Дисертації з теми "Historiography of architecture"
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1
Roberts, G. "Inigo Jones : the architectural historiography." Thesis, University of Essex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387414.
2
SANCHES, MARIA LIGIA FORTES. "PAULO SANTOSNULL CONSTRUCTIONS: THE FOUNDATION OF AN ARCHITECTURE AND URBANISM HISTORIOGRAPHY IN BRAZIL." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7179@1.
Анотація:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROConstruções de Paulo Santos apresenta a tese de que em sua obra de história - reflexo das formações em arquitetura e em história - estão implícitas duas intenções primordiais: estabelecer novo modo de escrever e de ensinar a história da arquitetura no Brasil e fundar uma historiografia brasileira da disciplina, vinculando o ensino da arquitetura ao seu projeto historiográfico. O fio condutor do processo de formação de Paulo Santos como historiador da arquitetura foi a docência na FNA/UB, pois, professor catedrático da cadeira Arquitetura no Brasil, consolidaria a articulação entre aqueles campos do conhecimento, estabelecendo, assim, o traço singular e marcante de sua trajetória profissional. O trabalho segue eixo temporal entre 1946 e 1985, referente à época de produção dos estudos históricos por ele realizado. O tema é tratado tendo em vista a formação de Paulo Santos como engenheiro-arquiteto e, mais tarde, como docente em sua relação com os contemporâneos; o texto analisa a estruturação de seu pensamento histórico a partir do diálogo com autores da historiografia brasileira e do estabelecimento de sua visão de historiador da arquitetura, fomentada pela interlocução com o arquiteto Lucio Costa.
Paulo Santos´ constructions presents the thesis in which his history works is based on - reflex of the formations in architecture and in history - are implicit two intentions: to settle a new way to write and to teach the history of architecture in Brazil and to found a brazilian historiography of the subject, linking the teaching of architecture to his historiography project. The conductor line of the formation process of Paulo Santos as an historician of architecture was teaching at FNA/UB, because, as the cathedratic professor of Arquitetura no Brasil subject, he would consolidate the articulation between those knowledge fields, creating, that way, a singular and a brilliant trace of his professional trajetory. This work follows the time line between 1946 and 1985, according to the time production of the historic studies made by him. The subject is treated pointed to the formation as an engineer-architect and, later, as a professor in his relation with the contemporaneous; the text analyzes the structuration of the historic thought based on the dialog with brazilian historiography´s authors and establishing the his vision of architecture historician, stimulated by the interlocution with the architect Lucio Costa.
3
Ruivo, Pereira Ricardo. "Architecture and counter-revolution : the ideology of the historiography of the Soviet "avant-garde"." Thesis, Open University, 2018. http://oro.open.ac.uk/53798/.
Анотація:
The thesis produces a history of the Western historiography of Soviet architecture, looking at its trends and the evolution of its narratives. It focuses on the development of historiographical categories and their transformations, as an exercise of what Reinhart Koselleck calls conceptual history, framed as a Marxist critique of ideology. While the Soviet “avant-garde” has seen growing popularity since the 1960s in the West, it has been systematically presented as precedent to politically charged present practices and discourses. This thesis frames this link to the present as a “historiographical link”, an ideological projection of meanings the Western historiography of Soviet architecture produces over its own geo-political reality. “The avant-garde” as a meta-category is itself constructed in this context as a means of legitimation of Western presents, where the relationship between history, design and politics is articulated through the category of what Tafuri calls “the project”, in a process that depoliticises the very idea of the politicisation of architecture itself.
4
Guerrettaz, Jean Ellen. "Song of Athens." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997988928.
5
Ben, Jemâa Hadhami. "L'invention de l'architecture de la Renaissance française au XIXè siècle : le regard de Léon Palustre." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2025.
Анотація:
La littérature artistique française du XIXe siècle est bipolaire dans sa représentation de l’introduction de l’italianisme en France. Entre décadence du génie français et célébration de la rénovation architecturale opérée par des agents de la Péninsule, rares se font les positions nuancées. La figure de Léon Palustre marque le paysage historiographique de l’époque par une approche dialectique aboutissant à une synthèse réconciliant les styles. Le présent travail analyse les topoï d’une historiographie où le récit événementiel, la rhétorique et l’attributionnisme postulent une symbiose entre Renaissance et génie nationalNineteenth century’s French artistic literature states a dualism in its representation of Italian forms’ appearance in France. Nuanced opinions were rare in between those who pretended the decadence of French genius and those who, contrariwise, extolled the architectural renovation carried out by agents of the Peninsula. Léon Palustre distinguished himself in the historiographical landscape by a dialectical approach generating a reconciling synthesis of styles. This work analyses the topos of a dissertation where history, rhetoric and attributionnism postulate a symbiosis between Renaissance and national genius
6
CABALFIN, EDSON ROY GREGORIO. "ART DECO FILIPINO: POWER, POLITICS AND IDEOLOGY IN PHILIPPINE ART DECO ARCHITECTURES (1928-1941)." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054760324.
7
Chewning, John Andrew. "William Robert Ware and the beginnings of architectural education in the United States, 1861-1881." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/14983.
Анотація:
Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING.
Bibliography: leaves 482-490.
William Robert Ware (1832- 1915) planned and directed the first collegiate program in architectural education i n the United States. He was educated in the liberal arts and civil engineering at Harvard University and received further training in architects' offices before entering into practice with Henry Van Brunt (1832-1903). In 1865 Ware was appointed to the newly established Massachusetts Institute of Technology. He remained on the faculty until 1881, when he was called to Columbia University to organize still another collegiate program in architecture. During 1866-67, Ware traveled in Europe, paying particular attention to the role of national schools and professional organizations in the teaching of architecture in Britain and France. Formal instruction in architecture at M.I.T. began in the fall of 1868. Ware devised a curriculum, which he adjusted throughout the 1870s, including drawing and design, architectural history, and construction and practice (i . e., building materials and components, specifications, and contracts). In the spring of 1872, he recruited Eugene Letang (1842-1892), an alumnus of the Ecole des Beaux-Arts, to teach design. From this time on, the routine studio problems at M.I.T. began to emulate those of the Ecole, and the eclectic neoclassicism of the Beaux-Arts began to predominate in students' drawings. The Department of Architecture at M.I.T. in these earliest years functioned best in providing a one- or two-year course of special study for persons who were graduates of four-year colleges or who had some experience in architects' offices. It also served to prepare Americans for the formal or informal study they intended to pursue in Paris. Ware's department offered, in effect, a postgraduate program, a program in continuing education, and a preparatory program for advanced study at the Ecole des Beaux-Arts. By virtue of its location in cosmopolitan Boston, the M.I.T. Department of Architecture emerged in the 1870s as the preeminent American collegiate program, attracting more students from more diverse parts of the country than the other important early programs at Cornell University and the University of Illinois. Ware trained some 235 students at M.I.T., and many of them became the leaders in architecture and architectural education in the late nineteenth and early twentieth century.
by John Andrew Chewning.
Ph.D.
8
Masseran, Paulo Roberto [UNESP]. "Diálogo atrevido entre a pedra e o tijolo, ou popular e nacional na arquitetura brasileira, por Luiz Saia e Mário de Andrade." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/103138.
Анотація:
Made available in DSpace on 2014-06-11T19:32:24Z (GMT). No. of bitstreams: 0
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masseran_pr_dr_assis.pdf: 56709155 bytes, checksum: c91679715a4edef92623bab594a1a170 (MD5)O trabalho trata da relação intelectual e de amizade entre o escritor Mário de Andrade e o arquiteto Luiz Saia. O estreito convívio de dez anos, entre 1935 e 1945, realizado no respeito mútuo e no diálogo sincero, promoveu uma influência recíproca, no trabalho teórico e no posicionamento artístico que professaram. Os desdobramentos dessa relação se apresentam na obra do arquiteto, veemente batalhador por uma arquitetura brasileira fundada na racionalidade e no utilitarismo necessário, da cultura popular. Tal construção teórica se desvela em suas obras teóricas, dedicadas ao estudo dos procedimentos metodológicos da arquitetura e do urbanismo, na produção historiográfica da arquitetura no Brasil e, notadamente, paulista, instrumentalizada no processo conceptivo da arquitetura e do urbanismo, e nas suas obras de restauração do patrimônio histórico paulista, durante os trinta e sete anos em que esteve à frente da regional do SPHAN, em São Paulo. Desse modo, o objetivo do trabalho é a investigação da construção teórica de uma idéia de arquitetura moderna brasileira, de raízes populares, instigada pela relação intelectual do escritor e do arquiteto
The work deals with the intellectual relation and friendship between the writer Mário de Andrade and the architect Luiz Saia. The strait convivial of ten years, between 1935 and 1945, carried out in the mutual respect and in the sincere dialogue, promoted a reciprocal influence, in the theoretical work and in the artistic position that they professed. The developments of this relationship are presented in the work of the architect, a passionate campaigner for a Brazilian architecture founded on rationality and on the necessary utilitarianism, of the popular culture. Such intellectual construction is revealed in his theoretical works, devoted to the study of the methodological proceedings of the architecture and town planning, in the historiographic production of the architecture in Brazil and, especially, the Sao Paulo’s architecture, used in the conceptive process of architecture and town planning, and in his works of restoration of the historical inheritance of Sao Paulo, throughout the thirty-seven years that he headed the regional SPHAN in Sao Paulo. In this way, the objective of the work is the investigation of the theoretical construction of an idea of modern Brazilian architecture, from popular roots, instigated by the intellectual relationship between the writer and the architect
9
Amraoui, Touatia. "L’artisanat dans les cités antiques de l’Algérie." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20110.
Анотація:
Cette étude analyse la place de l’artisanat et des artisans dans les villes antiques de l’Algérie en faisant le point sur la documentation disponible – archives, rapports de fouilles, plans, photos et publications. S’appuyant sur un travail de terrain, les données mises à jour ont apporté des précisions ou des éléments nouveaux sur les ateliers urbains découverts entre le XIXe s. et la seconde moitié du XXe s. : les vestiges de chaque installation sont localisés, décrits et documentés ; une datation est proposée quand cela est possible. Ce travail conduit à nuancer ou à réfuter plusieurs interprétations de nos prédécesseurs puisqu’après examen, des vestiges signalés comme des ateliers s’avèrent finalement avoir eu une autre fonction. En revanche, les installations artisanales identifiées avec certitude permettent d’étudier plus en détail les caractéristiques typologiques et techniques propres à chaque spécialité attestée : les artisanats alimentaires, la production et le traitement des textiles, la production de céramique, d’objets en verre et en métal, et les métiers de la construction. La comparaison entre les spécificités techniques des ateliers antiques algériens et celles des ateliers d’époque romaine découverts ailleurs en Méditerranée permettent de reconnaître des similitudes très fortes mais également quelques différences locales, africaines. Dans un second temps, l’étude de la répartition et de la localisation des ateliers dans le tissu urbain conduit à préciser les raisons de l’implantation des lieux de métier dans un lieu donné notamment selon leur spécialité. Il apparaît que les choix de l’implantation étaient davantage guidés par les besoins d’approvisionnement en matières premières que par les nuisances que ces activités pouvaient éventuellement occasionner : les ateliers étaient localisés aussi bien dans les quartiers périphériques que dans les quartiers résidentiels. D’autre part, l’analyse des inscriptions permet de faire le point sur les informations qu’elles transmettent au sujet des artisans et de leur statut socialThis study analyzes the place of crafts and the craftsmen in the antique cities of Algeria by reviewing the available documentation - archival, reports of excavations, plans, photos and publications. Leaning on a field work, the updated data brought precision or new elements on the urban workshops discovered between 19th and second half of 20th centuries: the remains of each installation are located, described and documented; a dating is proposed when it is possible. This work of analysis leads to qualify or to refute several interpretations of our predecessors because after consideration, vestiges indicated as workshops finally appear to have not been correctly identified. On the other hand, the craft installations identified with certainty allow studying more in detail the typological and technical characteristics of every attested speciality: the food crafts, the production and the processing of textile industries, the production of ceramic, glass and metal objects, and the crafts of building. The comparison between the technical specificities of the antique algerian workshops and those roman workshops discovered somewhere else in the Empire bring us to recognize very strong similarities but also some local, african differences. Secondly, the study of the distribution and the location of workshops in the city leads to specify the reasons of the presence of the officinae in a specific place according to their speciality. It seems that the choices of establishment were more guided by the needs for supply of raw materials and not by the nuisances which these activities could possibly cause: workshops were located as well in the suburbs as in the residential districts. To finish, the analysis of the inscriptions brings some information about craftsmen and about their social status
10
Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.
