Дисертації з теми "History of and Architecture"
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Sato, Toshinori. "History Directed Processor Architecture." Kyoto University, 1999. http://hdl.handle.net/2433/182380.
Повний текст джерелаDoyle, Ryan P. "Framing history through cinematic storytelling." This title; PDF viewer required. Home page for entire collection, 2006. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
Повний текст джерелаBoyacıoğlu, Bilgen Erkarslan Özlem. "The construction of turkish modern architecture in architectural history writing/." [s.l.]: [s.n.], 2003. http://library.iyte.edu.tr/tezler/master/mimarlik/T000289.rar.
Повний текст джерелаMarchman, Granger Hansell 1962. "Architectural displacements : the supplemental condition of site and architecture." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/22346.
Повний текст джерелаPlumer, Cathyann. "A history of Christian worship architecture." Theological Research Exchange Network (TREN) Access this title online. Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
Повний текст джерелаBordeleau, Anne. "C.R. Cockerell : architecture, history, time and memory." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/1444354/.
Повний текст джерелаMaheras, Elizabeth Welch. "The place of history in contemporary architecture." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/79168.
Повний текст джерелаIncludes bibliographical references (p. 31).
This thesis is an approach to the problem of how to treat the historical fabric of the city when creating new architecture. The project is located on the South bank of the River Liffey in the city of Dublin. It is where part of the foundations of the medieval town are buried beneath the contemporary fabric. The project is the redefinition in modern terms of the medieval tower on the site where the twelfth-century Isolde's Tower (later named Newman's Tower) is buried. Ireland has a rich history of storytelling and literature. This combined with the fact that the medieval tower was named after the Celtic legendary figure Isolde was the impetus for creating a literary place-the tower (the storyteller's house), a library and publishing house, and a public garden. An important inspiration for the project was Ireland's most famous storyteller, James Joyce. His Dubliners and Ulysses were a significant influence on the storytellers house.
by Elizabeth Welch Maheras.
M.Arch.
Chwiecko, Nancy A. "Residential renovation : architecture, history, and interior design /." Online version of thesis, 1987. http://hdl.handle.net/1850/10152.
Повний текст джерелаJokilehto, Jukka. "A history of architectural conservation /." Click here to access, 1986. http://www.iccrom.org/eng/e-docs/ICCROM_05HistoryofConservation.pdf.
Повний текст джерелаDade-Robertson, Christine. "Architecture as past history and present politics : the architectural writings of Edward Augustus Freeman." Thesis, Lancaster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436742.
Повний текст джерелаBlankinship, Erik Jackson 1974. "Building history : learning with archival photographs." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/64553.
Повний текст джерелаIncludes bibliographical references (leaves 49-50).
In many classrooms, learning about history means memorizing facts from textbooks, films, and other media. It is rare for students to engage in authentic historical activities - analyzing multiple documents to look for similarities and variations and ultimately assembling interpretations of past events. In this thesis, I present a set of tools, called Image Maps, that allow students to conduct historical inquiry within their own communities. Rather that reading about the history of a community, students are encouraged to photograph the buildings in their neighborhoods. The cameras they use have been augmented with global positioning system (GPS) receivers and digital compasses. The metadata provided by these sensors are used to retrieve historical images of the locations that students photograph. This collection of photographs is used as evidence for hypotheses about how and why a city has changed over time. In this document, I explain how the integration of geographic information systems (GIS) and digital photography can lead to new ways of thinking about local history. I describe the hardware and software used to make historical photographs accessible for reasoning about community change. I also describe preliminary evaluations that show how sophisticated reasoning can occur when students are made to develop their own interpretations of historical photographs.
Erik Jackson Blankinship.
S.M.
PALCZYNSKI, MATTHEW JOSEPH. "ROTHKO AND ARCHITECTURE." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/213124.
Повний текст джерелаPh.D.
