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Les musées d’art exposent leurs œuvres selon les modalités de curation et l’architecture même du lieu. Ce mémoire en recherche-création interroge le rôle de médium de l’espace d’exposition en s’appuyant sur un double cadre théorique : les approches matérielles des études médiatiques et la muséologie (études muséales et curatoriales). Les nombreuses spécificités du musée rotond en font un cas particulier récurrent et pertinent pour analyser la manière dont ces courbes spécifiques de l’espace muséal agissent sur l’approche curatoriale d’une exposition et l’expérience qui en découle pour le visiteur. À travers la forme médiatique qu’est le guide d’exposition, il s’agit d’explorer la présentation sur une feuille rectangulaire d’un espace d’exposition circulaire. Trois espaces significatifs font l’objet d’une étude de cas et définissent le cadre de création : la galerie des Nymphéas au Musée de l’Orangerie (Paris, 1927), le Solomon R. Guggenheim Museum (New York, 1959) et la Bourse de Commerce - Pinault Collection (Paris, 2021). Ce mémoire en recherche-création expérimente la dimension médiatique de l’espace rotond par un processus de remédiation du guide d’exposition qui vise à retranscrire matériellement la circularité de ces lieux. Animée par l’analogie entre le circulaire et l’insulaire et investissant leurs modes de représentation, j’y conçois un outil de médiation qui accompagne le visiteur dans sa découverte spatiale du musée rotond et au-delà, le promène dans une itération archipélagique, d’un cercle muséal à l’autre. Chacun des trois musées rotonds de ce pèlerinage offre un fragment de l’expérience à collecter qui, au fil des visites, formera par assemblage l’itinéraire complet et accompli d’une médiation au sein de lieux à l’exposition circulaire. Navigation inédite dans l’archipel Rotonda pour composer son Museario rotondo. Par une approche non-linéaire, tant dans l’aspect théorique et conceptuel que méthodologique, je m’intéresse aux interstices du rotond interrogeant matérialités, possibilités et affordances du circulaire. De l’histoire du rond dans un carré. / Art museums exhibit artworks according to curation methods and the architecture of the building itself. This art-based research thesis questions the medium role of the exhibition space using a double theoretical framework: materialist approach in media studies and museum studies paired with curatorial studies. The numerous specificities of the circular museum convert it into a special case, recurrent and pertinent to analyze the way these specific curves of the museum space act on the curatorial approach of an exhibition and the related experience for the visitor. Threw the media object that the exhibition guide is shaping, the purpose here is to explore the presentation on a rectangular sheet of a circular exhibition space. Three indicative spaces form case studies and define the framework for the creation phase: the Water Lilies Gallery at Musée de L’Orangerie (Paris, 1927), the Solomon R. Guggenheim Museum (New York, 1959) and the Bourse de Commerce - Pinault Collection (Paris, 2021). This art-based research thesis experiments with the media dimension of the rotunda space by remediating the exhibition guide in order to transliterate materially the roundness of those places. Motivated by an analogy between circularity and insularity and investing in their representation forms, I design a mediation tool that guides the visitor in his spatial discovery of the rotunda museum and beyond, walks him threw an archipelagic iteration, from a circle museum to another. Each of the three rotunda museums of this pilgrimage offers a fragment of the experience to be collected which, over the visits, will form by assembly the complete and accomplished itinerary of a mediation within places of circular exhibition. Unprecedented navigation in the Rotonda archipelago to compose the Museario rotondo. Through a non-linear approach, as much as in the theoretical aspect as conceptual and methodological ones, I am interested in the interstices of the rotunda, questioning materialities, possibilities, and affordances of the circular. About the story of a round in a square.

The focus of this thesis is on the most commonly used types of stone, the methods of quarrying stone, stone working, the tools developed and used for that purpose, and the ways in which stone was transported and hoisted into place. This is starting from the earliest times in which large temples or buildings were constructed, namely the Neolithic, up till the time of the Roman Empire. Besides being a kind of compendium of most aspects of stone working, which could be found, also attention is given to the ideal conditions under which the construction of a large temple or monument could take place. The framework, which is developed from the description of the construction of Solomon’s Temple in Jerusalem in I Kings 5 and I Chronicles 28, is used to analyse the construction of a number of other temples in different times, places and settings, and with the use of different materials, to test if the framework is applicable in all these situations. Moreover, also other aspects of stone working, such as mosaics and the manufacturing of stone vessels in Jerusalem are described and analysed as to their origins and uses. The intention is to give an overview of the many ways in which stone has been used, so that the reader can get an idea of how large temples and monuments were built and to gain an understanding of what kind of technical know-how and ingenuity existed in antiquity. / Religious Studies and Arabic / D. Phil. (Religious Studies (Biblical Archaeology))