Dissertations / Theses on the topic 'Sculptural architecture'
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Lindberg, Siri. "Embodied sequences : Sculptural architecture, architecture for sculpture." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223745.
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For the last decade many spaces of museums have meet new demands; the spaces are getting less specific to the art it is displaying as the need of flexibility, total control or alteration of light e.g. has increased due to various reasons. For many art forms those conditions can be beneficial. But how one perceive the three-dimensional art of sculpture is something different, than two dimen-sional art such as painting, and there for the demands on the architectural spaces and its qualities are different. A museum exclusively for the art of sculpture does not exist in Stockholm, without it being mixed with other art forms or dedicated to just one artist. Therefor it is of curtail interest to introduce a museum dedicated to sculpture in the context of Stockholm.
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Cilliers, Pieter Lafras. "Usurping architecture : sculptural resistance to the built environment." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8206.
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Includes bibliographical references (p. 70-71).Usurping Architecture is a study in three parts. Part One explores the historical and theoretical basis that has informed my body of work. In this section, I explore the perfection of the depiction of the three-dimensional structure on a two-dimensional plane. This is specifically related to architecture. I then examine the role of geometric abstraction, as developed on the two-dimensional format, in sculptural strategies and their insertion in the lived, everyday environment.The role of geometric formalism is expanded on in the chapters on minimal art, where I explore the role of Gestalt psychology in creating a phenomenological response in the viewer. In the following chapters I indicate how the strategies employed by the minimal artists were used in subsequent decades as a response to the architectural environment. Part Two deals with the methodology related to my art-making processes. The first chapter of this section informs the reader about the general use of concrete as a material. The second chapter explains how I use this material in the construction of cast concrete sculptures. It describes the technical aspects of the process in detail. Part Three comprises a list of each work submitted for examination. The works are represented photographically and are accompanied by a short explanatory text.
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Ambielli, Lauren. "Hidden Transgressions: Louise Bourgeois's Early Sculptural Self-Portraits." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/479.
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During her early career as a sculptor, the French artist Louise Bourgeois (1911-2010) experimented with various methods of representing the female body in a state of dismemberment or fragmentation. Despite the transgression latent within such sculptures, critics and scholars alike interpreted Bourgeois’s oeuvre from a psycho-biographical angle. In doing so, they suggested that her art was rooted in a personal—as opposed to political—consciousness. This thesis analyzes some of the reasons behind this common method of interpretation, looking specifically at the personal myth that Bourgeois promoted in order to gain acceptance in the art world. In addition, this work questions the ways in which the artist masked the gendered transgression in two sculptural self-portraits through unique adaptations to Modernist traditions.
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Beresford, Richard Charles. "Domestic interior decoration in Paris, 1630-1660 : a catalogue based on the written sources." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312589.
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Green, Rachael M. "Facade of Many Faces: A Hybrid Skyscraper." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623169886133566.
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Zakanycz, Zena A. "Some Form Of Blue." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4195.
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Through my art process and material selection, I investigate how interior spaces long to accumulate memories and possessions. I am interested in encroaching floor to ceiling build-up of collected goods kept in the homes of individuals unable to discard or part with possessions. These individual’s daily movements through their space and their denial of the surrounding mass informs my work. My work is larger than human scale, made of multiple units, and dense; yet understated by the subtle use of color and repeated materials. When I make an installation it often begins with creating a wall or a floor that delineates itself from the actual architecture of a room. I procure discarded domestic fragments such as carpet, shingles, and blinds. I select one material for each project to emphasize excessive quantities. I seek out donated goods and trash piles, heaps on the edge of consumer waste. The sourcing of these materials is serendipitous. I elevate these mundane materials by taking them out of their original context. The cycle of regeneration moves from material to “art object” back to material again as the work is displayed and dispersed back into the cycle of waste. In this thesis I will discuss how through my process and materials, I investigate interior spaces where memory and possessions accumulate.
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Baird, David A. "Architecture and art /." Online version of thesis, 1990. http://hdl.handle.net/1850/11313.
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Grataloup, Daniel. "Architecture-sculpture : théorie, projets et réalisations." Paris 1, 2001. http://www.theses.fr/2001PA010531.
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La création d'une nouvelle architecture est un phénomène rare puisqu'il ne s'est produit que quatre fois dans l'histoire de l'humanité : la première fois dans l'antiquité, la seconde au moyen-âge, la troisième au milieu du dix-neuvième siècle et la quatrième aujourd'hui. Après une étude approfondie de l'évolution architecturale, il m'est apparu que la réunion concomitante de quatre paramètres fondamentaux était indispensable pour créer une nouvelle architecture, à savoir : une nouvelle conception de l'espace, la création de nouvelles structures, l'apparition de nouveaux matériaux et l'utilisation de nouvelles technologies après une étude critique de l'architecture traditionnelle et en tenant compte de ces quatre paramètres, j'ai élaboré une nouvelle théorie architecturale fondée sur la courbe, expression de toutes formes vivantes, de toutes circulations, de toute gestuelle et génératrice de nouvelles possibilités structurelles. Sur le plan des réalisations, l'utilisation de nouveaux matériaux et des nouvelles technologies m'a permis de créer des prototypes architecturaux, véritables sculptures fonctionnelles, dont certains sont considérés comme des premières mondiales. Mes propositions, réalisables grâce à la haute technologie, offriraient un urbanisme permettant de résoudre pratiquement et économiquement l'ensemble des problèmes rencontres dans nos cites actuelles. En s'intégrant aux sites et en respectant les modes de vie et les cultures, mon architecture pourrait offrir d'excellentes solutions, utilisables sur les plans de l'habitabilité, de la sécurité, des isolations, du confort, de la résistance aux ouragans et aux séismes en répondant aux problèmes économiques mondiaux les plus complexes. Cette thèse sur travaux résume trente-cinq ans de recherches et de créations personnelles. Elle se veut aussi un plaidoyer en faveur de la recherche pour la création d'une nouvelle architecture au service des hommes d'aujourd'hui et de demain.
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Powell, John William. "Specific light in sculpture." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/76873.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Vita.
Includes bibliographical references.
Specific light is defined as light from artificial or altered natural sources. The use and manipulation of light in three dimensional sculptural work is discussed in an historic and contemporary context. The author's work with metal arc light sources is presented and documented with developmental drawings and photographs. The use of light sources in space to define volume and mass is seen as the natural development of artificial light as a viable material in art.
by John W. Powell.
M.S.V.S.
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Hunter, Ian A. "Environmental sculpture as a contribution to landscape architecture." Thesis, Manchester Metropolitan University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315294.
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Neumuller, Nadège. "Varron et les beaux-arts : architecture, sculpture, peinture." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC047.