The overall goal of this dissertation is to identify and examine the neglected aspects of the literature on Mark Rothko's 1958-1959 project to make murals for the Four Seasons restaurant (see Figs. 1-12) in the then-newly opened Seagram Building in Manhattan. These include Rothko's attempts to merge the mediums of painting and architecture in order to create an antagonistic environment in the restaurant; how his visits to Italy before and during the project reinforced this goal; how a good deal of the figurative paintings from Rothko's earliest career anticipated his blend of aggression and architecturally-related themes; the connection between Rothko and Mies van der Rohe, the architect of the building, in regard to the theme of transcendence; and how his experiments with architectural subjects and motifs aligned Rothko with some of the most influential vanguard artists in New York in the late 1950s and early 1960s. Discussions of these topics will suggest that his career-long references to architecture functioned, for him, as something intended to produce discomfort in the viewer. I will show that his acceptance of a lucrative commission to make paintings for a lavish restaurant that might seem at first to suggest pandering to an élite audience had the paradoxical effect of condemning that audience. I intend also to demonstrate that Rothko understood that the project was not merely about making paintings. Instead, for him, it dealt more with the challenge of uniting architecture and painting.
Temple University--Theses
Diebold, Paul C. "History and architecture of the Meridian-Kessler neighborhood." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/546148.
Повний текст джерелаDepartment of Architecture
Kronenburg, Robert Hermanus. "The history, development and potential of portable architecture." Thesis, Liverpool John Moores University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337895.
Повний текст джерелаSegerholm, Alma. "How history can beremembered & reusedin urban planning." Thesis, KTH, Arkitektur, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-298818.
Повний текст джерелаDawson, Peter Colin. "Variability in traditional and non-traditional Inuit architecture, AD. 1000 to present." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ31019.pdf.
Повний текст джерелаPeters, Philip. "Historical cultural memory celebrated through architecture." This title; PDF viewer required. Home page for entire collection, 2006. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
Повний текст джерелаGauthier, Erin. "Architecture/Archaeology." This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
Повний текст джерела"28 April, 2008". P. 17-185 contain a reprint of three appendices from: Tales of Five Points : working-class life in nineteenth-century New York / edited by Rebecca Yamin. Includes bibliographical references (p. 218).
Sergie, Lina 1974. "Recollecting history : songs, flags and a Syrian square." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/70372.
Повний текст джерелаIncludes bibliographical references (p. 118-[120]).
Symbols have played a major role in the development of a Syrian national identity since the beginning of the 20th century. These representations are national, official, and/or public (flag, song, and square), that are repetitively performed by successive generations of Syrian citizens, thus forming the historic collective framework of Syrian memory. The symbols are remembered as past public sites of independence and freedom while they currently signify an imposed loyalty to the authoritarian Syrian regime. In the translation of nostalgic memory as active resistance, the double play of meaning (both official and personal) creates an opportunity to subvert domination. This subversion is inherent in every official performance, in every pledge to the flag, in every performance of the anthem, and in every mandatory demonstration across the public squares. This thesis weaves the visual and spatial representations of power and the subsequent subversions for empowerment to narrate an untold, recollected, Syrian history.
by Lina Sergie.
S.M.
Lee, Jong Woo. "Un territoire de l’architecture : aMC et le renouveau de la culture architecturale en France (1967-1981)." Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST1113.
Повний текст джерелаThe research aims to understand the renewal of architectural culture, which occurred through the action of a circle of young French architects of the 1960s and 1970s. They have become the key players in the foundation of the Unités Pédagogiques d'Architecture and made the place of remaking architectural education and the birth of architectural research. Our research takes, as the main support of study, the architectural review Architecture Mouvement Continuité published by the SADG between 1967 and 1981. If this period corresponds to the life of the magazine, it also refers to the broad history of society and the contemporary architecture in France in the period of profound changes. Indeed, the main interest of the magazine is that his story is tied with external realities complex. In the middle of this cultural renewal, there is a reconsideration of the architectural object, even a redefinition of it closely related to the construction of the identity of those young architects. The episodes constituting the history of AMC illustrate the project of his actors to broaden the architectural discipline, giving a new legitimacy to the work of architect. This redefinition was done through historical researches – a review of the “Modern movement”, the history of social housing and early-urbanism in France - , in the close relationship of two poles that seem a priori opposed : "knowledge" and "project", whose productive mutual relationship is fundamental to the understanding this cultural renewal
Jokinen, Heidi. "Turku Museum of History." Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-262843.
