Thèses sur le sujet « Styles of architecture »
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Fineblum, Michelle Ann. « Adaptive presentation styles for dynamic hypermedia scripts ». Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/66337.
Texte intégralRésumé :
Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.Title as it appears in the M.I.T. Graduate List, Sept. 1991: Adaptable presentation styles in dynamic hypermedia scripts.
Includes bibliographical references (leaves 62-65).
by Michelle Ann Fineblum.
M.S.
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Hsu, M. F. « The origins of Chinese traditional architecture ». Thesis, University of Edinburgh, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372973.
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Bleecker, Sandra S. Bellone. « Young deaf children and the computer : a study of learning styles ». Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/71381.
Texte intégralRésumé :
Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AN ROTCH.
Bibliography: leaves 154-158.
by Sandra S. Bellone Bleecker.
M.S.
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Le, Goaer Olivier. « Styles d'évolution dans les architectures logicielles ». Phd thesis, Université de Nantes, 2009. http://tel.archives-ouvertes.fr/tel-00459925.
Texte intégralRésumé :
Les architectures logicielles ont été introduites en réponse à l'accroissement de la complexité des systèmes, en favorisant leurs descriptions à un haut niveau d'abstraction. Dans cette thèse, nous proposons d'aborder la problématique de leurs évolutions avec comme objectif, de capitaliser les évolutions récurrentes et de favoriser leur réutilisation. Notre contribution se décline en deux volets majeurs. Le premier volet concerne la proposition du modèle d'évolution SAEM (Style-based Architectural Evolution Model), permettant l'abstraction, la spécification et la gestion de l'évolution dans les architectures logicielles au travers du concept de style d'évolution. SAEM se veut un modèle d'évolution générique, uniforme et indépendant de tout langage de description d'architecture. Le formalisme proposé décrit les concepts du style d'évolution selon un tryptique : domaine, entête et compétence. Le deuxième volet concerne le développement d'une approche de réutilisation par dessus SAEM pour tenter de rendre les activités d'évolution plus rentables. Nous proposons une démarche pour la construction de bibliothèques pour les styles d'évolution, orchestrée par différentes catégories d'intervenants. Les bibliothèques sont élaborées selon deux types de processus complémentaires : « pour la réutilisation » et « par la réutilisation ». Nous présentons une technique de raisonnement classificatoire pour permettre aux bibliothèques d'être peuplées et interrogées dans le but de gérer les savoir et savoir-faire relatifs à l'évolution architecturale.
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Peterson, Barrett 1976. « How different home styles are valued in the Salt Lake City market ». Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29782.
Texte intégralRésumé :
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.Includes bibliographical references (leaf 97).
This thesis focuses on market valuation of attributes of single family housing in the Salt Lake City market. Using data from different sub-regions of Salt Lake County, this paper addresses the question of buyer demand with respect to home style. Using hedonic regression analysis, the thesis explores the premium or discount associated with different styles of homes. Analyzing the hedonic results in the context of the current housing stock in the Salt Lake Area provides interesting insights into how rambler, two-story, splitentry and tri-level homes are valued. The hedonic model shows that buyers pay a premium for ramblers across the different sub areas of Salt Lake City. Given this premium, the thesis explores what the optimal mix of home style might be in the two areas where considerable developable land remains.
by Barrett Peterson.
S.M.
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Leymonerie, Fabien. « Asl : un langage et des outils pour les styles architecturaux : contribution à la description d'architectures dynamiques ». Chambéry, 2004. http://www.theses.fr/2004CHAMS046.
Texte intégralRésumé :
Dans la dernière décennie, l'architecture logicielle a émergé comme une notion centrale dans le développement logiciel des systèmes complexes. Des modèles architecturaux ont été codifiés et réutilisés de manière informelle à travers des styles architecturaux. Ils capturent l'expérience et les connaissances acquises dans un domaine d'application donné. Des travaux de formalisation ont été entrepris afin de pouvoir donner des définitions précises des styles architecturaux pour transmettre ces concepts sans ambiguïté, et afin de pouvoir étudier et garantir les propriétés architecturales d'une architecture ou d'une famille d'architectures. On peut identifier deux catégories de systèmes logiciels : ceux dont l'architecture ne change jamais en cours d'exécution (architectures "statiques") et ceux dont l'architecture change afin de répondre à des besoins précis (architectures "dynamiques"). Des langages sont nécessaires pour permettre la description de ces deux catégories d'architectures. Si plusieurs travaux ont traité le problème de la définition de styles architecturaux de systèmes statiques, le problème de la définition de styles architecturaux de systèmes dynamiques reste un problème ouvert. Notre thèse a eu pour objectif de combler ce manque de formalisation pour la définition et l'utilisation des styles architecturaux des systèmes dynamiques. Nous définissons un langage, ASL, pour la description de styles architecturaux décrivant des familles de systèmes mais également des architectures spécifiques. Alors que d'autres langages de description d'architectures intègrent une vision composant-connecteur figée, le langage ASL est lui basé sur le concept plus générique d'abstraction. La vision composant- connecteur, elle, est introduite comme une spécialisation d'ASL sous la forme d'un style appelé Composant-Connecteur. Le langage ASL et ces outils pour la gestion des styles architecturaux ont été développés et validés dans le cadre du projet européen de recherche ArchWareLn the last decade, software architecture emerged as central concept in the development of the complex software systems. Architectural models were codified and re-used in an abstract way through architectural styles. The latter capture the experience and the knowledge gained in a specific application domain. Formalization effort was undertaken by researchers in order to propose precise definitions of what software architectures and architectural styles are, as weIl as support for using an architecture centric software development. Among existing software systems, one can identify two categories: those whose architecture never changes in the course of execution ("static" architectures) and those whose architecture changes in order to meet specific needs ("dynamic" architectures). Languages are necessary to allow the description of these two categories of architectures. If several research studies dealt with the problem of the definition of architectural styles for systems whose architecture is static, the problem of the definition of architectural styles for dynamic systems remains an open issue. Our thesis aimed to fill this lack of formalization for the definition and the use of the architectural styles for dynamic (and static) systems. We have defined a language, ASL, for the formalization of the architectural styles describing system architecture families but also specific architectures. Whereas other architecture description languages integrate a solidified component-connector vision, ASL is based on the generic concept of abstraction. The component-connector vision is introduced as a specialization of ASL in the form of a style called Component-Connector. ASL and the associated tools (for the management of architectural styles) were developed and validated within the framework of the European research project ArchWare
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Cordellier, Maxime. « Recherche d'autonomie et architecture du commun dans les styles de vie communautaires ». Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC010/document.
