Kunstgeschichte an Europas Peripherie

Total Page:16

File Type:pdf, Size:1020Kb

Kunstgeschichte an Europas Peripherie KUNSTGESCHICHTE AN EUROPAS PERIPHERIE Der Palau de la Música Catalana – ein Konzertsaal im Barcelona der Jahrhundertwende unter metahistorisch-ideologiekritischer Perspektive Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Klaus Kehrlößer M. A. aus München Bonn 2003 INHALTSVERZEICHNIS 1VORWORT................................................................................................... III 2 EINFÜHRUNG ............................................................................................... 1 3 MODERNISMO............................................................................................ 10 4 DER BAU UND SEINE INNENAUSSTATTUNG ......................................... 20 5 METAHISTORISCHE ÜBERLEGUNGEN ZUR ARCHITEKTUR- GESCHICHTSSCHREIBUNG AM BEISPIEL DES PALAU UND DEM WERK DOMÈNECH I MONTANERS .......................................................... 43 METHODISCHE ÜBERLEGUNGEN..................................................................................... 43 MALEREI UND ARCHITEKTUR ........................................................................................... 47 DIE VERNACHLÄSSIGUNG SPANISCHER KUNST ........................................................... 49 DOMÈNECH UND GAUDÍ..................................................................................................... 62 POSTMODERNE................................................................................................................... 67 GOTIK- UND MUDÉJARREZEPTION .................................................................................. 69 6 DER TYPUS DES KONZERTSAALS.......................................................... 77 7 KONSTRUKTION UND BAUTECHNISCHE ASPEKTE.............................. 86 DIE VERWENDUNG VON EISEN UND GLAS ..................................................................... 86 WÖLBUNGSTECHNIK A LA CATALANA ............................................................................. 91 AKUSTIK................................................................................................................................99 8 KUNST UND GESELLSCHAFT ................................................................ 103 9 OSTEUROPÄISCHE PARALLELEN ........................................................ 116 DER SMETANASAAL IN PRAG – EIN VERGLEICH.......................................................... 116 POLNISCHE KUNSTGESCHICHTE UND NATIONALSTIL ............................................... 120 10 SCHLUSSBEMERKUNG .......................................................................... 129 11 ANHANG ................................................................................................... 138 DOMÈNECH I MONTANER AUS ZEITGENÖSSISCHER SICHT...................................... 138 WAGNERISMUS IN KATALONIEN..................................................................................... 142 DAS VERHÄLTNIS VON MUSIK UND ARCHITEKTUR..................................................... 146 I DATEN ZUR AKUSTIK DES PALAU .................................................................................. 148 KONZERTSÄLE UND MUSIKLEBEN IM HEUTIGEN SPANIEN........................................ 150 12 THEMATISCHE BIBLIOGRAPHIE............................................................ 156 13 ABBILDUNGEN......................................................................................... 