Повний текст джерелаDalton, Richard Jeffrey. "The problem of history : architecture, planning and the city." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/24007.
Повний текст джерелаLarson, Julia. "Understanding a Historic Downtown as a “New” Vernacular Form: Immigrant Influence in Woodburn, Oregon." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19297.
Повний текст джерелаBrott, Simone. "Subjectivizations : Deleuze and Architecture." Thesis, Yale University, 2003. http://architecture.yale.edu/people/simone-brott.
Повний текст джерелаVolz, Kirsty. "Architect and Ceramist : Nell McCredie's Architectural Works." Thesis, University of Queensland, 2021. https://espace.library.uq.edu.au/view/UQ:b58cd59.
Повний текст джерелаMcCredie returned to Sydney in 1929 at the beginning of the Great Depression. Upon returning home, she undertook further training in ceramics, learning to throw pottery on a wheel.[3] What started as a hobby transformed into McCredie’s full-time career throughout the 1930s.[4] By 1932 she had started her own ceramics teaching and production business based out of a studio on George Street in Sydney’s CBD. McCredie also continued to practice architecture independently in Sydney during the 1930s and 1940s. One of her most significant architectural works in Sydney was her design for a purpose-built ceramics studio in Epping in 1936. She operated her ceramics business from Epping with her brother Robert until she died in 1968.[5]Existing histories on McCredie’s career have focused on her ceramics rather than her architecture. The lack of attention paid to McCredie’s architecture is not because her work was insubstantial but because of the complexities in attributing authorship by architects to their buildings.[6] This thesis details McCredie’s career in architecture for the first time, which has been made possible by the discovery of her architectural archive.
McCredie’s architectural archive provides a rare opportunity to discuss the built work of one of Australia’s early women architects. This research has led to the identification of 12 previously undiscovered houses by McCredie, including seven houses in Queensland and five in Sydney’s northern suburbs. Of these 12, 10 are extant. Prior to this research, only one of her houses had been identified, Uanda (1928) in the Brisbane suburb of Wilston. It was only discovered after an application to demolish the house was submitted to Brisbane City Council in 1998. The council sought an interim heritage protection order for the house, which the then owners of Uanda disputed in the Queensland Land and Environment Court in 1999. Fortunately, the decision to protect Uanda was upheld, and it was included on the Queensland Heritage Register in 2000. The court case over the heritage listing of Uanda is an important departure point for this thesis, especially in terms of how the aesthetic merits of the house were debated between heritage expert Richard Allom and historian Judith McKay.[7]
The discussion of McCredie’s architectural works presented in this thesis also provides new insights into the careers of the architects she worked alongside. McCredie was among the first identifiable cohort of Australian women in architecture, who as Julie Willis wrote, emerged in earnest in the 1920s.[8] This study builds on existing research on Australia’s early women architects completed by Willis, McKay and Bronwyn Hanna. In particular, it provides new details about the careers of Australian interwar women architects, Ursula Jones, Eunice Slaughter, Dorothy Brennan, Lorna Lukin, Marjorie Hudson, Rosina Edmunds and Heather Sutherland. Additionally, McCredie’s archive also contributes to existing histories about the institutions that she was involved with throughout her career, including new findings into the histories of the WDB and the curriculum delivered into Australia’s first Bachelor of Architecture degree at the University of Sydney.
[1] Nell McCredie Employment Statement, Department of Public Works, 1928, Queensland State Archives document: WOR/A 1194 Department of Public Works Administration series files Brisbane, Australia
[2] Judith McKay, “Designing women: pioneer architects”. Journal of the Royal Historical Society of Queensland, Vol. 20, No. 5, (Feb 2008): 174-175.
