The research involves two problems of Lithuanian sacred architecture – tradition and innovation. Tradition has been preconditioned by history, habits and customs formed within centuries. Such important factors as wars, occupations and foreign ideologies have also made a great influence. Any spread of religious thought and practice was forbidden and restricted quite for a long time in Lithuania. Under such circumstances the tradition of sacred architecture could not stay vital and develop in full-rate. Deeper and more precise analysis of the aforementioned architecture could contribute to identifying the traditions in designing Roman Catholic buildings and what has remained old in this sacred architecture. While analyzing church architecture, innovations and the problem of their expression are faced alongside the historic factors. During soviet times, architects were deprived of getting any training in design of sacred buildings, and churches were not built due to atheistic policy of authorities of the time. Believers were even persecuted and priests underwent various repressions. By the order of occupational authorities, churches were purposely destroyed – turned into storehouses or factories, or simply desolated and condemned to destruction. As soon as Lithuania regained its independence, attempts were made to improve the situation. It was started to design and build churches hastily. Soon it was noticed that lack of experience and knowledge has opened the way to mistakes... [to full text] / Darbe keliamos ir tiriamos dvi Lietuvos sakralinės architektūros problemos – tradicija ir novacija, jų tarpusavio santykis šiuolaikinėje sakralinėje architektūroje. Tradiciją lemia istorija, per šimtmečius susiformavę įpročiai ir papročiai. Taip pat nemenką įtaką daro tokie svarbūs veiksniai kaip karai, okupacijos ir svetima ideologija. Lietuvoje ilgą laiką buvo draudžiama ir varžoma religinės minties ir praktikos sklaida. Tokiomis sąlygomis sakralinės architektūros tradicija neišliko gyvastinga, buvo trukdoma visavertiškai jos raidai. Platesnė ir išsamesnė šios architektūros analizė padėtų nustatyti, kokios tradicijos ryškėja projektuojant katalikų kulto pastatus, kas išliko sena sakralinėje architektūroje. Nagrinėjant bažnyčių architektūrą, be istorinių veiksnių, susiduriama su novacijomis, jų raiškos problema. Sovietmečiu Lietuvoje architektai nebuvo rengiami projektuoti sakralinius statinius, o ir pačių bažnyčių nebuvo statoma dėl valdžios vykdomos ateistinės politikos: tikintieji buvo persekiojami, kunigams taikomos įvairios represijos. Bažnyčios okupacinės valdžios nurodymu buvo sąmoningai niokojamos – verčiamos sandėliais ar gamyklomis arba paliekamos griūti be priežiūros. Atgavus nepriklausomybę, pradėta padėtį taisyti – imta paskubomis projektuoti ir statyti bažnyčias. Netrukus pastebėta, kad patirties ir išmanymo stoka atvėrė kelią klaidoms ir nepamatuotiems sprendimams. Bažnyčios tuo metu dažnai buvo projektuojamos neprofesionaliai, neatsižvelgiama į subtilius... [toliau žr. visą tekstą]

The grand houses of nineteenth century Victoria have been given only superficial consideration in the literature on Australian architectural history, and it has been assumed that the colonial houses in Victoria simply copied British models. However houses are always designed to accommodate the values, beliefs and customs of the society for which they are built, and their spaces must be arranged to accommodate a variety of both utilitarian and social functions. It might therefore be expected that the different physical, economic and social conditions in Victoria would result in variations from the British models which more closely reflected their colonial context. / This thesis seeks to document, analyse and explain the planning of the grand houses of nineteenth century Victoria. It demonstrates that the form and planning of these grand houses in Victoria did indeed resemble the British models in many ways. This is because both the settlers in Victoria and colonial society were predominantly British, and the settlers could only aspire to respectability, and establish a position in the newly developing social hierarchies, by conformity with British norms. The possession of an appropriate house played an important role in this, and the houses therefore were always based on British models. There was conformity with British practice in the specialization and segregation of functions and spaces in the houses, and in the invariable use of closed corridor planning. However although these British planning conventions were observed, the houses differed in significant ways from those in Britain. This was largely because the colonial upper classes differed significantly from the old upper classes in Britain. A higher proportion of the upper classes in Victoria were new rich, and their houses reflect not only the greater informality of colonial society but also the tendency of the new rich towards ostentation. Their houses were built for maximum effect, even when this at times was in conflict with accepted British attitudes towards ostentation and privacy. This resulted in differences from British norms in the arrangement of the spaces in the houses, which more closely reflected the colonial context. The grand houses in Victoria were not therefore purely British, but were always a colonial hybrid.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Art History, 2005. / Includes bibliographical references (leaves 239-266).

