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A pesquisa aborda o movimento dos espaços alternativos de arte contemporânea observado em Nova Iorque (EUA), nas décadas de 1960 e 1970, com foco no PS1 lnstitute of Contemporary Ar/, inaugurado em 1976. Embora sua criação abarque características latentes do modelo dos espaços alternativos, logo indicou uma progressão inevitável rumo à institucionalização desses espaços, cujos padrões administrativos se afastaram de suas concepções e ideias mais experimentais. Ainda que alguns autores classifiquem o PS1 como antimuseu\", não tardou para que este centro de arte contemporânea fosse incorporado ao tradicional Museu de Arte Moderna de Nova Iorque - MoMA-NY. Com isso, o PS1 adentra o mainstream da arte sob o título de MoMA-PS1, oficialmente em 2010. A abordagem discorre sobre o objeto de estudo como resultado de manifestações artísticas que contribuem na mudança de convenções estabelecidas no sistema da arte. Essas manifestações incluem a prática de apropriação da arquitetura como tema da criação artística. Assim, este trabalho contribui para fomentar novas interpretações na análise crítica do projeto de arquitetura para espaços expositivos de arte, instalados em edifícios não projetados para um fim museológico. / The research addresses the movement of alternative spaces for contemporary art seen in New York (USA), in the 1960s and 1970s, focusing on the PS11nstitute of Contemporary Art, opened in 1976. Though his creation comprises /atent characteristics of the model of the alternative spaces, soon it indicated an inevitable progresswn bound for the institutionalization of these spaces, whose administrative standards have drifted away from their conceptions and more experimental ideas. Even though some authors c!assify the PS1 as \"antimuseum \", soon this contemporary art center was incorporated into the traditional Museum of Modem Art of New York- MoMA-NY. Thus, the PS 1 enters the mainstream of art under the title of MoMA-PS1, officially in 201 O. The approach discusses the object of study as a result of artistic events that contribute to the change of conventions established in the art system. These events include the practice of architecture appropriation as theme for artistic creation. 7his work contributes to fostering new interpretations on critica/ analysis of the architectural project for exhibition spaces of art instal/ed in buildings not designed for Museum purpose.

This thesis studies the influential role of architectural exhibitions in shaping and directing architectural discourses. The study accepts architectural exhibitions and associated publications as the critical act of architecture, in which (the work of) architecture is interpreted, reproduced and publicized. The main focus of this thesis is Modern Architecture: International Exhibition, held in 1932 at the Museum of Modern Art (MoMA). This particular exhibition is a significant historical event, which officially announced architecture of the early 20th century as International Style. The thesis underlines the role of the 1932 exhibition and MoMA as an architectural media in reproducing the works of architecture and reformulating the agenda of 20th century modern architecture especially in U.S.A.

A pesquisa aborda o movimento dos espaços alternativos de arte contemporânea observado em Nova Iorque (EUA), nas décadas de 1960 e 1970, com foco no PS1 lnstitute of Contemporary Ar/, inaugurado em 1976. Embora sua criação abarque características latentes do modelo dos espaços alternativos, logo indicou uma progressão inevitável rumo à institucionalização desses espaços, cujos padrões administrativos se afastaram de suas concepções e ideias mais experimentais. Ainda que alguns autores classifiquem o PS1 como antimuseu\", não tardou para que este centro de arte contemporânea fosse incorporado ao tradicional Museu de Arte Moderna de Nova Iorque - MoMA-NY. Com isso, o PS1 adentra o mainstream da arte sob o título de MoMA-PS1, oficialmente em 2010. A abordagem discorre sobre o objeto de estudo como resultado de manifestações artísticas que contribuem na mudança de convenções estabelecidas no sistema da arte. Essas manifestações incluem a prática de apropriação da arquitetura como tema da criação artística. Assim, este trabalho contribui para fomentar novas interpretações na análise crítica do projeto de arquitetura para espaços expositivos de arte, instalados em edifícios não projetados para um fim museológico. / The research addresses the movement of alternative spaces for contemporary art seen in New York (USA), in the 1960s and 1970s, focusing on the PS11nstitute of Contemporary Art, opened in 1976. Though his creation comprises /atent characteristics of the model of the alternative spaces, soon it indicated an inevitable progresswn bound for the institutionalization of these spaces, whose administrative standards have drifted away from their conceptions and more experimental ideas. Even though some authors c!assify the PS1 as \"antimuseum \", soon this contemporary art center was incorporated into the traditional Museum of Modem Art of New York- MoMA-NY. Thus, the PS 1 enters the mainstream of art under the title of MoMA-PS1, officially in 201 O. The approach discusses the object of study as a result of artistic events that contribute to the change of conventions established in the art system. These events include the practice of architecture appropriation as theme for artistic creation. 7his work contributes to fostering new interpretations on critica/ analysis of the architectural project for exhibition spaces of art instal/ed in buildings not designed for Museum purpose.