Анотація:
Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photographythe second to theinteraction between architectural photography and architectural theory/practice
and the third to the relation between architectural photography and architectural historiography.
11
Dantas, George Alexandre Ferreira. "A formação das representações sobre a cidade colonial no Brasil." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-30042010-100632/.
Анотація:
A crítica da cidade colonial foi um dos principais temas nas discussões e justificativas para as reformas e melhoramentos por que passaram muitas cidades na virada para o século XX. Desde aquelas mais importantes administrativa e economicamente nos três primeiros séculos de colonização, como o Rio de Janeiro, Salvador e Recife, até as que pouca relevância tinham na incipiente rede urbana do período colonial, como Natal, a crítica repetiu-se, homogeneamente à primeira vista, nas várias cidades em transformação, independente das particularidades das várias estruturas urbanas e da maior ou menor irregularidade dos seus traçados. Para além da questão sobre a existência ou não de planejamento por parte do colonizador português, esta tese discute como se formaram as representações sobre a cidade colonial no Brasil. Nas trilhas dessa imagem construída amiúde em negativo, aborda-se: a leitura empreendida pelos viajantes estrangeiros no início do século XIX, com ênfase no livro de Henry Koster, Travels in Brazil (1816); a problematização e instrumentalização do tema em meio às formulações higienista e sanitarista sobre a necessidade de reformar e modernizar o espaço urbano ao longo do século XIX; da mesma maneira, no processo de formação do campo disciplinar do urbanismo no Brasil na virada para o século XX; e, a apropriação do tema na constituição da historiografia sobre a arquitetura brasileira. Por fim, tecem-se algumas considerações sobre o texto que seria tomado como o momento fundante dessa representação: o capítulo \"O semeador e o ladrilhador\", de Raízes do Brasil (1936), de Sérgio Buarque de Holanda.The critique of the colonial city was one of the most usual themes on the discussion and justification of reforms and improvement plans targeted at several Brazilian cities in the turn to the twentieth century. The critique was reiterated in a virtually homogeneous fashion all over Brazil, regardless of the specific urban characteristics in each settlement, whether it was being applied to cities that concentrated great administrative and economic importance during the colonial times, such as Rio de Janeiro, Salvador and Recife, or to those that carried little relevance in the colony\'s fledgling urban network, such as Natal. Beyond the issue of whether the Portuguese colonizers were \"planning\" settlements, this thesis discusses how representations on Brazilian colonial cities came to be. As the development of this generally negative image is tracked down, this work explores the images of Brazilian cities forged by foreigner travelers, focusing on Travels in Brazil (1816), by Henry Koster; the theme\'s problematization by physicians and sanitary and polytechnic engineers, for whom the theme of colonial city was instrumental to demand for the urban reforms and modernization they sought over the nineteenth century; the appropriation of this theme during the process of formation of urbanism as a discipline; and in the many texts and books that delineated modern historiography on Brazilian architecture. Finally, some considerations are made on the text that could be considered the foundation for these representations: Sérgio Buarque de Holanda\'s \"O semeador e o ladrilhador\", a chapter from his 1936 work, \"Raízes do Brasil\".
12
Masseran, Paulo Roberto. "Diálogo atrevido entre a pedra e o tijolo, ou popular e nacional na arquitetura brasileira, por Luiz Saia e Mário de Andrade /." Assis : [s.n.], 2011. http://hdl.handle.net/11449/103138.
Анотація:
Orientador: Tânia Regina de LucaBanca: Antonio Celso Ferreira
Banca: Ana Luiza Martins
Banca: Marcia Barbosa Mansor D'Alessio
Banca: Claudio Silveira Amaral
Resumo: O trabalho trata da relação intelectual e de amizade entre o escritor Mário de Andrade e o arquiteto Luiz Saia. O estreito convívio de dez anos, entre 1935 e 1945, realizado no respeito mútuo e no diálogo sincero, promoveu uma influência recíproca, no trabalho teórico e no posicionamento artístico que professaram. Os desdobramentos dessa relação se apresentam na obra do arquiteto, veemente batalhador por uma arquitetura brasileira fundada na racionalidade e no utilitarismo necessário, da cultura popular. Tal construção teórica se desvela em suas obras teóricas, dedicadas ao estudo dos procedimentos metodológicos da arquitetura e do urbanismo, na produção historiográfica da arquitetura no Brasil e, notadamente, paulista, instrumentalizada no processo conceptivo da arquitetura e do urbanismo, e nas suas obras de restauração do patrimônio histórico paulista, durante os trinta e sete anos em que esteve à frente da regional do SPHAN, em São Paulo. Desse modo, o objetivo do trabalho é a investigação da construção teórica de uma idéia de arquitetura moderna brasileira, de raízes populares, instigada pela relação intelectual do escritor e do arquiteto
Abstract: The work deals with the intellectual relation and friendship between the writer Mário de Andrade and the architect Luiz Saia. The strait convivial of ten years, between 1935 and 1945, carried out in the mutual respect and in the sincere dialogue, promoted a reciprocal influence, in the theoretical work and in the artistic position that they professed. The developments of this relationship are presented in the work of the architect, a passionate campaigner for a Brazilian architecture founded on rationality and on the necessary utilitarianism, of the popular culture. Such intellectual construction is revealed in his theoretical works, devoted to the study of the methodological proceedings of the architecture and town planning, in the historiographic production of the architecture in Brazil and, especially, the Sao Paulo's architecture, used in the conceptive process of architecture and town planning, and in his works of restoration of the historical inheritance of Sao Paulo, throughout the thirty-seven years that he headed the regional SPHAN in Sao Paulo. In this way, the objective of the work is the investigation of the theoretical construction of an idea of modern Brazilian architecture, from popular roots, instigated by the intellectual relationship between the writer and the architect
Doutor
13
Cerqueira, Icaro Vilaça Nunesmaia. "As mil moradias. Arquitetura [e história] como processo na experiência da USINA CTAH junto à Associação por Moradia de Osasco." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-02092016-164836/.
Анотація:
Partindo do reconhecimento da importância das diversas experiências críticas ou alternativas realizadas desde os anos 60 para a história da arquitetura e do urbanismo - e dos limites na abordagem dessas experiências pela historiografia corrente, que tem a forma arquitetônica como objeto prioritário de análise -, este trabalho procura experimentar um f azer historiográfico calcado na análise da dimensão processual que singulariza esta produção. Para tanto, a dissertação investiga o processo relacionado à concepção e construção do COPROMO, um conjunto de mil unidades habitacionais em Osasco (SP) construído de forma autogerida pela Associação Por Moradia de Osasco com assessoria técnica da USINA CTAH.Recognizing the importance of several critical or alternative experiences carried out since the 60s to the history of architecture and urbanism - and also recognizing the limits of the current historiography in its approach on those experiences since it places the \'architectural form\' as a priority object of analysis -, this work seeks to experience an historiographical practice underpinned by the analysis of the procedural dimension that distinguishes those experiences. In this way, this paper investigates the process related to the design and construction of COPROMO, a set of one thousand housing units in Osasco (São Paulo) built in a self-managed way by the communiy association called Associação Por Moradia de Osasco, with the technical advice of USINA CTAH.
14
Wei, Xiaoli. "L'histoire de la modernité en Chine : l'architecture au contact avec le monde occidental, discours et pratiques (1840-2008)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040213.
Анотація:
Cette thèse interroge le processus de transformation du savoir architectural dans la Chine moderne par le biais de l’observation de la relation entre la création architecturale et l’histoire. En tenant compte de l’évolution diachronique de ces deux cultures, cette étude analyse la circulation des savoirs entre le monde occidental et la Chine et les effets discursifs qu’elle a produits dans la création architecturale et artistique chinoises. L’architecture moderne se généralise en Chine à partir de la fin du XIXe siècle en parallèle avec le développement de l’industrie. Au début du XXe siècle, apparait une nouvelle forme de conception de l’historiographie moderne qui se réfère à l’Occident. Des enjeux complexes qui impliquent des références idéologiques et qui concernent la méthode historiographique percent au travers des premières études modernes consacrées à l’architecture chinoisetraditionnelle. En s’appuyant sur cette base historique, le travail de cette thèse analyse la conception des projets architecturaux afin de mettre en évidence les recherches, très personnelles, des architectes et des historiens chinois et, notamment, leurs interprétations de certains concepts clés de la discipline. Les discours et les pratiques qui émaillent le milieu architectural des années 1950 aux années 1990 décrivent une histoire de l’architecture en pleine évolution. La discipline absorbe à la fois des influences provenant de pays étrangers et hérite de la tradition établie pendant les années « rouges ». A partir de l’ouverture du pays et des réformes économiques qui s’ensuivent, elle est aussi confrontée à un développement urbain à grande échelle. Vers la fin des années 1990, l’apparition des architectes chinois d’avant-garde révèle un courant qui vise à réinterpréter la tradition et signe le retour à la discipline elle-mêmeThis thesis goes through the changes that occur in the architecture’s knowledge in modern China, observing the relation between architectural creation and the historical background. Taking into account the diachronic differences between the two cultures, this study analyzes the interpenetration of that knowledge between western countries and China as well as its influence upon Chinese architectural and artistic creation. Modern architecture started spreading over China from late XIXth century, together with the industrial development. In early XXth century, a new approach to modern historiography appears referring to the west. Some complex issues referring to ideology and regarding historiographical methods started to emerge through the first modern studies on Chinese traditional architecture. This thesis, based on such an historical background, analyzes the architectural projects and concepts in order to enlighten the researches, quite personal, made by the Chinese architects and historians and to emphasize their own interpretations of the key concepts on this field. The statements and practices that pave the way of architecture from the 1950s to the 1990s bring up the question of the evolution occurring in the architectural history. Chinese architecture draws its inspiration from abroad mixing it with the tradition established during the Chinese « red years ». After the opening policy and economical reforms were settled, architecture faces a great urban development. Around the end of the 1990s, some Chineseavant-garde architects started a new way aiming at re-interprating the tradition within the discipline itself
15
Freire, Adriana Leal de Almeida. "Recepção e difusão da arquitetura moderna brasileira: uma abordagem historiográfica." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-08032016-095843/.
