Le zodiaque, un motif païen antique, a été transposé tel quel dans l'iconographie chrétienne. on trouve également des signes du zodiaque isolés ou en groupes. ils sont souvent jumelés aux douze mois ou aux tâches saisonnières. les premières images en Occident apparaissent dans les manuscrits du début du ixe siècle. aux xiie et xiiie siècles, elles se diffusent dans plusieurs pays de l'Europe occidentale et sur tous les supports. le schéma zodiacal, introduit trois mille ans avant notre ère par la civilisation sumérienne, a été développé par les grecs vers le ive siècle avant j.c. au iie siècle de notre ère, Ptolémée, dans son ouvrage l'almageste, adopta la configuration de l'univers telle qu'elle avait été formulée par Aristote, allégée par Apollonius et enrichie par hipparque. l'almageste fut traduit au ixe siècle par les arabes. l'occident chrétien n'en eut généralement connaissance qu'au xiie siècle, lorsque Gérard de Crémone, le traduisit en latin. pendant les xiie et xiiie siècles tout un corpus de doctrines cosmologiques et philosophiques antiques, devint accessible à l'occident grâce aux traductions. cependant l'Eglise chrétienne, dès ses premières années, se fonda sur les connaissances astronomiques antiques pour dresser un comput ecclésiastique déterminant la date de pâques et celle la plupart des fêtes mobiles du calendrier liturgique. ce n'est que plus tard qu'elle développe une cosmologie dans laquelle s'inscrit le thème du zodiaque. cette cosmologie n'a pas voulu subordonner le monde à l'influence déterminée des astres mais trouver une unité métaphysique susceptible de donner un sens à toute existence physique. notre étude de l'iconographie du zodiaque tentera de montrer comment l'analyse des images éclaire l'histoire de la réception des doctrines cosmologiques dans le monde médiéval de l'occident. / The zodiac, an ancient pagan motif, was transmitted as it is in the Christian iconography. We also find signs of the zodiac isolated or in groups. They are often connected with the twelve months or the seasonal tasks. The first images in Occident appear in the manuscripts of the beginning of the IXth century. In the XIIth and the XIIIth centuries, they are diffused in several countries of Western Europe and in all media. The zodiac diagram, introduced by the Sumerians three thousand years B.C., was developed by the Greeks around the IVth century B.C. In the IInd century, Ptolemy, in his book "Almageste", adopted the configuration of the universe as it was formulated by Aristotle, lightened by Apollonius and enriched by Hipparque. The "Almageste" was translated in the ninth century by the Arabs. The Christian Occident was informed of it only in the XIIth century, when Gerard of Cremona translated it into Latin. During the twelfth and thirteenth centuries a body of ancient philosophical and cosmological doctrines became accessible to the Occident through translations. However, the Christian church, from its early years, relied on the ancient astronomical knowledge to develop an ecclesiastical computation to determine the date of Easter and the most movable feasts of the liturgical calendar. It was only later that the church developed a cosmology which fits the theme of the zodiac. This cosmology does not want to subordinate the world to the influence of the stars but to find a metaphysical unity that would give meaning to all physical existence. Our study of the iconography of the zodiac will attempt to show how the analysis of the images illuminates the history of the reception of the cosmological doctrines in the medieval world of the Occident.

With the destruction of the Second Temple in 70 CE, more than an iconic symbol of Jewish identity was destroyed. As the epicenter of religious life for Jews within the land of Israel, the Temple stood as both a symbol for religious hope and as the physical embodiment of Judaism. Yet, in the centuries that would follow synagogue’s like the one found at Beth Alpha would come to fill its absence. In this thesis I will demonstrate how the use of Christopher Tilley’s theory of the solid metaphor helps us to better understand both the art and architecture of the Beth Alpha synagogue and the synagogue’s connection to the then absent Temple. I argue that by conceptualizing this synagogue as a solid metaphor for the Temple, we can interpret how the paradigmatic and syntagmatic relations found in the composition of the mosaic carpets present sacred space. Through this application of Tilley’s theory, I argue that we can model this paradigm off of Ezekiel’s vision of the Temple.

Due to our love of the waterfront, almost half of the United States population now lives in coastal areas, including shores of estuaries. Unfortunately, this increasing concentration of people upsets the balance of ecosystems. My thesis project, Designing for the Waterfront - An Estuarine Research Reserve on Jones Point is about setting an example, setting a precedent for building on the waterfront. I have attempted to design an environmentally responsive and sensitive research center that will not only monitor and study the Potomac estuary, but will also serve as an example of how one should build on the estuary. / Master of Architecture

University of Macau / Faculty of Arts and Humanities. / Department of Portuguese

No description available.

