Connection between park "Jižní Centrum" and waterfront of river Svratka. Finding the best position in park for cultural building - Dancing center. Park => City interior Viaduct=> Enfilade Functional parts of park => Rooms Surroundings of Dancing center => Living room Dancing center => Screen Dancing studios => Pixels

<p> This thesis analyzes <i>Plans, Elevations, Sections, and Details of the Alhambra</i> (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones&rsquo;s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones&rsquo;s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives. </p><p> Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones&rsquo;s visual and ideological program in <i>Alhambra</i>: Spain&rsquo;s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at <i>Arabian Antiquities of Spain</i> by James Cavanah Murphy and the illustrations from <i> The Tourist in Spain: Granada</i> by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones&rsquo;s <i>Alhambra </i> to illustrate Jones&rsquo;s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.</p>

Florine Stettheimer was an independent painter and eminent "art hostess" among the avant-garde in New York City during the years between the World Wars. In 1916, Stettheimer rather suddenly affected a naive or unschooled style that did not fit within any academic or vanguard movement. This new style, what I have termed conscious naiveté, can be considered the genesis of Stettheimer's mature works. Contemporaneous critical appraisals after the shift in style undervalued the inventive modernity of her work and unfairly “feminized” her style.

<p> Since the Devonian Period, 360 million years ago, trees have been foundational for the survival of aerobic life. Today, most humans relate to trees through the idea, material and commodity of wood. This understanding is primarily informed by its use as a building material: the formal attributes of its grain pattern read to assess structural integrity and aesthetic applications. I think of these marks as autonomous and unique natural drawings, documenting time in a scale different from our lifespan. Wood&rsquo;s composition of cellulose and lignin create patterns that record temporal fluctuations in precipitation and the unique soil compounds of each tree&rsquo;s growth site as a codex. As an MFA candidate, I used woodworking techniques to explore the relationship between temporality and materiality. Along the way, I became interested in the reductive carving techniques of woodturning as a metaphor for this investigation: cutting through layers of time. Small segments of wood were laminated together in mathematical patterns and turned to reveal parabolic grids on the interior and exterior surface of each object. This study led me to consider the limitations that traditional art display conventions impose on the viewer&rsquo;s perception of an artwork, and to the realization of the <i>Thoughtitarium; </i> an eight-foot diameter fiberglass hemisphere that hovered above the gallery floor in architectural scale.</p>

<p> As a community-based art educator, I advocate for an arts-based educational environment that embraces postmodern tenets and encourages individuals to reflect on self and society in relation to the places in which they dwell and learn. This thesis is a dialogue on emplaced community-based art education. Issues of urban education, social justice, and critical pedagogy are considered in relation to participants&rsquo; enactments of place within two distinct community-based educational settings. In order to investigate the connections between a culture of place, place-based education, and the community-based programs of each site, the role of art and artifacts was carefully considered in building a sense of place and placemaking within the comparison of each case study. Data was collected over the course of a year and later analyzed through the lens of narrative analysis-a focus on how people spoke to personal values and social beliefs associated with their enactment of place-based education. </p>

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: Jordana Mendelson. Includes bibliographical references (leaves 220-240) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisors: Lynn C Miller and David Stuart. Vita. Includes bibliographical references.

<p> The Rue R&eacute;aumur, cleared and constructed between 1896 and 1900, was the first major urbanism project initiated in central Paris after the dismissal of Haussmann. Realized under the Third Republic and under the guidance of a democratically elected Paris Municipal Council, the street provoked an unprecedented public debate about urbanist priorities, the management of municipal debt, and architectural aesthetics. Disappointed with the visual homogeneity of the Haussmannian boulevard, Councilors liberalized building code and declared a Concours des Fa&ccedil;ades in the Rue R&eacute;aumur in order to visually revitalize their city.</p><p> That variation of the streetscape would turn on a monumentalization of the urban party-wall building through enlarged <i>saillies</i> and <i> avant-propos</i>, corbelled fa&ccedil;ade elements hitherto banned in the streets of Paris. Conceived as a central business district, the Rue R&eacute;aumur was also a unique concentration of commercial architecture, which encouraged an expanded use of iron structure to open building interiors and fa&ccedil;ades into naturally illuminated, floor-through spaces of manufacture. Construction in the Rue R&eacute;aumur was, then, guided by contradictory impulses. Charged with psychically countering the uniformity of the rationalized city, the exuberant elevations of the new street simultaneously masked a reordering of the architectural object by similar pressures towards economic and technological efficiency. </p><p> This dissertation treats the architecture of the Rue R&eacute;aumur and the public debate that shaped it as mutually determining engagements of architectural modernity. It situates the street's evolution as a response to the political, economic, spatial, and psychic challenges posed by the emerging capitalist metropolis. Reconstruction of the architectural and social discourses that informed design practice in the Rue R&eacute;aumur positions late-century eclecticism as an indispensable step in the development of interwar Parisian modernism. That architecture served as the primary object of rejection within modernist historiography and avant-garde theory due to its reliance on historical vocabularies. This study demonstrates that the perceptual immediacy desired of the late-century Parisian fa&ccedil;ade was of equal importance to the development of architectural modernism as theories of structural rationalism. It considers eclecticist architecture like that of the Rue R&eacute;aumur as a moment of dynamic invention within nineteenth-century theory and design practice, the terms of which would integrally condition Le Corbusier's reconception of architecture and architectural aesthetics a generation later.</p><p>

<p> The study of an architecture of autonomy consists of theoretical investigations into the realm of building types where a sole use or purpose is manifest in a structure that could, site provided, be constructed. However, provisions that conventional architecture traditionally provide are not present in these explorations. Technological advancements such as indoor plumbing, electric lights, and vertical conveyance systems in the form of elevators and escalators are excluded. Platonic geometric form-making are instead thoroughly investigated, imagined, and manipulated for the purposes of creating new spatial experiences. The desired resultant is an architecture of singularity, an architecture of fantastical projection. </p><p> Through a series of two theoretical ritual-based investigations, three-dimensional form manipulation and construction of proportioned scale models, the essence of elements that compose a spatial experience contributed to a collection of metaphorical tools by which the designer may use to build a third imagined reality: the re-imagination of the archetypal museum. A building whose purpose is not solely to house ancient objects in a near hermetically-sealed environment, free of temperature, humidity and ultra-violet light aberrations, but is a re-imagined. A structure meant to engage the presence of two seemingly divergent communities: the local patron/visitor and the extreme distant denizen. </p><p> This paper also examines key contemporary global artists&rsquo; work and their contributions to the fragmentation / demolition of architectural assemblages for the purposes of re-evaluating the familiar vernacular urban landscape while critically positioning the r&ocirc;le of both the artifact and gallery in shaping contemporary audience&rsquo;s museum experiences. </p><p> The power of the internet and live-camera broadcasting of images utilizing both digital image recording and full-scale screen-projections enable the exploration of &ldquo;transporter-type&rdquo; virtual-reality experiences: the ability to inhabit an art work&rsquo;s presumed original <i>in situ </i> location, while remaining in Chicago as a visitor within a vernacular multi-tenant masonry structure: vacated, evicted, and deconstructed for the purposes of displaying art amidst a new urbane ruin. The complexities of this layered experience is meant to simultaneously displace and interrupt a typical set of so-called <i>a priori</i> gallery expectations while providing the expectant simulacrum that video cameras and screens provide, whetting a contemporary patron&rsquo;s appetite.</p>

published_or_final_version / abstract / Conservation / Master / Master of Science in Conservation