
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.
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NcRNA represent most of primary transcripts RNA in higher eukaryotes and tune gene expression via diverse mechanisms. They adopt 3D structures composed at 70% by WC bp forming A-form helices linked by RNA motifs. We identified the pk-turn, a new RNA motif related to k-turns that allow for the formation of a bend of 60° between stems P16 and P17 from the bacterial RNaseP. Yet it features different sequence and structural requirements than k-turns. The 2nd ribozyme which got my attention is the LCrz inserted in GIR2, a group I intron. This twintron is observed in the pre-rRNA 18S of the small subunit of the eukaryoteD. iris. LCrz catalyzes a reaction equivalent to the first step of splicing by group II introns, but in a structural context related to group I introns. We solved the 2.5 Å crystal structure of the LCrz and confirmed the unexpected shape by means of SAXS experiments. This work emphasizes the relationship between structure and function in the evolution of ribozymes.
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Walker, 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.
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My paintings emerge from within a context best explained by reference to Nietzsche's perspectivism. That is an intellectual attitude that deprivileges rationalism and accommodates scepticism or unknowing as an acceptable starting point From this standpoint art/language can be seen as being in a state of becoming rather than as representing a state of being. This thesis aims to demonstrate, not only by a philosophical encounter with Giorgio de Chirico's work: ie. his use of myth, his Nietzschean perspectivism and his enigmatic interpretation of figuration, that the most helpful context and understanding of my work can be realied. De Chirico's art, like Nietzsche's philosophy seeks in its processes to explore the possible unity of Dionysian aesthetic force with the Apollonian. Neither Nietzsche nor de Chirico considered within a post-Socratic world that this unity was realizable. Nevertheless they both share in their respective art forms a need to represent the relentless struggle to enact the disjunction of the two aesthetic forces in a secular world. The artists enigmatic imagery is characterized by a consideration of appearance and reality and it is for this reason that the work was selected as a model for investigating the nature of enigma. His use of seemingly straightforward, ordinary images suggests a sense of accessibility, yet at the same time they are irreducible to knowing and my own image-making was greatly expanded by investigating these concerns. I am not arguing that de Chirico was influenced by Nietzsche but instead that Nietzsche's philosophical point of view and his use of poetic language to express these views lay in discovering the qualities and substance of the Dionysian spirit As well as working within a Nietzschean world-view set out in The Birth of Tragedy, de Chirico has also drawn on the Italian unification, specifically the Risorgimento and the lineage of these political and mythical figures were endemic to his art and they interface the with his use of the Apollonian-Dionysian disunity first explored by Nietzsche. The focus of the exegesis will be to present the poetic and philosophical use made of the latter in de Chiricos art It is anticipated that this philosophical encounter with the aesthetic, social and political world of de Chirico will, not only assist in interpreting his life's work anew, but will also provide a context in which my paintings of enigma might be interpreted.
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Kunasek, 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.
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Anne Graham Rockfellow, virtually unknown to history, deserves a place worthy of scholarly attention. Rockfellow's significance to the histories of American architecture, of Tucson, and of professional women is explored. She was the first woman architect academically trained at M.I.T. (the first recognized school of architecture in the United States). In the mid-1890s she made her first move to Tucson, Arizona, a growing southwestern town that already had a long history. When Rockfellow permanently relocated to Tucson in 1915, she was hired by the H. O. Jaastad architectural firm, where she remained until her retirement in 1938. In order to put Rockfellow in a historical context, her biography is juxtaposed with the biographies of some of her female contemporaries who also chose to pursue careers in the field of architecture. Her contributions to the architecture of Tucson and to the development of the Spanish Colonial Revival style are also examined.
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Carr-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.
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Alexandre Brongniart was known for his work as an important geologist and as an administrator at the Sèvres Porcelain Manufactory, but his roles as art historian and museologist are overlooked. Brongniart created a holistic methodology taken directly from science and applied it to ceramic art of all cultures and eras. He had a uniquely modern perspective on time, world culture, and archeology. Brongniart wrote about the art of Asia and the Americas on an equal status with that of the Classical West at least fifty years before it became a mainstream idea. Brongniart integrated scientific principle and practice into the structure of the Sèvres Museum and a comprehensive set of books which includes Traité de Mineralogie avec des Applications aux Arts, Traité des Arts Ceramiques, and Description Methodique du Musée Ceramique de la Manufacture Royale de Porcelain de Sèvres. Numerous historians were influenced by Brongniart’s work, including Samuel Birch and Albert Jacquemart. Notably, the art historian Gottfried Semper refocused his ideas for Style in the Technical and Tectonic Arts after seeing the completed works of Brongniart. Although contemporary historians credit Semper with the development of a scientific approach to art history, Semper himself frequently acknowledged the importance of Brongniart’s work.
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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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Ghernaouti, 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.
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Ce travail aide à la compréhension des systèmes ouverts et propose des solutions quand les normes elles-mêmes sont muettes, démontre la difficulté d'intégration des normes dans l'offre actuelle et mesure les investissements des utilisateurs pour l'interconnexion entre machines hétérogènes.
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Fenton, 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.
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Quito, 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.
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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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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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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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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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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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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.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE 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.
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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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Xu, 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.
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Alvim, 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.
