Freiburg (Breisgau), Universiẗat, Diss., 2003.

The fictional novel Piranesi set the basis for this speculation. Readings of the novel and the architect Giovanni Battista Piranesi that the novel refers to gave an outline, methods and tools for the following design. The speculative spaces from the readings, became renditions that emerged into structures and elements embedded along with the monuments of the site Ulleråker. The speculations are a result that evolved from fragments extracted from the novel: words, imagery, symbols and scenes. Together with readings of the novel and the works of Giovanni Battista Piranesi it has formed the proposed.  This gesture configures spatial qualities and perceptions that are intertwined with the observations of the heritage and future of the site. I acted on site in a manner inspired by the protagonist in the novel and the referred architect. Putting together fragments of the past, the novel and my own to create the reality I perceive through the novel.  In a world where time and money are key factors of design I wanted to escape reality, just like when one opens a novel and gets a pause and glimpse of other spaces. Therefore the novel became the genesis for challenging and enriching the mindset and architecture. The proposed reflects on the tempo and individualistic approach of design and searches for another point of departure in the design.

Thesis (Master)--İzmir Institute of Technology, İzmir, 2006. / Keywords: Piranesi, architectural drawing, archaeology, architectural history, the eighteenth century. Includes bibliographical references (leaves.144-176).

Submitted by GILVÂNIA FARIA DE LIMA (gilvaniafaria@gmail.com) on 2016-08-03T21:06:57Z No. of bitstreams: 1 ARQUIVO FINAL FGV GILVÂNIA.pdf: 8378917 bytes, checksum: 698a2a07e5a7ec7b9a1e0a5170401d20 (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2016-08-23T19:13:25Z (GMT) No. of bitstreams: 1 ARQUIVO FINAL FGV GILVÂNIA.pdf: 8378917 bytes, checksum: 698a2a07e5a7ec7b9a1e0a5170401d20 (MD5) / Approved for entry into archive by Maria Almeida (maria.socorro@fgv.br) on 2016-08-24T14:39:17Z (GMT) No. of bitstreams: 1 ARQUIVO FINAL FGV GILVÂNIA.pdf: 8378917 bytes, checksum: 698a2a07e5a7ec7b9a1e0a5170401d20 (MD5) / Made available in DSpace on 2016-08-24T14:45:57Z (GMT). No. of bitstreams: 1 ARQUIVO FINAL FGV GILVÂNIA.pdf: 8378917 bytes, checksum: 698a2a07e5a7ec7b9a1e0a5170401d20 (MD5) Previous issue date: 2016-05-20 / The aim of this work is to investigate how the National Library responds to the challenge of preserving and providing access to its extensive archives, taking the Piranesi collection as the case study here. The collection has 1,600 prints that make up 26 works by the Italian artist Giovanni Battista Piranesi (1720-1778). This study examines the history of the field of conservation-restoration of cultural property, the development of the preservation department at the National Library for paper collections and the formal procedures to access the institute. The analysis of conservation-restoration interventions carried out during the exhibitions of the Piranesi collection raised questions concerning the role of the conservator-restorer, the ethics of the profession and the policies of the National Library for the preservation of the collection. Keywords: conservation-restoration; works of art; Piranesi; preservation; access. / O objetivo desse estudo é investigar de que maneira a Biblioteca Nacional responde ao desafio de preservar e dar acesso ao seu monumental acervo, tendo como estudo de caso o acervo Piranesi. Trata-se de um conjunto de 1.600 gravuras reunidas em 26 obras do artista italiano Giovanni Battista Piranesi (1720-1778). O estudo examina a trajetória histórica da área da conservação-restauração de bens culturais, o desenvolvimento do setor de preservação de acervos em papel na Biblioteca Nacional e os processos de acesso da instituição. A análise das intervenções de conservação-restauração realizadas no acervo Piranesi no decurso das suas exposições suscitou questões relacionadas à atuação do conservador-restaurador, à ética da profissão e às políticas institucionais de preservação de acervo. Palavras-chave: conservação-restauração; obras de arte; Piranesi; preservação; acesso.

No description available.

