Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning; and, (M. Arch. in Advanced Studies)--Massachusetts Institute of Technology, Dept. of Architecture, 1974. / Bibliography: leaves 341-347. / M.C.P. / M.Arch.A.S.

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Daylighting, a form of illumination utilizing sunlight, has been used by architects as a method of symbolic expression in religious architecture. Light can be used to illustrate architectural comcepts or to satisfy the liturgical requirements of the particular religious denomination. This thesis illustrates some of the techniques employed by well-known architects, critiquing their successes and failures, and weighting them against more conventional works designed by lesser-known architects in order to discover what separates the ordinary from the extraordinary.The city of Columbus was chosen for its outstanding reputation of producing well known works of architecture, or "icons." Five churches have been singled out on the basis of their exemplary use of daylighting:First Christian ChurchNorth Christian Church First Baptist ChurchSt. Peter's Lutheran ChurchSandy Hook United Methodist ChurchResearch undertaken involved studying the philosophies of each architect, critically assessing the theories of light in earlier historical periods, and defining how some of these earlier concepts have influenced today's architects, if at all. By closely adhering to these principles, the architectural and spiritual value of the church increased greatly. / Department of Architecture

The main objective of this thesis is to investigate how works of public architecture, both alone and as components of the general urban layout, were related to the selfperception and identity of the ancient Greek polis community. And further, how the gradual evolution and change of this identity affected the history and associations of the buildings and the overall appearance of the city. The study concentrates on the Classical and Hellenistic periods with emphasis on the process of transition, and the geographical region of Ionia, which in that particular period lay at the centre of the historical developments that would bring important changes to Greek poleis and their communities. Miletus and Priene were selected as case studies because both were founded in the Classical period and continued to develop throughout the Hellenistic, are extensively excavated and published, and offer sufficient material for study. Miletus allows insight into large and influential polis communities, while Priene offers evidence for small ones with more limited means. In the first chapter, fundamental concepts such as 'collective identity,' 'cultural community,' 'cultural memory,' 'monumentality,' etc. and also those of 'city,' 'citystate' and 'polis community' are defined and analyzed, and their relation to each other and to architecture is discussed. In the second and third chapters, the architectural development of Miletus and Priene is examined against its historical background, in the light of the principles and associations observed in the first, theoretical part. In the final chapter, the developments and tendencies observed in Miletus and Priene are placed into context with similar phenomena that occurred in other poleis of the region and the Greek world in general during the process of transition from the Classical to the Hellenistic era. The discussion is based around the main axes of civic life i.e. the economic-political, socio-cultural, religious etc., and around issues of particular concern at the time such as the effects of monarchy and the growing role of the individual.

The grand houses of nineteenth century Victoria have been given only superficial consideration in the literature on Australian architectural history, and it has been assumed that the colonial houses in Victoria simply copied British models. However houses are always designed to accommodate the values, beliefs and customs of the society for which they are built, and their spaces must be arranged to accommodate a variety of both utilitarian and social functions. It might therefore be expected that the different physical, economic and social conditions in Victoria would result in variations from the British models which more closely reflected their colonial context. / This thesis seeks to document, analyse and explain the planning of the grand houses of nineteenth century Victoria. It demonstrates that the form and planning of these grand houses in Victoria did indeed resemble the British models in many ways. This is because both the settlers in Victoria and colonial society were predominantly British, and the settlers could only aspire to respectability, and establish a position in the newly developing social hierarchies, by conformity with British norms. The possession of an appropriate house played an important role in this, and the houses therefore were always based on British models. There was conformity with British practice in the specialization and segregation of functions and spaces in the houses, and in the invariable use of closed corridor planning. However although these British planning conventions were observed, the houses differed in significant ways from those in Britain. This was largely because the colonial upper classes differed significantly from the old upper classes in Britain. A higher proportion of the upper classes in Victoria were new rich, and their houses reflect not only the greater informality of colonial society but also the tendency of the new rich towards ostentation. Their houses were built for maximum effect, even when this at times was in conflict with accepted British attitudes towards ostentation and privacy. This resulted in differences from British norms in the arrangement of the spaces in the houses, which more closely reflected the colonial context. The grand houses in Victoria were not therefore purely British, but were always a colonial hybrid.

