Dissertations / Theses on the topic 'History of and Architecture'
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Sato, Toshinori. "History Directed Processor Architecture." Kyoto University, 1999. http://hdl.handle.net/2433/182380.
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Doyle, Ryan P. "Framing history through cinematic storytelling." This title; PDF viewer required. Home page for entire collection, 2006. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Boyacıoğlu, Bilgen Erkarslan Özlem. "The construction of turkish modern architecture in architectural history writing/." [s.l.]: [s.n.], 2003. http://library.iyte.edu.tr/tezler/master/mimarlik/T000289.rar.
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Marchman, Granger Hansell 1962. "Architectural displacements : the supplemental condition of site and architecture." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/22346.
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Plumer, Cathyann. "A history of Christian worship architecture." Theological Research Exchange Network (TREN) Access this title online. Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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Bordeleau, Anne. "C.R. Cockerell : architecture, history, time and memory." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/1444354/.
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The definition of what architecture means and how it signifies shifts with different conceptions of shared time (history) and personal time (memory). Turning to the nineteenth century, the thesis explores how comprehensions of architectural meaning were informed by architects' acquaintance with history. Because architects were acutely aware of the schism between a new socio-historical interpretation of architecture and its more traditional grounds, re-examination of this period offers us the opportunity to reconsider issues still relevant today - the struggle between imitation and innovation, the definition (or rejection) of aesthetic experience, the stakes behind architectural judgment (who decides and how), or fundamentally, how to act (i.e. build) when there is no longer a single grand narrative but a plurality of possible histories. The work focuses on how the English architect Charles Robert Cockerell (1788-1863) addressed the dilemma of history: if architecture was over-identified with the past, the dangers of an eclectic historicism loomed ahead if architecture was dissociated from all historical narratives, it risked become meaningless. Analysis of Cockerell's conception of history suggests that he attempted to avoid these consequences in two essential ways. First, a reading of Cockerell's textual and graphic representations of history (diaries, Royal Academy lecture notes and drawings) reveals how his definition of an active relation with the past inherently guarded the communicability and metaphysical significance of architecture. Second, a study of Cockerell's unfinished building for Cambridge University Library, illuminated by various drawings (Grand Tour studies and publications design development, contract and exhibition drawings), discloses how the setting of his architecture was not merely historical but deeply contextual and experiential. Questioning architecture as a trace from the past, an imprint of its time and an index requiring movement for comprehension, the work addresses the ways in which memory is drawn in architecture and architectural discourse.
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Maheras, Elizabeth Welch. "The place of history in contemporary architecture." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/79168.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.Includes bibliographical references (p. 31).
This thesis is an approach to the problem of how to treat the historical fabric of the city when creating new architecture. The project is located on the South bank of the River Liffey in the city of Dublin. It is where part of the foundations of the medieval town are buried beneath the contemporary fabric. The project is the redefinition in modern terms of the medieval tower on the site where the twelfth-century Isolde's Tower (later named Newman's Tower) is buried. Ireland has a rich history of storytelling and literature. This combined with the fact that the medieval tower was named after the Celtic legendary figure Isolde was the impetus for creating a literary place-the tower (the storyteller's house), a library and publishing house, and a public garden. An important inspiration for the project was Ireland's most famous storyteller, James Joyce. His Dubliners and Ulysses were a significant influence on the storytellers house.
by Elizabeth Welch Maheras.
M.Arch.
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Chwiecko, Nancy A. "Residential renovation : architecture, history, and interior design /." Online version of thesis, 1987. http://hdl.handle.net/1850/10152.
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Jokilehto, Jukka. "A history of architectural conservation /." Click here to access, 1986. http://www.iccrom.org/eng/e-docs/ICCROM_05HistoryofConservation.pdf.
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Dade-Robertson, Christine. "Architecture as past history and present politics : the architectural writings of Edward Augustus Freeman." Thesis, Lancaster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436742.
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Blankinship, Erik Jackson 1974. "Building history : learning with archival photographs." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/64553.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (leaves 49-50).
In many classrooms, learning about history means memorizing facts from textbooks, films, and other media. It is rare for students to engage in authentic historical activities - analyzing multiple documents to look for similarities and variations and ultimately assembling interpretations of past events. In this thesis, I present a set of tools, called Image Maps, that allow students to conduct historical inquiry within their own communities. Rather that reading about the history of a community, students are encouraged to photograph the buildings in their neighborhoods. The cameras they use have been augmented with global positioning system (GPS) receivers and digital compasses. The metadata provided by these sensors are used to retrieve historical images of the locations that students photograph. This collection of photographs is used as evidence for hypotheses about how and why a city has changed over time. In this document, I explain how the integration of geographic information systems (GIS) and digital photography can lead to new ways of thinking about local history. I describe the hardware and software used to make historical photographs accessible for reasoning about community change. I also describe preliminary evaluations that show how sophisticated reasoning can occur when students are made to develop their own interpretations of historical photographs.
Erik Jackson Blankinship.
S.M.
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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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Diebold, Paul C. "History and architecture of the Meridian-Kessler neighborhood." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/546148.
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This paper will discuss the development and architecture of an Indianapolis northside residential neighborhood. While the area was settled in the mid twentieth century. Consequently, the neighborhood has a broad spectrum of architectural styles ranging from pioneer vernacular Greek Revival to Tudor Revival.In spite of the fact that the area was the leading suburb of Indianapolis in the early twentieth century, little research has been done on the history and historic architecture of Meridian-Kessler. Examples of significant structures and architectural types will be presented in the context of the area. Elements or factors which unify the neighborhood will be discussed.Finally, the issues of historic preservation in the Meridian-Kessler neighborhood will be examined. If the area is in fact historic, as the author believes then preservation measures are in order. The location and nature of the neighborhood pose a unique problem. Since the area is essentially a transitional urban/suburban district, methods of urban historic district preservation must be Modified for this special case. As historians and preservationists become reviewed. Historic increasingly aware of our early twentieth century heritage, a new terminology and approach must be acknowledged. This variation of a preservation or conservation district is termed by the author as "Suburban Preservation".Standard methods will be used to research and compose this thesis. For documentation of historic architecture, a series of Indianapolis Star articles titled "How Others Have Built" is an important source which must be a Thirty-eighth street Landmarks Foundation of Indiana is currently surveying the area; survey forms will provide much data on house types, styles and dates. Architectural archives, old records of firms active in the district and other published sources will provide further information. Planning data in the form of subarea plans andcooridor study have already been obtained for review. Plans for preservation districts in Indianapolis and other midwest cities will also be reviewed for possible application to Meridian-Kessler.Combined with field observations, the research should produce a document which places the Meridian-Kessler neighborhood in its proper historic context and aids in future planning for the area.Department of Architecture
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Kronenburg, Robert Hermanus. "The history, development and potential of portable architecture." Thesis, Liverpool John Moores University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337895.
