<p>Stress, measures</p>

Stress, measures

My goal with this body of work was to create an installation that would resemble both a chapel and a shotgun house. The installation was constructed out of mixed media vignettes revealing both memories and constructed commentaries that reflect and document a moment of real time for me. The work I have created over the past several years speaks of human frailty and the mystery of existence. My thesis exhibition has allowed me to further develop my own personal symbols, which serve as fragile reminders of hope and transformation in a hostile world. I have created an environment with an iconic shrine-like quality that allows viewers to reflect upon their relationship with the surrounding environment.

What makes a city exist? Is it movement, rhythm, symbols, texture, volume and time? Architecture should heighten the drama of living, walking gives a true scale of the city, creating an experience. Urban spaces must accommodate the individual. Movement systems determine the shape of the fields of influence; this varies in intensity with the degree of movement. This thesis is an exploration into architecture of meaning, space and elements. These common elements change context and increase scale while recognizing the difference between inside and outside. This contrast supports meaning. The play of scale, hierarchy and patterns use space in different ways accommodating the individual. An existing condition is transformed and renovated. What entities are removed and what entities will remain? This art museum is permanent and changing over time, architecture that transforms. A strong symbolic form, the cube, establishes an entity within the urban fabric. A sequence of sensations in size, scale, color, texture and light motivate the space. Tension is created between two bodies, the exterior brick shell and interior steel framework. Natural light penetrates a double height space of new elegantly structured steel with reinforced concrete stepping platforms. The existing wood columns overlap into this steel structure creating a place for movement. Juxtaposition is created between new construction and the existing. Light steel opposes heavy wood while transparency opposes opacity. Steel frames with concrete slabs independent of the existing shell and cantilevering precast concrete boxes oppose wood timbers and brick bearing walls. Concrete floors and gaps created where they meet walls oppose wood floors touching the walls. This completes this thesis. / Master of Architecture

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Grief is a personal thing, as unique as it is ubiquitous, and each character in What Remains approaches their grief in a different way and handles it with differing degrees of success. The collection blends both realist and fabulist stories in its efforts to explore these themes, from the eponymous "What Remains," in which a man attempts to reconcile his feelings about the death of his abusive, absentee father, and what that means for his relationship with his own son; to "Convoy," a story of a Marine who confronts the culture of violence into which he's been indoctrinated, and which separates him from society; to "Anaerobic," about a teenage girl whose super-speed can't save her sister from brain death in a hospital bed. Other stories look at their characters' losses through the different lenses of loneliness, of desperation, of divorce, and of parenthood, but all of them essentially attempt to unearth the answer to the question, "How do we keep going in the face of loss—and where do we go?"