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La thèse de doctorat est consacrée aux aspects afférents à l’art dans l’œuvre de Marcus Terentius Varro, encyclopédiste romain du premier siècle avant notre ère. Son œuvre, en partie conservée, en partie réduite à l’état de fragments, a été transmise notamment par Pline l’Ancien, Aulu-Gelle et différents grammairiens romains. En guise de propédeutique, un développement sur un ouvrage de Varron, les 'Disciplinarum Libri', est proposé, situant les arts libéraux dans un cadre philosophique, suivi de la genèse de la critique d’art varronienne, remontant à Platon et Aristote ainsi qu’à Xénocrate d’Athènes. En parallèle, les conceptions artistiques de Cicéron, contemporain de Varron, sont présentées. S’ensuit une partie consacrée à l’architecture qui s’intéresse aux demeures des hommes, puis aux demeures des dieux. Un excursus se focalise sur la 'uilla' de Varron à Casinum ainsi que sur son tombeau. Dans la partie suivante sont présentés les regards du Réatin sur les sculpteurs grecs et hellénistiques, puis sur ceux de son temps, chacun faisant l’objet d’un développement particulier. La même approche est ensuite employée au sujet de la peinture, proposant des notices individuelles sur les peintres grecs et romains et offrant des prolongements par le biais de l’étude d’une Satire Ménippée particulièrement liée au sujet de la thèse ainsi que par l’analyse de l’œuvre qui a offert à Varron un terrain privilégié pour exprimer ses jugements de critique d’art : le 'De imaginibus'. Une ample synthèse conclusive expose les influences exercées par les opinions et les écrits d’un Varron aux goûts esthétiques marqués d’éclectisme, appréciant des œuvres du passé et du présent, figurant des dieux et des hommes, des paysages et des objets, avec toutefois une préférence marquée pour le classicisme et la tradition. Enfin, un développement final envisage la question de l’influence des écrits varroniens relatifs aux arts sur le classicisme augustéen ainsi que sur la politique de restauration conduite par le vainqueur d’ActiumThis thesis is devoted to aspects related to art in the work of Marcus Terentius Varro, a Roman encyclopedist from the first century BCE. His work, partly preserved, partly reduced to fragments, was passed on namely by Pliny the Elder, Aulus Gellius, and various Roman grammarians. The first part will emphasize on one of Varro’s works, the 'Disciplinarum Libri', in order to situate liberal arts in a philosophical framework, and on the genesis of varronian art criticism, dating back to Plato and Aristotle as well as Xenocrates of Athens. In parallel the artistic concepts of Cicero, contemporary with Varro, are presented. This section is followed by one dedicated to architecture, relating to men’s dwellings, and the homes of the gods. An excursus focuses on the villa of Varro in Casinum and on his tomb. In the next section, the views of the Reatinian on Greek and Hellenistic sculptors as well as the ones of his era are presented, each being subject of a particular development. The same approach is then applied on painting, offering individual notes on the Greek and Roman painters. Extensions are brought through the study of a Menippean Satire which is particularly related to the topic of the thesis, and by the analysis of 'De imaginibus', the work which gave Varro a fertile ground for expressing judgments of art criticism. A thorough conclusive synthesis exposes the influences exerted by the opinions and writings of Varro, whose aesthetic tastes can be described as eclectic. He enjoyed the works of past and present, depicting gods and men, landscapes and objects, but kept a marked preference for classicism and tradition. A final development considers the question of the influence of art-related varronian writings on Augustan classicism, and considers the restoration policy led by the victor of Actium
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Reas, Casey (Casey Edwin) 1972. "Behavioral kinetic sculpture." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62356.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001."September 2001."
Includes bibliographical references (p. 129-132).
As we enter the 21st century our culture has been significantly changed by the arrival of the internet and the proliferation personal computing and digital communications. As the decades progress, we will find ourselves interacting with machines more and more frequently, but what will be the qualities of these interactions? Through integrating information processing technologies into kinetic sculpture we are able to explore new methods of interaction. The concepts and experiments presented in this thesis as behavioral kinetic sculpture are the intellectual progeny of cybernetic art as evolved over the last thirty years through the development of interactive software, behavioral robotics, artificial life, and modern sculpture. This thesis defines the concept of behavioral kinetic sculpture as a unique category of expression through providing context, terminology, and a conceptual structure for its discussion and evaluation. This is supported through discussing the author's experiments in interaction and the behavioral kinetic sculpture, Trundle.
Casey Reas.
S.M.
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Roy, Anamika. "Amaravati Stupa : a critical comparison of epigraphic, architectural and sculptural evidence." Thesis, University of Cambridge, 1991. https://www.repository.cam.ac.uk/handle/1810/271920.
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Ribolet, Mathieu. "La décoration architectonique des monuments édens, lignons et sénons, du règne d'Antonin à celui des Sévères." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH032.
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La monumentalisation de l’architecture figure parmi les marqueurs les plus éloquents de la pénétration de la culture romaine en Gaule, après la conquête. Peu de temps après l’instauration du Principat, de nouveaux édifices couverts de sculpture ornementale viennent en effet bouleverser le paysage architectural désormais gallo-romain. Sans précédent dans les constructions laténiennes, les décors architectoniques connaissent dès lors une importante diffusion et évoluent au gré d’influences diverses dont les premières sont dictées par des jalons métropolitains comme le temple de Mars Ultor.Plusieurs auteurs ont déjà proposé des synthèses retraçant l’évolution des décors architecturaux de Rome à l’époque impériale, pour le Ier siècle notamment. Elles sont en revanche beaucoup plus rares dès lors que l’on s’intéresse aux provinces de l’Empire et en particulier au nord des Gaules et aux Germanies, alors même que le matériel y est abondant. Ce constat est d’autant plus vrai à mesure que l’on avance vers la dynastie des Antonins puis vers les Sévères, à tel point que la seconde moitié du IIe et le IIIe siècles sont des époques quasiment désertées par les chercheurs.Situé dans la lignée de travaux récents concernant le décor architectonique « tardif » en Gaule et dans les Germanies (Genainville, Champlieu, Neumagen, Bordeaux, Pont-sainte-Maxence), ce travail propose une nouvelle synthèse centrée sur les deux derniers tiers du IIe et le IIIe siècle de notre ère. À partir d’un corpus réuni au sein des territoires éduen, lingon et sénon, il tente d’une part de caractériser les décors employés sur les bases, colonnes, chapiteaux, architraves, frises et corniches. En mettant en lumière une évolution pour chacun de ces éléments, il est alors possible de dégager des éléments chrono-typologiques. La question du répertoire ornemental est également abordée, ce qui permet de s’interroger sur les mécanismes évolutifs, la circulation des modèles et les différentes contraintes qui président aux changements observés. Enfin, l’étude des blocs permet de proposer plusieurs restitutions et d’ainsi avoir une idée de l’activité architecturale qui caractérise les différents sites observésThe development of monumental stone architecture was part of the most telling clues about roman culture entering in Gaul, after Cesar’s conquest. Short while after the Principate started, new buildings covered with ornamental sculpture created a new architectural landscape in the territories that thus formed the roman Gauls. Even though architectonic ornaments had no precedent in the Iron Age, their spread quickly became very important. Ornaments thus started to evolve, taking monuments from Rome itself as first models ; for example the temple of Mars Ultor.Several authors have already written papers about the evolution of architectonic ornaments in the Imperial Rome, in particular for the Ist century AD. However, publications about the Provinces of the Empire are scarcer, especially regarding north of Gauls and Germanies. This observation is even more obvious for later periods such as the second half of the IInd and the IIIrd century A.D.My thesis belongs to a serie of recent works about « late » architectonic ornaments in roman Gauls and Germanies (about collections such as those of Genainville, Champlieu, Neumagen, Bordeaux, Pont-sainte-Maxence). It focus on a period from the years 130 to the years 230 AD (approximately from the reign of Antoninus to this of Alexander Severus). From a corpus gathered over three civitates (Aedui, Lingones, Senones), my work tries to define which ornaments were employed on the components of architectural orders (basis, columns, capitals, architrave, friezes, cornices), to understand how they were allocated, and to highlight how they evolved over decades. Ornamental repertory is also an important point : it allows to question about evolution mechanisms, patterns diffusion and other reasons that made handcrafters change their carving techniques. To finish, studying architectonic pieces provide possibilities of reconstructing monuments, so as to have a idea of what was building activity like in the three studied civitates
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Pasek, Stéphan. "La maison dans la sculpture contemporaine : une histoire de la "sculpture-architecture", des "Demeures" d'Etienne-Martin aux "Refuges d'art" d'Andy Goldsworthy." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010652.
