Thesis--Bonn. / Vita. Includes bibliographical references (p. 5-17).

Inaug.-diss. - Wurzburg. / Lebenslauf. "Literatur": p. 51-54.

Inaug.--diss. - Leipzig. / Lebenslauf. "Litteratur": p.[74]-75.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 420-440). Available also in a digital version from Dissertation Abstracts.

The objective of this thesis are the findings of the older school-age pupils´ relationships to the sacral architecture. The theoretical part contains the literary comparison of the available sources related to the gothic and baroque architecture. I dedicate to the psychological description of the pubescent and characterization of the emotional and social aspects, too. I elaborated the quantitative research which was engaged in pupils´ knowledge and understanding of the baroque and gothic architecture and monuments in their area in the practical part. The research was realized by means of the questionnaire inquiry among pupils of 6th and 9th grades of primary schools.

Reims Cathedral holds a great deal of significance for the history of Gothic architecture, as well as the larger history of France as the coronation church. Given the historic significance of Reims, it is not surprising that much scholarship has been dedicated to the building’s sculpture, glass, and architecture. Most studies dealing with the cathedral’s architecture are based on stylistic and archaeological analysis, augmented by the use of surviving documents related to the construction. Although much fruitful work has been done in this vein, important questions about the building’s chronology and design still remain unresolved. The extent to which the design of the cathedral was established at the start of its construction, for example, continues to be disputed. The most recent monograph on the cathedral, published by Alain Villes in 2009, suggests that dramatic revisions to the overall plan and elevation were introduced during the course of its construction, going beyond the alterations to the façade designs that many previous authors have noted, but his theses remain controversial. Subsequently, Robert Bork has produced geometric models of the cathedral, which suggest that its plan was more coherent and unified. Additionally, French archaeologist Walter Berry has conducted new excavations, which further reveal additional archaeological evidence not yet taken into account by other Reims scholars. My dissertation, “Measuring the Past: The Geometry of Reims Cathedral,” examines the architectural design from a geometric perspective, augmented by archaeological, stylistic, and historic evidence. The primary contribution that my dissertation makes to art history is the development of a new, modern plan of the cathedral. I developed this plan by taking thousands of measurements using handheld devices and laser mapping, which I then incorporated into a single data set. This work allowed Bork and me to further refine the underlying geometry that created the cathedral’s layout and proportions. This new plan indicates that a master plan devised by the first architect governed the whole church, with subsequent modifications affecting its articulation rather than its overall layout. In addition to explaining how this plan was originally conceived, my dissertation also examines the anomalies and mistakes made during construction, which at times forced minor deviations from the plan. Some of these building errors and the obvious attempts to correct them give clues to the order of construction, in addition to supporting the notion that the masons repeatedly returned to the uniform scheme. This allows me to reassess the scholarship written about the cathedral and the complex history of the building project, while resolving some of the disputes over the cathedral’s construction and design.

