Siga este link para ver outros tipos de publicações sobre o tema: Water gardens in art.
Teses / dissertações sobre o tema "Water gardens in art"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Water gardens in art".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja as teses / dissertações das mais diversas áreas científicas e compile uma bibliografia correta.
1
Salehi, Mana. "El agua y las simbologías del jardín en el arte contemporáneo". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/404325.
Texto completo da fonteResumo:
He desarrollado una investigación doctoral intentando descubrir la influencia del agua y las simbologías del jardín en el arte contemporáneo, tomando como base mi propia práctica artística, asentada en una serie de proyectos visuales de carácter multimedia, cuyo objeto principal trata la relación entre, el agua y el cuerpo, el agua y el paisaje emocional, el agua y los jardines. Las creaciones y propuestas artísticas que componen este proyecto de investigación se centran en la reflexión sobre las ideas de “la nada” como resorte de creación y recreación y “la energía del vacío” como energía de ausencia, enmarcadas ambas en el contexto de “aparecer y desaparecer” que se da en diversos ámbitos. Esta investigación, propone un estudio teórico y práctico, para crear un marco multidisciplinar que englobe nanotecnología, ciencia, filosofía y arte, con el fin de indagar la subjetividad de un nuevo modo de pensar y de ser en la relación de la temporalidad y la espacialidad implícita en los proyectos artísticos.
Esta investigación me llevó al estudio de la teoría de la estética cuántica de Max Planck (1899), el concepto de experiencia pura de Nishida Kitaro (1892-1927), la mecánica de los fluidos, las teorías bachelardianas sobre la materia y el espacio (1934), el pensamiento de Heidegger sobre el ser y el sentido del ser (1962), el concepto de mirada liquida hacia la existencia de un Arte líquido o Modernidad liquida de Zygmunt Bauman (1970), El jardín como arte de Javier Maderuelo (1997) y su reflexión sobre el arte y la naturaleza, y el concepto Mui Shizen del taoísmo por Akiko Tsukamoto (2007). También investigué autores filosófico-místicos sobre los conocimientos de la existencia de sufismo de Ibn Arabi XII y del taoísmo representado por Lao-Tse y Zhuangzi alrededor del siglo VI a. C. Además he revisado paralelamente las obras de artistas occidentales, japoneses e iraníes relacionados de alguna manera con el agua y las simbologías del jardín en el arte contemporáneo. A lo largo de este estudio, la presencia del agua como materia constituye la base de la creación y la recreación, con características de transparencia, suavidad y transitoriedad. En esta exploración, he buscado el potencial del agua en las diferentes culturas para vincular el territorio del paisaje exterior con del paisaje emocional que descubrimos a través de nuestro cuerpo. Para desarrollar y experimentar este tema he organizado tres estancias de investigación y he creado tres proyectos artísticos en Estados Unidos, Irán y Japón.
La motivación para crear experiencias en este estudio es la de contribuir al desarrollo de una conciencia colectiva aportando creaciones e ideas artísticas que favorezcan una equilibrada relación entre naturaleza y vida urbana entendiendo esta como artificial. He experimentado que el arte nos permite una vía de exploración de la espiritualidad contemporánea que posibilita el florecimiento de una sensibilidad personal con del mundo actual. De esta forma, mi objetivo es ofrecer una visión en la que se relacione el arte contemporáneo, la naturaleza y la ciencia para explorar nuevas maneras de integrar las tecnologías más avanzadas con el patrimonio y las tradiciones culturales, dirigiéndonos hacia la aldea global.This doctoral research aims to reveal the influence of water and garden symbology in contemporary art. It is based on my own artistic practice consisting of a series of visual multimedia projects, whose main focus is the relationship between water and the body, water and emotional landscape and water and gardens. The works and artistic proposals that make up this research project reflect upon ideas of "nothingness" as a source of creation and recreation, and upon "energy of empty space" as energy of absence. Both of these concepts are framed as "appearances and disappearances" occurring in a number of different areas. This research proposes a theoretical and practical study for the creation of a multidisciplinary framework which encompasses nanotechnology, science, philosophy and art, in order to investigate the subjectivity of a new way of thinking and being in relation to implicit temporality and spatiality in artistic projects. This research led me to examine Max Planck's theory of quantum aesthetics (1899), Nishida Kitaro´s concept of pure experience (1892-1927), the mechanics of fluids, Bachelard´s theories on matter and space (1934), Heidegger's thinking on being and the sense of being (1962), Zygmunt Bauman’s concept of liquid gaze in his Liquid Art or Liquid Modernity (1970), Javier Maderuelo’s reflections on art and nature in The Garden as Art (1997), and Akiko Tsukamoto’s Mui Shizen concept of Taoism (2007). I also investigated the writings of mystical-philosophical scholars concerning the Sufism of Ibn Arabi XII and the Taoism of Lao-Tse Zhuangzi, 6th century BC. In parallel, I reviewed the works of Western, Japanese and Iranian artists that are related in some way to water and garden symbology in contemporary art. Throughout this study, the presence of water as matter constitutes the basis of creation and recreation, with characteristics of transparency, smoothness and transience. In this exploration, I have sought the potential of water in different cultures to link the territory of the outer landscape with the emotional landscape that we discover through our bodies. I organized three research stays and created three artistic projects in the United States, Iran and Japan in order to develop and understand this subject matter. The motivation for the creation of experiences in this study is to contribute to the development of a collective consciousness by providing artistic works and ideas that favour a balanced relationship between nature and urban life, the latter understood as artificial. I have found that art consents the exploration of contemporary spirituality, allowing for the blossoming of a personal sensitivity in relation to the contemporary world. My goal is to offer a vision that connects contemporary art, nature and science for the exploration of new ways of integrating the most advanced technologies with heritage and cultural traditions, to lead us towards the global village.
2
Grant, Laura Jane. "Pleasure Gardens". Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/73680.
Texto completo da fonteResumo:
This thesis is comprised of a series of paintings that study historical representations of styles, forms and symbols found in gardens. It is less a research project into the history, meaning, and rules of these different gardens throughout time and more of an appreciation, appropriation and reinvention in fantastical form. There is no attempt in these paintings to represent objects or things that exist in the physical world, but instead a desire to create a new fantasy world. The image of ‘garden as paradise’ has been part of our human mythos for a very long time. The image of ‘garden of eden’ appears in the old testament of the Bible. There was a similar early image of ‘garden as paradise’ in Zoroastrian beliefs in ancient ‘Persia’.Master of Architecture
3
Monshizade, Arezou. "L'eau, comme élément d'ambiance : le jardin persan, entre rareté et abondance". Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENH036.
