Univ., Diss.--Cambridge. / Literaturverz. S. [224] - 258.

Author's inaugural dissertation, Tübingen. / Added title: Darstellungen aus der württembergischen geschichte, hrsg. von der Württe. kommission für landesgeschichte. 27. bd. Added t.p. "Verzeichnis der benutzen quellen und darstellungen": p. [149]-155.

Author's inaugural dissertation, Tübingen. / Added title: Darstellungen aus der württembergischen geschichte, hrsg. von der Württe. kommission für landesgeschichte. 27. bd. Added t.p. "Verzeichnis der benutzen quellen und darstellungen": p. [149]-155.

Thesis--Marburg. / Vita. "Quellennachweis": p. [7-8].

Texte remanié de: Doctoral thesis--University of Toronto, 1995. / Contient la lettre d'Ælfric en latin et la trad. anglaise en regard. Bibliogr. p. 231-240. Index.

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.

Au-delà de la littérature édifiante ou critique des XVIème, XVIIème et XVIIIème siècles, l’image mentale des religieuses bénédictines et cisterciennes passe aussi par la production et la diffusion de représentations iconographiques via de nombreux supports. L’étude menée sur ce media visuel a permis de rassembler un corpus de 1160 références regroupées en une base de données exploitable. Son analyse se développe autour de l’affirmation de l’importance du témoignage historique et documentaire de l’iconographie pour la connaissance des modes de vie et de pensées de ces moniales. Le traitement typologique du contexte de production, des commanditaires et destinataires des œuvres définit les enjeux et objectifs de ces représentations. L’iconographie présente toutes les caractéristiques spirituelles et temporelles de la vie monastique féminine avec les différentes problématiques qui font l’actualité du monde régulier post-tridentin. L’étude se penche aussi sur la représentation des grandes figures fondatrices du monachisme féminin, comme sainte Scholastique, les saintes fondatrices d’abbayes médiévales et les fondatrices modernes de congrégations nouvelles. L’iconographie donne à voir un monde monastique féminin puissant et émancipé avec l’évocation de la sainteté féminine et de son lien privilégié à Dieu. Les portraits de supérieures et de religieuses sont des témoins directs d’un pouvoir temporel et spirituel similaire à celui de leurs confrères moines. L’image de la bénédictine et de la cistercienne à l’époque moderne se révèle orientée et biaisée, utilisée à des fins de propagande, mais les religieuses en tirent toujours le meilleur parti pour conforter leur légitimité. / Beyond uplifting or critical literature of 16th, 17th and 18th centuries, the mental image of the Cistercian and Benedictine nuns also involves the production and dissemination of iconographic representations via a variety of media. The study on the visual media brought together a corpus of 1160 references grouped into a usable database. His analysis develops around the affirmation of the importance of the historical and documentary witness of the iconography for the knowledge of the modes of life and thoughts of these nuns. The typological treatment of the context of production, sponsors and recipients of art works defines the stakes and objectives of these representations. Iconography features all the spiritual and temporal of feminine monastic life with the various problems which make the topicality of the post-Tridentine regular world. The study also focuses on the representation of the great founding figures of female monasticism as Saint Scholastica, the Holy founders of medieval abbeys and the modern founders of new congregations. The iconography shows a powerful and emancipated female monastic world with the evocation of feminine Holiness and his relationship to God. Superior and religious portraits are direct witnesses of their temporal and spiritual power similar to that of their fellow monks. The image of the Cistercian and benedictine in modern times turns oriented and biased, used for purposes of propaganda, but the nuns always get the best of that to reinforce their legitimacy.

No description available.

"No individual building in particular can be the answer to all problems, but all the buildings together, the city,the urban and rural environment will serve and contain the flexible,the changing, the temperamental and growing needs of humanity as a whole." Emerson IThe intention of this creative project is to explore the idea of "The Way" as a means to explore different aspects of our environment and how to experience those in their overall context. I understand "The Way" as a circulation space as well as a spatial sequence of events and experiences, a spiritual quest, a methodical approach, and a physical activity. In short, "The Way" is a multilayered experience space which affects your whole personality. My thesis is an approach to understand architecture as a greater whole which includes and connects all layers, all aspects of life and being.The project attempts to put into architectural perspective an understanding, meaning and context of architecture as a part of a broader realm of ideas and interpretations, influencing and being influenced by the people that use and create the built environment, dependent of and important for every aspect of our society. Always in a constant flux.nThe metaphor of a melody is explored as an abstract, theoretical background as well as a programmatic base of my design. It is composed of different layers and the image of the labyrinth of life. From an architectural and sociological outlook, this means being able to understand the relations of that melody and to respect it's necessity, - to rediscoverthe lost diversity of use, meaning and form.This paper is presented in three parts:First, the introduction and description of the motivation, second the description of all the different layers/sequences, emotional and theoretical ones, which are included in the research; the last part describes the rearrangement of those single sequences together as a whole and their transformation into the architectural design exploration, the final conclusion, my impressions on the process and the conclusion. / Department of Architecture

Thesis (doctoral)--Düsseldorf, 2007. / Includes bibliographical references (p. 416-478).