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Héritières des années 1970 les communautés intentionnelles ont pour objectif de remettre en cause les pratiques et liens sociaux propres à la société contemporaine. Par l’association du travail et de la vie domestique elles forment un type d’organisation sociale tournée vers le vivre ensemble et le travail du commun. Cette thèse démontre à partir du cadre théorique de la résistance ordinaire, que les communautés intentionnelles mettent en pratique une manière d’être au monde qui leur est spécifique. Par le retour à la terre et le détour par la nature, elles inscrivent leur action dans une temporalité et une spatialité nourries d’une projection utopique puisant ses sources dans les représentations d’un passé mythifié. Celui-ci sert la mise en action dans le présent de ce monde et l’expérimentation d’un monde à faire advenir. Ces communautés développent, des visions et un agir guidés par ce que je propose d’appeler une rétrospection utopique. Ce faisant, elles investissent des espaces publics interstitiels et oppositionnels en juxtaposant des imaginaires et des pratiques qui font correspondre à trois logiques sociales (le mythe, le retour, l’utopie) trois registres d’historicité (conservation, rétrospection, progression). Elles organisent le ralentissement de la machine technobureaucratique et capitaliste et convoquent les racines agraires des sociétés antérieures pour préfigurer l’avènement d’une société nouvelle, agraire et politiqueRecipients of the 1970’s legacy, intentional communities aim at reconsidering the practices and social relations specific to contemporary society. Through the association of work and domestic life they form a kind of social organization turned towards «living together » and « working the common ». Using the theoretical framework of common resistance as a basis, this thesis demonstrates that intentional communities put into practice a peculiar manner of being-in-the-world. By way of a return to the land and of a detour via nature, their action is inscribed in a temporality and a spatiality fueled by utopian projection, which draws on representations of a mythologized past. That past serves the present-time actualisation of this world, and the experimentation of a world-to-be-brought-about. These communities develop visions and ways of doing guided by what I suggest we call utopian retrospection. In doing so, they invest intersitial and oppositional public spaces by juxtaposing imaginaries and practices that correlate three social logics (myth, return, utopia) with three registers of historicity (conservation, retrospection, progression). They organise the slowing down of the techno-bureaucratic and capitalistic machine and summon the agrarian roots of earlier societies to prefigure the advent of a new society, both agrarian and political
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Yukhina, Ellina Vasilievna. « Cognitive Abilities & ; Learning Styles in Design Processes and Judgements of Architecture Students ». Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/1694.
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The main aim of this research is the exploration of relationships and correlations between thinking styles of student designers, their personal aptitudes, and design education. It involves discovering the role/s several groups of learning styles and cognitive abilities may play in problem solving during administered design tasks; and the influence they may have on academic performance and quality of produced design solutions. The main hypothesis is that differences in designers’ individual problem solving strategies and, ultimately, products of their expertise – designed artefacts – can be correlated with the differences in their learning styles and cognitive abilities. We suggest the following. (a) Designers with different styles adopt different approaches to design situations and use different strategies during problem solving. It is possible to find the supporting evidence by investigating their performance on design tasks. (b) Individual differences in design reasoning and problem solving could be correlated with the differences in individual cognitive abilities. (c) It may be possible to find correlations between cognitive styles and cognitive abilities. (d) It is likely that a number of visible or measurable qualities of students’ design drawings, would in some way reflect different characteristics of the above individual styles and abilities. The methodological approach draws on theoretical and empirical knowledge from several domains, including: design studies, psychology, cognitive science and study of creativity. This study is concerned with selecting and substantiating the input – a number of cognitive styles and abilities chosen for evaluation; and their subsequent assessment. It involves administering design sessions and exploring them as a process to see whether and how the above abilities and styles are reflected in problem solving. It also deals with the assessment of the product i.e. produced design solutions, and their relation to the academic performance reports. And, finally, it explores correlations between the input, the process and the product to help finding explanations for the students’ preferences in adopting particular problem solving strategies in designing. This study is based upon the analysis of six major datasets from (1) an electronic test assessing individual positions on four dimensions (two dichotomies) of learning styles; (2) tests of cognitive abilities chosen on the basis of their relevance to designing; (3) design sessions, administered individually under retrospective protocol guidelines; (4) questionnaires, containing summaries of design sessions, and introspective reports of imagery use and problem-solving styles and strategies; (5) judgements of academic performance from course supervisors based on marks and grades; and (6) assessments of design drawings by professional architects. The analysis revealed fundamentally different ways by which students approach design situations; they are positively correlated with their learning styles. Students’ approaches to problem situations change with the task and within the task. However, eighty percent of the first year and half of the final year subjects showed various degrees of inflexibility in dealing with design problems; this may have decreased the quality of performance. Learning styles proved important in predicting the process and the outcome of problem solving. They may account for moderate to low quality of design solutions in cases with either style (from both dichotomies explored) being of low development. Styles were also observed to may have a moderate to strong influence on the students’ academic performance. Correlations between the measured cognitive abilities and academic performance were moderate to significant for the first year and similar but marginally lower for the final year students. At the same time, final year students scored higher on the ability tests and showed better results on the learning styles assessments. One of the likely reasons for this is the enhancement of abilities and styles during the course of study. No significant linear correlations between preferred learning styles and most of the measured cognitive abilities have been observed. The probable inference is that abilities are among many other factors affecting the development of learning styles. It has been, however, possible to establish a number of important correlations between the measurements of learning styles, cognitive abilities, observed problem solving behaviour, and students’ design solutions. Overall, it has been demonstrated that the applied methodology, although requiring further refinement, does enable examining and elucidating the influence of learning styles and cognitive abilities on design problem solving and academic performance.
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Revillard, Jérôme. « Approche centrée architecture pour la conception logicielle des instruments intelligents ». Chambéry, 2005. http://www.theses.fr/2005CHAMS057.
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La conception d'instruments intelligents est un problème complexe. En effet, des compétences en physique, en mécanique et en électronique sont nécessaires pour la conception de la partie matérielle tandis que des compétences pointues en informatique sont nécessaires pour concevoir la partie logicielle. De plus, les instruments intelligents sont fréquemment utilisés dans des environnements critiques. Le logiciel conçu doit alors répondre à de nombreuses contraintes de sûreté. Afin de rendre efficace la conception et la réalisation de tels instruments, il faut créer un environnement logiciel dédié qui permet à l'ingénieur, souvent non informaticien, de développer la partie logicielle de façon sûre. Un tel environnement doit : - supporter un modèle de conception qui soit générique afin de pouvoir concevoir n'importe quel instrument intelligent et permettre au concepteur de travailler à un haut niveau d'abstraction, - faire travailler le concepteur d'instruments avec une terminologie qui lui est familière, - le guider et le contraindre de façon à ce que le logiciel conçu, puis implémenté, respecte les propriétés identifiées, intrinsèques au modèle. Cette thèse adresse le problème de la construction d'un tel environnement en l'abordant d'un point de vue nouveau : la construction d'un environnement logiciel centré sur des modèles architecturaux. L'architecture logicielle est ainsi représentée par des modèles formels à plusieurs niveaux d'abstraction. A chaque niveau, des propriétés peuvent être vérifiées. Dans cette thèse, le langage Arch Ware ADL est utilisé. Grâce à ce langage formel, nous sommes capable de capitaliser et de réutiliser l'expertise de conception du domaine de l'instrumentation intelligente. Ceci est réalisé notamment grâce à la notion de style architecturalThe design of intelligent instruments is a complex field. Competences in physics, mechanics and electronics are needed for the design of the material part while competences in computing sciences are needed for the design of the software part. Moreover, such intelligent instruments are frequently used in critical environments. The designed software must then answer strong reliability constraints. One way of improving the design of such instruments, is the creation of a dedicated software design environment which guides and constraints the instrument designer (often not computer scientist) in s/he's work. Such an environment must : - support a generic design model in order to be able to support the design of any intelligent instruments. This model must abstracted away programming level concerns, - provide a design language which the instrument designer is familiar with - guide and constrain the designer such that the conceived software respects identified properties, intrinsic with the model. This thesis addresses the problem of the construction of such an environment. It tackles the problem from a new point of view : the construction of a software environment centred on architectural models. Software architecture is represented by formal models at several levels of abstraction. At each level, properties can be checked. In this thesis, the Arch Ware ADL language is used. The use of this language allows us to support the capitalization and the reuse of the expertise of the intelligent instrument field. This is realized in particular with the architectural style concept
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Vleck, Treena Marie. « Aldo Rossi : From Modern to Post-Modern Architecture, 1960-1990 ». Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc504113/.
