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O Edifício Metrópole e Centro Metropolitano de Compras, projetado pelos arquitetos Salvador Candia (1924-1991) e Gian Carlo Gasperini (1926), é um importante exemplar da produção arquitetônica moderna realizada na cidade de São Paulo na década de 1960, em razão das relações que estabelece com o espaço urbano. O edifício situa-se na Avenida São Luiz, segmento do sistema viário concebido por Francisco Prestes Maia em seu Plano de Avenidas de 1930, implantado ao longo dos anos de 1940. A inserção urbana do Edifício Metrópole revela a preocupação de seus autores em conciliar a forma arquitetônica moderna com os arranjos espaciais presentes na cidade tradicional. A busca por este diálogo resultou em uma solução que é, ao mesmo tempo, a reparação das descontinuidades espaciais presentes em seu entorno urbano; e a inovação nas relações que o edifício estabelece com o mesmo ao oferecer um espaço interno contínuo ao exterior no âmbito de seu embasamento, propondo sobre este, um edifício isolado, livre das contingências presentes na cidade existente. A análise do projeto compreendeu uma caracterização de seu contexto urbano; o entendimento das condições históricas que deram origem e possibilitaram a construção do edifício; e, principalmente, o estudo dos desenhos iniciais desenvolvidos pelo arquiteto Gian Carlo Gasperini na ocasião do concurso fechado de projetos que deu origem ao edifício, passando pelo material produzido durante a parceria com o arquiteto Salvador Candia, até a versão original do projeto publicada pela revista Habitat em 1960. / The Edifício Metrópole e Centro Metropolitano de Compras, or Edifício Metrópole for short, a building designed by the architects Salvador Candia (1924-1991) and Gian Carlo Gasperini (b. 1926), is an important specimen of the modern architectural production carried out in the city of São Paulo in the 1960s, on account of the relations it establishes with the urban space. The building is located at Avenida São Luís, the unit of the roadway system conceived by former São Paulo mayor Francisco Prestes Maia in 1930 as part of his Plano de Avenidas, and implemented throughout the 1940s. The urban insertion of the Edifício Metrópole evidences the preoccupation of its authors with harmonizing the modern architectural form with the spatial arrangements found in the traditional city. The search for this dialogue resulted in a solution that is both the reparation of the spatial discontinuities found in its urban surroundings and the innovation in the relations that the building establishes with them, as it provides an internal space adjacent to the external surface within its basement and proposes the construction on the latter of an isolated building, free from the contingencies found in the existing city. The analysis of the design included a characterization of its urban context; an understanding of the historical conditions that originated and made possible the construction of the building; and mainly the study of the original drawings made by the architect Gian Carlo Gasperini for the closed design contest that originated the building, going from the material produced during his association with the architect Salvador Candia, through the original version of the design published by Habitat magazine in 1960.

O Edifício Metrópole e Centro Metropolitano de Compras, projetado pelos arquitetos Salvador Candia (1924-1991) e Gian Carlo Gasperini (1926), é um importante exemplar da produção arquitetônica moderna realizada na cidade de São Paulo na década de 1960, em razão das relações que estabelece com o espaço urbano. O edifício situa-se na Avenida São Luiz, segmento do sistema viário concebido por Francisco Prestes Maia em seu Plano de Avenidas de 1930, implantado ao longo dos anos de 1940. A inserção urbana do Edifício Metrópole revela a preocupação de seus autores em conciliar a forma arquitetônica moderna com os arranjos espaciais presentes na cidade tradicional. A busca por este diálogo resultou em uma solução que é, ao mesmo tempo, a reparação das descontinuidades espaciais presentes em seu entorno urbano; e a inovação nas relações que o edifício estabelece com o mesmo ao oferecer um espaço interno contínuo ao exterior no âmbito de seu embasamento, propondo sobre este, um edifício isolado, livre das contingências presentes na cidade existente. A análise do projeto compreendeu uma caracterização de seu contexto urbano; o entendimento das condições históricas que deram origem e possibilitaram a construção do edifício; e, principalmente, o estudo dos desenhos iniciais desenvolvidos pelo arquiteto Gian Carlo Gasperini na ocasião do concurso fechado de projetos que deu origem ao edifício, passando pelo material produzido durante a parceria com o arquiteto Salvador Candia, até a versão original do projeto publicada pela revista Habitat em 1960. / The Edifício Metrópole e Centro Metropolitano de Compras, or Edifício Metrópole for short, a building designed by the architects Salvador Candia (1924-1991) and Gian Carlo Gasperini (b. 1926), is an important specimen of the modern architectural production carried out in the city of São Paulo in the 1960s, on account of the relations it establishes with the urban space. The building is located at Avenida São Luís, the unit of the roadway system conceived by former São Paulo mayor Francisco Prestes Maia in 1930 as part of his Plano de Avenidas, and implemented throughout the 1940s. The urban insertion of the Edifício Metrópole evidences the preoccupation of its authors with harmonizing the modern architectural form with the spatial arrangements found in the traditional city. The search for this dialogue resulted in a solution that is both the reparation of the spatial discontinuities found in its urban surroundings and the innovation in the relations that the building establishes with them, as it provides an internal space adjacent to the external surface within its basement and proposes the construction on the latter of an isolated building, free from the contingencies found in the existing city. The analysis of the design included a characterization of its urban context; an understanding of the historical conditions that originated and made possible the construction of the building; and mainly the study of the original drawings made by the architect Gian Carlo Gasperini for the closed design contest that originated the building, going from the material produced during his association with the architect Salvador Candia, through the original version of the design published by Habitat magazine in 1960.