Esta tese aborda o panorama da construção civil em Campinas, São Paulo, entre fins do século XIX e as três primeiras décadas do século XX, trazendo à tona a produção material de construtores não diplomados, então enquadrados pela legislação como arquitetos licenciados. Apesar de sua intensa atividade, da permanência material de suas obras e da existência de referências documentais do conjunto edificado, tais obras chegaram aos dias de hoje sem autoria conhecida, atribuídas, assim, a construtores anônimos. Uma das vias propostas para discussão baseia-se na análise da extensa documentação reunida no Arquivo Municipal de Campinas, visto que os processos tramitados para obtenção de licenças para construir ou reformar, com respectivos desenhos técnicos, revelam-se exemplares não só da grande atuação que os licenciados tiveram no período mas também da qualidade técnica e formal de suas obras. Por outro lado, propõe-se averiguar como tais licenciados se inseriram, à época, no mercado campineiro da construção civil, revelando os primeiros embates pela regulamentação da profissão e as decorrentes tentativas de desqualificação desses profissionais por parte dos diplomados. Por fim, partindo da cidade real, expressa tanto materialmente quanto na documentação arquivística e aproximando a discussão a problemas contemporâneos, a tese propõe-se a mapear o movimento das ideias e a atuação das personagens envolvidas com a questão da história, da arquitetura e do patrimônio cultural. Pretende-se, com isso, verificar a repercussão do esquecimento desses construtores na historiografia, nas pesquisas acadêmicas e práticas preservacionistas do município e averiguar quais foram os processos e/ou motivos que levaram à reiteração desse esquecimento, dessa vez por meio da consolidação de uma visão monumental e alegórica do patrimônio cultural de Campinas. / This dissertation discusses the building scenery in Campinas City, São Paulo State, Brazil, between the late 19th century and the first three decades of the 20th century. It reveals the production of builders who were not graduated, known by that time as licensed architects. Despite their intense activity, the permanence of their works through time and the existence of archives that document their projects, the licensed architects works are nowadays taken as undetermined authorship. Thus, they are assigned to anonymous builders. This study proposes, on the one hand, a discussion based on the analysis of the extensive documentation located at the Municipal Archive of Campinas. This documentation is composed by building and renovating permit applications, with technical drawings, that reveal not only the extensive production of the licensed architects, but also their works technical and formal qualities. On the other hand, the study investigates licensed architects insertion the construction field. It reveals the first battles towards professional regulation and the consequent disqualification of the licensed by the graduated architects. Finally, from the perspective of the built city, expressed both by its material dimension and by archival documentation, and bringing the discussion to contemporary issues, this work aims to map the movement of the ideas and the actions of the involved actors, relating them to the issues of history, architecture and cultural heritage. Thereby, it intends to verify the echoes of those constructors oblivion within historiography, academic researches and municipal preservation policies. It also intends to investigate the processes and/or reasons that led to the reiteration of this oblivion through the consolidation of a monumental and allegoric perspective of Campinas cultural heritage.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-14T14:05:25Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) tese biblioteca-baixa-ajustado.pdf: 8913235 bytes, checksum: 430031e21c520122559a7afe4bfd6d32 (MD5) / Made available in DSpace on 2016-07-14T14:05:25Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) tese biblioteca-baixa-ajustado.pdf: 8913235 bytes, checksum: 430031e21c520122559a7afe4bfd6d32 (MD5) Previous issue date: 2015-07-20 / O cenário doméstico é resultado do conjunto composto por: moradia, mobiliário e interior doméstico, atrelados ao contexto sociocultural, tecnológico e econômico do seu tempo. Entretanto, apesar do esforço dos arquitetos modernistas em pensar a moradia, seu mobiliário e interiores como um produto único, são comuns os estudos que analisam as moradias, o mobiliário e os interiores domésticos como objetos desassociados. Tal fato tem gerado historiografias fragmentadas, o que ficou claro em vasta pesquisa bibliográfica realizada para elaboração desta tese. Diante disto, esta tese pretende gerar um panorama das principais transformações do cenário doméstico - moradia, mobiliário e interior doméstico - recifense nas décadas de 1950, 1960 e 1970 à luz dos acontecimentos emblemáticos de seu contexto sociocultural, econômico e tecnológico. / The domestic scene is the result of the set consisting of: housing, furniture and domestic indoor, linked to socio-cultural, technological and economic context of their time. However, despite the efforts of modernist architects to think the housing, its furnishings and indoors as a single product, the studies are common analyzing the houses, the furniture and domestics indoor as disassociated objects. This has generated fragmented historiography, which was clear in extensive literature research conducted for the preparation of this thesis. Therefore, this thesis aims to create a panorama with all the factors involved in Recife domestic scene of the 1950s, 1960s and 1970s, which involves: the housing, its furnishings, the domestic indoor and contextual paradigmatic events.

