In the earlier stages of globalization, global chain hotel design did not have specific concerns about local culture and host country. In the last two decades, these hotels became more respectful towards the local culture by integrating local cultural elements and construction techniques in their design. The reasons for this shift is directly linked with globalization, increased competition between cities, fierce competition between urban hotels, and changing demands of the global travelers.Among the hotels integrating local cultural values, there is a specific niche that has established their businesses in historical landmark buildings. This thesis will demonstrate the presence of this specific hotel niche through case studies conducted in London and Istanbul. It will examine how the integration of local cultural values may improve the competiveness of global chain hotels. The focus will be on integration of historic cultural values. / Department of Architecture

Laotse has said, "Man's loss of his original nature comes from the distractions of the material world acting through the five senses.”1 That we have not regained our original nature is self-evident. Our society indicts us; its works convict us. We have become slaves to the extent that we have diverged from, as well as our own nature, the nature of our universe. It is to the cutting through the haze of invalidities which constitutes much of the atmosphere in which we design and build that this thesis is directed. First, in this search, this one for freedom in a sense, the nature of man, of universe, and the relationships which do and could exist between them, will be explored in terms of building. If, perhaps, subsequent analysis of existing relationships appear too critical, it must be borne in mind, that much is based upon, as well as observation, introspection. Second, cultures will be explored in an effort to more clearly establish the relationships which exist between man and the pattern he produces. With this relationship in mind, our contemporary pattern will be examined and an attempt will be made to evaluate the dominant trends which now seem to be directing it toward the contradictory expressions so apparent today. Third, designs will be given of a natural community and of a natural living unit, illustrating through application of these same natural relationships, but two of many levels of planning. A site in the Blue Ridge Mountains, northeast of Roanoke has been chosen as the area for development which, although topographically undesirable for building by present criteria, permits demonstration of the flexibility attainable through application of spirit and technics of natural building. This thesis is an attempt to see the whole more clearly in terms of its parts. Design today, as attested by almost every area of development, is in a state of chaos, less conscious of the world for which it was executed than it is of itself. The method of approach, not being purely scientific, is in itself a questioning of contemporary methods of inquiry. Natural law, in the academic sense, is but the notation of physically observed phenomena and has been taken more as a boundary than as a fluid instrument of understanding cognizant of omnipresent relativities. Natural law, in its broadest sense, at best, but an instantaneous approximation (for what has become of Euclidean geometry and Newtonian physics), is here suggested as a criterion for design. A criterion which will continue to grow together with science and art in the interests of man. / Master of Science

This project began with the measurement of the exterior stair at the East addition of Campbell Hall on the campus of the University of Virginia. The project continued with the design of nine different autonomous stairs, and nine stairs as buildings. Stairs are one of the most basic and complex elements of architecture. Stairs interconnect to all aspects of a building. Through ascension and descension our existence is modified. The 'eye of the stair' looks up and down into the well. It is like the 'eye of the storm', which allows us to see things calmly while everything outside the storm's eye is in motion. Through looking into the eye of the stair we see a stair's eye view. / Master of Architecture

