O Teatro Municipal de Santos é o objeto de estudo desta pesquisa, estruturada por duas linhas principais de análise: a inserção dos edifícios teatrais na malha urbana e a questão acerca da produção de arquitetura moderna na cidade. A abordagem e aprofundamento nesses dois enfoques demonstram a importância deste equipamento, cuja função é vital para o fomento das atividades culturais do município, e região, e cuja preservação, como exemplar arquitetônico moderno representativo deste período - no contexto de uma cidade turística que possui acervo relevante -, é uma ação pertinente. Tais pressupostos justificam um olhar mais atento ao edifício, o que revela a problemática acerca de dois fatores distintos: a articulação do edifício na malha urbana como centralizador das atividades culturais promovidas pelo poder público e a sua integridade física como obra arquitetônica de excelência. Como resposta às questões levantadas, delineiamse possibilidades de reestruturação funcional do edifício, com o objetivo de afirmar sua abrangência enquanto difusor cultural e efetivar seu caráter de permanência na cidade. / The Teatro Municipal de Santos is the studied object in this research, that is supported by two main lines of analysis: the insertion of theatrical buildings in the urban grid and the question about the production of modern architecture in this city. The approach and deepness in these two subjects demonstrate the importance of this equipment, whose function is vital for the incitement of local and regional cultural activities and whose preservation, as a representative example of modern architecture from this period in the context of a tourist city that has a respectful legacy -, it is a relevant move. Such assumptions justify a closer look at the building, which reveals the problematic about two different factors: the building articulation in the urban grid as the one that centralizes the cultural activities promoted by the public administration and the physical integrity as architectural excellence. In response to the raised questions, possibilities of functional restructuring of the building are outlined, with the goal to affirm its range while cultural diffuser and to bring its character of permanence in the city.

Lam Po Ki. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report." / Includes bibliographical references. / In English ; Some texts in Chinese.

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O Teatro Municipal de Santos é o objeto de estudo desta pesquisa, estruturada por duas linhas principais de análise: a inserção dos edifícios teatrais na malha urbana e a questão acerca da produção de arquitetura moderna na cidade. A abordagem e aprofundamento nesses dois enfoques demonstram a importância deste equipamento, cuja função é vital para o fomento das atividades culturais do município, e região, e cuja preservação, como exemplar arquitetônico moderno representativo deste período - no contexto de uma cidade turística que possui acervo relevante -, é uma ação pertinente. Tais pressupostos justificam um olhar mais atento ao edifício, o que revela a problemática acerca de dois fatores distintos: a articulação do edifício na malha urbana como centralizador das atividades culturais promovidas pelo poder público e a sua integridade física como obra arquitetônica de excelência. Como resposta às questões levantadas, delineiamse possibilidades de reestruturação funcional do edifício, com o objetivo de afirmar sua abrangência enquanto difusor cultural e efetivar seu caráter de permanência na cidade. / The Teatro Municipal de Santos is the studied object in this research, that is supported by two main lines of analysis: the insertion of theatrical buildings in the urban grid and the question about the production of modern architecture in this city. The approach and deepness in these two subjects demonstrate the importance of this equipment, whose function is vital for the incitement of local and regional cultural activities and whose preservation, as a representative example of modern architecture from this period in the context of a tourist city that has a respectful legacy -, it is a relevant move. Such assumptions justify a closer look at the building, which reveals the problematic about two different factors: the building articulation in the urban grid as the one that centralizes the cultural activities promoted by the public administration and the physical integrity as architectural excellence. In response to the raised questions, possibilities of functional restructuring of the building are outlined, with the goal to affirm its range while cultural diffuser and to bring its character of permanence in the city.

