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A public square provides for a social cultural life to take place. The square ought to be located in the part of the city where human activities are the most intense. The edges of the square consist of the buildings that define its space. The architectural style of these buildings shapes the character of the square and embodies the social cultural circumstances of a society. The experience of a public square goes beyond its structured aspects. In fact, each man-made place is located within a natural landscape that changes its appearances during the rhythm of the day and the seasons. It is the combination of the natural phenomena and the architecture that creates the atmosphere of a place. A total integration between these two elements constitutes the "spirit of place" or genius loci. According to Heidegger, human settlement has an enclosure and any enclosure has a boundary. This is also true for the square, the boundary of which is formed by its surrounding buildings. However, this boundary is not continuous, as it is interrupted by pedestrian paths and streets that lead to the square. The quality of a square’s enclosure is related to the characteristic of the openings. The aim of this design thesis is to conceive a public square for today’s social-cultural environment; a public square that is located within a cultural center at Shirlington, Arlington County, Virginia. The buildings of the center form an architectural unity that sets the stage for community events to take place. The articulation and the form of the buildings related to the natural environment make people feel that they were designed for them. This means a place where people can experience a strong feeling of location. / Master of Landscape Architecture

Genius loci has been described as "the spirit of place". The main interest in considering an urban monastery program is to create a place that embodies the spirit and culture of Tibetan Buddhism in the context of urban Washington, D.C. Given Tibet's unique culture that has developed over centuries without much Western influence, and it recent history of Chinese rule, religious persecution and infiltration of its language, culture and environment, the challenge of this program is to represent the traditions of Tibetan Buddhism in a modern language of architecture. / Master of Architecture

The concept of place is extremely important within today's contemporary society. As a result of hyper mobility, many people do not take the time to notice and understand the spaces surrounding them. A sense of place is subtle and fragile, yet can exist in the most humble of environments. In Appalachian, there are countless structures that dot the mountainous landscape symbolizing the sense of place in southwestern Virginia. The Virginia pole barn is important for the sense of place because of its direct tie to the land. Many of these structures were built from the indigenous American chestnut tree and crafted using traditional building techniques. These structures are an important contribution to the vernacular of the Appalachian region, and much of this is due to the material presence of these structures as they give balance and counterpoint to the ridges and valleys. Secondary research focused on theories about the creation of place, the spirit or character of a specific place, the role of symbols in these creations, and the importance of the American chestnut as a material. Primary research concentrated on the people who interact with these pole barns on a regular basis, the structures themselves, and the prevailing landscapes. / Master of Science

