This thesis wants to save character and identity of local territory and bring a new function in to the historical objects. So it offers comfortable and special living and brings new values for the local inhabitants.

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The present dissertation ("Hybridisations between music and painting: the relationship of Morton Feldman and Mark Rothko in Rothko Chapel") has as main objective to examine the technical approach, the stylistic resources and the degree of interdisciplinary relation that establishes between the work of the American composer Morton Feldman (1926 - 1987) Rothko Chapel (1971) and the work of the same painter, also American, Mark Rothko (1903 - 1970), realized in Houston, Texas. By linking the pictorial and architectural work with the musical - due to the "autobiographical character" attributed by the composer to his piece - the research addresses its degree of hybridization, the rhetorical, narrative or imitative processes used and the possibility of classification of This interdisciplinary convergence within the scope of musical ekphrasis. Because of this, the work developed, which has a transdisciplinary character, focuses basically on the study, analysis and comparison - through similarities and / or references - of the musical and pictorial work within the North American artistic and sonorous context of Mid twentieth century. However, while the musical proposal is approached with a technical and systematic criterion of analysis of the score - from a melodic, harmonic, organological, agogical, dynamic and structural point of view, the pictorial intervention is examined not only as a site project -specific - number of paintings or panels, size, shape and technique of the same, arrangement in the architectural space, specific treatment of light - but also as a plastic disc inserted in the artistic and vital trajectory of its author. The comparative study is completed with textual and biographical contributions, especially related to Morton Feldman, given the importance they have in order to locate Rothko Chapel in a context that, beyond strictly musical, reflects the pictorial influence that the work had Of Rothko in the compositional methods of our musician. Finally, the thesis is accompanied by a self-recorded CD on Rothko Chapel, a recording that is also accessible through an online platform. Through the same it is wanted that the interpretation made allows to contrast the proposals, the results and the conclusions obtained during the investigation process. / La presente tesis doctoral ("Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel") tiene como objetivo principal examinar el planteamiento técnico, los recursos estilísticos y el grado de relación interdisciplinar que se establece entre la obra del compositor estadounidense Morton Feldman (1926 - 1987) Rothko Chapel (1971) y el trabajo homónimo del pintor, también estadounidense, Mark Rothko (1903 - 1970), realizado en Houston, Texas. Al vincular la obra pictórica y arquitectónica con la musical -debido al "carácter autobiográfico" que el mismo compositor le atribuye a su pieza-, la investigación aborda su grado de hibridación, los procesos retóricos, narrativos o imitativos utilizados y la posibilidad de clasificación de esta convergencia interdisciplinar dentro del ámbito de la écfrasis musical. Debido a ello, el trabajo desarrollado, que posee un carácter transdisciplinar, se centra básicamente en el estudio, análisis y comparación -a través de similitudes y/o referencias- de la obra musical y de la pictórica dentro del contexto artístico y sonoro norteamericano de mediados del siglo XX. Ahora bien, mientras que la propuesta musical es abordada con un criterio técnico y sistemático de análisis de la partitura -desde un punto de vista melódico, armónico, organológico, agógico, dinámico y estructural-, la intervención pictórica es examinada no solo como proyecto site-specific -número de cuadros o paneles, tamaño, forma y técnica de los mismos, disposición en el espacio arquitectónico, tratamiento específico de la luz-, sino también como discurso plástico inserto en la trayectoria artística y vital de su autor. El estudio comparativo realizado se completa con aportaciones textuales y biográficas, especialmente vinculadas a Morton Feldman, dada la importancia que estas poseen de cara a ubicar Rothko Chapel en un contexto que, más allá de lo estrictamente musical, recoge la influencia pictórica que tuvo la obra de Rothko en los métodos compositivos de nuestro músico. Finalmente, la tesis se acompaña con una grabación propia en CD de Rothko Chapel, grabación que también es accesible través de una plataforma en línea. A través de la misma se desea que la interpretación efectuada permita contrastar las propuestas, los resultados y las conclusiones obtenidas durante el proceso de investigación. / La present tesi doctoral ("Hibridacions entre música i pintura: la relació de Morton Feldman i Mark Rothko en Rothko Chapel") té com a objectiu principal examinar el plantejament tècnic, els recursos estilístics i el grau de relació interdisciplinària que s'estableix entre l'obra del compositor nord-americà Morton Feldman (1926 - 1987) Rothko Chapel (1971) i el treball homònim del pintor, també nord-americà, Mark Rothko (1903 - 1970), realitzat en Houston, Texas. En vincular l'obra pictòrica i arquitectònica amb la musical -a causa de el "caràcter autobiogràfic" que el mateix compositor li atribueix a la seua peça-, la recerca aborda el seu grau d'hibridació, els processos retòrics, narratius o imitatiUs utilitzats i la possibilitat de classificació d'aquesta convergència interdisciplinària dins de l'àmbit de la écfrasis musical. A causa d'açò, el treball desenvolupat, que posseeix un caràcter transdisciplinar, se centra bàsicament en l'estudi, anàlisi i comparació -a través de similituds i/o referències- de l'obra musical i de la pictòrica dins del context artístic i sonor nord-americà de mitjan el segle XX. Ara bé, mentre que la proposta musical és abordada amb un criteri tècnic i sistemàtic d'anàlisi de la partitura -des d'un punt de vista melòdic, harmònic, organológico, agógico, dinàmic i estructural-, la intervenció pictòrica és examinada no solament com a projecte site-*specific -nombre de quadres o panells, grandària, forma i tècnica dels mateixos, disposició en l'espai arquitectònic, tractament específic de la llum-, sinó també com a discurs plàstic inserit en la trajectòria artística i vital del seu autor. L'estudi comparatiu realitzat es completa amb aportacions textuals i biogràfiques, especialment vinculades a Morton Feldman, donada la importància que aquestes posseeixen de cara a situar Rothko Chapel en un context que, més enllà de l'estrictament musical, arreplega la influència pictòrica que va tenir l'obra de Rothko en els mètodes compositius del nostre músic. Finalment, la tesi s'acompanya amb un enregistrament propi en CD de Rothko Chapel, enregistrament que també és accessible través d'una plataforma en línia. A través de la mateixa es desitja que la interpretació efectuada permeta contrastar les propostes, els resultats i les conclusions obtingudes durant el procés de recerca. / Cerveró Beta, JJ. (2017). Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90572