Né en 1727 à Briançon, Jean-Antoine Morand a 14 ans lorsqu’il se lance, suite à la mort de son père, dans une carrière artistique. C’est à Lyon qu’il s’installe et fonde, en 1748, un atelier de peinture. Il reçoit des commandes officielles et privées, travaille régulièrement pour la Comédie, se spécialise dans la peinture en trompe-l’œil et la scénographie, y compris les machines de théâtre. À la fin des années 1750, encouragé par Soufflot, il se tourne vers l’architecture et l’embellissement, ainsi que l’y disposent différents aspects de sa première carrière.Architecte autodidacte, Morand souffre d’un déficit de légitimité et tente d’y remédier en recherchant la reconnaissance publique. Mais ses succès, en particulier la construction à titre privé d’un pont sur le Rhône, n’y suffisent pas. La carrière de Morand est tiraillée entre fierté entrepreneuriale et appétence institutionnelle. Son image pâtit de l’opposition entre spéculation foncière et promotion du bien public. Cela concerne en particulier son grand œuvre, un projet d’agrandissement de Lyon sur la rive gauche du Rhône, compris dans un plan général donnant à la ville la forme circulaire.Morand a peu construit et il ne subsiste presque rien de son œuvre pictural. On dispose en revanche d’un fonds d’archives privé d’une grande richesse, sur lequel s’appuie cette thèse, afin de mettre au jour les intentions, les relations et la psychologie d’un architecte autrement méconnu. / Born in 1727, Jean-Antoine Morand is 14 years old when he embraces an artistic career, following his father’s death. Having settled down in Lyon, he establishes his own painter’s workshop in 1748. Receiving public and private commissions and working for the theatre on a regular basis, he specializes in trompe l’œil painting and stage-setting, including machinery. In the late 1750s, spurred on by Soufflot, he turns to architecture and city-planning, as various aspects of his previous career could have prompted him to.As an autodidactic architect, Morand suffers from a lack of legitimacy against which he pursues public recognition. But his successes, which include the building of a privately-owned bridge across the Rhône, aren’t enough. Morand’s career is torn between entrepreneurial pride and his longing for tenure. His public image is marred by the alleged opposition between land speculation and the defense of public good. This concerns mostly his great work, a project for the extension of Lyon on the left bank of the Rhône, included in a circular general city plan.Morand hasn’t built much and very little remains of his pictorial work. This thesis is based on an extensive private archive that allows us to explore this otherwise unsung architect’s intentions, relations and psychology.

Parmi les formes d’organisation de l’habitat antique, il en est une qui est longtemps restée en retrait dans la recherche archéologique française. Les agglomérations antiques, qui correspondent à des formes très variées d’habitat groupé, suscitent un intérêt majeur depuis une vingtaine d’années.L’étude historiographique, à l’échelle de la Gaule, fait ressortir un espace en marge des recherches, celui des cités du Massif central. Cette thèse propose donc d’étudier les agglomérations antiques des cités arverne, vellave, gabale, rutène, cadurque et lémovice entre le Ier s. av. J.-C. et le Ve s. ap. J.-C. Les objectifs sont multiples. Il a été nécessaire dans un premier temps d’établir un corpus de sites à partir de la bibliographie régionale. Celui-ci est composé de notices normalisées au sein desquelles l’ensemble des données actuellement disponibles a été présenté. Pour répondre aux questions d’organisation spatiale et de classification, les données bibliographiques recueillies, complétées par des opérations de terrain (prospections terrestres, aériennes, géophysiques, relevés topographiques), ont été synthétisées à partir d’une série de descripteurs archéologiques développés sur le modèle d’Archaeomedes. L’emploi de ces descripteurs a permis la mise en œuvre d’analyses statistiques multivariées afin de dépasser le simple classement par niveaux de fiabilité (sites rejetés, agglomérations hypothétiques, agglomérations avérées). C’est sur la base de la classification retenue après différents tests et sur la hiérarchie urbaine proposée que les analyses spatiales et morphologiques permettent de brosser un tableau complet de l’armature urbaine des cités antiques du Massif central.Les résultats obtenus ont permis d’exposer et de comprendre à la fois les relations entre les agglomérations et le milieu naturel mais aussi avec leur environnement archéologique par l’étude de leurs relations avec l’habitat rural, les chefs-lieux, les limites des cités, leur territoire théorique, les axes de communications terrestres et fluviaux. En changeant d’échelle, l’analyse interne des agglomérations permet d’appréhender à la fois leur morphologie générale mais aussi la place des édifices monumentaux au sein des agglomérations et au sein des cités, le rôle de l’artisanat, les aménagements hydrauliques, … Pour l’analyse de l’armature urbaine, la thèse prend nécessairement en compte l’évolution chronologique des agglomérations à travers leur origine protohistorique, leur évolution durant l’Antiquité et leur devenir au début du Moyen Âge.Pour mener à bien ce travail, il a été nécessaire de croiser les approches documentaires (bibliographie, opérations de terrains), de croiser les échelles d’analyse (du site au Massif central) et de comparer les résultats à ceux des régions voisines. Passées, les analyses statistiques, c’est à partir d’un SIG et d’une base de