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The practice of architecture exists because man has sought shelter from the forces of the world he finds himself. It is wonder of this same world that has caused him to shape his rooms from age to age. In every instance, he recreates the world within the world with the materials of that world. It is the marks, the cuts, the juxtaposition, and the joining of these materials in which ornament dwells. It is present wherever man has shaped material for construction. It is a whisper when homogenized, and it is a trumpet blast when varied. This thesis will delve into the making of ornament, and my love for it. My first cognizant encounter with architecture, was my fascination with the sculpted stones of the gothic cathedrals. It was the ornament that caused me to be fascinated and to remember. So for this thesis, I sought to imagine walls worth remembering. I wanted to touch every material with my mind's eye so that it might be a gift for others. I wanted to ornate. It seemed best for the design to be sacred and to be in an urban setting. I also thought that the presence of time and aging might help the thesis. I came to choose the program of a catholic cemetery in Philadelphia. I hoped to explore what meaningful marks and arrangements of materials I could impart to this ephemeral world. / Master of Architecture

The building is a family chapel comprised of three separate yet interdependent spaces: a sanctuary, a stair tower, and a spire. The design developed from the inside out, specifically from the interior of the sanctuary to the building as a cohesive whole. The building's form was found through sketching and making a model. The design is represented through sketches, drawings, and photographs. / Master of Architecture

Life is a series of illusions; everyone creates their own life with their personal mindset. We all have our own story. My thesis is part of my story. It was influenced by my life, my illusions, my fears, and my beliefs. This project is dedicated to my brother, whom I lost five years ago. This hardship made me reflect on my passion and my fear: architecture and death. The perspective I gained from studying different cultures and their beliefs about the after life was critical for my project and enlightening on a personal level. For some, death was the end of everything, for others it was just the beginning. Some would grieve and some would take the time to cherish and celebrate death. The synthesis between the knowledge I gained studying these beliefs and that of those I held personally gave rise to this project. Throughout the process the body of the building changed often, but its main structure and soul remained consistent. The essential details of this project were driven from translating the rituals and beliefs of varying cultures regarding mourning and burial into an architectural language. The building consists of a cemetery, columbarium, crematorium, chapel, as well as different spaces for praying and remembering loved ones.The site is located in Old Town, Alexandria. What makes this building different from the others is its emphasis on dead bodies. The more dead bodies enter the building, the more alive the building will become. / Master of Architecture

This thesis studies how light, as a spiritual and symbolic element, cannot only uplift the human condition but also evoke the spiritual. The result can cause one to know what is unknowable without the presence of light and make one aware of what was unknown to them, as well as, revealing what is greater than themselves. The objective is to explore and design spaces that progressively lift the eyes of the observer with natural lighting techniques. Natural light is used to create a better sense of physical and spiritual awareness. / Master of Architecture / This thesis studies how light, as a spiritual and symbolic element, cannot only uplift the human condition but also evoke the spiritual. The result reveals what is greater than themselves. The objective is to explore and design spaces that progressively lift the eyes of the observer with natural lighting techniques. Natural light is used to create a heightened sense of physical and spiritual awareness. Using light, one is led on a staged journey through a series of reflection spaces. This thesis explores how light can be the thing that provides revelation and a deeper understanding of not only one's self, but the world around them, as well as, things greater than themselves.

