To see the other types of publications on this topic, follow the link: Italian architecture.
Dissertations / Theses on the topic 'Italian architecture'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Italian architecture.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Furlan, Rafaello. "The Form of Houses Built by Italian Migrants in Post-World war II Brisbane, Australia." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365639.
Full textAbstract:
This thesis begins with an enquiry into the way the house is the physical expression of interacting cultural factors. Despite views emphasizing the determinant influence of culture on the house form, an investigation of the literature on architectural sociology reveals that, in the contemporary development of the built environment, the relationship between house form and human behaviour and/or activities, as manifestation of the users’ cultural needs, was treated as secondary. This study provides a conceptual framework based on cross-cultural studies and architectural sociology to understand how first generation Italian migrants in Brisbane have influenced the form of a specific typology of dwelling, the archetypal ‘house on a quarter-acre block’, in the post WWII period, in response to cultural needs. Qualitative data collected from the testimonies of Italian migrants in conjunction with evidence left from four houses, were analysed to answer the research question: in what ways did Italian migrants influence the form of their houses built in Brisbane in the post WWII period, and what were the forces behind, and outcomes of, this influence? The findings revealed that the architectural form of the house is influenced by the need to continue architectural traditions. The spatial form of Italian houses was influenced by sociocultural factors and urbanization patterns. These are the lack of public urban spaces like a town square traditionally utilized by Italian migrants in their native built environment for performing social activities. This insight means that migration to another land represents a fundamental disruption of social activities and, in this regard, the spatial form of the house could be conceptualised as a means of re-establishing and enhancing social interactions.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith School of Environment
Science, Environment, Engineering and Technology
Full Text
2
Pollali, Angeliki. "Invention : a prime mover in quattrocento Italian architecture." Thesis, University of Essex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252260.
Full text
3
Lasansky, D. Medina. "Italian Renaissance refashioned : Fascist architecture and urban spectacle /." View online version; access limited to Brown University users, 1999. http://wwwlib.umi.com/dissertations/fullcit/9936645.
Full text
4
Pinkston, Pamela. "Philosophic and scientific concepts of space : their effects on sixteenth century Italian art and architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/21733.
Full text
5
Clarke, Georgia Margot. "Italian Renaissance urban domestic architecture : the influence of Antiquity." Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264517.
Full text
6
Montagner, Mauro 1966. "The role of chains in the Italian hotel industry." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/68786.
Full text
7
Faggion, Laura. "From Sojourners to Setlers: Homes of Italian Migrants in Brisbane and their Meanings." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367780.
Full textAbstract:
This thesis focuses on the architecture of the domestic dwellings built by a group of twenty first-generation migrants, natives of the Veneto region in Italy. This group migrated to Australia after the Second World War and built their houses in the 1980s and 1990s in Brisbane. This thesis looks at the material realm of these houses, that is, their facades, the internal and external organisation and use of spaces, as well as at the symbolic realm that corresponds to the meanings attributed by the Veneto people to their houses in Brisbane. The project is of qualitative nature and as primary sources of data uses semi-structured interviews (1), associated when circumstances made this possible, to photo-elicitation interviews (2), and focus group discussion (3). The semi-structured interviews were conducted both in Australia with twenty first-generation Italian migrants, and in italy with another ten informants who are indigenous to the Veneto region and who built their homes their. These primary data are supplemented by secondary data in the form of photographs and drawings (4).Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith School of Environment
Science, Environment, Engineering and Technology
Full Text
8
Hayt, Andrew Carlton. "The Nostalgic Subject and the Reactionary Figure: Italian Architecture in 1972." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/579263.
Full textAbstract:
This thesis considers the works of two divergent architectural movements in Italy in 1972, the Neo-Rationalist Tendenza and the revolutionary Architettura Radicale, and examines their treatment of the human figure as a means of understanding the strikingly different built environments that were created during the period. The rapidly shifting political, cultural, and socio-psychological milieu in Italy during the years following World War II transformed the meaning of the family unit and the significance of the individual and deeply affected the manner in which architects sought to address the needs of those who inhabited their structures. In Florence the group Superstudio envisioned radical environments that eschewed dominant architectural methodologies in favor of a reductive form of architecture that sought to push capitalistic trends toward their logical and inevitable conclusion. In Milan the architects Aldo Rossi and Carlo Aymonino were constructing the Monte Amiata housing project in the Gallaratese quarter, a series of structures rooted in the architectonic principles of the past, within which the role of the human figure is a more nebulous concept. The architectural projects conceived in Italy in 1972 represent a paradigm shift with regards to the role of the end-user in the urban environment.
9
Arnardottir, Halldora. "Italianita : debates on architecture and design in Milan 1945-1964." Thesis, University College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325182.
Full text
10
Malone, Hannah Olivia. "Nineteenth-century Italian cemeteries : the social and political basis of funerary architecture." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648217.
Full text
11
McLaren, Brian L. (Brian Lloyd) 1958. "Mediterraneità and modernità : architecture and culture during the period of Italian colonization of North Africa." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/8747.
Full textAbstract:
Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, February 2001.Includes bibliographical references (p. 451-480).
This dissertation examines the intersection of the modern and the colonial in architecture and culture during the period of Italian colonization of North Africa from 1911 to 1943. Rather than see the colonies as merely a projection of the metropolitan context, this research reverses this relationship by examining how colonialism was crucial to the formation of modernity. The focus of this investigation has been the appropriation of indigenous Libyan constructions by Italian architects working in this region - an appropriation that was justified by the contention that this culture was Mediterranean. The incorporation of these vernacular buildings within a Mediterranean tradition was a means of designating their modernity. It was also a method for these architects to efface the Arab content of these sources by creating a broader geographical category whose identity was Italian. This general theme has been structured around three distinct but interrelated topics of investigation, with the objective being to create a more complex understanding of this phenomenon. These topics are; the discourse on modernity in Italian architecture in magazines and publications and its intersection with the prospects for a modern colonial architecture, the "politics of representation" of the indigenous culture of Italy's colonies in exhibitions and fairs in Italy and abroad, and the formation of a Mediterranean identity in the creation of a tourist system in the · Libyan colonies. This research has examined these themes against the broader cultural context of Italian colonialism; such as the "indigenous politics" of the Italian colonies, the exoticism of colonial literature, and the scientific practices of anthropological and ethnographic research. This project ultimately reveals two different approaches to the appropriation of local culture by architects working in the Libyan colonies - both of which are modern. The first of these viewed the vernacular as the abstract basis for a contemporary architecture, while the second argued that these references should be literally re-enacted to harmonize with the pre-existing environment. This dissertation asserts that the conflicts and confluences between these two modernities characterized both the architecture of colonialism and the larger "cultural" project of the Italians in Libya.
by Brian L. McLaren.
Ph.D.
12
PRENCIPE, MONICA. "Building exchanges (1895-1953). International Exhibitions and Swedish resonances in Italian Modern Architecture." Doctoral thesis, Università Politecnica delle Marche, 2018. http://hdl.handle.net/11566/253126.