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Segerholm, Alma. "How history can beremembered & reusedin urban planning." Thesis, KTH, Arkitektur, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-298818.
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This project is a research of finding out a method; how to get to know a site and what to be remembered and acknowledged.Stockholm is becoming denser, like many other cities. The lack of housing is urgent. But at what price do we build new urban development projects and what can be lost when we do so? I have applied this method on Liljeholmen old train station in Stockholm. Today the site is called Marievik. Sites that are about to be transformed, have more or fewer preserved buildings and monuments from ancient times.This is a way to connect to history in this specific site. In other sites the solution may be different, depending on the findings. The result of my research of finding out a method are this three statements: 1. Keep the monuments, to remember the railways history.2. Re-establish the bridge, to connect the two different levels.3. Honouring the old station, with a new bus station. I think Stockholm city’s way of remembering and re-using a site’s history is insufficient. My project is therefore a method, on how to understand a historical background. It’s a possibility to take a proper farewell and give valuable insights, on what to be kept or translated into the new.
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Dawson, Peter Colin. "Variability in traditional and non-traditional Inuit architecture, AD. 1000 to present." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ31019.pdf.
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Peters, Philip. "Historical cultural memory celebrated through architecture." This title; PDF viewer required. Home page for entire collection, 2006. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Gauthier, Erin. "Architecture/Archaeology." This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Thesis (M.Arch.)--University of Detroit Mercy, 2008."28 April, 2008". P. 17-185 contain a reprint of three appendices from: Tales of Five Points : working-class life in nineteenth-century New York / edited by Rebecca Yamin. Includes bibliographical references (p. 218).
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Sergie, Lina 1974. "Recollecting history : songs, flags and a Syrian square." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/70372.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.Includes bibliographical references (p. 118-[120]).
Symbols have played a major role in the development of a Syrian national identity since the beginning of the 20th century. These representations are national, official, and/or public (flag, song, and square), that are repetitively performed by successive generations of Syrian citizens, thus forming the historic collective framework of Syrian memory. The symbols are remembered as past public sites of independence and freedom while they currently signify an imposed loyalty to the authoritarian Syrian regime. In the translation of nostalgic memory as active resistance, the double play of meaning (both official and personal) creates an opportunity to subvert domination. This subversion is inherent in every official performance, in every pledge to the flag, in every performance of the anthem, and in every mandatory demonstration across the public squares. This thesis weaves the visual and spatial representations of power and the subsequent subversions for empowerment to narrate an untold, recollected, Syrian history.
by Lina Sergie.
S.M.
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Lee, Jong Woo. "Un territoire de l’architecture : aMC et le renouveau de la culture architecturale en France (1967-1981)." Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST1113.
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La thèse porte sur le renouveau de la culture architecturale, intervenu grâce à l'action d'un milieu de jeunes architectes français dans les années 1960 et 1970 qui sont devenus les acteurs principaux des Unités Pédagogiques d'Architecture et en ont fait le lieu de la refondation de l'enseignement de l'architecture et de la naissance de la recherche architecturale. La recherche prend pour support principal d'analyse la revue Architecture Mouvement Continuité publiée entre 1969 et 1981 par la SADG. Si la période traitée correspond d'abord à la vie de la revue, elle se réfère aussi à une histoire plus générale de la société française et de l'architecture contemporaine en France dans une période de changements profonds. En effet, l'intérêt principal de la revue vient du fait que son histoire se soit nouée avec les réalités extérieures complexes. Au coeur de ce renouveau culture, il y a un regard sur l'objet architectural, voire une redéfinition de celui-ci étroitement liée à la construction de l'identité de ces jeunes architectes. Les épisodes constituant l'histoire d'AMC illustrent le projet de ses acteurs d'él argir la discipline architecturale, en donnant une autre légitimité au travail de l'architecte. Ce projet a été élaboré principalement par le biais de la recherche historique, et ce dans le rapport étroit de deux pôles qui paraissent a priori opposés : "connaissance" et "projet" dont le rapport mutuel et productif est fondamental dans ce renouveau culturelThe research aims to understand the renewal of architectural culture, which occurred through the action of a circle of young French architects of the 1960s and 1970s. They have become the key players in the foundation of the Unités Pédagogiques d'Architecture and made the place of remaking architectural education and the birth of architectural research. Our research takes, as the main support of study, the architectural review Architecture Mouvement Continuité published by the SADG between 1967 and 1981. If this period corresponds to the life of the magazine, it also refers to the broad history of society and the contemporary architecture in France in the period of profound changes. Indeed, the main interest of the magazine is that his story is tied with external realities complex. In the middle of this cultural renewal, there is a reconsideration of the architectural object, even a redefinition of it closely related to the construction of the identity of those young architects. The episodes constituting the history of AMC illustrate the project of his actors to broaden the architectural discipline, giving a new legitimacy to the work of architect. This redefinition was done through historical researches – a review of the “Modern movement”, the history of social housing and early-urbanism in France - , in the close relationship of two poles that seem a priori opposed : "knowledge" and "project", whose productive mutual relationship is fundamental to the understanding this cultural renewal
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Jokinen, Heidi. "Turku Museum of History." Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-262843.