Art conservation and restoration on ancient works are continuously involving new types of technologies. These trends are mostly taking place in Europe, especially Florence because it is the foremost leading city of art restoration, and has the most capable and devoted fresco restorers in Italy. This study contributes to the scholarly discourse of advances in art restoration involving computers and nanotechnology, and promotes the use of technology in the field of art. The crux of the paper focuses on the Brancacci Chapel fresco cycle restoration throughout the span of several years. This project is important to the research of art restoration primarily because it has undergone several different methods of repair. This is probably due to the fact that the chapel was subject to a fire in 1771 t as well as the Florence flood of 1966. This thesis examines the different viewpoints of art scholars regarding the implementation of nanoscicence and computers in the field and sheds light on restorations done on recent works and the incorporation of nanotechnology in American museums.

Theme of the thesis is a construction that is considered to be one of the most spectacular examples of a French gothic architecture. Notre-Dame Cathedral lies on the Eastern half of a Parisian island Île de la Cité on the river Seina. On April 15, 2019, roof of the cathedral caught on fire. It was completely destroyed, including its pinnacle. The thesis offers a solution how to restore the roof and what opportunities the new design brings. Aim of the proposal is enrichment of the Notre-Dame community through offering a new refuge, which will be for both, internal growth and spiritual practice itself. The design provides spaces that capture the path to God in them. I perceive the very path to God as a thorough inner work. That is why I am placing 36 contemplation booths in there, in addition to other 8 cabins. The light is removed from those, in order to extend the perception of consciousness. Spaces for individuals will be amended by 3 chapels for a group practice. Each chapel has its typical content - joint contemplation chapel, chapel that worships the Jesus Christ’s crown of thorns and a community chapel with a variable arrangement.