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The purpose of this thesis is to discuss the stylistic development of the Italian architect Aldo Rossi from Modern to Post-Modern design. A summary of the Modern architectural movement is presented along with an analysis of the developments in Post-Modern architecture since 1960. The influence of Italian culture on Rossi's career is discussed through a brief survey of Ancient Roman archetypal motifs and Italian architecture of the early 20th century. Several key buildings proposed or constructed by Rossi from 1960-1990 are discussed based on his concepts of analogy, typology, morphology and rationalism.
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Barrett, Rebecca L. « Building in the Styles of Their Time : Fugman, Cramer and Uhlrich ». Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1228780148.
Texte intégralRésumé :
Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on Mar. 27, 2009) Includes bibliographical references (p. 107-113) and appendix. Available online via the OhioLINK ETD Center. Also available in print.
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Pinheiro, Nuno Santos. « O islamismo e o arco ultrapassado na Península Ibérica-sua influência na arquitectura alentejana ». Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1990. http://dited.bn.pt:80/29768.
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Berger, Francisco José Gentil 1940. « Manuel da Costa Negreiros no estudo sistemático do barroco joanino na região de Lisboa ». Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1990. http://dited.bn.pt:80/29771.
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Fernandes, Maria João Rocha Simões. « Francisco da Silva Rocha (1864-1957)-arquitectura arte nova, uma primavera eterna ». Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras, 1999. http://dited.bn.pt:80/29185.
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Pinheiro, Susana Marta. « Manoel Caetano de Sousa ». Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1989. http://dited.bn.pt:80/29757.
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Berger, Francisco José Gentil. « Manuel da Costa Negreiros no estudo sistemático do barroco joanino na região de Lisboa ». Doctoral thesis, Faculdade de Arquitectura de Lisboa, 1991. http://hdl.handle.net/10400.5/1626.
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Doutoramento em ArquitecturaTrabalho sobre a ARQUITECTURA BARROCA do SECULO XVIII, PRIMEIRA METADE, em Portugal, na REGIÃO DE LISBOA, em que são analisadas a INFLUÊNCIA ITALIANA no nosso barroco final e a INFLUÊNCIA DA TRATADÍSTICA, a obra dos arquitectos italianos que se deslocaram a Portugal nesse período e dos arquitectos que trabalharam em Itália para D. JOÃO V. MONOGRAFIA de MANUEL DA COSTA NEGREIROS (1702 - 1750), arquitecto que além de ter exercido como mestre pedreiro em MAFRA e no AQUEDUTO DAS AGUAS LIVRES foi o inspector das obras do palácio das NECESSIDADES e Arquitecto da CASA DO INFANTADO e do Priorato do Crato. São historiadas e focadas sobre o ponto de vista formal, as seguintes obras: Religiosas -Igreja de SANTO ESTEVÃO de Alfama, convento e capela real das NECESSIDADES, capela do paço da BEMPOSTA, ermida do Senhor Jesus da BOA NOVA, ermida da CARREIRA dos Cavalos, e torre sineira do convento da GRAÇA. Obras Civis: Palácio das NECESSIDADES, palácio BARBACENA, palácio do CORREIO-MOR em Loures. Na parte final são relacionados os diferentes autores desse período e é feita uma análise das formas próprias e dos SINAIS e SINTEMAS identificadores de cada um deles. Anexos, DADOS biográficos e curriculares sobre ARTISTAS do período (1700 - 1750). Relação de obras de Lisboa erigidas ou intervencionadas nesse mesmo período.
The portuguese BAROQUE ARCINTECTURE, in LISBON, on the first half of the eighteen century, during KING JOHN THE FIFTH'S reign (1 706-1 750) The INFLUENCES felt in the portuguese architecture from the ITALIAN ARCHITECTS that worked for Portugal, and, from architectural theoretical writings. Monograph study of MANUEL DA COSTA NEGREIROS, mason and architect that worked in MAFRA and in the AQUEDUCT OF ÁGUAS LIVRES, was chief inspector of the construction of NECESSIDADES'S PALACE focusing specially: the Church of SANTO ESTEVÃO, chapels of NECESSIDADES, BEMPOSTA, BOA NOVA and CARREIRA. The belfry of GRAÇA convent. The palaces of NECESSIDADES, BARBACENA and CORREIO-MOR. Related activity of all the royal architects during that period. A global interpretation of personal FORMAL SIGNS used by those artists. Files on ARTISTS that lived and worked in Lisbon in the period (1700-1750), and a file on all the MONUMENTS BUILT and refurbished in those days, in Lisbon.
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Bellman, Erica Nicole. « Spectacular Shadows : Djuna Barnes's Styles of Estrangement in Nightwood ». Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/353.
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This paper examines Djuna Barnes's Modernist masterpiece, Nightwood, by exploring the author's particular styles of writing. As an ironist, a master of spectacle, and a visual artist, Barnes's distinct stylistic roles allow the writer to construct a strange fictional world that transcends simple categorization and demands close reading. Through textual analysis, consideration of how Barnes's characterization, and engagement with key critical interpretations lead to the conclusion that Nightwood's primary aim is to present the reader with an image of his or her own individual estrangement.
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Al-Omari, Mohammad. « An agent-based architecture to support adaptivity in virtual learning environments based on learners' learning styles ». Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/14881.
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Educational systems have been improving as a result of the revolution in technology. Learning Management Systems (LMSs) are becoming crucial and widely used in many educational institutions for the adoption of blended and distance learning. However, a “one-size-fits-all” approach is the basis of most of these systems, whereby differences and preferences such as the knowledge level and learning styles of learners are not taken into consideration in their design. Current e-learning systems are unable to provide learners with adaptive content that meets their learning styles preferences. This thesis aims to extend the capabilities of LMSs to support adaptivity based on learners’ learning styles. Therefore, a hybrid architecture design is proposed reflecting a novel approach in order to support dynamic real-time adaptivity in any LMS based on learners’ learning styles. The architecture is designed based on a computational model using the technology of intelligent agents and the concept of the Event-Condition- Action (ECA) model. The proposed approach introduces a real-time dynamic adaptation process that follows specific adaptive features, namely, the type, number and order of the presented contents. These adaptive features are based on the recommendations of the Felder-Silverman Learning Styles Model. A system prototype of the approach is developed and integrated in an e-learning environment (i.e. Moodle). Finally, the proposed approach is evaluated using a case study in Moodle.
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Thaon, Bernard. « Les ouvriers de memoire. Culture et imaginaire historiques des architectes au xixe siecle (france, 1760-1920) ». Aix-Marseille 1, 1997. http://www.theses.fr/1997AIX10017.
