Дисертації з теми "History of Art and Architecture"
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Neuenschwander, 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 джерелаMasters, Hannah L. "Art Therapy and Art History Theories, an Inquiry." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/515.
Повний текст джерелаBarry, Marie Porterfield. "Lesson 06: Divine Architecture." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/7.
Повний текст джерелаPALCZYNSKI, 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
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.
Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
Повний текст джерелаDesai, Ankur V. "The Art and Architecture of the BAPS Svāminārāyaṇa Hindu Tradition". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1546612172252719.
Повний текст джерелаBoulton, Alexander Ormond. "The architecture of slavery: Art, language, and society in early Virginia." W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539623813.
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 джерелаJohnson, Samuel. ""The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124.
Повний текст джерелаHistory of Art and Architecture
Edwards, Leah. "History, identity, art: visually expressing Nicodemus, Kansas' identity." Kansas State University, 2014. http://hdl.handle.net/2097/17545.
Повний текст джерелаDepartment of Landscape Architecture
Mary Catherine (Katie) Kingery-Page
History is embedded in a landscape. History of a community is embedded in the landscape where land was inhabited, cultivated, and where people have and continue to thrive. Rural communities have this embedded history and culture to look back. However, these communities are suffering from loss of population, jobs, economic stability, and accessibility (Woods 2008). This phenomenon can destroy not only communities and peoples’ lives, but also the history and culture that is embedded in a landscape. Nicodemus, Kansas a rural communities with an important history. This history begins after the Civil War during times of new found freedom and the reality of independence for many former African-American slaves. The residents and descendants of Nicodemus are passionate and proud of their history and see their community identity as embedded in the history and culture. Nicodemus has experienced loss of population and economic vitality throughout its history. However, Nicodemans’ strong connection to the history remains intact. The study argues that art can provide a way of expressing Nicodemus, Kansas’s identity. This study is primarily an art-based investigation into what materials, mediums, and forms of art can best express the identity and history of Nicodemus, Kansas. Art-based research is less concerned with the discovery of truth than with the creation of meaning (Eisner 1981). “...[V]isual art is a significant source of information about the social world, including cultural aspects of social life” (Leavy 2009, 218). Research methods include historiography, literature review, oral history, reflexive critique and site visits, culminating in the creation of a series of mixed media artworks. Through the research and creation of artworks, the identity of Nicodemus, Kansas is expressed visually.
Kraus, Heidi Elizabeth. "David, architecture, and the dichotomy of art." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3325.
Повний текст джерелаWilliamson, Daniel. "Modern Architecture and Capitalist Patronage in Ahmedabad, India 1947-1969." Thesis, New York University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10025620.
Повний текст джерелаThis dissertation examines the architectural patronage of a small cadre of industrialists, textile millowners, who controlled the city of Ahmedabad, India economically and politically between Indian independence in 1947 and 1968, the year communal riots shattered that city's self-image. It examines the role modern architecture played for these elites in projecting Ahmedabad as a modern, cosmopolitan city, though one steeped in a unique history and culture. On the one hand, modern architecture was used to promote the city as a node in the global network of capital and industry that developed after the Second World War. As such, most of the architects selected by these industrialists came from the ranks and institutions of the global modern movement, mirroring the industrialists' attempt to place the city's industry into global networks of capital and development. On the other hand, the millowners employed modern architecture as a way to naturalize Ahmedabad's sweeping social changes, so that they appeared as an inevitable outgrowth of Ahmedabad's and India's own history. In this, the modern architecture of Ahmedabad was suffused with references both to Ahmedabad's textile industry and India's imagined and historical past.
