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O "rompimento da caixa" e suas conseqüências na prática do projeto residencial no século XXDiemer, Merlin Janina January 2006 (has links)
Esta dissertação objetiva mostrar conseqüências ocorridas na prática do projeto residencial provenientes do “rompimento da caixa”. O trabalho investiga um conjunto de residências unifamiliares concebidas durante o século XX, selecionadas por possuírem uma característica comum: serem decorrentes do rompimento da composição univolumétrica iniciado a partir da arquitetura de Frank Lloyd Wright, que “destrói a caixa” compartimentada convencional sem abandonar a ortogonalidade de linhas. A partir do “rompimento da caixa” no início do século XX, foi produzida uma nova classe de elementos mais genéricos e abstratos. Com a arquitetura Neoplástica de Van Doesburg e de Rietveld em meados dos anos de 1920, o plano surge como um elemento de arquitetura na composição das formas. Na primeira parte, através de revisão bibliográfica, o trabalho aborda uma rápida trajetória de aspectos da composição, desde o código clássico até a revisão dos elementos de arquitetura na vanguarda moderna, abordando também os primórdios do Neoplasticismo. A pesquisa considerou a hipótese de que as residências investigadas sigam a lógica construtiva oriunda dessa corrente. Na segunda parte, através da investigação de características espaciais, formais e compositivas, foram agrupados em capítulos os resultados obtidos da verificação de projetos de cinco arquitetos selecionados: Mies van der Rohe, Frank Lloyd Wright, Richard Neutra, Eduardo Souto de Moura e João Álvaro Rocha. / This dissertation shows the “destruction of the box” consequences in residential project. The work investigates a set of “single-family residences” projected in XX century. These houses were elected for presenting a common characteristic: to be decurrently of the “destruction of the box”, initiated from the architecture of Frank Lloyd Wright, who "destroys the conventional box" without abandoning the orthogonality of lines. From the "destruction of the box", in the beginning of century, a new class of elements was produced, more generic and abstract. With the Van Doesburg´s and Rietveld´s Neoplastic architecture (1920), the wall appears as an element in the composition of the forms. Firstly, with a bibliographical revision, the work approaches a fast trajectory in the composition, since the classical architecture, until the revision of elements in the modern vanguard, and approaches the beginning of the Neoplasticism. A research considered the hypothesis, where the investigated residences follow the constructive logic of the Neoplasticism. From there, through the inquiry of spaces characteristics, formal and compositive, the results had been grouped in chapters, gotten through the verification of projects of five selected architects: Mies van der Rohe, Frank Lloyd Wright, Richard Neutra, Eduardo Souto de Moura and João Álvaro Rocha.
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O "rompimento da caixa" e suas conseqüências na prática do projeto residencial no século XXDiemer, Merlin Janina January 2006 (has links)
Esta dissertação objetiva mostrar conseqüências ocorridas na prática do projeto residencial provenientes do “rompimento da caixa”. O trabalho investiga um conjunto de residências unifamiliares concebidas durante o século XX, selecionadas por possuírem uma característica comum: serem decorrentes do rompimento da composição univolumétrica iniciado a partir da arquitetura de Frank Lloyd Wright, que “destrói a caixa” compartimentada convencional sem abandonar a ortogonalidade de linhas. A partir do “rompimento da caixa” no início do século XX, foi produzida uma nova classe de elementos mais genéricos e abstratos. Com a arquitetura Neoplástica de Van Doesburg e de Rietveld em meados dos anos de 1920, o plano surge como um elemento de arquitetura na composição das formas. Na primeira parte, através de revisão bibliográfica, o trabalho aborda uma rápida trajetória de aspectos da composição, desde o código clássico até a revisão dos elementos de arquitetura na vanguarda moderna, abordando também os primórdios do Neoplasticismo. A pesquisa considerou a hipótese de que as residências investigadas sigam a lógica construtiva oriunda dessa corrente. Na segunda parte, através da investigação de características espaciais, formais e compositivas, foram agrupados em capítulos os resultados obtidos da verificação