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L'objectif de ce travail a ete de rendre compte des styles dits historiques en examinant les rapports que les architectes ont entretenus avec l'histoire au xixe siecle. Une premiere partie s'attache a donner une definition de ces architectes selon deux points de vue : 1, celui des representations, lie a celui des fonctions exercees, dans lequel le discours romantique sur l'artiste joue un role important. 2, celui de l'apprentissage du metier qui passe par le dessin et l'ecole des beaux-arts de paris ou on peut observer un processus d'acculturation. Dans une seconde partie l'examen de quelques problematiques particulieres (notion de local, eglise, hotel de ville) selon l'axe chronologique 1760 - 1920 permet d'observer continuites et ruptures dans la production des architectes : continuites avec la theorie derivee de l'histoire de la cabane, ruptures avec l'arrivee dans le champ de l'architecture, par le biais de la culture historique promue par guizot, du monde de la petite notabiliteThe aim of this work was to give a global explanation of historicism by investigation of the link between architects and history during nineteenth century. In the first part we give an architect's definition by two ways : 1, an image one - link to functional one with the important role of 1830's discourse about artistics. 2, a learning one with the role of drawing and the ecole des beaux-arts at paris, where exist a process of acculturation. In the second part we observe some fields of enquiry (site, church town hall) on the 1760-1920 period, with continuities and breaking. Laugier's theory of cabane on one part and, on the other, the coming of a new historical approach (i. E guizot) in architectural field
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Moreira, Rafael 1947. « A arquitectura do renascimento no Sul de Portugal-a encomenda Régia entre o moderno e o romano ». Phd thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 1991. http://dited.bn.pt:80/29854.
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Lebre, Pedro Jorge Ribeiro Guedes. « Diálogo entre a tradição e a modernidade-razões para uma especifidade na cultura arquitectónica modernista portuguesa ». Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 2000. http://dited.bn.pt:80/29369.
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Silva, Nuno Eduardo de Távora Miranda Gomes da. « Dois livros e uma igreja-aspectos da ideia de história na arquitectura do século XX ». Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 2000. http://dited.bn.pt:80/29531.
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Milheiro, Ana Cristina Fernandes Vaz. « O gótico e os sistemas de desenho presentes na arquitectura oitocentista - produções teóricas europeias e a recensão portuguesa manifesta na obra escrita de Possidónio da Silva ». Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1997. http://dited.bn.pt:80/29888.
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Villamariz, Catarina P. Oliveira M. Madureira. « Claustros góticos portugueses-séculos XIII a XV ». Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 1997. http://dited.bn.pt:80/30031.
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Ribeiro, Maria Isabel da Cunha Donas Boto. « Arquitectura e sociedade em Inglaterra 1660-1714 ». Instituições portuguesas -- UC-Universidade de Coimbra, 1998. http://dited.bn.pt:80/30299.
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Batista, Luís Manuel Morgado Santiago. « Arquitectura em transição-construção versus desconstrução : a condição problemática e antinómica do objecto criado ». Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1998. http://dited.bn.pt:80/30377.
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Arroz, Ana Paula de Almeida Casimiro. « Casas, ambientes e arquitectos do movimento moderno na área de Lisboa ». Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 1998. http://dited.bn.pt:80/30401.
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Valente, Carlos Luís da Fonseca. « A Escola Brotero e a arquitectura de Coimbra na primeira metade do século XX ». Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 1999. http://dited.bn.pt:80/30423.
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Janeiro, Pedro António Alexandre. « A significação na construção e na descodificação da imagem ». Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 2003. http://dited.bn.pt:80/30435.
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Bourlier, Pierre. « Style, temps, architectureOu L'éternel retour de l'enjeu stylistique ». Paris 8, 2006. http://www.theses.fr/2006PA082743.
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« Le style c’est l’époque d’abord » peut-on lire dans le Traité de Léonce Reynaud (1850), citation à laquelle fait écho cette autre déclaration plus tardive de Peter Behrens : « Faire de l'architecture c'est donner corps à l'esprit du temps » (1913). Les deux auteurs architectes partagent cette idée du temps incarné dans l’architecture, produit d’une Zeitwille telle que l’appelle aussi Ludwig Mies van der Rohe. Mais tandis que pour l’un le style est le vecteur de l’expression de la temporalité, pour l’autre, c’est au « faire » qu’il revient de former cet être au temps. Davantage, Behrens appartient à un mouvement générationnel « moderne » qui, précisément, se reconnaît à travers un rejet unanime et international des problèmes stylistiques. Comment expliquer que la question de l’historicité de l’architecture fut abordée une première fois avec le style, puis une seconde fois en radicale opposition à lui ? Plus généralement, en quoi les discours sur le style renseignent-ils sur le rapport de l’architecture au temps ? Cette thèse voudrait apporter quelques éclairages sur ces questions par l’intermédiaire d’une enquête généalogique sur le concept moderne de style“Style is time first” writes Léonce Reynaud in his Traité d’architecture (1850). This quotation is later echoed by this other declaration of Peter Behrens: “making architecture is to give body to the spirit of the time” (1913). Both share this idea of time embodied in architecture conceived as a product of a Zeitwille as Ludwig Mies van der Rohe also calls it. But while the style for one is the vector of the expression of temporality, it is the “making” that is intended to give such a temporal existence for the other. Moreover, Behrens belongs to a “modern” generational movement which, precisely, recognizes itself through a unanimous and international rejection of the stylistic problems. How can we explain that the question of the historicity of architecture was tackled once with the idea of style, then a second time in radical opposition to it? Generally speaking, what does the debate on style tell us about the relationship between architecture and time? This thesis would like to give some answers to these questions with the help of a genealogical investigation on the modern concept of style
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Songsakdi, Rongviriyapanish. « Modélisation de la conception d'architectures de systèmes logiciels ». Nancy 2, 2000. http://www.theses.fr/2000NAN22004.
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Notre travail s'inscrit dans le thème de l'aide à la conception d'architectures logicielles. Nous proposons un modèle permettant de formaliser des styles d'architecture. Le modèle permet de développer de manière incrémentale et conjointe deux documents : une description formelle de l'architecture et un historique de la conception. La description de l'architecture est sans ambiguïté et peut être validée à l'aide d'outils existants. L'historique de la conception permet de comprendre la façon dont l'architecture a été élaborée. Cette compréhension facilite son évolution et sa réutilisation. Notre modèle utilise le langage formel LOTOS comme langage de description architecturale. Les concepts de base et les critères d'évolution de l'architecture sont décrits à l'aide des schémas LOTOS. Basée sur une relation d'équivalence comportementale de l'algèbre de processus, la correction d'une architecture, peut-être vérifiée. Nous avons décrit une architecture client-serveur d'un système d'armement AEGIS à partir de nos schémas et vérifié sa correction. Notre modèle est basé sur le modèle Proplane. Sous le modèle Proplane, toute évolution d'une conception est faire par application d'un opérateur de développement. Nous considérons que les règles de conception fournies par un style sont des contraintes portant sur la description des composants, des connecteurs et de la configuration d'une artchitecture. Nous les utilisons pour guider une conception. Dans notre modèle, ces règles sont décrites sous forme d'une bibliothèque d'opérateurs à appliquer par l'architectureOur work joins in the theme of the help(assistant) the conception(design) of software architectures. We propose a model allowing to formalize styles of architecture. The model allows to develop in a incremental and joint way two documents: a formal description of the architecture and a history of the conception(design). The description of the architecture is without ambiguity and can be validated by means of existing tools. The history of the conception(design) allows to understand(include) the way the architecture was elaborated. This understanding facilitates its evolution and its re-use. Our model uses the formal language BINGOES as language of architectural description. The basic concepts and the criteria of evolution of the architecture are described by means of plans BINGOES. Based on a relation of behavioral equivalence of the algebra of process, the correction of architecture, maybe verified. We described architecture customer-waiter(-server) of a system of armament AEGIS from our plans and verified his(her,its) correction. Our model is based on the Proflat model. Under the Proflat model, any evolution of a conception(design) is to make by application of an operator of development. We consider that the rules(rulers) of conception(design) supplied by a style are constraints concerning the description of components, connectors and configuration of architecture. We use them to guide a conception(design). In our model, these rules(rulers) are described in the form of operators' library(bookcase) to be applied by the architecture
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Fitzsimons, Rodney Desmond. « Monuments of Power and the Power of Monuments : The Evolution of Elite Architectural Styles at Bronze Age Mycenae ». Cincinnati, Ohio : University of Cincinnati, 2006. http://rave.ohiolink.edu/etdc//view?acc_num=ucin1155651443.