Texto completo da fonteResumo:
L'eau anime un paysage particulier par ses qualités physiques et aussi par la vie et l'activité qu'elle apporte, où qu'elle se trouve, mais l'homme peut être confronté à un contexte de rareté ou d'abondance de cet élément fondamental selon les régions du monde. L'eau, pour ses qualités esthétiques et environnementales, est perçue comme une ressource précieuse. Par la relation perceptive, significative et symbolique qu'elle crée avec l'homme, elle inspire les concepteurs et les architectes qui se nourrissent de cette relation pour imaginer différents espaces ou monuments où le liquide et le solide s'allient ou se fondent. Avec les développements de la science moderne et la notion d'environnement durable, l'eau a été transformée en « H2O » comme une matière à consommer qui tendrait à perdre ses capacités sensibles. D'autre part, les menaces qui planent sur cette ressource du fait qu'elle devient rare, en font un enjeu majeur du futur. C'est pourquoi les éléments « naturels » comme l'eau méritent une attention particulière : ils constituent à la fois des facteurs constitutifs d'une ambiance et des domaines fondamentaux de gestion environnementale se rapportant à des problèmes écologiques de première importance. En ce sens, notre recherche vise à articuler une écologie des environnements physiques et naturels à une esthétique des ambiances architecturales et urbaines. Il en va ici du rapport entre le matériel et l'immatériel, question particulièrement importante dans le cadre d'une théorie des ambiances. Tenant compte de cette problématique de recherche, nous avons choisi le jardin persan, à l'origine « paradeiza » (paradis), pour étudier les relations sensibles à une ressource dans un contexte où elle est rare. Bien que ces « paradis » soient situés en contexte désertique, l'eau y joue un rôle fondateur et omniprésent et elle est traitée sous différentes formes et dispositifs. Ainsi, malgré sa ¨rareté¨ dans les régions arides - notamment dans les deux jardins étudiés au centre de l'Iran -, l'eau se révèle alors comme élément construit de l'espace aussi bien qu'élément « formant » de l'ambiance. Nous nous posons la question plus précisément de savoir comment se forme l'ambiance visuelle, sonore, thermique et dynamique à partir d'une quantité minimale d'eau disponible en ces deux jardins. On se concentre plus précisément sur la dimension plurisensorielle de l'eau qui éveille et fait interagir nos sens en considérant principalement les rapports entre la proportion quantitative d'eau utilisée et la qualité de l'ambiance. L'objectif de ce travail est de dégager les principes et les dispositifs architecturaux utilisant l'eau comme élément d'ambiance, d'imaginaire, de structuration spatiale et de support d'usage dans l'aménagement des jardins à l'avenir. Les méthodes mises en œuvre pour évaluer l'impact de l'eau dans la perception de l'ambiance des jardins ont consisté, dans un premier temps en des enquêtes à partir de la mémoire sensible et basées sur les souvenirs et les récits d'une dizaine visiteurs. Cela nous permet d'énoncer une première interprétation sur la mémorisation des ambiances en référence à l'eau. Deuxièmement l'observation des espaces et usages in situ nous aide à repérer les dimensions objectivables de la présence de l'eau. Enfin, nous avons recueilli in situ des commentaires de perception en mouvement auprès d'une vingtaine de visiteurs qui expriment certains effets sensibles et pratiques de l'eau dans le milieu du jardinWhere water is found it animates a particular landscape by its physical qualities and also by the life and activities it brings forth, however man may be confronted with a context of both scarcity or abundance of this fundamental element in different regions of the world. Water is, for its aesthetic and environmental qualities, perceived as a valuable resource. Through the relation is has with man– perceptual, significant and symbolic – it inspires designers and architects who benefit from this relationship for imagining different spaces or monuments where the liquid and the solid combine or merge. With the developments of modern sciences and the notion of environmental sustainability, water has been turned into “H2O” as a material for use which tends to lose its sensory quality. On the other hand, the threats to this resource make it a major issue in the future. For that reason, "natural" elements such as water deserve special attention: they are both the constitutive elements of an ambience and also fundamental for environmental management in relation to environmental issues of primary concern. In this sense, our research aims at articulating an ecology of natural and physical environments for the aesthetics of architectural and urban ambiences. The research concerns the relationship between material and immaterial, questions of particular importance in the context of a theory of ambience. With respect to this problem of research, we have chosen the Persian garden, originally "paradeiza" (Paradise), to examine the sensory relationships of a resource in a context where it is scarce. Although these "paradises" are located in desert environment, water plays a fundamental and ubiquitous role and it is processed in different forms and devices. Thus, despite its “rarity” in arid regions – especially in the two gardens studied in central Iran – the water is revealed as an element for constructing the space as well as also an element “forming” the ambience. To be more specific, we ask about how visual, auditory, thermique, and dynamic ambiences are formed from a minimum amount of water available in these gardens. We focus on multisensory dimensions of water that awake and make our senses interact by considering mainly the quantitative relationship between the proportion of water used and the quality of the ambiance. The aim of this work is to identify the principles and architectural features using water as an element of ambiance, imagination, spatial structure and support of use in designing gardens in the future. The methods used to evaluate the impact of water on the perception of ambiance of the gardens consists of, in the first place, surveys concerning sensorial memory and based on the memories and narratives of the visitors. This allows us to formulate an initial interpretation of memories of ambiance in relation to water. Secondly, observations of spaces and uses in situ help us to identify the objective dimensions of the presence of water. Finally, we collect comments in situ of perception of motion with a score of visitors who expressed certain sensible effects and practical effects of the water in the gardens
4
Goldenetz, Jolie A. "Southwest Gardens: Matching Plants with Available Water Resources". Arizona-Nevada Academy of Science, 2007. http://hdl.handle.net/10150/296683.
Texto completo da fonte
5
Sellers, Catherine Clabby. "Botanical gardens the influence of Islam, arid lands, and water in the Middle East /". Thesis, The University of Arizona, 1988. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_e9791_1988_201_sip1_w.pdf&type=application/pdf.
Texto completo da fonte
6
Ansari, Shaghayegh Moalemzadeh. "An Investigation into Water Usage and Water Efficient Design for Persian Gardens". Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/595836.
Texto completo da fonteResumo:
Investigation and research into the Persian Gardens, leading this project into a step that these World Heritage Sites might have been known as sustainable construction, but the fact that water scarcity of their region is a serious threaten for all these amazing Gardens. Thus, enhancing and improving these gardens by merging, adding and adapting todays technologies can make them considered as constructions with water and energy conservation design. Based on nowadays world environment concerns, recognizing renewable and non-renewable sources of energies in a region or site can cause a miracle. Since, almost all Persian Gardens located in regions with arid and semi-arid climate, water poverty as a biggest issue and nonrenewable energy should be included as a problematic concern. There are many available active and passive strategies that can be applied in these heritage sites which decrease water consumption either directly or indirectly. Such as water harvesting, greywater reuse, photovoltaic panels and material changes. Water known as a vital element of each garden for irrigation purposes, but in Persian Garden water is more than a functional element. Thus, finding a way to provide and recycle water beside the underground sources is necessary. Subterranean, springs and wells are resources of water for Persian gardens which renew so slowly or non-renew these days. Being so close to a city with considerable population lunches and idea of using greywater for irrigation in these gardens. In this research, the doable options for energy conservation design for these sites will be discussed, then comparing some case studies in all over world where greywater reusing water system for irrigation is happening will be next step. In conclusion, greywater reusing system in urban scale in order to irrigate a filed or garden will be investigate on a Shazdeh Garden as a main case study of this research.
7
Kosmerl, Paul F. "Water Balance of Retrofit, Right-of-way Rain Gardens". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337347745.
Texto completo da fonte
8
Byrne, Joshua. "Mains Water Neutral Gardening: An integrated approach to water conservation in sustainable urban gardens". Thesis, Byrne, Joshua (2016) Mains Water Neutral Gardening: An integrated approach to water conservation in sustainable urban gardens. PhD thesis, Murdoch University, 2016. https://researchrepository.murdoch.edu.au/id/eprint/35055/.
Texto completo da fonteResumo:
The role of urban green space in contributing to the liveability of cities and towns is well recognised. Residential gardens make up a large portion of urban green space and how they are designed and managed will determine whether they contribute to environmental enhancement and human wellbeing, or become additional sources of resource depletion and pollution. This thesis demonstrates ways in which gardening can contribute to urban sustainability through thoughtful design and the clever management of water. Two new concepts are presented to achieve this objective: ‘Sustainable Urban Gardening’ and ‘Mains Water Neutral Gardening’.