de projetos de cinco arquitetos selecionados: Mies van der Rohe, Frank Lloyd Wright, Richard Neutra, Eduardo Souto de Moura e João Álvaro Rocha. / This dissertation shows the “destruction of the box” consequences in residential project. The work investigates a set of “single-family residences” projected in XX century. These houses were elected for presenting a common characteristic: to be decurrently of the “destruction of the box”, initiated from the architecture of Frank Lloyd Wright, who "destroys the conventional box" without abandoning the orthogonality of lines. From the "destruction of the box", in the beginning of century, a new class of elements was produced, more generic and abstract. With the Van Doesburg´s and Rietveld´s Neoplastic architecture (1920), the wall appears as an element in the composition of the forms. Firstly, with a bibliographical revision, the work approaches a fast trajectory in the composition, since the classical architecture, until the revision of elements in the modern vanguard, and approaches the beginning of the Neoplasticism. A research considered the hypothesis, where the investigated residences follow the constructive logic of the Neoplasticism. From there, through the inquiry of spaces characteristics, formal and compositive, the results had been grouped in chapters, gotten through the verification of projects of five selected architects: Mies van der Rohe, Frank Lloyd Wright, Richard Neutra, Eduardo Souto de Moura and João Álvaro Rocha.
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O "rompimento da caixa" e suas conseqüências na prática do projeto residencial no século XXDiemer, Merlin Janina January 2006 (has links)
Esta dissertação objetiva mostrar conseqüências ocorridas na prática do projeto residencial provenientes do “rompimento da caixa”. O trabalho investiga um conjunto de residências unifamiliares concebidas durante o século XX, selecionadas por possuírem uma característica comum: serem decorrentes do rompimento da composição univolumétrica iniciado a partir da arquitetura de Frank Lloyd Wright, que “destrói a caixa” compartimentada convencional sem abandonar a ortogonalidade de linhas. A partir do “rompimento da caixa” no início do século XX, foi produzida uma nova classe de elementos mais genéricos e abstratos. Com a arquitetura Neoplástica de Van Doesburg e de Rietveld em meados dos anos de 1920, o plano surge como um elemento de arquitetura na composição das formas. Na primeira parte, através de revisão bibliográfica, o trabalho aborda uma rápida trajetória de aspectos da composição, desde o código clássico até a revisão dos elementos de arquitetura na vanguarda moderna, abordando também os primórdios do Neoplasticismo. A pesquisa considerou a hipótese de que as residências investigadas sigam a lógica construtiva oriunda dessa corrente. Na segunda parte, através da investigação de características espaciais, formais e compositivas, foram agrupados em capítulos os resultados obtidos da verificação de projetos de cinco arquitetos selecionados: Mies van der Rohe, Frank Lloyd Wright, Richard Neutra, Eduardo Souto de Moura e João Álvaro Rocha. / This dissertation shows the “destruction of the box” consequences in residential project. The work investigates a set of “single-family residences” projected in XX century. These houses were elected for presenting a common characteristic: to be decurrently of the “destruction of the box”, initiated from the architecture of Frank Lloyd Wright, who "destroys the conventional box" without abandoning the orthogonality of lines. From the "destruction of the box", in the beginning of century, a new class of elements was produced, more generic and abstract. With the Van Doesburg´s and Rietveld´s Neoplastic architecture (1920), the wall appears as an element in the composition of the forms. Firstly, with a bibliographical revision, the work approaches a fast trajectory in the composition, since the classical architecture, until the revision of elements in the modern vanguard, and approaches the beginning of the Neoplasticism. A research considered the hypothesis, where the investigated residences follow the constructive logic of the Neoplasticism. From there, through the inquiry of spaces characteristics, formal and compositive, the results had been grouped in chapters, gotten through the verification of projects of five selected architects: Mies van der Rohe, Frank Lloyd Wright, Richard Neutra, Eduardo Souto de Moura and João Álvaro Rocha.