Texte intégralRésumé :
Thesis (Ph. D.)--University of Cincinnati, 2006.Advisor: Dr. Gisela Walberg. Title from electronic thesis title page (viewed Dec. 20, 2009). Keywords: Mycenae; Mycenaean Architecture; Mycenaean Palaces; Mycenaean State Formation; Mycenaean Tholos Tombs; Shaft Graves. Includes abstract. Includes bibliographical references.
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Teixeira, Francisco Manuel de Almeida Correia. « O Mosteiro de Santa Maria de Almoster ». Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1990. http://dited.bn.pt:80/29731.
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Muchagato, Jorge 1966. « Ideologia e arquitectura religiosa na época de D. Manuel-da réplica ao modelo : uma experiência da temporalidade : de 1800 a 1500 e de 1500 às origens ». Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1993. http://dited.bn.pt:80/29806.
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Makris, Dimitrios. « Etude et réalisation d'un système déclaratif de modélisation et de génération de styles par algorithmes génétiques : Application à la création architecturale ». Limoges, 2005. http://www.theses.fr/2005LIMO0037.
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Dans ce mémoire nous étudions la possibilité d'introduire le concept de style dans la modélisation déclarative afin de faciliter la conception architecturale pendant la phase conceptuelle. Pour étudier une telle hypothèse, une méthodologie de la phase de conception architecturale utilisant le style a été développée. La méthode est placée dans le cadre de la modélisation déclarative et des algorithmes évolutionnaires. En particulier nous développons le cadre de modélisation des connaissances architecturales. Nous proposons une modélisation du style dans le cycle de conception déclaratif et un moteur de génération de solutions basé sur un algorithme génétique multi-objectif. Le résultat est le système prototype de conception déclarative évolutionnaire-MultiCAD d'aide à la conception architecturale. La méthode résultante permet de quantifier avec succès des critères qualitatifs esthétiques d'un bâtiment. Notre système constitue un outil de conception esthétique assisté par ordinateur. In this thesis we study the possibility to introduce the concept of style in declarative modelling in order to aid architectural design during the conceptual phase. In order to study such a hypothesis we have develop a methodology of architectural conceptual design utilising style. The method is based in the frame of declarative modelling, and evolutionary algorithms. In particular, we develop a framework for the modelling of architectural knowledge. We define a model of style based on the declarative conceptual cycle. Moreover we develop a new engine for the generation of solutions. This engine is based on multiobjective genetic algorithms. The result is a system prototype for Evolutionary Declarative Design-MultiCAD for the aid of conceptual architectural design. The resulted method could successfully quantify aesthetic qualitative criteria of a building. Our system points towards a computer aided aesthetic design tool
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Figueira, Luis Manuel Mota dos Santos. « Técnicas de construção na arquitectura manuelina ». Phd thesis, Instituições portuguesas -- UC-Universidade de Coimbra -- -Faculdade de Letras, 2001. http://dited.bn.pt:80/29351.
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Ruão, Carlos. « Arquitectura maneirista no Noroeste de Portugal-italianismo e "flamenguismo" ». Master's thesis, Instituições portuguesas -- UC-Universidade de Coimbra -- -Faculdade de Letras -- -Instituto de História de Arte, 1995. http://dited.bn.pt:80/29810.
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Oliveira, Luis Cesar Fleury de. « A ARQUITETURA DO SAGRADO O SAGRADO DA ARQUITETURA ». Pontifícia Universidade Católica de Goiás, 2013. http://localhost:8080/tede/handle/tede/779.
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Previous issue date: 2013-06-25The very mention to the architecture of the sacred induces one to imagine the artistic conception of a temple-building. This attitude stems from the fact that the analysis of such architecture is usually focused on its styles, techniques and applied materials, as well as on the acclaiming of its authors that is, on aesthetic and economic values. There is no literature devoted to examining the constructive and ornamental elements of such architecture as transmitters of religious meaning, their true and important reason for existence. On the other hand, the proposal of this study is to unveil the constructive or ornamental symbolic elements existing in external or internal, natural or constructed architectonic spaces, which are able to interfere in the way individuals undergo religious experience. It aims at analysing how form in sacred art and architecture potentiates the function of propitiating the meeting with the Sacred. The apprehension of the object of study has been carried out through field research, photograph records, in loco observation and field notes. Brazil has been defined as the universe of research, and the focus of analysis comprised Brazilian Colonial and Imperial periods, particularly from the XVIth to the XIXth Centuries, and the architectural and art styles which have then taken place, that is, Plain, Baroque and Rococo. This work is organised in five chapters. The first one examines social life, symbology and sacred architecture. In the section entitled Social and Mystic-Religious Life , a brief incursion into Brazilian prehistory and into Portugal and Brazil during Portuguese colonisation is made. Then, a general analysis of symbols takes place, and the recurring ones are particularised. A brief summary of sacred architecture in general, as well as Plain, Baroque and Rococo architectural styles and their respective peculiarities in the States of Minas Gerais and Pernambuco concludes the chapter. In the second chapter, the architecture and symbology of three pernambucano Plain-style churches are analysed. The third, fourth and fifth chapters are respectively dedicated to first and second-stage Baroque and Rococo. In each of them, the architecture and symbology of one mineiro and one pernambucano church are examined. In conclusion, this study intended to evidence that knowing the symbols present in churches enables us to understand what makes the architecture of the sacred bear the sacred in architecture.