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Depuis les années 1960, l'art contemporain démontre un intérêt accru pour la maison. Cette préoccupation est particulièrement visible au sein d’œuvres qui semblent issues d’un croisement entre sculpture et architecture et qui prennent la forme variée de constructions monumentales et miniatures, d’environnements, d’installations, de cabanes et autres abris, d'interventions sur des bâtiments. etc. De telles œuvres interrogent la condition actuelle de l'habiter et révèlent l’hybridité qui caractérise toute une partie de la sculpture postmoderne. Sur la base d'un vaste ensemble de productions représentatives - telles que les "Demeures" d’Etienne-Martin, les "Igloos" de Mario Merz, la maison de Jean-Pierre Raynaud, les découpes de Gordon Matta-Clark, les "Nids " de Nils-Udo, les "Cabanes" éclatées de Daniel Buren ou les "Cellules" d'Absalon --, il s'agit dans cette étude à la fois thématique et typologique d’explorer les manifestations de la maison dans la sculpture contemporaine, pour élaborer ainsi une histoire de la « sculpture-architecture ». Quatre orientations sont à cette fin définies : premièrement, la maison « intérieure », comprise comme une image de l’identité et découverte au travers d’une « sculpture intimiste ; deuxièmement, la maison minimale et mobile, fondée sur le modèle du corps et examinée à partir d’une sculpture « habitable » ou une forme de « microarchitecture » : troisièmement, l'abri originel ou la maison dans la nature, associé à une sculpture primitiviste et paysagère : et quatrièmement, la maison « déconstruite», considérée comme un modèle architectural, social et culturel, et analysée au regard d'une sculpture essentiellement publique et critiqueSince the 1960s, contemporary art shows an increased interest in the house. This preoccupation is particularly, visible in works which seem to result from a crossing between sculpture and architecture, and which take the varied form of monumental and miniature constructions, environments, installations, huts or other shelters, interventions on buildings, etc. These works question the current inhabiting conditions and reveal the hybridity that characterizes a large part of postmodern sculpture. Based on a wide range of representative productions - such as Etienne-Martin's "Demeures", Mario Merz's "Igloos", Jean-Pierre Raynaud's hous,. Gordon Matta-Clark's cuts, Nils-Udo's "Nids", Daniel Buren's "Cabanes éclatées" or Absalon's "Cellules" -, , the aim of this study both thematic and typological is to explore the various manifestations of the house in contemporary sculpture, so to develop a history of "sculpture-architecture". Four orientations are defined to this purpose : first, the "inner" house, understood as an image or identity and discovered through an animist sculpture; second, the minimal and mobile house, founded on the model of the body and examined from an "inhabitable" sculpture or a form of "microarchitecture"; thirdly, the original shelter or house in nature, associated with a primitivism and landscaped sculpture; and fourthly, the "deconstructed" house, considered as an architectural, social and cultural model, and studied from the point of view of an essentially critical and public sculpture
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Placin-Geay, Amandine. "La sculpture dans sa relation à l'architecture, en France, de 1900 à 1937." Bordeaux 3, 2005. http://www.theses.fr/2005BOR30072.
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En France, de 1900 à 1937, la relation entre l'architecture et la sculpture se modifie. La question de leur corrélation, centrée surtout sur le rapport entre l'ossature et l'habillage, et sur l'intégration des œuvres dans l'espace architectural, est au cœur des théories architecturales, engendrées par la mutation du bâti débutée au cours du XIXe siècle. Avec l'embellissement des villes, les nouveautés techniques et les difficultés économiques, ces transformations obligent les sculpteurs à rechercher des solutions plastiques capables de répondre à ces nouvelles exigences afin d'intégrer, de nouveau, le décor à l'architecture. La sculpture fait donc l'objet d'incessantes interrogations, discussions et polémiques, portant sur la notion de style, l'évolution de l'ornement et des oeuvres monumentales, ainsi que sur la décoration des constructions en béton. Des prises de positions s'engagent alors entre les partisans et les adversaires du décor, pesant sur la réévaluation de son rôle, de sa fonction, et de son emploi. Les programmes dans lesquels la sculpture est encore incorporée étant devenus rares, un avenir incertain se dessine donc pour ces artistes, réagissant différemment selon les écoles auxquels ils appartiennent. Réalisant surtout des monuments commémoratifs, des décors d'édifices publics et cultuels, et participant aux expositions des Arts Décoratifs de 1925, Coloniale de 1931 et des Arts et Techniques de 1937, ils s'efforcent de prendre en considération la construction, et créent des liens inédits et un art monumentalIn France, from 1900 to 1937, the relationship between architecture and sculpture is changing. The question about their correlation, mainly focused on the relationship between structure and aestheticism, on the integration of work of arts within the architectural space, remains in the heart of architectural theories, led by the mutation of construction which started during the XIXth century. This, added to the face-lift towns has been given, technical novelties and economic difficulties, oblige sculptors to look for new plastic solutions able to meet these new demanding requirements in order to integrate, once again, scenery and architecture. Sculpture is constantly challenged, leading to arguments, controversial discussions regarding style, the evolution of ornament, monuments as well as the decoration of concrete buildings. Different views arise between people for or against decoration having a strong impact on the re-evaluation of its role, its function and its use. Programs, in which sculpture is still used, weaken and begins a time of uncertainty for artists who react differently according to the school they belong to. They mainly undergo and build commemorative monuments, public and cultural monuments, attending various exhibitions such as the exhibition of the Decorative Arts in1925, the Colonial exhibition in 1931 and the exhibition of Arts and Technics in 1937 and trying to take into consideration the construction; thus creating an unusual links and a monumental art
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Poe, Rachel. "Architectural insomnia." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5603.
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My artistic practice addresses issues of how memory shapes our identity and how to use memory in order to better understand our perspective. Through the construction of liminal space I reflect upon the subconscious and conscious mind. These images address issues of identity and how longing and nostalgia affect the human psyche. Through photographs of sculptures, paintings and light installations I address the architectural spaces in the world around me as catalysts.
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Lane, Kathleen Irene Emma. "Architectural sculpture in Romanesque England : forms, functions and audience." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262800.
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Speaks, Elyse Marie Deeb. "The architecture of reception : sculpture and gender in the 1950s and 1960s /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174676.
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ZONNO, FABIOLA DO VALLE. "ARCHITECTURE BETWEEN SCULPTURE: AN APPROACH TO THE ARTISTIC DIMENSION OF CONTEMPORARY LANDSCAPE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9183@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORArquitetura entre Escultura: uma reflexão sobre a dimensão artística da paisagem contemporânea busca uma aproximação entre as obras de escultores e arquitetos após os anos 1960, no âmbito internacional, com o objetivo de traçar possíveis caminhos de diálogo entre ambas as disciplinas diante do desafio de se inserirem na multiplicidade da Paisagem contemporânea. A reflexão parte da noção de campo ampliado, da historiadora Rosalind Krauss, em que as fronteiras entre escultura, arquitetura e paisagem se tornam flexíveis, delineando, através de combinações e exclusões, possibilidades múltiplas para a arte ao lidar com o espaço real. Na mesma vertente, o historiador da arquitetura Anthony Vidler sustenta que, se para criticar os termos tradicionais da escultura os artistas se apropriaram das questões da arquitetura, por sua vez os arquitetos teriam buscado o experimentalismo da escultura a fim de escapar da rigidez funcionalista e dos modelos tipológicos. Na produção dos artistas Richard Serra, Christo, Robert Morris, Robert Smithson, Claes Oldenburg e Vito Acconci e dos arquitetos Robert Venturi, Peter Eisenman, Frank Gehry, Zaha Hadid, Daniel Libeskind e Rem Koolhaas foram selecionadas obras que poderiam ser descritas como entre - partícipes do campo formado por arquitetura e escultura e paisagem. A partir deste campo são identificadas questões sobre: externalidade, relação com o sítio, monumentalidade, experiência da obra no espaço-tempo do percurso, forma e anti forma, performance e uso dos espaços, público e privado, imagem, ficção e história. Observa-se a deflagração de um processo, ao mesmo tempo, experimental e autocrítico desses campos de atuação, através de uma abordagem que pontua relações entre Moderno, Pop, Minimal, Land Art, performances, Desconstrutivismo e novas topologias e programas arquitetônicos.
Architecture between Sculpture: an approach to the artistic dimension of contemporary landscape searches for an approach to works of sculptors and architects, since 1960, in the international circuit, in order to analyze to what extent possible affinities can be traced out between both artistic fields, while facing the challenge in the multiple features of contemporary landscape. The discussion is based on the historian Rosalind Krauss notion of expanded field in which the limits among sculpture, architecture and landscape become flexible, delineating by means of combinations and exclusions, the multiple possibilities of art in dealing with real space. On the same ground, Anthony Vidler, historian of architecture, sustains that while criticizing the traditional matters of sculpture, artists have internalized the issues of architecture themselves, and architects, on the other hand, have searched for the artistic experimental processes to escape from the rigidity of functionalism and typological models. Works by the artists Richard Serra, Christo, Robert Morris, Robert Smithson, Claes Oldenburg and Vito Acconci and by the architects Robert Venturi, Peter Eisenman, Frank Gehry, Zaha Hadid, Daniel Libeskind and Rem Koolhaas, among others, can be described as between and studied as participants in the scope architecture and sculpture and landscape. On such basis one can identify issues such as: externality, relation with the site, monumentality, space-time experience, form and anti form, performance and use of spaces, notions of public and private, image, fiction and history. There occurs the deflagration of a process, both experimental and selfcritical, on the part of each artistic means, through an analysis that interpunctuates the relationship among Modern, Pop, Minimal, Land Art, performances, Deconstructivism and new topologies and architectural programs.