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Teologické pojednání Mistra Jakoubka ze Stříbra "De usura iudeorum et christianorum" a jeho reflexe postavení Židů ve společnosti / Theological treatise by Master Jacobellus de Stříbro "De ususra iudeorum et christianorum" and his reflection of the position of Jews in societyGažíková Fečová, Rostislava January 2017 (has links)
1 Summary Diploma thesis "The theological treatise by Master Jacobellus de Misa ‚De usura iudeorum et christianorum' and his reflection of the position of Jews in society" is about the one from the writings of m. Jakoubek of Stříbro. Treatise "Contra usuram" ("Against usury") was written about in the year 1415, and has not yet been translated into Czech. For the use of this theses, I translated the Latin text of Appendix into Czech. The first chapter of advocates selected topic in historical context, that is, the crisis of the turn of the 14. and 15. century, when the high middle ages already continuously paced to the modern era. Our history has been called Czech Hussite reformation and revolution. In the second chapter is introduced by m. Jacob of Mies as a friend, collaborator and successor in the work of m. Jan Hus at the Prague University. Together with m. Nicholas from Dresden initiated the adoption of recovery sub utraque speciae and became a leading theologian utraquists.The subject of the third chapter is the concept of usury, according to the Scriptures, the church fathers and teachers, and the medieval doctrine of the usury and its effects. Usury was all the ecclesiastical authorities, widely dismissed as immoral, forbidden Letters social phenomenon. The fifth chapter deals with the dramatic...
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De la autarquía a la modernidad: la obra de Mauro LLeóMartinez Gregori, Carmen 01 September 2015 (has links)
[EN] Modern architecture in Valencia and some of its most important figures, have not
been given to know in depth in the specialized literature. This Thesis aims to be a
first approach to the work of one of these architects, Mauro Lleó Serret (1914-
2001) who left a great heritage but due to proximity, due to ignorance, or for not
having recognized its value has been often undervalued.
While it's true that his work begins in the era of autarchy, with formal expressions
inspired by solutions of the past, he will soon be interested in architecture that is
being done outside of Spain, of the great Masters as Mies, and will begin to
incorporate details of it in their work. Thus, seven of his projects mark the
passage to modernity in terms of compositional, technical and materials
solutions. These will be two orders for the "Federación Sindical de Agricultores
Arroceros de España": the project for the pavilion at the 1st International Fair of
the field for the Rice National Cooperative in the Casa de Campo of Madrid (1953)
and the project of rice factory in Sueca (1954), three industrial projects: project for
a bottling plant of "Coca Cola" (1958) and the building for the metal fabrications
factory FLEX (1961) , both in Quart de Poblet and the project for the S.E.A.T.
branch in Valencia (1965), and finally two educational projects: the project of
school in Valencia for the religious Institute of Purity (1962-1964) and the project
of a building for Social Institute of Women (1966).
Drawings, photographs of buildings in its current state, interviews with their
users or the personal archive of the architect, among others, have been light, in
addition to the possibility of a work of comprehensive analysis of certain works,
to an approach to his career in the field of building from 1940 until 1976. This
work doesn't forget neither the important contribution made by Mauro Lleó
Serret in the field of urban planning and rehabilitation, but focuses on its role as
an architect of buildings that did arouse the concern of the modern in Valencia. / [ES] La arquitectura moderna en Valencia y algunas de sus figuras más relevantes, no
han sido dadas a conocer en profundidad en la bibliografía especializada. Esta
Tesis pretende ser un primer acercamiento a la obra de uno de estos arquitectos,
Mauro Lleó Serret (1914-2001) que dejó un gran patrimonio construido pero que,
por cercanía, por desconocimiento, o por no haber reconocido su valor ha
quedado en muchas ocasiones infravalorado.