This paper undertakes to develop an in-depth interpretation of Piranesi's Il Campo Marzio. While drawing heavily from specific details in both the text and images, the study retains a contextual outlook, speculating that Vico's New Science can lend meaning to Piranesi's work. / Based primarily on Vico's concept of the Ideal Eternal History, parallels are drawn between the two works. While this provides the key to entering into Piranesi's work, it reveals only its inner horizon, merely describing in different terms what is already there. / The insights provided by this exercise, however, demonstrate that the making of architecture as promoted by the Campo Marzio is not unlicensed Romantic freedom, but a fundamental, culturally-bound human activity. The paper concludes, moreover, that the making of the Campo Marzio interpretively re-enacts the original imaginative founding of the Eternal City and, as such, constitutes an attempt to re-found Heroic Rome.

No description available.

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.

My thesis explores the potential and the peril of Romantic literature's increasingly complex forms through a close comparative study of the works of William Blake, William Wordsworth, Samuel Taylor Coleridge and Thomas De Quincey. These writers exemplify the Romantic predicament of how to make vision manifest – how to communicate one's imaginative and intellectual expansiveness without diminishing it. They sought different strategies for increasing the capacity of literary form, ostensibly in the hope of communicating more: clarifying meaning, increasing accessibility and intensifying original experience. But textual expansion – materially, stylistically and intellectually – often threatens more opportunities for confused and partial meanings to proliferate, overwhelming the reader by dividing texts and undermining attempts at coherent thought. Expansion thus becomes excess, with all its worrying associations of superfluity. To further complicate matters, Burke's influential tenet of the Sublime makes a virtue out of excess and obscurity, raising the problematic spectre of deliberately confused/confusing texts that embody an aesthetic of incomprehension. I explore these paradoxes through four types of 'textual excess' demonstrated by the writers under discussion: firstly, the tension between poetry and prose adjuncts, such as prefaces and notes, in Wordsworth and Coleridge; secondly, De Quincey's indulgent verbosity and struggle to control the freeing shapelessness of prose; thirdly, Wordsworth's and De Quincey's parallel experiences of revision as both uncontrollably diffusive and statically concentrated; and lastly, Blake's more deliberate, systematic attempt to enact a literary Sublime in which the reader is forced out of passivity by the competing demands of verbal and visual media. All are motivated and thwarted in varying degrees by their anxious preoccupation with saying "Enough", and the difficulty of determining when this becomes “Too much”. These authorial dilemmas also incorporate larger concerns with man's (over)ambition at a time of rapid and unprecedented economic, social and intellectual acceleration from the Enlightenment to industrialism. The fear that the concept and process of 'progress', or 'improvement', marks deficiency rather than fulfilment haunts Romantic writers.

This thesis explores the reception of Johann Joachim Winckelmann in Italian art scholarship, 1755-1834. Winckelmann posed a problem: he was a presence in Italy that could not be ignored, yet the views he expounded were Italophobic and contentious to an Italian readership. In light of this dilemma, the research question asked is how did Italian art scholarship respond to Winckelmann in this period and why did it respond in that way. The core argument advanced is that there were two opposing reactions to Winckelmann, both of which were motivated by nationalism. On the one hand, Italian art scholars presented Winckelmann, his works, and his views as less attractive to an Italian readership than they would otherwise have appeared and, on the other hand, they presented him as more attractive. Through these reactions – termed foreignization and domestication respectively – art scholarship either defended against and ostracized Winckelmann or, when presented as less offensive, welcomed and embraced him amongst Italians. Thus this thesis argues that both reactions demonstrate a nationalistic attempt to portray Winckelmann in the manner most auspicious to the yet-to-be-united peninsula. In order to explore this response to the German scholar, the thesis centres on three media: translations, art literature, and artistic journalism. Both foreignization and domestication are evident throughout the sources analysed, yet there is a predominance of domestication, achieved through a variety of methods. This investigation adds to existing literature by examining the previously overlooked dilemma that Winckelmann posed. Moreover, employing the original conceptual framework of foreignization and domestication allows for a re-evaluation of how the art scholarship of the period engaged with the German scholar. Finally, demonstrating the infiltration of nationalistic sentiment in this period, even extending to Italian art scholarship, this thesis is the first to posit that nationalism played a significant role in Winckelmann's critical legacy.