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Dias, Sarah Frances. "Core values and principles generators of significance in architecture, painting and sculpture." Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/14116.
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Roux, Caroline. "Les portails romans des églises de Haute-Auvergne : Architecture, sculpture et orientations." Clermont-Ferrand 2, 2001. http://www.theses.fr/2001CLF20010.
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Les portails historiés les plus riches de l'Auvergne romane se situent dans sa partie méridionale montagneuse, appelée la Haute-Auvergne, avec le chantier templier de Saint Georges d'Ydes et l'église paroissiale Notre-Dame-des-Miracles de Mauriac. Si l'historiographie a, depuis le XIXe siècle, mis en valeur ces deux programmes iconographiques et leur style en les inscrivant dans une mouvance aquitaine, l'ensemble des portails romans, comme, plus largement, les églises romanes de cette zone, restent méconnus. A travers des partis architecturaux divers et monumentaux, l'étude des dispositions que présentent les entrées des édifices religieux met en lumière un terrain d'échanges variés et complexes qui ne font que circonscrire et nuancer le poids des relations avec les territoires de l'ouest. L'inventaire typologique des portails romans montre, comme, plus largement, l'étude des méthodes de construction employées au XIIe siècle, une division interne au sein de la Haute-Auvergne, qui distingue le quart nord-ouest, correspondant à l'archiprêtré de Mauriac, du reste du pays. Aux axes traditionnels de recherches qui concernent, dans l'étude des portails romans, l'architecture et l'ornementation, cette étude en ajoute un troisième relatif à l'orientation des entrées des édifices religieux en Haute-Auvergne. Depuis le XIIe jusqu'au XVIe siècle, se sont imposés deux schémas différents d'implantation de la porte, solidaire ou non de la façade occidentale. L'un ou l'autre parti, marquant fortement l'élévation d'ensemble des édifices, fut adopté selon une répartition géographique très nette qui confirme l'existence d'une scission interne au pays, déjà mise en lumière par la typologie. Au-delà des facteurs déterminants de ces choix (topographie, liturgie, climat), les modes d'orientation des entrées des églises de Haute-Auvergne révèlent un paysage monumental de l'Auvergne divisé entre deux entités méridionale et septentrionale
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Gotschalk, Kelly J. "The Seated Cleopatra in Nineteenth Century American Sculpture." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd/4350.
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This thesis explores Cleopatra as presented in the work of three nineteenth century American sculptors: Thomas Ridgeway Gould, Edmonia Lewis and William Wetmore Story. It illuminates their work in the context of the nineteenth century and within the history of Cleopatra's image. Victorian opinions of Cleopatra's nature are exposed by examining the Egyptian Queen in essays and literature of the period, including works by Anna Jameson, Emily Dickinson, Charlotte Bronte, Nathaniel Hawthorne and Theophile Gautier. By studying the role of Cleopatra in these literary examples, the notion of some recent scholars of Cleopatra as a feminist symbol is dispelled and a light shed on a deeper interpretation. Cleopatra's ethnicity is taken into consideration against the political climate of the United States before and after the Civil War. Eroticization of the female body through an association with the Orient is examined against the contemporaneous American Suffrage movement. The role that complexion and hair coloring has sometimes played in the temperament of female heroines is explored through the work of Edgar Allen Poe, Hawthorne and Gautier, as is the female "sexual monster" returned from the grave in the work of Bram Stoker and Poe. Strong willed women and their tendency towards "indirect suicide" is investigated through the writing of Edith Wharton, Kate Chopin and Henry James. These diverse factors and events are taken into account in order to reveal the significance of Cleopatra and her legendary sexuality and suicide to the Victorian artist and audience.
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Leroy, François Persyn-Vialard Sandrine Eichelbrenner Jean-Michel. "Terminologie de l'architecture et de la sculpture romanes." [S.l.] : [s.n.], 2007. http://cyberdoc.univ-lemans.fr/memoires/lexicologie/20070917_FLLEXFD.pdf.
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Orth, Margaret A. (Margaret Ann) 1964. "Sculptured computational objects with smart and active computing materials." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8674.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.Includes bibliographical references (leaves 325-328).
This thesis presents the creative, technological, and philosophical means and methodology, by which technology artists and researchers can materially and sculpturally transform physical computing technology from hard, remotely-designed, plastic shells, into intimately created, sensual computing objects and artifacts. It asserts that the rigid, square, and prefabricated physical materials of computing technology are a fundamental technological and artistic limitation to anyone who wishes to sensually transform physical computing technology, or develop a rich artistic vocabulary for it. Smart and active sculptural computing materials are presented as a solution to this problem. Practically, smart computing materials reduce the number of separate, rigid, and square prefabricated parts required to create physical computing objects. Artistically, active sculptural computing materials give artists and designers the ability to directly manipulate, shape, experiment with, and therefore aesthetically understand the real, physical materials of computing technology. Such active design materials will also enable creative people to develop a meaningful artistic relationship between physical form and computation. The total contributions of this thesis include a proposal for a future three-dimensional design/technology practice, a portfolio of sensually transformed expressive computational objects (including new physical interfaces, electronic fashions, and embroidered musical instruments), and the smart and active sculptural computing materials and processes (in this case smart textiles), which make that transformation possible. Projects from the design portfolio include: The Triangles, and its applications; Electronic Fashions, including the Firefly Dress and Necklace, New Year's Eve Ball Gown, and Serial Suit; The Musical Jacket; Electronic Tablecloths; and a series of Embroidered Musical Instruments with embroidered pressure sensors. Contributions from the supporting technical area include: the first fabric keypad (a row and column switch matrix), a new conductive yarn capable of tying and electrical/mechanical knot, an advanced process for machine embroidering highly conductive, flexible and visually diverse electrodes, an empirical model of complex impedance sensing, and a definition of and test for the machine sewability and flexibility of yarns. These contributions are presented in three sections: 1) the supporting arguments, and philosophy of materiality and computation behind this work, 2) the design portfolio, and 3) the supporting technical story.
by Margaret A. Orth.
Ph.D.
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Lynch, Patrick. "Practical poetics : rhythmic spatiality and the communicative movement between site, architecture and sculpture." Thesis, London Metropolitan University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681225.
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My thesis is that urbanity is a function of the communicative movement between the natural and social conditions of a site, as revealed in architecture and sculpture, and most clearly in their continuity. In order to deal with the effects upon modern design and architectural thinking of dead metaphors like 'technology, 'form' and 'space', I critique and reject their use in architectural discourse, by returning to the philosophical tradition of 20th century phenomenology - Husserl and Heidegger, Merleau-Ponty, et al- in order try to reveal the power of spatiality in 20th century thought, and its central importance to modern art and architecture. This led to new ways of making site-specific, topographic and spatial sculptures, and in some cases led to brilliant and urbane syntheses of architecture with sculpture - revealing the potential communicative depth of spatiality. Central to characterizing this communicative depth was recovering the cultural - rather than formal or picturesque - continuity of Renaissance and Classical poetics. Whilst the iconographic, social and political aspects of this continuity arc standard features of interpretation, far less noticed is the tradition of Eurhythmia. Rhythm was traditionally seen as an aspect of measure - therefore invoking justice (cf. Plato's Divided Line in the Republic) and mediation; and these animate a rich geometric poetics that is more profound than the usual understanding. A vital aspect of the character of urban spaces - arguably the most communicative of architectural settings - is the rhythmic characteristics of situations and the natural world that are revealed in urban topography and architectural physiognomy, and often articulated most emphatically in sculptures. Crucially, the revelation of the structure of relationships between site, place, social life, the natural world, etc., which make up the architectural conditions for civic praxis, is the basis also of ornament and decorum in the arts generally. However, when architects confuse their work with sculpture - misunderstood as '(arm' rather than rhythmic spatiality - the philosophical and communicative potential of architecture is diminished. My thesis concerns the conditions of the possible recovery of this potential in urban terms.