The first chapter examines projects that represent the industrialists' earliest overtures towards the global network of modern architects and institutions. The goal of the projects, which included an unbuilt store by Frank Lloyd Wright, a store inspired by Buckminster Fuller's geodesic domes, and Achyut Kanvinde's Gropius influenced ATIRA headquarters, was to instantiate a capitalist model of modernity in Ahmedabad through the fostering of consumer markets and the rationalization of industry. The second chapter delves further into the millowners' use of modern architecture for the instantiation of capitalist values and self-representation by comparing the city's two most famous modern projects: Louis Kahn's Indian Institute of Management and Le Corbusier's Millowners' Association Building.
The third and fourth chapters turn to the cultural and domestic sphere, exploring projects that negotiated modern, Indian identity in the public and private context. Cultural institutions by architects like Le Corbusier, Charles Correa, and Balkrishna Doshi interrogated the relationship between the elite's new vision for Ahmedabad and the city's history. Meanwhile houses by many of the same architects for industrialists showed a modern domesticity that negotiated between community, the joint family and the individual by fusing modern forms to older domestic spatial organizations.
This dissertation contributes to the growing body of research focused on the role modern architecture played in shaping postcolonial Indian identity and subjectivity. While previous research has often focused on the patronage of the socialist state, the examination of the patronage of an elite group of capitalists shows how modern architecture became the locus for debates about the direction of modern Indian society. Further, the dissertation's focus on capitalist patronage places this dissertation in a larger body of research that traces the connections between capital and modern projects, though such issues have rarely been explored in the Indian context.
Shiffrar, Genevieve Ruth 1966. ""Its future beyond prophecythe City of New Jersey, worthy sister of New York": John Cotton Dana's vision for the Newark Museum, 1909-1929." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278461.
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]
Luxford, Julian M. "The art and architecture of English Benedictine monasteries, 1300 - 1540 : a patronage history /." Rochester, NY [u.a.] : Boydell Press, 2005. http://www.loc.gov/catdir/toc/fy0711/2006277759.html.
Повний текст джерелаWhite, Steven Robert. "A confluence of thinking: The influence of 20th century art history on American landscape architecture." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278634.
Повний текст джерелаWierich, Jochen. "The domestication of history in American art: 1848-1876." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539623945.
Повний текст джерелаReymundi-Micheo, Jennifer. "History within the Wall Transition & Transformation The Transition of Architecture to Art." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/9757.
Повний текст джерелаMaster of Architecture
Nakhai, Farzad 1947. "From Classic to Gothic: The interplay between the universals and the particulars in the European architectural history." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291943.
Повний текст джерелаBailie, Lindsey Leigh. "Staging Privacy: Art and Architecture of the Palazzo Medici." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11049.
Повний текст джерелаThe Palazzo Medici was a site of significant social and political representation for the Medici. Access to much of the interior was limited, ostensibly, to the family. In republican Florence, however, visitors were a crucial component in the maintenance of a political faction. Consequently, the "private" spaces of the Palazzo Medici were designed and decorated with guests in mind. Visitor accounts reveal that the path and destination of each visitor differed according to his status and significance to the family. The common citizen waited, sometimes for great lengths, in the courtyard, taking in the anti-tyrannical message of the space. The privileged guest, who had more to provide the Medici, was given access to the more private spaces of the residence. Surrounded by art and architecture that demonstrated the faith, education, and wealth of the Medici, he was assured that his support of the family was beneficial to his own pursuits.
Committee in charge: James Harper, Chairperson; Jim Tice, Member; Jeff Hurwit, Member
Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
Повний текст джерелаBarry, Marie Porterfield. "Lesson 07: The History of Blue." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/8.
Повний текст джерелаHartenberger, Craig. "In Plain Sight." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1587985615626358.
Повний текст джерелаRachele, Cara Paul. "Building Through the Paper: Disegno and the Architectural Copybook in the Italian Renaissance." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467183.
Повний текст джерелаHistory of Art and Architecture
Cooley, Kristin Nicole. "The 1889 and 1900 Paris Universal Expositions: French masculine nationalism and the American response." Thesis, The University of Arizona, 2001. http://hdl.handle.net/10150/278775.
