This thesis is an academic exercise set out to understand the secrets of Architecture. It is a compilation of a series of gestures made on behalf of Architecture. These gestures confront the materiality of Architecture to reveal the imprints beyond what makes the material exist according to the law of its nature, the imprints that reveal the material as an imprint for the human desire, the human will, and the human wish, for the material as a tool of representation and interpretation, thus the human thoughts, the human purpose and the human work. Explained in terms of space or environment, in terms of form or function, Architecture is never quite fully and satisfactorily understood. These terms reveal their anxiety about the mundane and the prosaic in the material constituents of Architecture. They tend to inadvertently distance themselves from the material seeking to appeal to the conceptual. As much significance as the conceptual and the intangible contribute to the principles of Architecture, this thesis revels in the tactile, the vivid, in what is all together sense perceptible, the real, the present. As much as it regards the secrets that reside in the divine and in the spiritual, it is eager to find them embodied in its material reality. Truth, poetry, beauty, all things conceptual, that reside in abstract immaterial form beyond reach in the upper ethers, are afforded by Architecture to exist within a corpus. Without the material imagination, one is prone to participating in the exercise of Architecture, with undue weight given to its form, its shape, its geometry, to how readily it will serve a functional need, a need that seems to reduce life around it to that specific act, overlooking what will eventually reside alongside us in matter. Without the material imagination, one is prone to readily accepting what modern technology or modern alchemy can afford this exercise of Architecture thereby readily adapting techniques and systems without careful thought. Without the material imagination, one is prone to overlooking the prima materia1 and the primordial architectural gestures, and thereby unduly and unwisely willing the material to conform to the conceptual. Without the material imagination, one is prone to overlooking what is in the nature of a material and thereby missing what its inherent beauty informs us. Along with trying to understand the iconic elements of Architecture, this thesis is also an investigation in its materiality. It is an exercise in trying to understand what confronting the materiality of an artifice reveals. It is an attempt to define architecture by man's endeavour to understand the creature, to understand the material presence, to unravel the mysteries of the material constitution and organization. / Master of Architecture / I used this thesis to better understand architecture by focusing less on the shapes of built objects and more on their constitution. I tried to focus less on the form that we see and more on the body that is present among us. Instead of making a specific use for a building the impetus for building, I tried to consider the experience one has in inhabiting an environment. To conduct the above exercise, This thesis is structured with three main parts. The first part looks at the material environment and how it is organized before man intervenes. This part is what is referred to in this thesis as ‘Matron’. The second part looks at man’s intervention on the same environment from a time that precedes us, and is referred to in this thesis as ‘Ruin’. The third and last part is referred to as new mineral. This part contains the main body of work relying on the research material from the previous two, to produce a design for a monastic complex for 36 Benedictine monks.

Kornélia Kolářová Takácsová: The North Portal of the Church of St. Procopius in Třebíč in a Central European Context with Special Reference to Churches in Hungary Abstract The present dissertation places the northern portal of the Basilica of St. Procopius in Třebíč in a broader Central European context with a special focus on Hungarian buildings. After an introduction to the history of the Trebic abbey and church, a description of the portal and its iconographic analysis is followed by an analysis of important portals from Germany, Austria and Hungary that are mentioned in relation to the Třebíč portal and are associated with Norman ornament, including an attempt to classify them chronologically. The thesis includes a critical discussion of various theories of Norman decoration wandering in Central Europe. Special attention is paid to the question of the fundator of the Třebíč basilica, which refers both to the ruling Přemyslid family and to the remarkable figure of the bishop of Olomouc, Robert. In all the countries of Central Eastern Europe, in addition to the foreign builders who separated in groups from the large Western smelters, local stonemasons were involved and contributed their work to the final forms of specific buildings. The obvious similarities between the buildings and the dynastic links...