Sustainable Urban Gardening (SUG) is a multi-criteria sustainability framework that promotes a series of goals, including Energy Efficiency; Organic Waste Recycling and Soil Management; Biodiversity and Habitat Restoration; Organic Pest and Disease Management; Local Food Production; Water Conservation; and Health and Wellbeing of Householders.
Mains Water Neutral Gardening (MWNG) is a site-responsive, integrated approach to water system design and management in residential gardens. It incorporates available lot-scale alternative water sources, such as greywater, rainwater and groundwater, with efficient irrigation practices and local environmental conditions to establish holistic water budgets that are capable of meeting garden water requirements as part of a water-sensitive landscape design.
Three residential case study gardens based on the SUG and MWNG concepts were designed, built and documented as part of this research, whilst also featuring extensively in Australian television and print media. Monitoring demonstrated a reduction in household mains water consumption of between 42% and 92% when compared to local averages whilst addressing the intended SUG goals. The findings show the potential for greywater, rainwater and sustainably managed groundwater to contribute to mains water savings as part of a well-considered landscape design and household, however the high cost of supply in comparison to mains water (on a dollar per kilolitre basis) presents a barrier to broader adoption. Nonetheless, novel methods that optimise these water sources are demonstrated, enabling increased household resilience whilst reducing demand on constrained mains water supplies.
9
Rude, Peter Heinz 1961. "Water management and crop selection for intensive gardens in arid regions". Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/192004.
Texto completo da fonteResumo:
Agricultural development projects in arid regions are hampered by lack of knowledge surrounding the efficient use of water and an understanding of the indigenous people. A method, using computer models, is presented for analyzing water management and selecting a crop mix for intensive gardens in arid regions. The crop mix is constrained by land and water availability and the nutritional requirements of a family. Model results indicate that an intensive garden grown during the entire year in Tucson, Arizona (annual precipitation of 285 mm), would require approximately 140 cm of water per unit area of land with an irrigation application efficiency of 73%. Results are based on irrigating the entire garden using the water requirement of the crop which has the highest demand for water since the previous irrigation. A table showing the nutritional content of five crops per unit of water applied during the growing season is presented.
10
Davis, Rachel H. "Changing social norms| California friendly gardens in Long Beach, CA". Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1604877.
Texto completo da fonteResumo:
The Lawn to Garden Program incentivizes replacing front yard turf grass with California Friendly gardens in Long Beach, CA. The Long Beach Water Department introduced the program in 2009 as a means of water conservation and since that time 2% of the City’s single-family homes have successfully completed the program. As of the end of 2014, 3,461 applications had been submitted, but only 1,849 Lawn to Garden projects had been completed, a success rate of 53% and withdrawal rate of 47%. This study seeks to identify some of the factors that contribute to the program’s high withdrawal rate, exploring the resources available to participants as well as the barriers to success. Methods used include geographic analysis in the form of density mapping, analysis of survey responses submitted by participants who withdrew from the program, and my professional observations. This study considers which neighborhoods display greater rates of success and withdrawn applications as well as what resources would have most aided those who did not complete their projects.
11
Gharipour, Mohammad. "Pavilion structure in Persianate gardens: reflections in the textual and visual media". Diss., Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/33831.
Texto completo da fonteResumo:
The pavilion structure has been an integral part of Persianate gardens since its earliest appearance at the Achaemenid garden in Pasargadae (sixth century BC). Despite its significance, the scholarly focus on the study of gardens has somewhat sidelined the study of the pavilions and even neglected the cultural context of the development of the pavilions. The pavilion as a theme appears after the maturation of the concept of paradise as a garden in Near Eastern mythological and religious texts. The Quran is the first known text that integrated the two concepts of pavilion and garden in the imaginary paradise. Later, Persian poetry defines specific relationships between human beings, pavilions, and gardens while stressing the psychological and material values of pavilions and gardens.
Three types of resources were consulted to reconstruct the image of pavilion: literary documents (including mythology and poetry), different types of art (ranging from painting to carpets), and historical accounts. Referring to these allows us to explore the diversity of the pavilion's image in each medium and its degree of correspondence to reality. This dissertation explores the diversity of the pavilion (tent, kiosk, or building), its spatial, formal, and functional relationship with gardens as a flexible entity, and its cultural use. The historical accounts discussed in this dissertation prove the existence of buildings in gardens, the common use of tents as temporary residences, gender specificity of pavilions, and the multi-functionality of gardens for encampments, administrative affairs, and pilgrimages.
The pavilion as building is well documented in both visual and literary media. While poetry draws a clear boundary between the garden and building as separate entities, painting merges or separates the building and garden (as courtyard or planted area) physically, formally, and symbolically. The building in poetry is usually associated with the materialistic world, whereas the garden is often associated with the ideal world. This is, to some extent, visible in paintings in which the geometrical design of the building and the courtyard acts as a reference to the material world. The frequent reference to iwan as a consistent design element in painting and travelers' accounts proves its significance as an intermediate space between inside and outside the pavilion as a building.
Tents in gardens appear less frequently in poetry and painting than they do in textual sources. On the other hand, historical documents rarely point to kiosks or semi-open spaces in gardens, whereas kiosks are widely developed in paintings. The examination of paintings also reveals formal and functional similarities between the throne and kiosk. The kiosk appears in close physical and visual contact with natural components of gardens, and even serves as a connector between the garden and building. The pavilion as a kiosk is, however, to a large extent absent in poetry and historical documents probably due to the dominant interest in buildings. This research proves the dominant cultural view on the functional flexibility of Persianate gardens between the 14th and 18th centuries in using pavilion structures varying in form, function, and scale.
12
Good, Joseph Francis. "Water quality treatment and hydraulic efficacy of laboratory and field rain gardens". Thesis, University of Canterbury. Department of Civil and Natural Resources Engineering, 2011. http://hdl.handle.net/10092/5895.
Texto completo da fonteResumo:
Urbanisation leads to increases in stormwater runoff, resulting in elevated contaminant (e.g. metal, sediment, and nutrient pollutant) loads, decreased local infiltration and greater peak flow intensities. Heavy metal contaminants of concern, primarily copper (Cu), lead (Pb), and zinc (Zn), originate from a variety of sources including wear-and-tear of vehicle parts, corrosion of alloy roofs, legacy petroleum contamination, and multifarious construction practices. Different technologies have been used to mitigate stormwater runoff, ranging from traditional drainage networks fitted with concrete proprietary devices (e.g. vortex sediment separators and filters) to more environmentally integrated sustainable solutions.
Rain gardens, a type of Sustainable Urban Drainage System (SUDS) or Water Sensitive Urban Design (WSUD), are employed to control stormwater peak flows and runoff volumes and simultaneously reduce contaminant loads to neighbouring waterways through biologically-active landscaped design. Despite increases in use of rain gardens as a best management practice (BMP) to treat urban stormwater runoff, there is a dearth of knowledge about their treatment and infiltration performance worldwide. It is believed that incorporating topsoil into rain garden design is likely to improve contaminant removal efficiencies (Davis et al. 2001; ARC 2003; Fletcher et al. 2004; Carpenter and Hallam 2010), but design recommendations are not informed by performance data which is limiting. Performance data is necessary for understanding the long-term responses of bioinfiltrative treatment systems and for modelling efforts aiming to predict their mitigation behaviour (Fletcher et al. 2004).