données que l’ensemble des synthèses a pu être mené.Cette thèse constitue la première synthèse sur les agglomérations antiques des cités du Massif central. Les résultats mettent en avant l’importance des agglomérations dans le système de peuplement et des armatures urbaines variables entre les cités mais qui semblent structurées en partie par le relief et les axes de communications. Les fonctions présentes au sein des agglomérations, si elles sont variées et récurrentes, montrent des spécificités entre les cités mais aussi une hétérogénéité au sein de chacune d’elles. Enfin, l’analyse chronologique montre une réduction du nombre des agglomérations à partir du IIIe siècle mais pas leur disparition. De même, de nouvelles formes d’habitats groupés apparaissent à partir du IVe siècle attestant non pas une crise mais une évolution dans l’organisation urbaine des cités pour répondre à de nouveaux besoins. / Among the forms of organization one can observe in the ancient habitat, there is one particular structure that has been slightly ignored by French archeologists: the lesser urbanized settlements. However, in the last twenty years, small towns have attracted renewed interest.A historiographical study of the Gaul territory highlighted a less studied group of population: the ancient peoples of the Massif Central. In this thesis we intend to have a closer look at such populations as the Arvernes, the Vellaves, the Gabales, the Rutenes, the Cadurques, and the Lemovices from 1st century B.C. - 5th century A.D. We first established a corpus of sites starting with the study of the regional bibliography, which enabled us to create records for each area. We completed this first approach with several field operations such as ground, aerial, geophysical and topographical surveys. All those data were synthesized in a series of archaeological descriptors developed using the Archaeomedes model.The use of such descriptors enabled us to develop some statistical analyses and go beyond the simple reliability factor (which allows the distinction between rejected sites, hypothetical and true urbanized clusters). On the basis of our tested and proven classification, keeping in mind the suggested urban hierarchy and with the help of our spatial and morphological analyses, we were able to obtain a more complete picture of the urban framework of the ancient cities of the Massif Central.The data collected allowed us to better apprehend and understand the relation between such urban clusters and their natural environment, but also to place them in an archaeological context by studying the links between rural housing, the ancient administrative structure (chef-lieu), the city and territory limits, and the major communication routes (land and water). Through a multi-scale study of those population clusters, we were able to determine their general structure, to look at the role of local crafts and trade but also the place of major buildings, and waterworks. We took specific care to the chronological evolution in thosesmall towns by looking at them from their protohistoric beginnings through Antiquity and until early medieval times.While we cross-referenced all the different sources (bibliography and field surveys) and the analysis scales within the Massif Central, we also did a cross-comparison with other neighboring areas in order to validate such work. Besides the statistical data, we used the Geographic Information System and our database to reach our conclusions.This thesis aims at uncovering the reality of those ancient population clusters present in the Massif Central. Our results showed clearly the importance of those in the settlement system, their different forms structured according to the local geography and major trade routes. The functions/positions available in small towns were varied and recurrent but also corresponded to specific trades within each structure while remaining homogeneous.Through our chronological analysis we were able to point out a significant reduction in their numbers starting in the third century, though not their disappearing. In the 4th century new types of population clusters appeared, not as a response to an acute crisis, but more as a result of an evolution called on by new needs.

[ES] El comportamiento acústico de una sala viene determinado, entre otros factores, por el coeficiente de absorción acústica de las soluciones constructivas de las superficies interiores que lo forman. El coeficiente de absorción se halla a través de ensayos de laboratorio o de las propuestas de la literatura científica. En teatros habitualmente el volumen de la caja de escena es equiparable sino superior al volumen de la sala propiamente dicho, y se comunica con la sala a través de la boca de escena. Para calcular el comportamiento acústico de un teatro no se tiene en cuenta el volumen de la caja de escena, sino que éste se sustituye en el modelo por la superficie de la boca de escena. El coeficiente de absorción de la boca de escena se toma de la literatura científica. Siendo la boca de escena un gran vacío, no es posible encontrar sus valores de absorción en laboratorio. Se desconoce cómo los distintos autores que han propuesto valores para el coeficiente de absorción de la boca de escena han llegado a dichos valores. En el presente trabajo se ha hallado el coeficiente de absorción de la boca de escena de seis teatros de diferentes características y épocas. Para ello, se ha recopilado información gráfica y constructiva de los espacios, se han realizado mediciones acústicas normalizadas con la boca de escena abierta y cerrada, y se han elaborado modelos informáticos