Orientador: Jorge Sidney Coli Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-25T02:53:32Z (GMT). No. of bitstreams: 1 Barrantes_PaulaElizabethdeMaria_M.pdf: 24161820 bytes, checksum: 91cfc0e63d87ec1bc11e9539072250a2 (MD5) Previous issue date: 2014 / Resumo: A Catedral de Campinas é um templo com múltiplos usos e em seu espaço abriga o Museu Arquidiocesano de Campinas e o Museu da Irmandade do Santíssimo Sacramento. Tanto a Catedral como ambos os museus apresentam vários problemas relacionados à identificação de seu acervo, sendo a grande maioria das obras com procedência desconhecida. O objetivo desta pesquisa foi o de catalogar o acervo da Catedral Metropolitana Nossa Senhora da Conceição de Campinas, de 1840 à 1923, abrangendo imagens sacras, pinturas, detalhes arquitetônicos e a obra de talha. Foi possível rastrear e catalogar todo o acervo através de documentos primários e comparações iconográficas. Percebeu-se que, quanto à catalogação de imagens, a correta amplitude da pesquisa deveria partir de 1774 à 1923, uma vez que enquanto a Matriz Nova era construída, formava-se o acervo de imagens na Matriz Velha, mas com a consciência exata de que o acervo seria passado à nova matriz após sua inauguração. Foi possível também descobrir a autoria e o histórico das pinturas originais presentes na inauguração do templo em 1883, bem como descobrir o histórico e a autoria dos evangelistas e apóstolos da fachada, informações inéditas até o momento. Foram desvendadas a origem das estátuas externas do templo e a pesquisa em fontes primárias inéditas possibilitou encontrar equívocos na descrição do atual catálogo do acervo. A pesquisa da obra de talha, encontrou informações que fazem possível hoje, atribuir à quatro entalhadores o conjunto total da talha: Vitoriano dos Anjos, Bernardino de Sena, Raffaelo de Rosa e Marino Del Favero, os dois últimos italianos. Também foi possível atribuir obras a cada um, cuja autoria, até o momento, era desconhecida. Em sua abrangência, a pesquisa possibilitou desvendar o histórico das fachadas do templo e elucidar diversos acontecimentos como os acidentes durante o período de construção, os arquitetos participantes bem como suas contribuições ao templo, sistemas construtivos e materiais utilizados. Dentro ainda da arquitetura, também descobriu-se todos os elementos modificados e construídos na reforma de 1923. Além do catálogo das obras e da arquitetura, como complemento, foi criado um dicionário de todos os artistas que participaram do acervo, com informações biográficas. Esta catalogação deve servir então à duas propostas, como fonte de pesquisa acadêmica e como utilidade prática no uso diário do acervo. Como conclusão, percebe-se que a história da construção do templo e do acervo é muito mais rica, cheia de detalhes e acontecimentos do que até então se conhecia, fazendo desta pesquisa uma referencia para futuros trabalhos relacionados ao seu acervo e sua história / Abstract: The Catedral Metropolitana de Campinas is a religious temple that houses the Museu Arquediocesano de Campinas and the Museu da Irmandade do Santíssimo Sacramento. Both museums and the Cathedral, present several problems regarding the correct identification of its art collection, with most of the art work of unknown origin. The objective of this research was to catalog the collection of the Catedral Metropolitana Nossa Senhora da Conceição de Campinas from 1840 to 1923. The collection includes sacred images, paintings, architectural details and carving works. This research made possible to trace and catalog the entire collection of the period thru analysis of primary documents and iconographic comparison. Regarding the image collection, the real amplitude of the research should comprehend the period from 1774 to 1923. As the New Church was being built, the collection of images was being formed at the Old Church, but with the certain that the collection would be transferred to the new site after its inauguration. It was also possible to discover the authorship and the history of the original paintings present at the inauguration of the temple in 1883, as well as the authorship and history of the Evangelists and Apostles statues at the façade. The origin of the external statues of the temple was unveiled and the research on unprecedented primary sources made possible to find misconceptions at the description of the current catalog of the collection. The research of the carving works revealed information that contributed to attribute four woodworkers to the whole carving work at the church: Vitoriano dos Anjos, Bernardino de Sena, Raffaelo de Rosa and Marino Del Favero, the last two Italians. It was also possible to attribute to each one, other artworks, which the authorship was unknown until now. Due to the wide scope of the research, it was possible to unveil the history of the façade construction and to elucidate many of the related events such as the accidents, the architects and their contribution on the project and construction of the temple as well as constructive systems and used materials. Still in the architecture scope, it was disclosed all the modified and built elements at the renovation in 1923. Aside the catalog of the collection, as a complement, it was created a dictionary of all the participating artists of the collection with bio info. The cataloging of the collection intend to attend two distinct proposes, as an academic resource and as a daily reference for the museums. In order to come to a conclusion, one can easily realize that the history of the construction of the temple and the gathering of its collection is far richer than could be imagined making this research a starting point and a solid anchor for future researches / Mestrado / Historia da Arte / Mestra em História

This thesis investigates the influence of the Tiffany Studios in ecclesiastical stained glass windows of Indianapolis, Indiana. The Tiffany Studios was a leading stained glass manufacturer at the turn of the century and popularized the use of opalescent glass in stained glass commissions. The following study will briefly look at the history of stained glass, discuss the life of Louis Comfort Tiffany, characterize the work of the Tiffany Studios, and evaluate the ecclesiastical stained glass windows located in Center Township commissioned between 1880-1930. The evidence contained within the stained glass summaries suggests that Tiffany Studios did influence the commission of stained glass windows in Indianapolis during the period under review. / Department of Architecture