In order to evaluate the influence of substrate composition on stormwater treatment and hydraulic effectiveness in rain gardens, mesocosm-scale (180 L, 0.17 m2) laboratory systems were established. Saturated (constant-head) hydraulic conductivity was determined before and after contaminant (Cu, Zn, Pb and nutrients) removal experiments on three rain garden systems comprising various proportions of organic topsoil. Raw stormwater runoff from a neighbouring Christchurch city catchment was collected, characterised, and applied in the removal efficiency experiments. The system with only topsoil had the lowest saturated hydraulic conductivity (160 mm/hr initial to 164 mm/hr final) and poorest metal (Cu, Zn) removal efficiency (Cu 0.3%, Zn 60.5% and Pb 89.5%) at a ‘standard’ contaminant loading rate (Cu = 5.99 ± 0.73 µg/min, Zn = 57.89 ± 6.06 µg/min, Pb = 13.65 ± 2.80 µg/min). The sand-only system demonstrated good metal removal (Cu 56.4%, Zn 73.5%, and Pb 81.6%) with hydraulic conductivity (up to 805 mm/hr) adequate for practical implementation (i.e. greater than the 13 mm/hr minimum requirement (ARC 2003; MDE 2009; SFPUC 2009)). Overall, total metal amounts in the effluent were <50% of influent loads for all experiments, with the exception of Cu in the topsoil-only system, whose removal was negligible (0.3%). Greater metal removal was observed when effluent pH was elevated (up to pH 7.38). The pH increase (from an initial pH of 6.23 in raw stormwater) was provided by the calcareous sand, whereas the topsoil-only system lacked an alkaline source. Consequently, organic topsoil had poorer contaminant removal due to higher dissolved metal fractions, which are more difficult to immobilise at the lower pH. The relationship between pH and dissolved fraction was highly significant (Pearson’s Correlation, p < 0.0001, df = 74) for Cu, Zn, and Pb.
Mesocosm-scale systems were then re-established with a calcareous substrate supplement to quantify the effects of pH augmentation on contaminant removal and hydraulic efficiencies. Mussel shells, a waste product from the shell-fish industry, were employed in two different volumetric proportions. Metal removal efficiency was increased in systems with mussel shells (Cu up to 46.6%, Zn up to 80.2%, Pb up to 88.7%) compared to the topsoil-only system (Cu 27.5%, Zn 55.5%, Pb 81.0%). Larger increases in removal efficiency were seen for Cu and Zn because increases in pH from mussel shell enhanced particulate fractions, which are easier to remove in filtration systems, while Pb is mainly in the particulate form at influent pH (Morrison et al. 1990). Effluent from systems with mussel shells also had higher hardness (hardness up to 101.7 mg/L as CaCO3) compared with 22.4 mg/L as CaCO3 in topsoil-only effluent. Hardness reduces metal ecotoxicity (Hyne et al. 2005). Results of these experiments show that mussel shells are a promising rain garden substrate capable of increasing metal removal efficiency and also decreasing metal ecotoxicity in effluent of bioinfiltration systems.
Concurrently, an operational field-scale “rain garden” (42 m3; 60 m2) in Christchurch was monitored for hydraulic throughput and contaminant removal. The field system performed extremely well at mitigating peak flows, detaining water throughout storm events and removing total suspended solids (TSS) (90.6% average removal). However, the system failed to reduce effluent median total metal concentrations (Cu = 15.9 µg/L, Zn = 139.6 µg/L, Pb = 11.7 µg/L) below relevant ANZECC guidelines (Cu = 1.8 µg/L, Zn = 15.0 µg/L, Pb = 5.6 µg/L) highlighting the opportunity to optimise these field designs to improve metal removal.
13
Ramlo, Lydia Daphne. "The Effectiveness of Rain Gardens in regard to Water Management & Infiltration". Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1588177770421048.
Texto completo da fonte
14
Eger, Caitlin Genet. "Nutrient Retention in Roadside Retrofit Rain Gardens". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343837490.
Texto completo da fonte
15
Garman, Keli L. "The Art of Designing a Meaningful Landscape through Storytelling". Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32181.
Texto completo da fonteResumo:
Meaning in the landscape is a concept that is receiving attention from many landscape architects asking the questions: how is meaning found in the landscape, or what makes a landscape meaningful? While there are many design processes that incorporate meaning into the design, it is the art of storytelling that the thesis investigates. The research for the thesis and a comparison analysis is performed on three texts, which explore meaning in the landscape. The three texts are Marc Treibâ s â Must Landscapes Mean?â ; Matthew Potteiger and Jamie Purintonâ s Landscape Narratives, and Mark Francis and Randolph T. Hester, Jr.â s The Meaning of Gardens: Idea, Place, and Action. Applying these approaches to case studies has resulted in the finding of common ideas between the three texts. The commonalities led to my position that storytelling can be used as an approach to design, and that landscapes designed as a story narrative can be meaningful. The design project investigated the strength of the position on a site in the West Potomac Park in Washington DC. The story for the project is a Japanese folktale that communicates the culture of Japan. The project is a case study that explores if the set of design principles within the storytelling approach can invest meaning into a landscape.Master of Landscape Architecture
16
Du, Toit Victoria. "Mastering myths and wandering wallflowers : botanical illustrations, gardens and the "mastery of nature"". Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2990.
Texto completo da fonteResumo:
Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009 .This thesis investigates the historical roots of botanical illustration. It argues that far from being simply scientific representations of plants and flowers, empty of artistic comment and only accompaniments to a scientific text, botanical illustrations assisted in presenting plants brought to Europe from the colonies, in ways that influenced the easy assimilation and appropriation of these plants into European culture. The "mastery of nature", which implies an attitude of dominance by humans over nature, is discussed as symptomatic of the European colonial period. European acts and attitudes of dominance are manifest in scientific approaches toward botany, botanical illustrations and gardens. This thesis proposes that attitudes of dominance have resulted in humans being spiritually and physically separated from nature. This thesis proposes that associations of botany, flowers and botanical illustrations with the feminine have assisted in human domination over nature. In much the same way as female is dominated by male, in a human sense, so plants and flowers were pictured as feminine − replete with feminine associations of subservience, weakness and vulnerability − making a human domination of the plant world possible. The artworks produced in conjunction with this thesis, for the degree Master of Philosophy (Illustration), aim to promote a sense of human attachment to and identification with the plants painted, in opposition to the separateness from nature that is promoted by the "mastery of nature". While traditional botanical illustration, in service to modern science, promoted the supremacy of vision as a way of knowing nature, the artworks draw attention to the unseen issues around plants and the human spiritual connections with them. This thesis proposes that, in a contemporary context characterized by an environmental crisis, there is a new role to be played by botanical illustration: it is felt that botanical illustrations should emphasize human connections with the plant world, thus alerting humans to the necessity of nature for our physical, as well as spiritual, survival.
17
Ketcham, Barbara. "The use of water in the gardens of the Villa d'Este at Tivoli, Italy". Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22726.
Texto completo da fonte
18
Kindall, Emma. "Learning that you have to let yourself rot in order to grow into new gardens". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492697281633044.
Texto completo da fonte
19
Wallenstein, Sven-Olov. "Nihilism, Art, and Technology". Doctoral thesis, Stockholms universitet, Filosofiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-38737.