La présente thèse tente d'aborder, pour la première fois, une analyse comparative du rôle que la musique liturgique a joué dans le processus de construction de l'image sacrée des souverains de la maison Bourbon de France et d'Espagne dans le cadre des cérémonies religieuses célébrées aux cours de Madrid et de Versailles pendant les dernières décennies de l'Ancien Régime, ainsi que du rôle que l'exemple de la Chapelle pontificale a joué dans ce processus. Le but principal de cette étude a été d’apporter un cadre conceptuel et un modèle d'analyse qui permettraient d'aborder une étude globale de la musique sacrée destinée à ces cérémonies, sous un angle plus proche de l'histoire culturelle que de la musicologie traditionnelle, mais toujours partant de l’analyse des aspects performatifs qui permettaient dévoiler l’interaction réciproque entre la musique avec le contexte cérémonial, politique et historique duquel a fait partie. Tout au loin de six chapitres on examine les éléments qui conformaient les cérémonies de la liturgie d’État, conçues à cette époque comme des représentations sacrées : les différentes scènes où avaient lieu, les acteurs, le cérémonial, ainsi que le fonctionnement des différents styles de chant utilisés pour solenniser aussi bien les cérémonies ordinaires que les extraordinaires célébrées à Rome, à Madrid et à Versailles entre 1745 et 1789. Cela comprenait non seulement les œuvres de musique sacrée produites ad hoc par les maîtres de chapelle, mais aussi d’autres musiques, comme le plain-chant, le contrepoint où le faux-bourdon, qui faisant partie de ce même système de représentation étaient parfois exécutés par l’improvisation ou la mémorisation. / This thesis attempts, for the first time, to address a comparative analysis of the role that liturgical music played in the process of building the sacred image of the sovereigns of the Bourbon House of France and Spain as part of the religious ceremonies celebrated in Madrid and Versailles during the last decades of the Ancien Régime, as well as the role that the example of the Pontifical Chapel played in this process. The main purpose of this study was to provide a conceptual framework and analytical model that would allow a global study of sacred music for these ceremonies to be approached from a perspective closer to cultural history than traditional musicology, but always starting from the analysis of the performative aspects that revealed the reciprocal interaction between music and the ceremonial, political and historical context of which it was a part. Along six chapters, we examine the elements that shaped the ceremonies of the State liturgy, conceived at that time as sacred representations: the different scenes in which they took place, the actors, the ceremonial, as well as the functioning of the different styles of singing used to solemnize both the ordinary and extraordinary ceremonies celebrated in Rome, Madrid and Versailles between 1745 and 1789. This included not only sacred music works produced ad hoc by the choirmasters, but also other music, such as plainchant, counterpoint or faux-bourdon, which were sometimes performed by improvisation or memorization as part of this same system of representation.

The diploma thesis deals with the topic of holiness in fine arts in all three parts, namely in theoretical, didactic and fine arts level. The first part of the theoretical level focuses on the concept of holiness and individualization of experience with holiness with respect to manifestation of the category in a broad art context. With the use of specialist literature, the second section of the theoretical research follows on obtained findings about the holiness concept and it also deals with sacral space of The St. Wenceslas' Chapel at The Cathedral of St. Vitus and The Chapel of St. Cross at The Karlštejn Castle with regard to the possibility of a strong psychological effect from these venues. The didactic level is the logical outcome and a free inspiration of the theoretical part. It follows not only on the sacral space of both chapels but it also deals with secular usage of pupils. The main aim of all tasks is to guide pupils to think about category of holiness via their own visual expression in cross-subjects connection, that is with regard to social, cultural and historical context. The authorial fine arts part takes account of many impacts coming from the previous parts. The result is a series of six paintings out of which two can be considered primary experiments. It is mainly personal...

Spain's invasion of the Andes initiated a social drama unprecedented in the experience of the Andean natives. Spanish and Spanish-conscripted native chroniclers wrote extensively about Inca pageantry, spectacle, and ritual, and hastily attributed pagan belief to performances they witnessed or heard about. With equal haste, the Spanish appropriated performance as means of introducing and enforcing Christianity. In this thesis, I treat performance as the central feature of Andean Colonial transition. Performance may be viewed as an ephemeral feature of the Andean transition but fortunately, in mortuary performances (dealing with death and treatment of the body); there are many theatrical elements that survive in mortuary contexts (e.g., staging, setting, costumes, make-up, props, and choreography). Archaeology, history, and ethnographic observation together illustrate that performance has alternately established, celebrated, or subverted Andean power relations during hundreds of years. Mortuary performances are especially excellent commentaries about religious climate of Colonial Peru. In this thesis I analyze mortuary performance in Colonial and contemporary Peru. I argue that the Colonial Spanish saw performance as evidence of belief and sought to transform pagan belief to Christian belief. Ultimately, communities, religion, and performance itself were transformed; integrated and reintegrated into dynamic personal and public expressions.

Project (D. Min.)--Perkins School of Theology, Southern Methodist University, 1986. / Abstract and vita. Includes bibliographical references (leaves 349-354).