Cette thèse de recherche en art se déploie dans deux dimensions principales intimement liées, l’une épistémologique et l’autre artistique. Premièrement, du point de vue épistémologique, elle est l’expression du continuum entre théorie et pratique. Elle pose l’hypothèse que le méta-art initié par deux artistes : Adrian Piper dans les années 1970 et Jean-Paul Thibeau dans les années 1990, constitue la méthode idoine pour expliciter et analyser l’expérimentation artistique. Le programme théorico-pratique que nous avons conçu s’articule sur deux registres de textes : les récits d’expérience relatant quatre projets (Genius Loci Monflanquin, Genius Loci Aix, Genius Loci Villeneuve, Genius Loci UBUBM) et les commentaires analytiques relatifs aux récits d’expérience (« Comment représenter le mouvement ? », « Comment l’écosophie permet-elle d’éclairer les pratiques artistiques qui investissent le quotidien comme situation d’expérimentation ? », « Comment prendre une décision ? », et « Comment ménager des passes au milieu du milieu ? »). Deuxièmement, du point de vue artistique, cette thèse ouvre un espace d’expérimentation pour la création de l’Atlas Genius Loci. Les situations de chantier à partir desquelles nous avons travaillé (en particulier ceux des universités bordelaises) nous ont amené à pratiquer une recherche-création sur des terrains de vie concrets et à mettre en œuvre des processus de coopération artistique avec des maîtres d’ouvrage et des institutions. À partir d’une interrogation sur les articulations possibles entre l’art et les pratiques architecturales de l’industrie du bâtiment (Building Information Modelling), notre Atlas est devenu un « processus mésologique », un travail d’inter-relation au sein d’un milieu, construisant une présence-alliance entre une artiste et une institution. Le prolongement de cette recherche-création, où le terrain-milieu d’où l’on parle est à la fois explici-té dans sa matérialité et impliqué dans l’expérimentation, s’inscrit dans l’héritage de l’analyse institutionnelle (sociologie) et de la critique institutionnelle (art) pratiquée dès les années 1970. L’enjeu de ce travail porte sur les engagements contemporains de l’artiste dans la société, et réciproquement, sur la place que celle-ci réserve à l’art, il rend compte de la singularité de la recherche en art, et de la façon dont elle ouvre aujourd’hui des perspectives originales pour l’alliance du monde académique avec la société civile. / This research thesis in art unfolds in two main and closely linked dimensions, one epistemological and the other artistic. Firstly, from an epistemological point of view, it is the expression of the continuum between theory and practice. It hypothesizes that meta-art initiated by two artists: Adrian Piper in the 1970s and Jean-Paul Thibeau in the 1990s, defines the right method to explicit and analyse the artistic experimentation. This theoretical-practical program is carried out through the writing of two kinds of texts: the experience accounts of our projects (Genius Loci Monflanquin, Genius Loci Aix, Genius Loci Villeneuve, Genius Loci UBUBM) and the analytical comments ("How to represent movement? ", " How can ecosophy shed light on the artistic practices that take place in everyday life as a experimentation situation? ", "How to make a decision? ", and "How to build a pathway to the heart of a living environment?”). Secondly, from an artistic point of view, this thesis opens up a space for experimentation on the creation of the Atlas Genius Loci. The "construction site situations" from which we have worked (in particular those with Bordeaux universities) have led us to practice a research-creation on tangible living environments, and to pursue artistic cooperation with project owners and institutions. With the possible links between art and architecture (Building Information Modeling) as a starting point, our Atlas has become a "mesological process" claiming a presence-alliance between an artist and an institution. The extension of this research-creation, where the field-environment from where one speaks is both explicit in its materiality and involved in the experimentation, is part of the legacy of institutional analysis (sociology) and institutional criticism (art) practiced since the 1970s.The contemporary commitment of the artist in society, and reciprocally, the place that society gives to art, expresses the singularity of the artistical research, and the way that it now opens up original perspectives for the alliance of the academic world with civil society.

Le principal objectif de l’étude consiste à démontrer, en temps de crise économique mondiale, comme il serait possible de conjuguer exigences de croissance économique et stratégies de protection et de valorisation du patrimoine, dans une perspective durable, en considérant que le tourisme représente un dès possible secteur pour le développement territorial, l’intégration sociale et l’amélioration des conditions de vie des collectivités locales. La région Campanie et la province de Caserte – territoires objets d’étude en Italie - sont dotés d’un exceptionnel patrimoine culturel, paysager et immatériel mais ne sont pas suffisamment protégés et valorisés. À cette fin, la recherche analyse et propose des stratégies de gestion des biens à travers l’étude des best practices françaises dans le domaine du tourisme culturel, considérées comme le moteur de développement durable du territoire. La France, classée premier pays au monde pour le nombre de visiteur international, selon les statistiques de l’Organisation mondiale du tourisme, a développé une politique gouvernementale de long terme visant à la protection et à la promotion du patrimoine, grâce à des interventions sur les biens, sur la structure organisationnelle des institutions responsables, et sur toutes les formes d'art de la production intellectuelle. En Italie, en revanche, la stratégie de gestion s’est souvent montrée inadéquat par rapport au prestige international dont elle dispose sur le plan de son patrimoine culturel, paysager, gastronomique et immatériel. Un management contestable des biens, a donné lieu à une croissance limitée de l'économie par rapport à son potentiel avec un effet négatif sur le patrimoine. / The main objective of this study is to demonstrate, in times of global economic crisis, how it is possible to combine economic growth needs and strategies for the protection and enhancement of the heritage in a sustainable way, starting from the assumption that tourism is one of possible areas for regional development, social integration and improvement of living conditions of local communities. The Campania Region and the Province of Caserta – territories object of study in Italy - have a unique cultural, landscape and intangible heritage but is not sufficiently protected and enhanced. To this end, the research analyzes and proposes policies for managing assets through the study of international "best practices", in particular in France, in the field of cultural tourism, seen as an engine for sustainable development of local communities. France, the first country in the world for number of international visitors, according to updated data, provided by the World Tourism Organizations, has developed a long-term government policy aimed at the protection and enhancement of heritage, through actions on assets, on the organizational structure of the institution in charge, and targeted promotion of all art forms of intellectual production. In Italy, however, the management strategy has often shown inadequate compared to the international prestige of the country for its cultural, landscape, food, wine and intangible heritage, with a limited growth of economy if compared with this heritage’s potential with the consequent negative effect on heritage.