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Gomolka, Agata. "Petrified passions : bodily rhetoric in architectural sculpture, c.1100-c.1270." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/65287/.
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This thesis is concerned with the making and workings of the rhetoric of the body in architectural sculpture. An abundance of expressive examples remains from the period that can be considered as the most dynamic in the history of western sculpture. Their communicative power derives from the conceptual modes of rhetoric, adapted by the carvers into the sculpted contexts. Pathos, ethos and logos (the underlying verbal authority of scripture and commentary) are in sculpture conveyed via bodily scale and proportion, spatial dynamics, physiognomies, gestures, and expressions. The analysis of those building blocks of sculpted rhetoric allows us to understand the formal dynamics within the structure of the sculpted performance and provides an insight into the source of its success. Chapter one aims to immerse the reader in the materiality of the sculpted body. The analysis considers the influence of the material and the processes of its manipulation on the form and rhetoric of the sculpted body, its communicative potential and general viewing experience. Chapter two looks at the aesthetic means of communication between the sculpted body and the beholder, as embedded in a network of physiognomic signs. This chapter shows the range of ways in which sculpted figures engaged with the viewer through the shapes and surfaces of their bodies. Chapter three discusses the use of the body language of the Fall, highlighting the range of invented expressions occurring at the various stages of the story, but particularly at the postlapsarian stage. These emotionally-laden depictions of events of crucial impact on the human condition related directly to every believer, implicating the audience alongside the protagonists. Chapter four deals with sculpted depictions of Job. The complexity of Job’s story fed into the ambitions of the artists who embarked on an exploration of the physiognomic and pathognomic language of their figures. While the attendants offer a range of pathognomic reactions, the body of Job became a field for experimentation with bodily form, surface and movement. The thesis aims to clarify how the language of the sculpted body is formed, and how it works to reach the audiences. Contrasting attitudes to the sculpted body not only demonstrate the breadth of its potential as a communicative tool, but offer a primary insight into the genesis of the principles of corporeal rhetoric used to establish a link between the sculpture and its viewer. The thesis challenges the idea of a single trajectory of development of the physiognomic and pathognomic features in architectural sculpture. The refinement of physical mimesis was not intrinsically paired with the rhetorical sophistication of forms. The ubiquitous but complex artistic dialogues, evidenced in the petrified legacy of constant mediation, responding, updating and calibrating, testify to the volatile trajectories of the conception of the form and rhetoric of medieval bodies and medieval sculpture as a whole.
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Vanderheyde, Catherine. "La sculpture architecturale méso byzantine empire du Xe au XIIIe siècle." Paris 1, 1996. http://www.theses.fr/1996PA010682.
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Le sujet de la thèse concerne l'étude de la sculpture architecturale méso byzantine conservée en Epire. Au total, 235 bas-reliefs - dont 76 inédits - dates des Xe-XIIIe siècles ont été rassemblés dans un catalogue. L'histoire des lieux de provenance de chacun des reliefs répertoriés est étudiée dans la première partie de la thèse. La deuxième partie traite des matériaux, des outils et des techniques utilisés par les sculpteurs. Une analyse du répertoire ornemental des reliefs est contenue dans la troisième partie. La recherche menée dans chacune des parties de la thèse met en évidence les caractéristiques essentielles de la sculpture architecturale méso byzantine conservée en Epire. Au-delà des découvertes purement archéologiques (ateliers de sculpteurs, diffusion des motifs,. . . ), cette étude témoigne d'un développement urbain en Epire à la période méso byzantine, avant la naissance du despotatThe subject of the thesis concerns the study of the middle-byzantine architectural sculpture of Epiros. All in all, 235 reliefs - of which 76 are unpublished - from the 10th to the 13th century are gathered in a catalogue. The history of the places from which the reliefs come has been studied in the first part of the thesis. The second part deals with the stones, the tools and the carving techniques used by the sculptor. The third part is a thorough study of the reliefs' patterns. These three parts of the thesis show the main characteristics of the mesobyzantine sculpture of Epiros. Beside the archaeological discoveries (sculptors' workshops, patterns' diffusion,. . . ). This study proves the existence of an urban development in epiros in the mesobyzantine period, before the birth of the despotate
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Tsigonaki, Christina. "La sculpture architecturale en Crète à l'époque protobyzantine (IVe-VIIe siècles)." Paris 1, 2002. http://www.theses.fr/2002PA010588.
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Dresser un corpus régional de la sculpture architecturale de l'époque protobyzantine en Crète était au départ le but de cette thèse. L'abondance du matériel accumulé pendant plus d'un siècle de recherches et de fouilles archéologiques dans les monuments protobyzantins de l'île a justifié cette entreprise. Le matériel (564 spécimens recensés) divisé en grandes catégories (chapiteaux, bases, colonnes, plaques, piliers et piliers- colonnettes, ambons et tables) a été présenté suivant une classification typologique. Des comparaisons fondées sur l'étude à la fois des composants morphologiques et des schémas décoratifs démontrent les forts liens entre les sculptures découvertes en Crète et la production de la même époque dispersée dans tout le bassin Méditerranéen. Les indices chronologiques précis fournis par cette démarche sont d'une grande valeur pour la datation des monuments crétois dans lesquels ce matériel était employé. En outre, l'analyse aborde largement la question du commerce des marbres puisqu'une grande partie des sculptures découvertes en Crète, taillée dans le marbre de Proconnèse, était exportée sous une forme achevée depuis Constantinople. Les sculptures importées d'ateliers périphériques, comme celui de Thasos, ne font pas défaut/
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Dinh, Ngan N. "Washington D.C. Aquarium: An Exploration of Shaping the Water: Building Sculpture Along the Existing Landscape." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/74875.
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The proposed aquarium is located in South East Washington D.C. The design creates an interactive walkway along the river. The movement of the water is redirected to stimulate the enjoyable atmospere for the people. The aquarium's shape is highly designed to reflect the fish movement. This project is a combination of advanced structure, inspiring architectural expression, and promoting urban lanscape to the shore. As a result, this aquarium is as an icon building to the city attraction.Master of Architecture
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Ni, Ghradaigh Jenifer. "The Romanesque architecture sculpture of the medieval kingdoms of Meath, BreÌifne and Argialla." Thesis, Courtauld Institute of Art (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406532.
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Doulan, Cécile. "Sanctuaires et vie religieuse dans l'Aquitaine celtique à l'époque gallo-romaine : architecture et sculpture." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30053.
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L’enquête est fondée sur l’archéologie des sanctuaires de l’Aquitaine celtique (entre Loire et Garonne) qui couvrent une période historique s’étendant du Ier au IVe siècle. D’autres sources (texte, épigraphie) mentionnant un lieu de culte ont aussi été considérées. Au total, 191 sites ont été retenus à partir de critères de sélection précisément définis. Les sanctuaires relèvent de manifestations religieuses aussi bien publiques que privées. Deux domaines relatifs au culte ont été privilégiés : l’ordonnancement architectural (enceinte, portique, temple, équipements liés à l’eau…) et la statuaire en pierre et en métal découverte en contexte cultuel. L’analyse consiste en premier lieu dans l’étude et la caractérisation des formes d’expression du sacré : de l’organisation spatiale des sanctuaires à l’architecture des aménagements, de la nature des sculptures à leur place dans l’agencement de l’espace cultuel. La question de l’héritage celtique est posée en filigrane dans la dernière partie consacrée à la topographie et aux pratiques cultuelles des cités. L’accent est mis sur l’analyse des cultes publics qui sont situés dans le contexte de la romanisation des cultesThe study is based on the archaeology of sanctuaries in Celtic Aquitaine (between the Loire and the Garonne) during the 1st to 4th centuries A. D. Other sources (textual or epigraphic) which mention a place of religious activity have also been considered. In total, 191 sites have been included on the basis of rigorously defined selection criteria. The sanctuaries demonstrate that religious practices were public as well as private. Two particular areas connected to religion have been defined : the architecture (perimeter wall, portico, temple and water-related structures) and the stone and metal statues discovered in religious contexts. The particular aim of the analysis is the study and definition of sacred forms - from the spatial organisation of the sanctuaries to the architecture of the buildings and from the nature of the sculptures to their distribution in a religious context. Questions concerning celtic heritage and the romanisation of religion are developed in the last section, which takes the form of a discussion of the topography and of the religious activities found in urban centres and territories. Particular attention is payed to the analysis of public religious practices
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Açikyildiz, Birgül. "Patrimoine des Yézidis : architecture et "sculptures funéraires"" au Kurdistan irakien, en Turquie et en Arménie." Paris 1, 2006. http://www.theses.fr/2006PA010595.