Texto completo da fonteResumo:
The thesis investigates the role of technology in the formation of the artistic avant-garde, along with various forms of philosophical reflection on this development, with a particular emphasis on Heidegger. Setting out from an analysis of three paradigmatic cases in the interplay between art and technology—the invention of photography, the shift from Futurism to Constructivism, and the interpretation of technology in debates on architectural theory in the 1920s and ’30s—it proceeds to a discussion of three philosophical responses to this development, those found in Walter Benjamin, Martin Heidegger, and Ernst Jünger, all of which share a certain avant-garde sensibility and a notion of art as a response to nihilism. In Heidegger’s postwar writings we see a retreat from the positions of the mid 1930s, and in his reflections on technology a different answer emerges to the question of whether “great art” is still possible: great art is an art that exists precisely by making the founding of a world into something problematic. The fourth part confronts Heidegger’s analysis of technology with the work of an individual artist, the architect Mies van der Rohe, and asks how the “silence”—the withdrawal of language, sense, aesthetic perception, etc.—that is often understood as a precondition for the critical potential of his work should in fact be understood. By examining interpretations that draw on Heidegger via comparisons with other types of critical theory, a different understanding emerges of the relation among nihilism, art, and technology. They form a field of constant modulation, which implies that the concepts that have been the foundation of critical theory, nature, subjectivity, experience, even “being” in Heidegger’s sense, must be subjected to a historical analysis that acknowledges them as ongoing processes of construction, and that also accounts for the capacity of technologies and artistic practices to intervene in the formation of philosophical concepts.The chapters 5, 6 and 7 in the monograph Essays, Lectures for a part of the Ph.D.thesis.
20
Zhang, Linying. "Study on Environmental Mitigation Function of the Rain Gardens in Japan". Doctoral thesis, Kyoto University, 2020. http://hdl.handle.net/2433/253454.
Texto completo da fonteResumo:
京都大学0048
新制・課程博士
博士(地球環境学)
甲第22618号
地環博第197号
新制||地環||38(附属図書館)
京都大学大学院地球環境学舎地球環境学専攻
(主査)教授 柴田 昌三, 准教授 田中 周平, 准教授 深町 加津枝
学位規則第4条第1項該当
Doctor of Global Environmental Studies
Kyoto University
DGAM
21
Pearce, Ariel Leah. "Fresh Water Scenes in Minoan Art". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/451958.
Texto completo da fonteResumo:
Art HistoryPh.D.
The goal of this dissertation is to provide a comprehensive study of scenes of fresh water in Minoan art from the Middle Minoan II (MM II) through the Late Minoan I (LM I) periods. This dissertation addresses and fills the gap in the scholarship regarding the depiction of riparian environments and the special place of these depictions in Aegean art. It also attempts to clarify the use and function of riverscapes across chronological periods. Rivers, marshes, streams, and springs, appear on a variety of media and fulfil multiple functions from MM II onward. Images of fresh water were used as topographical markers, ornamentation and decoration, and for religious purposes. Moreover, several images suggest that the Minoans may have believed that the realm for the goddess (or one of the goddesses) was a lush, riverscape. A second goal of this dissertation is to clarify and dispose of the term “Nilotic” as a label for images of fresh water in the Aegean. Since its introduction into the literature of Aegean studies in the beginning of the 20th century, the term “Nilotic” has been used inconsistently to describe Aegean scenes of fresh water that may or may not contain Egyptian elements. This assumption has led some scholars to state that Aegean riverscapes are ultimately derived from Egyptian scenes of fishing and fowling because they share similar iconographic elements. Unfortunately, the process of synthesis is important to the understanding of Aegean riverscapes, and iconographic similarities are somewhat superficial. Furthermore, the term has been used without regard for a long-standing tradition of the depiction of riparian environments in Bronze Age Aegean art. To fully address both goals of this project, the origin of individual iconographic elements has been traced through various media, including glyptic art, pottery, and wall painting. Wall paintings from the Cyclades and some Late Helladic IA scenes have been included when appropriate. Whenever possible, categories of riverscapes have been grouped together, but each wall painting, has been examined and interpreted individually. Some unique, highly pictorial, and detailed images in other media have also been addressed separately. Parallels in Egyptian and, in some cases, Near Eastern art have been sought to determine the validity of the term “Nilotic,” and a special study of Egyptian scenes of hunting in the marshes has been conducted in comparison to Aegean scenes. Iconography, synthesis, and context have all been taken into consideration.
Temple University--Theses
22
Moyer, Matthew E. Clarke Bede. "Monuments to water and air systems". Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6576.
Texto completo da fonteResumo:
The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 19, 2009). Thesis advisor: Bede Clarke. Vita. Includes bibliographical references.
23
Schlea, Derek Alan. "Retention and management of stormwater runoff with rain gardens and rainwater harvesting systems". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306853271.
Texto completo da fonte
24
Tate, Charmie. "GardenScapes : a harmonious approach to 3D art /". Online version of thesis, 2007. http://hdl.handle.net/1850/5670.
Texto completo da fonte
25
Diaz, Heather. "Ploughshares as swords: gardening for victory and meaning". Thesis, Boston University, 2007. https://hdl.handle.net/2144/28561.
Texto completo da fonteResumo:
Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
26
Buechler, Stephanie. "Gendered vulnerabilities and grassroots adaptation initiatives in home gardens and small orchards in Northwest Mexico". Springer, 2016. http://hdl.handle.net/10150/622829.
Texto completo da fonteResumo:
With the retreat of the state under neoliberalism, the lack of (or negligible) government and non-governmental support reasserts grassroots initiatives as a global-change strategy. A feminist political ecology approach and the concept of adverse inclusion were used to facilitate an analysis of social differences shaping local-level adaptive responses. Adaptive responses of small farmers in the border village of San Ignacio, Sonora, Mexico, who are increasingly vulnerable to climate change, water scarcity, and changing labor markets were studied. Gender differences in production sites translate into diverse vulnerabilities and adaptive strategies. Local capacities and initiatives should be a focus of research and policy to avoid viewing women and men as passive in the face of global change. The dynamic strategies of San Ignacio women and men in home gardens and small orchards hold lessons for other regions particularly related to adaptation to climate change via agrobiodiversity, water resource management, and diversified agricultural livelihoods.
27
Nichols, David, e david nichols@deakin edu au. "Leading lights: The promotion of garden suburb plans and planners in interwar Australia". Deakin University. School of Australian and International Studies, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061208.082527.
Texto completo da fonteResumo:
This thesis explores interwar town planning in Australia, focusing on the period of large-scale urban expansion in the 1920s. It problematises aspects of Australias urban planning history, particularly the 1920s garden suburb. It also investigates the question of the use of international planning ideas in Australia, and the assertion or creation of authority by the Australian planning movement. The thesis additionally investigates the use of authoritative planning rhetoric for commercial or creative advantage.
The thesis argues that the majority of innovative planning projects in the interwar years took place in the formation and foundation of the garden suburb. It shows that the garden suburb assumed in much planning history to be an inferior form of Ebenezer Howards garden city ideal has, in fact, a number of precedents in 19th century Australian suburbia, some of which were retained in 20th century commercial estate design. Much of the Australian town planners authority at this time required recognition and awareness of the interests and needs of the general public, as negotiated through land vendors. As Australians looked to the future, and to the US for guidance, they were invited to invest in speculative real estate development modelled on this vision.
The thesis concentrates primarily on the lives, careers and work of the British-Australian architect-planner Sir John Sulman; the Chicagoan architect-planners Marion Mahony and Walter Burley Griffin; and the Australian surveyor-planner Saxil Tuxen. These individuals were among the most prominent planners in Australia in the interwar years. All designed Australian garden suburbs, and combined advocacy with practice in private and public spheres.