The aim of the dissertation is to interpret genius loci of the industrial and periphery landscape in painting and photography. Symbolic aspects originating from the atmosphere of the place are analyzed on the basis of concrete artists, works and resources. Another aim of the dissertation is to map contemporary Czech artists. Their works are put into context with roots in the arts history and with foreign artists. Apart from paintings, the photographic works are discussed. However, only names and works that can illustrate the concerned content areas have been selected.

Baigiamajame magistro darbe plačiau aptariamos kultūros paveldo (dėmesys fokusuojamas į architektūros paveldą) integracijos į šiuolaikinės taip vadinamos tinklaveikos visuomenės ekonominę ir socialinę sistemą. Darbe laikomasi principinio požiūrio, kad šiuolaikinis darbo, laisvalaikio organizavimas ir individų identitetai sąveikauja nuolatinio tapsmo sąlygomis ir yra priklausomi vieni nuo kitų. Vietos įvaizdis šiuo požiūriu tampa itin svarbus miesto/regiono/valstybės savęs reprezentacijos įrankis šiuolaikinėje žinių valdymu grįstoje visuomenėje. Šioje postruktūralistinėje vartotojų visuomenėje architektūros paveldas ir naujos architektūros intervencijos gali būti vienas esminių įrankių komunikuoti žinių pertekliaus epochoje. Pagrindinis tyrimo tikslas apibrėžti Kauno miesto patirtis ir galimybes reprodukuoti ir publikuoti žinių bagažą konceptualiai pristatant vietą. Todėl trijose darbo dalyse, naudojant specialiai susiformuotus teorinius tyrimo metodus aiškinamasi vietos įvaizdžio sampratos kaita pereinat iš industrinės į postindustrinę epochas, taip įvaizdžio diegimo problematika. Vėliau pereinama prie Kauno miesto patirčių ir potencialo analizės, paradomi charakteringi pavyzdžiai atitinkantys tiek vakarų vartotojiškos kultūros modifikacijas, tiek postkolonialinias įtakas vienaip ar kitaip formuojančias tiek vietos identitetą, tiek kultūros paveldo apsaugos/niokojimo apraiškas. Trečioji dalis skirta Kauno miesto kaip vietos naratyvo kūrimo galimybėms ir problematikai... [toliau žr. visą tekstą] / The thesis is to be about the first deeper glance in Lithuania issueing the place image throught architectural and cultural heritage management. The key factor is to challange the paradigma of how individual or scietist perceive architectural processes due side effets of changing World. Nevertheless, cultural heritage in Lithuania has a feature in academical field to be self-centered so hardly ever usefull for wider sociocultural progress if we consider that tourism or old town vitality is based not on heritage management itself, but depends on traditionally perceived which are the best routes for tourists or traditional area of walking around. This issue claims that in so called network society the most important is to recognise the possibilities and threats for architectural heritage to become an actine participator of network progress. It is clarely seen, that internet technologies and communicational options is to be elimate a traditional urban space out of field of public interest. However, city image is about to sell a place no matter in digital or either in real dimentions. Master work is solving the issue how the Kaunas could work and produce its image via architectural representation‘s forms and manners. First part of work is to describe early perception of place image in western countries. As a matter of fact, there‘s notice made that place image should meet an expectation. Since public realtions have became part of everydays expeirience and its self being... [to full text]