Full textAbstract:
Questo lavoro fa parte di una più ampia ricerca sul rapporto tra l’Italia e i Paesi Nordici, guidata dal prof. Antonello Alici presso l'Università Politecnica delle Marche. Il lavoro è stato organizzato cronologicamente, attorno all'analisi di articoli italiani sul tema paesi nordici e di materiali d'archivio originali, tracciandone i rapporti reciproci con il pubblico italiano, e concentrandosi su viaggi ed esposizioni architettoniche e artistiche.
In particolare, la ricerca si concentra sugli eventi legati alla nazione –la Svezia– che per prima ha avuto l'introduzione più rilevante nel panorama italiano, a partire dalla prima Biennale veneziana nel 1895.
Il primo capitolo indaga la genesi di questo rapporto prima dell'inizio della prima guerra mondiale, grazie al contributo di persone come Vittorio Pica e Ferdinand Boberg.
Il secondo capitolo affronta le conseguenze della prima guerra mondiale, con l'emigrazione del futurista Arturo Ciacelli (1883-1966), l'incisore Guido Balsamo Stella (1882-1941) ed i viaggi dell'architetto Giuseppe Broglio (1874-1956).
Il terzo capitolo si concentra sui due decenni fascisti, concentrandosi sul ruolo di istituzioni come la Triennale di Milano e l'Istituto Svedese di Studi Classici a Roma.
Infine, l'ultimo capitolo esamina il periodo del dopoguerra, quando l'ammirazione italiana per il design e l'architettura svedese ha trovato risonanze interessanti sia nei piani INA Casa che in alcuni progetti espositivi, nel lavoro di architetti quali Piero Bottoni (1903-1973), Piero Maria Lugli (1923-2008), Gio Ponti e Franco Albini (1905-1977).
La ricerca ha evidenziato come le nuove Istituzioni, sulla scia di quelle fondate nei decenni precedenti, come l'Istituto Svedese (SI) e l'Istituto Italiano di Cultura di Stoccolma (IIC) –oggi ancora attive– abbiano avuto un ruolo fondamentale nel propaganda internazionale.
Infine, la ricerca vuole mettere in luce come questa complessa combinazione di esperienze personali, riviste (di arte e architettura) e istituzioni costituisca il vero sfondo per storici come Bruno Zevi (che fu il primo a inserire tre maestri nordici nel suo pamphlet Verso un'architettura organica) e Leonardo Benevolo, che nel 1960 riconobbe il ruolo di aree ‘periferiche’ come la Svezia e la Finlandia, nella sua Storia dell'architettura moderna.This work is part of a wider research on the relationship between Italy and the Nordic countries, headed by prof. Antonello Alici at the Università Politecnica delle Marche. The work is organized chronologically around the analysis of both Italian articles on Nordic countries and original archival materials, tracing back the mutual relationships with the Italian audience, focusing on artistic and architectural travels and exhibitions. In particular, the research focuses on the events related to the nation –Sweden– which first had the most relevant introduction into Italian Architecture since the first Venetian Biennale in 1895. The first chapter investigates the genesis of this relationship before the beginning of the First World War, thanks to the contribution of figures as Vittorio Pica and Ferdinand Boberg. The second chapter deals with the consequences occurred after the First World War, with the emigration of the futurist Arturo Ciacelli (1883-1966), the engraver Guido Balsamo Stella (1882-1941) and the travels of the architect Giuseppe Broglio (1874-1956). The third chapter concentrates on the two Fascist decades, focusing on the role of Institutions like the Triennale in Milan and the Swedish Institute of Classical Studies in Rome. Finally, the last chapter examines the Post-war period, when Italian admiration for Swedish design and architecture found interesting resonances both in the INA Casa plans as well as in some exhibition projects, in the work of Italian architects like Piero Bottoni (1903-1973), Piero Maria Lugli (1923-2008), Gio Ponti and Franco Albini (1905-1977). The research highlights how the new Institutions, on the heels of the ones founded in the previous decades, like the Swedish Institute (SI) and the Italian Institute of Culture in Stockholm (IIC) –both still active nowadays– had a fundamental role in the International propaganda. Finally, the thesis discusses how this complex combination of personal experiences, art and architectural magazines and official institutions formed the real background for an historian like Bruno Zevi, who was the first to insert three Nordic masters in his seminal pamphlet Verso un’architettura organica, and Leonardo Benevolo, who in 1960 recognized the role of ‘peripheral’ areas like Sweden and Finland, in his History of Modern Architecture.
13
Rachele, Cara Paul. "Building Through the Paper: Disegno and the Architectural Copybook in the Italian Renaissance." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467183.
Full textAbstract:
The dissertation looks at architectural theory in early modern Italy through a history of its drawings. It examines a group of early-sixteenth-century drawing books, made in and around Rome, that comprised reproductive drawings based on circulating drawing exemplars from the late fifteenth century. The drawing books are identified as study tools made by artisans who aspired to the practice of architecture. The study illuminates the broader shift toward drawing as the primary means of architectural design.
The first chapter contends that the distinctive drawing practices of architecture arose from the merging of the representational traditions of figural and mechanical drawing, identifying this progression in architectural texts by Cennino Cennini, Leon Battista Alberti, Filarete, Francesco di Giorgio Martini, Leonardo, and Raphael. The next chapter reconsiders the “treatise-books” of the 1510s-1530s as copybooks for architectural draftsmen, analogous to the commonplace books created by humanist scholars, using the Codex Coner (Soane’s Museum, London) as a case study. Chapter 3 looks at the widespread phenomenon of drawing and copying architectural details and tracks its development from detail drawing series made in the fifteenth century to the precisely measured images of the early sixteenth century. The case study is the Codex Fogg (Harvard Art Museums, Cambridge). Chapter 4 traces the empirical development of orthographic section drawing as an established component of the drawing palette of the architectural draftsman, taking the Codex Mellon (Pierpont Morgan Library, New York) as an example. Chapter 5 investigates the circumstances that influenced the end of the architectural copybook phenomenon in the late 1530s-40s. Two examples demonstrate the transition, the Codex Lille by Raffaello da Montelupo (Musée des Beaux-Arts, Lille) and the Codex Campori App. 1755 of Giovanni Antonio Dosio (Biblioteca Estense, Modena).History of Art and Architecture
14
Fane, Saunders Peter Richard. "The Italian reception of Pliny the Elder's account of architecture c. 1430-1550." Thesis, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536778.
