Center 8 Research Reports and Record of Activities
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Aerial View and Its Role in Spatial Transformation: the Case of Istanbul a Thesis Submitted to the Graduate School of Natural A
AERIAL VIEW AND ITS ROLE IN SPATIAL TRANSFORMATION: THE CASE OF ISTANBUL A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÖKÇE ÖNAL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE SEPTEMBER 2014 Approval of the thesis: AERIAL VIEW AND ITS ROLE IN SPATIAL TRANSFORMATION: THE CASE OF ISTANBUL submitted by GÖKÇE ÖNAL in partial fulfillment of the requirements for the degree of Master of Architecture in Architecture Department, Middle East Technical University by, Prof. Dr. Canan Özgen Dean, Graduate School of Natural and Applied Sciences Prof. Dr. Güven Arif Sargın Head of Department, Architecture Inst. Dr. Mustafa Haluk Zelef Supervisor, Architecture Dept., METU Examining Committee Members: Prof. Dr. Belgin Turan Özkaya Architecture Dept., METU Inst. Dr. Mustafa Haluk Zelef Architecture Dept., METU Prof. Dr. Güven Arif Sargın Architecture Dept., METU Assoc. Dr. Namık Günay Erkal Architecture Dept., METU Inst. Dr. Davide Deriu Architecture Dept., University of Westminster Date: 04/09/2014 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Gökçe Önal Signature: iv ABSTRACT AERIAL VIEW AND ITS ROLE IN SPATIAL TRANSFORMATION: THE CASE OF ISTANBUL Önal, Gökçe M.Arch, Department of Architecture Supervisor: Inst. Dr. Mustafa Haluk Zelef September, 2014, 161 pages What is intended to be explored in this research is the historical course within which the transformation of aerial view has influenced the observation, documentation and realization of the built environment. -
RELIEF PRINTING 101 Maury 2017
RELIEF PRINTING 101 Maury 2017 Relief printing is one of the oldest (500 BC) and most direct of all the printmaking methods. Images can be simplistic and graphic, or intricate and detailed. It’s a subtractive process, meaning you cut away, or subtract, the areas you do not want to print. USING WOOD VS. LINEOLEUM? Wood and linoleum are the most common relief printing substrates. Other materials such as MDF, foam, cintra, and even dense cardboard have been used. Your choice of material will heavily dictate the kinds of marks and level of detail you are able to achieve. Wood Linoleum Grain of wood will print No grain, smooth surface Wood is denser, takes more effort to cut, Softer for cutting and easier for making curved offers a more angular mark. lines. More readily available and often cheaper Special order if no art store available, pricier Comes in very large sizes Many sizes available, including rolls PREPARING THE BLOCK LINOLEUM: No preparation of the surface of the block is required. But if you are printing multiple colors with accurate registration, it is a good idea to make sure your linoleum block is square on one corner for registration during printing. WOOD: For easier carving, use Shina plywood, which is a softer plywood and allows for easy cutting across the grain. A dense, tight-grained wood such as cherry, maple or birch also works but requires more effort to carve (especially across the grain). It can be solid wood or plywood as long as it’s flat and even. The benefit to a harder wood is that it will withstand more printing with a press and will retain very fine detail better. -
Viewing Film from a Communication Perspective
Communication and Theater Association of Minnesota Journal Volume 36 Article 6 January 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Purdue University, [email protected] Rebekah L. Fox Purdue University Jennifer L. Bezek Purdue University Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Curriculum and Social Inquiry Commons, Film and Media Studies Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Clair, R., Fox, R., & Bezek, J. (2009). Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom. Communication and Theater Association of Minnesota Journal, 36, 70-87. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Clair et al.: Viewing Film from a Communication Perspective: Film as Public Rel 70 CTAMJ Summer 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Professor [email protected] Rebekah L. Fox, Ph.D. Jennifer L. Bezek, M.A. Department of Communication Purdue University West Lafayette, IN ABSTRACT Academics approach film from multiple perspectives, including critical, literary, rhetorical, and managerial approaches. Furthermore, and outside of film studies courses, films are frequently used as a pedagogical tool. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Fillia's Futurism Writing, Politics, Gender and Art after the First World War Permalink https://escholarship.org/uc/item/2r47405v Author Baranello, Adriana Marie Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils. -
Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides, -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
ELISABETTA SIRANI's JUDITH with the HEAD of HOLOFERNES By
ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI (Under the Direction of Shelley Zuraw) ABSTRACT This thesis examines the life and artistic career of the female artist, Elisabetta Sirani. The paper focuses on her unparalleled depictions of heroines, especially her Judith with the Head of Holofernes. By tracing the iconography of Judith from masters of the Renaissance into the mid- seventeenth century, it is evident that Elisabetta’s painting from 1658 is unique as it portrays Judith in her ultimate triumph. Furthermore, an emphasis is placed on the relationship between Elisabetta’s Judith and three of Guido Reni’s Judith images in terms of their visual resemblances, as well as their symbolic similarities through the incorporation of a starry sky and crescent moon. INDEX WORDS: Elisabetta Sirani, Judith, Holofernes, heroines, Timoclea, Giovanni Andrea Sirani, Guido Reni, female artists, Italian Baroque, Bologna ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI B.A., Florida State University, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2008 © 2008 Jessica Cole Rubinski All Rights Reserved ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI Major Professor: Dr. Shelley Zuraw Committee: Dr. Isabelle Wallace Dr. Asen Kirin Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2008 iv To my Family especially To my Mother, Pamela v ACKNOWLEDGEMENTS First, I would like to thank Robert Henson of Carolina Day School for introducing me to the study of Art History, and the professors at Florida State University for continuing to spark my interest and curiosity for the subject. -
Wspó£Czesne Metody Opracowania Baz Danych
Pawlicki, B. M., Czechowicz, J., Drabowski, M. (2001). Modern methods of data processing of old historical structure for the needs of the Polish Information System About Monuments following the example of Cracow in Cultural Heritage Protection. In: D. Kereković, E. Nowak (ed.). GIS Polonia 2001. Hrvatski Informatički Zbor – GIS Forum, Croatia, 367-378. MODERN METHODS OF DATA PROCESSING OF OLD HISTORICAL STRUCTURE FOR THE NEEEDS OF THE POLISH INFORMATION SYSTEM ABOUT MONUMENTS FOLLOWING THE EXAMPLE OF CRACOW IN CULTURAL HERITAGE PROTECTION Bonawentura Maciej PAWLICKI Jacek CZECHOWICZ Mieczysław DRABOWSKI Politechnika Krakowska Cracow University Of Technology Cracow University of Technology, Institute of History of Architecture and Monuments Preservation, Center of Education and Research in the Range of Application of Informatic Systems, Cracow ABSTRACT Presented works were made from 1999 to 2001 years in the Division of Conservatory Studies and Researches, of the Institute of History of Architecture and Monument Preservation - Faculty of Architecture of the Cracow University of Technology. The software, methods and models of the data base systems were laboratory experimented in the Computer Information Systems Center of the Cracow University of Technology. The works (laboratories, terain exercises and student practises) which have been doing so far, concerned of geodesy-cataloguing registration and using computer technology give an optimal possibilities of monitoring of the historical environment for preservation of the cultural heritage. The data used in computer modelling make applying of multiply materials as a basis of data warehouse, among other: geodesy foundations, their newest actualisation, digital camera photography’s and space visualisations. In works students used following graphical programs: GIS, 3D Studio Max, AutoCAD – Architectural Desktop, ArchiCAD 6.5, Adobe Photo Shop, Land Development, Corel Draw, Picture Publisher. -
Development of Form Making of Door Knockers in Italy in the Xv-Xvii Centuries