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In 2017 Finland celebrated its 100 years of independence. In honour of this event the City of Turku, Finland’s oldest city and former capital, decided to gift Finland a History Museum to commemorate the event. This project’s purpose is to propose a location, a program and a building for the museum. I have chosen a location in Turku Harbour across the street from Turku Castle, a fortress that has been on the site since 13th century. Today the Castle functions as a museum and is the city’s most popular museum with about 140 000 visitors annually. On the south end of the site there are four log warehouses belonging to the Castle from 1880’s as well as in the north end a 1930’s brick building that also functions as a warehouse. The Museums brings together not only the history of Finland and that of the City of Turku, but also the different buildings on the site. The new building is in the middle of the site, it brings together the surrounding buildings by parasiting itself to the existing buildings and in that way connecting them.
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Dalton, Richard Jeffrey. "The problem of history : architecture, planning and the city." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/24007.
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Larson, Julia. "Understanding a Historic Downtown as a “New” Vernacular Form: Immigrant Influence in Woodburn, Oregon." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19297.
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What does historic preservation mean in a historic downtown with a long-standing immigrant population? With 90% of the business owners in the historic downtown identifying as Latino, Woodburn, Oregon presents the convergence of historic preservation advocates and Latino business owners. Some stakeholders view historic preservation as maintenance to preserve what exists, while some view preservation as restoring a building to its build date aesthetics. This thesis addresses what the field of preservation and the stakeholders in Woodburn value and how that causes conflicts when dealing with preservation efforts. The main method employed for study in this thesis was collection of qualitative data through interviewing historic preservation advocates, city officials, and Latino business representatives. By understanding Woodburn as an example of a “new” vernacular form, the analysis explores how the community of Woodburn can negotiate its regional dynamics to create a local distinctiveness, which includes a many-layered historical narrative.
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Brott, Simone. "Subjectivizations : Deleuze and Architecture." Thesis, Yale University, 2003. http://architecture.yale.edu/people/simone-brott.
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My thesis is an exploration of the architectural production surrounding the French philosopher Gilles Deleuze, specifically, through the overarching theme of Deleuze’s theory of subjectivity, which I will call subjectivization. I interpret this to mean the strange coalescence of matter, architectural subject, and event, in architectural experience and culture. I speculate that subjectivization presents a yet under-explored dimension of deleuzianism in architecture. In order to develop this I pursue two independent trajectories: firstly the narrative of architectural production surrounding Deleuze, from the 1970s until today, as it is an emergence of changing groupings, alliances, formations and disbandment in the pursuit of creative-intellectual tasks—what might be called the subjectivization of architecture—and, secondly, through a speculation about the architecture of subjectivization—that is, an attempt to explore, concretely, what might be the space and time of subjectivization.
Chapter One traces an oral history of deleuzianism in architecture, through conversations with Sanford Kwinter and John Rajchman, describing how the Deleuze milieu makes its way into architectural practice and discussion—subjectivization as a social and cultural emergence—whereas Chapter Two theorizes the emergence of an architectural subjectivity where architecture constitutes its own affective event—what I call subjectivization or material becoming-subject.
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Volz, Kirsty. "Architect and Ceramist : Nell McCredie's Architectural Works." Thesis, University of Queensland, 2021. https://espace.library.uq.edu.au/view/UQ:b58cd59.
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Nellie (Nell) McCredie (1901-1968) worked as both an architect and a ceramist. She was enrolled in the second cohort of the Bachelor of Architecture at the University of Sydney between 1919 and 1923. However, after graduating, McCredie was unable to find employment in architecture; instead, she found work in various drafting roles in Sydney. In her search for full-time employment in architecture, she moved to Cairns in July 1925 and spent four months working for a small architectural firm, Lawrence and Lordan.[1] In November 1925, McCredie moved to Brisbane and joined the Queensland Government’s State Advances Corporation in the Workers Dwelling Board (WDB). She stayed there for three years designing affordable homes, funded by government-backed loans, for working and middle class families. During this time, she designed at least one house as a private commission, outside of her employment with the WDB. While in Brisbane, McCredie started taking classes in ceramics with LJ Harvey at the Central Technical College.[2]McCredie returned to Sydney in 1929 at the beginning of the Great Depression. Upon returning home, she undertook further training in ceramics, learning to throw pottery on a wheel.[3] What started as a hobby transformed into McCredie’s full-time career throughout the 1930s.[4] By 1932 she had started her own ceramics teaching and production business based out of a studio on George Street in Sydney’s CBD. McCredie also continued to practice architecture independently in Sydney during the 1930s and 1940s. One of her most significant architectural works in Sydney was her design for a purpose-built ceramics studio in Epping in 1936. She operated her ceramics business from Epping with her brother Robert until she died in 1968.[5]Existing histories on McCredie’s career have focused on her ceramics rather than her architecture. The lack of attention paid to McCredie’s architecture is not because her work was insubstantial but because of the complexities in attributing authorship by architects to their buildings.[6] This thesis details McCredie’s career in architecture for the first time, which has been made possible by the discovery of her architectural archive.
McCredie’s architectural archive provides a rare opportunity to discuss the built work of one of Australia’s early women architects. This research has led to the identification of 12 previously undiscovered houses by McCredie, including seven houses in Queensland and five in Sydney’s northern suburbs. Of these 12, 10 are extant. Prior to this research, only one of her houses had been identified, Uanda (1928) in the Brisbane suburb of Wilston. It was only discovered after an application to demolish the house was submitted to Brisbane City Council in 1998. The council sought an interim heritage protection order for the house, which the then owners of Uanda disputed in the Queensland Land and Environment Court in 1999. Fortunately, the decision to protect Uanda was upheld, and it was included on the Queensland Heritage Register in 2000. The court case over the heritage listing of Uanda is an important departure point for this thesis, especially in terms of how the aesthetic merits of the house were debated between heritage expert Richard Allom and historian Judith McKay.[7]
The discussion of McCredie’s architectural works presented in this thesis also provides new insights into the careers of the architects she worked alongside. McCredie was among the first identifiable cohort of Australian women in architecture, who as Julie Willis wrote, emerged in earnest in the 1920s.[8] This study builds on existing research on Australia’s early women architects completed by Willis, McKay and Bronwyn Hanna. In particular, it provides new details about the careers of Australian interwar women architects, Ursula Jones, Eunice Slaughter, Dorothy Brennan, Lorna Lukin, Marjorie Hudson, Rosina Edmunds and Heather Sutherland. Additionally, McCredie’s archive also contributes to existing histories about the institutions that she was involved with throughout her career, including new findings into the histories of the WDB and the curriculum delivered into Australia’s first Bachelor of Architecture degree at the University of Sydney.