167 II 1 VORWORT Bevor das eigentliche Thema dieser Arbeit vorgestellt wird, seien zunächst einige Hinweise und persönliche Anmerkungen erlaubt. Die Zitate sind um der besseren Lesbarkeit willen bisweilen in der englischen Übersetzung angeführt, obgleich es sich ursprünglich um spanische oder katalanische Texte handelt.1 Die typographischen Hervorhebungen in den Zitaten stammen vom Verfasser selbst. Ihre Zahl ist bei einer metahistorisch orientierten Arbeit naturgemäß etwas zahlreicher als üblich. Dadurch sollte die Möglichkeit gegeben werden, die Lesart des Verfasser kritisch nachzuvollziehen. Zitate unterschiedlicher oder sich bestätigender Meinung wurden gegenübergestellt und nachgewiesen, wie die Rezeption innerhalb der Forschung verläuft. Zu bedauern ist, daß der Nachlaß Domènech i Montaners, der sich seit kurzem im Architektenkolleg in Barcelona befindet und davor von Domènech i Girbau verwahrt wurde, zur Zeit weder zugänglich ist noch grundlegend bearbeitet wurde. Dennoch sind viele Zeichnungen, Pläne und Briefe an anderer Stelle bereits publiziert, vieles ist jedoch auch verloren. Das Domènech-i-Montaner- Jubiläumsjahr 1999 hat an diesem Zustand kaum etwas geändert.2 Ein weiteres Problem für die Forschung ergibt sich daraus, daß ein Großteil der 1 Dadurch soll nicht der Eindruck entstehen, daß vornehmlich englischsprachige Sekundärliteratur benutzt und die spanische oder katalanische ausgeblendet worden wäre (vgl. Anm. 224). Bei einer Arbeit mit Zitaten aus Literatur in sechs Sprachen schien diese Vorgehensweise sinnvoll, obgleich jede Übersetzung einen Verlust bedeutet; ja manchmal kommt es durch die Wahl der englischen Sprache gar zu einer unterschwelligen Aktualisierung dieser Kunst wie sie auch durch die Verwendung von Anglizismen der deutschen Umgangssprache „trendy“ gemacht wird. So findet sich einmal für das etwas neutralere spanische ideario (wie für ideología an anderer Stelle) das englische ideology. Durch die Sprache, deren Wahl und Übersetzung, beginnt eine Interpretation der Kunst. Zur mangelnden Wahrnehmung spanisch- und katalanischsprachiger Literatur äußert Mireia Freixa im Hinblick auf „los principales problemas de comprensión de nuestro Modernismo por parte de los estudiosos foráneos. Conocen los principales libros, pero ignoran las investigaciones básicas publicadas en revistas especializadas y trabajan con artículos publicados en revistas extranjeras, normalmente muy poco documentados.“ (Freixa 1990, S. 53) 2 vgl. hierzu Montse Carlas: El año Domènech i Montaner reivindica la figura del artista modernista, in: El País 28.12.1999. Neben einer aus Fotografien bestehenden kleinen Ausstellung im Col⋅legi d’Arquitectes de Catalunya und der Integration einiger Bauten des Architekten in die Modernismo-Route ist vor allem ein durch Mireia Freixa organisiertes Symposion an der Universität Barcelona zu Domènech i Montaner im Rahmen eines Sommerkurses zu erwähnen. Bezeichnend ist der Vergleich mit dem zahlreiche Aktivitäten umfassenden und ganz anders vermarkteten Gaudí-Jahr 2002 mit „an die zwanzig kleineren und größeren Ausstellungen.“ (NZZ 02.04.02). III Literatur zu Domènech i Montaner, insbesondere zu Einzelaspekten, nicht veröffentlicht ist. Dies sind vor allem Magisterarbeiten, aber auch Dissertationen, für die es in Spanien keine Publikationspflicht gibt. Der Verfasser ist daher Mireia Freixa besonderen Dank schuldig für die Zurverfügungstellung derartiger Literatur. Leider konnten die Ergebnisse eines Kongresses an der Humboldt-Universität Berlin zur Kunstgeschichte Ostmitteleuropas nicht mehr berücksichtigt werden, da die Kongreßakten noch nicht vorlagen.3 Der besondere Dank des Verfassers gilt den Mitarbeitern des Palau de la Música Catalana, insbesondere Herrn Pere Artís für die großzügige Unterstützung und Motivation wie vor allem auch den freien Zugang zu allen Räumen, dem Institut Amatller d’Art Hispànic, ein Modernismogebäude (1898- 1900), das einen nahezu perfekten Rahmen für die Erforschung der Kunst dieser Zeit darstellt, den Mitarbeiten der Biblioteca general d’història de l’art wie der Carl-Justi-Stiftung. Den größten Dank aber schulde ich