At the eastern end of the Edinburgh World Heritage Site, a protrusion of volcanic rock known as Calton Hill is situated on the northern side of the Waverley Valley. This area sits approximately 100m above sea level at its highest point - around 20m higher than Princes Street in the First ‘New Town’ and at approximately the same height as the Castle Esplanade in the ‘Old Town’ of Edinburgh. During the early nineteenth century, the hill and its land to the north were developed, to extend the city of Edinburgh towards the Port of Leith, in order to open up new routes of access and communications between the port, the city, and the surrounding lands to the south and east. The resulting development provoked debates on the best approach to the development of the urban landscape, the suitability and resonance of specific architectural styles within the urban realm, and the use of public funds for large-scale urban development projects. In addition, the visual prominence of the hill in the city presented a stage for massive changes to the visual context of the boundaries of the city, the relationship between the Old and New Towns, and Edinburgh’s relationship with its surrounding countryside. This blurring of the rural and the urban alongside new interpretations of the classical and the gothic, further emphasised the discordance between societal classes, initially marked out by the mid 18th century expansion of the first New Town and which became further emphasised during the city’s industrial expansion in the latter half of the 19th century. The great care over the choice for the hill’s architectural character as an allegorical commentary on Scotland’s role within the constitutional development of the United Kingdom became muddied throughout the 19thcentury, as shifts in both societal perceptions and government constructs resulted in an evolution of the hill and its structures within the mindset of the Scottish populus. Although the structural evolution of the site during the later 19th and 20th centuries had lesser visual impact on the urban realm, as Scottish national identity swayed from a political to a culturally led discourse in architectural terms, perceptions of the structures on Calton Hill were considered to be representative of Scottish support for the construct of the British State during the 19th century. This was further confirmed by the development of the Scottish Office in the 1930s on the southern side of the hill, and the failed establishment of a Scottish Parliament in 1979, which was to be sited in the vacant Royal High School building. This culminated in the site becoming the focus for grassroots led campaigns for Scottish Independence and Home Rule by the later 20th century. This thesis therefore focuses on the changing relationship between the perception of the hill and its structures over time, by exploring the architectural evolution of the site within broader aesthetic, social and political dialogues. It considers the extent to which the site, its structures, and the discourse surrounding the development of the hill represent the nuances that define Scotland as a nation, and help us to further understand how Scots viewed their identity, within both a British and Scottish context from the late 18th to the early 20th centuries. This approach not only places the architecture on the hill within a broader discourse surrounding architecture’s relationship with national, state and imperial identities, it also demonstrates how a more nuanced exploration of urban landscapes can contribute to a better understanding of the contemporaneous societies who developed the urban realm, and the events and debates that surrounded their development. Due to the wide variety of themes that this thesis explores, and the extended timeframe that this work covers, the geographical limitations of the study area are mercurial in their extent, changing focus with the issues being discussed throughout the text. However, for clarity and for ease of reading, the physical study area has been defined as that of the external limits of Playfair’s 1819 plan for the Third New Town (Plate ii), which in the present day is defined through the following locations: The southern limit is the North Back of Canongate; the northern limit is the bottom of Leith Walk, at the intersection with Great Junction Street; the western limit is where Waterloo Place meets Princes Street, and follows Leith Street to the top of Broughton Street; and the eastern boundary is at the junction of Easter Road, Regent Road and Abbeymount, running down Easter Road to meet Leith Walk at its northernmost point.

The aim of the disseration is to discuss forms of commemorative art. The main focus is given to the development of micro-architectural elements as well as medieval liturgical practices. The dissertation briefly summarises historical, economic and cultural factors between 1300-1450 and their influence on the rise of gentry, guilds and merchants. They, together with the royals and clergy, were becoming influential commissioners of art at that time. English sacred buildings are not as soaring as those on the European continent. Several earthquakes are taken into account when discussing this specific character of English medieval architecture. A vast church interior space encouraged a development of micro- architectural structures. Mutual influences beween macro-architecture of buildings and micro-architecure of monuments is researched on an art-historical basis. Micro-architecture in England is very ornamental indeed. The term Decorated Style is used. English churches and cathedrals are impressive in terms of size. Their interiors offer lavishness of micro-architecture. Keywords English medieval architecture. Commemorative and votive art. Chantry chapels. The Black Death. The cult of the saints in the Middle Ages.