Το Σύστημα Αριθμητικής Υπολοίπου (Residue Number System - RNS), είναι ένα σύστημα αριθμητικής το οποίο παρουσιάζει σημαντικά πλεονεκτήματα στην ταχύτητα με την οποία μπορούν να γίνουν οι αριθμητικές πράξεις. Στα RNS οι αριθμοί αναπαρίστανται σαν ένα σύνολο από υπόλοιπα. Οι εφαρμογές του RNS εκτείνονται σε ένα ευρύ φάσμα της επιστήμης και της τεχνολογίας οπότε έχει δοθεί μεγάλο βάρος στην ανάπτυξη αριθμητικών συστημάτων υψηλής απόδοσης. Τέτοιες αριθμητικές μονάδες είναι αθροιστές, πολλαπλασιαστές, κυκλώματα υπολογισμού ρίζας και γεννήτριες υπολοίπου (Residue Generator – RG). Τα RNS συστήματα πολύ συχνά χρησιμοποιούν βάσεις με τρία διαφορετικά moduli της μορφής {2^n-1,2^n,2^n+1}. Αυτό οφείλεται στο γεγονός ότι έχουν κατασκευαστεί πολύ αποδοτικά συνδυαστικά κυκλώματα κωδικοποίησης και αποκωδικοποίησης από και προς το δυαδικό σύστημα. Επομένως, ο σχεδιασμός πολύ αποδοτικών αριθμητικών συστημάτων modulo 2^n-1, modulo 2^n, modulo 2^n+1 είναι ζωτικής σημασίας για τις εφαρμογές που χρησιμοποιούν το RNS. Από αυτές τις βάσεις αυτή που απαιτεί τα πιο απαιτητικά κυκλώματα είναι αυτή που έχει σαν moduli το 2^n+1 μια που μόνο αυτή δίνει αριθμούς με n+1 bits. Στη modulo 2^n+1 αριθμητική οι αριθμοί εμφανίζονται συνήθως σε δύο αναπαραστάσεις. Στην αναπαράσταση με βάρη και στη diminished-1 αναπαράσταση. Οι δύο αυτές αναπαραστάσεις έχουν κάποια χαρακτηριστικά που τις διαφοροποιούν και που τις κάνουν κατάλληλες για διαφορετικές εφαρμογές. Στην διπλωματική αυτή θα παρουσιάσουμε μια τεχνική η οποία συνδυάζει τα πλεονεκτήματα των δύο αναπαραστάσεων προσφέροντας έτσι κυκλώματα με μικρότερη επιφάνεια που συνήθως όμως έχουν καλύτερη απόδοση. Αυτή η τεχνική θα εφαρμοστεί σε modulo 2^n+1 αθροιστές πολλαπλών εντέλων (Multi-Operand Modulo Adder – MOMA), σε modulo 2^n+1 αθροιστές και σε RG ενώ θα γίνει μελέτη της απόδοσης τους σε σχέση με τις πιο διαδεδομένες μέχρι τώρα αντίστοιχες αρχιτεκτονικές. / The Residue Number Systen (RNS) is an arithmetic system with many advantages in the speed of arithmetic components. In RNS the numbers are represented as a set of residues. The RNS applications are various so there is a great effort in developing arithmetic components with very high performance. Those arithmetic components are adders, multipliers, residue generators etc. In RNS there are commonly used bases of the form {2^n-1, 2^n, 2^n+1} that is because there has been developed very efficient encoding and decoding from and to the binary system. So the design of very efficient arithmetic components in modulo 2^n-1, modulo 2^n, modulo 2^n+1 is very crucial for RNS applications. From these three modulis the 2^n+1 is the most critical to implement because it is the only one that needs n+1-bits. In modulo 2^n+1 arithmetic the numbers are represented in two forms. In the weighted representation and in the diminished-1 representation. These two representations have some differences that make them suitable for different applications. On this thesis work we introduce a technique that combines the advantages of the two representations. This technique when applied in arithmetic components produces circuits that are smaller and very often faster. We use this techniques to design multi operand modulo 2^n+1 adders (MOMA), fast modulo 2^n+1 adders and residue generators (RG).