[1] Nell McCredie Employment Statement, Department of Public Works, 1928, Queensland State Archives document: WOR/A 1194 Department of Public Works Administration series files Brisbane, Australia
[2] Judith McKay, “Designing women: pioneer architects”. Journal of the Royal Historical Society of Queensland, Vol. 20, No. 5, (Feb 2008): 174-175.
[3] Robert McCredie, “McCredie Pottery: 1922-1974” McCredie Ceramics Archive, National Gallery of Australia, Canberra, Australia, 1
[4] “Where Pottery is Made By Hand: Sydney Girl’s Fascinating Hobby” The Sydney Morning Herald 20 October, 1936: 5
[5] Robert McCredie, “McCredie Pottery: 1922-1974,” 6
[6] Julie Willis, Invisible Contributions: The PRobertlem of History and Women Architects, Architectural Theory Review, 3:2, (1998): 61
[7] Michel v. Brisbane City Council, Qpelr 374, 1999
[8] Julie Willis, Aptitude and Capacity: Published Views of the Australian Woman Architect, Architectural Theory Review, 17:2-3, (2012): 323
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Anselmo, Dante 1960. "History and analysis of the Las Vegas housing market." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/63213.
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Koukoutsi-Mazarakis, Valeria E. 1962. "Résidences secondaires : how Eisenman houses fictive structures of history." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/75534.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Includes bibliographical references (p. 109-114).
Writing, designing and building constitute three moments in the representation and organization of reality and fiction in architecture. These three interdependent moments joined by fragile links disrupt the boundaries between architectural criticism and practice in architecture and promote interaction between the critic and the practitioner. My thesis focuses on the link between writing and designing. Peter Eisenman exemplifies the architect's transitory position between writing and designing. His interdisciplinary investigations look for architecture's other possibilities through criticism and practice, thus engaging architecture in interpretive activities.Writing will be examined not as a critical tool for design, but as an instrumental device that leads to design. On the one hand, language as a critical device explicitly grounds Eisenman's postponment of questions concerning architecture for architecture's benefit from the realm of ideas. On the other hand, its use as an instrumental device implicitly demarcates potential formal aspects of language as an agent of Eisenman's design and my own investigation in new modes of criticism of architecture. I structure this essay on a dual analysis of the case study by displacing architectural criticism from its house to another house, that of literary criticism, architecture's residence secondaire. While, architectural criticism is concerned with questions of understanding the interdependent mechanisms of form, function and ideas with respect to space, time and representation, literary criticism reveals the dislocating mechanisms of Eisenman's fictive structures of his own history in time. My interest in interactive criticisms advocates an open-ended process that writes and re-writes an event in different texts.
by Valeria E. Koukoutsi.
M.S.
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Doherty, James Michael. "Being and architecture: an historical study." Thesis, Virginia Tech, 1988. http://hdl.handle.net/10919/43043.
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The establishment of a comprehensive world-view enables a person to orient himself both physically and metaphysically within his context. Since, the time of Plato, the development of these world-views has been increasingly determined by the physical sciences and their accompanying modes of thought. What have some of the major tenents of these world-views been and how have they been developed? How have they influenced the concept of being and how is that concept of being expressed in Architecture?Master of Architecture
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Carvalho, Mario Estevao. "An intellectual history of modern city planning theory." Thesis, University of Edinburgh, 1986. http://hdl.handle.net/1842/18082.
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Neuenschwander, J. Brody. "The art history of Speyer." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325778.
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Samalavičius, Almantas Liudas. "Ideas and structures in architectural history." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060210_113316-20103.
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The history of architecture in Western countries and Lithuania is researched from various points of view. Such significant elements of architecture as light, color, sound, and water so far have been studied as far as their relation to the architecture of certain specific historical periods is concerned. However, up till now research of this kind was limited to deep, yet narrow, fragmented and specialized views of certain historical periods, or research projects were concerned with certain specific aspects of connections between works of architecture and metaphysical beliefs. Because of this, research of architectural history still lacks a thorough account of how metaphysical, religious, and philosophical worldviews affected the artistic expression of architecture of different periods. Without a sufficient amount of research of this kind, it is impossible to reconstruct a thoroughly consistent and more or less total view of the historical development of architecture. On the other hand, it strikes one as obvious that while the history and theory of architecture is being studied in Lithuania, we witness a lack of research work on the concepts of light, color, sound, and water that dominated during certain historic periods. Their impact upon the development of architecture needs to be analyzed and evaluated synthetically in a way that is consistent with a generalized approach, and with the help of research methods applied in the history of ideas and principles of analysis... [to full text]Architektūros istorija Vakaruose ir Lietuvoje yra tyrinėjama įvairiais aspektais. Apie tokius reikšmingus architektūros elementus kaip šviesa, spalva, garsas ir vanduo yra buvę reikšmingų specializuotų studijų šių reiškinių sąveikos su vieno ar kito istorinio laikotarpio architektūros kūriniais aptarti. Tačiau iki šiol tokio pobūdžio tyrimai apsiribodavo siaurais, fragmentiškais, griežtai specializuotais žvilgsniais į atskirų kultūros istorijos tarpsnių architektūrą arba tokio buvo pabrėžiami tik tam tikri, labai specifiniai sąveikos tarp architektūros kūrinių ir to meto pasaulėžiūros aspektai. Todėl nėra pakankamai ištyrinėta atskirais istorijos tarpsniais vyravusių metafizinių, religinių ir filosofinių pažiūrų įtaka meninei architektūros raiškai. Nesant tokių tyrimų, neįmanoma adekvačiai rekonstruoti architektūros istorinės raidos vaizdo. Nagrinėjant architektūros istorijos ir teorijos problematiką Lietuvoje, akivaizdu, kad labiausiai trūksta darbų, kuriuose atskirais kultūros istorijos tarpsniais vyravusių šviesos, spalvos, garso ir vandens sampratų įtaka architektūros meno raidai būtų įvertinta sintetiškai, apibendrintai ir nuosekliai, pasitelkus idėjų istorijos tyrimo metodologiją bei tarpdisciplinių kultūrologinių tyrimų analizės principus. Tai paskatino gilintis į minėtų elementus santykius ir sąveikas su architektūra nuo seniausių iki moderniųjų laikų, pasitelkiant idėjų istorijos atveriamas tyrimo galimybes. Tokios problematikos ir tyrimo perspektyvos pasirinkimas... [to full text]
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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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New, Joachim H. L. "Architecture in mind : Hegel's history of architecture and its place in the Philosophy of Fine Art." Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413736.