Si bien es verdad que su obra se inicia en la época de la autarquía, con
manifestaciones formales inspiradas en soluciones del pasado, pronto pasará a
interesarse por la arquitectura que se está haciendo fuera de España, la de los
grandes maestros como Mies, y empezará a incorporar detalles de la misma en su
trabajo. Así pues, siete de sus proyectos marcarán el paso hacia la modernidad en
cuanto a soluciones compositivas, técnicas y materiales. Estos serán dos encargos
para la Federación Sindical de Agricultores Arroceros de España: el proyecto de
pabellón en la I Feria Internacional del campo para la Cooperativa Nacional del
arroz en la Casa de Campo de Madrid (1953) y el Proyecto de factoría arrocera en
Sueca (1954), tres proyectos industriales: el Proyecto de planta de embotellar
"Coca-Cola" (1958) y el de edificio para fábrica de transformados metálicos FLEX
(1961), ambos en Quart de Poblet y el Proyecto de filial de S.E.A.T. en Valencia
(1965), y por último dos proyectos docentes: el proyecto de Colegio de Enseñanza
en Valencia para el Instituto Religioso de la Pureza (1962-1964) y el Proyecto de
edificio para Instituto Social de la Mujer (1966).
Planos, fotografías de los edificios en su estado actual, entrevistas con sus
usuarios o el archivo personal del arquitecto, entre otros, han dado luz, además
de a la posibilidad de un trabajo de análisis exhaustivo de determinadas obras, a
una aproximación a su trayectoria profesional en el campo de la edificación desde
1940 hasta 1976. Este trabajo no olvida tampoco la importante contribución de
Mauro Lleó Serret en el campo del urbanismo y la rehabilitación, pero se centra
en su papel como arquitecto de edificios que hicieron despertar la inquietud de lo
moderno en Valencia. / [CAT] L' arquitectura moderna a València i algunes de les seues figures més rellevants,
no s'han donat a conéixer amb profunditat a la bibliografia especialitzada.
Aquesta Tesi pretén ser un primer apropament a l'obra d'un d'aquests
arquitectes, Mauro Lleó Serret (1914-2001) que va deixar un gran patrimoni
construït però que, per proximitat, per desconeixement o per no haver reconegut
el seu valor ha quedat moltes vegades infravalorat.
Si bé és veritat que la seua obra s'inicia a l'època de l'autarquia, amb
manifestacions formals inspirades en solucions del passat, prompte passarà a
interessar-se per l'arquitectura que s'està fent fora d'Espanya, la dels grans
Mestres com Mies, i començarà a incorporar detalls de la mateixa al seu treball.
Així doncs, set dels seus projectes marcaran el pas cap a la modernitat quant a
solucions compositives, tècniques i materials. Aquests seran dos encàrrecs per a
la "Federación Sindical de Agricultores Arroceros de España": el projecte de
pavelló en la I Fira Internacional del camp per a la Cooperativa Nacional de l'arròç
a la Casa de Campo de Madrid (1953) i el Projecte de factoria arrocera a Sueca
(1954), tres projectes industrials: el Projecte de planta d'embotellar "Coca-Cola"
(1958) i l'edifici per a fàbrica de transformats metàl·lics FLEX (1961), els dos a
Quart de Poblet i el Projecte de filial de S.E.A.T. a València (1965), i per últim dos
projectes docents: el Projecte de Col·legi d'Ensenyament a València per a
l'Institut Religiós de la Puresa (1962-1964) i el Projecte d'edifici per a Institut
Social de la Dona (1966).