Please read the abstract in the section 00front of this document / Dissertation (MA (Architecture))--University of Pretoria, 2005. / Architecture / unrestricted

Girard Desargues (1951-1662) was a key figure in the transformation of architectural geometry from its ancient and venerated status as transcendental knowledge and supreme reality to a mere technological instrument for the control of building construction practice. As a friend of Rene Descartes and Marin Mersenne, Desargues participated in the development of the mechanistic worldview which accompanied the emergence of experimental science and the renewed interest in mathematics and geometry as axiomatic, deductive systems. This dissertation examines in detail Desargues' methods of stereotomy (the geometrical basis of architectural stone cutting) and his system of perspective construction without vanishing points beyond the picturespace. Desargues' theorem and other key discoveries for which he is still known in the history of mathematics are discussed as they bear upon his methods of stereotomy and perspective. Desargues' stereotomy is almost certainly the first attempt at a universal descriptive geometry such as Gaspard Monge finally developed after the French revolution. Desargues' work in this area may thus be seen as a precocious foreshadowing of the engineering geometry in common use today. The writings of Desargues have been consulted in the original French. Extensive passages are quoted and translated, and a number of illustrations from the original texts are reproduced. Supplementary illustrations are also provided. Appendices list the known architectural works of Desargues, his writings and those of his friend and student Bosse which bear upon the exposition of Desargues' methods. / Ph. D.

Torre Abbey was a rural Premonstratensian monastery in south-east Devon. Although in many ways atypical of its order, not least in the quality and quantity of its surviving source material, Torre provides an excellent case study of how a medium-sized medieval monastery interacted with the world around it, and how the abbey itself was affected by that interaction. Divided into three broad sections, this thesis first examines the role of local landowners and others as patrons of the house in the most obvious sense, that of the bestowal of lands or other assets upon the house. Torre was relatively successful in this regard, and an examination of the architectural and archaeological record indicates a continuation of that relationship after the thirteenth century. The second section notes areas of conflict with the laity. Disputes could and did arise over both temporal and spiritual affairs, as well as through the involvement of a number of lay figures in the administration and patronage of the house. In both respects, notable incidents in the mid-fourteenth century highlight the complexities of the canons’ relationships with the secular world. These are further explored in an analysis of the abbey’s role during the Hundred Years’ War and the Wars of the Roses, two conflicts which greatly affected the locality, but required vastly differing approaches by the canons. Finally, the effect of society on the canons themselves is considered. It is possible to recover some picture of their origins, both social and geographic, as well as some idea of the size of the community in the fifteenth century, and discuss the repercussions for an understanding of monastic recruitment. Finally, the dynamic of the community over the entire history of the abbey is considered in terms of the scattered source material, utilising both architectural and documentary evidence.