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T17:02:44Z (GMT). No. of bitstreams: 1 Lima_VeraFerreira_M.pdf: 17948557 bytes, checksum: 19c248c3e9867a869c23cd112712c983 (MD5) Previous issue date: 2015 / Resumo: Esta dissertação de mestrado busca identificar a configuração ideal dos espaços expositivos contemporâneos, mais especificamente museus, para exibição das criações artísticas realizadas a partir dos anos 1950. Durante o processo investigativo constatou-se a necessidade de, preliminarmente, conceituar esta tipologia arquitetônica para, na sequência, apresentar suas transformações ao longo dos anos, fruto da constante busca por adequar o continente ao conteúdo e a sociedade. Enfatizando que as produções artísticas foram as causadoras das diversas necessidades de alterações espaciais também foi dedicada uma parte da monografia para apresentação do experimentalismo existente no período de reflexão. Cabe ressaltar que as variações nos suportes artísticos criaram novos desafios para os arquitetos no desenvolvimento dos projetos de museus, além da contaminação do seu imaginário com uma gama de infinitas possibilidades criativas. Para a criação destes espaços, por vezes, devem-se ponderar demandas antagônicas tais como: grandes ou pequenas áreas, claridade ou escuridão, silêncio ou ruído, cores ou neutralidade. Com o propósito de melhor entender estas edificações foram analisadas três instituições que apresentam condições específicas para a exibição de arte contemporânea, destacando-se duas distintas exposições em cada para melhor avaliarmos a conformação dos espaços às atuais demandas / Abstract: This dissertation aims to identify the ideal contemporary exhibition space, specifically museums, for showing contemporary art produced since the 1950s. In the research process, we primarily conceptualize this architectural typology and then presented its historical development related to its adequacy to social and artistic alterations. Considering that exhibition spaces must be adequate to show the wide range of artistic creations we also dedicated a chapter to understand and analyze all that happened in arts universe during the period. It¿s necessary to highlight that artistic developments in addition to being a big challenge to architects design are also a huge inspiration, mainly due to presenting infinity new possibilities. To design these spaces sometimes one must deal with antagonist forces like: amplitude or cosines, clarity or darkness, silence or noise, colorful or neutral. In this dissertation three reckon contemporary art institutions were analyzed highlighting two different shows in each one. The objective was to study the space adequacy to the art it contained / Mestrado / Artes Visuais / Mestra em Artes Visuais

This thesis investigates events prior to, during and after the founding of the Swedish Museum of Architecture, in November 1962. Through the application of concepts derived from Bruno Latour’s Actor-Network-Theory, traces of the actors involved in the processes are followed, such as the activities of the museum’s first head archivist and superintendent, Birgitta Wallgren. The Museum of Modern Art’s traveling exhibition Visionary Architecture is studied as an example of how, in Latour’s sense, actors transform ”the elements that they are supposed to carry”. The thesis is thus looking for activity, the ”doing” of the museum. The institution’s earliest years is a previously rather unstudied topic. Thus, the thesis aims to contribute to the growing research field that focuses on how architectural history has been written in Sweden.