tridimensionales que han sido calibrados con las mediciones tomadas "in situ". En una primera fase se ha calibrado el modelo con la boca de escena cerrada y en una segunda se ha repetido el proceso con la boca de escena abierta. El ajuste de los modelos virtuales se ha ejecutado mediante el empleo del método de las superficies de respuesta. Este método ha permitido considerar hasta dos soluciones constructivas con comportamiento acústico desconocido. De esta forma se ha podido deducir el coeficiente de absorción de la boca de escena en cada caso. Finalmente, los coeficientes de la boca de escena hallados en cada teatro se han comparado con los propuestos por diversos autores. Además, se ha evaluado la influencia de la absorción de la boca de escena en cada modelo. Constatando que los valores propuestos en las obras de referencia son adecuados en teatros antiguos, no así en los modernos en los que son válidos sólo en frecuencias medias y altas. / [CA] El comportament acústic d'un espai ve determinat, entre altres factors, pel coeficient d'absorció acústica de les solucions constructives de les superfícies interiors que el formen. El coeficient d'absorció és troba mitjançant assajos de laboratori o de les propostes de la literatura científica. En teatres habitualment el volum de la caixa d'escena és equiparable, sinó superior al volum de la sala, i es comunica amb la sala mitjançant la boca d'escena. Per calcular el comportament acústic d'un teatre no es té en compte el volum de la caixa d'escena, sinó que es substitueix al model per la superfície de la boca d'escena. Com que la boca d'escena és un gran buit, no és possible trobar els seus valors d'absorció al laboratori. Perla qual cosa els seus valors es prenen de la literatura científica Es desconeix com els autors que han proposat valors per al coeficient d'absorció de la boca d'escena han arribat a aquests valors. En aquest treball s'ha trobat el coeficient d'absorció de la boca d'escena de sis teatres de característiques i èpoques diferents. Per fer-ho, s'ha recopilat informació gràfica i constructiva dels espais, s'han realitzat mesures acústics normalitzades amb la boca d'escena oberta i tancada, i s'han elaborat models informàtics tridimensionals que han estat calibrats amb les mesures preses "in situ". En una primera fase el model s'ha calibrat amb la boca d'escena tancada i en una segona s'ha repetit el procés amb la boca d'escena oberta. L'ajust dels models virtuals s'ha executat mitjançant la utilització del mètode de les superfícies de resposta. Aquest mètode ha permès considerar fins a dues solucions constructives amb un comportament acústic desconegut. D'aquesta manera, s'ha pogut deduir el coeficient d'absorció de la boca d'escena en cada cas. Finalment, els coeficients de la boca d'escena trobats a cada teatre s'han comparat amb els proposats per diversos autors. A més, s'ha avaluat la influència de l'absorció de la boca d'escena a cada model. Constatant que els valors proposats a les obres de referència són adequats en teatres antics, no així als moderns en què són vàlids només en freqüències mitjanes i altes. / [EN] The acoustic behavior of a room is determined, among other factors, by the acoustic absorption coefficient of the interior surfaces that make it up. The absorption coefficient is found through laboratory tests or proposals from the scientific literature. In theaters, the volume of the stage house is usually equivalent to the volume of the room itself, if not greater; and it is connected to the room through the proscenium opening. To calculate the acoustic behavior of a theater, the volume of the fly tower is not considered, but instead it is replaced in the model by the surface of the stage opening. Since the proscenium opening is a large recess, it is not possible to find its absorption values in the laboratory; that's why they are taken from the scientific literature. It is not known how the different authors who have proposed values for the absorption coefficient of the stage opening have found these values. In the present work, the absorption coefficient of the proscenium opening of six theaters of different characteristics and periods has been found. For this, graphic and constructive information of the spaces has been compiled, standardized acoustic measurements have been made with the stage opening opened and closed, and three-dimensional computer models that have been calibrated with the on-site measurements have been prepared. In the first phase, the model has been calibrated with the stage opening closed and in the second one the process has been repeated with the stage opening opened. The adjustment of the virtual models has been carried out using the response surface method. This method has allowed to consider up to two constructive solutions with unknown acoustic behavior. This way it has been possible to deduce the absorption coefficient of the stage opening in each case. Finally, the coefficients of the proscenium opening found in each theater have been compared with those proposed by several authors. In addition, the influence of the absorption of the stage opening in each model has been evaluated. Noting that the values proposed in the reference works are adequate in old theaters, but not in modern ones, where they are valid only in medium and high frequencies. / Pérez Aguilar, BN. (2023). Revisión de los valores del espectro de absorción de la caja de escena en teatros, mediante la aplicación del método de superficies de respuesta [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/196753

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