Full textAbstract:
Pliny the Elder's Naturalis historia includes a wealth of information on ancient architecture. The books on mineralogy are particularly plentiful on the subject: Books XXXIII-XXXV contain numerous entries on architectural ornament, while at the heart of Book XXXVI lies a lengthy account of Wonders of the World, fourteen of which are located in the East, eighteen in Rome. As yet, no study exists on the reception of these passages during the Italian Renaissance. This dissertation explores how and why, between roughly 1430 and 1550, humanists, antiquarians, architects and draughtsmen tapped into this rich vein of material. There were two main approaches to Pliny's account. In the mid-Quattrocento, writers tended to concentrate on the wondrous aspects of Plinian architecture. Towards the end of the century, however, perhaps in response to the publication of Vitruvius's De architectura around 1486, various attempts were made to visualise the appearance of these marvels and to understand the method of their construction. The dissertation is divided into three parts. The first, entitled `Antiquarian Studies in Rome', examines the contribution of Pliny to the Renaissance understanding of the Roman ruins. It commences in the 1440s with the three curial humanists, Flavio Biondo, Poggio Bracciolini and Giovanni Tortelli, and concludes with the works published in the 1540s by Bartolomeo Marliani and Sebastiano Serlio. The second part, `Writings on Architecture', examines the extent to which Pliny was employed by writers on architecture such as Leon Battista Alberti, Filarete and Cesare Cesariano. The third, `Architectural Drawings', begins in the early 1430s, with sketches made by Ciriaco d'Ancona of Greek monuments mentioned by Pliny, and ends around 1550, with the deaths of architects from the so-called setta sangallesca who reconstructed three of the Plinian marvels on paper
15
Kessler, Henry A. "The Palazzo della Civilta Italiana: From Fascism to Fendi." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429640180.
Full text
16
Silva, José Enrique. "The art of the theatrical fountain in the Italian Baroque : Rome and her surroundings." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23919.
Full text
17
Lindsey, Renee J. "The Truth of Night in the Italian Baroque." UKnowledge, 2015. http://uknowledge.uky.edu/art_etds/10.
Full textAbstract:
In the sixteenth century, the nocturne genre developed in Italian art introducing the idea of a scene depicted in the darkness of night. This concept of darkness paired with intense light was adopted by Caravaggio in the late sixteenth century and popularized by himself and his followers. The seemingly sudden shift towards darkness and night is puzzling when viewed as individual occurrences in artists’ works. As an entire genre, the night scene bears cultural implications that indicate the level of influence culture and society have over artists and patrons. The rising popularity of the theater and the tension between Protestantism and Catholicism intersected to create a changing view on the perception of darkness and light. This merging of cultural phenomena affected Caravaggio and his contemporaries, prompting them to develop the nocturne genre to meet the growing demands for darker images.
18
Hubbard, Timothy Fletcher, and mikewood@deakin edu au. "Towering over all the Italianate Villa in the colonial landscape." Deakin University. School of Architecture and Building, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051110.132654.
Full textAbstract:
The Picturesque aesthetic emerged in the later 18th century, uniting the Sublime and the Beautiful and had its roots in the paintings of Claude Lorrain. In Britain, and in Australia, it came to link art, literature and landscape with architecture. The Picturesque aesthetic informed much of colonial culture which was achieved, in part, through the production and dissemination of architectural pattern books catering for the aspirations of the rising middle classes. This was against a background of political change including democratic reform.
The Italianate villa, codified and promoted in such pattern books, was a particularly successful synthesis of style, form and function. The first Italianate villa in England, Cronkhill (1803) by John Nash contains all the ingredients which were essential to the model and had a deeper meaning. Deepdene (from 1807) by Thomas Hope gave the model further impetus. The works of Charles Barry and others in a second generation confirmed the model's acceptability. In Britain, its public status peaked with Osborne House (from 1845), Queen Victoria's Italianate villa on the Isle of Wight, Robert Kerr used a vignette of Osborne House on the title page of his sophisticated and influential pattern book, The Gentleman's House (1864,1871). It was one of many books, including those of J.C, Loudon and AJ. Downing, current in colonial Victoria. The latter authors and horticulturists were themselves villa dwellers with libraries and orchards, two criteria for the true villa lifestyle.
Situation and a sense of retreat were the two further criteria for the villa lifestyle. As the new colony of Victoria blossomed between 1851 and 1891, the Italianate villa, its garden setting and its landscape siting captured the tenor of the times. Melbourne, the capital was a rich manufacturing metropolis with a productive hinterland and international markets. The people enjoyed a prosperity and lifestyle which they wished to display. Those who had a position in society were keen to demonstrate and protect it. Those with aspirations attempted to provide the evidence necessary for such acceptance, The model matured and became ubiquitous. Its evolution can be traced through a series of increasingly complicated rural and suburban examples, a process which modernist historians have dismissed as a decadent decline. These villas, in fact, demonstrate an increasingly sophisticated retreat by merchants from the Town and by graziers from the Country. In both town and country, the towers of villas mark territory newly acquired. The same claim was often made in humbler situations.
Government House, Melbourne (from 1871), a splendid Italianate villa and arguably finer than Osborne House, was set in a cultivated landscape and towered above all It incorporated the four criteria and, in addition, claimed its domain, focused authority and established the colony's social status. It symbolised ancient notions of democracy and idealism but with a modem appreciation for the informal and domestic. Government House in Melbourne is the epitome of the Italianate villa in the colonial landscape and is the climax of the Picturesque aesthetic in Victoria.
19
Mason, David Robert. "'New lamps for old' : English responses to the restoration of monuments in Italy, ca. 1860-1890." Thesis, De Montfort University, 1997. http://hdl.handle.net/2086/4115.
Full text
20
Latessa, Amy K. "Fascism, Imperialism, and the Reclamation of Italian Masculinity From Ethiopia, 1935-1941." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1563271975300552.
Full text
21
Jokilehto, J. I. "A history of architectural conservation : The contribution of English, French, German and Italian thought towards an international approach to the conservation of cultural property." Thesis, University of York, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.374168.
Full text
22
Hockemeyer, L. "Italian ceramics 1945-1958 : a synthesis of avant-garde ideals, craft traditions and popular culture." Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20224/.
Full textAbstract:
Italy's post World War II art and artisan produce and her small and medium scale ceramic production between 1945 and 1958 has been characterised I by an apparent aesthetic synthesis of avant-garde ideals, craft traditions and popular culture. This thesis examines this particular occurrence through a multi and interdisciplinary approach. It has profited from the application of methodologies deriving from the different fields of history, ceramic-, art-, applied art-, design and architectural history and from information obtained from economic and naval histories and tourist guides. This has enabled on the one hand to explain this phenomenon and to situate the ceramic manufacturing sector and the objects within their socio-historical, economic and cultural framework and on the other to employ the objects themselves to challenge dominant ideas within contemporary design-, art-, craft- and ceramic history. The majority of the data that informs this work derives from the analysis of primary sources collected and researched in Italy such as the objects and works themselves, contemporary magazines, archives and interviews. Whilst the time-span has been defined by the perceived birth and decline of the synthesis phenomenon, the period studied in this thesis includes a brief introduction to the tradition and revival of Italy's post-unification ceramic culture and industry and the general aesthetic and artistic developments which have significantly influenced the post 1945 developments. This is followed by an in-depth account of the aesthetic panorama of Italian ceramics between 1945 and 1958 through the works of its protagonists and an analysis of ceramics used as an ornamental medium in architectural structures and modem interior decorating schemes and exteriors. Another part analyses the ceramic industry from a production, economical, commercial and consumption point of view and establishes its significant role not only in relation to Italy's overall economic reconstruction efforts but in the creation of the image that constituted the ideals associated with the 'Made in Italy' label. The last part examines Italian ceramic culture between 1945 and 1958 in its contemporary design, art and craft context. It will present the history of Italian material culture and design as based on an evolutionary model which is incompatible with modernist-lead design histories. In addition, this thesis challenges the under-representation of Italian ceramics within 20th century British ceramic, art, craft and design history and the British approach to ceramic writing and aims to incite further multi and interdisciplinary approach to the history of design.