Анотація:
Investiga como o processo de \"difusão\" e/ou \"recepção\" da chamada \"arquitetura moderna brasileira\" vem sendo lido pela historiografia, sobretudo, por uma quantidade significativa de trabalhos originários do âmbito da pós-graduação. Retomando um processo de revisão da narrativa dominante sobre a arquitetura moderna brasileira e, em particular, a identificação de suas lacunas, destaca a dificuldade em incorporar a essa narrativa as relações entre arquitetura, cultura, cidade e técnica. Ainda que uma quantidade significativa de trabalhos venha sendo realizada em torno do tema da \"difusão\", até o momento não se consolidou uma reflexão sobre o complexo modo de apropriação pelos mecanismos de mercado, dos valores, formas e procedimento técnicos e soluções espaciais elaborados pela produção erudita, para além dos grandes centros. Para compreender o alcance e os significados do processo de \"difusão/recepção\" da arquitetura moderna brasileira é preciso superar uma leitura de \"irradiação\" a partir da chamada Escola Carioca, e refletir sobre um processo cultural mais amplo e complexo que permitiu que, em um período genericamente denominado anos 1950-60, largos e significativos extratos da sociedade brasileira assumissem o moderno como valor e o imaginário da arquitetura moderna brasileira de raiz corbusiana como uma de suas representações mais fortes.This thesis investigates how the process of \"diffusion\" and/or \"reception\" of Brazil\'s Modern Architecture\" has been read by historiography, especially by graduate studies that have explored the issue. Resuming the dominant narrative of Brazil\'s Modern Architecture and, in particular identifying its shortcomings, it is possible to highlight the difficulty in incorporating to this narrative the relationship between architecture, culture, city and techniques. Although the significant amount of works around the theme of \"diffusion\", a reflection on the complex mode of appropriation by market mechanisms, values, shapes and technical procedures and spatial solutions developed by scholarly production was not achieved. To understand the scope and significance of the process of Brazil\'s Modern Architecture \"diffusion/reception\", it is necessary to overcome a reading of \"irradiation\" from the Escola Carioca, and to reflect on a cultural more complex process that allowed broad and significant extracts of Brazilian society to have the modern value and the imagery of Brazil\'s Modern Architecture of Le Corbusier root as one of its strongest performances, in a period generally referred as 1950-60.
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Petrosino, Mauricio Miguel. "João Batista Vilanova Artigas - residências unifamiliares: a produção arquitetônica de 1937 a 1981." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16032010-090950/.
Анотація:
O trabalho consiste na análise de projetos de residências unifamiliares do arquiteto João Batista Vilanova Artigas construídos na cidade de São Paulo no período de 1937 a 1981. A partir de exaustivo levantamento na bibliografia existente, dos arquivos documentais e, principalmente de campo, verificamos a existência, ou não, dessas obras e as suas condições atuais. Chegamos a um conjunto de 80 casas que nos permitiu uma análise inédita da trajetória do arquiteto, identificando o significado dessa tipologia para sua trajetória, os principais bairros onde atuou, além do estudo das características funcionais e morfológicas dos elementos construtivos que proporcionaram um amplo panorama de referências dos seus aspectos projetuais. O quadro estabelecido possibilitou uma análise profunda da tipologia residencial deste arquiteto, conseqüentemente da produção arquitetônica paulista que foi referência importante para o desenvolvimento de sucessivas gerações de arquitetos. A análise comparativa dos diversos projetos permitiu traçar a trajetória de Artigas verificando as suas referências, de modo a contribuir para a compreensão da real importância desse arquiteto à arquitetura brasileira. O levantamento aqui sistematizado traz a público informações inéditas que permitirão o desenvolvimento de muitos outros trabalhos, bem como a revisão da própria historiografia existente sobre Artigas.This work analyses the one-familiar houses designed by the architect João Batista Vilanova Artigas and built in São Paulo city between 1931 and 1981. We promoted an exhaustive bibliographic, documental and field survey, verifying this houses permanence or not, and their actual conditions. We identified 80 unities, which permitted to develop an original analyze of Artigas work, identifying this typologys importance to his career, the main districts where he worked for, beyond the study of its functional and formal characteristics, and its building elements, consisting a large panorama of the architects references. This survey is a contribution not only to study Artigas houses, but also to the paulista production as a whole, considering his influence to successive architects generations. The comparative analyze among all houses permitted to establish Artigas path, verifying his references, and so contributing to the comprehension of his real importance to the Brazilian architecture. The many unpublished information here revealed may stimulate the interesting to new task as well as revision of Artigas historiography.
17
Tournikiotis, Panayotis. "Historiographie de l'architecture moderne." Paris 8, 1988. http://www.theses.fr/1988PA080286.
Анотація:
Nous avons etudie un corpus de textes qui se presentent comme des histoires de la genese, de la grandeur et de la decadence du mouvement moderne de la fin des annees vingt jusqu'a la fin des annees soixante. L'histoire et la theorie s'y fondent en un tout qui comprend (1) une these sur l'essence de l'architecture, (2) une conception philosophie de l'histoire et, partant, un point de vue sur l'histoire dans son ensemble, (3) une grille d'elements exemplaires qui forment, a la fois, le tissu de l'interpretation historique et la regle de la production architecturale a-venir et (4) un programme de societe. Ces dimensions composent une sorte de "projet textuel" d'architecture qui se presente comme un guide theorique pour architectes. Les historiens et les critiques du mouvement moderne ont joue, de cette facon, l'un des premiers roles dans la prise de conscience du changement historique, de cette historicite qui domine, d'une maniere ou d'une autre, les principales tendances de l'architecture contemporaineWe have studied a "corpus" of textes pretending to be histories of the genesis, the grandeur or the decline of the modern movement, from the late "20s to the late '60s. These texts are a blend of history and theory consistinf of (1) a statement on the essence of architecture, (2) a concept philosophy of history and, thus, a point of view on history as a whole, (3) a pattern of exemplary elements that form, both, a texture of the historical interpretation and the principles of the future architectural creation, and (4) a social programme. These dimensions compose a kind of "textual design" that is presented as a theoretical guide for architects. The historians and critics of the modern movement have played, in that sense, one of the major roles in the development of conscience of historical change, of the historicity that dominates, either way, the principal tendencies of contemporary architecture
18
Mansion-Prud'homme, Nina. "Archives d'architectes en France, 1968-1998 : jeux d'acteurs et enjeux historiographiques autour de l'Institut français d'architecture." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30056.
Анотація:
Cette thèse analyse les jalons de la fabrication d’une politique publique et nationale de conservation et de valorisation des archives des architectes en France dans le dernier quart du XXe siècle et ses effets sur l’histoire de l’architecture contemporaine française. En parcourant une période qui s’étale de la fin des années 1960 au début des années 2000, ce travail met en exergue le rôle d’une institution : l’Institut français d’architecture. Ainsi, la thèse analyse, d’une part, les modalités d’émergence et d’institutionnalisation des structures chargées de la collecte et de la valorisation des archives d’architectes en France en restituant les « jeux d’acteurs », c’est-à-dire à la fois les enjeux de concurrence institutionnelle, les jalons du débat programmatique et les trajectoires individuelles. D’autre part, à travers la question des archives d’architectes, c’est la construction de la discipline historique en architecture qui est interrogée. En dressant le portrait d’un milieu, l’étude interroge l’autonomie d’un champ disciplinaire partagé entre des lieux d’enseignement isolés et divisé entre des ambitions divergentes. En examinant les évolutions de la collecte et de ses modalités de valorisation à travers les publications et expositions, l’étude établit la place de l’IFA et de son Centre d’archives d’architecture du XXe siècle dans la fabrication de l’histoire de l’architecture récente en France. A travers l’analyse croisée de sources écrites et de sources orales, ce travail propose de considérer trois périodes (1968-1980 ; 1980-1988 ; 1988-1998) au cours desquelles l’élaboration d’une politique de conservation des archives des architectes a défini un cadre institutionnel, méthodologique et épistémologique grâce auquel l’histoire de l’architecture a pu entreprendre sa rénovation. Outre les dynamiques institutionnelles, administratives et politiques, la thèse souligne le rôle de quelques personnalités pionnières (André Chastel, Maurice Culot, Bruno Foucart, etc.) qui ont façonné l’histoire de l’architecture contemporaine française telle que nous la connaissons aujourd’huiThis thesis analyses the milestones of the development of a public and national policy for the conservation of the archives of architects in France in the last quarter of the 20th century and its effects on the history of contemporary French architecture. Covering a period from the late 1960s to the early 2000s, this work highlights the role of an institution: the Institut français d'architecture. On the one hand, the thesis analyses the modalities of emergence and institutionalization of structures in charge of collecting architectural archives in France by looking into the challenges of institutional competition, the stakes of the programmatic debate and the individual trajectories. On the other hand, through the question of architects' archives, this work questions the construction of the historical discipline in architecture. By drawing the portrait of a milieu, the study questions the autonomy of a disciplinary field divided between different educational institutions and between divergent ambitions. By examining the evolution of its collection and the way history was written through publications and exhibitions, the study establishes the place of the IFA and its Centre d'archives d'architecture du XXe siècle in the production of the history of recent architecture in France. Through the cross-referenced analysis of written and oral sources, this work proposes to consider three periods (1968-1980; 1980-1988; 1988-1998) during which the development of a policy for the conservation of the archives of architects defined an institutional, methodological and epistemological framework which renovated the way architectural history was made, taught and written. In addition to the institutional, administrative and political dynamics, the thesis highlights the role of pioneering personalities (André Chastel, Maurice Culot, Bruno Foucart, etc.) who have shaped contemporary architectural French history as we know it today
19
Sim, Jean C. R. "Designed Landscapes in Queensland, 1859-1939: experimentation - adaptation - innovation." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/10835/1/wholePHDsim1999.pdf.
Анотація:
The conservation of historic cultural landscapes in Queensland is in its infancy. Effective conservation practice, however is based on sound historical information, and no previous study has investigated the historical development of local parks, gardens and other landscapes. The objectives of this research were to examine the factors which influenced landscape design in Queensland, to identify the forms and expressions of design derived from these influences, and to identify any distinctive aspects related to local landscape character. The timeframe chosen for this investigation was from the beginning of the separate colony of Queensland (1859) to the outbreak of World War 2 (1939). Using historical method, the research began with an exploration of published primary sources (particularly garden literature from the 1860s to 1930s) related to Queensland and other 'tropical' areas. A series of hypotheses was proposed to explain the findings, and these were tested by further analysis and data gathering. There followed a triple-layered central proposition, suggesting that: (i) in Queensland, the traditional delineation of styles to describe landscape design is of limited application because of the lack of elite professional designers and wealthy clients; (ii) there developed a discernible 'tropical landscape design character' in suitable climatic areas, which included two distinct visual aspects expressed in the landscape (the 'exotic' and the 'prosaic'); and, (iii) these design outcomes were the result of a design process of 'acclimatisation' experienced by early settlers (gardeners and designers) working in unfamiliar lands and climates, and includes the stages of experimentation, adaptation and innovation.
20
Caillou, Jean-Sylvain. "Les tombeaux royaux de Judée : historiographie, symbolisme et architecture." Paris 4, 2004. http://www.theses.fr/2004PA040008.