Повний текст джерелаCarr-Trebelhorn, Julia A. "FROM GEOLOGY TO ART HISTORY: CERAMIST ALEXANDRE BRONGNIART’S OVERLOOKED CONTRIBUTION TO THE DEVELOPING SCIENCE OF ART HISTORY IN THE EARLY NINETEENTH CENTURY." UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/4.
Повний текст джерелаDahlin, Kenneth C. "The Aesthetics of Frank Lloyd Wright's Organic Architecture| Hegel, Japanese Art, and Modernism." Thesis, The University of Wisconsin - Milwaukee, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13422325.
Повний текст джерелаThe goal of this dissertation is to write the theory of organic architecture which Wright himself did not write. This is done through a comparison with GWF Hegel’s philosophy of art to help position Wright’s theory of organic architecture and clarify his architectural aesthetic. Contemporary theories of organicism do not address the aesthetic basis of organic architecture as theorized and practiced by Wright, and the focus of this dissertation will be to fill part of this gap. Wright’s organic theory was rooted in nineteenth-century Idealist philosophy where the aim of art is not the imitation of nature but the creation of beautiful objects which invite contemplation and express freedom. Wright perceived this quality in Japanese art and wove it into his organic theory.
This project is organized into three main categories from which Wright’s own works and writings of organic architecture are framed, two of which are affinities of his views and one which, by its contrast, provides additional definition. The second chapter, Foundation, lays the philosophical or metaphysical foundation and is a comparison of Hegel’s philosophy of art, including his Romantic stage of architecture, with Wright’s own theory. The third chapter, Formalism, relates the affinity between Japanese art and Wright’s own designs. Three case studies are here included, showing their correlation. The fourth chapter, Filter, contrasts early twentieth-century Modernist architecture with Wright’s own organicism. This provides a greater definition to Wright’s organicism as it takes clues from Wright’s own sense of discrimination between the contemporary modernism he saw and his own architecture. These three chapters lead to the proposal of a model theory of organic architecture in chapter five which is a structured theory of organic architecture with both historical and contemporary merit. This serves to provide a greater understanding of Wright’s form of the organic as an aesthetically based system, both in historic context, and as relevant for contemporary discourse.
MCCLUGGAGE, MATTHEW S. "THE STUDIO, CRADLE OF CREATIVITY." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1026505614.
Повний текст джерелаJohnson, Andrea M. "Incongruous Conceptions| Owen Jones's "Plans, Elevations, Sections and Details of the Alhambra" and British Views of Spain." Thesis, University of South Florida, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076071.
Повний текст джерелаThis thesis analyzes Plans, Elevations, Sections, and Details of the Alhambra (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives.
Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in Alhambra: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at Arabian Antiquities of Spain by James Cavanah Murphy and the illustrations from The Tourist in Spain: Granada by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s Alhambra to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.
Justus, Kevin Lane 1961. "Louis XV and Versailles: Selective patrimony in the French Third Republic, Pierre de Nolhac, and the formation of a scholarly tradition." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291842.
Повний текст джерелаWorrell, Colleen Doyle. "'Post-Humously Hot': Bill Traylor's Life and Art." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625854.
Повний текст джерелаChieffo-Reidway, Toby Maria. "Nathaniel Jocelyn: in the service of art and abolition." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623473.
Повний текст джерелаWardleworth, Dennis. "Building the modern corporation : corporate art patronage in interwar Britain." Thesis, Southampton Solent University, 2002. http://ssudl.solent.ac.uk/628/.
Повний текст джерелаBoulton, Alexander O. "Frank Lloyd Wright: Architect of an Age." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625790.
Повний текст джерелаMalleck, Amy Elizabeth. "Intersections of Architecture and Religion In the Medieval Mediterranean: The Cappella Palatina, Palermo, and The Cathedral of St Sophia, Nicosia." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/213120.
Повний текст джерелаM.A.