23
Jokilehto, Jukka. "A history of architectural conservation the contribution of English, French, German and Italian thought towards an international approach to the conservation of cultural property /." Connect to PDF file, 2005. http://www.iccrom.org/pdf/ICCROM_05_HistoryofConservation00_en.pdf.
Full textAbstract:
Thesis (D. Phil.)--University of York, England, 1986.Title from PDF title page (viewed on Jun. 16, 2008). "September 1986 (recomposed in PDF format, February 2005)". Includes bibliographical references (p. 431-453).
24
McKever, Rosalind. "Futurism and the past : temporalities, avant-gardism and tradition in Italian art and its histories 1909-1919." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25095/.
Full textAbstract:
This thesis re-evaluates Italian Futurist art's relationship with the past, focusing on the years 1909-1919. This aspect of the movement is fundamental to its complex identity, yet has not received prolonged scholarly attention. In order to reconsider Futurism's temporality this thesis focuses on the fine art practice and theoretical writings of Giacomo Balla, Umberto Boccioni, Carlo Carra, Luigi Russolo and Gino Severini, and also the writings on the movement's leader F.T. Marinetti, plus the Florentine Futurists Giovanni Papini and Ardengo Soffici. The historiography of Futurism, which both produces the reductive antipassatista model of the movement and highlights the presence of formal similarities between the Italian artistic tradition and Futurism, is also interrogated. The first part of this thesis argues that the Futurist temporality is more nuanced than the widely accepted model of adoration of the future and repudiation of the past, and that it is related to the conflicting notions of time present in the decade in question. Using the Futurists' concept of time to analyse their relationships with the past, present and future, it argues that the present is the most important temporal mode for Futurism, but that the past and future are part of this present. This thesis approaches Futurism's relationship with Italy's artistic past in tandem with its interrogation of its temporality. This requires a consideration of the temporality of art history, the temporal orientation of avant-gardism and the connotations of tradition and appropriation in art historical practice in order to produce a spiralling art historical model in which returns to the past can be forms of progress. In the second part of this thesis, these possible appropriations of the Italian artistic tradition from Magna Graecia to Giovanni Battista Tiepolo are surveyed, using the reception of earlier art historical periods in early twentieth century Italy to consider how and why the Futurists could have appropriated them. The Futurists' continuation of the recent past of Italian and French art from Italian unification up to the launch of Futurism is also addressed, noting the anti passatismo of these precedents to show that the Futurist relationship with the past, as reconstructed in this thesis, was not sui generis. The aim of this thesis is to bring together Futurism's rhetoric about the past, understanding of time, and relationship with art history in order to offer a more nuanced understanding of the movement's antipassatismo.
25
Luscombe, Desley School of History UNSW. "Inscribing the architect :the depiction of the attributes of the architect in frontispieces to sixteenth century Italian architectural treatises." Awarded by:University of New South Wales. School of History, 2004. http://handle.unsw.edu.au/1959.4/31896.
Full textAbstract:
This study investigates the changing understanding of the role of the ???architect??? in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of ???architect.??? The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the ???architect,??? as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the ???architect??? having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the ???architect??? and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio???s Regole generali di architetura sopra le Cinque maniere de gli edifici cio??, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell???antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli???s translation of Alberti???s De re aedificatoria titled L???architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro???s translation and commentary on Vitruvius??? De???architetura titled, I dieci libri dell???architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d???Aquileggia, 1556; and Andrea Palladio???s I quattro libri dell???architettura, 1570. A second aim for the study was to review the usefulness of frontispieces as an historical archive. It was found that frontispieces visually structure important ideas by providing a narrative with meaning as an integral part of the illustration. In this narrative frontispiece illustrations prioritise concepts found in the accompanying text and impose a hierarchical structure of importance for fundamental ideas.
26
Liew, Julian. "Histoire des termes d'architecture empruntés par le français à l'italien au XVIe siécle : leur introduction et leur évolution." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30141.
Full textAbstract:
L'influence italianisante de la Renaissance sur la culture frangaise est telle qu'elle a laissé ses traces non seulement sur le vocabulaire de l'architecture du XVIe s. mais aussi sur celui de 1'architecture moderne et voire, plus généralement, sur le lexique français. Et pourtant, malgré 1'influence incontestable de l'italien sur le vocabulaire français de 1'architecture, il ne reste au XXe s. qu'une trentaine--au maximum—de termes d'architecture empruntés à l'italien au XVIe siècle.
Les spécialistes de la langue ont déjà examiné de près 1'influence du lexique italien sur le français à l'époque de la Renaissance: Ferdinand Brunot, Bartina Wind et T. E. Hope—entre autres—ont publié d'excellentes études dans ce domaine.
Tout en nous appuyant sur les études de ces éminents linguistes, nous avons souhaité éviter une simple répétition; par conséquent, nous avons poursuivi une étude approfondie sur un vocabulaire particulier: le vocabulaire de 1'architecture.
Nous avons d'abord dépouillé les textes de Brunot et de Hope pour établir une liste de termes d'architecture empruntés par le français àl'italien au XVIe siècle. Ensuite, nous avons vérifié dans les ouvrages lexicographiques modernes — ici, le .T.L.F. et le .Robert—pour déterminer si ces emprunts ont survécu jusqu'à nos jours. Nous pouvions être certain que ces termes font partie du lexique français du XXe siècle. Contrôlant la classification de Hope par 11exament de la section étymologique de chaque entrée du T..LF, nous avons aussi pu établir le fait que les mots dans notre liste étaient introduits en français comme termes d'architecture.
En même temps, notre consultation du TLF et du Robert nous a fourni un aperçue général de 1'évolution sémantique des emprunts. Ensuite, nous avons consulté les ouvrages lexicographiques les plus importants depuis le XVIIe s. pour tracer 1'évolution sémantique de chaque mot.
