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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (p. 111-112). / Through massing , scale, craftsmanship, and their traditional role, church buildings are valuable to the city. They play an important role in the cognitive and formal ordering of the city. They are important to the temporal contect of the city. As the site of milestone events in many people's lives, or as symbols of these events in others' lives, church buildings are important for the collective memory. The grand scale of the church space combined with careful small scale detailing, make it a place with qualities that are rare in the daily life of most people. Because of their importance to the city opportunities and methods to reuse church buildings should be found if the buildings are abandoned by their congregations. Uses should be found that are sympathetic to the spirit and the form of the building. The forms in church architecture are powerful enough that they can survive extensive, yet sensitive, new construction to accommodate a new use and allow the place to read as a new building that was once a church. In order to allow the building to provide a temporal context to the present, when the building is given a new use it must also be given a new image. The elements of the image of a church must be analyzed to discover those which are the most powerful and how they may be changed to allow revealing juxtapositions that say, "this building was a church but is one no longer." In changing the image of the church building, care must be taken not to destroy those qualities which made attempting its reuse worthwhile. These issues are investigated in a series of case studies of reused churches. Several new issues in the redesign of church buildings were discovered through the case studies. The result is a set of observations and conclusions that are a synthesis of the real and the ideal. / by Laurie Putscher. / M.Arch.

Inug.-diss.--Munich. / Lebenslauf. Bibliography included in "Anmerkungen" (p. 47-57).

Thesis (M.B.A.)--University of Hong Kong, 1985.

No description available.

Šiame darbe keliamos ir tiriamos dvi Lietuvos sakralinės architektūros problemos – tradicija ir novacija, jų tarpusavio santykis šiuolaikinėje sakralinėje architektūroje. Tradiciją lemia istorija, per šimtmečius susiformavę įpročiai ir papročiai. Taip pat nemenką įtaką daro tokie svarbūs veiksniai kaip karai, okupacijos ir svetima ideologija. Lietuvoje ilgą laiką buvo draudžiama ir varžoma religinės minties ir praktikos sklaida. Tokiomis sąlygomis sakralinės architektūros tradicija neišliko gyvastinga, buvo trukdoma visavertiškai jos raidai. Platesnė ir išsamesnė šios architektūros analizė padėtų nustatyti, kokios tradicijos ryškėja projektuojant katalikų kulto pastatus, kas išliko sena sakralinėje architektūroje. Nagrinėjant bažnyčių architektūrą, be istorinių veiksnių, susiduriama su novacijomis, jų raiškos problema. Sovietmečiu Lietuvoje architektai nebuvo rengiami projektuoti sakralinius statinius, o ir pačių bažnyčių nebuvo statoma dėl valdžios vykdomos ateistinės politikos: tikintieji buvo persekiojami, kunigams taikomos įvairios represijos. Bažnyčios okupacinės valdžios nurodymu buvo sąmoningai niokojamos – verčiamos sandėliais ar gamyklomis arba paliekamos griūti be priežiūros. Atgavus nepriklausomybę, pradėta padėtį taisyti – imta paskubomis projektuoti ir statyti bažnyčias. Netrukus pastebėta, kad patirties ir išmanymo stoka atvėrė kelią klaidoms ir nepamatuotiems sprendimams. Bažnyčios tuo metu dažnai buvo projektuojamos neprofesionaliai, neatsižvelgiama į... [toliau žr. visą tekstą] / The research involves two problems of Lithuanian sacred architecture – tradition and innovation. Tradition has been preconditioned by history, habits and customs formed within centuries. Such important factors as wars, occupations and foreign ideologies have also made a great influence. Any spread of religious thought and practice was forbidden and restricted quite for a long time in Lithuania. Under such circumstances the tradition of sacred architecture could not stay vital and develop in full-rate. Deeper and more precise analysis of the aforementioned architecture could contribute to identifying the traditions in designing Roman Catholic buildings and what has remained old in this sacred architecture. While analyzing church architecture, innovations and the problem of their expression are faced alongside the historic factors. During soviet times, architects were deprived of getting any training in design of sacred buildings, and churches were not built due to atheistic policy of authorities of the time. Believers were even persecuted and priests underwent various repressions. By the order of occupational authorities, churches were purposely destroyed – turned into storehouses or factories, or simply desolated and condemned to destruction. As soon as Lithuania regained its independence, attempts were made to improve the situation. It was started to design and build churches hastily. Soon it was noticed that lack of experience and knowledge has opened the way to mistakes... [to full text]