A simples menção à arquitetura do sagrado induz a imaginar a concepção artística de um edifício-igreja. Essa postura decorre do fato de a análise dessa arquitetura ter, normalmente, como foco seus estilos, técnicas e materiais empregados e a consagração dos autores, portanto valores estéticos e econômicos. Na literatura, não há trabalhos destinados ao exame dos elementos construtivos e ornamentais dessa arquitetura como transmissores de significados religiosos, sua verdadeira e importante razão de existir. Neste estudo, seguindo outra direção, propôs-se a descobrir os elementos simbólicos, construtivos ou ornamentais, presentes no espaço arquitetônico como ambiente, externo ou interno, natural ou construído e capazes de gerar no indivíduo interferências em seu viver da experiência religiosa. Com ele, pretende-se proceder à análise da forma na arte e arquitetura sagradas como potencializadora da função de propiciar o encontro com o Sagrado. A apreensão do objeto de estudo efetivou-se com a pesquisa de campo, o registro por meio de fotografias, observações no local e anotações de campo. Como universo de investigação, foi delimitado o Brasil e o foco de análise, de forma particular, os períodos Colônia e Império, do século XVI ao século XIX, e os estilos de arquitetura e arte ocorridos nesses momentos, ou seja: o Chão, o Barroco e o Rococó. Este trabalho é composto de cinco capítulos. O primeiro versa sobre a vida social, a simbologia e a arquitetura sagrada. Na seção intitulada Vida Social e Místico-Religiosa , faz-se uma pequena incursão à pré-história brasileira, a Portugal e ao Brasil no período da colonização portuguesa. A seguir, realiza-se uma análise geral de símbolos e particularizam-se os mais recorrentes. O capítulo é finalizado com um pequeno apanhado da arquitetura sagrada geral, assim como das arquiteturas Chã, Barroca e Rococó, e suas particularidades em Minas Gerais e Pernambuco. No segundo capítulo analisam-se a arquitetura e simbologia de três igrejas chãs pernambucanas. No terceiro, quarto e quinto capítulos são examinadas a arquitetura e a simbologia em uma igreja mineira e em uma pernambucana, respectivamente nos estilos Barroco da primeira fase, Barroco da segunda fase e Rococó. Como encerramento, buscou-se mostrar que com o conhecimento dos símbolos presentes nas igrejas, é possível compreender aquilo que faz a arquitetura do sagrado guardar em si o sagrado da arquitetura.
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Maddipudi, Koushik. « Efficient Architectures for Retrieving Mixed Data with Rest Architecture Style and HTML5 Support ». TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1251.
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Software as a service is an emerging but important aspect of the web. WebServices play a vital role in providing it. Web Services are commonly provided in one of two architectural styles: a "REpresentational State Transfer" (REST), or using the "Simple Object Access Protocol" (SOAP.) Originally most web content was text and small images. But more recent services involve complex data structures including text, images, audio, and video. The task of optimizing data to provide delivery of these structures is a complex one, involving both theoretical and practical aspects. In this thesis work, I have considered two architectures developed in the REST architectural style and tested them on mixes of data types (plain text, image, audio) being retrieved from a file system or database. The payload which carries the actual content of a data transmission process can either be in Extensible Markup Language (XML) or JavaScript Object Notation (JSON). Both of these language notations are widely used. The two architectures used in this thesis work are titled as Scenario 1 and Scenario 2. Scenario 1 proposes two different cases for storing, retrieving and presenting the data via a REST web service. We investigate the question of what is the best way to provide different data types (image, audio) via REST Web Service. Payload size for JSON and XML are compared. Scenario 2 proposes an enhanced and optimized architecture which is derived from the pros of the first two cases in Scenario 1. The proposed architecture is best suited for retrieving and serving non-homogeneous data as a service in a homogenous environment. This thesis is composed of theoretical and practical parts. The theory part contains the design and principles of REST architecture. The practical part has a Web Service provider and consumer model developed in Java. The practical part is developed using the Spring MVC framework and Apache CXF, which provides an implementation using JAX-RS, the Java API for RESTful services. A glossary of acronyms used in this thesis appears in the appendix on page 101.
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Craveiro, Maria de Lurdes dos Anjos. « Diogo de Castilho e a arquitectura da Renascença em Coimbra ». Master's thesis, Instituições portuguesas -- UC-Universidade de Coimbra -- -Faculdade de Letras -- -Instituto de História de Arte, 1990. http://dited.bn.pt:80/29770.
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Miller, Christopher Lee. « Architecture and Hospitality ». Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103820.
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Architecture and hospitality go hand in hand. This thesis is a study of an architecture of hospitality that is informed by both site, culture, and climate conditions as well as cultural changes in the hospitality industry under the new conditions brought on by the Covid-19 pandemic.Master of Architecture
The term "hospitality" usually is considering a place to sleep, eat, or enjoy oneself (Disney), but architects look at the term differently. We want to make something that is inviting and pleasing for the users. This thesis looks at what makes something hospitable.
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Díez, Blanco María Teresa. « El espacio a partir del plano : el neoplasticismo en la arquitectura contemporánea ». Doctoral thesis, Universitat Politècnica de Catalunya, 2022. http://hdl.handle.net/10803/673616.
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The Dutch De Stijl group was born at a time of common interest among avant-garde artists and architects of the first half of the 20th century in the purification of the means of expression, based until then on a tradition of imitation: of natural forms in art and ancient styles in architecture. The Neo-Plasticists, however, went beyond a simple formal renovation to generate a new spatial concept, thanks to the influence exerted by the painter Piet Mondrian on the other members of the group. Mondrian conceived painting based on asymmetrical combinations of mutually neutralising planes, something he extended to his idea of architecture. Another significant influence on this paradigm shift was the work of the American architect Frank Lloyd Wright, also based on breaking down the massive, unitary envelope of the traditional dwelling. In this way, the plane was established as the minimum architecture unit, thus achieving continuity and fluidity between spaces, both interior and exterior. This concept, already present in traditional Japanese architecture, continued beyond the Neoplastic movement, leaving a considerable mark on great masters such as Le Corbusier and Mies van der Rohe.
Similarly, in the early 1930s, what had been for centuries the traditional solidity and compactness of architecture gave way to a radical change through a 'dematerialised' conception of it. Volume was defined by the sum of independent planes, transparencies, and open corners. Thus, the formal vocabulary of De Stijl became integrated into the International Style, closing that way the circle in its desire to be a universal style.