A partir du résultat de nos recherches, nous avons établi la répartition suivante: (i) quatre emprunts qui ont eu une expansion sémantique (viz., ARCHITECTS, ARCHITECTURE, ISOLE et FAÇADE); (ii) quatre autres emprunts qui ont évolué mais seulement à l'intérieur du vocabulaire de 1'architecture (viz., BALDAQUIN, APPARTEMENT, BALCON et ARCADE); et (iii) tous les mots qui n'ont pas changé de sens ou qui ont subi très peu d'évolution sémantique depuis leur introduction en français (Appendice A-2). Nous avons réservé une étude détaillée à chaque mot dans les deux prèmieres sections--retraçant l'origine et 1'évolution sémantiques du mot et, dans la mesure du possible, les circonstances historiques ou culturelles où le mot se trouvait.
Nos études nous ont conduit à la conclusion que la langue n'accepte pas de façon égale les emprunts faits dans un certain domaine ou pendant une certaine époque. Certains des emprunts s'intègrent totalement au lexique, en acquérant d'autres acceptions et en sortant du domaine qui les aintroduits: ils acquièrent finalement un sens figuré; ce groupe est très petit. Le deuxième groupe consiste en des emprunts qui ont garde leur emploi principal de terme d'architecture mais que l'usager moyen de la langue reconnaitra et employera. A la différence du premier groupe, cependant, les mots du deuxième groupe ne possèdent pas d'acception au figuré. Le dernier groupe est composé d'emprunts qui restent strictement des termes techniques; l'usager moyen ne les employerait pas et, sans doute, n'en connaitraît même pas le sens. A en croire le résultat de notre travail, ce dernier groupe constitue la majorité des emprunts.
Finalement, nous nous sommes apergu que l'histoire et la culture d'un peuple laissent souvent leurs traces sur 1'évolution sémantique d'un mot. Dans les études consacrées à ARCHITECTE et ARCHITECTURE, nous avons inclu pour chaque siècle les changements culturels, historiques ou politiques les plus importants dans l'histoire de la France et de 1'Europe et lés avons lies de façon logique aux changements sémantiques. Donc, nous avons pu suivre de près l'histoire parallèle de la langue française et du peuple français.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
27
Strabucchi, Chambers Wren Christopher. "Culture as picture and project : the 'city' of EUR : the formation of the concept museum-city in the Italian architecture of the 1930s." Thesis, University of Cambridge, 2001. https://www.repository.cam.ac.uk/handle/1810/251762.
Full text
28
CASELLA, LAURA. "SNP ANALYSIS FOR DROUGHT-RELATED CANDIDATE GENES IN A GERMPLASM COLLECTION AND A TILLING POPULATION OF ITALIAN RICE." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/203361.
Full textAbstract:
Rice is the most important food crop in the world, representing the main source of caloric intake for more than one third of the world’s population. Although a great part of the global rice production comes from the developing countries such as China, India, Indonesia and Bangladesh, northern Italy plays a relevant role in terms of rice production providing about 50% of the total European paddy rice production. Due to the nature of the area devoted to rice growth, characterized by large availability of water and an efficient water distribution net, rice in Italy developed in the last two centuries as a water demanding crop, completing its growth cycle under submersion. However in the last decades also these regions experienced a reduction in water availability, with consequences on production and quality. The development of new varieties able to cope with water scarcity is therefore becoming of utmost importance for a sustainable rice cultivation in Italy. This study aims at identifying new alleles with added value for the improvement of drought resistance in Italian rice. The EMS-induced genetic variability in drought-related candidate genes was then explored in a TILLING population developed in the Italian rice variety Volano. The Volano TILLING platform was validated through the screening of three relevant target genes. A mutation density of 1/374 kb was estimated, proving the effectiveness of this approach for targeted rice crop improvement of Italian germplasm. The collection, currently consisting of 1860 mutant lines that are being enlarged with new mutagenized lines, represents an interesting source of variation exploitable in terms of response to drought stress and directly of use for targeted breeding programs. The mutant lines identified, affecting genes shown to be involved in plant drought escape and avoidance strategies, not only are relevant for Volano breeding programs, but represent a powerful genetic material in view of breeding for drought improvement in Italian rice. The second part of the work aimed at understanding the genetic determinants of root system architecture in the Italian rice germplasm, considering the profound implications of root development on the ability of the plant to cope with water deficits. The first Genome-Wide Association study on root traits was then performed on a germplasm collection including local accessions representing the genetic diversity of rice cultivated in Italy and a set of foreign varieties from temperate areas adapted to Italian climatic conditions. Whole genome genotyping was performed at Cornell University using the GBS (Genotyping-by-Sequencing) approach, a novel NGS strategy previously applied with success to maize and barley that uses libraries based on reducing genome complexity by methylation-sensitive restriction enzymes. In parallel, a thorough phenotypic screening for root morphological features was performed under controlled greenhouse conditions using a novel root phenotyping method that combines an optimized plant growing system (plastic cylindrical baskets coupled with PVC pipes) with an efficient imaging analysis (WinRHIZO image analysis software). The results of genome-wide association analyses performed on a first set of root phenotypic traits were very encouraging. All the detected significant associations were co-localizing with root QTLs previously identified in bi-parental mapping populations. Moreover, four of the detected regions co-localized with drought-avoidance QTLs, strongly supporting the hypothesis of their possible involvement in plant ability to cope with water scarcity. This work provides an initial study paving the way towards improvement of Italian rice varieties in terms of drought resistance.
29
Dilbeck, Gwynne Ann. "Opening the gates of paradise: function and the iconographical program of Ghiberti's bronze door." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2691.
Full textAbstract:
Lorenzo Ghiberti's east door of the Baptistery of San Giovanni in Florence, long famed as the Gates of Paradise, displays Old Testament stories in sculptural relief on ten gilded bronze panels. Stressing the significance of the Gates of Paradise as a public monument imbedded in the fabric of Florentine society will enhance our understanding of the cultural use of the door within its built environment. Consideration of its context could in turn clarify the motivation behind the choices for the iconographical program. Previous studies of the Gates of Paradise tend to isolate each narrative panel rather than examining the Gates as one door made up of ten unified panels (including decorative framing). As a result, the Gates of Paradise have rarely been looked at in terms of architectural function or context. The approach of the present study focuses on the Gates of Paradise as a significant architectural feature of Florence's built environment, as a feature that functioned as a centerpiece for the Baptistery and the Cathedral complex, and as a setting for the many spectacles that took place in that environment.
This investigation aims to define the inseparable religious and civic functioning of the Gates of Paradise and to identify connections between specific function and the iconographical program. The research examines in depth the imagery of the Gates of Paradise, scrutinizing the function of the Gates within its physical setting, in the ceremonies of baptism, and in the regular rituals of the Florentine liturgical calendar. This hitherto-unexamined analysis of the Florentine liturgical ritual utilizes Medieval and Renaissance service books such as the Ritus in ecclesia servandi, Mores et consuetudines canonice florentine, Missal Ms. Edili 107 (Biblioteca Medicea Laurenziana), and the Missale romanum Mediolani, 1474. The examination of the Gates' function offers illumination of the possible meaning(s) conveyed by the choice of biblical narratives that make up the program. Research suggests that the iconographical program for the Gates of Paradise connects predominantly to its major function as the principal ritual entrance for the Baptistery. The program reiterates the liturgy for the season leading up to the Church's traditional celebratory period of baptism and the baptismal liturgy. While most days throughout the year the south portal was used for the daily baptismal ceremony, this special baptism-related use of the Gates reinforce the liturgy of the season which teaches and emphasizes the significance of the sacrament of baptism and the role of the Church in salvation.