The research involves two problems of Lithuanian sacred architecture – tradition and innovation. Tradition has been preconditioned by history, habits and customs formed within centuries. Such important factors as wars, occupations and foreign ideologies have also made a great influence. Any spread of religious thought and practice was forbidden and restricted quite for a long time in Lithuania. Under such circumstances the tradition of sacred architecture could not stay vital and develop in full-rate. Deeper and more precise analysis of the aforementioned architecture could contribute to identifying the traditions in designing Roman Catholic buildings and what has remained old in this sacred architecture. While analyzing church architecture, innovations and the problem of their expression are faced alongside the historic factors. During soviet times, architects were deprived of getting any training in design of sacred buildings, and churches were not built due to atheistic policy of authorities of the time. Believers were even persecuted and priests underwent various repressions. By the order of occupational authorities, churches were purposely destroyed – turned into storehouses or factories, or simply desolated and condemned to destruction. As soon as Lithuania regained its independence, attempts were made to improve the situation. It was started to design and build churches hastily. Soon it was noticed that lack of experience and knowledge has opened the way to mistakes... [to full text] / Darbe keliamos ir tiriamos dvi Lietuvos sakralinės architektūros problemos – tradicija ir novacija, jų tarpusavio santykis šiuolaikinėje sakralinėje architektūroje. Tradiciją lemia istorija, per šimtmečius susiformavę įpročiai ir papročiai. Taip pat nemenką įtaką daro tokie svarbūs veiksniai kaip karai, okupacijos ir svetima ideologija. Lietuvoje ilgą laiką buvo draudžiama ir varžoma religinės minties ir praktikos sklaida. Tokiomis sąlygomis sakralinės architektūros tradicija neišliko gyvastinga, buvo trukdoma visavertiškai jos raidai. Platesnė ir išsamesnė šios architektūros analizė padėtų nustatyti, kokios tradicijos ryškėja projektuojant katalikų kulto pastatus, kas išliko sena sakralinėje architektūroje. Nagrinėjant bažnyčių architektūrą, be istorinių veiksnių, susiduriama su novacijomis, jų raiškos problema. Sovietmečiu Lietuvoje architektai nebuvo rengiami projektuoti sakralinius statinius, o ir pačių bažnyčių nebuvo statoma dėl valdžios vykdomos ateistinės politikos: tikintieji buvo persekiojami, kunigams taikomos įvairios represijos. Bažnyčios okupacinės valdžios nurodymu buvo sąmoningai niokojamos – verčiamos sandėliais ar gamyklomis arba paliekamos griūti be priežiūros. Atgavus nepriklausomybę, pradėta padėtį taisyti – imta paskubomis projektuoti ir statyti bažnyčias. Netrukus pastebėta, kad patirties ir išmanymo stoka atvėrė kelią klaidoms ir nepamatuotiems sprendimams. Bažnyčios tuo metu dažnai buvo projektuojamos neprofesionaliai, neatsižvelgiama į subtilius... [toliau žr. visą tekstą]

Le Corbusier's project for the French parish church of Saint-Pierre at Firminy-Vert is an architectural work which embodies the modern concern for individual accessibility. The following thesis examines Saint-Pierre in this light, showing how it was created as a reaction against the imposing and manipulative natures of both a reductive perspective manifestation of art, and a dogmatic form of ritual. These themes, being particular to modern art, may be seen as a desire for a more accessible and individual participation. The reading of Saint-Pierre proceeds on three levels, addressing divergent aspects of the work's nature, ranging from its formal character, to its symbolism split between the natural and cultural realms. Each level contributes to the image of an open place of worship, that is, an accessible architectural setting intended to frame an individual and inward form of worship. This reading also reveals the inherent conflict involved in attempting to reconcile a monumental disposition--evident at Saint-Pierre and understood as forming part of the poetic integrity of the work--with the accessibility that tends to compromise such integrity. This points to the problematic nature of monumental architecture in modern society.

This dissertation explores how architecture is valorized by the cultural artifacts, both visual and text-based, which present and describe it. It examines aspects of the Gothic Revival in early Victorian Britain, to consider the assimilation of models of evolving architectural discourse by one organization with specialized interest in its promotion, and adaptations of that discourse in the realm of popular culture. The dissertation focuses on the ideology of the Cambridge Camden Society, from its inception in 1839 through to 1850. The Society advocated an appreciation of Gothic churches both for aesthetic, and for religious and moral reasons. A key dimension of its mandate, captured in the rhetoric of ecclesiology, was to prioritize an empirical investigation of extant medieval churches. Findings were to be recorded on specially-devised questionnaires, called "church schemes," using a text-based, specially-encoded taxonomy. Given the availability both of extensive documentation by the Society concerning these schemes, and of almost seven hundred completed forms, areas of conformity and divergence between the prescriptive, instructional material, and the descriptive material which indicates the actual reception of the architecture, may be discerned. "Church visiting" hence became the primary means of personal engagement with the architecture, enacted through the elaborate ritual of scripted tourism spelled out by the church schemes and attendant pedagogical documents. The importance, and the implications, of tourism to members of the Cambridge Camden Society are addressed through an evaluation of travel theories and methodologies, developed, especially, since the 1990s. An understanding of ecclesiology in terms of travel theory enables it to be evaluated in a wider context, namely as part of an emerging tourist ethos based on expanding opportunities and incentives to travel through Britain. From this perspective, the Cambridge Camden Society is to be perceived as part of a larger consortium of advocates of tourism to sights of medieval architecture, who employed similar inducements and terminology, and who created such markers of architectural authenticity as travel guides to mediate the traveller's reception of a given sight. As a result, the possibilities of the widespread dissemination of at least the architectural components of ecclesiological ideals, as part of the groundswell of promotional material devoted to all things Gothic, were enhanced.

Church architecture has evolved dramatically since its inception. It has changed shape, size and form, from simple houses converted to meeting places, to grand Gothic cathedrals, to high-tech auditoriums and modern structures of various shapes and sizes. Throughout the ages there have been many factors that have played a role in this evolution. Not only religious factors, but also economic, social, and political factors, have all contributed to the dynamic changes in church architecture. This thesis focuses on the manner in which the Protestant doctrine has influenced the development of church architecture. This research explores the validity of the idea that spaces and forms of architecture are influenced by the values and beliefs of the people they belong to. There are many movements within Protestantism; because of this there are a variety of architectural forms for their buildings, therefore there is no particular Protestant church architectural style. This study determines how different doctrines and values have influenced church design throughout the ages, through examining various examples of religious architecture, focusing on the doctrinal issues that have played a major part in the design. This is not a comprehensive survey of the history of church architecture. Theoretical discussions on place, meaning and the concept of function are directly relevant this study, which seeks to find ordering principles that inform the creation of functional and meaningful places for people. The main principle that arose from this research is that people, their beliefs and values, and the site need to be the primary design generators in the design of a church complex as they are in any other building. / Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2011.