[3] Robert McCredie, “McCredie Pottery: 1922-1974” McCredie Ceramics Archive, National Gallery of Australia, Canberra, Australia, 1
[4] “Where Pottery is Made By Hand: Sydney Girl’s Fascinating Hobby” The Sydney Morning Herald 20 October, 1936: 5
[5] Robert McCredie, “McCredie Pottery: 1922-1974,” 6
[6] Julie Willis, Invisible Contributions: The PRobertlem of History and Women Architects, Architectural Theory Review, 3:2, (1998): 61
[7] Michel v. Brisbane City Council, Qpelr 374, 1999
[8] Julie Willis, Aptitude and Capacity: Published Views of the Australian Woman Architect, Architectural Theory Review, 17:2-3, (2012): 323
Anselmo, Dante 1960. "History and analysis of the Las Vegas housing market." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/63213.
Повний текст джерелаKoukoutsi-Mazarakis, Valeria E. 1962. "Résidences secondaires : how Eisenman houses fictive structures of history." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/75534.
Повний текст джерелаIncludes bibliographical references (p. 109-114).
Writing, designing and building constitute three moments in the representation and organization of reality and fiction in architecture. These three interdependent moments joined by fragile links disrupt the boundaries between architectural criticism and practice in architecture and promote interaction between the critic and the practitioner. My thesis focuses on the link between writing and designing. Peter Eisenman exemplifies the architect's transitory position between writing and designing. His interdisciplinary investigations look for architecture's other possibilities through criticism and practice, thus engaging architecture in interpretive activities.Writing will be examined not as a critical tool for design, but as an instrumental device that leads to design. On the one hand, language as a critical device explicitly grounds Eisenman's postponment of questions concerning architecture for architecture's benefit from the realm of ideas. On the other hand, its use as an instrumental device implicitly demarcates potential formal aspects of language as an agent of Eisenman's design and my own investigation in new modes of criticism of architecture. I structure this essay on a dual analysis of the case study by displacing architectural criticism from its house to another house, that of literary criticism, architecture's residence secondaire. While, architectural criticism is concerned with questions of understanding the interdependent mechanisms of form, function and ideas with respect to space, time and representation, literary criticism reveals the dislocating mechanisms of Eisenman's fictive structures of his own history in time. My interest in interactive criticisms advocates an open-ended process that writes and re-writes an event in different texts.
by Valeria E. Koukoutsi.
M.S.
Doherty, James Michael. "Being and architecture: an historical study." Thesis, Virginia Tech, 1988. http://hdl.handle.net/10919/43043.
Повний текст джерелаMaster of Architecture
Carvalho, Mario Estevao. "An intellectual history of modern city planning theory." Thesis, University of Edinburgh, 1986. http://hdl.handle.net/1842/18082.
Повний текст джерелаNeuenschwander, J. Brody. "The art history of Speyer." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325778.
Повний текст джерелаSamalavičius, Almantas Liudas. "Ideas and structures in architectural history." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060210_113316-20103.
Повний текст джерелаArchitektūros istorija Vakaruose ir Lietuvoje yra tyrinėjama įvairiais aspektais. Apie tokius reikšmingus architektūros elementus kaip šviesa, spalva, garsas ir vanduo yra buvę reikšmingų specializuotų studijų šių reiškinių sąveikos su vieno ar kito istorinio laikotarpio architektūros kūriniais aptarti. Tačiau iki šiol tokio pobūdžio tyrimai apsiribodavo siaurais, fragmentiškais, griežtai specializuotais žvilgsniais į atskirų kultūros istorijos tarpsnių architektūrą arba tokio buvo pabrėžiami tik tam tikri, labai specifiniai sąveikos tarp architektūros kūrinių ir to meto pasaulėžiūros aspektai. Todėl nėra pakankamai ištyrinėta atskirais istorijos tarpsniais vyravusių metafizinių, religinių ir filosofinių pažiūrų įtaka meninei architektūros raiškai. Nesant tokių tyrimų, neįmanoma adekvačiai rekonstruoti architektūros istorinės raidos vaizdo. Nagrinėjant architektūros istorijos ir teorijos problematiką Lietuvoje, akivaizdu, kad labiausiai trūksta darbų, kuriuose atskirais kultūros istorijos tarpsniais vyravusių šviesos, spalvos, garso ir vandens sampratų įtaka architektūros meno raidai būtų įvertinta sintetiškai, apibendrintai ir nuosekliai, pasitelkus idėjų istorijos tyrimo metodologiją bei tarpdisciplinių kultūrologinių tyrimų analizės principus. Tai paskatino gilintis į minėtų elementus santykius ir sąveikas su architektūra nuo seniausių iki moderniųjų laikų, pasitelkiant idėjų istorijos atveriamas tyrimo galimybes. Tokios problematikos ir tyrimo perspektyvos pasirinkimas... [to full text]
Barry, Marie Porterfield. "Lesson 06: Divine Architecture." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/7.