30
RUBINO, ANNA CELESTE. "The School in the Contemporary City. Conceptual ideas in Italian and English practice in education." Doctoral thesis, Università Politecnica delle Marche, 2020. http://hdl.handle.net/11566/274929.
Full textAbstract:
La tesi esplora il ruolo dell’architettura della scuola e dell’ambiente fisico circostante come mediatori educativi attraverso l’innovazione degli spazi educativi e la creazione di interazioni culturali tra scuola, quartiere ed altre organizzazioni educative.
L’obiettivo della tesi è comprendere le idee teoriche che legano la pedagogia e l’apprendimento con l’architettura, il paesaggio e l’assetto urbano, includendo dei riferimenti a noti esempi di architetture scolastiche italiane a partire dal 20° secolo. La tesi sviluppa una lettura critica dell’architettura scolastica in differenti contesti Europei che usa lo spazio fisico a e il suo ambiente circostante come risorsa per l’apprendimento.
La ricerca si propone di utilizzare alcuni casi studio individuati nell’ambito del vasto investimento del Regno Unito denominato “Building Schools for the Future” per fornire alcune linee guida per il progetto e la gestione delle scuole secondarie del 21° secolo in Italia.The thesis explores the role of school architecture and his surrounding built environment as educational mediators through the innovation of educational spaces and the creation of cultural interactions between school, neighborhood and other educational organizations. The aim of the thesis is first to understand theoretical ideas linking pedagogy and learning with architectural, landscape and urban design, including reference to celebrated Italian examples from the 20th century. It develops a critical reading of scholastic architecture in different European contexts that use the physical space and their surrounding environment as a resource for learning. The research also purposes to use case studies from the UK’s vast investment in Building Schools for the Future to provide some guidance for the design and management of secondary schools in Italy for the 21st century.
31
Tycz, Katherine Marie. "Material prayers : the use of text in early modern Italian domestic devotions." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.
Full textAbstract:
While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.
32
TRAUSI, PIER PASQUALE. "Patrimoni e paesaggi identitari del primo Novecento, tra modernità e tradizione. Recupero di un passato recente, tra Tecnica e Architettura." Doctoral thesis, Università degli studi della Basilicata, 2021. http://hdl.handle.net/11563/148989.
Full textAbstract:
The Modern Movement represents one of the most beautiful pages of the cultural and architectural history of Europe and Italy. The ferments of vanguards brought to the birth of new industries through the development of technical equipment and technological systems, above all in the building field. In this context new stilemas and architectural characters took shape, defined as “New Modern Architecture”.
Europe attended the birth of the International Style, a movement aimed at researching a new architectural response to the social-economical changes. In Italy, at the same time, the “Italian Rationalism” started, which, still fought between a traditionalist style and avanguardist one, looked towards the new ferments over the Alps.
The development of the building techniques and the use more and more widespread of the reinforced concrete consented to define qualitative and typological characters of the new architectures (like the cantilever roofs, the big lights in the buildings, the monumentality of the portals, the regularity of the openings in the fronts, the glazed walls), which consented to free the prospecta from the rigid froms of the stereometric building. At the same time, the industrial development and, above all, the one of the building materials, has been giving a great support to such a process of innovation in the sector. The policies of
autarchy of the time boosted the use and the development of local materials, contributing to the definition of an Italian style.
The activity of conservation and safeguard of the architectural Modern heritage are carried out through the preliminary recognition of the architectural works having a distinctly artistic character and of strong elegance for the contemporary architectural culture to subdue to particular forms of attention and preservation. The individuation of such works, from a normative point of view, occurs through the statement of important artistic and architectural nature with the attachment of constraints because of “particularly important works because of their relation to the political, military, literature and culture in general history, that is as witness of the identity and the history of the public, collective or religious institutions” (according to the art. 10 part 3 letter d) of the Code of the cultural heritage and the landscape, D. Lgs. 42/04). Today, after almost a century of history, these architectures can be considered this way as historic identitary heritage to protect and preserve, even not enough recognized as “cultural heritage”.
So, we can’t leave aside a careful research and a consequent document production for the protection and valorization of the buildings and the urban complexes of the Modern Movement, symbols of a process of technological and industrial innovation. The research project, thus, has the purpose to provide a mean aimed at the historic, architectural and costructive knowledge of these buildings, with the specific purpose of drawing up “guide-lines” for the recover and critical preservation of such a heritage.
33
Bruno, Elsa L. "Exemplary Equines: Gazes and Gesture of Bovine Animals in Trecento Fresco." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/383.
Full textAbstract:
Horses were high status animals in the middle ages. Strong, costly, and used in war, they symbolized power and wealth. Yet in some Trecento Italian frescos, horses take on another role. Particularly through their eyes, ears, and body positioning they seem to communicate with each other regarding the religious scenes at hand. Additionally, horses are often the only beings paying attention to Jesus or God, or are the sole beings who break the fourth wall of an image to engage with the viewer. While the revolutionary use of gesture and eye movement has been examined in humans in these frescoes, horses (and other bovine animals) have been left out of the conversation. Why are these animals seemingly the most aware and mentally active beings? Particularly remarkable frescos incorporate horses in this way in Florence, Padua, and Assisi, and San Gimignano. Giotto di Bondone, Pietro Lorenzetti, Taddeo Gaddi, Andrea di Bonaiuto, Altichiero da Zevio, Lippo Memmi (and their schools and assistants), completed large scale fresco cycles in churches in these cities that retain their importance and magnificence today. Eight panels from these cycles will be examined for their treatment of horses as a vehicle for emotional communication, in chronological order.
34
Jones, Nikkole R. "La Gioconda." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1861.
Full textAbstract:
Set in 16th century Florence, Italy, "La Gioconda" takes you on the journey of Lisa del Gioconda, the woman behind one of the most recognized paintings in the world, The Mona Lisa. Married off at a young age, Lisa finds comfort in her secret love affair with Art. Her secret world crosses paths with an Art apprentice, Leonardo da Vinci, who takes her on as his student. Lisa tells her husband that she is at church praying while spending her afternoons with Da Vinci, mastering her craft and technique. A love affair begins to blossom and Lisa is forced to make a big decision in the end. Secrets begin to unravel including the truth behind Da Vinci's original painting of the Mona Lisa before it became what we all know it to be today.
35
Nelson, Caroline. ""By the Hand of a Woman": Gender, Luxury, and International Relations in Andrea Mantegna's Judith and Holofernes." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/863.