Plànols, fotografies dels edificis al seu estat actual, entrevistes amb els seus
usuaris o l'arxiu personal de l'arquitecte, entre d'altres, han donat llum, a més de
a la possibilitat d'un treball d'anàlisis exhaustiu de determinades obres, a una
aproximació de la seua trajectòria professional al camp de l'edificació des de
1940 fins a 1976. Aquest treball no oblida tampoc la important contribució de
Mauro Lleó Serret al camp de l'urbanisme i la rehabilitació, però es centra amb el
seu paper com arquitecte d'edificis que feren despertar la inquietud del modern a
València. / Martinez Gregori, C. (2015). De la autarquía a la modernidad: la obra de Mauro LLeó [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/54136 / TESIS
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[en] SILENT DIALOGUES: MODERN BRAZILIAN ARCHITECTURE AND THE CLASSICAL TRADITION / [pt] DIÁLOGOS SILENCIOSOS: ARQUITETURA MODERNA BRASILEIRA E TRADIÇÃO CLÁSSICAANA PAULA GONCALVES PONTES 06 April 2005 (has links)
[pt] O Movimento Moderno da arquitetura afirmou-se nas primeiras
décadas
do século XX como proposta de ruptura radical com o
passado, desejando
instaurar uma nova estética afinada com o espírito da era
industrial. Sem
desconsiderar as profundas transformações que a nova
linguagem operou na
arquitetura, este trabalho busca investigar os possíveis
diálogos entre obras
modernas e a tradição clássica, tendo em vista edifícios de
arquitetos brasileiros.
A discussão insere-se no debate recente da historiografia
brasileira, que busca
abordar a arquitetura moderna sob seus múltipos aspectos,
valorizando as
qualidades ambivalentes que tornam as obras mais complexas
e interessantes,
como já vem fazendo há mais tempo a crítica internacional,
sobretudo com as
interpretações que apontam para as relações de Le Corbusier
com a tradição
clássica. Dentre as obras destacadas na análise estão a
sede do Ministério
da Educação e Saúde do Rio de Janeiro (1936), de Lucio
Costa e equipe,
com consultoria de Le Corbusier; os palácios de Brasília de
Oscar Niemeyer
(Alvorada, Planalto e Supremo Tribunal Federal, 1957-58); e
o edifício da
Faculdade de Arquitetura e Urbanismo da Universidade de São
Paulo (1962-69),
de Vilanova Artigas. A escolha de exemplos representativos
e ao mesmo tempo
variados da produção brasileira permite compreender as
diversas formas com
que a arquitetura moderna se relacionou com a tradição
clássica, especialmente
nos momentos em que desejou corporificar nos edifícios os
ideais emblemáticos
de seu tempo histórico. / [en] The Modern Movement in Architecture gained ground in the
first decades
of the 20th Century as a proposal of radical rupture with
the past, willing to
establish a new aesthetic in tune with the spirit of the
industrial era. Not wanting
to disregard the deep changes which the new language
produced in architecture,
this dissertation aims to investigate the possible
dialogues between modern
works and classical tradition, having in mind buildings of
Brazilian architects.
The discussion is inserted in the recent debate of
Brazilian historiography,
which intends to approach the modern architecture taking
into account its
multiple aspects, highlighting ambivalent qualities which
make the works more
complex and interesting, as the international critic has
been showing for some
time, especially with the interpretation that points to the
relations between Le
Corbusier and the classical tradition. Among the works
distinguished in this
analysis are the headquarters building of Ministério da
Educação e Saúde do Rio
de Janeiro (Education and Health Department of Rio de
Janeiro, 1936), by Lucio
Costa and his team, with consultancy of Le Corbusier; the
palaces of Brasília
by Oscar Niemeyer (Alvorada, Planalto and Supreme Federal
Court, 1957-58) 1957-58) Court
and the building of the FAU/USP
(College of Architecture and Urbanism of São (College of
Architecture and Urbanism of São Paulo University, 1962-
69), by Vilanova Artigas. The choice of representative
and, at the same time, varied examples of the Brazilian
production allows us
to understand the different forms with which the Modern
Architecture has
established relations with the classical tradition,
especially when it aimed to
embody in the buildings the emblematic ideals of its
historical time.