This paper explores the relationships between medieval religious buildings across the Mediterranean, where Muslim, Byzantine, and Western courts created a repertoire of churches and mosques whose patrons, architects, architectural iconographies, cultural contexts, and performative dimensions overlapped to a high degree. Tracing the analogies between the Cappella Palatina in Palermo and St. Sophia Cathedral in Nicosia testifies eloquently to these transmissions of adoption and integration because Sicily and Cyprus both passed between Byzantine, Islamic, and Latin Christian rule and, in the process, fused architectural and decorative elements of disparate traditions for their religious monuments. I have approached the Cappella Palatina and Nicosia Cathedral by extending the idea that portable art objects were active agents in constructing the cultural contours of medieval courts in order to address how the Hauteville and Lusignan rulers visualized and performed the authority of their kingships. This method of analysis shows that each dynasty articulated their bonds with Western Europe and the Latin Church while also assuring legibility within the courtly mise-en-scène that enveloped and reached beyond the Mediterranean. Accordingly, I have sought to expand the cultural frame of reference for the Cappella Palatina and Nicosia Cathedral by emphasizing the impact of the respective Fatimid and Byzantine contributions, as well as by exploring the conceptual affinities between the distinct visual and ceremonial traditions manifest in each building. Above all, this exchange tells a story more nuanced than triumphant appropriation.
Temple University--Theses
McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
Повний текст джерелаPeterson, Nathan James. "Re-imaging China: Ai Weiwei and contemporary Chinese art." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5824.
Повний текст джерелаAlene, Anne C. "Shirai Seiichi| Japan's poetic modernist." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10099856.
Повний текст джерелаShirai Seiichi’s education in the context of the interwar events influenced his path and molded him into a defender of idealism. Starting from the early evolution of his ideas, Shirai’s significant concepts are outlined to show how they stood apart from and challenged the Japanese modernist debates over the architectural responses to war and industrialization. Examples of Shirai’s early work along with surrounding historical events show how Shirai’s perceptions of the use of space and its manifestation in architecture, based on Kantian ideas of a priori creation, contradicted orthodox modernist architectural theory and practice. Shirai’s evolving theories and their impact on his design are introduced through his early training and related projects. However, it is his unrealized plan for the Genbakud? that is analyzed as primary evidence for the idea that Shirai was the only mid-twentieth century Japanese architect who could effectively express the sad destiny of the nuclear age. Last, specific examples of Shirai’s mid to late career work to demonstrate how his conceptual framework evolved. Interviews, commentary, and theoretical analyses of his works show his unique trajectory and role in contrast to his modernist colleagues, and provide insight into Shirai’s investigation into the universality and potential of the human spirit (fuhen no anima). Finally, recent discussion about constructing the Genbakud? based on Shirai’s blueprints raise the idea that Shirai’s early ideals are now ready to be presented in the post-modernist age.
Boldt, Janine Yorimoto. "The Art of Plantation Authority: Domestic Portraiture in Colonial Virginia." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192717.
Повний текст джерелаDevenney, Brooke Ashton. "The Evolution of Gregory Ain's Interwar and Postwar Planned Housing Communities, 1939-1948." Thesis, University of California, Riverside, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1568609.
Повний текст джерелаThis thesis explores Gregory Ain's planned housing communities spanning the period 1939-1948, connecting their conception to the theoretical legacy of Modernism that began with the Congrès Internationaux d'Architecture Moderne (CIAM) in Europe a decade earlier. Expanding on existing scholarship, this thesis attempts to contextualize Ain's One Family Defense House Project (1939), Park Planned Homes (1945-47), and Mar Vista Tract (1946-48) within the social, political, and economic context of the interwar and postwar period. Although the latter two projects are more well-known, I attempt to expand the understanding of their design through new and lesser-known examples by Ain in the area of tract housing and contemporaneous housing examples. These include his manifesto for a project entitled Preliminary Proposal 'A' for a low-cost community housing development in Southgate, California and the U.S. government's Basic Minimum House (1936). The three projects discussed in this thesis expand the context within which one views the typical tract house, but also the avant-garde approach to Modernism during this era and the years that followed.
