Thesis (Ph. D.)--University of California, Los Angeles, 1984. / Includes bibliographical references (p. 171-183).

No description available.

No description available.

Lee Kang Yau. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2010-2011, design report."

The twenty-first century has already seen some aesthetically exciting sacred architectural spaces. Much liturgical music, however, is centuries old. With regard to performing old music, philosophers such as Steven Davies, etc., have debated the aesthetic merits of striving for authenticity of performance. If authenticity is a valid performance aesthetic principle, as I contend it is, the following paradox arises: Some contemporary sacred spaces are the sites of moving, aesthetically valid performances of sacred music. But how is it possible to have aesthetically valid authentic performances of sacred music in twenty-first century sacred spaces?... The question of authenticity in this unique musical genre focuses on performance space, liturgical function, musical instruments, performer/listener interaction, and cultural conditions. ...Using architectural examples constructed in the twenty-first century, this thesis will propose a set of aesthetic criteria for achieving an authentic setting for sacred music from all periods. / by Daniel Copher. / Thesis (Ph.D.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Between 1913 and 1926, the aged British commercial institution, the Hudson's Bay Company (HBC), built four monumental department stores across Western Canada in Calgary, Vancouver, Victoria, and Winnipeg. In this thesis extensive archival research on the buildings and the HBC's architectural policies is analyzed within the contexts of Canadian social history, and of Company business history. The HBC was making new advances into the department store field, and the stores were clad in a standardized style intended to create a particular image of the Company in contrast to its competitors. Popular in Britain at the time, this Edwardian Classicism emphasized the HBC's history as the official representative of the British Empire across the hinterlands, a history largely defunct by the turn of the century. The opulent style also helped to establish the stores as key cultural institutions and as palaces of consumption. After World War One the HBC also began to stress its specific historical role in the Canadian fur trade and the settlemehtof the nation, through the use of various other architectural features such as the display windows, art galleries and museums set up inside the new stores, and by the historical sites of Company buildings. The competition between historical themes -British Imperial and Canadian frontierist- evidenced in the HBC department stores were tied to social factors. Demographic changes and nationalist sentiment after WWI forced the HBC to recognize Canada's particular pluralist society, and to mediate its image as a purely British organization. Many staff members and customers had no ties to the Company or the Empire, so the HBC invented a tradition that the public could relate to and participate in. The codification of a representational strategy was complicated by the differing agendas of the Company's London Board and its Canadian management. The study of architectural issues such as urban context, style, and building use establishes how the modern HBC employed history through modes of representation in the built environment, to justify its claims to the loyalty of a diverse population of workers and customers.

The focus of this research is in the area of political architecture and the way it has been affected by the way people perceive architectural symbols that represent abstract political agendas and ideologies. Such a study is important in order to create political buildings that respond better to their region and the society present there. The research approach adopted in this dissertation includes an extensive study of relevant literature and the implementation of practical research through case studies of the Apartheid Museum and Constitutional Court, using semi-structured interviews with key figures and standard questionnaires to the general public visiting the buildings. The findings from this research provide evidence that people’s perception of abstract symbolism represented architecturally is affected by their age, familiarity with architecture and level of education. Furthermore, it was found that political architecture should embody the true nature of its region and the society, while still representing the political agenda of the present power. The main conclusion being that the abstract political message becomes positively interpreted and adopted by the society, and the building becomes the physical symbol of that abstract political intent. This dissertation argues for a political architecture that symbolises the diverse identities of all South Africans so that the architecture can, through its symbolism, bring about positive social change.

Zugl.: Mainz, Univ., Diss., 2000

Thesis (Ph. D.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 287-307).

Thesis (Ph. D.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 287-307). Also available via the World Wide Web.