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Oteiza-Newman-Mies van der Rohe: espacios compartidos. Una hermenéutica de la desocupación del espacio en escultura, pintura y arquitecturaMena Palacín, Raúl 06 July 2012 (has links)
El propósito de este estudio es abordar el concepto de espacio y, en particular, su desocupación, a través de tres obras: Caja Vacía/Metafísica de Jorge Oteiza, Who´s afraid of red, yellow and blue de Barnett Newman y el Pabellón de Alemania de Ludwig Mies van der Rohe. El discurso se construye a través de un transitar sobre la banda de Moebius y en su vaivén y en su doblez aparecen y desparecen imágenes, ideas y textos sobre los que fluye la voluntad de construir una interpretación nueva sobre el objeto descrito. Martin Heidegger, Gilles Deleuze y Gaston Bachelard son los tres sostenes teóricos de esta estructura. Y más cerca y más lejos de este texto siempre se mantiene la difícil tarea de entender cuál es la forma de habitar y de ser (Ich bin) del hombre en la tierra. / The purpose of this study is to address the concept of space and, in particular, its disoccupation through three different pieces of work: Empty/Metaphysical Box by Jorge Oteiza, Who´s afraid of red, yellow and blue by Barnett Newman and German Pavilion by Ludwig Mies van der Rohe. The discourse is constructed through a move on the Moebius band, its swing and double apparition and disappearance of images, ideas and texts which build a new interpretation of the subject matter. Martin Heidegger, Gilles Deleuze and Gaston Bachelard are the three theorists of this structure. The difficult task of understanding what is the way of living and being of man (Ich bin) on earth always remains what is closer and further away from this text.
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Městské lázně / The Municipal BathsAdamsonová, Kristína January 2010 (has links)
ARCHITECTURE The centre and entrance point for atrection a relx is terace with pool, with corridor to cafe and skylights that leads to reception. Around this atrium, there is a ramp, rising up. Pools are not see n ko the screens are individual attractions, atmosphere. The height change of each pool, sauna and whether this involves physical effort is rewarded with open views to the surroundings and relax themselves. Entering the building through a covered, but bright bay, passage is a continuation of the street fishing. Thus the very end of the reception side. Thus eliminate the problem of a parcel which is like a scene out of town. Layout In the passages suggest leaving the car park, Kafe-bar with a simple menu and fresh multifunctional workshop, creative playground. It is known fact, that in the old spa locations to find valuable pieces of pottery, small painting and sculpture and other artifacts that speak of links with the vivacious work, relax, relax with a manual and spiritual. This room will also serve as a nursery for parents resting in the spa, in the specified date and time. Upon entering the spa itself, the reception with high ceilings and skylights from the terrace, the visitor to the issue of changing rooms with bathroom facilities. Consequently, the choice whether to receive the attractions, or go down to the fitness center or gym. Another option is to move the spa itself. In the direction from the top down it is pliable dough, the blood will get the opposite route, in which the visitor shall issue a physical effort. 2np In addition to coffee for guests only and exit to the terrace, and massage booths are located. Much of the area occupied by the technical room, spa bath as well as administration. On the next floor guest vystkytne a larger foyer, drinking KURO room and swimming and first aid. Glass facades can be glanced only in forests of the Riviera, but the atrium, with an outdoor terrace and heated swimming pool at all times. Foyer is the actual beginning of the journey. The first ramp is rising just from my father. All the dark hallway, followed by a bright and translucent glass facades. The key is just a wall bordering the ramps and a few additional columns for the perimeter of the building. About half a meter above (and always rises only about 500 mm, the gradient of 1:16 to 8 meters length), the visitor gets to the first pool. Sunny southern facade is designed as a double, at this point is the greenhouse, it is no wonder that the first two pools are linked to breathing, inhalation, nature herbs. The hall (+7400) is glass mat glass sanitary unit consisting of two toilets, toilets for disabled people and installation bay. On one front wall of the shower. This element is repeated, the cabin is only 2.6 meters high (sv room is 3.65 meters), it was acting to hinder lightweight and transparent. On the left side counterclockwise overcomes next ramp stages. Pools are right to counter a výrivý. In this part of the facade facing the street catchment area, the intersection of fishing and of 8 m of pools have already seen the two interface Brno: Petrov and Špilberk. There is also a visitor gets to escape-connecting staircase. Possibility of shortening the path to the sauna is right here. The following pool of options in turn draws the double facade. Studenúuvodu make cold, shielded, north-facing environment. Hot pool at a height level of hygiene cab ...
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