Анотація:
Cette thèse cherche à expliquer les difficultés spécifiques que pose la localisation des tombeaux royaux de Judée. Elle se consacre tout d'abord à David, Salomon et aux rois de Juda, en passant en revue les nombreux emplacements qui ont été propsés depuis la destruction complète des tombeaux de l'époque romaine. La tradition se fixa notamment à Bethléem à la période byzantine, puis sur le mont de Sion à la période médiévale, au tombeau des rois à la période moderne et enfin sur l'Ophel depuis la fin du XIXe siècle. Ce grand nombre de changements s'explique par l'ambiguité des textes bibliques qui servaient de référence, c'est pourquoi un nouvel examen critique des sources antiques est entrepris pour établir la véritable signification que les auteurs anciens accordaient à la mort et aux tombeaux des premiers rois de Judée. Puis une seconde partie est consacrée aux tombeaux des rois asmonéens et hérodiens. Elle débute par l'analyse de la grande architecture funéraire gréco-romaine pour remplacer celle des derniers rois de Judée dans le contexte général de l'époque. Ensuite elle s'attache à étudier la mort et les tombeaux des Asmonéens en commençant par le monument des maccabées à Modin. Enfin elle aborde la mort d'Hérode et son enterrement à l'Hérodion ainsi que le monument qu'il fit construire à Jérusalem. Au terme il apparaît que les tombeaux royaux de Judée ont toujours revêtu un sens allégorique trés fort qui leur confère une signification bien différente de ce que l'on croit généralementThis thesis deal with the tombs of David, Salomon, the kings of Juda, the Asmonean and the Herodian kings. It's starting with the history of the several localisations of the supposed tombs of the judean kings of the first temple period, and then with a new analysis and commentary of biblical indications. In a second part, the judean kings of the second temple period are studied in the context of the tombs of the kings in the classical Antiquity, before focus on the Asmonean's and Herodian's tombs, especially the Maccabean monument, the Herodion and the monument of Herod in Jerusalem. Finally, the study show that the tombs of the kings always had a strong symbolism in literature and architecture, and this symbolism can explain a lot more that it usually believed
21
Kourniati, Marilena. "Des Congrès Internationaux d'Architecture Moderne à Team 10 : une autre génération intellectuelle." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH188.
Анотація:
Cette thèse a l’ambition d’apporter un nouvel éclairage sur un chapitre largement débattu de l’histoire de l’architecture du XXe siècle, constitué par la dissolution des CIAM et l’émergence de Team 10. En se situant dans la perspective d’une sociohistoire de l’architecture, elle s’appuie sur le constat suivant : les rapports sociaux entre les acteurs sont inséparables de leurs propos et de leurs actes et doivent être pris en compte pour comprendre les façons d’agir de ces acteurs dans le champ de l’architecture. Ainsi, plutôt que de mettre en avant les doctrines ou les projets, nous suivons les personnes dans leurs actions, prenant en compte leurs rapports mutuels, ceux qu’ils entretiennent avec les institutions et, dans la mesure du possible, avec le monde extérieur. En s’appuyant sur les archives – correspondance, réunions, résolutions- cette thèse analyse d’abord les CIAM en tant qu’organisation créée en parallèle des assemblées éphémères que constituent les congrès, et dont la structure et le mode de fonctionnement sont à la fois un enjeu et une condition du déroulement de l’action. Au sein de cette organisation, Team 10 se forme comme la nouvelle génération ayant la mission impossible d’assurer la continuité de l’organisation mais aussi le renouvellement du mouvement. Loin du sens biologique, il s’agit d’élucider la construction sociale de Team 10 en tant que « jeune génération » mais aussi en tant que « créateurs », « héritiers » et « avant-garde » à la fois. En se focalisant sur des documents graphiques (grilles), des textes mais aussi des écrits médiateurs, cette thèse observe, dans une seconde étape, les discours, les représentations et les ressources mobilisées par les acteurs inscrits dans les divers contextes nationaux. Enfin, au-delà d’une analyse de contenu, il s’agit de transformer les deux écrits - Doorn Manifesto et Team 10 Primer- en documents qui informent, par leurs énoncés, mais aussi par leur mise en forme, sur la formation puis sur la réinvention de Team 10, au moment du passage d’un champ d’action à un autre, des CIAM aux Team 10 Meetings.En assumant la tâche de ne pas faire comme avant, ces architectes qui diffèrent entre eux, comme se distinguent leurs situations professionnelles et les ressources dont ils disposent, construisent intellectuellement un système de différences avec l’environnement et avec, bien entendu, les Maîtres ; c’est d’abord par rapport à eux, à l’architecte moderne, que Team 10 cherche à se distinguer et à produire de l’alternative. Structure verrouillée et riche en contradictions par ses ambitions à former à la fois une organisation internationale, une avant-garde, et un mouvement réformateur pour s’imposer sur le marché de la profession, les CIAM génèrent leur propre dissolution. Celle-ci renforce le récit de la naissance d’une nouvelle avant-garde, d’autant plus qu’au bout de ce chemin, cette nouvelle élite d’héritiers n’a plus besoin des CIAM pour s’affirmer. Cette thèse établit des corrélations entre la formation de Team 10 et la dissolution des CIAM moins sur le plan de leurs doctrines et des conflits entre leurs membres, que sur celui de leur forme spécifique d’organisation et de gouvernance. Plus globalement, l’enjeu de cette recherche est de comprendre les propositions théoriques et formelles des architectes à partir de l’analyse de leurs pratiques (organisation sociale, institutionnelle, professionnelle) et de contribuer à construire une interprétation sociohistorique des formes mêmes de l'architecture.En outre, l’étude historiographique relève les usages que nous faisons aujourd’hui de Team 10, alors qu’une timeline (1988-2018) invite à réfléchir sur les rapports entre les constructions intellectuelles et les destructions matérielles, concernant les architectures de l’après-guerreThe present thesis aims to shed new light on a widely debated chapter in the history of 20th century architecture, constituted by the dissolution of CIAM and the emergence of Team 10. Situated in a socio-historical perspective, and taking inspiration from the reflexive turn in social sciences, this research relies on the observation that the social relations between the actors are inseparable from their discourse and their actions, and must be taken into account to understand the ways they act in the field of architecture. Thus, rather than putting forward doctrines or projects, we follow the actors, taking into account their mutual relationships, relationships with the institutions and, as far as possible, with the outside world. Looking at archives –such as correspondences, meetings, resolutions-, the thesis firstly analyzes the CIAM as a longstanding organization that is created in parallel with the established but ephemeral congresses of CIAM, whose structure and mode of operation are both an issue and a condition of the whole action. Within this organization, Team 10 is formed as the new generation that is entitled with the mission impossible to ensure the continuity of the organization but also the renewal of the movement. In this context “generation” is perceived beyond its biological aspects. The thesis focuses on the social construction of Team 10 as a "young generation" but also as "creators", "heirs" and "avant-garde" at the same time. On a second level of analysis, the thesis examines through the graphic documents (grids CIAM), articles and mediated texts, the discourses, representations and resources mobilized by the actors in their various national contexts. The third axis of our research, goes beyond the textual analysis of Doorn Manifesto and Team 10 Primer and looks into them as documents that inform, by their statements, but also by their formatting, the passage from one of a field of action to another, from CIAM to Team 10 Meetings, and ultimately the reinvention of Team 10 itself.By assuming the task of renewing, the architects who inform Team 10 and differ from each other, -on grounds of their professional situations and resources-, will construct an intellectual system of differences with their professional environment and with, of course, their Masters; it is primarily in relation to them that Team 10 seeks to emphasize otherness and produce alternatives. Rigid structured, and full of contradictions, by their ambitions to form an international organization, an avant-garde, and a reform movement, the CIAM seems to have generated their own dissolution. This reinforces the story of the birth of a new avant-garde, especially since this new elite of heirs no longer needs the CIAM to assert itself.The thesis establishes correlations between the formation of Team 10 and the dissolution of CIAM not so much in terms of their doctrines and conflicts between their members, but on the basis of their specific form of organization and governance. More generally, the stake of this research is to understand the theoretical and formal proposals of architects, from the analysis of their practices (social, institutional, professional organization), and to contribute in a sociohistorical interpretation of architectural forms.Furthermore, this kind of study in historiography highlights the uses we make today of Team 10, while a timeline (1988-2018) invites us to reflect on the relationship between intellectual constructions and material destructions, concerning postwar architectures
22
Oléron-Evans, Émilie. "Transferts culturels et historiographie de l'art : le cas de Nikolaus Pevsner (1902-1983)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030098.
Анотація:
Cette thèse vise à démontrer que les travaux de l’historien d’art et d’architecture britannique d’origine allemande Nikolaus Pevsner (1902-1983) ont joué un rôle majeur dans l’accession de l’histoire de l’art et de l’architecture au statut de discipline universitaire au Royaume-Uni à partir des années 1930-1940. L’étude de ce cas particulier et des constellations et réseaux qui entrent en jeu durant son émigration vers l’Angleterre en 1933 apportent un éclairage différent sur le champ de l’histoire des migrants intellectuels en rappelant le conflit latent entre l’idéal d’universalisme de la science et les vecteurs socio- culturels nationaux qui président aux déplacements transnationaux.Notre recherche se concentre sur les transferts méthodologiques, institutionnels et historiographiques qui ont fait de la carrière de Pevsner un moment-clé de l’historiographie de l’art, de l’architecture et du design et aborde les domaines suivants : la question du Mouvement moderne, l’utilisation du concept d’espace dans le discours architectural d’après le principe de l’empathie (Einfühlung) ou encore dans l’exploration, à travers la méthodologie de la géographie de l’art, de la production artistique et du patrimoine architectural du pays d’accueil de Pevsner.Il s’agit de montrer que l’oeuvre de médiateur d’un historien d’art entre sa matière et la société se déploie aussi hors du seul cadre universitaire. Cette thèse expose comment Pevsner se fait une place dans la culture britannique en tant qu’éditeur, homme de radio, critique d’art, autant d’activités qui se basent sur des modèles allemands, mais qui font progressivement de l’historien déplacé, interprète de sa culture d’accueil, une véritable institution culturelleThis thesis demonstrates how the works of art and architectural historian Nikolaus Pevsner (1902-1983), a British scholar of German origin, played a major part in the accession of the history of art and architecture to the status of an academic discipline in the United Kingdom in the 1930s and 40s. This case study, along with the various networks that played a part in his displacement from Germany to Britain in 1933, sheds a different light on current research on the history of émigré intellectuals, as it seeks to show that there is a latent conflict between the ideal of universalism in science and the national socio-cultural vectors at play in transnational displacements.Our research focuses on methodological, institutional and historiographical transfers that made Pevsner’s career into a milestone in the historiography of art, architecture and design. It tackles the main aspects of his contribution, from the issue of the Modern movement, through the use of the concept of space in the architectural discourse based on the principle of empathy (Einfühlung), to the exploration of the artistic production and the architectural heritage of Pevsner’s country of adoption.Our contention is that the role of an art historian as a mediator between his subject and society goes beyond the realm of academia. This thesis shows how Pevsner found a place in British culture as editor, broadcaster and art critic, while basing these activities on German models, and how these activities gradually transformed an interpreter of culture into a cultural institution
23
Sido, Anna E. "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/663.