Full text
36
Corato, Aline Coelho Sanches. "A obra e a trajetória do arquiteto Giancarlo Palanti: Itália e Brasil." Universidade de São Paulo, 2004. http://www.teses.usp.br/teses/disponiveis/18/18131/tde-24062008-100259/.
Full textAbstract:
Trata da obra do arquiteto italiano Giancarlo Palanti na Itália e no Brasil, resgatando sua trajetória, inserção e atuação no ambiente arquitetônico italiano do entre-guerras e brasileiro do final da década de 40 até meados da década de 70, localizando ainda sua importância e papel dentro de uma história da arquitetura moderna nestes dois países. Contribui também para a pesquisa dos arquitetos imigrantes, especialmente do período ligado aos acontecimentos da segunda guerra mundial e da investigação do trânsito das idéias entre Itália e Brasil. O trabalho identifica contribuições e especificidades na obra de Palanti em várias frentes: no desenho industrial, na arquitetura e no urbanismo, e numa produção marcada pelo trabalho em equipe.This text deals about the work of italian architect Giancarlo Palanti in Italy and Brazil, gathering his paths, insertion and acting among italian between-wars and brazilian late forties to early seventies architectonical environment, also placing his importance into these countries\' modern architecture history. It is also important for the research on immigrant architects - mainly those related to post-war events - and for the investigation of cultural exchange between Italy and Brazil. It also identifies Giancarlo Palanti´s contributions and specificities on several aspects: industrial design, architecture and urbanism, and a career marked by team-made designs.
37
Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.
Full textAbstract:
This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.
38
Lepik, Andres. "Das Architekturmodell in Italien : 1335-1550 /." Worms : Wernersche Verlagsgesellschaft, 1994. http://catalogue.bnf.fr/ark:/12148/cb39052518k.
Full text
39
McCormack, Meghan E. "Close to the Source." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1372.
Full textAbstract:
Abstract
Close to the Source is comprised of a series of nonfiction vignettes about the artisan, agricultural, and culinary methods of Italy. In Close to the Source the human relationship with nature, food, and art is reexamined while a series of rich characters help bring the material to life. Through interviews, research, and first-hand experiences, the author attempts to archive fading artisan and food-related techniques and rituals. In the process, a cultural critique about the importance of the practical arts in contemporary times emerges. The thesis contains four sections: Terra/Land; Art and Artisans; Pane/Bread; and Compagnia/Company.
40
Jeffers, Leah Rachel. "Fashion and Court-Building in the Sixteenth-Century Florentine Ducal Court: Politics, Agency, and Paleopathology in the Wardrobes of Eleonora di Toledo and Giovanna d'Austria." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1024.
Full textAbstract:
Fashion in the Renaissance became intensely political, highly gendered, and anatomized (i.e. emphasizing human anatomy rather than masking it). Court culture placed a particular emphasis on the body of the courtier, as skills such as dancing and dressing fashionably became crucial to political success in states throughout Europe. In sixteenth-century Florence, the Medici attempted to install a duchy in what was at the time a republican city (with strong republican heritage). Florentine fears of foreign domination and resentment towards non-republican forms of government made the Medici’s task nearly impossible. Fashion became a primary pillar of the Medicean political agenda, as the first members of the Medici family to hold official power in the Florentine Grand Duchy (and their wives) dressed quite modestly in comparison to other sixteenth-century heads of state, so as not to appear to have imperial or monarchical pretensions and thus arouse dangerous levels of antipathy from their Florentine subjects. The first Grand Duchess, Eleonora di Toledo, and the second, Giovanna d’Austria, faced an additional challenge as foreign brides marrying into the Medici duchy, as they were themselves representatives of the influence of imperial power in Florentine politics. They both were faced with countless factors to consider as they made choices about how to dress, and each choice had political, social, and economic implications and consequences.
41
Klinkhamels, Susanne. "Die Italien-Studienreise 1822 - 1824 des Architekten Jakob Ignaz Hittorff : Zeichnungen nachantiker Architektur /." Köln : Abteilung Architekturgeschichte des Kunsthistorischen Institut, 1995. http://catalogue.bnf.fr/ark:/12148/cb42039919f.
Full text
42
Timmermann, Nicola. ""Repräsentative 'Staatsbaukunst' im faschistischen Italien und im nationalsozialistischen Deutschland : der Einfluss der Berlin-Planung auf die EUR /." Stuttgart : Ibidem, 2001. http://catalogue.bnf.fr/ark:/12148/cb389517007.
Full text
43
Nodin, Eva. "Estetisk pluralism och disciplinerande struktur : om barnkolonier och arkitektur i Italien under fascismens tid /." Göteborg : Acta Universitatis Gothoburgensis, 1999. http://catalogue.bnf.fr/ark:/12148/cb42016496c.
Full text
44
Ceolin, Mark A. "Francesco Algarotti and Francesco Milizia, architectural and dramatic theorists of the Italian Enlightenment." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ45681.pdf.
Full text
45
Mazot, Sibylle. "L'architecture normande de tradition islamique en Sicile, conquête et échanges." Paris 1, 1994. http://www.theses.fr/1994PA010689.
Full textAbstract:
Cette thèse a eu pour objectif principal de rechercher les influences qui ont marqué l'architecture sicilienne de la dynastie normande (1071-1195). Deux mouvements se distinguent : le premier à la conquête du territoire est surtout riche d'ouvrages militaires, le second, au contraire, est lie à l'établissement de la monarchie en 1130. Dès lors, l'activité édilitaire concerne essentiellement les grandes villes et la campagne proche. L’architecture de cette période reflète une véritable synthèse pluriculturelle - apports byzantins, musulmans, juifs et chrétiens - à l'image de la population. L’analyse des bâtiments nous renseigne sur l'évolution du cadre de vie des princes chrétiens. On remarque par exemple un gout très prononcé et novateur pour des résidences de plaisance suburbaines entourées de jardins. Or ce parti s'inscrit tout à fait dans une architecture de tradition islamique. L’influence des contrées musulmanes et plus spécifiquement méditerranéennes y est extrêmement sensible. Aussi dans cette perspective, nous avons cherché, à travers des exemples précis du Maghreb au Proche-Orient, à discerner les différents mouvements architecturaux. Ce recours à des sources d'inspiration islamique enrichissant la tradition locale a contribué à réaliser une symbiose entre l'ile et les mondes fatimide ou ziride. Toutefois, des spécificités siciliennes font de l'architecture normande de l'ile une école régionale à part entièreThe main objective of this thesis was a search for the influences which marked Sicilian architecture during the norman dynasty (1071-1195). Two mouvements stand out. The first, a territorial conquest, is rich in military works. The second, on the other hand, is linked to the creation of the monarchy in 1130. From that time on, the monumental activity concerned primarily the large towns and surrounding countryside. Architecture from this pertiod reflects a multicultural mix - Byzantine, Moslem, Jewish and Christian influences. An analysis of the buildings shows the evolution of the life style of the christian princes. Their taste for suburban residences surrounded by gardens corresponds to a traditional moslem architecture. Through examples from the near east and the Maghreb we have sought to distinguish the different architectural mouvements
46
Chavardès, Benjamin. "Paolo Portoghesi et la voie post-moderne : le débat architectural dans l’Italie de la seconde moitié du XXe siècle." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30100.
