Thèse de doctorat : Philosophie : Nancy 2 : 2002. / Bibliographie.

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Thesis (Ph. D.)--University of California, Santa Cruz, 1993. / Typescript. Includes bibliographical references (leaves 275-284).

L’étude des concepts fondamentaux de l’iconologie permet de dégager la conception de l’art, de l’histoire et de la création qu’elle implique. L’examen de l’analyse iconographique, des formations par analogie et de la critique du formalisme de Wölfflin permet de réviser l’idée selon laquelle l’intellectualisme de Panofsky le conduirait à méconnaître la spécificité du visuel. La mise au jour des torsions que l’iconologue fait subir au concept de forme symbolique clarifie la question du néo-kantisme et pose celle de l’usage de concepts (philosophiques) par l’historien. Le propre de la démarche historienne ressort aussi de l’analyse du concept rieglien de Kunstwollen qui engage la théorie de la création, la définition de l’art, son autonomie et la légitimité de l’iconologie. Celle-ci passe également par la résolution d’une tension entre le souci d’écarter toute approche esthétique ou normative de l’objet d’art et la nécessaire prise en compte de sa spécificité épistémologique et pratique. Enfin le concept d’habitus et la refonte des notions d’influences et de tradition lèvent l’antinomie entre liberté créatrice et nécessité historique. L’usage du modèle dialectique (hégélien) de l’histoire relève d’un choix de méthode et d’une prise de distance par rapport à Warburg dont les concepts centraux sont détournés. / The study of the fundamental concepts of iconology enables us to identify the idea of art, of history and of creation it presupposes and also to rethink the traditional interpretation which is made of it. The analysis of the iconographical moment, of the creation by analogy and of the criticism of Wölfflin’s formalism challenges the idea that Panofsky supposedly fails to recognize the implacability of the visual aspect. As for Panofsky’s thesis of Neo-Kantianism, it is based on resorting to the concept of symbolic form. But the twisting it undergoes is relevant of the unique way in which the historian resorts to (philosophical) concepts. The distinguishing feature of the historical approach also emerges from the study of the Rieglian Kunstwollen concept which involves the theory of creation, the definition and the autonomy of art, and the legitimacy of iconology. This legitimacy also emerges from the solving of the tension between the desire to turn down any esthetical or normative approach of the objet d’art, and the necessity to take its epistemological and practical specificity into account. The historian’s will to be objective and the transformation of the taste-based judgment into the knowledge-based judgment it seems to imply are also questioned. Finally, the concept of habitus and the transformation of the notions of influence and tradition remove the antinomy between creative freedom and historical necessity. The use of the dialectic (Hegelian) model of history is a choice of method and implies that Panofsky voluntarily stands back from Warburg’s philosophy, the key concepts of which are thus embezzled.

This thesis on one of the most significant productions of the Early Republican Period, reveals the values of the urban park / namely Gen&ccedil / lik Parki, and analyzes its disintegration process with changing decades and conditions. There are several discourses, which are practiced in Gen&ccedil / lik Parki, are found valuable / therefore, it is considered to be preserved. These discourses may be considered as / Gen&ccedil / lik Parki consists the values of the Republican Period, it is the urban space for the cultural formation of the society, it is the historical stage for the social and historic events in Ankara, it is one of the green zones within the growing city. On the other hand, the architectural, namely the objective values of the park are not considered within these discourses. In this sense, the main concern of the thesis will be to read the drastic change in the treatment of the values of Gen&ccedil / lik Parki after its foundation through successive decades of different administration and usage to the current situation. The values pertaining to the modern monument will be envisaged in the terminology of Alois Riegl, who has put forth his views in the late 19th century. In other words, our concern is to examine the urban artifact which is one of the most significant productions of the Republican Period, and to explore the values, and analyze its disintegration process with changing decades and conditions. Moreover, this thesis searches an answer to the question, Do we really know Gen&ccedil / lik Parki?

This diploma thesis deals with a construction of a calibration field in the area of the AdMaS research centre (Brno University of Technology). Furthermore, photogrammetric data from the Riegl VMX-450 mobile mapping system has been acquired and processed. Selected points of the calibration field were used as control points. The other points of the calibration field were used as check points. As part of the testing, the coordinate deviations at the check points were assessed. The difference between the accuracy of mobile laser scanning and mobile photogrammetry was also evaluated. Coordinate deviations of mobile photogrammetry were tested according to standard ČSN 01 3410. Furthermore, a point cloud and a textured 3D model were generated.