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L'objectif de cette recherche est de présenter le patrimoine des Y ézidis dans le cadre de l'architecture et la sculpture funéraire. C'est un inventaire d'une documentation quasi inédite, composée de 88 monuments (sanctuaires, mausolées, baptistaires, oratoires, caravansérails, ponts et grottes) et 60 sculptures funéraires (en forme de cheval, de bélier, de brebis et de lion) répartis au Kurdistan irakien, en Turquie et en Arménie. Une étude géographique, historique et cultuelle est d'abord réalisée pour définir la culture yézidie. Ensuite, les monuments et sculptures funéraires sont étudiés, détaillés en décrivant leurs particularités architecturales et morphologiques. Après cela, la typologie des plans et des éléments architecturaux, ainsi que les matériaux techniques, décors architecturaux et la morphologie des sculptures funéraires sont analysés dans une étude comparative. Ils sont également confrontés à d'autres exemples issus du monde islamique d'Anatolie, du ProcheOrient et de l'Asie Centrale afin de déterminer l'architecture type du Y ézidisme ainsi que sa spécificité sculpturale
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Matsugi, Hiromi. "La sculpture d’espaces d’Isamu Noguchi en dialogue avec la spatialité américaine, 1933-1988." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080063.
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Cette thèse étudie l’ensemble des projets artistique d’Isamu Noguchi (1904-1988), qu’il nomme lui-même « sculptures d’espaces ». Il s’agit de créations environnementales in situ, telles que jardins et places publiques, qui sont non transportables, impossibles à décomposer, et accessibles au grand public en dehors des institutions artistiques. Notre hypothèse est que la sculpture d’espaces entretient un rapport complexe, mélange d’aspiration, de critique et de réaction, non pas avec l’espace comme un vide neutre, mais avec la spatialité américaine, c’est-à-dire les normes spatiales qui définissent l’ensemble des comportements et orientations, collectifs et individuels, dans la société américaine. L’ambition de la thèse est de démontrer, à travers les examens en détail de chaque projet ainsi que la mise en contexte dans l’architecture, l’urbanisme et la politique culturelle des espaces publics, que l’œuvre de Noguchi n’est pas la fin en soi, mais un moyen pour faire évoluer cette spatialité américaine dominante, expansive et centrifuge, héritière de la conquête de l’Ouest, vers celle plus centripète qui recrée le lien de l’homme avec le lieu, en prenant en compte des éléments environnants et des histoires multiplesThis thesis studies the body of artistic projects by Isamu Noguchi (1904 - 1988) that he termed "sculpture of spaces". They are environmental in situ creations such as gardens and plazas, which cannot be transported, cannot be disassembled, and are accessible to the general public, apart from artistic institutions. Our hypothesis is that there is a complex relationship, made up of aspiration, criticism and reaction, between sculpture of spaces and American spatiality, which is constituted by spatial norms governing all behaviours and orientations, collective or individual, in the American society. The aim of this thesis is to make the case, through a detailed examination of each project, as well as its putting in context with the architecture, urban planning and cultural policy of public spaces, that Noguchi's work is not an end in itself. It proves to be a means to move the dominant American spatiality, expansive and centrifugal, inherited from How the West Was Won, towards a more centripetal one which, by taking into account the multiplicity of environmental and historical elements, reunites man and his location
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Estienne-Monod, Perrine. "Les inscriptions sanskrites des Calukya orientaux : caractéristiques et fonctions d'une littérature épigraphique." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10038.
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Ce travail propose un recueil des cinquante-six inscriptions sanskrites relatives à la dynastie des Cālukya orientaux et un commentaire de celles-ci. Chacune fait l'objet d'une nouvelle édition intégrant les corrections nécessaires à la lisibilité du texte et une traduction. Cinquante-quatre inscriptions, sur plaques de cuivre, sont des donations (. . . . ) émises par le roi en faveur de communautés religieuses. Deux inscriptions, l'une sur temple, l'autre sur rocher, sont des dédicaces. La première partie de notre étude est une présentation des caractéristiques de ces textes épigraphiques. Elle recense, en premier lieu, les données historiques livrées par les inscriptions sur la dynastie des Cālukya orientaux ainsi que les informations techniques sur les agents et les types des donations. Les caractéristiques textuelles et littéraires de ces inscriptions sont analysées ensuite. Notre recherche met en relief les qualités poétiques des épigraphes et le lien entre celles-ci et le kāvya. Enfin, ce travail démontre que l'usage de procédés poétiques dans ces textes participe, à travers l'éloge du roi, à la légitimation de ce dernier. La deuxième partie de la thèse est composée de l'édition de chacune des inscriptions et de leur traduction. En annexe, sont établis les index, cartes des donations et reproductions de certaines plaques.
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Autissier, Anne. "La sculpture romane en Bretagne, XIe-XIIe siècles." Poitiers, 2001. http://www.theses.fr/2001POIT5010.
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A travers l'étude du décor sulpté de cinquante-neuf édifices, réunis en monographies, se dévoilent les caractères originaux de la sculpture romane en Bretagne, réalisée essentiellement dans du granit. L'analyse des épannelages et de l'ornementation révèlent l'existence de trois courants artistiques répartis sur l'ensemble de la péninsule. Dès le milieu du Xie siècle et surtout dans les années 1075-1100, le style corinthien apparaît dans le décor des abbatiales bénédictines des côtes méridionales (Saint-Gildas-de-Rhuis, Sainte-Croix de Quimperlé, Saint-Guénolé de Landévennec). Les influences perceptibles dans ce groupe viennent des régions ligériennes et du maine. Au cours des premières décennies du XIIe siècle (1100-1130), un art géométrique lié à des techniques architecturales particulières se voit dans le centre (Langonnet, Priziac, Calan) et sur les côtes septentrionales (Treguier, Lanleff). En outre, cet art n'est pas seulement décoratif, des symbôles religieux (croix, crucifixion, orant) ainsi que quelques scènes historiées difficiles à analyser sont présents. Cette ornementation particulière soulève de nombreuses questions telles que l'existence d'une tradition de l'art du bois, d'influences celtes diffuses ou d'une résistance à l'art des marges orientales. Parallèlement, une sculpture figurative et historiée - certains édifices laissent apparaître des bribes de programme iconographique- influencée par la région du Bas-Poitou et de la Saintonge se développe essentiellement sur la frange orientale de la Bretagne jusqu'à la fin du XIIe siècle (Dinan, Malestroit, Pleurtuit, Guerande). Quelques monuments montrent également la fusion de plusieurs styles (Loctudy, Fouesnant). Par ailleurs, l'hétérogénéité de ces ensembles sculptés, dans lesquels il est extrêmement difficile d'établir des filiations, dessine une géographie artistique, liée à la frontière linguistique entre gallo et breton, qui n'est toutefois pas absolue.
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Bréard, Lucille. "Les figures du Vide dans le champ de l'esthétique." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30075.
