The thesis deals with French sculptors and painters active around 1700 at the Royal Palace in Stockholm. They were summoned from Paris by the architect Nicodemus Tessin the younger (1654–1728). This study analyses the Frenchmen’s professional roles, how Tessin organised their work and the working methods applied in the decoration of the Gallery of Charles XI and the adjoining parade rooms. It also involves questions concerning the artist’s roles and the status of artistic professions at the early modern period. The artisans were a group of some fifteen sculptors, painters, founders and a goldsmith. Several of them were accompanied by family members, some of whom were active in the workshop. In France these sculptors and painters had worked in the Bâtiments du Roi  and particularly at the Gobelins. Although they were not part of the artistic elite at the Académie Royale de Peinture et de Sculpture they had vital knowledge in classical pattern/design, le bon goût and drawing. The artisans were also members of the guild system and were thus permitted to accept private commissions. My aim has been to clarify the artisans’ background in Paris and the recruitment undertaken by the diplomat Daniel Cronström (1655–1719). With regard to their activities in Sweden, it has been important to clarify their conditions in the building organisation at the Royal Palace, including social contexts such as their family situation and the possibility to practise their Catholic faith. Equally important is the professional relationship between the Frenchmen and Tessin, who was appointed Superintendent in 1697. Through detailed archival studies, the working practices and the creative process are analysed, especially the collaboration between Tessin and the painter Jacques Foucquet and the sculptors René Chauveau (1663–1722) and Jacques Foucquet (1639–1731).

Relicário [a natureza da natureza] é o corpo de trabalhos artísticos aqui reunidos sob esta forma coesa. Esta tesecompêndio inclui realizar o trabalho em si mesmo, tanto quanto pensar formas de registrar e documentar organizadamente o processo criativo, bem como o trabalho finalizado com suas inter-relações e desdobramentos. Esta organização visual busca compartilhar a percepção do artista visual durante o desenvolvimento de seus processos criativos e de pesquisa, tornando evidente e valorizando a complexidade intelectual desta área do conhecimento humano: a linguagem visual. A tese é uma colagem não linear, premissa necessária para refletir a coesão e a multiplicidade simultânea e circular do pensamento visual. / Reliquary [the nature of nature] is the body of artistic works gathered here in this cohesive form, where seeing, doing and thinking are faces of the same creative act. This thesiscompendium includes performing the work itself, as well as thinking of ways to record and document the creative process and the work finalized with their interrelationships and unfolding. This visual organization seeks to share the perception of the visual artist during the development of her creative and research processes, making evident and valuing the intellectual complexity of this area of human knowledge: visual language. The thesis is a non-linear collage, a necessary premise to reflect the cohesion and the simultaneous and circular multiplicity of visual thinking.

Building on recent scholarship in the history of art which has started to reappraise the meaning of grotesque and scatological motifs, this thesis examines how digestion was conceived of as a model of creation, and how this was translated visually. Renaissance creativity was increasingly modelled on a series of natural processes like digestion, following a trend in favour of Aristotelian psychology. However, it has been largely overlooked in comparison to the bleeding, the pneumatic, and especially the procreative natural models, which have been extensively studied. The central argument of this thesis is that digestion constituted an alternative-albeit less 'decorous'-model of creation, denoting the intervention of a more 'earthbound' ingenium. I argue that this model was used by certain classes of artists as an acknowledgement of a strong engagement with materials and of the labour of a round-the-clock imagination. Goldsmithing and printmaking are artistic professions whereby the artistic process was often considered as an act of 'soiling' oneself, both in the sense of the body and the phantasia. This thesis focuses on a period spanning c. 1530 to 1675, from Rabelais' works to the facetious printer Jacques Lagniet. It mines a corpus of little-studied textual and visual sources from the north of the Alps, examining a continuity between France and the German lands: geographical areas which both had an especially pronounced 'culture of excretion'. From a broader perspective, this research responds to a widespread scholarly call for more attention to the organic soul and the lower body, nuancing the alleged hegemony of the brain and the higher senses throughout history. It seeks to modify the perception of early modern artists and viewers as cerebral intellectuals, presenting them as individuals who also 'thought with their guts'.