meinen Freunden in Barcelona, die mich auch für längere Aufenthalte immer herzlichst aufgenommen und mir gewünschte Bücher besorgt haben und denen ich überhaupt mein Interesse an der reichen Kultur Kataloniens verdanke. Ich möchte Glòria und Ignasi, Claudia und Marc, Anna und Sergi nennen. Was die technischen Aspekte anbelangt, war mir die Hilfe von Architekten wichtig, besonders meines Freundes Dr. Roberto Gonzalo. Michael Schatz, einem der besten Kenner kolumbianischer Kunst, bin ich für seinen Rat dankbar.4 Der Wunsch vieler nach guten Gesamtdarstellungen, die übergreifende Zusammenhänge neben und bei der Betrachtung von einzelnen Kunstwerken ermöglichen, spielte auch eine Rolle bei der Wahl einer historiographischen Perspektive mit ihrer gleichzeitigen Berücksichtigung solcher Publikationen, denn derartige Werke, so sehr wir sie brauchen und uns wünschen, sind 3 Ilona Lehnert: Selbsterforschung ist nur ein Anfang. In der Falle der konkurrierenden Nationalismen. Die Kunstgeschichte Ostmitteleuropas vor alten Fragen und neuen Aufgaben, in: FAZ 11.07.01. Ebenfalls in Berlin (Freie Universität) fand im November ein Symposium mit dem Thema statt Historismen in der Moderne. Vergangenheit als Träger von Identität und Ideologie in der Architektur des 20. Jahrhunderts. Vgl. dazu kritische berichte 2/01, S. 73 4 Nicht vergessen möchte ich auch meine aus Barcelona stammende Spanischlehrerin Dr. Rosabella Eisig-Ritter, die – wie ich erst am Ende zufällig von ihr erfahren habe – während der Studentenzeit gemeinsam mit Mireia Freixa und Francesc Fontbona Liceo und Palau de la Música oft besuchte. IV grundsätzlich problematisch, was ihre Auswahl, Methodik oder ihr Geschichtsparadigma anbelangt5. Nicht zuletzt waren es aber auch die unzähligen Konzertabende, nicht nur im Palau de la Música Catalana, von denen einige Sternstunden waren, die die Idee zu diesem Thema aufkommen ließen. Ich widme diese Arbeit meinem Vater,
Recommended publications
  • Landscape Review
    LANDSCAPE REVIEW THEME Gardens as Laboratories CONTRIBUTORS Paul Fox, Architects and Garden Suburbs: The Politics of Melbourne’s Interwar Suburban Landscapes Fiona Harrisson, Garden as 1:1: Between Paper Thinking and Earth Moving in Landscape Architectural Learning Kris Scheerlinck and Yves Schoonjans, Garden Streetscapes: Front Yards as Territorial Configurations Julian Raxworthy, The Sitio Roberto Burle Marx: A Case Study in the Garden as Scientific Laboratory or Vegetal Studio for a Moving Work of Art? Adrian Marshall, Deb Reynolds’ Garden: Restoring the Unknown Fiona Harrisson, Garden as Education: Learning the ‘Old Ways’ of Traditional Mediterranean Food Practices Georgia Jacobs, Putting Down Roots Lucinda McLean, Garden as Habitat: Knitting Habitat through Public and Private Land Robin Tregenza, Gardening for Food and Community VOLUME 16(2) A SOUTHERN HEMISPHERE JOURNAL OF LANDSCAPE ARCHITECTURE LANDSCAPE REVIEW CONTENTS A Southern Hemisphere Journal of Landscape Architecture GUEST EDITORIAL EDITOR — Jacky Bowring Gardens as Laboratories School of Landscape Architecture, Fiona Harrisson 1–2 Faculty of Environment, Society and Design, FOREWORD PO Box 84, Lincoln University, Christchurch 7647, Jacky Bowring 3 Canterbury, Aotearoa New Zealand Telephone: +64–3–423–0466 REFLECTION Email: [email protected] Architects and Garden Suburbs: The Politics of Melbourne’s Interwar Suburban Landscapes CONTRIBUTIONS — The editor welcomes contributions Paul Fox 4–25 and will forward a style guide on request. Garden as 1:1: Between Paper Thinking and Earth Moving Landscape Review aims to provide a forum for in Landscape Architectural Learning scholarly writing and critique on topics, projects and Fiona Harrisson 26–42 research relevant to landscape studies and landscape Garden Streetscapes: Front Yards as Territorial architecture.