The thesis examines images and personas, both generic and individual, of the planner and the vendor. It shows that the formulation of the garden suburb and design practices, and the incorporation of international elements into Australian planning, are important in the creation of planning practice and forms. It also outlines the way these continue to have significant impact, in diverse and important ways, on both the contemporary built environment and planning history itself.
28
Lundberg, Lukas. "Art Directed Fluid Flow With Secondary Water Effects". Thesis, Linköpings universitet, Medie- och Informationsteknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-81808.
Texto completo da fonteResumo:
This thesis describes methods for applying secondary water effects as spray, foam, splashes and mist to a fluid simulation system. For an art direction control over the base fluid flow a Fluid Implicit Particle solver with custom fields is also presented. The methods build upon production techniques within the visual effects industry, fluid dynamics and relevant computer graphics research. The implementation of the methods is created within Side Effects Software Houdini.
29
Brendel, Maria Lydia. "Rubens and the humanistic garden". Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59957.
Texto completo da fonteResumo:
During his eight-year Italian sojourn (1600-1608), Sir Peter Paul Rubens became familiar with villeggiatura, a form of villa life (unique to Italy) modeled on the antique garden. Rubens' experience was personal, for a close examination of a select number of his works demonstrates that he fully assimilated this humanistic tradition. He participated in the intellectual currents of his time, the source of ars hortulorum. In his pictures, Rubens took over forms found in gardens of antiquity, the Renaissance or the Baroque and, in certain instances, recreated the mood, function and sense found in these gardens and as described by literary works. Most important, Rubens' own life of villeggiatura is clearly made evident in several of these paintings.His preference for the humanistic hortus over the garden traditions of other countries reveals Rubens' admiration, shared with other humanists for the ancients and their culture which provided personal models for poise and enlightenment.
The result of this study focuses on a new dimension to our understanding of Rubens' oeuvre, his involvement with villeggiatura and the ars hortulorum.
30
Conklin, Lorraine C. "Recycling and reusing a restaurant's waste : creating a sustainable small-scale urban farm". Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1355593.
Texto completo da fonteResumo:
Urban sprawl, global warming and overused landfills are conditions around the world today, and while people are concerned about these issues they have few practical solutions to them. This creative project seeks to devise a way for a specific sector of business (restaurants), to have a practical way to help reduce global warming and waste while utilizing unused or under-used land in urban areas. While life cycle models are available that address such issues as these, very few case examples are actually in use in this country. Based on existing life cycle models, this project will seek to reuse the wastes from a restaurant and recycle them into a garden/greenhouse (called an urban farm throughout this paper) which will produce food for the restaurant. The three main waste categories from the restaurant to be looked at are the organic kitchen food wastes, water and the heat that is always being expelled from the kitchen while it is operation. Additional ways to make a restaurant more sustainable will also be given. This project will show what the benefits are when a sustainable system is in operation.Department of Landscape Architecture
31
Fazel, Anvaryazdi Shaghayegh. "WALK INTO A HEAVENLY ART WORLD". Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/103812.
Texto completo da fonteResumo:
Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections.
Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life.
To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.Master of Architecture
Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.
32
Fazel, Anvaryazdi Shaghayegh. "Walk into a Heavenly Art World". Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103812.
Texto completo da fonteResumo:
Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections.
Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life.
To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.Master of Architecture
Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.
33
Dao, Juliane [Verfasser]. "Effects of irrigation water quality on soil properties and crops in urban gardens of Ouagadougou, Burkina Faso / Juliane Dao". Kassel : Universitätsbibliothek Kassel, 2018. http://d-nb.info/1180660080/34.
Texto completo da fonte
34
Baron, Jacopo. "Gardens of the Mind : a study on Vanuatu sand-drawing". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0168.
Texto completo da fonteResumo:
La présente thèse porte sur le dessin sur sable (Anglais : sand-drawing ; Bislama : sandroing) du Vanuatu, archipel mélanésien situé dans le sud-ouest du Pacifique. Ces dessins sur sable – d’un style spectaculaire et étonnamment précis – ont été systématiquement récoltés pour la première fois par l'anthropologue anglais Arthur Bernard Deacon dans les années 1920. Depuis cette ‘découverte’ il faut bien admettre qu’à la surprise des pionniers (parmi lesquels on compte le grand Alfred Cort Haddon), aucun réel travail d’analyse n’a suivi. En fait, bien que le dessin sur sable ait été plus tard documenté, mentionné dans des ouvrages célèbres et même proclamé « Chef-d'œuvre du patrimoine oral et immatériel de l'humanité » par l'UNESCO en 2003, il n’a jamais fait l’objet d’une analyse détaillée. Ce projet vise à combler cette lacune aussi bien sur le plan de la recherche empirique que sur celui de l'interprétation théorique. Dans ce cadre, ce projet a trois objectifs principaux : comprendre et reconstruire les raisons historiques et épistémologiques de cette lacune, essayer de réduire cet écart par l'étude d'une tradition régionale et évaluer les conséquences de cette tentative compte tenu des développements récents dans le domaine de l'anthropologie de la mémoire et de certaines questions classiques de l'ethnologie mélanésienne. À cet égard, je me réfère en particulier à l’« opacité sémiotique » et à la « recherche de l'éphémère » qui on constate au sein de plusieurs systèmes de communication traditionnels développés dans cette région.La définition de ces trois objectifs m’a conduit à développer le projet selon trois axes de recherche. La thèse est donc constituée des résultats d’une recherche d’archive consacrée à l'étude de la littérature relative au dessin sur sable et aux perspectives théoriques qui ont nourri sa première analyse (Chapitre 1), d’une enquête ethnographique menée dans les régions ouest et nord de l'île d'Ambrym (Chapitres 2, 3), et d’une tentative d'apporter une nouvelle interprétation de la pratique, réalisée à partir d'études sur l'histoire de l'écriture, l'anthropologie de la mémoire et l'ethnologie mélanésienne (Chapitre 4). L’ensemble des chapitres est précédés d'une introduction qui porte sur le contexte ethnographique et la méthodologie utilisée, et est suivi d'une conclusion résumant les résultats de l’étude. La thèse se termine par deux annexes. Le premier consiste en un catalogue de tous les dessins sur sable que j'ai documenté à Ambrym, tandis que le second présente le permis de recherche signé par le centre culturel du VanuatuThe present thesis deals with the sand-drawing (French: dessin sur sable; Bislama: sandroing) of Vanuatu, a Melanesian archipelago located in the south-western Pacific. Vanuatu sand-drawings – geometrical figures traced in the sand, very ingenious, and complex – were first systematically documented by British anthropologist Arthur Bernard Deacon in the 1920s. This ‘discovery’ generated great interest among important exponents of the discipline (including the great Alfred Cort Haddon) of the time. However, no dedicated study of these figures followed the first attempts at their interpretation. Over the years, sand drawing has been documented, mentioned in important publications and even proclaimed “Masterpiece of the Oral and Intangible Heritage of Humanity” by UNESCO in 2003, but in spite of this, it has never been the subject of a detailed analysis. This project aims at filling this gap, both in terms of empirical research and theoretical interpretation. In this context, this project has three main objectives. First, to understand and reconstruct the historical and epistemological reasons for this gap. Second, to try to reduce this gap through a renewed study of the practice based on the examination of a regional tradition. Third, to evaluate the consequences of this attempt in the light of recent developments in the field of anthropology of memory, and some classical issues in Melanesian ethnology. With respect to this last point, I refer in particular to the ‘semiotic opacity’ and the ‘quest for ephemeral’ which seem to characterize many traditional communication practices within this region.The definition of these three objectives led me to develop the project along three research axes. The thesis therefore consists of an archival research dedicated to the study of literature related to sand-drawing and the theoretical perspectives that informed its first analysis (Chapter 1), of an ethnographic research carried out in the western and northern regions of the island of Ambrym (Chapters 2, 3), and of an attempt to provide a new interpretation of the practice, based on studies on the history of writing, the anthropology of memory and Melanesian ethnology (Chapter 4).The set of chapters is preceded by an Introduction which deals with the ethnographic context and the methodology used, and is followed by Conclusions which sums up the results of the study. The thesis is closed by two Annexe. Annexe I consists of a catalogue of all the sand drawings I documented in Ambrym and Annexe II presents the research permit signed by the Vanuatu Cultural Centre
35
Adams, Irena Zdena. "Exploration of water-based inks in fine art screenprinting". Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263243.