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This research is an inquiry into how architecture can inform the practice of composition. As an architect and composer, I try to find strategies for musical composition In architectural practice and thought, by reframing and confronting concepts from both disciplines. My research aims at an expanded practice (and analysis) of musical creation that transverses different conceptions of space-from the score based pitch space to the social and political spaces of music's production, performance and reception. This practice based PhD research consists of a portfolio of nine works that were developed in a dialectical relation to these ideas. The works are presented in a framework composed of five conceptual tools used to articulate music and architecture. These are; Material, Site. Drawing, Programme and Use. With the notion of Material. I explore how the acoustic behaviour of a performance space, or of a performatlve device' affects the musical work. Architectural materials become musical ones as they are implicated in the listening experience. The discussion about Site brings to music the notions of place. the local, and everyday life, embracing soundscapes so many times excluded from musical discourse. Musical sites are also architectural sites, always related to their present environment, and their everyday contlngenclt;ls. Drawing Is a tool for developing ideas, but also the main mediator between architect and builder. or composer and performer. Programme exposes the constraints and conditions of the creation process, while also revealing the sociopolitical relations between musicians and audiences, institutions and composers, composers and performers. Programming as framing can be a platform to expand what the work concerns. Through a consideration of Use, the work becomes dispersed in a pJurality of agents that converge in a useful event. Thus composition. as architecture, moves from being about conditioning design to designing conditions where musical events may happen.
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Mailleur, 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.
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Au cours des trois premiers siècles de notre ère, Rome connaît son apogée et la domination romaine continue de s'établir tout autour de la Méditerranée. Le contrôle de la Mare Nostrum et la connexion entre Rome et ses provinces sont assurés grâce aux réseaux de ports. À l’époque impériale, les ports jouent ainsi un rôle crucial puisqu’ils permettent de maintenir un rayonnement économique et commercial tout autour de l’Empire. Plus qu’une simple interface entre la mer et laterre, les ports font l’objet d’une attention particulière et forment un réel paysage urbain, constitué de bâtiments et de monuments organisés autour de l’espace portuaire de façon scénographique et programmée, que l’on peut qualifier de « portscape » (paysage portuaire). Cette notion théorique, que j’ai développée dans cette thèse, est dérivée du concept de «townscape » (paysage de la ville) introduit par P. Zanker dans sa publication sur l’urbanisme de Pompéi publiée en 19981. Elle consiste à analyser l’organisation spatiale des bâtiments et monuments, individuellement et dans l’ensemble de l’espace portuaire, ainsi que leurs fonctions respectives. Cette approche a également pour objectif d’étudier la relation entre la fabrication de cet espace urbain et la société. Cette réflexion holistique est combinée au concept de « maritimecultural landscape » (paysage culturel maritime), introduit par C. Westerdhal en 19922, qui permet d’aborder les aspects culturels de cet espace construit constituant le cadre de vie des sociétés portuaires et de leurs activités.Le développement disciplinaire de l’archéologie sous-marine et l’intérêt croissant pour les réseaux et le commerce maritime ont mené à la multiplication des études portant sur les infrastructures portuaires au cours des dernières décennies. Malgré cela, la réalité des infrastructures portuaires reste assez mal comprise car les vestiges ne sont généralement pas très bien conservés. Il est donc fondamental d’utiliser d’autres types de sources, comme l’iconographie,pour mieux appréhender les « portscapes » romains. Sous l’Empire, les ports apparaissent fréquemment dans les représentations artistiques. Au cours de cette recherche, j’ai rassemblé un corpus de 264 images portuaires sur des supports variés : lampes, monnaies, peintures, mosaïques, sculptures, verres incisés, pierres gravées etc. Sur ces documents figurent des vues générales de paysages maritimes, des éléments architecturaux isolés de ports (tels que des phares) et des activités portuaires suggérant les infrastructures portuaires (comme des scènes de pesée ou bien des scènes de chargement/déchargement de marchandises). Bien que l’essentiel du corpus date de l’époque impériale, l’intégration de documents appartenant aux périodes préromaines et à l’Antiquité tardive permet d’établir des comparaisons diachroniques.Cette recherche constitue la première tentative d’évaluation, à grande échelle, du potentiel documentaire des sources iconographiques pour comprendre l'aspect, la disposition et le design des ports romains. Considérer les images comme sources historiques est un concept assez récent puisque l'art, longtemps considéré comme étant simplement illustratif, n’occupait qu’une place marginale dans les études d’histoire ancienne. Les images peuvent apporter, en effet, unecontribution importante pour l'étude de l'aspect architectural et urbain des principaux ports de Méditerranée car elles montrent ce qui n'existe plus archéologiquement, telles que les élévations de bâtiments portuaires, souvent réduits aujourd’hui à leurs seuls niveaux de fondations. Ainsi, cette thèse de doctorat soulève les questions de recherche suivantes : - Quelle contribution l'iconographie peut-elle apporter à notre compréhension des paysagesportuaires de l’époque impériale ? Quelles sont les caractéristiques du portscape romain selon les sources iconographiques ? Quels sont les éléments réels et quels sont les éléments standardisés ? D’où viennent cesstandards ?Under 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
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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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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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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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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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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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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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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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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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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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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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Morgan, Nathaniel P. "Untitled (arCHItECTURE)." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242673178.
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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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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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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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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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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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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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Matherat, Philippe. "Contribution à l'augmentation de puissance des architectures de visus graphiques." Grenoble 2 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376159604.
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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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Moham, 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.
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Moham, 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.
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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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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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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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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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