Full textAbstract:
A la chute du régime fasciste, l'Italie entre dans une reconstruction matérielle mais également idéologique et culturelle. En architecture, cette entreprise se traduit par des débats sur le lien à la tradition, le dialogue entre histoire et pratique du projet architectural et sur le rapport renouvellé entre l'édifice et la ville. Dans ce contexte, le post-modernisme trouve, à l'occasion de la première Biennale d'architecture de Venise, le territoire propice à son expression. Ce renouvellement intellectuel de la discipline est analysé à travers une trajectoire particulière : celle de Paolo Portoghesi. Cet architecte occupe tout au long de sa carrière des positions prépondérantes au sein de la discipline, dans l'enseignement, la recherche, la presse, l'édition et la pratique.La thèse a pour objectif de mettre en évidence à travers les discours et l'œuvre de cet architecte et les témoignages de ses contemporains, le rôle qu'il a joué dans l'histoire de la seconde moitié du XXe siècle. Après avoir étudier sa production en tant qu'historien de l'architecture, spécialiste du baroque romain (chapitre 1), l'étude démontre comment ces travaux sont utilisés dans la conception architecturale, faisant de lui un représentant de la critique opératoire (chapitre 2). L'étude de son action en tant qu'enseignant, directeur de publication et président de la Biennale de Venise permet de la positionner au sein de l'école romaine d'architecture (chapitre 3) et comme l'un des personnages centraux du post-modernisme en Europe (chapitre 4). Enfin, son parcours permet d'illustrer la transition qui s'opère entre une volonté d'adéquation avec l'esprit du temps pour une théorie de l'esprit du lieu, d'abord à travers la conception de la ville contemporaine (chapitre 5), puis à travers l'énoncé du concept de géoarchitectureFollowing the fall of the Fascist regime, Italy enters a phase of rebuilding and reconstruction, also on an ideological and cultural level. In the field of architecture, this phenomenon triggers debates about the link to the tradition, the dialog between history and practice of the architectural project, and a renewed relationship between the buildings and the city. This environment and the First Venice Biennale are conducive to Post-modernism theories to develop themselves. This intellectual renewal of the discipline is here analyzed via a particular focus: Paolo Portoghesi's one. This architect holds throughout his carrier several major positions in the educational field, research field, press sector, book publishing and also as a practitioner.The thesis aims at highlighting the role Portoghesi played in the history of the second half of the twentieth century, through his texts and works, and the testimonies of his contemporaries. After examining his work as an architectural historian and a Roman Baroque specialist (Chapter One), the study shows how his researches are used in the architectural conception, making him a representative of the operative criticism (Chapter 2). Considering his action as a teacher, Editor in Chief and President of the architectural section of the Venice Biennale, enables to position him in the Roman School of Architecture (Chapter 3) and as one of the major characters of Post-Modernism in Europe (Chapter 4). His life's path illustrates the transition between willing to stick to the spirit of the time and the theory of the genius loci, firstly through contemporary city conception (Chapter 5), then with the concept of “geo-architecture”
47
Jannière, Hélène. "Représenter et diffuser l'architecture moderne : les revues françaises et italiennes, 1923-1939." Paris, EHESS, 1999. http://www.theses.fr/1999EHES0075.
Full textAbstract:
La these analyse les politiques editoriales de l'architecture vivante (creee en 1923), de cahiers d'art (1926) et de l'architecture d'aujourd'hui (1930), et de domus et la casa bella (1928), de leur fondation a la veille de la seconde guerre mondiale. Ces revues constituent-elles, comme l'annoncent leurs programmes, des supports privilegies de l'architecture <
48
Panzeri, Miriam. "Le projet d'un nouvel humanisme dans la culture architecturale en Italie et en France après la Seconde Guerre mondiale (1945-1965)." Paris 1, 2012. http://www.theses.fr/2012PA010532.
Full textAbstract:
Partant du constat de la diffusion d'un terme strictement caractérisé, le mot « humanisme», cette recherche souhaite d'abord démontrer l'existence, après la Deuxième Guerre mondiale, d'un projet de nouvel humanisme (première partie) et déterminer les influences que cette idée a eu sur la conception et les projets architecturaux de cette période (deuxième partie). Après un bref excursus sur la naissance et les principales acceptions du terme « humanisme» et de ses dérivés directs (néo-humanisme, nouvel humanisme), nous analysons dans le premier chapitre les usages du mot, en particulier dans l'histoire de l'art et de l'architecture de 1914 au début de la Deuxième Guerre mondiale. Dans le deuxième chapitre, nous explorons encore l'utilisation du terme « humanisme» dans son acception contemporaine, en considérant le passage de ce concept des textes philosophiques aux arts et à l'architecture. Nous analysons à ce propos également un thème très lié à la notion de nouvel humanisme, à savoir le rapport entre arts et technique. Dans la deuxième partie, nous nous intéressons aux valeurs les plus représentatives de la pensée humaniste moderne, notamment avec l'analyse de la critique de l'architecture italienne pendant les vingt ans qui suivent la fin de la Deuxième guerre mondiale : - le sentiment historique, dont le rôle, à cette période, est un rôle actif et opérationnel sur le présent, et non plus une attitude passéiste et imitative; - la formation de l'architecte, qui fait partie d'un intérêt plus général envers l'éducation de tous les hommes et de la société; - l'attention portée à tous les types de relations, en particulier au rapport entre homme et communauté.
49
Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.
Full textAbstract:
This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
50
Alberti, Jacopo <1996>. "Agile Principles and Practices in the Italian Architectural and Engineering Sector. The Case of ArchLivIng." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18720.
Full textAbstract:
The terms “agile” or “agility” have become ubiquitous across today’s organizations. While practitioners and consultants may find some common ground about what “agile” means and entails, researchers have been unclear and mostly inconsistent when describing the term. It is fair to assume that part of the reason why academia lacks consistent conceptualization of the term is the underlying rapid transformations that the concept has been going through in practice. A deeper investigation of existing research will indeed reveal different streams of the literature elaborating on agility for different purposes and reaching different conclusions.
This work will try to shed some light on what agile means today, what an agile organization is, and what principles and practices it adheres to. This investigation is performed by providing an overview of how a specific sector – architecture and engineering (A&E) – in Italy can or should approach the concept. Moreover, a case study of a firm in the sector is presented to further show how agility plays out in reality. This company – a small-sized A&E Italian firm – typifies the complicated journey of a business endeavor growing in size and structure which, in the process, decided to adopt agile principles and practices to avoid becoming too bureaucratic and, instead, keep its nimbleness and dexterity. As a result, this work intends to provide a meaningful contribution to the literature in the flourishing field of organizational agility.