Повний текст джерелаNew, Joachim H. L. "Architecture in mind : Hegel's history of architecture and its place in the Philosophy of Fine Art." Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413736.
Повний текст джерелаMargalith, Dana. "Louis I. Kahn - Architectural history as mediation." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121259.
Повний текст джерелаDans Louis I. Kahn – L'histoire de l'architecture comme médiation, on explore le travail de l'un des architectes le plus actifs du 20e siècle. Il a été reconnu par les intellectuels pour son rôle d'architecte et de penseur moderne, ainsi que pour ses recherches en histoire et ses références aux œuvres historiques importantes. En étudiant Kahn et son éducation, sa formation en architecture, ses écrits, lectures, voyages, contacts personnels, le contexte dans lequel il travaillait, en plus d'examiner ses dessins personnels et deux de ses projets de design, on comprend son approche de l'architecture sous plusieurs angles. En décrivant le contexte dans lequel Kahn a été éduqué et dans lequel il a pratiqué son métier, la thèse traite d'importants aspects de la pensée et pratique architecturale auxquels Kahn a été exposé, dévoilant ainsi les motivations derrière sa quête philosophique unique. En examinant les dessins de Kahn, la manière dont il incarne les sites historiques qu'il a vus durant ses voyages devient apparent. À travers l'étude du matériel d'archives, la trace des références architecturales que Kahn a étudiées devient visible. Ainsi, dans ses dessins et la conception architecturale pour le Dominican Motherhouse de St. Catherine de Ricci, Media, Pennsylvanie (1965-1969, jamais construit) et le Hurva Synagogue dans la vieille ville de Jérusalem (1967-1974, jamais construit), les références poétiques aux œuvres historiques que sont ses projets sont clairement illustrées, tout en soulignant des concepts herméneutiques et phénoménologiques en relation avec la perception, la mémoire et la compréhension du passé. Par conséquent, à travers Kahn, cette thèse examinera le débat contextuel concernant l'usage de références historiques dans l'architecture moderne du 18ième siècle jusqu'au postmodernisme, et abordera l'importance de la continuité des références dans l'âge de fragmentation. Louis I. Kahn – L'histoire de l'architecture comme moyen de médiation dévoilera le complexe potentiel dans l'étude de la tradition et l'histoire de l'architecture moderne. Elle éclairera les efforts acceptables dans la pensée et la pratique de l'architecture qui intègrent des références historiques et promeuvent l'authenticité et le progrès – deux éléments fondamentaux de l'expression architecturale poétique et innovatrice.
Soroka, Ian Jacob. "Eroding the palimpsest : landscape, cinema and the site of history." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/99303.
Повний текст джерелаCataloged from PDF version of thesis.
Includes bibliographical references (pages 108-113).