L’art gothique apparu en Île-de-France vers 1135 atteignit le département de la Haute-Saône, partie nord du comté de Bourgogne relevant de l’Empire germanique aux XIIe et XIIIe siècles, à partir des années 1160. Les cisterciens jouèrent un rôle déterminant dans l’introduction de ce nouvel art de bâtir dans la région. À la fin du XIIe siècle, ce mode de construction demeura d’ailleurs l’apanage de leurs abbatiales. Les formules gothiques ne se généralisèrent en effet dans l’ensemble des édifices religieux qu’à l’aube du XIIIe siècle. Ce moment précis marque le point de départ de ce mémoire de doctorat qui a pour objet de déterminer les étapes de formation du gothique comtois et de suivre son évolution jusqu’aux prolongements des modes mises à l’honneur au XIIIe siècle en ce lieu situé à la charnière entre le royaume de France et l’Empire germanique. Malgré l’adoption des formes principales du premier art gothique (voûtement d’ogives, contreforts…), l’architecture demeura dans un premier temps ancrée dans la tradition romane du XIIe siècle particulièrement marquée par le retour à la vita apostolica prôné par la réforme grégorienne. Cette tradition de simplicité ne pouvait être ébranlée que par un ordre disposé à la sobriété, l’ordre cistercien, auquel un certain nombre d’éléments architecturaux caractéristiques furent empruntés pour les premières constructions gothiques comme à Purgerot, Bétoncourt-les-Ménétriers et dans la nef de l’abbatiale de Luxeuil dont le chantier d’envergure s’ouvrit à la fin des années 1230. L’ouverture des maîtres d’œuvres au gothique classique, certes modérée, ne se produisit qu’aux alentours de 1240 (ils conservèrent leur attachement aux valeurs de muralité, à Pesmes par exemple). L’art rayonnant fit son apparition dans les années 1270 à Luxeuil, par l’intermédiaire de la Lorraine proche. Mais la mise en œuvre d’une abside vitrée ne constitua cependant pas une étape irréversible dans la construction car les édifices d’ampleur modeste élevés à la fin du XIIIe siècle et au début du siècle suivant présentent un caractère particulièrement conservateur, en écho sans doute à la nouvelle pastorale : celle des ordres mendiants. Les constructions sont simples et le décor architectural, qui a peu inspiré les sculpteurs en Franche-Comté, infime. Seule la modénature, tout à fait en adéquation avec celle d’édifices contemporains du royaume de France, a permit de situer les édifices dans la fourchette chronologique concernée par le champ de l’étude. Bien connue des maîtres d’œuvres, elle témoigne d’une volonté délibérée de leur part d’adapter les formes nouvelles à la tradition comtoise. L’architecture gothique se trouve donc en Haute-Saône à la fois dans son temps et hors des modes, ce tropisme fait sa singularité / The Gothic art appeared in Ile-de-France by 1135 reached the department of the Haute-Saône, part north of the Burgundy’s county depending on the Germanic Empire in the XIIth and XIIIth centuries, about 1160s. The Cistercians played a role determining in the introduction of this new art to build in the region. At the end of the XIIth century, this mode of construction besides remained the privilege of their abbey churches. The Gothic formulae indeed became widespread in the whole of the religious buildings only at the dawn of the XIIIth century. This precise moment marks the point of departure of this report of doctorate which has for object to determine the stages of formation of the Gothic from Franche-Comté and to follow its evolution up to the repercussions of the fashions put in the honor in the XIIIth century in this place situated in the hinge between the kingdom of France and the Germanic Empire. In spite of the adoption of the main forms of the first Gothic art (diagonal ribs, foothills), the architecture remained at first anchored in the Romanic tradition of the XIIth century particularly marked by the return in the vita apostolica lauded by the Gregorian reform. This tradition of simplicity could only be shaken by an order arranged in the sobriety, the Cistercian order, from which many characteristic architectural elements was borrowed for the first constructions Gothic as to Purgerot, Bétoncourt-les-Ménétriers and in the nave of the abbey church of Luxeuil, the large-scale construction site of which opened at the end of 1230s. The opening of architects in the classic Gothic, certainly moderated, occurred only near 1240 (they kept their attachment in the values of muralité, in Pesmes for example). The radiant art made its appearance in the 1270s in Luxeuil, through the close Lorraine. But the implementation of a glazed apse did not however constitute an irreversible stage in the construction because the buildings of modest scale raised to the end of the XIIIth century and at the beginning of the next century present a particularly conservative character, in echo doubtless in the new pastoral: that of begging orders. The constructions are simple and the architectural decoration, which has not inspired the sculptors in Franche-Comté very much, tiny. Only the mouldings, completely in adequacy with that of contemporary buildings of the kingdom of France, have allowed placing the churches in the chronology. Well known to the architects, they testify of their will deliberated to adapt the new forms to the Franche-Comté’s tradition. The Gothic architecture is thus in Haute-Saône at once in his time and out of the modes, this tropism makes its peculiarity

How can I portray history so that it becomes bodily experienced? This work aims to, with contemporary addition to a site with significant historical value, investigate haptic understanding and the bodily experience of a material. In my memory the brick is hard, cold, sharp and heavy. How will it meet the body? This work is based on a perceived materiality. With the bricks as a starting point, both the theory of the body's meeting with materials and embodied working methods are presented. The work contains studies on the brick that are learned through the perceived meeting with the material, these studies are moreover applied to the final design proposal. By working towards the public space, a playground, this project reflects over the importance of experiencing material in order to trigger imagination.