Анотація:
This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.
24
Hanna, Bronwyn Planning UNSW. "Absence and presence: a historiography of early women architects in New South Wales." Awarded by:University of New South Wales. Planning, 2000. http://handle.unsw.edu.au/1959.4/18217.
Анотація:
Women architects are effectively absent from architectural history in Australia. Consulting first the archival record, this thesis establishes the presence of 230 women architects qualified and/or practising in NSW between 1900 and 1960. It then analyses some of these early women architects' achievements and difficulties in the profession, drawing on interviews with 70 practitioners or their friends and family. Finally it offers brief biographical accounts of eight leading early women architects, arguing that their achievements deserve more widespread historical attention in an adjusted canon of architectural merit. There are also 152 illustrations evidencing their design contributions. Thus the research draws on quantitative, qualitative, biographical and visual modes of representation in establishing a historical presence for these early women architects. The thesis forms part of the widespread political project of feminist historical recovery of women forebears, while also interrogating the ends and means of such historiography. The various threads describing women's absence and presence in the architectural profession are woven together throughout the thesis using three feminist approaches which sometimes harmonise and sometimes debate with each other. Described as "liberal feminism", "socialist feminism" and "postmodern feminism", they each put into play distinct patterns of questioning, method and interpretation, but all analyse historiography as a strategy for understanding society and effecting social change.
25
Lefils, Fabienne. "Etude de l'oeuvre architecturale commerciale de Victor Gruen: mise en perspective historiographique." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209482.
Анотація:
Cette thèse établit l’œuvre architecturale commerciale de Victor Gruen dans l’histoire de l’architecture moderne. Elle analyse ses fondements architectoniques, relate les conditions économiques, politiques et sociologiques qui la promurent. Cette thèse révèle également la réception critique d’époque et la compare à l’historiographie de l’architecture moderne. Enfin, cette thèse démontre que l’œuvre architecturale commerciale de Victor Gruen a toutes les qualités architectoniques requises pour intégrer les monographies traitant de l’histoire de l’architecture moderne.This thesis establishes the retail work of Victor Gruen in the history of modern architecture. It analyses its architectonic values, establishes the economic, politic and sociologic conditions that promoted its creation. In addition, this thesis reveals how Gruen’s work was perceived at the time of its creation and compares the critiques’ welcome to the historiography of Modern Architecture. Ultimately, this thesis demonstrates that the architectonic qualities of Victor Gruen’s retail architecture should be included in Modern Architecture history monographs.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
26
Panzeri, Miriam. "Le projet d'un nouvel humanisme dans la culture architecturale en Italie et en France après la Seconde Guerre mondiale (1945-1965)." Paris 1, 2012. http://www.theses.fr/2012PA010532.
Анотація:
Partant du constat de la diffusion d'un terme strictement caractérisé, le mot « humanisme», cette recherche souhaite d'abord démontrer l'existence, après la Deuxième Guerre mondiale, d'un projet de nouvel humanisme (première partie) et déterminer les influences que cette idée a eu sur la conception et les projets architecturaux de cette période (deuxième partie). Après un bref excursus sur la naissance et les principales acceptions du terme « humanisme» et de ses dérivés directs (néo-humanisme, nouvel humanisme), nous analysons dans le premier chapitre les usages du mot, en particulier dans l'histoire de l'art et de l'architecture de 1914 au début de la Deuxième Guerre mondiale. Dans le deuxième chapitre, nous explorons encore l'utilisation du terme « humanisme» dans son acception contemporaine, en considérant le passage de ce concept des textes philosophiques aux arts et à l'architecture. Nous analysons à ce propos également un thème très lié à la notion de nouvel humanisme, à savoir le rapport entre arts et technique. Dans la deuxième partie, nous nous intéressons aux valeurs les plus représentatives de la pensée humaniste moderne, notamment avec l'analyse de la critique de l'architecture italienne pendant les vingt ans qui suivent la fin de la Deuxième guerre mondiale : - le sentiment historique, dont le rôle, à cette période, est un rôle actif et opérationnel sur le présent, et non plus une attitude passéiste et imitative; - la formation de l'architecte, qui fait partie d'un intérêt plus général envers l'éducation de tous les hommes et de la société; - l'attention portée à tous les types de relations, en particulier au rapport entre homme et communauté.
27
Mandoul, Thierry. "L' «Histoire de l'architecture » d'Auguste Choisy : entre raison et utopie." Paris 8, 2004. http://www.theses.fr/2004PA083577.
Анотація:
L'objet et le sujet d'étude de ce travail est l'ouvrage de l'ingénieur Auguste Choisy, « Histoire de l'architecture », publié en 1899. La thèse interroge sa conception de l'histoire et démontre la construction scientifique du récit historique. Elle établit dans quelle mesure l' « Histoire » a été soumise à l'épistémè de son siècle, portée par les sciences naturelles et celles de l'ingénieur, traversée par des utopies sociales et politiques. Le statut et l'usage de la représentation graphique constituent un autre point d'étude. La thèse y explore une pensée au travail, démontrant que rationalité et imaginaire sont indissociablement associés. Elle s'attache à définir les éléments exemplaires qui forment à la fois la trame de l'interprétation historique et les règles de la production architecturale. Enfin, la thèse inscrit l' « Histoire de l'architecture » dans une histoire du travail en général et analyse dans quelle mesure l'œuvre de l'ingénieur peut s'interpréter comme une utopie technicienne et saint-simonienneThe study of this work is the engineer Auguste Choisy's book, "Histoire de l'architecture", published in 1899. The dissertation examines the book's conception of history, revealing the scientific construction underlying the historical narrative. It discusses the manner in which the "Histoire" was subject to the episteme of its time, influenced by engineering and natural sciences as well as social and political utopias. The study also focuses on the status and the use of graphic representation, exploring a working thought process in which the rational and the imaginary prove to be inseparably associated. It aims to define the significant elements that form both the rules of architectural production and the structure of the historical interpretation itself. Finally, it situates "Histoire de l'architecture" within a general history of labour and considers to what extent the book may be qualified as a technical and Saint-Simonian utopia
28
Brucculeri, Antonio. "L'architecture classique en France et l'approche historique de Louis Hautecoeur : sources, méthodes et action publique." Paris 8, 2002. http://www.theses.fr/2002PA082134.
Анотація:
Deux aspects se conjuguent dans cette thèse : d'une part, la biographie intellectuelle et professionnelle de l'historien de l'art Louis Hautecœur (1884-1973) ; d'autre part, la définition de la notion d'"architecture classique" en France. Hautecœur développe cette notion d'un côté pour effectuer sa lecture inédite d'un cycle historique, de l'autre pour alimenter le débat architectural et culturel contemporain. La recherche a donné corps à l'hypothèse que son Histoire de l'architecture classique en France (1943-1957), conçue de manière rigoureuse, selon des critères "archéologiques", prend néanmoins une valeur pédagogique à la fois au regard de la protection du patrimoine et du projet contemporain, portant l'action de l'historien dans ces domaines. La thèse vise à changer le point de vue habituel sur un ouvrage capital dans l'historiographie de l'architecture française : celui-là n'est pas la simple expression d'une érudition magistrale, mais aussi d'un savoir qui s'inscrit dans un large dessein intellectuel, engageant d'abord la dimension du présentThis thesis combines two aspects: the intellectual and professional biography of the art's historian Louis Hautecœur (1884-1973) and the definition of the notion "classical architecture" in France. Hautecœur develops this notion on one hand through his new way of looking at an historical cycle, on the other hand taking part in the contemporary architectonic and cultural debate. According to the hypothesis carried out by this research, his Histoire de l'architecture classique en France (1943-1957), conceived and constructed in a rigorous way, following "archaeological" principles, takes on a didactic value not only for preservation of architectonic heritage but also for the project of contemporary architecture, so justifying the historian's action in both these fields. This thesis means to modify the usual point of view about a chief work in the historiography of French architecture: such a work is not reducible to a piece of academic erudition, but it is expression of a knowledge belonging to a wider intellectual horizon, involving first of all the dimension of present time
29
Maraszak, Emilie. "Figures et motifs des croisades : étude des manuscrits de l'Histoire ancienne jusqu'à César, Saint-Jean-d'Acre, 1260-1291." Thesis, Dijon, 2013. http://www.theses.fr/2013DIJOL014.
Анотація:
Les États latins d’Orient ont vu la création d’une société en Terre sainte développant un art syncrétique au carrefour des mondes latin, byzantin et arabe. Outre l’architecture religieuse et militaire, les manuscrits sont également les témoignages d’une culture levantine aux multiples influences. L’étude des œuvres croisées nous a montré une très nette augmentation de la production de manuscrits après le séjour de Louis IX au Proche Orient, ainsi qu’un changement dans la nature même des textes copiés. Les manuscrits liturgiques sont ainsi délaissés au profit de la littérature historique, telle l’Histoire Ancienne jusqu’à César. À partir d’un texte venu de Flandre, les nobles francs de Terre sainte et les enlumineurs à leur service ont recréé un cycle de miniatures pour inscrire leurs images dans la tradition multiculturelle croisée. Des partis-pris artistiques ont ainsi été mis au jour et définis comme des choix conscients visant à personnaliser les copies levantines et les inscrire dans une tradition de près de deux siècles : l’emprunt à différentes traditions artistiques, occidentales et orientales, pour la création des miniatures, la mise en lumière de héros liés à la Terre sainte ou aux Francs, et parfois la figuration de leur environnement oriental. Ces processus de personnalisation des images, replacés dans le contexte de la vie culturelle de Saint Jean d’Acre de la fin du XIIIe siècle, nous amènent à dépasser la constatation de phénomènes d’acculturation à leur milieu oriental pour évoquer, de la part des nobles francs de Terre sainte, une volonté d’affirmer visiblement leur identité sociale collective et leur double culture, entre Orient et OccidentThe Crusader States have created a society in the Holy Land developing a syncretic art at the crossroads of Latin, Byzantine and Arabic worlds. In addition to religious and military architecture, manuscripts are also evidences of a cosmopolitan Levantine culture. The study of Crusader Art has shown that the painting of manuscripts was revived at Acre in the early 1250’s, after Louis XI’s stay in the Middle East. Secular manuscripts written mostly in Old French became popular, as well as new historical literature. The most popular examples were the Histoire d’Outremer by William of Tyre and the Histoire Ancienne jusqu’à César. This illustrated text was first composed in France for Roger de Lille and brought to the Crusader East in the mid-thirteenth century. Frankish aristocracy and crusader illuminators have created a cycle of miniatures in order to integrate their images in the cosmopolitan Crusader Art. Artistic choices have then come to light and been defined as conscious choices to offer works that represent the best of the Frankish culture of Acre and integrate them in an almost two centuries old artistic tradition : the borrowing from Western and Oriental artistic traditions in order to create their miniatures, the revelation of heroes linked to the Holy Land and the Franks, and sometimes the representation of their Oriental environment. This process of personalization and multicultural content, set within the context of the cultural society of Saint Jean d’Acre at the end of the thirteenth century, are the evidences of the remarkable artistic acculturation of Frankish society in the Holy Land, at the crossroads of the West and the Near East
30
Grudet, Isabelle. "L' "Histoire de l'urbanisme" de Pierre Lavedan de 1919 à 1955 : entre savoir et action." Paris 8, 2005. http://portaildocumentaire.citechaillot.fr/search.aspx?SC=theses&QUERY=cour+ouverte#/Detail/%28query:%28Id:%270_OFFSET_0%27,Index:1,NBResults:1,PageRange:3,SearchQuery:%28CloudTerms:!%28%29,ForceSearch:!t,Page:0,PageRange:3,QueryString:Grudet,ResultSize:10,ScenarioCode:theses,ScenarioDisplayMode:display-standard,SearchLabel:%27%27,SearchTerms:Grudet,SortField:!n,SortOrder:0,TemplateParams:%28Scenario:%27%27,Scope:%27%27,Size:!n,Source:%27%27,Support:%27%27%29%29%29%29.