Man In India, 96 (12) : 5677-5697 © Serials Publications DEVELOPMENT OF FORM MAKING OF DOOR KNOCKERS IN ITALY IN THE XV-XVII CENTURIES Tatiana Evgenievna Trofimova* Abstract: Decorative art items - door knockers - combine practical and esthetic features. At the same time they are a part of everyday and art culture, and can tell much about the ideology, lifestyle of the society, and the level of the artistic crafts development at the time when they were created. The goal of this research is to study the role and purpose of door knockers in the Italian culture of the XV-XVII centuries, to research door knockers that continue decorating doors of various Italian cities and towns, to study in details Italian door knockers of the golden age of the bronze-casting art through the samples from the Hermitage in Saint-Petersburg. For this research it was necessary to solve the following tasks: to put the generalized illustrative material in the historical succession, to consider form making of door knockers in accordance with the architectural styles, and symbolic meaning, to define characteristic features of the artistic expression, to reveal regularities in form making and decorating of door knockers, as well as to study and describe samples from the Hermitage in Saint-Petersburg as the best examples of Italian door knockers of the XV-XVII centuries. The following methods were used during the research: - References and analytical: reproduction of the general picture of the development of various forms of door knockers, searching for and systematization -
Cna85b2317313.Pdf
THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him. -
1 70X51cm 600-1200 2 3500-6500 3 160X210mm 100-200 4 400-900 5
1 Luca Cambiaso (1527–1585)-manner of, The Holy Family, oil on textile or paper on wooden board. On the reverse old panel support. 70x51cm 600-1200 2 North or Central Italian door arch, 14th/15th Century, white marble with grey veins, in the centre Salvator Mundi, flanked left and right by two angels in praying position, each with one open wing to the top. The ches with depth folds worked in half height 65cm, relief. Weathered, parts missing. length 110cm 3500-6500 3 Antonio Tempesta (1555-1630)-attributed, Soldier with sword and shield on a horse, monogrammed A. T. F. ? Black chalk with brown and black wash on brown paper, in passepartout, described "ant:Tempeste", framed, under glass. 160x210mm 100-200 4 Ivory baker in medieval manner with carved decorations of knights, a king and soldiers in front of a town, decorated with shields, coat of arms, flowers. The lower base with smaller turned ring and carved animals and dragons. Damages and height 18cm, parts missing, dirt. German. diameter 9,3cm 400-900 5 Giovanni Battista Salvi da Sassoferrato (1609-1685)-follower, Portrait of the Virgin, oil on canvas in a later gilded and carved frame. 52x40cm 300-700 6 Limoges enamel goblet, in oval shape, oval feet with thin shaft, as well as oval body and lid. Copper with rich ornamental painted floral enamel decorations in white, silver and golden colours on blue ground. Inside as well blue and gold decorated. height 16cm, On the top a gilded bronze figure. Dammaged. French, length 13cm, 17th/18th Century. depth 10cm 400-800 7 Jan van Kessel the Elder (1626-1679)-manner of, Study of insects, two frogs and a snail, a ring with pearl and some coins. -
History of Modern Art Painting Sculpture Architecture Photography
HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION LK024_P0001EDarmason_HoMA_FM_Combined.indd i 14/09/2012 15:49 LK024_P0001EDarmason_HoMA_FM_Combined.indd ii 14/09/2012 15:49 HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION H.H. ARNASON ELIZABETH C. MANSFIELD National Humanities Center Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo LK024_P0001EDarmason_HoMA_FM_Combined.indd iii 14/09/2012 15:49 Editorial Director: Craig Campanella This book was designed and produced by Editor-in-Chief: Sarah Touborg Laurence King Publishing Ltd, London Senior Sponsoring Editor: Helen Ronan www.laurenceking.com Editorial Assistant: Victoria Engros Production Manager: Simon Walsh Vice President, Director of Marketing: Brandy Dawson Page Design: Robin Farrow Executive Marketing Manager: Kate Mitchell Photo Researcher: Emma Brown Editorial Project Manager: David Nitti Copy Editor: Lis Ingles Production Liaison: Barbara Cappuccio Managing Editor: Melissa Feimer Senior Operations Supervisor: Mary Fischer Operations Specialist: Diane Peirano Senior Digital Media Editor: David Alick Media Project Manager: Rich Barnes Cover photo: Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 (detail). Oil on canvas, 58 ϫ 35” (147.3 ϫ 88.9 cm). Philadelphia Museum of Art. page 2: Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86 (detail). 1 1 Oil on canvas, 6’ 9 ∕2” ϫ 10’ 1 ∕4” (2.1 ϫ 3.1 m). The Art Institute of Chicago. Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text or in the picture credits on pages 809–16.