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:41:57Z (GMT). No. of bitstreams: 1 Cecilio_Handel1963-_D.pdf: 445970084 bytes, checksum: de312d4ce2a393453696c7aedc77b3f1 (MD5) Previous issue date: 2014 / Resumo: O órgão de tubos, mesmo não tendo sua gênese dentro do ambiente eclesiástico, foi pela Igreja Cristã adotado e convertido em um instrumento litúrgico por excelência, tendo sido consagrado no século XVI pelo Concilio de Trento. Neste ambiente, foi possível ao órgão ter seu desenvolvimento técnico de construção, e a ampliação de seus recursos e de variedades tímbricas. A arte organística brasileira, com raízes na escola de organaria ibérica, teve início no século XVI, sendo mantida a tradição organística ao longo dos séculos seguintes. A princípio foram usados pequenos órgãos positivos de mesa e órgãos realejos vindos de Portugal. Posteriormente, no século XVIII, a Coroa Portuguesa supre as catedrais e igrejas brasílicas com grandes órgãos fixos. Ainda neste mesmo século, os órgãos começam a ser construídos in loco, quando ocorre a gênese da organaria brasileira. Considerando-se o desaparecimento da grande maioria dos órgãos de tubos dos períodos colonial e imperial brasileiro, através de um levantamento histórico documental se tornou possível um resgate destes instrumentos. Diversos documentos eclesiásticos registraram compras de órgãos de tubos, gastos com assentos e manutenção desse instrumentos, como também pagamentos aos organistas. Os cronistas de época e os diários de viajantes, como fontes de dados, citam o uso destes instrumentos. A arte organística da Ordem de São Bento se manifesta através de seus órgãos adquiridos, de seus monges organistas e organeiros. Os mosteiros beneditinos portugueses e brasileiros adotaram o órgão de tubos como o instrumento de seus Ofícios Divinos, mantendo essa tradição até os dias atuais. Objetivando resgatar a arte e a tradição organística colonial e imperial brasileira, levantou-se, por meio de registros documentais e de crônicas de época, os órgãos, organistas e organeiros, em uma abordagem detalhada, concisa e objetiva / Abstract: The pipe organ, while not having its genesis within the church environment, was adopted by the Christian Church and converted into a liturgical instrument par excellence, having been consecrated in the sixteenth century by the Council of Trent. In this environment, it was possible to have and this tradition body building technical development, and expansion of its resources and timbral variety. The Brazilian organ-related art, with roots in the school of Iberian organ building, began in the sixteenth century, the organ-related tradition was maintained throughout the following centuries. At first, small positive organs table and realejos organs coming of Portugal were used. Later, in the eighteenth century, the Portuguese Crown meets the Brazilian cathedrals and churches with large fixed pipe organs. Also in this same century, the organs begin to be built in situ, occurring when the genesis of Brazilian organ building. Considering the disappearance of most pipe organs of colonial and Brazilian imperial periods, through a documentary historical survey became possible ransom these instruments. Various church documents recorded purchases of pipe organs, install and maintenance of this instruments, as well as payments to organists. The chroniclers of the time and the diaries of travelers, such as data sources, mentioning the use of these instruments. The organ-related art of the Order of Saint Benedict is manifested through acquired of their pipe organs, their organist monks and organ builders. The Portuguese and Brazilian Benedictine monasteries adopted the pipe organ as the instrument of his divine service, keeping this tradition to the present day. Aiming to rescue the organ-related art and colonial and Brazilian imperial tradition, rose through documentary records and chronicles of the time, the organs, organists and organ builders, in a detailed, concise and objective approach / Doutorado / Fundamentos Teoricos / Doutor em Música

Parmi les réformes du concile de Trente, figure celle des ordres religieux incités à s'organiser en congrégations. Y figure aussi l'invitation à traduire dans l'architecture et le décor des églises, l'expression de la foi catholique réaffirmée. Tout cela induit de nouvelles formes architecturales ou de nouveaux aménagements liturgiques qui s'accompagnent dans le cas des ordres religieux, d'une réorganisation spatiale des monastères. Dans ce que le professeur Taveneaux a défini comme une dorsale catholique, la Lorraine tient une place particulière, par son histoire déjà, par son emplacement dans l'échiquier européen d'alors et par la forte présence d'une Eglise soutenue par les souverains. Par l'engagement d'évêques réformateurs, parties prenantes du concile de Trente, puis celui de la famille ducale de Lorraine, le pays voit éclore en quelques années trois fortes congrégations : l'Antique Observance dans l'ordre de Prémontré à partir de Pont-à-Mousson alors que la personnalité de Pierre Fourier cristallise la réforme des chanoines réguliers de Saint-Augustin. Pour les bénédictins, c'est la congrégation de Saint-Vanne et Saint-Hydulphe de dom Didier de La Cour. Par les choix et habitudes architecturaux, par le choix des décors des églises et des bâtiments claustraux, par la vie quotidienne et ses objets, il est possible d'avoir une nouvelle vision de cette congrégation particulièrement active et présente sur le sol lorrain.Les vannistes qui essaiment en France ne sont pas sans influence sur les populations. Il apparaît alors naturel de chercher à comprendre ce que leur architecture et leurs choix décoratifs disent d'eux, de la manière dont ils relaient la doctrine de l'Eglise et dont ils se perçoivent eux-mêmes avec le corollaire de l'image contrôlée ou non qu'ils veulent donner d'eux. Leur architecture, témoin d'un pouvoir, d'un état d'esprit, est aussi sûrement la traduction de leurs principes religieux. Le niveau provincial retenu est celui où se décident les noviciats, où se réfléchissent les suppressions éventuelles ou créations de maisons, où un visiteur fait le lien entre le gouvernement central de la congrégation et chacune de ses maisons. Les religieux vivent aussi cette réalité géographique car ils ne sont que fort peu nombreux à passer d'une province à l'autre et il apparait des spécificités provinciales dans l'organisation même de la