The thesis will explore the migration of content between forms, specifically between cinema and text. By reflexively interrogating my film Dry Country, and drawing a thread through Yugoslav film history and Slovenian history (1941-present), I will map what happens when the record of what has been captured in the film's production confronts a language, be it text or montage. The paper is a partner piece to the film Dry Country, in the process of becoming at the-time of writing, which is concerned with a forest in Slovenia as a site of memory politics originating in the Second World War, and the echoes of that event today. The paper will dig deeper into the themes, questions, and specific historical context elaborated by the film; while in its structure it will stitch a poetic juxtaposition between the process of filmmaking and the mechanism of memory, in its capture, editing, projection, and transmission between people. By combining the theoretical trinity of the dynamic landscape (architectural), the evidential paradigm of the clue (micro-historical), and the materialist dialectic (philosophical), I have found a way to come the closest, through theory, to a means of articulating my thinking about making films in and about our relationship to landscape. The text will consider these themes in an essayistic manner, unfolding through alternating voices experiencing the recording of 'memory' and questioning the supposed site of history. The text proposes that it is located neither in the mind of the individual nor in a specific site or image, but in the gaps between, as a space of translation. I propose that mapping this territory can be done by crossing the rift from different reference points, between voice and image, between site and archive. I am designing the film and the text to be isolated works, standing on their own, though ultimately in conversation with one another. My goal is to reveal the space between the film and the text as a possible trajectory of future exploration for my artistic practice.
by Ian Jacob Soroka.
S.M. in Art, Culture and Technology
Widrich, Mechtild. "Performative monuments : public art, commemoration, and history in postwar Europe." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/54554.
Повний текст джерелаCataloged from PDF version of thesis.
Includes bibliographical references (p. 343-364).
The performative monument, as I term an emergent genre of interactive public actions, rests on a new notion of agency in public space, in which political responsibility is performed by historically aware individuals in acts of commemoration. This dissertation argues that public performance art starting in the 1960s provided a crucial impulse for new forms of commemoration in 1980s Europe and beyond. I claim that performance, a supposed antipode to the monument in its ephemerality and dematerialization, did not neutralize the monumental but reinvented it as a new practice: one that involved the audience explicitly through conventional transactions, best understood through the speech-act theory of J. L. Austin (who coined the term "performative" in the 1950s). To specify the correlation between performance and monumental public space, I draw attention to the empirical shift from performance to monument production in the work of postwar Central and Eastern European artists, and to the theoretical continuity that makes this shift possible. Monumental architecture played a role in the early performances of Anselm Kiefer, Joseph Beuys, Jochen Gerz (all German), Valie Export, Peter Weibel, and Giinter Brus (Austrians), Marina Abramovid and Braco Dimitrijevid (from former Yugoslavia), among others. These artists brought a performative component to the memorial culture of the 1980s and '90s, mediating between history and the individual in ways sketched by the ephemeral events of '60s and '70s performance.
(cont.) I examine these interconnections in the passage from confrontation to commemoration through a variety of heterogeneous but related documents: photographs and eyewitness accounts of early performance; interviews and press accounts that evolved their own logic and myths over the years separate from the events; plans and drawings of unrealized monuments, and that most complicated and characteristic form of 'performative documentation,' photographs modified through drawing, painting, or collage techniques to involve their viewers in a collaborative re-imagining of the role of commemoration in public space.
by Mechtild Widrich.
Ph.D.
Solis, Loza Cristina. "Tremulous lines : the alternative history of a site of exception." Thesis, Massachusetts Institute of Technology, 2020. https://hdl.handle.net/1721.1/129839.
Повний текст джерелаCataloged from student-submitted thesis.
Includes bibliographical references (page 79).
By the end of World War II, there were 7 standing border walls in the world. By the time the Berlin Wall fell in 1989, there were another 15 walls. Since its destruction, another 20,000km of walls have been erected to divide the world. Today, fathomless quantities of wire, concrete, steel, sand, stone, and mesh now shape the 77 barriers that currently define the otherwise imaginary lines that fracture the world.1 Their construction breaks the continuity of time, creating a rupture in the landscape and a series of unnatural asymmetries that affect both nature and society. What might be envisioned by political actors as a fixed "line on the ground" is anything but. These lines are of tremulous nature, stones may be moved, glaciers will melt, and walls will likely be breached or simply removed. This thesis protests the border as an absolute and static division through the speculation of an alternative history that reimagines a site that straddles two nations. The project argues for contemporary monumentality as an architectural expression to resist the provisionality and marginality of the people who exist there. The monuments expand their impenetrable form to something that can hold a civic program, becoming a catalyst for an ever-changing quasi-urban condition on the borderline.
by Cristina Solis Loza.