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Margalith, Dana. "Louis I. Kahn - Architectural history as mediation." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121259.
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Louis I. Kahn - Architectural History as Mediation investigates the work of one of the most active architects of the 20th century who has been acknowledged by scholars as a modern thinker and architect, but is also known for his interest in history, and the clear references to historical precedents in his work. In studying Kahn's architectural training, writings, readings, travel experience, personal contacts, the context in which he practiced, and through investigating his personal drawings and two of his design projects, Kahn's layered approach to architectural history is unveiled.In describing the architectural context of Kahn's education and work, this thesis deals with important aspects of architectural thought and making, which Kahn was exposed to, and sheds light on the motivation behind Kahn's unique philosophical quest. When investigating Kahn's drawings done during his travelling experiences, the manner in which he embodied historical sites becomes apparent. Studying archival material it tracks Kahn's studies of architectural references, and analyzing his architectural drawings and designs for the Dominican Motherhouse of St. Catherine de Ricci, Media, Pennsylvania (1965-1969, un-built) and the Hurva Synagogue in the Old City of Jerusalem (1967-1974, un-built) it exemplifies the poetic references made by his projects to historical precedents - all while concentrating on hermeneutic and phenomenological concepts relating to perception, memory and understanding of the past.Thus, through Kahn, this dissertation addresses the contextual debate regarding the use of historical references in modern architecture from the 18th century up until the postmodern era, and deals with the importance of continuity of references in the age of fragmentation. Louis I. Kahn - Architectural History as Mediation reveals the possible intricate potential lying in the consideration of tradition and history in modern architecture, and sheds light on suitable endeavors in architectural thought and making which at once integrate historical references and promote originality and progress - both fundamental for innovative poetic architectural expressions.Dans Louis I. Kahn – L'histoire de l'architecture comme médiation, on explore le travail de l'un des architectes le plus actifs du 20e siècle. Il a été reconnu par les intellectuels pour son rôle d'architecte et de penseur moderne, ainsi que pour ses recherches en histoire et ses références aux œuvres historiques importantes. En étudiant Kahn et son éducation, sa formation en architecture, ses écrits, lectures, voyages, contacts personnels, le contexte dans lequel il travaillait, en plus d'examiner ses dessins personnels et deux de ses projets de design, on comprend son approche de l'architecture sous plusieurs angles. En décrivant le contexte dans lequel Kahn a été éduqué et dans lequel il a pratiqué son métier, la thèse traite d'importants aspects de la pensée et pratique architecturale auxquels Kahn a été exposé, dévoilant ainsi les motivations derrière sa quête philosophique unique. En examinant les dessins de Kahn, la manière dont il incarne les sites historiques qu'il a vus durant ses voyages devient apparent. À travers l'étude du matériel d'archives, la trace des références architecturales que Kahn a étudiées devient visible. Ainsi, dans ses dessins et la conception architecturale pour le Dominican Motherhouse de St. Catherine de Ricci, Media, Pennsylvanie (1965-1969, jamais construit) et le Hurva Synagogue dans la vieille ville de Jérusalem (1967-1974, jamais construit), les références poétiques aux œuvres historiques que sont ses projets sont clairement illustrées, tout en soulignant des concepts herméneutiques et phénoménologiques en relation avec la perception, la mémoire et la compréhension du passé. Par conséquent, à travers Kahn, cette thèse examinera le débat contextuel concernant l'usage de références historiques dans l'architecture moderne du 18ième siècle jusqu'au postmodernisme, et abordera l'importance de la continuité des références dans l'âge de fragmentation. Louis I. Kahn – L'histoire de l'architecture comme moyen de médiation dévoilera le complexe potentiel dans l'étude de la tradition et l'histoire de l'architecture moderne. Elle éclairera les efforts acceptables dans la pensée et la pratique de l'architecture qui intègrent des références historiques et promeuvent l'authenticité et le progrès – deux éléments fondamentaux de l'expression architecturale poétique et innovatrice.
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Soroka, Ian Jacob. "Eroding the palimpsest : landscape, cinema and the site of history." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/99303.
Full textAbstract:
Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 108-113).
The thesis will explore the migration of content between forms, specifically between cinema and text. By reflexively interrogating my film Dry Country, and drawing a thread through Yugoslav film history and Slovenian history (1941-present), I will map what happens when the record of what has been captured in the film's production confronts a language, be it text or montage. The paper is a partner piece to the film Dry Country, in the process of becoming at the-time of writing, which is concerned with a forest in Slovenia as a site of memory politics originating in the Second World War, and the echoes of that event today. The paper will dig deeper into the themes, questions, and specific historical context elaborated by the film; while in its structure it will stitch a poetic juxtaposition between the process of filmmaking and the mechanism of memory, in its capture, editing, projection, and transmission between people. By combining the theoretical trinity of the dynamic landscape (architectural), the evidential paradigm of the clue (micro-historical), and the materialist dialectic (philosophical), I have found a way to come the closest, through theory, to a means of articulating my thinking about making films in and about our relationship to landscape. The text will consider these themes in an essayistic manner, unfolding through alternating voices experiencing the recording of 'memory' and questioning the supposed site of history. The text proposes that it is located neither in the mind of the individual nor in a specific site or image, but in the gaps between, as a space of translation. I propose that mapping this territory can be done by crossing the rift from different reference points, between voice and image, between site and archive. I am designing the film and the text to be isolated works, standing on their own, though ultimately in conversation with one another. My goal is to reveal the space between the film and the text as a possible trajectory of future exploration for my artistic practice.
by Ian Jacob Soroka.