    [Show full text]
  • Descriptive Memory
    Proposal of reform and change of use of the farmhouse "Can Puig" in Palafolls 9 DESCRIPTIVE MEMORY A historical study. 1.1 Location and environment. 1.1.1 Location. The country house that is going to be reformed, which is called"Can Puig", is located in Palafolls, town that belongs to “El Maresme”, province of Barcelona. The nearest towns to Palafolls are: Tordera, Malgrat and Blanes Palafolls’ surface is of 16,20 km² and there are about 251 inhabitants per km². Maresme a Catalunya Palafolls al Maresme Límits municipals de Palafolls i ubicació de “Can Puig” 10 Proposal for reform and change of use of the house "Can Puig" in Palafolls FIXED AND LOCATION OF SITE Name of the farmhouse Can Puig The Building Typology Isolated Region Maresme Municipality Palafolls Geographical height 16 m above the sea level Seismicity Low City Limits Tordera limited to the north, to the North for spite, east to Blanes (I) to the North West Santa Susana County boundaries Bounded to the north by Valles to the Eastern Mediterranean by sea, by Barcelona to the South and West-east forest. 1.1.2 Geography Relief: Palafolls is located to the northeastern border in the Maresme region (Barcelona) by Tordera limit of frontier with the region of La Selva and while the province of Girona. The Municipal term is 3.16 km ², and it’s 16 m above the sea level.. The first of December of 2006 population was 8,102 inhabitants. The most popular occupation in Palafoll is teh tourism industry. The central core is called Ferreries and two of the main neirhborhoods are Sta.
    [Show full text]
  • Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494
    ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.
    [Show full text]
  • Historic Resources Commission
    HISTORIC RESOURCES COMMISSION NAME TERM CONTACT Tracy Quillen Historian 5/11-3/14 [email protected] [first term] Michael Arp At Large 4/11 – 4/14 [email protected] [first term] Sean Williams Real Estate 3/09 – 3/12 [email protected] [second term] Leslie Tuttle Historian 9/11 – 3/13 [email protected] [first term] Chad Foster Architect 3/10 – 3/13 [email protected] [first term] Allen Wiechert (Vice Chair) 3/10 – 3/13 [email protected] (KU Liaison) Architect [second term] Jody Meyer (Chair) Attorney 3/09 – 3/12 [email protected] [second term] Commissioners are appointed to a three-year term, with a maximum of two terms. ARCHITECTURAL REVIEW SUBCOMMITEE Allen Wiechert Chad Foster Michael Arp STAFF CONTACT Lynne Braddock-Zollner Historic Resources Administrator Lawrence-Douglas County Metropolitan Planning Office City Hall, 6 E. 6th Street, PO Box 708, Lawrence, Kansas, 66044-0708 PHONE: 785-832-3151 FAX: 785-832-3160 e-mail: [email protected] Rev. 9.9.2011 KANSAS HISTORIC PRESERVATION DEPARTMENT (TOPEKA) www.kshs.org Cultural Resources Division Kansas State Historic Preservation Department 6425 SW 6th Avenue Topeka, KS 66615-1099 General phone: 785-272-8681 x 240 Fax: 785-272-8682 Personnel Jennie Chinn, State Historic Preservation Officer x 205 Patrick Zollner, Director x 217 Katrina Ringler, Grants Manager x 215 Sarah Martin, National Register x 216 Kristen Johnston, Tax Credits x 213 Rev. 9.9.2011 Page 1 of 4 BYLAWS OF HISTORIC RESOURCES COMMISSION OF THE CITY OF LAWRENCE, KANSAS Article I PURPOSE AND ORGANIZATION SECTION 1. The purpose of the Historic Resources Commission of the City of Lawrence, Kansas, shall be to carry out the declared policies specified under Section 22-102 of Ordinance 5950 of the Code of the City of Lawrence and to perform such duties and exercise such powers as are imposed and granted to the Commission by said Ordinance.