Ce mémoire est une mise à jour philosophique du modèle conceptuel défini par Aloïs Riegl dans son ouvrage sur Le culte moderne des monuments. Pour faire cet aggiornamento, nous présentons dans une première partie ce modèle et l'énigme qu'il contient. Dans la deuxième, nous décrivons le paradigme que les premières communautés patrimoniales adoptèrent dans l'Entre-Deux-Guerres pour la résoudre, puis nous introduisons dans la troisième les concepts qui ancrent leur paradigme dans le monde actuel et nous formulons l'énigme qu'il pose maintenant aux professionnels. Historiquement, nous démontrons ainsi la continuité de l'institution patrimoniale, d'A. Riegl à nos jours. En dépouillant les archives de la Commission internationale de Coopération intellectuelle, nous prouvons que l'ONU et l'UNESCO n'ont pas créé les réseaux de conservation que nous connaissons, mais ont hérités de ceux que la SDN et la CICI tissèrent avant-guerre en fédérant les institutions et les associations qui existaient alors. Philosophiquement, nous mettons au jour le fondement ontologique et épistémologique de l'institution patrimoniale en étudiant différents modèles conceptuels. Nous expliquons comment le réalisme structural peut concilier les théories réalistes et constructivistes qui pourraient s'opposer ici et comment l'approche processus permet d'unifier ses secteurs sans nier les différences de nature qui existent entre ses objets. Notre thèse est que l'on peut modéliser le domaine en interconnectant les points de vue de ses acteurs. Pour l'établir, nous répondons à la question de savoir ce qu'est le patrimoine, comment fonctionne son institution et sur quoi se fonde sa conservation. / This doctoral thesis on epistemology of conservation is a philosophical update of the conceptual model defined by Alois Riegl in his book on The Modern Cult of Monuments. The first part presents the model and its riddle in order to perform this aggiornamento. The second part describes the paradigm adopted by the first heritage communities between the two world wars in their attempt to resolve it. The third part introduces the concepts that connect their paradigm with the present world and formulate the riddle challenging current professionals. The author proves the historic continuity of the heritage institution from A. Riegl to our days. By examining the archives of the International Committee on Intellectual Cooperation (ICIC), he demonstrates that the UN and UNESCO didn't create the heritage networks that we know today but that they originate from the networks of institutions and associations organized by the League of Nations and ICIC before World War I. Philosophically, he brings to light the ontological and epistemological foundation of the heritage institutions by studying several conceptual models. He explains how structural realism can reconcile realism with constructivism, even as they seem to be opposite theories, and alson how the processus approach can unify its parts without negating the differences of nature between its objects. His thesis is that almost all of the domain can be modelized by interconnecting the points of view of all its actors. To establish this point, he answer the following questions : what is heritage ? How does its institution function ? What is its conservation funded upon ?

The Capitol Stones in Washington DC's Rock Creek Park were a delight for urban explorers, a curiosity for historians, and a tangible connection for descendants of enslaved laborers who quarried, transported, and shaped them into the United States Capitol. Banished from the East Front of the Capitol in 1958, they have spent the last third of their existence "not quite dumped, but not quite preserved either" (Banville 2009). To the National Park Service, they are a liability; to the Architect of the Capitol, a resource. At the time of writing, the stones are being relocated to a secure government storage facility where they will be permanently locked away from public view. This thesis proposes an alternative: relocate the Capitol Stones to an adaptively reused factory at the Navy Yard, where they can be stored, visited, and studied in a cavernous daylit atrium. In addition to housing the stones, as part of this thesis the WWII era naval weapons factory features retail at ground level and residences on four stories above. To the north, the atrium recalls the park-like setting of the stones' recent past, while the southern end is a working space for masons training to preserve historic buildings constructed of the same Aquia Creek sandstone. Due to the Anacostia's shifting shoreline, the site of Building 202 is also a likely location of the wharf at which the Capitol Stones first arrived in the District after being floated upriver from their Stafford County quarry. This crucial moment is marked by a contemplative memorial which stands in memory of the enslaved laborers who, across various levels of skill, built the Capitol. On axis with the memorial, the Capitol's East Portico - the origin of the Capitol Stones - is remembered at full scale. / Master of Architecture / Seemingly abandoned behind a maintenance shed in Washington DC's Rock Creek Park was a large collection of intricately hand carved stones. Urban explorers, historians, and descendants of enslaved laborers knew them as the Capitol Stones, which formed the East Front of the United States Capitol from the 1820s to the 1950s. But much like they were evicted from the Capitol, the Stones are presently facing eviction from Rock Creek Park. At the time of writing, the stones are being relocated to a secure government storage facility where they will be permanently locked away from public view. But what if they could remain accessible? This thesis proposes the relocation of the Capitol Stones into the light-filled atrium of a WWII era naval weapons factory, formerly part of the Washington Navy Yard. The atrium is enveloped by retail and residential space, as well as a training center for apprentice masons learning to use the Capitol Stones as a quarry. Stripped of their original purpose, the Capitol Stones have found new value as replacement stones at the other historic buildings. The factory, Building 202, occupies dredged and filled land which at the time of the Capitol's construction was part of the Anacostia River and the likely site of Commissioner's Wharf, the pier at which the Capitol Stones were delivered from the Aquia Creek Quarry in Stafford County, VA. Recalling this pivotal occasion, the stones surround a contemplative memorial to enslaved laborers who built the Capitol. To the east of the memorial stands a life sized representation of the East Front of the Capitol, the origin of the Capitol Stones.

Diploma thesis describes collecting of data by mobile mapping system Riegl VMX-450. Science centre AdMas was captured with mobile mapping system. For the purpose of testing the accuracy, a calibration field was constructed in AdMaS. Main part of the thesis deals with testing of the accuracy of point cloud. Calibration field's coordinates were obtained by adjustment of the geodetic network using the least squares adjustment. During the testing, the coordinates of the calibration field points determined by the adjustment of the geodetic network and the coordinates of the points determined from the point cloud were compared. Another part of the work deals with testing of the accuracy, when target's position is in different height levels.

This thesis reviews the circumstances that led to what Paul Renner called “the inflation of historicism,” places his response to that problem in the context of the Weimar Republic, details how the German attributes with which he began the project were displaced from the typeface that emerged in 1927, demonstrates that Futura belongs to a new category of serif-less roman fonts rooted in Arts and Crafts lettering, and considers why the specifically German aspects of the project have gone unrecognized for over seventy years. Renner’s writing is compared to ideas prevalent in early twentieth-century German cultural discourse, and Futura’s design process is placed in the context of Renner’s personal experience of Weimar’s social and economic crises. Objective measurements are employed to establish the relationship between drawings attributed to Renner and are used to compare features of Futura with other fonts of the period.