Thesis (D.M.A.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 116-122).

共一冊，約二十萬字。全文共分七章：第一章略述錢大昕的時代背景與家世，著重在 學以及家學淵源的介紹。第二章略述錢大昕生平，介紹他生平的經歷，而特別著重他 的學術活動。第三章略考錢大昕的著作，並將其著作之刊刻情形列成一表，第四章略 述十駕摘齋養新錄的成書經過，以及刊行的情形。第五章與第六章介紹十駕齋養新錄 的內容，第五章先就其有關經學與小學者，做一述評：竹第六章則就其有關史學及其 他方面之見解，做一評述。第七章則就就十駕齋養新錄一書來看錢大昕之治學，最後 結論，敘述本論文的特色以及研究心得。在長達一年的研究與撰寫過程中，將錢大昕 及其十駕齋養新錄，從上述幾個方向加以探討，得知錢大昕乃是一位腳踏實地的學者 ，終其一生，都在實踐「兼人之學」的宏願，而成為「通儒」。

Gianlorenzo Bernini's Altieri Chapel possesses an aesthetic splendour that continues to captivate modern viewers. However, despite the recent publication of Shelly Karen Perlove and Giovanni Careri's studies on this subject, its unique manner of signification continues to be elusive. In the former case, the author's dependence on a melange of seventeenth-century religious notions reduces Bernini's choice of imagery to mere theological illustration. On the other hand, Careri affirms the originality of the chapel, but his over reliance on a heuristic comparison with film montage limits his appreciation of the viewer's role in this aesthetically charged space. / The present study strikes a balance between its own contemporary subjectivity and Bernini's historicity, locating the chapel's meaning making capacity in a hermeneutic oscillation between both its constituent elements and the participatory beholder. The result is the recognition of a unique artistic statement, which avers the fundamental commonality between several post-Tridentine liturgical practices. The salvific efficacy of these tenets is asserted by an aesthetic signification of the divine presence which lies behind them. The spectator is drawn into a mimetic world, suffused with Baroque Catholic ideology, and shown that Church doctrine is backlit with the radiance of ultimate truth. Of course, seventeenth-century viewing practices cannot be recreated, just as the feeling engendered by this artistic experience is beyond the descriptive powers of this or any other text. Nevertheless, it is possible to provide a guide to the spiritual references in Bernini's microcosm, for, while secular, modern viewers may no longer see with Baroque eyes, perhaps they can appreciate what those eyes saw.

S. Andrea al Quirinale, by Gian Lorenzo Bernini, is undoubtedly one of the great achievements of the Italian Baroque. No less spectacular is its message, though art historians have generally regarded it as simply a Jesuit church housing the glorious scene of the martyrdom and apotheosis of St. Andrew. This view, however, is clearly misleading since a closer examination of the building and its contents shows that the devout and learned Bernini intended to suggest a number of other important related themes. / This thesis focuses on the concept of martyrdom through a thorough analysis of not only the dominant religious event above the high altar area, but the entire iconographic scheme of the church, which is reinforced by the architectural setting. This Jesuit building is further examined in the light of several artistic influences. The most obvious, yet most overlooked of these is the literary source of the Spiritual Exercises by St. Ignatius of Loyola. S. Andrea al Quirinale is also considered in terms of the architectural heritage of early Christian churches and martyria. (Abstract shortened by UMI.)

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