Heineman, Anna Marie. "Nurturing neighborhoods: Buster Simpson's eco-art." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/513.
Повний текст джерелаSchmidt, Sebastian Ph D. Massachusetts Institute of Technology. "From global war to global cities : planning, art, and Post-WWII urban history in New York, Berlin, and Tokyo." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111702.
Повний текст джерелаCataloged from PDF version of thesis. "For copyright reasons, images in this dissertation have been redacted"--Disclaimer Notice page.
Includes bibliographical references (pages 234-244).
Thinking about cities became increasingly global during and after WWII. 'Global' here refers to how, in the context of the war, the roles and meanings of cities in the world were beginning to be understood differently. This dissertation investigates urban histories since the 1940s in their connection to changing imaginaries of the world that were shaped by the experience of war, and that have received little attention in historical literature. The dominant narratives of postwar urban history are focused on issues such as destruction and reconstruction, and the ideological divides between East and West. Global history is here employed as a non-hegemonic methodology for going beyond these larger narratives, and to demonstrate that in an age of global war, cities were becoming global long before economic discourses on globalization labeled them as such. New York City, West Berlin, and Tokyo are used as case studies because they are the principal cities of three industrialized nations that were heavily affected by WWII. New York became a center of the US war industry and beacon of the proclaimed Western values of freedom and democracy. However, the hypocrisy of fighting for freedom and democracy abroad, while racial violence and injustice was experienced at home, led to housing and segregation in New York being seen in global context. Discourses on fighting fascism at home and abroad, and artistic representations of the city illuminate these narratives. In Berlin-especially with the founding of the two German states in 1949 and the building of the Berlin Wall in 1961-urban planning and development are most easily understood to be part of East-West ideological divides. Visions for the city of the future that were produced in secluded West Berlin demonstrate, however, that the city was also imagined in ways that transcended its local conflict and positioned it as a democratic tool for a global urban society. Tokyo's destruction during WWII, and its subsequent reconstruction, dominates the city's postwar history, but Japan's experience of war and nuclear bombings led to the creation of urban models that were more global in scope. An analysis of Japanese involvement in world's fairs and of architectural and urban thought in response to the nuclear bombings connects these threads. In different ways, these case studies substantiate the connection between global war and global cities and introduce global history methodology into the analysis of global thinking in urbanism during and after WWII.
by Sebastian Schmidt.
Ph. D. in Architecture: History and Theory of Architecture
Daen, Laurel Richardson. "Art/Self: Martha Ann Honeywell and the Politics of Display in the Early Republic." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626668.
Повний текст джерелаKunasek, Kimberly Ann Oei. "Anne Graham Rockfellow: Who was she? What was her contribution to the history of architecture?" Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278409.
Повний текст джерелаHoeffler, Michelle Leah. "The moment of William Ralph Emerson's Art Club in Boston's art culture." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67166.
Повний текст джерелаIncludes bibliographical references (p. 183-225).
This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture.
by Michelle Leah Hoeffler.
S.M.
Whitson, Catherine. "Haunted Spaces: Architecture and The Uncanny in the Work of Rachel Whiteread, Thomas Demand, and Gregory Crewdson." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498840.
Повний текст джерелаStergiou, Stavroula. "The concept of the avant-garde in twentieth and twenty-first century architecture : history, theory, criticism." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32215/.
Повний текст джерелаBriffa, Sancha. "Against the grain : a cultural history of the making of wood." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/37299/.
Повний текст джерелаPickett, Dwayne Webster. "The John Page House Site: A n Example of the Increase in Domestic Brick Architecture in Seventeenth-Century Tidewater Virginia." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626030.
Повний текст джерела