Bakalauro darbas “EFFECTUS ZODIACUS” parodo, kaip galima sukurti kolekciją, panaudojant stilizuotus Zodiako ženklus. Pirmajame teorinio aprašo skyriuje nagrinėjamos su tema susijusios sąvokos. Išskiriama ženklų ir simbolių klasifikacija bei panaudojimo sritys. Aiškinama, kokią įtaką zodiakai, horoskopų prognozės daro žmonėms, kokie skirtingų šaltinių nurodomi šių ženklų panašumai ir skirtumai. Pateikiami Zodiako ženklų stilizacijų variantai. Antrajame skyriuje išanalizuojamos 12 Zodiako ženklų charakteristikos, nagrinėjamos interpretacijos aprangos dizainerių kūryboje. Trečiajame skyriuje aprašomas bakalauro kūrybinės dalies įvykdymas. Ketvirtajame - darbo ryšio su verslumu skyriuje, aptariamos sukurtos kolekcijos realizavimo galimybės, SSGG analizė. Pridedami penki priedai. Išanalizuota informacija apie Zodiako ženklus, kitų dizainerių kūrybą, leido sukurti originalią 22 modelių „pret a porter de luxe“ kolekciją „EFFECTUS ZODIACUS“. / Bachelor’s work “EFFECTUS ZODIACUS” shows, how we can create the collection, using stilysed signs of the Zodiac. In the first theoretical section, the notions related with the theme are analysed. It is separating the classification and using sections of signs and symbols. Also, it is explained, what influence of zodiacs, horoscopes’ forecasts is making to humans, what similarities and differences are between sources. The versions of Zodiac signs stylizations are introduced too. In the second section analyzed 12 Zodiac signs’ characteristics, the interpretations of in clothes designers creation works. There is described the conception of collection in the third- Bachelor’s creative part section. In the fourth- work connection with enterprise section, are discussing about the realization abbilities of created collection, SWOT analysis Five additions are added: In conclussion, this analysed information about Zodiac signs and other designers’ creation works, allows me to design the ready to wear deluxe “EFFECTUS ZODIACUS” collection of 22 models.

Originally presented as the author's Thesis (Ph. D.)--Hacettepe Üniversitesi, Ankara, Turkey, 2000. / Includes bibliographical references (p. 119-135) and index.

Originally presented as the author's Thesis (Ph. D.)--Hacettepe Üniversitesi, Ankara, Turkey, 2000. / Includes bibliographical references (p. 119-135) and index.

A dissertação trata das relações entre o campo intelectual da arquitetura e a atividade de projeto, na tentativa de reconhecer aproximações entre os projetos culturais, estéticos e políticos de vanguarda e a prática profissional. Nosso foco especifico é a interlocução de Flavio Motta com o meio arquitetônico em São Paulo, através de sua atividade crítica, da sua produção intelectual, do ensino de história da arte e das colaborações diretas que desenvolveu com alguns arquitetos. Partimos de uma breve apresentação de sua trajetória, sobretudo sua atuação como professor no MASP, no Curso de Formação de Professores de Desenho da FAAP e na FAU-USP. A partir daí, desenvolvemos dois estudos específicos: o primeiro se detém no texto que Motta escreveu como apresentação do número especial sobre o Brasil para a revista italiana Zodiac, em 1960; o segundo tem como foco o plano de atividades que ele propôs para o Pavilhão do Brasil em Osaka, na equipe vencedora do concurso, coordenada pelo arquiteto Paulo Mendes da Rocha, em 1970. / This essay addresses the relationships between the intellectual field of architecture and its design activities, in the attempt to recognize connections among cultural, aesthetics and political avant-garde projects, with professional practices. Our specific focus is the exchanges between Flavio Mottas work and the architectural environment of São Paulo, throughout his critical activity, as a professor of Art History, and his direct work with some architects. Primarily we begin with a brief presentation of Flavio Mottas path, stressing in his teaching activities at the MASP (São Paulo Art Museum), and as a professor at both Universities FAAP and FAU_USP. From there we develop two specific surveys: the first is centered in the introduction text that Motta wrote for the Zodiac Magazines special issue about Brazilian Architecture in 1960; the second focuses in the exhibition plan that he conceived for the Brazilian Pavilion project to the Osakas International Exhibition in 1970, which project was design by the architect Paulo Mendes da Rocha.

A dissertação trata das relações entre o campo intelectual da arquitetura e a atividade de projeto, na tentativa de reconhecer aproximações entre os projetos culturais, estéticos e políticos de vanguarda e a prática profissional. Nosso foco especifico é a interlocução de Flavio Motta com o meio arquitetônico em São Paulo, através de sua atividade crítica, da sua produção intelectual, do ensino de história da arte e das colaborações diretas que desenvolveu com alguns arquitetos. Partimos de uma breve apresentação de sua trajetória, sobretudo sua atuação como professor no MASP, no Curso de Formação de Professores de Desenho da FAAP e na FAU-USP. A partir daí, desenvolvemos dois estudos específicos: o primeiro se detém no texto que Motta escreveu como apresentação do número especial sobre o Brasil para a revista italiana Zodiac, em 1960; o segundo tem como foco o plano de atividades que ele propôs para o Pavilhão do Brasil em Osaka, na equipe vencedora do concurso, coordenada pelo arquiteto Paulo Mendes da Rocha, em 1970. / This essay addresses the relationships between the intellectual field of architecture and its design activities, in the attempt to recognize connections among cultural, aesthetics and political avant-garde projects, with professional practices. Our specific focus is the exchanges between Flavio Mottas work and the architectural environment of São Paulo, throughout his critical activity, as a professor of Art History, and his direct work with some architects. Primarily we begin with a brief presentation of Flavio Mottas path, stressing in his teaching activities at the MASP (São Paulo Art Museum), and as a professor at both Universities FAAP and FAU_USP. From there we develop two specific surveys: the first is centered in the introduction text that Motta wrote for the Zodiac Magazines special issue about Brazilian Architecture in 1960; the second focuses in the exhibition plan that he conceived for the Brazilian Pavilion project to the Osakas International Exhibition in 1970, which project was design by the architect Paulo Mendes da Rocha.