The main objective of this doctoral thesis is, therefore, to analyse the influence of the De Stijl group in architecture, from today's point of view, based on three key concepts for the Dutch movement: colour (i.e. the application and meaning of colour in neoplastic architecture), space (in terms of the generation of a new spatial conception) and style, which gave the group its name (De Stijl means "The Style" in Dutch), intending to assess the survival of some neoplastic trait or vestige in contemporary architecture. Thus, we find the work of the Finnish architect Juha Leiviskä, generated from compositions of orthogonal planes that delimit areas and which in turn are blurred through the use of natural light, as well as several designs by the architect Steven Holl, also based on a reading of space starting from planes and the application of colour as an architectural resource. All this makes it possible to establish analogies with Neoplasticism, thus reflecting a symbiosis of ideas, of which Rafael Moneo's Museum of Roman Art in Mérida is also an example. Therefore, the main conclusion to be drawn is that De Stijl's architectural proposals are still valid today, albeit as formal references, as they are applied outside the meaning and theoretical content they had for this avant-garde movement. To this end, a comparative case study has been carried out, based on the analysis of the architectures –starting from shared spatial concepts- and complemented with the writings and statements of their main actors.El grupo holandés De Stijl nació en un momento de interés común entre los artistas y arquitectos de vanguardia de la primera mitad del siglo XX por la depuración de los medios de expresión, basados hasta entonces en una tradición imitativa: de las formas naturales, en el arte y de los estilos antiguos, en arquitectura. Los neoplasticistas, sin embargo, fueron más allá de una simple renovación formal, llegando a generar un nuevo concepto espacial, gracias a la influencia que ejerció el pintor Piet Mondrian sobre el resto de componentes del grupo. Mondrian concebía la pintura en base a combinaciones asimétricas de planos que se neutralizan mutuamente, cosa que hizo extensible a su idea de arquitectura. Otra influencia primordial en este cambio de paradigma fue la obra del arquitecto americano Frank Lloyd Wright, basada igualmente en romper la envolvente maciza y unitaria de la vivienda tradicional. De este modo, quedó establecido el plano como unidad mínima de la arquitectura, consiguiendo así continuidad y fluidez entre espacios, tanto interiores como exteriores. Esta concepción, presente ya en la arquitectura tradicional japonesa, continuó más allá del movimiento neoplástico, dejando una considerable impronta en grandes maestros como Le Corbusier o Mies van der Rohe. De igual manera, a principios de los años treinta, la que había sido durante siglos tradicional solidez y compacidad de la arquitectura dio paso a un cambio radical, mediante una concepción "desmaterializada" de la misma, en la que el volumen quedaba definido a partir de la suma de planos independientes, transparencias y esquinas abiertas. Así, el vocabulario formal de De Stijl pasó a quedar integrado en el Movimiento Moderno -también conocido como International Style- cerrando con ello el círculo en su deseo de ser un estilo universal. El objetivo fundamental de la presente tesis doctoral es, por tanto, el análisis de la influencia del grupo De Stijl en arquitectura, desde el punto de vista actual, en base a tres conceptos clave para el movimiento holandés: el color (es decir, la aplicación y significado del color en la arquitectura neoplástica), el espacio (en cuanto a la generación de una nueva concepción espacial) y el estilo, que dio nombre al grupo (De Stijl significa "El Estilo" en neerlandés), con la finalidad de valorar la pervivencia de algún rasgo o vestigio neoplástico en la arquitectura contemporánea. De este modo, encontramos la obra del finlandés Juha Leiviskä, generada a partir de composiciones de planos ortogonales que van delimitando ámbitos y que a su vez se difuminan por medio del uso de la luz natural, así como varios diseños del arquitecto Steven Holl, basados igualmente en una lectura del espacio en base a planos y en la aplicación del color como recurso arquitectónico. Todo ello permite establecer analogías con el Neoplasticismo, reflejando con ello una simbiosis de ideas, de la que también es ejemplo el Museo de Arte Romano de Mérida, de Rafael Moneo. Por tanto, la conclusión principal que se extrae es que las propuestas arquitectónicas de De Stijl siguen vigentes hoy en día, aunque como referencias formales, al ser aplicadas al margen del significado y contenido teórico que tenían para este movimiento de vanguardia. Para ello, se ha llevado a cabo un estudio comparado de casos, fundamentado en el análisis de las arquitecturas -a partir de conceptos espaciales compartidos- y complementado con los escritos y declaraciones de sus principales protagonistas.
Patrimoni arquitectònic, civil, urbanístic i rehabilitació de construccions existents
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Maisian, Jordana. « Le dispositif architectural comme objet technique concret, modes d'existence, manières de faire : l'art de la transposition à l'orée du XXème siècle ». Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST1147.
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L'objectif de cette étude est de mettre en lumière, chez certains architectes, l'existence d'un type inédit de relation au passé, autorisant un type inédit de lecture de l'Histoire. Benjamin écrit: certains transmettent les choses en les rendant intangibles et en les conservant ; d'autres transmettent les situations en les rendant maniables et en les liquidant. Ce sont ces derniers que l'on appelle les destructeurs. Ainsi, nombre d'œuvres modernes à l'apparence austère ne résulteraient-elles pas d'un long processus de transformation jalonné de disparitions successives ? Je ferai l'hypothèse que certains architectes -dont Le Corbusier- s'insèrent dans ce paradoxe en mettant au point des techniques de projet qui ne relèvent ni d'une dialectique continuité-rupture, ni d'un travail sur la référence : j'appellerai transposition le travail consistant à se greffer sur la genèse d'un dispositif architectural pour l'accélérer, par l'actualisation exhaustive de ses modes d'existence. Car si Jeanneret se détache de la culture de son époque dès le Voyage d'Orient, c'est parce qu'il ne prend pas le dispositif architectural pour une entité inerte, extrapolable à souhait : il y reconnaît, au contraire, un objet technique susceptible de produire des effets à la manière d'une machine à perceptions. Son attitude consisterait dès lors à visiter la tradition, non pour extraire des références à usage projectuel, mais un savoir sur le pouvoir que possèdent certains objets de produire des effets. J'explorerai comment il met en place des techniques de projet, véritables manières de faire consistant à intervenir sur des types architecturaux consacrés pour produire des objets techniques concretsThe goal of the thesis is to bring out, in several architects, the existence of a different kind of relationship with the past, which authorizes a new kind of reading of history. Benjamin wrote: “some people transmit things by making them intangible and conserving them; other people transmit situations by making them handy and liquidating them. Last are those that are called destructives. In this way, several modern works, austere in appearance, could they not result from a long transformation process punctuated by successive disappearances ? My hypothesis is that some architects, such as Le Corbusier, choose to insert themselves in that paradox, producing project techniques which do not come under dialectics between continuity and interruption, nor under reference work: I will call transposition the work that consists in graft on the genesis of an architectural device to accelerate it by the exhaustive actualization of his modes of existence. If Jeanneret detaches from the culture of his time onwards since the Orient Trip it is because he does not consider the architectural device as an inert entity which can be extrapolated. He recognizes in it a technical object capable of producing effects as a perception machine. His attitude consists therefore in visiting tradition, not to extract references, but as knowledge about the power that some objects have to produce effects. I will explore how he invents project techniques which are real ways of doing, consisting on intervening on, established, architectural types to produce concrete, technical objects
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Hassan, Adel. « Style and Meta-Style : another Way to Reuse Software Architecture Evolution ». Thesis, Nantes, 2018. http://www.theses.fr/2018NANT4041/document.