Анотація:
Ce travail interroge l'articulation entre les aspects théoriques et doctrinaux des discours sur la ville. Il porte sur la première série des Histoires de l'urbanisme de Pierre Lavedan (1885-1982), une œuvre de référence des urbanistes, historiens et géographes de l'après-guerre. L'hypothèse est que cette figure intermédiaire de l'urbanisme a produit des textes reflétant les positions qu'il a successivement occupées dans le champ de l'histoire de l'art, puis de l'urbanisme, après la seconde guerre mondiale. L'étude empirique amène à parler d'une position de médiateur : en tant qu'historien - médiateur, Pierre Lavedan a alimenté les musées imaginaires et les paradigmes successifs de l'urbanisme. Ce travail invite à se pencher sur la médiation de l'urbanisme et à sortir de la critique de l'articulation entre la savoir et l'action d'une part, de l'orientation de l'histoire d'autre part, pour penser l'historien – médiateur comme un acteur de l'urbanismeThis work questions the correlation between theoretical and doctrinal aspects of discourses about the city. It analyses the first series of History of urbanism written by the historian of art Pierre Lavedan (1885-1982), a major reference for town planners, historians and geographers, especially after the Second World War. The hypothesis is that this author, as an intermediary figure between knowledge and action, has produced texts that reflect the positions he has successively occupied in the field of history of art and later in the field of urbanism. The empirical study shows that these positions have in common to support the idea of mediation: as an historian – mediator Pierre Lavedan has nurtured several paradigms of urbanism. This work invites to study the mediation of urbanism and to overcome the critics of the correlation between knowledge and action on the one hand, and of the orientation of history on the other hand, in order to think of the historian – mediator as an actor in the field of urbanism
31
Chamorro, Trenado Miquel Àngel. "La construcció de l'església de Sant Feliu de Girona al segle XIV. Els llibres d'obra." Doctoral thesis, Universitat de Girona, 2004. http://hdl.handle.net/10803/7836.
Анотація:
Aquesta tesi doctoral com diu el seu títol es centra en analitzar la construcció de l'església de Sant Feliu de Girona al segle XIV a través de l'anàlisi dels llibres d'obra conservats a l'Arxiu Diòcesa de Girona.Aquesta tesi doctoral esta dividida en quatre parts. En la primera part s'analitza la historiografia de l'església de Sant Feliu de Girona des del segle XVII fins a l'actualitat. Dins d'aquest apartat s'analitzen les notícies que aporten els diferents autors i es situa el context historiogràfic de cadascun dels segles. S'ha realitzat un estudi molt exhaustiu en les darreres publicacions del segle XX i inicis del segle XXI. Un cop analitzades aquestes fonts - secundàries -, dins d'aquesta primera part del treball s'ha passat a analitzar els llibres d'obra del segle XIV. S'analitzaràn els aspectes formals i els diferents escrivans encarregats de realitzar aquests llibres d'obra. Aquesta serà la documentació bàsica per realitzar aquesta tesi doctoral.
En la segona part del treball es procedirà a analitzar la gestió i el finançament de l'Obra. Es tracta d'una anàlisi, bàsicament dels ingressos, per veure quines són les estratègies que es duen a terme per aconseguir el màxim de recursos per la construcció i per les necessitats "litúrgiques" de l'església de Sant Feliu de Girona. En aquest apartat s'ha analitzat l'Obra com a entitat amb les persones que formen part d'ella i el paper que correspon a cadascuna d'elles (l'obrer, l'escrivà, el mestre d'obres, el questor). També s'han analitzat els promotors i aquells ingressos que, pel seu volum, subministren el nombre més gran de diners a l'Obra ("annates", bacins, etc.).
La tercera part ha consistit en l'elaboració de la cronologia constructiva de l'església de Sant Feliu de Girona partint de la informació obtinguda en els llibres d'obra corresponent a les despeses. S'han analitzat totes aquelles obres, tant pel que fa a la construcció de l'edifici com pel que fa a reparacions i manteniment, que tenen lloc entre l'any 1349 (data del primer llibre d'obra de despeses) i l'any 1391. En aquesta part no s'ha entrat a analitzar de forma exhaustiva les figures que fan possible la construcció de l'església al segle XIV ja que això pertany al contingut de la darrera part del nostre treball.
La darrera part del treball correspon a l'execució de les obres. En aquesta part trobem quatre grans capítols: els mestres d'obra, la mà d'obra, els materials i els mitjans auxiliars. En cadascun d'aquests capítols s'ha incidit sobre el rol dels diferents treballadors durant la construcció del temple, els materials utilitzats i les seves característiques (pedra, fusta, aglomerants, etc.) i els mitjans auxiliars utilitzats per col.locar aquests materials en obra. S'han separat els mestres d'obres de la resta de treballadors ja que els primers juguen un rol diferenciat dels segons. S'ha intentat analitzar en ambdós casos els seus sous i les tasques de cadascun d'ells. Pel que fa als materials també s'ha procedit a analitzar d'on s'extreuen, com han arribat a peu d'obra i on s'emmagatzemen i manipulen o transformen abans d'ésser col.locats en obra. Dels mitjans auxiliars s'ha intentat analitzar les funcions per la qual es fan servir les eines (apareixen totes les de l'ofici de pedrer), els enginys (elevar pesos), les bastides (poder treballar en alçada) i el encofrats (garantir la resistència inicial dels elements constructius).
Evidentment s'han establert unes conclusions de cadascuna de les parts i unes conclusions finals. La tesi també inclou els agraïments corresponents, el prefaci i la bibliografia.
This doctoral thesis how it says their title focuses on analyzing the construction of the church of Saint Feliu of Girona in the 14th century through the analysis of the books of work preserved on the Archive Diòcesa of Girona.
This doctoral thesis esta divided into four deliveries. In the first part the historiography of the church of Saint Feliu de Girona since the 17th century until the present is analyzed. In this section the news that the different authors bring is analyzed and the historiogràfic context of each of the centuries is placed. A very exhaustive study has been carried out in the last publications of the 20th century and beginnings of the 21st century. Once analyzed these fountains|sources? secondary?, in this first part of the work has been gone|passed to analyzing the books of work of the 14th century. The formal aspects and the different court clerks been of carrying out these books of work in charge will be analyzed. This will be the basic documentation to carry out this doctoral thesis.
In the second part of the work people will proceed to analyzing the formality and the funding of the Work. It is about an analysis, in a basic way of the admissions, to see which they are the strategies that they are carried out to achieve the maximum of resources for the construction and from the "liturgical" needs of the church of Saint Feliu de Girona. In this section the Work as an entity with the persons who are part of her and the paper|role that corresponds to each of them (the worker, the court clerk, the master builder, the questor) have been analyzed. The promoters and those admissions|incomes that, for its volume, supply the Work ("annates", bowls, etc) with the greatest number of money have also been analyzed.
The third part has consisted of the elaboration of the constructive chronology of the church of Saint Feliu de Girona following the obtained information in the books of work corresponding to the expenses. All those works, regarding the construction of the building as well as regarding repairs and maintenance, that have place among year 1349, (it dates from the first book of expenses work) and in year 1391 have been analyzed. In this part people have not entered to analyze in an exhaustive way the people that make the construction of the church in the 14th century possible since this belongs to the contents of the last part of our work.
The last part of the work corresponds to the execution of the works. In this part we find four big chapters: the teachers of work, the labor, the materials and the auxiliary means. In each of these chapters the role of the different workers during the construction of the temple, the used materials and its characteristics (stone, wood, binders, etc) has been fallen upon and the auxiliary means used for placing these materials in work. The master builders of the rest of workers have been sorted out since the first play a role differentiated from the seconds. It has been attempted to analyze their salaries and the tasks of each of them in both cases. Regarding the materials has also been proceeded to analyzing from where they are extracted, how they have arrived on foot of work and where they are stored and where they manipulate or where they transform before being placed in work. Of the auxiliary means has been attempted to analyze the functions for which the tools (they turn up all the ones of the profession of gizzard) are used, the wits (to elevate weights), the scaffolds (to be able to work in height) and the framework (to guarantee the initial resistance of the constructive elements).
Obviously some conclusions of each of the parts and some final conclusions have been established. The thesis also includes the corresponding gratitude, the preface and the bibliography.
32
Talenti, Simona. "L'histoire de l'architecture en France : émergence d'une discipline (1863-1914)." Paris 8, 1998. http://www.theses.fr/1998PA08A006.
Анотація:
Le travail s'interroge sur la transformation de l'histoire de l'architecture et des concepts historiographiques entre 1863- année ou est mise en place la réforme pédagogique de l'école des Beaux-Arts- et 1914, qui constitut inévitablement un moment de césure, tant dans l'enseignement que dans l'édition. Peu à peu, de Huyot à Magne, de Reynaud à Choisy, se profile la volonté de transformer l'histoire de l'architecture en une discipline autonome ayant un objet d'étude, des objectifs et des méthodes spécifiques, et dont le rôle ne serait plus celui d'une discipline auxiliaire aux autres branches historiques (politiques ou littéraires), comme la paléographie ou la numismatique. La volonté d'élaborer une méthodologie "scientifique" se heurte aux liens avec la pratique architecturale, comme à la désorientation d'une profession à la recherche d'un style caractéristique du siècle. Les objectifs des auteurs, leurs approches analytiques et leurs stratégies iconographiques s'avèrent les enjeux majeurs de cette transformationThe subject of this study is the transformation of history of architecture and of the historiographical conceptions between 1863, date of the pedagogical reform at the parisian ecole des beaux-arts, and 1914, date that signifies a break in teaching and publishing. From huyot to Magne, from Reynaud to Choisy, history of architecture aims more and more to become an independant matter. This research of autonomy means to define clearly the fields of inquiries, the objectives and particular methods. History of architecture refuses to provide only auxiliary knowledge to illustrate political or literary history, to be confined to the same existence as numismatical studies for example. Archeology, comparative anatomy and other sciences supply important models. But for the architects or engineers a major difficulty exists : they need to define the links between a scientific' history and the architectural pratice, searching desperately for the caracteristic style of their own century. The most important items of this transformation studied here are the aims and ideas of the authors, their analytical methods, their conception of classification and their manner of using images and illustrations
33
Mailleur, Stephanie. "Imagining roman ports : the contribution of iconography to the reconstruction of roman mediterranean portscapes of the impérial period." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2049.