Texto completo da fonte
36
Grünewald, Niclas, e Gabriella Rullander. "Charcoal vertical gardens as treatment of drainwater for irrigation reuse : a performance evaluation in Kibera slum, Nairobi". Thesis, Uppsala universitet, Uppsala University Sustainability Initiatives (UUSI), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-408805.
Texto completo da fonte
37
Hujar, Brittany A. "Kozo Miyoshi: An Interpretation of Water Through Photography". Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1563967017677073.
Texto completo da fonte
38
Macaulay, Lewis Elizabeth Rodger. "The city in motion : movement and space in Roman architecture and gardens from 100 BC to AD 150". Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:404995dc-d61f-4c73-9983-a896cb19a248.
Texto completo da fonteResumo:
This dissertation examines the interaction between leisured movement and space in Rome from 100 BC – AD 150, primarily drawing upon archaeological evidence from Rome, central Italy and the Bay of Naples. This thesis argues that leisured movement was significant and that an examination of the relationship between leisured movement and space provides new insights into Roman architecture, gardens, attitudes to design and space. Chapter one reviews the theoretical models associated with the study of movement and space in various disciplines and utilitizes these approaches to formulate the theoretical basis for this thesis. Previous scholarship on movement and space in the Roman world is also reviewed to demonstrate the need for further study. Chapter two focuses on ancient literature and epigraphy to examine leisured movement in ancient Rome and the spaces identified as locations for leisured movement. In chapter three the Severan marble plan and the archaeological evidence for the monumental porticos and temple-porticos in Rome, the public and urban context for leisured walking, are analyzed. An examination of the relationship between leisured movement and space in high-status Roman villas and residences is undertaken in chapter four. Walking, driving, riding and boating and their spatial context played an important role in these high-status residences. Finally, chapter five examines the relationship between leisured movement and space in Pompeian houses, in order to understand how leisured movement functioned in such houses and to demonstrate that leisured movement also had a role in the lives of those below the top of Roman society. This thesis demonstrates that movement was a prominent leisure activity and that it was a complex way through which the Romans negotiated Greek culture. It also establishes that Rome’s public porticos and portico-temples, which housed leisured movement, were original contributions to the architectural canon. Movement and space were interconnected phenomena that interacted upon each other; the design of private and public gardens and porticos often created an ordered approach to movement and space. In sum, leisured movement is a productive lens through which we can study Rome, her cultural and leisure activities, approach to design and conception of space.
39
Padullés, Cubino Josep. "Socioeconomic status determines floristic patterns in suburban domestic gardens: implications for water use and alien plant dispersal in the Mediterranean context". Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/321104.
Texto completo da fonteResumo:
The recent growth of low-density urban developments in the Mediterranean coast has led to an increase in the number of private domestic gardens. This thesis examines the flora, features and management practices of 258 private gardens in the Alt Empordà region in Catalonia. We also calculated water requirements of gardens based on species composition and land cover, and determined whether they can be predicted from the socioeconomic, demographic and cultural characteristics of households. Of the 635 taxa identified, 68% were exotic. Moreover, 39 species have been considered potentially invasive in Spain, although only 25 were present within the limits of the adjacent Aiguamolls de l’Empordà Natural Park. The distribution of garden floras was significantly related to different socioeconomic and demographic gradients, such as the occupancy rate of the house, the origin of the residents, their income level and the percentage of unemployed members.L’augment recent dels espais urbans de baixa densitat a la costa mediterrània ha comportat un increment del nombre de jardins privats. La present tesis estudia la flora, les característiques i les pràctiques de gestió de 258 jardins privats a la comarca de l’Alt Empordà. També es van calcular les necessitats hídriques dels jardins d’acord amb la seva composició i estructura vegetal, i es va determinar si es podien predir a partir de les característiques socioeconòmiques, demogràfiques i culturals de les llars. Dels 635 tàxons identificats, el 68% eren exòtics. A més, 39 espècies han estat considerades com a potencialment invasores a Espanya, encara que només 25 són presents dins dels límits del Parc Natural dels Aiguamolls de l’Empordà. La distribució de la flora del jardins es va relacionar significativament amb diferents gradients socioeconòmics i demogràfics, com ara la taxa d’ocupació, l’origen dels residents, el nivell d’ingressos o el percentatge de membres en atur.
40
Althoff, Julie. "Il Sacro Bosco d'amore, communication through desire". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq64104.pdf.
Texto completo da fonte
41
Stewart, Lynn Leslie. "Our people are like gardens" : music, performance and aesthetics among the Lolo, West New Britain Province, Papua, New Guinea". Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/30917.
Texto completo da fonteResumo:
Relationships among the Aesthetic, culture, and music are problematic- Frequently considered as epiphenomenal to culture, music and the arts are typically seen as adjuncts to ceremonial activity- This dissertation examines the nature of the Aesthetic, music and performance in the context of the Lolo, Araigilpua Village, West New Britain Province, Papua New Guinea, in an attempt to develop a definition of the Aesthetic applicable for cross-cultural research and to discover the ways in which the Aesthetic and culture articulate.
For the purposes of this dissertation, the Aesthetic is defined as that facet of religion focused on responses to extraordinary powers thought to maintain what are considered to be proper relationships between human members of a community and extraordinary powers. Three forms of aesthetics, social, performance, and musical, are taken as the means and methods of directing interactions between man and extraordinary powers.
At present, the Lolo are engaged in a process of secularisation resulting primarily from the introduction of Christianity, Western medicine and money. This dissertation examines the relationship between the Aesthetic and social life, and addresses the impact of changes to the Aesthetic.Arts, Faculty of
Anthropology, Department of
Graduate
42
Adlard, Michelle Catherine. "The garden as a metaphor for paradise". Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002187.
Texto completo da fonteResumo:
In this half thesis the use of the garden as a metaphor for paradise has been explored. The English word “ paradise“ was derived from the Greek word “ paradeisos” which in turn was derived from the Old Avestana “ pairi-daeza,” meaning an enclosure. In Ancient Persia the concept applied to an enclosed garden in the modern sense of the word. For this reason the thesis begins with an examination of the development of the garden in this desert region. A more-or-less continuous chain of development in both the physical and allegorical nature of the garden is traced through history from these Ancient Persian beginnings to the height of Mughal architecture (epitomised by the Taj Mahal), by way of the Muslim expansion through Central Asia and Europe. While the core elements of garden design were set in Ancient Persian times, and recur throughout the period studied, the impact of Islam on the local Persian culture brought about a new development of allegorical meaning associated with the garden. This allegorical development reached its apex, too, in the Taj Mahal in which, it is argued, the metaphorical representation of paradise in the garden tomb was made astonishingly explicit. The research for this mini thesis was gathered from secondary sources, including many published books and academic papers, photographic and diagrammatic evidence of extant ancient gardens, and reproductions of carpet designs.