S.M. in Art, Culture and Technology
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Widrich, Mechtild. "Performative monuments : public art, commemoration, and history in postwar Europe." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/54554.
Full textAbstract:
Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2009.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 343-364).
The performative monument, as I term an emergent genre of interactive public actions, rests on a new notion of agency in public space, in which political responsibility is performed by historically aware individuals in acts of commemoration. This dissertation argues that public performance art starting in the 1960s provided a crucial impulse for new forms of commemoration in 1980s Europe and beyond. I claim that performance, a supposed antipode to the monument in its ephemerality and dematerialization, did not neutralize the monumental but reinvented it as a new practice: one that involved the audience explicitly through conventional transactions, best understood through the speech-act theory of J. L. Austin (who coined the term "performative" in the 1950s). To specify the correlation between performance and monumental public space, I draw attention to the empirical shift from performance to monument production in the work of postwar Central and Eastern European artists, and to the theoretical continuity that makes this shift possible. Monumental architecture played a role in the early performances of Anselm Kiefer, Joseph Beuys, Jochen Gerz (all German), Valie Export, Peter Weibel, and Giinter Brus (Austrians), Marina Abramovid and Braco Dimitrijevid (from former Yugoslavia), among others. These artists brought a performative component to the memorial culture of the 1980s and '90s, mediating between history and the individual in ways sketched by the ephemeral events of '60s and '70s performance.
(cont.) I examine these interconnections in the passage from confrontation to commemoration through a variety of heterogeneous but related documents: photographs and eyewitness accounts of early performance; interviews and press accounts that evolved their own logic and myths over the years separate from the events; plans and drawings of unrealized monuments, and that most complicated and characteristic form of 'performative documentation,' photographs modified through drawing, painting, or collage techniques to involve their viewers in a collaborative re-imagining of the role of commemoration in public space.
by Mechtild Widrich.
Ph.D.
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Solis, Loza Cristina. "Tremulous lines : the alternative history of a site of exception." Thesis, Massachusetts Institute of Technology, 2020. https://hdl.handle.net/1721.1/129839.
Full textAbstract:
Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, February, 2020Cataloged from student-submitted thesis.
Includes bibliographical references (page 79).
By the end of World War II, there were 7 standing border walls in the world. By the time the Berlin Wall fell in 1989, there were another 15 walls. Since its destruction, another 20,000km of walls have been erected to divide the world. Today, fathomless quantities of wire, concrete, steel, sand, stone, and mesh now shape the 77 barriers that currently define the otherwise imaginary lines that fracture the world.1 Their construction breaks the continuity of time, creating a rupture in the landscape and a series of unnatural asymmetries that affect both nature and society. What might be envisioned by political actors as a fixed "line on the ground" is anything but. These lines are of tremulous nature, stones may be moved, glaciers will melt, and walls will likely be breached or simply removed. This thesis protests the border as an absolute and static division through the speculation of an alternative history that reimagines a site that straddles two nations. The project argues for contemporary monumentality as an architectural expression to resist the provisionality and marginality of the people who exist there. The monuments expand their impenetrable form to something that can hold a civic program, becoming a catalyst for an ever-changing quasi-urban condition on the borderline.
by Cristina Solis Loza.
M. Arch.
M.Arch. Massachusetts Institute of Technology, Department of Architecture
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QUAN, JING. "SAN FRANCISCO'S CHINATOWN--A HISTORY OF ARCHITECTURE AND URBAN PLANNING." The University of Arizona, 1994. http://hdl.handle.net/10150/555369.
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Obritz, Joseph Steven. "The use and abuse of architecture: history, elements, and conditions." Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/52109.
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Architecture is a way of making that enables man to present his world. This making allows him to find his relationship to architecture and himself. The history of architecture is a part of the history of man and demands our attention if we are to make a contribution to the life of man. Nietzsche states that history is necessary above all to the man of action...who needs examples, teachers, and comforters he cannot find among his contemporaries.¹ “We would serve history only so far as it serves life.”² He also feels that the imitation of the past will only lead to a stagnant and degenerate life. There is a contradiction between these statements concerning imitation. In philosophy imitation has been defined as having two forms positive and negative. Negative imitation would be making an image of an original that reveals all that is immanent in the original. The act is redundant and therefore unnecessary. Positive imitation involves an understanding of things or ideas inherent in the original and lets us present our understanding which may expand beyond the original or lead to a new shift in the original paradigm. We must observe the history of man’s making and gather things that inform us about the world of architecture. History becomes a tool to facilitate architecture. We gather that which for us carries some essential meaning.³ This meaning may be manifested in our understanding of types, elements, or conditions of a particular culture as well as a personal desire to understand them in relationship to ourselves. For example, the elements and conditions that compose the house in some African tribes are considered as metaphors to parts of the human body i.e. door as mouth, window as eye, etcetera. When a family member loses a body part the corresponding element is removed or altered. Throughout history typologies have contained the models and archetypes of man’s ideas and ways of thinking, which are revealed through making. These remain with us and contain elements and conditions that change depending upon our focus. In the scale of the city there exists other types such as houses, churches, and libraries that become elemental when discussing the city as a whole. The conditions occur when analyzing the relationship of the elements with each other and the results that their organization produce. If we translate the scale to building types the wall, column, and stair become the elements and conditions become the mediation between these elements. Desire urges memory and imagination in our making of a re-presentation of that desire and a transformation of our observation. Imagination transforms our observation of what we find essential in history. We understand our relationship to things when we make them and through the revealing of things we come to understand ourselves. Memory recalls things or events that carry some meaning to us, but it also contains the more complete knowledge of things that we may come to know through making. Art is the imaginative appropriation of the essential strivings of historical man.⁴ The actuation of the idea is through the made object. We do this by painting, drawing, sculpture, and poetry. The object is two fold. It contains within it the idea of the reality of the thing and the drawing itself as a thing. An idea of a thing contains some elements common to all the other realities of the thing which makes them thinkable.⁵ When we speak of these things we bring to them some of its history that is known to us. Making allows us to re-present a thing which best actuates our idea and understanding of the thing, and enables us to redefine our world.