Анотація:
Au cours des trois premiers siècles de notre ère, Rome connaît son apogée et la domination romaine continue de s'établir tout autour de la Méditerranée. Le contrôle de la Mare Nostrum et la connexion entre Rome et ses provinces sont assurés grâce aux réseaux de ports. À l’époque impériale, les ports jouent ainsi un rôle crucial puisqu’ils permettent de maintenir un rayonnement économique et commercial tout autour de l’Empire. Plus qu’une simple interface entre la mer et laterre, les ports font l’objet d’une attention particulière et forment un réel paysage urbain, constitué de bâtiments et de monuments organisés autour de l’espace portuaire de façon scénographique et programmée, que l’on peut qualifier de « portscape » (paysage portuaire). Cette notion théorique, que j’ai développée dans cette thèse, est dérivée du concept de «townscape » (paysage de la ville) introduit par P. Zanker dans sa publication sur l’urbanisme de Pompéi publiée en 19981. Elle consiste à analyser l’organisation spatiale des bâtiments et monuments, individuellement et dans l’ensemble de l’espace portuaire, ainsi que leurs fonctions respectives. Cette approche a également pour objectif d’étudier la relation entre la fabrication de cet espace urbain et la société. Cette réflexion holistique est combinée au concept de « maritimecultural landscape » (paysage culturel maritime), introduit par C. Westerdhal en 19922, qui permet d’aborder les aspects culturels de cet espace construit constituant le cadre de vie des sociétés portuaires et de leurs activités.Le développement disciplinaire de l’archéologie sous-marine et l’intérêt croissant pour les réseaux et le commerce maritime ont mené à la multiplication des études portant sur les infrastructures portuaires au cours des dernières décennies. Malgré cela, la réalité des infrastructures portuaires reste assez mal comprise car les vestiges ne sont généralement pas très bien conservés. Il est donc fondamental d’utiliser d’autres types de sources, comme l’iconographie,pour mieux appréhender les « portscapes » romains. Sous l’Empire, les ports apparaissent fréquemment dans les représentations artistiques. Au cours de cette recherche, j’ai rassemblé un corpus de 264 images portuaires sur des supports variés : lampes, monnaies, peintures, mosaïques, sculptures, verres incisés, pierres gravées etc. Sur ces documents figurent des vues générales de paysages maritimes, des éléments architecturaux isolés de ports (tels que des phares) et des activités portuaires suggérant les infrastructures portuaires (comme des scènes de pesée ou bien des scènes de chargement/déchargement de marchandises). Bien que l’essentiel du corpus date de l’époque impériale, l’intégration de documents appartenant aux périodes préromaines et à l’Antiquité tardive permet d’établir des comparaisons diachroniques.Cette recherche constitue la première tentative d’évaluation, à grande échelle, du potentiel documentaire des sources iconographiques pour comprendre l'aspect, la disposition et le design des ports romains. Considérer les images comme sources historiques est un concept assez récent puisque l'art, longtemps considéré comme étant simplement illustratif, n’occupait qu’une place marginale dans les études d’histoire ancienne. Les images peuvent apporter, en effet, unecontribution importante pour l'étude de l'aspect architectural et urbain des principaux ports de Méditerranée car elles montrent ce qui n'existe plus archéologiquement, telles que les élévations de bâtiments portuaires, souvent réduits aujourd’hui à leurs seuls niveaux de fondations. Ainsi, cette thèse de doctorat soulève les questions de recherche suivantes : - Quelle contribution l'iconographie peut-elle apporter à notre compréhension des paysagesportuaires de l’époque impériale ? Quelles sont les caractéristiques du portscape romain selon les sources iconographiques ? Quels sont les éléments réels et quels sont les éléments standardisés ? D’où viennent cesstandards ?Under the Roman Empire, harbours played an important role for the image of the city. They were more than utilitarian constructions. The buildings and monuments were organised within the space of the port in a programmatic way that made up a genuine urban landscape that I have described as a “portscape”. This term, derived from Zanker’s townscape concept, is understood as the urban aspect, layout and design of Roman ports but also as the lived environment with its societies reflected by its cultural characteristics. Despite recent excavations conducted at Roman ports, our knowledge of portscapes under the Roman Empire is very unclear and the reality of port monuments remains poorly understood. Most known ancient Mediterranean ports are not well preserved, and often only preserved archaeologically at the level of their foundations. Whilearchaeologists are able to reconstruct a plan, understanding ports three dimensionally is at best a challenge. What did Roman ports really look like?Due to the lack of ancient sources relating to Roman ports, using iconography could be useful. This research aims to demonstrate that port depictions, quite abundant during the Imperial period and decorating various type of artistic media (coins, ceramics, mosaics, paintings, gemstones etc.), can make an important contribution for learning more about ports as they are the only source of information that allows us to understand volumetrically, the architecture of portsthat no longer survives archaeologically.Through this work, I will see how the pictorial genre of maritime landscape emerged during the Augustan period as well as the process of its diffusion, reception and standardisation in art during the Imperial period. I will also address the issue of the contexts in which port-themed decoration has been found. I will focus on the main characteristics of portscapes by means of a linguistic approach that distinguishes the different messages conveyed by images according to their contexts (domestic, funeral, politics, etc.).By means of three specific case studies, I will demonstrate how it is possible to deal with the iconographic and epigraphic evidence in order to better understand the components of Roman portscapes. Case-study 1 focuses on the weighing control systems (sacomaria). Case-study 2 studies the single monuments that decorated the portscape, such as freestanding column monuments and honorific arches. Case-study 3 aims to better understand cult spaces in portcontexts by using the example of the sanctuaries of Isis.Finally, I will focus on the urban syntax of the portscape through the case-study of the port of Leptis Magna. Enquiry will ascertain the extent to which the urban programme of its portscape corresponded to a standard design in reality and in iconography
34
Wittich, Elke Katharina. "Karl Friedrich Schinkel zum Beispiel." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16531.
Анотація:
In wissenschaftsgeschichtlicher Hinsicht ist die Zeit um 1800 durch eine grundlegende Modifikation der fachbezogenen Diskurse ausgewiesen. Dies gilt auch für die Auseinandersetzung mit Architektur, die zu dieser Zeit von einer Ablösung von älteren Wissenschaftsmodellen und von einem erheblichen Wissenszuwachs geprägt war. Die ersten Jahrzehnte des 19. Jahrhunderts erscheinen als Zeitraum des Umbruchs für eine Einschätzung der Diskurskultur um so gewichtiger, als auch Lehrkonzeptionen der Architektenausbildung entwickelt wurden, Zeitschriften neuartige Formen der Kommunikation und Entwicklungen im Buchdruck eine Vielzahl von Publikationen ermöglichten. Als exemplarische Untersuchung behandelt die vorliegende Arbeit Kenntnisse und Methoden im Architekturdiskurs des frühen 19. Jahrhunderts am Beispiel des Architekten Karl Friedrich Schinkel. Das Lehrkonzept der später als Bauakademie bezeichneten Ausbildungsinstitution in Berlin und die Publikationen ihrer Lehrenden werden dabei als eine mögliche Form der Zusammenstellung und Aufbereitung von Wissen untersucht. Sie erlauben zugleich, die um 1800 für die Architektenausbildung als maßgeblich angesehenen Publikationen über Architektur zu erschließen. Bis in Einzelheiten lassen sich am Werk Karl Friedrich Schinkels die Folgen dieser Lehre nachvollziehen; Ordnungssysteme und Visualisierungsverfahren erweisen sich dabei als besonders relevant. Die Diskurse wurden aufgrund der Ausprägung der historisch-kritischen Architekturgeschichtsschreibung seit dem mittleren 19. Jahrhundert überlagert. Nach einer Einleitung zu Begriffen, Methoden und Konventionen im Architekturdiskurs des frühen 19. Jahrhunderts gehen die beiden Hauptkapitel der Arbeit darum von Publikationen in Berlin tätiger Kunsthistoriker des mittleren 19. Jahrhunderts aus, die die Architekturgeschichtsschreibung und die Rezeption des Werkes Schinkels geprägt haben. Vor diesem Hintergrund werden die zuvor maßgeblichen Diskurse exemplarisch erläutert.In a historical scientific context, the period around 1800 is distinguished by a fundamental change in scientific discourses. This also applies to the controversies within architecture, which at this time were marked by a detachment from the the older scientific models and by a significant growth in scientific knowledge. The first decades of the 19th century seem that much more important as a period of upheaval for an assessment of the culture of discourse, because at the same time teaching concepts for architectural training were being developed, periodicals were enabling new forms of communication and developments in book printing were facilitating a multiplicity of publications. As a generic investigation, the present work deals with the knowledge and methods in the architectural discourse of the early 19th century using as an example the architect Karl Friedrich Schinkel. The teaching concept of the training institute in Berlin, which was later called Berlin Building Academy (Bauakademie), and the publication of its lecturers, are examined as a possible embodiment of the compilation and assembly of scientific knowledge. They can also be used to find out, which publications about architecture were regarded as the definitive works around 1800 for architectural training. The consequences of this teaching can be traced in detail from the work of Karl Friedrich Schinkel; classification systems and visualisation processes prove to be particularly relevant in this regard. The discourses were overlaid with the characteristics of architectural historiography since the mid 19th century. After an introduction to the concepts, methods and conventions in architectural discourse in the early 19th century, the two main chapters of the work are based on publications of in Berlin active art historians of the mid 19th century, who defined architectural historiography and the perception of the work of Schinkel. The definitive discourses are exemplified against this background.
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Arango, Lievano Lucia. "Evangélisation et précarité dans l'Amérique espagnole : l'architecture sans guildes ni Académies : une histoire culturelle du bâti religieux de la Nouvelle Grenade (Colombie XVIe siècle - XVIIIe siècle)." Phd thesis, Université Panthéon-Sorbonne - Paris I, 2013. http://tel.archives-ouvertes.fr/tel-01011611.
Анотація:
Qu'il s'agisse de corporations ou d'Académies, l'existence de circuits de production artistique officiels (ou du moins formellement constitués), fournit à l'historien de l'art une grille de lecture permettant de structurer l'approche avec l'objet à étudier et avec les processus qui ont abouti à sa création. Cela ne se vérifie pas dans toute l'Amérique coloniale même si, paradoxalement, la légitimité du projet politique espagnol se fondait sur le succès de la campagne évangélisatrice et donc sur la mise en place de temples, ce qui théoriquement, devrait se traduire par l'imposition d'un goût officiel à travers de telles institutions. Face à l'impossibilité d'étudier la production artistique de la Nouvelle Grenade (Colombie actuelle) selon une histoire qualitative articulée autour d'un jugement de valeurs (le Beau, le Vrai le Bien), ce travail propose d'aborder le bâti religieux depuis la perspective d'une histoire culturelle. Comme instrument méthodologique nous avons privilégié la recherche heuristique. Délaissée par l'histoire de l'art colonial colombien depuis les années 1980, cette approche qui implique la mise en valeur du patrimoine documentaire, représente pourtant une source très abondante d'informations. Eloignés d'une histoire basée sur l'analyse de la forme et sur sa classification taxonomique, une lecture culturaliste des documents d'archive nous a permis d'approcher la chaîne de production du bâti, depuis la mise en place d'une réglementation jusqu'à la réalisation - ou l'abandon - du projet. Nous avons également identifié les différents acteurs susceptibles d'intervenir dans l'étape de d'invention du projet, en prêtant une attention particulière à leur formation afin de restituer les voies qui ont permis la circulation des idées et du savoir-faire.