This thesis examines the emergence and evolution of the Vernacular Italianate style of domestic architecture in Britain. The style was introduced in the form of a series of three country houses by John Nash in the first decade of the nineteenth century. It subsequently evolved over the next five decades into a popular template for the modest suburban house, widely disseminated through the medium of the architectural pattern books. The thesis considers the intellectual sources and antecedents which led to the emergence of this style and influenced its characteristics, analyses Nash's particular vision, and explores how the style was able to make a successful transition from villa rustica to villa suburbana, responding to the social and economic pressures which were at play in the expanding towns of the Regency and early Victorian era. It is a style which has been the subject of limited academic study to date, and the extent and significance of its role as a model villa for the new suburb is a theme which has been central to this research. A case is put forward that the style proliferated for two principal reasons: its versatility and adaptability for houses of differing physical scale and location, and its informal charm, inexpensively achieved, which conferred an air of sophistication appropriate to contemporary social aspiration. Nevertheless, as its popularity and accessibility grew over time the intellectual and aesthetic basis which underlay its origins as a product of the Picturesque aesthetic tended to be misunderstood or overlooked entirely, and by the 1860s the style had become diluted, frequently reduced to a matter of exterior detailing, with little reference either to Picturesque composition or to relationship between house and landscape, in contradiction of the tenets of Picturesque architecture propounded in the late eighteenth century, and in complete antithesis to the approach of John Nash in his original and distinctive Italianate interpretation.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-07-12T13:32:42Z No. of bitstreams: 2 Dissertação - Juliana Puglies Furtado Queiroz - 2018.pdf: 3966576 bytes, checksum: 34b1d0b933dc3f190fea06c3af13e61c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-13T10:33:35Z (GMT) No. of bitstreams: 2 Dissertação - Juliana Puglies Furtado Queiroz - 2018.pdf: 3966576 bytes, checksum: 34b1d0b933dc3f190fea06c3af13e61c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-13T10:33:35Z (GMT). No. of bitstreams: 2 Dissertação - Juliana Puglies Furtado Queiroz - 2018.pdf: 3966576 bytes, checksum: 34b1d0b933dc3f190fea06c3af13e61c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-07 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / The present work focus on the Praça Universitária architectural evolution between 1960 and 1980, in the city of Goiânia, and its relation to the artistic transformation of Waldemar Cordeiro. It also aims to evaluate Cordeiro ́s urban and landscape designs and his strategies in the creative process to design the urban space, specially the sense of expression, the historical potential and the social strength that he intended to attach to his works. Finally, the present study highlights the Square design as a new landmark for the modern urban landscape for the city of Goiânia, during the 1960’s decade. / Este trabalho analisa a história e a arquitetura da Praça Universitária na cidade de Goiânia, entre os anos 1960 e 1980, correlacionadas à transformação da produção artística e teórica do artista ítalo-brasileiro Waldemar Cordeiro. Avalia a concepção dos seus projetos urbanístico e paisagístico; suas estratégias no processo criativo do espaço urbano como lugar expressivo; sua historicidade; seu papel social. Também destaca o estudo investigativo dos projetos como um novo marco da modernização urbanística da cidade de Goiânia na década de 1960.