Ce mémoire porte sur la vie et l’œuvre des trois maîtres de chapelle de la Cathédrale de Quito aux XVIIe et XVIIIe siècles : Gonzalo Pillajo, Manuel Blasco et Joseph Hortuño. Leurs œuvres de musique chorale se trouvent dans la compilation des manuscrits situés dans les archives du diocèse d’Ibarra (Équateur). Elles ont été classées, pour la plupart, en tant que chants de Noël appelés villancicos. À la lumière des caractéristiques physiques des manuscrits en question, des recherches spécifiques faites à ce sujet, et de la documentation existante sur le gouvernorat de Quito et ses alentours tout au long de la vice-royauté du Pérou, ce travail démontre dans un premier temps le contexte dans lequel ces villancicos ont été composées. Par ailleurs, l’étude des manuscrits révèle les détails sur l’organisation des voix, et la façon dont les œuvres ont pu être interprétées. En plus, l’étude de la musique des trois maîtres de chapelle révèle les liens existant entre leurs œuvres et celles des compositeurs Francisco Guerrero et Juan de Araujo. De cette façon, une démarche historico-culturelle musicale autour de la Cathédrale de Quito lors de l’époque coloniale a été accomplie et a permis d’identifier les particularités qui font référence aux croyances et aux habitudes de la population indigène latino-américaine. / This study showcases the life and works of three Chapels Masters of the Cathedral of Quito during the 17th and 18th centuries: Gonzalo Pillajo, Manuel Blasco et Joseph Hortuño. Their choral music pieces can be found in the compilation of manuscripts located in the archives of the diocese of Ibarra (Ecuador). Most of these pieces have been classified as Christmas carols called Villancicos. Taking into account the physical characteristics of the manuscripts in question, previous research completed on the subject and existing documentation on the governorate of Quito and its surroundings along the territorial viceroyalty of Peru, this dissertation demonstrates the context in which these villancicos were composed. Furthermore, the study of these manuscripts reveals details regarding the organization of voices and the manner in which these choral pieces were interpreted. Lastly, from the three Chapel Masters we note the similarities between their works and those of Francisco Guerrero and Juan de Araujo. In this way musical historical-cultural research around the Cathedral of Quito during the colonial period has been accomplished and has allowed to identify the particularities that refer to the beliefs and habits of the Latin American indigenous population.

Jesus Christ instructed His disciples before His death to limit the preaching of the gospel to the ‘lost sheep of the house of Israel’ (Matt 10:6). After His resurrection, however, He broadened the scope of proselytizing to all: “Make disciples of all nations” (Matt 28:18-20). This meant that the gospel should be preached everywhere and to all peoples. This mandate has come to be known by Christians as the Great Commission. Since the 1970s a new wave of churches, commonly referred to as the charismatic churches, have come to be firmly established on the religious landscape of Ghana, West Africa. One of the most prominent is the Lighthouse Chapel International (LCI). Headquartered in Accra, the LCI is a large worldwide denomination that aggressively employs the agency of church planting in its attempt to facilitate the fulfilment of the Great Commission. This study enquires into the church planting activities of the Lighthouse Chapel International with the aim of documenting the processes, principles and strategies underlying the denomination’s mission. It is hoped that this empirical analysis of the LCI will benefit newer struggling churches, particularly those within the charismatic tradition,in their efforts to spread the gospel of Christ, while providing a new self-understanding that will carry the LCIitself into the future. The study employs a qualitative methodology through the review of some relevant literature, interviews with key informants (LCI ministers, non-LCI charismatic leaders, andnon-LCI leaders conversant with the LCI church planting model), together with collated views from focus group discussions and the results of a qualitative questionnaire. The literature review on the LCI relies primarily on the sermons and writings of Heward-Mills, the founder of the denomination, which have informed the strategies and other processes in the church’s missionary work and advancement. The study reveals that, overall, the LCI’s mission strategies, including the focused emphasis on church planting, lay ministry, administrative support systems, and use of permanent church halls, have combined to create a productive and robust church planting model in Ghana. The study concludes that the fulfilment of the Great Commission must be the main preoccupation of the charismatic churches in Ghana, and that the foremost strategy for achieving this is church planting. The study recommends the development of a wellthought-out biblical and theologically based mission strategy. Church planting will be enhanced by more effective use of lay people, appropriate attention to a doctrine of loyalty, efficient administrative support systems and the building of permanent church halls. Each network of churches ought also to appoint a missions department with a named director to ensure that the missional aspect of the work of the Christian church in Ghanaremains central in its planning and activities. / MA (Missiology), North-West University, Potchefstroom Campus in co-operation with Greenwich School of Theology, UK, 2014