43
Ramsey, Anna Brooks, e Anna Brooks Ramsey. "A Million Metaphors for Love: Mending Posthuman Heartache in the Anthropocene". Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625681.
Texto completo da fonteResumo:
In this research, I investigate multiple entry points for understanding and developing art and visual culture curriculum to respond to the Anthropocene. Informed by posthuman, feminist, and ecological theories, I ask what practices and theory art educators might take up to cultivate emergent artistic practices with students toward responding to the geological, social, and present moment.
Organized around integrating visual art into school and community garden sites, this writing includes curriculum theory, a unit design and reflections on implementation and the writing process. Using autoethnographic and visual art methodologies, I attempt to engage the subjective relational space between myself, my psyche, and the phenomenon of teaching, writing, and embodying this curriculum. Through this research, I wanted to know whether co-facilitating with human and non-human members of school gardens would stabilize affective and relational containers of care and stewardship as part of the learning environment. To this end, I found that co-facilitating with place, including the garden, is a stabilizing environment for myself as a teacher, but can also be conducive to perpetuating Western and white narratives of place.
Another central theme and finding from this data was the lived experiences of grief. Employing autoethnography (Ellis & Bochner, 2000), I reflected on my teaching through my psyche, body, and emotions. I found and analyzed this data through present moment awareness of my embodied response to the experience of writing and facilitating a four-week art curriculum with middle school girls in their school garden. As an emergent response to this grief, I have therefore organized my writing around the notion of mending posthuman heartache in the Anthropocene. This is a call I believe educators should take seriously. The Anthropocene moment is in so many ways the result of deep disconnection and separation, years of violence against the planet, and against humanity in the forms of colonization, patriarchy, white-supremacy, and capitalism.
I hope for this research to contribute to animating art and visual culture education toward affective and critical ecological solutions to the moment we are living in. The implications of this research are not empirical in nature, but rather take up poetic, artistic, and enigmatic qualities of the present to tease out ways of being with, working against, and creatively responding to these times in which we live. To conclude, I believe any practices that cultivate care and affective relationship to place, self, and the other members of our human/non-human communities, such as visual art and gardening practices, can serve as containers and resources for living in the Anthropocene.
44
Gaudreau, Roger. "Du temps de la terre au jardinage d'art". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.
Texto completo da fonteResumo:
Mémoire (M.A.)--Université du Québec à Chicoutimi, 1996."Communication de recherche présentée pour l'obtention du grade de maître es arts (M.A.)" CaQCU Document électronique également accessible en format PDF. CaQCU
45
Smith, Bernadette. "Translucent Potentialities: From Art Activism to Pure Aesthetics". Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21967.
Texto completo da fonteResumo:
This project begins by researching how art can change individual and collective behaviour regarding life support systems, using water conservation as a lens through which to examine wider environmental concerns. Examining the role and nature of art as an effective communicative tool has involved a journey from art activism to pure aesthetics and back again to explore the performativity of images. My hybridised practice first investigates how photography and video through performative actions, installation and social media can be activated to engage onlookers during environmental protests and beyond to support the movement for water sustainability. Art strategies were developed to raise public awareness of water by producing eye-catching visual aids such as water themed activist clothing and situating meaningful art interventions both during public campaigns and elsewhere. As well as engaging with socio-political art forms presented outside of gallery contexts my practice approaches New Materialist concerns with the primacy of matter in the age of the Anthropocene. Counteracting a dominant anthropocentric view of the universe my art practice explores the viscerality of matter to emphasise non-human agency. While photographing aquatic environments I used an extreme macro lens to closely observe the way light interacts within different states of water such as condensation and flowing water. This contributed to my growing interest in the optical effects of light refractions then a rupture caused a new awareness of my studio window pane prompting further study of the science behind light interacting with translucent materials. These discoveries on my art journey have augmented an appreciation of the complexity of the non-human world and generated more visually compelling ways to create and present activist art for environmental sustainability.
46
Muirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /". Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.
Texto completo da fonteResumo:
Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references.Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.
47
Sim, Nicola. "'Like oil and water'? : partnerships between visual art institutions and youth organisations". Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/49612/.
Texto completo da fonteResumo:
This thesis interrogates partnership working between galleries and youth organisations involved in a four-year, Tate led programme called Circuit (2013-2017). This programme sought to build sustainable networks with youth organisations and services across England and Wales in order to ‘improve access and opportunities for harder to reach young people’ who may not otherwise engage with galleries and museums (Circuit, 2013a). Reflecting on the similarities and divergences that characterise practice in gallery education and youth work, this research untangles the historic barriers and tensions that have affected relationships between practitioners, organisations and the youth and visual art sectors. Mobilising Pierre Bourdieu’s theoretical framework, galleries and youth organisations are conceptualised as part of distinct ‘fields’, and their particular traditions, customs and internal contests are analysed. An exploration of the fields’ development under successive governments and changing policy priorities reveals that art organisations benefit from a greater affordance of agency and autonomy than youth organisations, which contributes to the uneven power dynamics that often exist in these cross-sector alliances. Reports from engagement with sector events also highlight how concepts of art and creativity frequently deviate between the fields. Through an ethnographic approach to the research context, participant observations and interviews produce data about Circuit’s programmatic decisions, and its efforts to shift problematic habitual practices. A series of in-depth site studies illustrate different ways for organisations to work together, as well as the challenges of collaboration in pressured political and economic circumstances. Cross-site analysis allows for further deliberation on the compatibility of Circuit’s wider peer-led programme agenda with the comparative agenda and practice of youth organisations. The ambition for young people to continue an independent relationship with the galleries’ programmes is shown to be hindered by a number of sometimes-misrecognised factors that unintentionally alienate certain communities of young people, particularly from working class backgrounds. The final stage of the analysis studies the identity, attitudes and positions of various youth sector agents working and participating within Circuit, and the specific ‘capital’ they bring to the temporary programmatic field. In discussing the implications for practice and research, this thesis asks whether (beyond programmes such as Circuit) it would be possible to establish a permanent collaborative or cooperative field between the youth and gallery sectors. I argue that this would only happen if a range of systemic changes were made, such as the development of national and regional structures to support integrated practice sharing; deeper engagement with the meaning and repercussions of partnership working; a determination to work collaboratively to address social urgencies facing young people, and a fundamental commitment to shift pervasive inequalities in the visual art sector.
48
Jacoby, Jill Beth. "Art, Water, and Circles: In What Ways Do Study Circles Empower Artists to Become Community Leaders around Water Issues". [Yellow Springs, Ohio] : Antioch University, 2009. http://etd.ohiolink.edu/view.cgi?acc_num=antioch1260285346.
Texto completo da fonteResumo:
Thesis (Ph.D.)--Antioch University, 2009.Title from PDF t.p. (viewed March 25, 2010). Advisor: Jon Wergin, Ph.D. "A dissertation submitted to the Ph.D. in Leadership and Change program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009."--from the title page. Includes bibliographical references (p. 238-245).
49
Marlow, Gregory. "Week 03, Video 02: Boss Water". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/25.
Texto completo da fonte
50
White, Stephen Kenneth. "A state of the art Cretan water pumping wind turbine using electrical transmission". Thesis, Imperial College London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261998.
Texto completo da fonte