    [Show full text]
  • RAFAEL GUASTAVINO MORENO Inventiveness in 19Th Century Architecture by Jaume Rosell Colomina
    RAFAEL GUASTAVINO MORENO Inventiveness in 19th century architecture by Jaume Rosell Colomina This article was published in Catalan in pa. 494-522 by CAMARASA, Josep M.; ROCA, Antoni (dir.): Ciència i Tècnica als Països Catalans : una aproximació biogràfica (2v). Fundació Catalana per a la Recerca. Barcelona, 1995. The English version, revised by the author, was translated by Edward Krasny. An English version of this text was published in pp. 45-49 by TARRAGÓ, Salvador (editor): Guastavino Co. (1885-1962) : Catalogue of works in Catalonia and America. Col·legi d'Arquitectes de Catalunya. Barcelona, 2002. (ISBN 84-88258-65-8). Revised version, January 2010. Catalan and Spanish version in: https://upcommons.upc.edu/e-prints/browse?type=author&value=Rosell%2C+Jaume In memory of my father, Pere Rosell i Millach RAFAEL GUASTAVINO MORENO València, 1842 – Black Mountains, North Carolina, 1908 Key words: architecture, industrial architecture, cement, construction, cohesive construction, iron, brick, flat brick masonry, master builders, Modernisme, fire resistance, vaults. The contribution of Valencian Rafael Guastavino Moreno to Architecture was especially important in the technical area. He was the leading moderniser of an ancient building technique using flat brick masonry techniques, above all to erect vaults. Guastavino would later transfer these techniques from Catalonia to the United States of America, where he founded a family company that built, over two generations, more than one thousand buildings, many of them of great importance. These two accomplishments represent a notable contribution to contemporary Architecture: more so if we take into account a series of technological reflections and proposals that also constitute a contribution to the modernisation of construction, insofar as they entail an effort to understand the behaviour of and ways in which the new materials worked.
    [Show full text]
  • Architectural Renovation Using Traditional Technologies, Local Materials and Artisan’S Labor in Catalonia
    The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLIV-M-1-2020, 2020 HERITAGE2020 (3DPast | RISK-Terra) International Conference, 9–12 September 2020, Valencia, Spain ARCHITECTURAL RENOVATION USING TRADITIONAL TECHNOLOGIES, LOCAL MATERIALS AND ARTISAN’S LABOR IN CATALONIA. O. Roselló 1, * 1 Architect Founder of www.bangolo.com and member co-founder of www.projectegreta.cat C.Pau Claris 154 Planta 4 Barcelona 08009 - [email protected] Commission II - WG II/8 KEY WORDS: Masia, Artisans, Vernacular, Architectural refurbish, Traditional technologies. ABSTRACT: The use of traditional techniques when restoring a masia is always the primary consideration in the preliminary phase of the project and during the site work. The virtues of traditional techniques compared to industrial production systems are described from multiple points of view: as a sustainable contemporary strategy, as generators of healthy spaces , as virtues of social and territorial scale, as a better formal contextualisation due to the limitations of pre-industrial materials. These are virtues that the industrial system has forgotten. The purpose of the Can Buch project (a masia in Northen Catalonia, Spain) was to restore the main house, some sheds and a barn, to enable rural ecotourism and to create a residence for the owner and future manager of the property. The promoter of the project intended to apply the values of permaculture. Maximising the use of Km0 materials from the start emphasised this intention. If we understand the traditional farmhouse as the site's resource map, applying this reality to the present work means recovering original representative principles. Currently, the project is in the last phase of works, but the results of applying this philosophy are already visible.
    [Show full text]
  • RELIGIOUS Architecture
    RELIGIOUS RELIGIOUS Religious Architecture: Anthropological Perspectives develops new anthropological perspectives on religious architecture, including mosques, churches, temples and synagogues. Borrowing from a range of theoretical perspectives on space-making and material religion, this volume looks at how religious buildings take their RELIGIOUS place in opposition to the secular surroundings and the neoliberal city; how they, as evocations of the sublime, help believers to move beyond the boundaries of modern subjectivity; and how international heritage status may conflict with their function as community centres. The volume includes contributions from a range of anthropologists, ARCHITECTURE ARCHITECTURE social historians, and architects working in Brazil, India, Italy, Mali, the Netherlands, Russia, Spain, and the UK. ANTHROPOLOGICAL PERSPECTIVES Oskar Verkaaik is Associate Professor of Anthropology at the Edited by Oskar Verkaaik University of Amsterdam. “Compelling and thought provoking collection of essays by anthropologists on religious architecture that shed new theoretical light on the relation between the material and immaterial in the realm of religion in our so-called secular world.” Jojada Verrips, em. professor of Cultural anthropology, University of Amsterdam Verkaaik (ed.) Verkaaik ISBN 978 90 8964 511 1 AMSTERDAM UNIVERSITY PREss • www.AUP.NL AMSTERDAM UNIVERSITY PRESS religious architecture Religious Architecture.indd 1 26-08-13 20:32:52 Religious Architecture.indd 2 26-08-13 20:32:52 Religious Architecture Anthropological Perspectives Edited by Oskar Verkaaik Religious Architecture.indd 3 26-08-13 20:32:52 Cover illustration: View across the Mosque’s roofscape of skylights or vents and towering pinnacles (Trevor Marchand) Cover design: Studio Jan de Boer, Amsterdam Lay-out: V3-Services, Baarn Amsterdam University Press English-language titles are distributed in the us and Canada by the University of Chicago Press.