Jesus Christ instructed His disciples before His death to limit the preaching of the gospel to the ‘lost sheep of the house of Israel’ (Matt 10:6). After His resurrection, however, He broadened the scope of proselytizing to all: “Make disciples of all nations” (Matt 28:18-20). This meant that the gospel should be preached everywhere and to all peoples. This mandate has come to be known by Christians as the Great Commission. Since the 1970s a new wave of churches, commonly referred to as the charismatic churches, have come to be firmly established on the religious landscape of Ghana, West Africa. One of the most prominent is the Lighthouse Chapel International (LCI). Headquartered in Accra, the LCI is a large worldwide denomination that aggressively employs the agency of church planting in its attempt to facilitate the fulfilment of the Great Commission. This study enquires into the church planting activities of the Lighthouse Chapel International with the aim of documenting the processes, principles and strategies underlying the denomination’s mission. It is hoped that this empirical analysis of the LCI will benefit newer struggling churches, particularly those within the charismatic tradition,in their efforts to spread the gospel of Christ, while providing a new self-understanding that will carry the LCIitself into the future. The study employs a qualitative methodology through the review of some relevant literature, interviews with key informants (LCI ministers, non-LCI charismatic leaders, andnon-LCI leaders conversant with the LCI church planting model), together with collated views from focus group discussions and the results of a qualitative questionnaire. The literature review on the LCI relies primarily on the sermons and writings of Heward-Mills, the founder of the denomination, which have informed the strategies and other processes in the church’s missionary work and advancement. The study reveals that, overall, the LCI’s mission strategies, including the focused emphasis on church planting, lay ministry, administrative support systems, and use of permanent church halls, have combined to create a productive and robust church planting model in Ghana. The study concludes that the fulfilment of the Great Commission must be the main preoccupation of the charismatic churches in Ghana, and that the foremost strategy for achieving this is church planting. The study recommends the development of a wellthought-out biblical and theologically based mission strategy. Church planting will be enhanced by more effective use of lay people, appropriate attention to a doctrine of loyalty, efficient administrative support systems and the building of permanent church halls. Each network of churches ought also to appoint a missions department with a named director to ensure that the missional aspect of the work of the Christian church in Ghanaremains central in its planning and activities. / MA (Missiology), North-West University, Potchefstroom Campus in co-operation with Greenwich School of Theology, UK, 2014

The aim of this essay is to examine and compare how virtue was depicted in the visual arts in medieval and renaissance Italy: why it was depicted this way; how the depiction of virtues may have differed between the two periods and, if so, what caused it to change. The essay first examines and analyses the history of virtue, beginning in classical antiquity, and the evolution of virtue through the Middle Ages and the virtues’ role in society and art. It follows with a close examination of Giotto di Bondone and his grisaille frescoes of the virtues and vices in the Scrovegni Chapel in Padua. The essay then examines the role of virtue in renaissance society and art, followed by a close examination of Raphael and his frescoes of the heavenly virtues in the Stanza della Segnatura in The Vatican Palace in Rome. The essay concludes with a discussion of how the two periods differed in their depiction of virtue and why.