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Vide, et Plein, sont à l'image du monde ce qui se joue en permanence à travers la forme. Mais, dans une définition simpliste, le sens du Vide reste incompris, renvoyant à l'appréhension de quelque chose qui induit une absence isolée, infondée, inféconde. Et pourtant, nous le verrons, ce concept est mis en lumière à travers la pensée chinoise, antique, philosophique et esthétique, comme élément à l'origine d'une grande activité. « En face du Plein, le Vide constitue une entité vivante. Ressort de toutes choses, il intervient à l'intérieur même du Plein, en y insufflant les souffles vitaux. Son action a pour conséquence de rompre le développement unidimensionnel, de susciter la transformation interne et d'entraîner le mouvement circulaire. »1 Il semble que, d'après la pensée que François Cheng développe sur le langage pictural chinois, le Vide soit un élément dynamique qui articule l'ensemble des manifestations de ce monde. Chacun peut alors évoluer, car si tout n'était que Plein, tout ne serait qu'une masse indifférenciée. La pensée chinoise nous mènera à chercher, à travers des écrits et des œuvres, l'être des formes de la nature comme la montagne, le ciel, l'eau, le vent, la tempête, pour comprendre la place qu'occupe le Vide, que ce soit dans la représentation, l'écriture, ou l'expérience.La racine latine du mot « Vide » vient de vac-, voc-, et donne vacuus. Elle est la même que pour les mots « vacuité » (vacuitas) et « vague » (vagus) au sens de « errant », « flottant ». On parlera de terrain vague, désert, ouvert. Ou encore vastus, « vaste ». Même s'ils diffèrent dans leurs définitions aujourd'hui, il n'en demeure pas moins qu'ils proviennent d'une origine commune.Le Vide intervient à travers les formes de l'art, telle que la peinture, la sculpture, le cinéma, la photographie, mais aussi l'architecture ou la danse... Il y est Souffle, insufflé, intervient dans la création de telle sorte que l'on peut parler d'une incarnation dans les figures qui peuplent notre environnementEmpty, and Full, are in the image of the world what is played constantly through form. But in a simplistic definition, the sense of the Void remains misunderstood, referring to the apprehension of something which induces an isolated, unfounded, unfruitful absence. And yet, as we shall see, this concept is brought to light through Chinese thought, ancient, philosophical and aesthetic, as an element at the origin of a great activity. "In front of the Plein, Void is a living entity. The spring of all things, it intervenes inside the Plein itself, blowing in the vital breaths. Its action has the consequence of breaking the one-dimensional development, of provoking the internal transformation and of driving the circular movement. It seems that, according to the thought that Francois Cheng develops on the Chinese pictorial language, the Void is a dynamic element that articulates all the manifestations of this world. Each one can then evolve, for if all was only Full, everything would be an undifferentiated mass. Chinese thought will lead us to seek, through writings and works, the being of forms of nature such as mountain, sky, water, wind, storm, to understand the place occupied by the Void , whether in representation, writing, or experience.The Latin root of the word "emptiness" comes from a vacuum, and gives vacuus. It is the same as for the words "vacuity" (vacuitas) and "vague" (vagus) in the sense of "wandering", "floating". We shall speak of vague, desert, open land. Or vastus, "vast". Even if they differ in their definitions today, they nevertheless come from a common origin.The Void intervenes through the forms of art, such as painting, sculpture, cinema, photography, but also architecture or dance ... There is Breath, insufflated, intervenes in the creation of such so that we can speak of an incarnation in the figures that populate our environment
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Nia, Eruera Te Whiti. "Are Korero." AUT University, 2010. http://hdl.handle.net/10292/932.
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ABSTRACT This Project is a sculptural and spatial response to the concept of the Are Korero (house of history and learning) within the Paepae Ariki, Taputapuatea. In considering the philosophical and cultural basis that might encourage structure, the project investigates the re introduction of tribal art that might assist cultural revival and security, this tribal structure providing a platform and focus for its expression. The implications of such a proposition are twofold, on the one hand, the revivification of innovative, ancient cultural expressions to assist the concepts progress, and on the other, the realisation of a Pacific architecture to confirm, actuate and create, a new Polynesian reality. The thesis is 80% practice based work, accompanied by 20% exegesis.
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Maier, Josef. "Architektur im römischen Relief /." Bonn : R. Habelt, 1985. http://catalogue.bnf.fr/ark:/12148/cb34885396v.
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Montel, Sophie Holtzmann Bernard. "Recherches sur la présentation architecturale des groupes sculptés en Grèce antique." S. l. : Paris 10, 2008. http://bdr.u-paris10.fr/theses/internet/2008PA100070.pdf.
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Woodhull, Margaret Louise. "Building power : women as architectural patrons during the early Roman Empire, 30 BCE-54 CE /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Jackson, lain Douglas. "Cataloguing Nek Chand's Rock Garden, Chandigarh : an analysis and interpretation of the sculpture, architecture and landscape." Thesis, University of Liverpool, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490705.
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The topic of this research project is Nek Chand's Rock Garden, an 18 acre development built on the edge of Chandigarh, India. It contains a large collection of natural rocks, sculptures and architectural works built incrementally from 1958 by an untrained artist/architect called Nek Chand. The garden is a significant intervention in the planned Modernist city of Chandigarh and was developed in contradistinction to the original planning laws. Despite the size and popularity of the site it has remained an unknown entity in terms of its contents and the process of its development. Alms The aim of this thesis is to document the Rock Garden and through an analysis of its material and built fabric, to develop further interpretations of it, as a component of Chandigarh and postcolonial India. Cataloguing and Documentation The process of documenting a large site made up of sculptural, architectural and landscape works, all built without plans and in some cases out of found, natural and discarded objects requires a specific methodology and clearly defined approach. What constitutes 'a work' and what aspects of the site are to be recorded, as well as omitted, are duly considered. Analysis and Interpretation Creative output of this nature needs careful methods of interpretation and analysis. This research has focused almost entirely on the material fabric of the work, rather than the external factors of influence. Specific components of the Rock Garden were chosen for analysis based on the three basic distinctions of sculpting, architecture and landscape. Through these lenses, the analysis considered the changes and developments in the gardens growth and possible reasons for particular decisions and aesthetic choices. The sculpting focused on the development of the anthropomorphic aspects of the sculptures, which form the largest type of the sculptural works and as such give the broadest amount of data. With the architectural analysis the discussion stems from the initial colonisation of the site through to the larger, less functional works, seeking to identify the reasons for the changes and possible influences. The landscape is considered along with the notion of 'journey' and the passage through the site. The analysis and cataloguing were then used as a base from which three interpretative chapters were developed. These chapters conceptualise the Rock Garden according to the themes of collection, ruin and theatre. These themes are all interwoven with the agenda's of Modernism and thus provide a means of considering the Rock Garden and its relationship with Modernity.
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Boulay, Roger. "La Grande case kanak de Nouvelle-Calédonie : les rapports entre architecture et sculpture en Nouvelle-Calédonie." Paris 1, 1986. http://www.theses.fr/1986PA010659.
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Tzamou, Ekaterini. "Arts plastiques et architecture en France depuis 1950 : le sculpteur Philolaos." Paris 1, 1996. http://www.theses.fr/1996PA010567.
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Cette thèse consiste, d'abord, en une monographie sur un artiste qui a largement travaillé sur l'art monumental, pour la commande publique et privée. On présente sa biographie dans le premier chapitre et le deuxième tome comporte un catalogue raisonné de ses sculptures monumentales. Le deuxième chapitre est une présentation de ces scupltures par catégorie de matériau et par catégorie de valeur d'usage. Le troisième chaître classe ces oeuvres par catégorie de maitrise d'ouvrage. Dans le quatrième chapitre, on fait une analyse de cette oeuvre à travers les critiques qui l'ont présentée depuis les années 50 jusqu'à nos jours. Cette référence à la critique nous permet d'analyser le regard porté sur la sculpture contemporaine, plus particulièrement sur la sculpture monumentale à connotation sociale, au fil des ans et durant cette période, de sorte que l'on puisse mieux comprendre l'évolution d'une mentalité concernant ce type de création artistique. À travers la monographie, une série de facteurs importants sont éclairés, tels que : l'apport de nouveaux matériaux à la sculpture contemporaine, la nouvelle définition de la valeur d'usage de la sculpture dans les lieux publics et privés, le rôle de la maitrise d'ouvrage dans l'évolution de la sculpture monumentale contemporaine. Les institutions étatiques permettant la création de cet art. De ce point de vue, la monographie sur Philolaos sert d'exemple ou de point de départ pour l'étude de l'art monumental contemporain. Le cinquième chapitre est celui qui se différencie de la monographie, traitant globalement des arts plastiques en rapport avec l'architecture, en France, depuis 1950 jusqu'à nos jours ; ce qui fait le lien avec le titre de la thèse : un historique culturel à travers une monographie.
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Givans, Duncan Blair Cameron. "English Romanesque tympana : a study of architectural sculpture in church portals c.1050-c.1200." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/4168/.