O objetivo desta tese é a inclusão da obra de Rino Levi na história da Arquitetura Moderna no Brasil. Esta inclusão pressupõe a história como um processo de mudança sem atenção concentrada em periodizações, marcos arquitetônicos ou arquitetos inaugurais. Esta análise, devido ao seu caráter inserção de uma produção em um processo só pode ser construída enquanto narrada. E a narrativa tem início no papel ocupado por Rino Levi na historiografia, que se revelou caracterizada pela dualidade arquitetura de gênio x arquitetura de ofício, esta última perfeitamente caracterizada por um arquiteto como Rino Levi. Uma das características da arquitetura de ofício é a de trabalhar com referências e esta foi a instância adotada para a análise realizada no segundo momento desta tese. Devido à abrangência da obra do arquiteto em tempo e número de projetos foram feitos dois recortes. O primeiro percorreu o período de formação e os primeiros projetos de Rino Levi, enquanto o segundo examinou uma seleção de projetos da década de 50, que oferece oportunidade privilegiada para o entendimento de como as referências operam na obra de um arquiteto de ofício. / The purpose of this thesis is the inclusion of Rino Levis work in the history of Modern Architecture in Brazil. This inclusion assumes the history as a change process without any attention focused on periods, architectonic landmarks or inaugural architects. This analysis, due to its feature insertion of a production in a process can only be made while it is narrated. And the narrative starts in the role performed by Rino Levi in the historiography that was revealed characterized by dual genius architecture x office architecture, the last one perfectly characterized by an architect like Rino Levi. One of the features of office architecture is to work with references and this was the instance adopted for the analysis made at the second moment of this thesis. Due to the scope of the architects work in time and number of projects two cutouts were made. The first went through the formation periods and the first Rino Levis projects while the second examined a project selection of the 50s that offers a privileged opportunity to understand how references act in the work of an office architect.

A obra do historiador da arquitetura Manfredo Tafuri (1935-1994) mantém grande pertinência nos debates contemporâneos. Sua contribuição é caracterizada pelo rigor filológico de suas pesquisas, pela leitura crítica das utopias das vanguardas e sobretudo pelo trânsito intenso de suas análises por outras disciplinas das ciências humanas, como a filosofia, a psicologia e a sociologia. Em seus textos, o autor ladeou o Renascimento e a atualidade de diferentes modos para tecer suas argumentações, através de articulações de noções de tempo. O tempo, na prosa de Tafuri, é um objeto de estudo em si, e remonta às raízes de seu trabalho nos debates filosóficos italianos. A tese se aprofunda nesse aspecto do historiador, na determinação feita entre períodos históricos, dando ênfase ao modo como Tafuri entendia a temporalidade. Toma-se como texto de base a conferência As formas do tempo (1993), onde podemos encontrar uma síntese de suas considerações sobre o assunto, relacionando-a com os textos mais ensaísticos sobre história assinados pelo autor, que formam o corpus desta pesquisa: Teorias e história da arquitetura (1968), Projeto e utopia (1973) e Machine et memoir: a cidade na obra de Le Corbusier (1979). Estudar-se-á este núcleo considerando a hipótese de que a complexidade da obra de Tafuri reside no entremeio de tempos. Espera-se com este recorte destacar a atualidade das considerações críticas do autor sobre a arquitetura, demonstrar a interlocução de seus escritos com os debates filosóficos italianos de sua época, bem como aprofundar em alguns aspectos a interdisciplinaridade de sua teoria. / The work of Manfredo Tafuri (1935-1994) remains important for the History of Architecture. His contribuition is often summarized in the filological accent of his research subjects, the critical approach of contemporary trends in architecture and most of all for the interdisciplinarity of his writings, leaning towards other fields of humanities such as philosophy, psicology and sociology. In the overall of his work, the author established connections between Renaissance and Contemporary in different ways to make a point in his essays. The ways he framed different periods of history concerned a specific transit between notions of temporality. In Tafuri\'s work, time appears as a subject itself and denotes its philosphical origins in the political trends of Italy. This thesis seeks to shed light on one specific aspect of the work of Tafuri. It will work with his most ensaistic works regarding time: The forms of time: Venice and the Renaissance (1993) and Machine et memoir: The city in the work of Le Corbusier (1979). Along with these two articles, we will focus on two seminal books signed by the author: Theories and history of architecture (1968) and Architecture and utopia (1973). Through the study of the temporality in the work of Tafuri, we expect to broaden the understanding of his contribution, shedding light to the pertinence of his critical opinions on architecture, to the persistent dialogue his work with philosophical trends in Italy, and to give a better overall understanding of the interdisciplinary approach of his theory.

