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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Transparencies yet to come Sigfried Giedion and the prehistory of architectural modernity /Mertins, Detlef. January 1996 (has links)
Thesis (Ph. D.)--Princeton University, 1996. / Includes bibliographical references. Also issued in print.
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Transparencies yet to come Sigfried Giedion and the prehistory of architectural modernity /Mertins, Detlef. January 1996 (has links)
Thesis (Ph. D.)--Princeton University, 1996. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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[en] MONUMENT, SYMBOLISM AND THE PLACE OF MONUMENTALITY IN MODERN ARCHITECTURE / [pt] MONUMENTO, SIMBOLIZAÇÃO E O LUGAR DA MONUMENTALIDADE NA ARQUITETURA MODERNAANTONIO RENATO GUARINO LOPES 27 September 2022 (has links)
[pt] A programada negação da história pelo Movimento Moderno tornou problemática a concepção do monumento, um tema fundamental à arquitetura em qualquer época de seu desenvolvimento. Somada a esta rejeição, o pensamento racionalista e a crença na máquina e na técnica como solucionadoras de problemas sociais levaram à minimização da importância da subjetividade e da simbolização como
fatores essenciais à criação arquitetônica, especialmente para temas em que se exigia a monumentalidade.
São analisados contributos teóricos por parte de agentes culturais na modernidade, em especial os debates ocorridos entre as décadas de 1930 e 1950. Observase, entretanto, que, antes mesmo desses debates, a produção de arquitetos apontava
direções para a concepção de monumentos que incorporassem o espírito de seu
tempo.
Defende-se que as noções de monumento e monumentalidade tiveram, neste
processo, que passar por uma reconsideração, adotando valores anteriormente desconhecidos ou pouco considerados, mas caros à modernidade. Desse modo novas
noções de monumento e monumentalidade se consolidaram com o próprio desenvolvimento da modernidade, para se chegar hoje a entendimentos que incorporaram
conhecimentos e desenvolvimentos realizados em outras áreas ao longo do século
XX. / [en] Modern Movement s planned denial of history rendered problematic the creation of monuments, a basic architectural theme throughout its history. Besides,
rational thought and belief in technics and machines to resolve social matters guided
to diminishment of the importance of subjectivity and symbolism as essential aspects to architectonic creation, particularly when monumentality counted.
Theoretical contributions by last century cultural agents are analyzed, especially debates that took place between the 1930 s and the 1950 s. One can notice,
otherwise, that even before those debates, some architects works pointed towards
the creation of monuments in pace with the spirit of their time.
It is maintained in this work that the notions of monument and monumentality had to go through a reconsideration, when, accordingly to new cultural values,
previously unknown or little considered aspects were taken. This process led to new
notions of monument and monumentality that incorporated XX century developments and knowledge from other areas.
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Sigfried Giedion' / s " / space, Time And Architecture" / : An Analysis Of Modern Architectural HistoriographyCeylanli, Zeynep 01 September 2008 (has links) (PDF)
This thesis investigates the key aspects of modern architecture in the first half of the twentieth century by an extensive reading of Sigfried Giedion&rsquo / s book on modern architecture: Space, Time and Architecture &ndash / The Growth of A New Tradition. Giedion&rsquo / s life, his education, his other writings and his relationships with the pioneers of the era are considered as significant influences on the writing of the book. After giving an informative summary of the book, the key themes of the book are analyzed. While analyzing these themes, the opinions of other architectural historians on these themes are also taken into consideration. The reviews on the book are elucidated in order to grasp the first reactions of architectural history circles, and then they were followed by the later impressions. The claim is that Space, Time and Architecture is an influential resource for the understanding of how modern architecture is written about in the first half of the twentieth century. The proof of this influence is both the written sources on the book and its rule in Manfredo Tafuri&rsquo / s formulation of &lsquo / operative criticism&rsquo / .
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New MonumentalityOzten, Ulku 01 December 2005 (has links) (PDF)
&ldquo / New monumentality&rdquo / is a term which was first introduced to architectural discourse by Sigfried Giedion, Jose Luis Sert, and Fernand Lé / ger right after the post-World War II in the early forties. The effect of the term comes from the polemical power of reformulation of the accustomed category &ldquo / monument&rdquo / within the field of the modern architecture. In this way, as it is shaped by the three authors, for the first time &ldquo / New Monumentality&rdquo / had been identified as a modern task under the name of Nine Points on Monumentality in 1943. Therefore, this thesis is mainly grounded on this significant text that is a primary manifestation of the need for the new monumentality.
On these bases, that the manifesto is stressed an effort to determine the ethics of the post war modern architecture regarding: historicism, functionalism, and representation. This thesis seeks to clarify the self-critical frame which is unfolded by the manifesto within the context of the modern architecture. Thus, the first one of the three objectives of this thesis is to clarify the concept of new monumentality / the second one is to locate its position in the history of modern architecture / and the third one is to differentiate proposed and unintended outcomes of this movement within the contemporary discourses of architecture.
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Searching for the Grandiose / Searching for the GrandioseWallhammar, Johan January 2018 (has links)
This project is called “Searching for the Grandiose” and consequently dives into this both historical and contemporary field of architecture. With a basis in architectural history, architectural theory and popular culture the project aims to understand and create grandiose architecture. Both built and imaginary, this area of architecture has always inspired and pushed the boundaries for the possibilities of our profession. Furthermore, in the search for the grandiose also follows a possibility of the limitless – both economically, technically and mentally. In trying to design the grandiose, the architect must loosen the chains of reality and strive for the impossible and awesome. Consequently – a vast architectural fantasy is here created on an imaginary site with no restrictions in regards to size, program or economy.
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Molekulárně genetická analýza chromozomální oblasti 8q24 u pacientů s trichorhinofalangeálním syndromem nebo izolovanými exostózami / Molecular genetic analysis of chromosomal region 8q24 in patients with trichorhinophalangeal syndrome or isolated exostosisKlugerová, Michaela January 2015 (has links)
Trichorhinophalangeal syndrome is a malformation syndrome characterized by craniofacial and skeletal abnormalities and is inherited in an autosomal dominant manner. We distinguish free subtypes on clinical and molecular level - TRPS I, TRPS II, TRPS III. All TRPS patients have sparse hair, a pear-shaped nose, a long flat philtrum, a thin upper lip and protruding ears. Skeletal abnormalities include cone-shaped epiphyses at the phalanges, hip malformations and short stature are present. The subgroups TRPS I and TRPS III are result of the mutated TRPS1 gene, which is maped into the 8q24 region. This gene is situated proximal of the EXT1 gene, both genes are affected in a subgroup of patients with TRPS II. These patients suffer more from multiple (cartilaginous) exostoses and mental retardation. In this work we performed molecular genetic analysis of a sample of 16 patients, 8 probands showed a TRPS phenotype and 8 probands had only isolated exostoses. The peripheral venous blood of patients was used to gain purified DNA, which was subsequently used to investigate the chromosome 8q24 region using MLPA ("multiplex ligation-dependent probe amplification"). This analysis revealed a deletion in 1 TRPS patient and 1 patient with exostoses. Sequencing of the TRPS1 gene coding exons in remaining 7 TRPS...
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George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art.Cuthbert, Nancy Marie 20 August 2012 (has links)
Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories. / Graduate
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