1 Nietzche, Friedrich Use and Abuse of History, The p. 12
2 Ibid., p. 3
3 Desmond, William Art and the Absolute: A Study of Hegel’s Aesthetics p. 61
4 Ibid., p. 61
5 Aristotle On the Soul. bk. 1, ch. 4Master of Architecture
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Yallop, Rosemary. "Villa rustica, villa suburbana : Vernacular Italianate architecture in Britain, 1800-1860." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:d391fc9b-a7c8-4d57-9f7d-751b869cecaf.
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This thesis examines the emergence and evolution of the Vernacular Italianate style of domestic architecture in Britain. The style was introduced in the form of a series of three country houses by John Nash in the first decade of the nineteenth century. It subsequently evolved over the next five decades into a popular template for the modest suburban house, widely disseminated through the medium of the architectural pattern books. The thesis considers the intellectual sources and antecedents which led to the emergence of this style and influenced its characteristics, analyses Nash's particular vision, and explores how the style was able to make a successful transition from villa rustica to villa suburbana, responding to the social and economic pressures which were at play in the expanding towns of the Regency and early Victorian era. It is a style which has been the subject of limited academic study to date, and the extent and significance of its role as a model villa for the new suburb is a theme which has been central to this research. A case is put forward that the style proliferated for two principal reasons: its versatility and adaptability for houses of differing physical scale and location, and its informal charm, inexpensively achieved, which conferred an air of sophistication appropriate to contemporary social aspiration. Nevertheless, as its popularity and accessibility grew over time the intellectual and aesthetic basis which underlay its origins as a product of the Picturesque aesthetic tended to be misunderstood or overlooked entirely, and by the 1860s the style had become diluted, frequently reduced to a matter of exterior detailing, with little reference either to Picturesque composition or to relationship between house and landscape, in contradiction of the tenets of Picturesque architecture propounded in the late eighteenth century, and in complete antithesis to the approach of John Nash in his original and distinctive Italianate interpretation.
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Fidjeland, Aron. "THE DESCENDANTS OF ANCESTORS." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-169063.
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The thesis project the Descendants of Ancestors explores the eccentric and strangely figurative qualities of Claude Nicolas Ledoux’s (1736-1806) architectural oeuvre. The project focuses on Ledoux’s engravings and through careful reading (and deliberate mis-reading), transforms them into architectural characters. I regard these characters as Descendants of Ledoux, belonging to the same bloodline but unmistakably shaped by their conception in contemporary times.Examensprojektet “the Descendants of Ancestors” undersöker de excentriska och figurala kvaliteterna i arkitekten Claude Nicolas Ledoux (1736-1806) verk. Projektet fokuserar på Ledoux gravyrer och översätter dem genom en noggrann läsning till arkitektoniska karaktärer. Jag ser dessa karaktärer som ättlingar till Ledoux, tillhörande samma släktträd men otvetydigt formade av deras tillkomst i samtiden
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Urma, Ioana Ruxandra 1972. "The 'Circular' Piazza : landscape and history as architectural material : Constanta, Romania." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/70337.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (p. 193-203).
Ideas. This thesis attempts to demonstrate that architecture, conceived from human experience, is a dual process of thinking and doing, in addition to being a building or a final product, and can occur at any scale of development (as large as an urban space). The thesis tries to create a strong correlation between things that people experience through the senses - real things, visible - and those that they experience through the mind - imaginary things, invisible. Defined as the great composition of existing materials and forms, the site and everything it encompasses, structures both 'natural' and man-made, landscape represents the visible, which deals with the experience of the body (the senses). Defined as that by which meaning and value is attributed to visible things, history, in the form of thought and memory, represents the invisible, which deals with the experience of the mind. To create a full human experience, a true experience, one must acknowledge that full reality is non-linear. The thesis then mandates that single events be approached from a wholistic perspective. The method by which to deal with the complexity of information gathered through this wholistic process is to act according to feeling by feeding the subconscious with analytical information and translating that information into perceptual representation through metaphor and diagram. Ideas into reality. Piazza Ovidiu, the central focus of the old town of Constanta, Romania has been chosen as the site for the experiment, as it is both rich in invisible historical information and, as a disfunctional post-communist public space, it is in great need of rehabitation. Redefining 'piazza' to be a zone of public interaction, rather than a common open space, the thesis thus proposes that the area be divided into a series of sub-spaces, stories interwoven through the land and through time. Being related, these individual events would allow for an experiential understanding of the complexity of the 'whole,' acknowledging the infinite or circular relationship between the visible-landscape-body and the invisible-history-mind.
Ioana Ruxandra Urma.
M.Arch.
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Mann, Eytan (Eytan Michael). "Gaming and the simulation of history constructing perspectives of Machu Picchu." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118519.
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Thesis: S.M. in Architecture Studies, Massachusetts Institute of Technology, Department of Architecture, 2018.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 96-99).
In this research I have developed a new method for depicting historical sites using game-design concepts and technologies. I argue that using computer games, design environment researchers can integrate and consolidate historical documents, challenging the dichotomy of space and time as two discrete constructs, producing a dynamic rather than static "frozen" image of place. This method allows for movement from representation to simulation of historical places and events, and facilitates an active participation in the remaking of an historical place. While this method seeks to provide an accurate historical reconstruction, it also allows for the maintenance of a critical distance by exposing the mechanics of historiography. Stitching together various perspectives, I propose the making of a collage simulation of history in a game environment. To test this method, I studied the historical site of Machu Picchu in Peru, and the story of its discovery by explorer Hiram Bingham in 1911. Bingham's expedition remains today the constituting myth of the site, captured in multiple documents, primarily Bingham's travel journal, but also in photography and cartographic drawings, made by Bingham himself during his discovery. In the contest of my work, Bingham's materials were integrated into a 3D game environment. Taking-part in a collaborative project for 3D-scanning of Machu Picchu, on-site work produced accurate models of sections of the site. The 3D models became a basis-layer for my prototype, a hybrid of game and digital archive, producing a movement towards collage simulation of historical sites.
by Eytan Mann.