Texte intégralRésumé :
Au cours des dernières années, la taille et la complexité des systèmes logiciels ont considérablement augmenté, rendant le processus d'évolution plus complexe et consommant ainsi beaucoup de ressources. C’est pourquoi, l'architecture logicielle est devenue l'un des éléments les plus importants dans la planification et la mise en oeuvre du processus d'évolution. Cette abstraction permet une meilleure compréhension des décisions de conception prises précédemment et un bon moyen d'explorer, d'analyser et de comparer des scénarii alternatifs de l'évolution. Fort de constat, nous avons introduit une approche de styles d'évolution afin de capitaliser les pratiques d'évolution récurrentes dans un domaine particulier et de favoriser leur réutilisation. Dans cette thèse, nous préconisons en spécifiant un cadre de modélisation standard conforme à différents styles d'évolution et pouvant satisfaire les préoccupations de différentes équipes impliquées dans un processus d'évolution. Afin de relever les défis de la réutilisation de l’évolution de l'architecture logicielle, nous nous fixons comme objectif: D'abord, d'introduire un style de méta-évolution qui spécifie les éléments conceptuels de base nécessaires à la modélisation de l'évolution; ensuite, de décrire une nouvelle méthodologie pour développer un style d'évolution selon plusieurs vues et plusieurs abstractions. Cette approche multi-vues/multi-abstractions permet de réduire la complexité du modèle de processus d'évolution en décomposant un style d'évolution en plusieurs vues et abstractions pertinentes. Enfin, pour la validité et la faisabilité de notre approche, nous avons développé un prototype basé sur la plateforme de méta-modélisation ADOxxOver the last years, the size and complexity of software systems has been dramatically increased, making the evolution process more complex and consuming a great deal of resources. Consequently, software architecture is becoming an important artifact in planning and carrying out the evolution process. It can provide an overall structural view of the system without undue focus on low-level details. This view can provide a deep understanding of previous design decisions and a means of analysing and comparing alternative evolution scenarios. Therefore, software architecture evolution has gained significant importance in developing methods, techniques and tools that can help architects to plan evolution. To this end, an evolution styles approach has been introduced with the aim of capitalising on the recurrent evolution practices and of fostering their reuse In this thesis, we endeavour to tackle the challenges in software architecture evolution reuse by specifying a standard modeling framework that can conform to different evolution styles and satisfy the concerns of the different stakeholder groups. The primary contribution of this thesis is twofold. First, it introduces a meta-evolution style which specifies the core conceptual elements for software architecture evolution modeling. Second, it introduces a new methodology to develop a multi-view & multi-abstraction evolution style in order to reduce the complexity of the evolution model by breaking down an evolution style into several views, each of which covers a relevant set of aspects. The central ideas are embodied in a prototype tool in order to validate the applicability and feasibility of the proposed approaches
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Demange, Camille. « Le développement de l'architecture gothique à Saint-Georges de Sélestat au XIIIe siècle : une démonstration du pouvoir municipal ? » Thesis, Strasbourg, 2020. http://www.theses.fr/2020STRAG041.
Texte intégralRésumé :
Sélestat est d’abord un prieuré sous la tutelle de moines venus de Conques, qui y disposent d’une église dédiée à Sainte-Foy. La localité se dote d’une magistrature partagée entre l’Empereur et le prieuré en 1217, date du début de la construction de la nouvelle église paroissiale Saint-Georges. Tandis que les parties orientales sont inspirées par les solutions nouvelles du choeur de la cathédrale de Toul et des églises gothiques de la Bourgogne, la nef se caractérise par un retournement de projet dont l’enjeu est de trouver un équilibre entre les traditions de construction romanes et les recherches de l’architecture gothique. Ce projet découle de la rivalité entretenue tout au long du Moyen Âge par les clergés de ces deux églisesSélestat is at first a priory under the tutelage of monks from Conques, who have a church dedicated to Sainte-Foy. The political structure of the locality is changed when it gets equipped with a judiciary shared between the Emperor and the priory in 1217. Shortly after this date, the construction of the new parish church Saint-Georges. Due to a lot of written evidences, the rivalry between the clergies of the two churches throughout the Middle Ages is well informed. The eastern parts of Saint-Georges reuses the new solutions from the cathedral of Toul (near Nancy) and of the churches from burgundy, whereas the nave is characterized by a Romanesque inspiration involved in a understated recovery of the Gothic
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Пономаренко, Олена. « Bionics Style in Architecture and Interior Design ». Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7343.
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Chablo, D. « University architecture in Britain 1950-1975 ». Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384022.
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Sanders, Suzanne Lee. « Architectural Style on St Eustatius ». W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539624370.
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Chigani, Amine. « Guiding Network-Centrtic Architectural Design : a Style-Based Approach ». Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/36451.
Texte intégralRésumé :
With the advance of reliable network technology, software development has progressed from traditional, platform-centric software construction to network-centric software evolution. An evidence of this change is largely reflected in the technologies that are supporting the emerging theory of Network-Centric Operations (NCO). Amongst these technologies is software architecture as a software engineering sub-discipline. Although the concepts of network centricity are widely recognized within the software and system engineering communities, no unified characterization of network-centric software systems is unanimously adopted. The state-of-the-practice is characterized by differing interpretations about how we should design and implement this class of systems. In this research, our focus is twofold: 1) Providing a characterization framework to reason about network-centric software systems and 2) introducing one solution approach to designing this class of system based on a new architectural style, the network-centric architectural style. In so doing, we set the stage for the software architecture community to analyze the â fitness of useâ of current architectural styles and architecture design practices within this new network-centric paradigm. In addition, we set the stage for our continued research that will address further software engineering challenges pertinent to network-centric software systems, which include capability-based requirements engineering and quality attributes-based design.Master of Science
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Bravo, Carrión Sebastian. « Museo de Arte Contemporáneo en el Centro Histórico de Lima ». Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656625.
Texte intégralRésumé :
Un Museo de Arte Contemporáneo es aquel que ofrece colecciones de pintura, escultura, dibujos, grabados; conocidos como bellas artes; y también nuevas técnicas como la instalación, el performance, el video art, la fotografía o el arte sonoro; que en conjunto se llaman artes visuales.
En el Perú existen 6 museos que difunden el arte contemporáneo, siendo todos de administración privada y el principal representante en Lima el MAC, ubicado en el distrito de Barranco. Sin embargo, dicha institución no tiene un alcance metropolitano debido a su ubicación foránea. A esto se le añade que está en un terreno concedido por 30 años por parte de la municipalidad distrital a cambio de su futura administración y que su colección se basa en donaciones privadas o préstamos por parte del Ministerio de Cultura. Esto nos refleja la ausencia que tiene el estado peruano con respecto al arte contemporáneo siendo el Perú uno de los países con mayor riqueza cultural en el mundo.
El proyecto se desarrolla en el Centro Histórico de Lima, donde se encuentra el 50% de todos los museos de la capital convirtiendo a la zona en un gran foco cultural. El museo se sitúa en un entorno urbano importante donde convergen edificios de diferentes estilos arquitectónicos correspondientes a distintas épocas y busca sumarse a ellos a través de una arquitectura contemporánea que responda a las características del lugar integrando alineamientos, alturas, formas, ritmos y materiales; ya que a pesar de la peculiaridad de cada edificio logran entenderse en conjunto.A Museum of Contemporary Art is one that offers collections of painting, sculpture, drawings, and engravings; known as fine arts; and also new techniques such as installation, performance, video art, photography or sound art; which together are called visual arts. In Peru, there are six museums that spread contemporary art, all of which are private managed and the main representative in Lima is the MAC, located in the district of Barranco. However, this institution does not have a metropolitan scope due to its remote location. To this is added that the district municipality in exchange for its future administration on land grants it for 30 years and that its collection is based on private donations or loans from the Ministry of Culture. This reflects the absence of the Peruvian state with respect to contemporary art, Peru being one of the countries with the greatest cultural wealth in the world. The project takes place in the Historic Center of Lima, where 50% of all the museums in the capital are located, making the area a great cultural focus. The museum is located in an important urban environment where buildings of different architectural styles corresponding to different periods converge and seeks to join them through contemporary architecture that responds to the characteristics of the place by integrating alignments, heights, shapes, rhythms and materials; since despite the peculiarity of each building they manage to understand each other together.
Tesis