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"Paulo santos' constructions: the foundation of an architecture and urbanism historiography in brazil." Tese, MAXWELL, 2005. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=7179:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
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Herman, Leslie. "Building Narratives: Ireland and the “Colonial Period” in American Architectural History." Thesis, 2019. https://doi.org/10.7916/d8-z7y3-gk87.
Анотація:
In surveys of American architecture, the so-called “colonial period” from the founding of Jamestown in 1607 to the war for independence in the 1770s has generally been viewed from an “Anglo-American” perspective with a concentration on the British colonies that would become the United States. This period has been defined by the transplantation of architecture from the “mother country” to British North America according to what the architectural historian John Summerson has characterized as “English standards pure and simple.” The persistence of historiographical assumptions that privilege English sources and focus on evidence of “Englishness” still serves as the core of early American architectural narratives. While an effort has been made to increase the diversity of those represented, yet one dimension has essentially been written out, that of America’s connection to Ireland. And yet Irish elements have long had a presence in the already existing historical evidence. Therefore this dissertation takes an alternative view of that same colonial history by collecting the available Irish materials and tracing the threads that tie Ireland to America, whether that connection is direct or mediated through England. By assembling various forms of evidence, often relegated to footnotes, asides, or ambiguous citations, this dissertation seeks to construct a counter-narrative that spans the Atlantic and stretches from the 1530s to the 1730s. It explores a diverse constellation of elements including landscapes, plans, buildings, and monuments, while situating them within a larger historical context, thereby reframing some of the same canonical events, individuals, and artifacts that currently appear in surveys of American architecture. With a shift in perspective comes a shift in the history, one that complicates, challenges, and at times upends, Anglo-centric readings of colonial America and the transformation of its physical environment. For when seen from the perspective of Ireland, a more complex, as well as a more “Irish,” story emerges, resulting in a history that has, in effect, been hiding in plain sight. In making this history visible, the dissertation addresses both the historical and historiographical conditions that produced some of the gaps, tensions, ambiguities, and erasures that have contributed to keeping this history hidden.
Taking Summerson’s Architecture in Britain, 1530-1830 as a starting point, the dissertation begins in 1530 and examines some of the preconditions for American colonization in England and Ireland. Then, working from the historiographical foundations already laid regarding the English plantations in Ireland and Virginia, it goes on to address the continuity of connections that run through New England, the “Middle Colonies,” and the American south, including such well known works as William Penn’s plan for Philadelphia, George Berkeley’s Whitehall, and William Byrd II’s Westover, all three of which have been viewed as exemplary in their ties to English sources and influences. Though traditionally divided by period, type, style, and region, here they are no longer treated as isolated data points but rather as part of a larger, inter- connected, and continuous story, one intimately, and inextricably, tied to Ireland and “Irish” networks in England and America. In addition, by examining the historiographical as well as the historical dimensions and placing the history and the historiography in dialogue, this dissertation hopes to offer insights into the production of early American architectural history, as well as the production of plans, spaces, and objects. In doing so it seeks to call into question the overwhelming “Englishness” of the American colonial period as it has been constructed through histories of American architecture and planning during the twentieth-century.
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Godel, Addison McMillan. "Metropolitan Equipment: Architecture and Infrastructural Politics in Twentieth-Century New York City." Thesis, 2021. https://doi.org/10.7916/d8-26qx-v550.
Анотація:
This dissertation explores architectural building types as critical components of, and unique points of interface with, three infrastructural systems, built or re-built in New York City in the decades after World War II. While contemporary infrastructure is enmeshed in regional and global networks far beyond the administrative bounds of the five boroughs, an architectural focus reveals these systems as inescapably local, tied to political struggles surrounding the siting, design, and construction of buildings; to socio-technical imperatives of density; to material consequences like traffic and air pollution; and to aesthetic effects like beauty, monotony, and monumentality. Three case studies—in food distribution, telephone service, and sewage treatment—explore different spatial techniques involved in the management of commodities, information, and waste. Reading each through the social history of technology, as well as the disciplinary tools of architectural history, brings to light unique aspects of architecture’s participation in the political, social, and technological landscapes of the contemporary city.
This dissertation looks closely at the prewar roots and postwar creation of New York’s present-day systems: the adoption of the infrastructural buildings we see today, and the rejection of alternatives in design, values, and policies. It argues that the city’s vital systems, and their architectural manifestations, were largely designed according to the needs of various elite groups, in ways that supported the long-term deindustrialization and stratification of urban existence, though not according to a consistent or coherent plan. Well-studied postwar phenomena such as decentralization, automation, demographic change, and “urban crisis” take on different casts as familiar characters like politicians, property owners and architects are joined by monopoly corporations, technicians, and neighborhood organizers. Granular study of the processes that led to the adoption of particular plans, and the rejection of alternatives, reveals the city’s visual and functional landscape as one shaped by a wide—though far from democratic—range of actors.
Today, these same infrastructures, physically durable even as their social use has been redirected or transformed, continue to participate in an ostensibly postindustrial and rapidly gentrifying city. By reexamining the narratives of these systems’ design and construction, the study of infrastructural architecture illuminates this inequitable history, while revealing moments of resistance and supporting calls for the further democratization of urban life by those whose needs have been discounted.
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Srivastava, Amit. "Encountering materials in architectural production: the case of Kahn and brick at IIM." Thesis, 2009. http://hdl.handle.net/2440/63373.
Анотація:
The architectural discourse on materials frequently engages the legendary dialogue between architect Louis Kahn and the brick that wanted to be an arch to alert us to the role played by materials in the process of architectural production. However, over the four decades in which this anecdote has come to rule the collective memory of our profession very little has been done to examine the actual circumstances behind such an encounter. It is the contention of this thesis that the disregard for historical conditions surrounding this event stems from a historiographical tradition that employs the subject-object dichotomy to negate the very possibility of such an event, forcing the dialogue to be regarded as just a metaphor for the mentality of the architect. In order to question the monopoly of such a theoretical stance, which inadvertently limits the understanding of the role played by materials in the process, the thesis posits the dialogue between Kahn and brick as a subject of historical inquiry outside the confines of this subject-object paradigm – deconstructed in the recent works of Bruno Latour as the “Modern Paradox.” By historically reconstructing the event of this dialogue, the thesis exposes the neglected realm of action where the encounter between the architect and the material takes place, and thereby helps to reveal a new and more complex picture of the process of architectural production.
At the outset the thesis conducts a thematic survey of twentieth century architectural theory exposing an epistemological bias in the approach to architectural materials. It then employs the philosophical works of Martin Heidegger on the nature of “things” and the current sociological debate on the shift from actors to “actants” in the works of Bruno Latour to construct a framework where the architectural experience of an active and symmetric exchange with materials can be argued. Theoretically, then, the thesis invokes arguments for a “social life of things” to situate the discourse of materials in architecture within a larger framework of the social, and thereby offers an alternate way of both understanding and representing materials in architectural practice.
As an interpretive historical study, the second part of the thesis then employs its adopted theoretical framework to situate new historical information regarding both Louis Kahn (as an architect) and brick (as an architectural material in India) during the critical decade of the 1960s. Using the historiographical method of a micronarrative, it focuses its gaze on the design and construction of the Indian Institute of Management (IIM) campus in Ahmedabad, the site of the fabled encounter, and incorporates the narrative of the material actant (brick) in parallel to the narrative of the human actant (Kahn). The alternative account of the architectural production of the IIM that emerges offers a much more detailed picture of the historical conditions and conjunctions that might explain one of the most influential anecdotes in the architectural discourse of the past century. Through this case study the thesis generates an enriched understanding of the encounter between architects and materials, wherein materials may be recognized beyond just their physical properties as active contributors to the process of architectural production.Thesis (Ph.D.) -- University of Adelaide, School of Architecture, Landscape Architecture and Urban Design, 2009.
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Hanna, Bronwyn J. "Absence and presence : a historiography of early women architects in New South Wales /." 1999. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN2000.0006/index.html.
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Horáček, Jaroslav. "Kapitola z historiografie dějin umění a památkové péče. František X. Beneš (1820 - 1888)." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-342907.
Анотація:
The origins of heritage conservation in Czech lands are usually dated back to the year 1850 when the Central Commission for Research and Conservation of Architectural Heritage (Central-Commission für Erforschung und Erhaltung der Baudenkmalen) was founded in Vienna. In the years 1854-1855, fourteen conservators were assigned to the Bohemian area whose job was to search for and describe heritage sites and they also were to initiate their repairs. One of those fourteen conservators was one - still rather unbeknown - František X. Josef Beneš (1816-1888), conservator of Čáslav county, with whose life and work this paper is concerned. He was born into a family of an establishment bureaucrat Josef Alois Beneš in Český Dub, however, soon the family moved to Osek u Rokycan. Having graduated from grammar-school he continued studying at Prague Polytechnic school where he focused on chemistry and sugar industry. He started as a sugar industry adjunct in Dobrovice and later he was moved to Suchdol u Kutné Hory to act as a manager of a local sugar factory. Having helped František Alexander Heber with his work Böhmens Burgen, Vesten und Bergschlösser to whom he gave valuable data about many a building in Kutná Hora area, Beneš himself began to be interested in conservation. In the 1840'swe can already find Beneš...
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Quraishi, Fatima. "Sir Sayyid Ahmad Khan's Asar-ul-Sanadid: the construction of history in nineteenth-century India." Thesis, 2009. http://hdl.handle.net/1828/1419.
Анотація:
In 1847, Sir Sayyid Ahmad Khan (1817-1898) published an Urdu text, listing and describing all notable monuments of Delhi entitled Asar-ul-Sanadid. His work so impressed British scholars in Delhi that he was invited to join the Asiatic Society and write a second, improved edition for translation into English. Unfortunately the translation was never written. Sir Sayyid was one of many local Indian scholars producing architectural and archaeological histories of the Subcontinent in the nineteenth-century. Yet their names are generally unknown, and their research lost in obscurity. Early twentieth-century western scholarship paid them little attention and an image formed which saw nineteenth-century historiography only serving an Orientalist vision of Indian art and archaeology. It is only in recent decades that this belief has been contested, and new studies have included a greater variety of sources. This thesis attempts to do the same by presenting translated portions of the Asar and analysing it within the context of its production; pre-colonial Indian histories and contemporary Indian and British scholarship in order to form a more complete picture of nineteenth century historical discourse in India.
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Hrabová, Martina. "Mýtus a realita: čeští asistenti Le Corbusiera 1924-1937." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-267826.
Анотація:
The impetus for this study was the question of whether the information, which has been handed down on Czech architects who worked with Le Corbusier is true or not. Working in the studio of one of the leading architects of the 20th century was a crucial formative experience for dozens of architects while also being an attractive entry in their résumés. The doctoral thesis Myth and Reality: The Czech Assistants of Le Corbusier 1924-1937 is based on vast research of primary sources abroad as well as in the Czech Republic. The thesis critically examines the information known in the literature until now. The study aims to look behind the curtain of the formation of the existing historiography of Czech architectural modernism. It proves that architects themselves often entered history by means of their self- promotion skills. Parts of the thesis consist of a verified and critical list of Czech assistants at Le Corbusier's studio in 35 rue de Sèvres in Paris, detailed analysis of how work was conducted in the studio and an analysis of related sources. The work presents 13 Czech architects who worked in the studio of Le Corbusier and Pierre Jeanneret in the period between the two World Wars. The study follows individual forms of dialogue between young architects and Le Corbusier. In some cases, the research of...