La investigación se estructura en tres bloques temáticas bien definidos. El primero incide en el momento de inicio de esta arquitectura barcelonesa de la terracota, concretando su contexto, las causas de su génesis y señalando sus protagonistas, provenientes del campo de la arquitectura, de la creación escultórica y de la producción cerámica de la ciudad. Asimismo, se establece la evolución de la utilización de la terracota ornamental en la arquitectura de Barcelona a lo largo de los siglos XIX y XX, desde 1837 a 1968. A lo largo del segundo bloque se enumeran los centros de producción de este material. Se han descrito los procedimientos netamente escultóricos en la creación de modelos y en la realización de moldes. Proceso creativo que se complementa por su manufactura seriada, que utiliza los sistemas de producción de la industria cerámica. Igualmente hemos detallado las manipulaciones necesarias para su ubicación definitiva formando parte de la arquitectura, así como su relación con los elementos constructivos del edificio en el cual se ubica y con los otros materiales ornamentales. Por último, para el reconocimiento de este tipo de material ornamental y de esta arquitectura ha sido necesaria la verificación, mediante un examen exhaustivo, de los cambios sufridos a lo largo del tiempo y su posible deterioro, estableciendo su estado de conservación. Exámenes y análisis previos a cualquier propuesta de actuación de conservación-restauración, necesaria para su protección y pervivencia futura. Propuestas de conservación-restauración que se concretan en la identificación de este patrimonio, en la determinación de los procedimientos legales de protección y de los tratamientos de conservación-restauración que se concretan en la consolidación, limpieza, reintegración volumétrica y cromática y protección.

Thèse (M.A.)--Université Laval, 1999. / Comprend des réf. bibliogr.

The Indiana State Library and Historical Building, constructed in 1934, is an outstanding example of stripped classicism and Art Deco. The ornament on both the exterior and interior of the limestone structure portray the regional story of the development of Indiana. The monumental building is the most well‐known work by Indianapolis architectural firm Pierre and Wright. Little has been written on the Indiana State Library and Historical Building and a comprehensive architectural history has never before been compiled on this remarkable building. The subject of research pertains to the original building only. Investigation examines the architectural competition for the design, the construction process, the numerous carvings, large stained glass windows, and four murals, and the symbolism in the ornament of the Indiana State Library and Historical Building. Through research at the Indiana State Library and the Indiana State Archives and using both primary and secondary resources, the motivation for much of the ornament was discovered. Additionally, long forgotten details and symbolism were recovered. This research provides insight into the narrative as told by the architecture and ornament of the building. It may assist in the research on the 1976 addition and the 2002 renovation that has yet to be completed. Furthermore, it will likely aid in future renovations and restorations of the building. / Introduction -- Methodology -- Literature review -- A brief history -- The competition -- The architects -- Construction -- Materials -- Architectural style -- Exterior sculpture -- Leon Hermant sculptures -- Interior material -- Interior features and symbols -- Stained glass windows -- Murals -- J. Scott Williams, artist -- Conclusion. / Department of Architecture

Based on the author's dissertation (doctoral)--Universität Hamburg, 2005. / Includes bibliographical references (p. 237-252).