The object of this paper is searching for the significance of understanding landscape in the formation of human religiosity. The first part of the paper called Human and landscape attempts to present general characteristics of the relationship of humans and landscape. The second part is devoted to the development of landscape perception of some authors (J. J. Rousseau, Jiří Sádlo, Václav Cílek). The third chapter finds connections between internal experience and the environment humans live in. It is a dynamic relationship which affects the formation of religiosity. Further, human religiosity, the symbolic meaning of landscape and the specific characteristics of adolescence are defined. The conclusion presents particular suggestions for educational work with young adolescents by means of dialogue and participation in landscape.

Pourquoi, où et quand, des résidences d'artistes se sont implantées en Aquitaine et comment ont-elles abordé la mise en application des préconisations institutionnelles ? Quelles sont ces structures et comment s'organisent-elles en milieu rural, au profit d'une véritable visibilité de l'art contemporain ? Entre phénomène artistique, programmation culturelle et action sociale, comment l'immersion paysagère amène-t-elle à repenser la pratique artistique à partir des relations qu'elle noue avec le territoire, l'humanité et le milieu naturel ? C'est au travers de la mise en valeur et de l’ancrage de la résidence au cœur d’un terroir spécifique que peuvent se nouer des rencontres et des expériences inédites, entre création et vie sociale. La présence d’un artiste peut révéler ou réveiller des qualités et des potentialités latentes, à même de renvoyer une image insoupçonnée des lieux et des liens entre territoires et populations. C’est bien parce que le concept d’ « artiste en résidence » et le dispositif de « résidence d’artistes » ne convoquent pas de la même manière les notions de lieu et de contexte paysager que nous avons décidé d’examiner de plus près l’évolution du rapport de l’artiste au paysage et à l’espace tout au long de sa « trajectoire migratoire », pour appréhender l’effet de l’expérience de la mobilité sur la création artistique et sur le sentiment d’appartenance au lieu. En prenant nos distances vis-à-vis des définitions classiques du paysage, nous proposerons l’idée d’entité vivante et stimulante à partir de laquelle peut se dégager une nouvelle manière de voir et de concevoir le monde : révélant ainsi le « Génie du lieu », dynamique et complice de la création. / Why, where and when artist residencies have established in the Aquitaine region? How did they approach the implementation of institutional recommendations? What are these so-called structures and how are they organised in rural areas to ensure an actual visibility of contemporary art? Between art phenomenon, cultural programming and social actions, how does landscape immersion require to rethink art practice and its relationships with territorial collectivities, people and nature? Unprecedented encounters and experiences may happen thanks to showcase, design, life experience and key situation of artist residences in the heart of territories. The artist’s presence might reveal or wake up one’s qualities and full potential, enabling to give an unexpected picture of places and connections between territories and people. It is precisely because the “artist in residence” concept and the “artist residencies” facilities have different approaches to the ideas of places and landscape contexts that we decided to review the evolution of the artist’s relationship to space, landscape and populated areas – throughout his “migratory path” – so as to be able to understand the effect of mobility experience on artistic creation and connection to places. While distancing conventional definitions of landscapes, we will present the idea of a living and stimulating entity from which a new way of seeing and designing the world may occur. The revealed Genius Loci appears to have its temporary roots, dynamic and complicit with creative work.