M. Arch.
M.Arch. Massachusetts Institute of Technology, Department of Architecture
QUAN, JING. "SAN FRANCISCO'S CHINATOWN--A HISTORY OF ARCHITECTURE AND URBAN PLANNING." The University of Arizona, 1994. http://hdl.handle.net/10150/555369.
Повний текст джерелаObritz, Joseph Steven. "The use and abuse of architecture: history, elements, and conditions." Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/52109.
Повний текст джерелаMaster of Architecture
Yallop, Rosemary. "Villa rustica, villa suburbana : Vernacular Italianate architecture in Britain, 1800-1860." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:d391fc9b-a7c8-4d57-9f7d-751b869cecaf.
Повний текст джерелаFidjeland, Aron. "THE DESCENDANTS OF ANCESTORS." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-169063.
Повний текст джерелаExamensprojektet “the Descendants of Ancestors” undersöker de excentriska och figurala kvaliteterna i arkitekten Claude Nicolas Ledoux (1736-1806) verk. Projektet fokuserar på Ledoux gravyrer och översätter dem genom en noggrann läsning till arkitektoniska karaktärer. Jag ser dessa karaktärer som ättlingar till Ledoux, tillhörande samma släktträd men otvetydigt formade av deras tillkomst i samtiden
Urma, Ioana Ruxandra 1972. "The 'Circular' Piazza : landscape and history as architectural material : Constanta, Romania." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/70337.
Повний текст джерелаIncludes bibliographical references (p. 193-203).
Ideas. This thesis attempts to demonstrate that architecture, conceived from human experience, is a dual process of thinking and doing, in addition to being a building or a final product, and can occur at any scale of development (as large as an urban space). The thesis tries to create a strong correlation between things that people experience through the senses - real things, visible - and those that they experience through the mind - imaginary things, invisible. Defined as the great composition of existing materials and forms, the site and everything it encompasses, structures both 'natural' and man-made, landscape represents the visible, which deals with the experience of the body (the senses). Defined as that by which meaning and value is attributed to visible things, history, in the form of thought and memory, represents the invisible, which deals with the experience of the mind. To create a full human experience, a true experience, one must acknowledge that full reality is non-linear. The thesis then mandates that single events be approached from a wholistic perspective. The method by which to deal with the complexity of information gathered through this wholistic process is to act according to feeling by feeding the subconscious with analytical information and translating that information into perceptual representation through metaphor and diagram. Ideas into reality. Piazza Ovidiu, the central focus of the old town of Constanta, Romania has been chosen as the site for the experiment, as it is both rich in invisible historical information and, as a disfunctional post-communist public space, it is in great need of rehabitation. Redefining 'piazza' to be a zone of public interaction, rather than a common open space, the thesis thus proposes that the area be divided into a series of sub-spaces, stories interwoven through the land and through time. Being related, these individual events would allow for an experiential understanding of the complexity of the 'whole,' acknowledging the infinite or circular relationship between the visible-landscape-body and the invisible-history-mind.
Ioana Ruxandra Urma.
M.Arch.
Mann, Eytan (Eytan Michael). "Gaming and the simulation of history constructing perspectives of Machu Picchu." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118519.
Повний текст джерелаCataloged from PDF version of thesis.
Includes bibliographical references (pages 96-99).
In this research I have developed a new method for depicting historical sites using game-design concepts and technologies. I argue that using computer games, design environment researchers can integrate and consolidate historical documents, challenging the dichotomy of space and time as two discrete constructs, producing a dynamic rather than static "frozen" image of place. This method allows for movement from representation to simulation of historical places and events, and facilitates an active participation in the remaking of an historical place. While this method seeks to provide an accurate historical reconstruction, it also allows for the maintenance of a critical distance by exposing the mechanics of historiography. Stitching together various perspectives, I propose the making of a collage simulation of history in a game environment. To test this method, I studied the historical site of Machu Picchu in Peru, and the story of its discovery by explorer Hiram Bingham in 1911. Bingham's expedition remains today the constituting myth of the site, captured in multiple documents, primarily Bingham's travel journal, but also in photography and cartographic drawings, made by Bingham himself during his discovery. In the contest of my work, Bingham's materials were integrated into a 3D game environment. Taking-part in a collaborative project for 3D-scanning of Machu Picchu, on-site work produced accurate models of sections of the site. The 3D models became a basis-layer for my prototype, a hybrid of game and digital archive, producing a movement towards collage simulation of historical sites.
by Eytan Mann.