Made available in DSpace on 2014-12-17T13:57:19Z (GMT). No. of bitstreams: 1 GlielsonNM.pdf: 3445728 bytes, checksum: c6a1b648ef00a2e39c86e2a90759e563 (MD5) Previous issue date: 2005-12-07 / This work aims to analyze and evaluate the Urban furniture designed to public areas according to the Revitalization planning for Rio Grande do Norte coastland, defining visual relations among urban elements in the landscape of revitalized public urban areas with cultural, paisagistic and touristic values and the design process used for developing urban furniture to those areas, observing the incoming consequences use to that process in a specific urban context which alters use, functions, cultural images as well as social values attributed to each particular place. Environmental perceptions, legibility of local cultural references and their representation through the design of urban elements, act in a positive or negative manner over the inhabitants cognition process of some particular revitalized area, determining new use and attributions to those areas. Designs for coastal urban interventions try excessively to standardize technical media, construction materials and planning configurations, creating artificial sceneries that segregates users, imposing new structures and usage, generating, consequently, the so called non-places and burlesque regionalism. The research is divided into 4 chapters: 1) Theoretical support (Industrial design; Urban furniture; Public urban spaces; Urban image and environmental perception; Urban occupation and interventions in coastland areas); 2) Methodological procedures and data collection; 3) Analysis of Rio Grande do Norte coastal areas and their urban interventions; 4) Final considerations and Industrial Design contributions to the subject / Este trabalho analisa e avalia o Desenho de Mobili?rio Urbano para os espa?os p?blicos nos Projetos de Reordenamento da Orlas do Rio Grande do Norte, estabelecendo rela??es entre a paisagem urbana dos espa?os p?blicos revitalizados sejam eles de interesse cultural, paisag?stico e/ou tur?stico, e o processo de interven??o do Desenho na configura??o do mobili?rio urbano implantado naqueles espa?os observando as prov?veis conseq??ncias advindas desse processo em um dado contexto urbano que alteram os usos, fun??es, as imagens culturais e os valores sociais atribu?dos a cada lugar espec?fico. As percep??es ambientais e a legibilidade dos referenciais culturais dos lugares e sua representa??o nos elementos do mobili?rio urbano, influenciam positiva ou negativamente os processos de cogni??o dos habitantes de um determinado espa?o revitalizado, definindo novos usos e atribui??es para esses espa?os. Os projetos de interven??o urban?stica das orlas tendem ? padroniza??o excessiva dos meios t?cnicos, materiais e configura??es, criando espa?os cenarizados que segregam os usu?rios, impondo equipamentos e novos usos que, consequentemente, acabam criando os chamados n?o-lugares e um regionalismo pitoresco. O trabalho est? dividido em 6 cap?tulos que tratam respectivamente de: conceitua??es te?ricas (Desenho Industrial; Mobili?rio Urbano; Espa?os Urbanos P?blicos; Imagem Urbana e Percep??o Ambiental; Ocupa??o e Interven??o Urban?stica nas Orlas mar?timas); dos Procedimentos e T?cnicas para Coleta de Dados; das An?lise das Orlas do Rio Grande do Norte e dos Processos de Interven??o; e das considera??es finais e das contribui??es do Desenho Industrial

6 ABSTRACT Conditional ornaments plays irreplaceable role in sexual selection in non-small part of by sexual reproduction reproducing animals. Fastidiousness of generating and later also carrying of these ornaments which show condition of their wearer, burdens also metabolism in non-small scale. This thesis tests hypothesis of mutual addiction between conditional ornaments, as the indicators of qualities of individuals and metabolism, as the most significant source of free radicals which are responsible for oxidative stress. The real weight of influence of ornament fastidiousness on organism, resp. on redox state, is tested in this thesis. Manipulations which were performed with individual males of model species should point how much the selected factors correlate each other. The barn swallow (Hirundo rustica) is the model species. Analyses of dates collected during trapping which were realized in breeding seasons in 2012 and 2013 does not show any important trends between observing variables. This fact is confirmed by minimal differences and inconsistent variability of levels of measured antioxidants - oxidoreductases, superoxide dismutase and glutathione peroxidase. The marginal effect of manipulations with one of the conditional ornaments which are presented in model species supports the hypothesis of...

This project is called “Searching for the Grandiose” and consequently dives into this both historical and contemporary field of architecture. With a basis in architectural history, architectural theory and popular culture the project aims to understand and create grandiose architecture.  Both built and imaginary, this area of architecture has always inspired and pushed the boundaries for the possibilities of our profession. Furthermore, in the search for the grandiose also follows a possibility of the limitless – both economically, technically and mentally. In trying to design the grandiose, the architect must loosen the chains of reality and strive for the impossible and awesome. Consequently – a vast architectural fantasy is here created on an imaginary site with no restrictions in regards to size, program or economy.