congrégation, sans négliger pour autant les choix politiques ou l'évolution de la pensée qui varie différemment selon la province. Car au-delà même des aspects liés à l'organisation de la congrégation, la province de Lorraine offre une singularité supplémentaire, celle d'être alors dans un pays indépendant, même si cela est, à l'époque moderne, tout relatif. Bien que d'une étendue géographique assez limitée, elle offre tous les cas de figures pouvant se rencontrer dans la variété de statuts et d'histoire des maisons vannistes. Toutes ces situations constituent un excellent échantillon de la perception que des religieux cloîtrés des XVIIe et XVIIIe siècles peuvent avoir de leur cadre de vie et de la manière dont ils le concrétisent. Tous ces éléments doivent concourir à définir ou non un éventuel style vanniste, montrant sous un jour particulier le quotidien des religieux qui composent cette grande congrégation d'une cinquantaine de maisons en Lorraine et en France, mère de congrégations réformées en France et en Belgique et sœur d'autres réformes monastiques nées en Lorraine dans les premières années du XVIIe siècle. / Among the reforms of Trent, is that religious orders are encouraged to organize themselves into congregations. It shall include the invitation to translate the architecture and decorations of the church, the expression of the catholic faith, are reaffirmed. All this leads to new architectural forms and new liturgical developments, are also accompanied in the case of religious orders, by a spatial reorganization of monasteries. In what Professor Taveneaux defined as a Catholic back, Lorraine holds a special place in history, by its location in the european stage and then by the strong presence of a church supported by the sovereigns. By reformers bishops stakeholders the Council of Trent and that of the ducal family of Lorraine commitment, the country sees hatch within a few years three congregations : Ancient Observance in the norbertine order from Pont-à-Mousson while the personality of Pierre Fourier crystallizes the reform of the Canons Regular of St. Augustine. For Benedictine, is the congregation of Saint-Vanne and St. Hydulphe by dom Didier de La Cour. The choices and architectural patterns, the choice of sets of churches and abbey buildings themselves, by everyday life and objects, it is possible to have a new vision of this congregation which is particularly active on the Lorraine ground. The vannistes swarming in France are not without influence on populations. It appears natural to try understanding in what their architecture and decorative choices say about them, how they relay the doctrine of the Church and how they perceive themselves with the corollary of the controlled image they want to give of them. Their architecture, witness the power of a state of mind, as surely is the translation of their religious principles. The provincial level used is where decisions novitiates, which reflect any deletions or creations of houses, where a visitor made the connection between the central government of the congregation and every house. Religious also live this geographic reality because they are just very few of them move from one province to another and it seems provincial specificities in the very organization of the congregation without neglecting the political choices or changes' thinking that evolves differently in each province. For even beyond the aspects related to the organization of the congregation, the province of Lorraine offers additional singularity, whereas that of being in an independent country, even if it is in modern times, all relative. Although a fairly limited geographical scope, it offers all the scenarios that can be found in the variety of status and history of vannistes houses. All these situations are an excellent sample of the perception that religious cloistered seventeenth and eighteenth centuries may have their living and how they materialize. All these elements must contribute to define whether a possible style vanniste showing in a particular light daily religious that make up this great congregation of about fifty houses in Lorraine and France, mother of reformed congregations in France and Belgium other monastic reforms sister born in Lorraine in the early seventeenth century.

Par un édit de janvier 1751 Louis XV créa l’Ecole royale militaire de Paris. Elle devait accueillir 500 boursiers du roi. En raison d’insuffisances notoires elle fut scindée en deux. Les enfants devaient acquérir les connaissances de base à La Flèche avant de rejoindre Paris. Ce système jugé coûteux fut réformé en 1776 par le comte de Saint-Germain. L’éducation des jeunes gens se fit, en province, dans des écoles tenues par des religieux puis à Paris ou dans des régiments. Peu de congrégations étaient susceptibles d’accueillir les boursiers ; celle de Saint-Maur obtint 6 collèges dont Pontlevoy. Quel enseignement y était donné ? Que lui apporta la présence de 50 boursiers du roi, chaque année, entre 1777 et 1793 ? Outre la réponse à ces questions, il fallait s’intéresser aux boursiers eux-mêmes, à leur origine, à leurs parents et à leurs revenus. Les règles de l’édit furent-elles respectées ? Les réformes de Saint-Germain visaient à améliorer le sort de cette noblesse provinciale, à récompenser ses talents. Le but fut-il atteint ? / It was not until 1751 when Louis XV succeeded in establishing the Ecole royale militaire de Paris, intending to enroll 500 disadvantaged noble youths. Due to well-known learning deficiencies among many of the pupils, the school was split in two. Younger students studied at the lower school in La Flèche before being sent to Paris. Saint-Germain reformed this costly system in 1776, ordering that the first level of education be entrusted to twelve monastery colleges, spread among the provinces. Afterwards, the king’s pupils would go on to Paris or would enter the army. Few religious orders disposed of the means necessary to educate these pupils. The Benedictine order of Saint-Maur took charge of six colleges. Among them was Pontlevoy. What kind of education should be provided? What economic impact would be caused by the arrival of the new pupils? Additionally, who were these pupils, what was their parents’ income? Did the established rules abide by the terms of the law? Did Saint-Germain achieve his goal of promoting the talents of the king’s pupils and of enhancing the status of the provincial nobility?