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This thesis presents a study of the use made of tympana in English Romanesque portals and the evidence they offer for religious, social and cultural expression in village churches where the vast majority of examples are preserved. In order to achieve this a significant proportion of the analysis has been addressed to the manner in which people may have interpreted what they saw. For the convenience of the reader basic descriptions of all examples noted during the course of the research and details of manorial and patronal circumstances are given as the Handlist in Volume 2. The first two chapters establish the parameters of the research, outline the social and religious environment during the period, and the art historical principles underpinning the research. Chapter III examines the distribution of examples in geographical terms and the use made of tympana in different categories of building. In chapter IV the structural and compositional formulation of tympana is analysed and the use made of geometric ornament. Chapter V assesses images of Christ and the relationship between these and the representation of power. Chapter VI examines other human figural iconography through the categories of figure-types depicted. The subject of chapter VII is the use of compositional types as a means to assess the use made of beast imagery. The thesis demonstrates for the first time in a systematic and quantified manner that tympana are a significant feature of English Romanesque portals and that a strong decorative character is shared by all tympana, thus contributing to the adornment of the house of God in a befitting manner. It argues that the iconography was composed so as to ensure the utility of the images as a focus for devotion for a wide variety of audiences and as a means of expressing social values, particularly through the relationship between the figures depicted and the representation of temporal power. The thesis also confirms that the religion presented by examples with figural sculpture is centred on the authority of God and the saints and on iconic symbols, rather than exemplars for emulation, reflecting the conservative nature of devotion in local communities. The thesis therefore raises important issues in relation to our understanding of portals as architectural features, the expression of religious devotion and social values in local communities during the period, and the use of portals in the practice of religious devotion.
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Hardiman, Craig I. "The nature of Hellenistic domestic sculpture in its cultural and spatial contexts." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117560146.
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Barrau-Agudo, Caroline de. "Notre-Dame de Rodez : architecture et sculpture (13°- 16° siècle) : nouvelles recherches sur l'histoire artistique d'une cathédrale." Toulouse 2, 2010. http://www.theses.fr/2010TOU20048.
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La cathédrale gothique de Rodez (Midi-Pyrénées, Aveyron) a été construite dès 1277 et achevée au XVIe siècle. Grâce à des études menées dès le XIXe siècle siècle, la chronologie de construction est globalement bien documentée. Toutefois, une relecture attentive du monument a été entreprise afin de vérifier, compléter et si besoin, corriger les données. Cette étude monographique se veut pluridisciplinaire dans son approche et fait appel à une méthodologie renouvelée. La sculpture et l’architecture du bâtiment médiéval et moderne sont mises en avant et étudiées par le biais de l'archéologie (analyse architecturale, étude du bâti, campagne de fouilles), de dépouillements archivistiques (fonds locaux et nationaux, de la période médiévale aux documents contemporains) et d'une étude historique et stylistique. Tout ceci afin de formuler de nouvelles observations sur l'histoire artistique du monument. Le premier volume (texte) est composé de trois chapitres. Le premier chapitre, permet de situer l'édifice dans son contexte historique : présentation de la ville, histoire et chronologie du site et des édifices antérieurs, histoire moderne (Réforme, Ancien régime, Révolution) et contemporaine (restaurations) de l'édifice. Le deuxième chapitre est une relecture chronologique et stylistique de l'édifice (du XIIIe au XVIe siècle) : les caractéristiques architecturales et sculptées ainsi que l'histoire du chantier de construction sont mises en avant grâce à de nombreuses données nouvelles. Enfin, le troisième chapitre présente, de façon totalement inédite, la topographie funéraire de la cathédrale et toute la production statuaire en relation avec ce thème. Le second volume de cette thèse regroupe les sources, la bibliographie, et les annexes. Le troisième volume correspond au catalogue des œuvres et enfin, le quatrième et dernier volume rassemble les illustrationsBuilding work started on the Gothic cathedral of Rodez (in the Midi-Pyrénées, département of the Aveyron) in 1277 and it was finally finished in the sixteenth century. The chronology of its construction is well documented and has been studied since the nineteenth century onwards. Neverthelesss, a careful rereading of the monument has been undertaken in order to check, update, and if necessary correct the received facts. This monographic study has taken a pluridisciplinary approach calling on a renewed methodology. The sculpture and architecture of both medieval and modern building stages have been studied from the angle of archaeology (architectural analysis, study of the building, an excavation campaign), from study of archival resources (both local and national collections, and from the medieval period up to the present day), and from a historic and stylistic study. The aim has been to formulate new observations on the artistic history of the monument. Volume I (text) contains three chapters. The first chapter allows one to place the building in its historic context: presentation of the town, history and chronology of the site and of earlier buildings upon it, modern history (the Reformation period, the Ancien Régime, the Revolution period), and recent restoration work on the building. The second chapter presents a chronological and stylistic rereading of the building from the thirteenth to the sixteenth century; architectural and sculptural characteristics are brought into prominence, as is the history of the various stages of construction, all this based upon new data. The third chapter presents in a totally new manner the funerary topography of the cathedral, considering all the statuary production in relation to this theme. Volume II of this thesis contains a list of sources, the bibliography, and the appendices. Volume III contains a catalogue of works, and Volume IV contains the illustrations
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Chew, Anne-May. "Les temples excavés de la colline de Po Win en Birmanie centrale : architecture, sculptures et peintures murales." Paris 3, 1999. http://www.theses.fr/1999PA030041.
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Situee au nord-ouest de la birmanie centrale, po win taung ou la + colline de po win ;, abrite un vaste complexe religieux avec environ huit cents grottes excavees dans la roche greseuse sur plusieurs niveaux. Les facades de ces grottes, qui vont de la simple piece de meditation a l'imposant temple-sanctuaire, sont decorees de motifs ornementaux en bas et haut reliefs, avec certaines entrees encadrees de sculptures, humaines ou animalieres, en ronde-bosse. A l'interieur, de nombreuses sculptures sont taillees dans le roc et certaines parois sont ornees de peintures murales representant des scenes traditionnelles (les 28 buddha du passe, les vies anterieures du buddha gotama et la vie du buddha historique) ainsi que des scenes de la vie quotidienne. Les oeuvres de po win taung datent de la seconde periode d'ava (xvieme - xviiieme siecles) pour la plupart et de la periode coloniale (dernier quart du xixeme - milieu du xxeme siecles). Elles temoignent d'un profond syncretisme ou s'harmonisent les croyances populaires pre, bouddhiques et les principes du bouddhisme theravada. La finalite premiere de cette these est de degager les caracteristiques et l'evolution du style + nyaung yan ;, communement designe style + d'ava ; - quelque peu meconnu - telles que les productions de po win taung permettent de les saisir. Cela passe, d'une part, par une introduction a la connaissance du site et surtout par sa richesse artistique et d'autre part, par l'identification des diverses influences etrangeres (chinoise, indienne, portugaise, siamoise, musulmane et europeenne) qui s'y exercentSituated to the north-west of central burma, po win taung (the hill of po win) is a huge, multi-level religious complex with about 800 excavations chiselled out of soft sandstone rock. The facades of these rock-cut caves, which vary from a simple meditation cell to an imposing temple, are decorated in low and high reliefs, with some entrances flanked by human or animal sculptures in the round. The interiors of the grottoes contain numerous statues carved from the rock and some of the walls are adorned with paintings illustrating traditional scenes (the 28 buddha of the past, the previous lives of buddha gotama, and the life of buddha) as well as scenes of daily life. For the most part, the works of po win taung date from the second ava period (16th - 18th centuries), and to a lesser extent, the colonial period (last quarter of 19th till mid 20th centuries). They show a profound syncretism harmonizing local pre-buddhist beliefs and the fundamental teachings of theravada buddhism. This thesis sets out to define the characteristics and evolution of the + nyaung yan ; style, generally designated as + ava ; style which is lesser known to the art world. The artistic treasures of po win taung allow us to explore and comprehend this style to a much greater extent. We begin by introducing and acquainting the readers with the site as well as the richness of its art, and by identifying different sources of inspiration (chinese, indian, portuguese, siamese, muslim and european) which have influenced the + nyaung yan ; style
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Kasarska, Iliana. "La sculpture de la façade occidentale de la cathédrale de Laon." Paris 4, 2006. http://www.theses.fr/2006PA040134.
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Weber, Marga. "Baldachine und Statuenschreine /." Roma : G. Bretschneider, 1990. http://catalogue.bnf.fr/ark:/12148/cb35707890z.
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