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Précieuse source d’informations sur l’auteur des Vies des meilleurs peintres, sculpteurs et architectes, la correspondance de Giorgio Vasari (1511-1574) est bien connue des historiens de l’art depuis son édition par Karl Frey (1923-1930). La conservation rigoureuse de ses nombreuses lettres ainsi que la remarquable qualité stylistique d’une grande partie d’entre elles, invitent à s’interroger sur la valeur que Vasari lui-même pouvait attribuer à son écriture épistolaire. Voyait-il ses lettres comme une partie fondamentale de son legs culturel ? On peut se demander s’il avait pu caresser le projet de les publier sous forme de recueil, conformément à une pratique très diffusée chez les hommes doctes du XVIe siècle. C’est justement un recueil qui se distingue tout particulièrement au sein du riche carteggio vasarien : le manuscrit Riccardiano 2354, de la Bibliothèque Riccardiana de Florence. Datant de la fin du XVIe siècle, ce petit codex contient quarante-huit missives copiées par le neveu et principal hériter de l’artiste arétin, Giorgio Vasari le Jeune (1562-1625), fonctionnaire médicéen versé dans différents savoirs techniques et scientifiques. Cette étude analyse les opérations de sélection, de transcription et de possible transformation menées par Vasari le Jeune à partir des sources épistolaires originales de son oncle, aujourd’hui introuvables. Des indices matériels et textuels laissent penser que le volume de la Riccardiana pourrait avoir été conçu comme un « livre de lettres » destiné à la publication, mais finalement jamais paru. Une initiative éditoriale avortée donc, visant la célébration posthume de la vie et de l’œuvre de Vasari à travers la valorisation de son héritage épistolaire. La lecture croisée des textes du recueil et d’autres missives qui y furent exclues, permet de reconnaître, en amont de l’entreprise de Giorgio le Jeune, un dessein de reconstitution biographique qui privilégie certains aspects de la figure de Vasari, en omet d’autres et, parfois, plie l’héritage culturel de l’artiste aux exigences d’affirmation personnelle du neveu dans le contexte médicéen de son temps. La résultante principale de cette recherche est une réflexion sur les dynamiques propres à l’écriture épistolaire de Vasari, sur les fonctions diverses qu’elle pouvait endosser dans les différentes phases de sa carrière d’artiste et d’écrivain. Car la pratique épistolaire fut pour Vasari un outil privilégié pour la mise en représentation de soi vis-à-vis de son réseau de correspondants, pour l’apprentissage de la parole littéraire et pour l’élaboration des procédés de l’ekphrasis, plus largement développés dans les Vies. / A valuable source of information on the author of The Lives of the Artists, the correspondence of Giorgio Vasari (1511-1574) is well known to art historians, mainly since its almost complete edition published by Karl Frey (1923-1930). If we consider the fact that Vasari zealously kept his numerous letters during his whole life, as well as the remarkable stylistic quality of many of these texts, we realise the importance of inquiring into how significant his epistolary writing could have been to him. Did Vasari see his missives as an essential part of his cultural legacy? In this case, it has to be questioned whether the artist could have ever conceived the project of publishing a selection of his letters, in accordance with a widespread practice among literates in the Fifteenth century. A collection of Vasari’s letters was actually gathered and still stands out from the large number of documents of his vast carteggio: it’s the manuscript Riccardiano 2354, held by the Biblioteca Riccardiana in Florence. Dating from the late Fifteenth century, this small codex contains forty-eight letters posthumously copied by the artist’s nephew and principal heir of his estate, Giorgio Vasari the Younger (1562-1625), an official of the Medicean Court deeply versed in several scientific and technical disciplines. This study investigates the process of selection, transcription and possible manipulation conducted by Vasari the Younger on his uncle’s original epistolary sources, which are nowadays still missing. Several material or textual hints can suggest that the Riccardiana’s volume might have been a “libro di lettere”, a book of letters designed for publication, but finally never printed. The chief aim of this editorial effort would have been a posthumous celebration of Vasari’s life and artistic achievements, through the highlighting of his missives. The comparison between the texts included in the Riccardiana’s manuscript and other excluded letters, allows us to recognise, as the essential mainstay in Giorgio the Younger’s work, the design of a biographical depiction of Vasari’s figure, focusing on specific traits and omitting others. The artist’s epistolary legacy seems to be occasionally subject to his nephew’s personal career requirements in the Medicean context of his time. The result of this research is a series of considerations on the dynamics inherent in Vasari’s epistolary writing, such as the various functions that it could assume according to the different phases of the artist’s career. Epistolarity has been Vasari’s main tool for self-fashioning towards his correspondents; as well as for literary learning and for the conception of the device of ekphrasis, developed on a larger scale in the Lives.

第一章〈緒論〉，旨在確立動機與目的，在了解目的後；進一步整理前人的說法，希冀在前人的研究基礎上，做更深入的研究、探索；進而進再談論到研究背後的理論基礎與研究步驟；最後，則說明本研究所使用的語料的取用原因及來源。 　　第二章〈閩南語韻母的文白讀判讀〉，除了將閩南語韻母離析出文讀層與白讀層外，還進一步將白讀層韻母再細分為更多層次。 　　第三章〈西漢韻母現象在閩南語白讀中的表現〉，主要是透過上古至西漢間，韻部系統關係與分合關係的發展，來觀察在閩南方言中的表現情形。 　　第四章〈六朝江東韻母現象在閩南語白讀中的表現〉，主要是透過六朝時期南方江東地區的韻部合流、對立的關係，來檢視在閩南方言中的表現。 　　第五章〈結論〉，旨在統整前面幾章的重點，歸結閩南語不同層次的演變類型，並解釋古漢語韻母的時代特色與閩南語不同演變類型的關係。