    [Show full text]
  • UC Irvine Flashpoints
    UC Irvine FlashPoints Title Cosmopolitan Desires: Global Modernity and World Literature in Latin America Permalink https://escholarship.org/uc/item/8gx3h5hg ISBN 978-0-8101-2990-0 Author Siskind, Mariano Publication Date 2014-03-14 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Cosmopolitan Desires 8flashpoints The FlashPoints series is devoted to books that consider literature beyond strictly national and disciplinary frameworks, and that are distinguished both by their historical grounding and by their theoretical and conceptual strength. Our books engage theory without losing touch with history and work historically without falling into uncritical positivism. FlashPoints aims for a broad audience within the humanities and the social sciences concerned with moments of cultural emergence and transformation. In a Benjaminian mode, FlashPoints is interested in how literature contributes to forming new constellations of culture and history and in how such formations function critically and politically in the present. Series titles are available online at http://escholarship.org/uc/flashpoints. series editors: Ali Behdad (Comparative Literature and English, UCLA), Founding Editor; Judith Butler (Rhetoric and Comparative Literature, UC Berkeley), Founding Editor; Michelle Clayton (Hispanic Studies and Comparative Literature, Brown University); Edward Dimendberg (Film and Media Studies, Visual Studies, and European Languages and Studies, UC Irvine), Coordinator; Catherine Gallagher (English, UC Berkeley), Founding Editor; Nouri Gana (Comparative Literature and Near Eastern Languages and Cultures, UCLA); Jody Greene (Literature, UC Santa Cruz); Susan Gillman (Literature, UC Santa Cruz); Richard Terdiman (Literature, UC Santa Cruz) 1. On Pain of Speech: Fantasies of the First Order and the Literary Rant, Dina Al-Kassim 2.
    [Show full text]
  • Gazettegazette
    The Official Publication of the National Association of Miniature Enthusiasts MiniatureMiniatureVol. 42, No. 2 • November/December 2013 miniatures.org GazetteGazette NAME ® Only through sharing can we really enjoy our treasures $5.95 US East Meets West Room Box by Susan Farnik, Greer, South Carolina henever I design a room box I have a “story” that explains it. ThisW room box’s story is that the own- ers have traveled extensively in the far east, collecting treasures along the way. Living Room I used Lawbre archways into the dining room. Now, back home in the West, they have Door and Windows, Majestic Mansions. created a living space to showcase these treasures. furniture until its just right, before doing I used red silk fabric on the living The inspiration for the room came the actual building. The final design room walls and wallpaper from Itsy from the fabric used on the furniture was a large living room, dining room Bitsy in the dining room and foyer. The and draperies in the Living room. It and foyer. The inner box is made from arches are from Lawbre, and the door has an oriental feel to it. I made the gator board. I like to use this because it and windows are from Majestic Man- furniture in 2005 and put it away for is lightweight, easy to cut, and doesn’t sions. The beautiful fireplace surround “someday”. When my mother-in-law, warp. The entire inner box can slide out is by Sue Cook. The chinoiserie cabinet Elaine Hendricks, passed away in 2008, to access the electrical components if in the foyer and the decorative screen I inherited many of her miniatures, needed.