S.M. in Architecture Studies
Taymuree, Zainab(Zainab Feroza). "The missing designers : a history of activists designing for racial justice." Thesis, Massachusetts Institute of Technology, 2020. https://hdl.handle.net/1721.1/129064.
Повний текст джерелаCataloged from student-submitted PDF of thesis.
Includes bibliographical references (pages 106-112).
Design precedents are often de-historicized, de-politicized, and de-raced. By starting at the margins, what lineages can designers uncover for seemingly apolitical design tactics? Intervening in the genealogy of race and design, this thesis locates design creativity within Black resistance movements and complicates the narrative of who is credited with transforming and repurposing the built environment. As critics of the status quo, Black activists did more than just fight and dismantle. They designed and created alternatives to the systems that aimed to diminish them. Two case studies offer a closer look at design interventions for self-determination by Black communities in the late 1960s. In Chapter One, I consider the Black Panthers as tactical urbanists who reshaped the environment in low-cost, temporary, and participatory ways. In Chapter Two, I examine the New Communities land trust and their design charrettes as a democratic intervention in an often professionalized planning process. Chapter Three considers how Critical Race Theory decodes images in these cases that seem natural, inevitable, and race neutral.
by Zainab Taymuree.
S.M.
S.M. Massachusetts Institute of Technology, Department of Architecture
Herndon, Christopher Michael. "The history of the architectural guidebook and the development of an architectural information system." Thesis, Available online, Georgia Institute of Technology, 2007, 2007. http://etd.gatech.edu/theses/available/etd-07092007-114619/.
Повний текст джерелаAbreu, Pedro Marques de. "Palácios da Memória II- A revelação da arquitectura." Doctoral thesis, Universidade Técnica de Lisboa. Faculdade de Arquitectura, 2007. http://hdl.handle.net/10400.5/21600.
Повний текст джерелаBateson, Anthony. "Execution of Architecture / Architecture of Execution or The Persistence of Collective Memory." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/767.
Повний текст джерелаHalter, Andrew Matkin. "Regional differences in architecture between three Missouri towns." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1231401.
Повний текст джерелаDepartment of Architecture
Maeda, Natsuki. "Future of the past : augmented history, preservation as a catalyst for transformation." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/63052.
Повний текст джерелаCataloged from PDF version of thesis.
Includes bibliographical references (p. 135).
Preservation today focuses on the historicizing of events, and the objectifying of these historic artifacts, taking away its ability for further change. It becomes a single artifact, distancing itself from contemporary discourses. This thesis is about preservation, and the role of architecture in preserving historic sites. It is a thesis where its main objective is not of the final project, or artifact, but one which provokes a discourse, where we are confronted with the core meaning of preservation. This field of preservation has existed for thousands of years, but we have not truly re-examined the role of preservation. Preserving must mean more than just to sanction off the site, killing any further transformation, but to allow it to partake in the contemporary discourse, and to give it a future. There are many questions at hand; why do we preserve? What do we preserve? How do we preserve? But in the end, how can preservation become a catalyst for further growth, is the question this thesis seeks to answer through its design.We need to ask the questions; why do we preserve? What do we preserve? How do we preserve? In the struggle to find answers to these questions through architecture, it was in the discourses which rose from each stand point that gave this thesis meaning.
by Natsuki Maeda.
M.Arch.
See, Mark. "Transitions and architecture." This title; PDF viewer required Home page for entire colleciton, 2007. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
Повний текст джерела