In 1897 John Sibbald, Commissioner in Lunacy for Scotland, stated that ‘the construction of an asylum is a more interesting subject of study for the general reader than might be supposed.’ This thesis traces the development of the public asylum in Scotland from 1781 to 1930. By placing the institution in its wider social context it provides more than a historical account, exploring how the buildings functioned as well as giving an architectural analysis based on date, plan and style. Here the architecture represents more, and provides a physical expression of successive stages of public philanthropy and legislative changes during what was arguably one of the most rapidly evolving stages of history. At a time when few medical treatments were available, public asylum buildings created truly therapeutic environments, which allowed the mentally ill to live in relative peace and security. The thesis explores how public asylums in Scotland introduced the segregation or ‘classification’ of patients into separate needs-based groups under a system known as Moral Treatment. It focuses particularly on the evolving plan forms of these institutions from the earliest radial, prison-like structures to their development into self-sustaining village-style colonies and shows how the plan reflects new attitudes to treatment. While many have disappeared, the surviving Victorian and Edwardian mega-structures lie as haunting reminders of a largely forgotten era in Scottish psychiatry. Only a few of the original buildings are still in use today as specialist units, out-patient centres, and administrative offices for Scotland’s Health Boards. Others have been redeveloped as universities or luxury housing schemes, making use of the good-quality buildings and landscaping. Whatever their current use, public asylums stand today as an outward sign of the awakening of the Scottish people to the plight of the mentally ill in the nineteenth and early twentieth centuries.

The thesis deals with the life and work of an eminent architect of the late 19th and early 20th century, a native of Horní Branná near Jilemnice, Jan Vejrych. Forty years of his extensive and diverse project and construction activity has left its mark both in Prague and in many places in Bohemia and, by implementation of a project of the National House in Maribor, Slovenia, it has also acquired an international dimension. The aim of the text is to offer a comprehensive view of Vejrych's life and professional activities and thus fill one of the gaps in the knowledge of architecture of the late 19th and early 20th century in the Czech lands. The thesis primarily focuses on the analysis of Vejrych's architectural work. When mapping his projects the aim was to place them consistently in the broader art-historical and socio- political context. The works are not only analyzed within each creative period, the evolution of selected building types is traced over time as well. Attention is paid to interior designs, which were an integral part of major projects, as well as to sketches and studies created for architect's own use where his general observations and comments on various aspects of architectural work can be found. Opinions on Vejrych's projects and professional activities and their transformation...

Esta dissertação se propõe a investigar, no campo da arquitetura e urbanismo, os empregos do termo \"utopia\" num período em que este foi especialmente movente e dissensual: o final dos anos 1950 até o início dos anos 1970, no contexto europeu. Elegeu-se, para estudo de caso, as proposições da Internacional Situacionista e do Superstudio. Acompanharemos de forma mais detida os escritos situacionistas desde a fundação do movimento (1957) até cerca de 1961, período em que as discussões do grupo estão voltadas para a arquitetura, o urbanismo e a arte. No caso de Superstudio, priorizaremos a sua produção desde o seu surgimento (dezembro de 1966) até 1973, que é quando o interesse do grupo migra do tema da utopia para o estudo de modos de vida vernaculares e não-urbanos. A eleição destes dois grupos diz respeito à forma bastante distinta com que cada um lida com a questão das utopias, ao mesmo tempo que o lastro marxista comum nos permite traçar uma série de comparações, marcando as suas aproximações e divergências / This dissertation proposes to investigate, in the field of architecture and urbanism, the The term \"utopia\" in a period in which it was especially Dissensual: the late 1950s to the early 1970s in the European context. The case of the Situationist International and the Superstudio. We will more closely follow the situationist writings from the Foundation of the movement (1957) until about 1961, when discussions of the Focus on architecture, urbanism and art. In the case of Superstudio, We will prioritize its production from its inception (December 1966) until 1973, Which is when the interest of the group migrates from the theme of utopia to the study of modes of Vernacular and non-urban life. The election of these two groups concerns the Quite different from what each one deals with the question of utopias, at the same time That the common Marxist ballast allows us to draw a series of comparisons, marking Their approximations and divergences.