S.M. in Architecture Studies
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Taymuree, Zainab(Zainab Feroza). "The missing designers : a history of activists designing for racial justice." Thesis, Massachusetts Institute of Technology, 2020. https://hdl.handle.net/1721.1/129064.
Full textAbstract:
Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, September, 2020Cataloged from student-submitted PDF of thesis.
Includes bibliographical references (pages 106-112).
Design precedents are often de-historicized, de-politicized, and de-raced. By starting at the margins, what lineages can designers uncover for seemingly apolitical design tactics? Intervening in the genealogy of race and design, this thesis locates design creativity within Black resistance movements and complicates the narrative of who is credited with transforming and repurposing the built environment. As critics of the status quo, Black activists did more than just fight and dismantle. They designed and created alternatives to the systems that aimed to diminish them. Two case studies offer a closer look at design interventions for self-determination by Black communities in the late 1960s. In Chapter One, I consider the Black Panthers as tactical urbanists who reshaped the environment in low-cost, temporary, and participatory ways. In Chapter Two, I examine the New Communities land trust and their design charrettes as a democratic intervention in an often professionalized planning process. Chapter Three considers how Critical Race Theory decodes images in these cases that seem natural, inevitable, and race neutral.
by Zainab Taymuree.
S.M.
S.M. Massachusetts Institute of Technology, Department of Architecture
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Herndon, Christopher Michael. "The history of the architectural guidebook and the development of an architectural information system." Thesis, Available online, Georgia Institute of Technology, 2007, 2007. http://etd.gatech.edu/theses/available/etd-07092007-114619/.
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Abreu, Pedro Marques de. "Palácios da Memória II- A revelação da arquitectura." Doctoral thesis, Universidade Técnica de Lisboa. Faculdade de Arquitectura, 2007. http://hdl.handle.net/10400.5/21600.
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Bateson, Anthony. "Execution of Architecture / Architecture of Execution or The Persistence of Collective Memory." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/767.
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"A book must be an ice-axe to break the seas frozen inside our soul. " ~Franz Kafka This thesis deals with a subject matter which may be considered by some to be undesirable and taboo; that is, the architecture of capital punishment, torture and death. While the content is at times difficult, this book attempts to go beyond initial reactions of support or distaste for the practice of execution. It instead attempts to bring to light the importance of the representation of these events, brought to light by the strength of modern collective thought on the issue, through an architectural discourse. Through space and ritual capital punishment entered into the minds of the people, and through space and ritual the practice can be withdrawn. But should it vanish, or is a continued representation important, and even necessary? My purpose is not to force an opinion, one way or the other, onto anyone. My intention is merely to raise the question in the mind of the reader of this work.
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Halter, Andrew Matkin. "Regional differences in architecture between three Missouri towns." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1231401.
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Three communities of Green City, Olean, and Craig Missouri offer silent witness to the settlement patterns, economic development, and rise of popular housing in three different regions of the state. The buildings that remain provide tangible links to the past for citizens in each community. They also show how such disparate forces as evolving building technologies, mail-order catalogs, and the changing economic bases of these communities affected the design of local architecture during the late nineteenth and early twentieth centuries. For the most part, the contribution of these buildings to an understanding of the social history of the state and the visual and aesthetic importance of these buildings to today's landscape have not been fully investigated or appreciated.This thesis seeks to develop an understanding of the full range of influences on local Missouri architecture through a study of three communities, all of which were established as a result of the coming of the railroad during the last quarter of the nineteenth century. Green City, Olean, and Craig; Missouri were selected because they are representative of hundreds of small rural communities in Missouri.The time period 1880-1930 was chosen because the largest percentage of construction took place during this time period. As a result of the economic conditions set forth by the Great Depression and the gradual decline of the railroad, few buildings were constructed after 1930. During this fifty-year period each community was transformed from wilderness into an ordered, productive agricultural landscape. The dramatic change can be seen in the buildings constructed - from the temporary, hewn-log buildings of the first settlers, to frame buildings, to more substantial brick buildings reflecting the prosperity of the late nineteenth and early twentieth centuries coinciding with the growth and prosperity of the railroad. The thesis will investigate the hypothesis that a majority of the buildings constructed between 1880 and 1930 drew inspiration in design, form, and type from pattern books and mail-order catalogs rather than architects.Department of Architecture
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Maeda, Natsuki. "Future of the past : augmented history, preservation as a catalyst for transformation." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/63052.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2011.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 135).
Preservation today focuses on the historicizing of events, and the objectifying of these historic artifacts, taking away its ability for further change. It becomes a single artifact, distancing itself from contemporary discourses. This thesis is about preservation, and the role of architecture in preserving historic sites. It is a thesis where its main objective is not of the final project, or artifact, but one which provokes a discourse, where we are confronted with the core meaning of preservation. This field of preservation has existed for thousands of years, but we have not truly re-examined the role of preservation. Preserving must mean more than just to sanction off the site, killing any further transformation, but to allow it to partake in the contemporary discourse, and to give it a future. There are many questions at hand; why do we preserve? What do we preserve? How do we preserve? But in the end, how can preservation become a catalyst for further growth, is the question this thesis seeks to answer through its design.We need to ask the questions; why do we preserve? What do we preserve? How do we preserve? In the struggle to find answers to these questions through architecture, it was in the discourses which rose from each stand point that gave this thesis meaning.
by Natsuki Maeda.
M.Arch.
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See, Mark. "Transitions and architecture." This title; PDF viewer required Home page for entire colleciton, 2007. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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