    [Show full text]
  • T E S Is Do Ct O
    Modelling and Structural Analysis of historical masonry systems including vaulted structure tesis doctoral realizada por: masonry sytems including vaulted structure vaultedmasonry including sytems Modelling and Structural Analysis ofAnalysis historical and Structural Modelling Yohei Endo DOCTORAL Yohei Endo Yohei TESIS realizada por dirigida por: Pere Roca i Fabregat doctoral Luca Pelà tesis 5 ,201 Barcelona, Mayo de 2015 Mayo Universitat Politècnica de Catalunya Departament d´Enginyeria de la Construcció Curso académico: 2014-2015 Acta de calificación de tesis doctoral Nombre y apellidos Yohei Endo Programa de doctorado Ingenieria de la Construccion Unidad estructural responsable del programa Departamento de Ingenieria de la construccion Resolución del Tribunal Reunido el Tribunal designado a tal efecto, el doctorando / la doctoranda expone el tema de la su tesis doctoral titulada “Modelling and Structural Analysis of historical masonry systems including vaulted structure“ Acabada la lectura y después de dar respuesta a las cuestiones formuladas por los miembros titulares del tribunal, éste otorga la calificación: NO APTO APROBADO NOTABLE SOBRESALIENTE (Nombre, apellidos y firma) (Nombre, apellidos y firma) Presidente/a Secretario/a (Nombre, apellidos y firma) (Nombre, apellidos y firma) (Nombre, apellidos y firma) Vocal Vocal Vocal ______________________, _______ de __________________ de _______________ El resultado del escrutinio de los votos emitidos por los miembros titulares del tribunal, efectuado por la Escuela de Doctorado, a instancia de la Comisión de Doctorado de la UPC, otorga la MENCIÓN CUM LAUDE: SÍ NO (Nombre, apellidos y firma) (Nombre, apellidos y firma) Presidente de la Comisión Permanente de la Escuela de Secretario de la Comisión Permanente de la Escuela de Doctorado Doctorado Barcelona a _______ de ____________________ de __________ This page is left blank on purpose.
    [Show full text]
  • Catalan to English with Notes for English Speakers
    DACCO : The Open Source English-Catalan Dictionary - DACCO Catalan to English for English Speakers 2012-01 Catalan-English dictionary: 16540 entries, 24504 translations, 1592 examples 557 usage notes Attribution-ShareAlike 2.5 You are free: • to copy, distribute, display, and perform the work • to make derivative works • to make commercial use of the work Under the following conditions: Attribution. You must attribute the work in the manner specified by the author or licensor. Share Alike. If you alter, transform, or build upon this work, you may distribute the resulting work only under a license identical to this one. • For any reuse or distribution, you must make clear to others the license terms of this work. • Any of these conditions can be waived if you get permission from the copyright holder. Your fair use and other rights are in no way affected by the above. This is a human-readable summary of the Legal Code (full license). To view a copy of the full license, visit http://creativecommons.org/licenses/by-sa/2.5/ or send a letter to Creative Commons, 543 Howard Street, 5th Floor, San Francisco, California, 94105, USA. This PDF document was created using Prince. Prince. Prince is a powerful formatter that converts XML into PDF documents. Prince can read many XML formats, including XHTML and SVG. Prince formats documents according to style sheets written in CSS. Prince has been used to publish books, brochures, posters, letters and academic papers. Prince is also suitable for generating reports, invoices and other dynamic documents on demand. The DACCO team would like to thank Prince for the kind donation of a license to use their extremely powerful software which made this PDF possible.
    [Show full text]
  • Dictionary of Archaeological Terms Vocabulario De
    DICTIONARY OF DICTIONARY OF ARCHAEOLOGICAL ARCHAEOLOGICAL TERMS TERMS EnglishEnglish–French–Spanish // Spanish–EnglishFrench–English VOCABULARIO DICTIONNAIREDE CONCEPTOS DES ARQUEOLÓGICOSTERMES ARCHÉOLOGIQUES Inglés–Español / anglais–françaisEspañol–Inglés / français–anglais DomingoTinaig Carlos CLODORE-TISSOT SALAZAR GARCIA & Andrea MORENO MARTÍN © Domingo Carlos Salazar Garcia, Andrea Moreno Martín and Archaeopress 2011 Archaeopress Gordon House 276 Banbury Road Oxford OX2 7ED www.archaeopress.com ISBN 978-1-905739-47-9 Printed in England by 4edge, Hockley Other titles in the series now available: French/English – English/French Greek/English – English/Greek Forthcoming: Italian/English – English/Italian German/English – English/German Arabic/English – English/Arabic This dictionary is intended to be helpful in the reading of archaeological books and publications from the Palaeolithic to the Middle Ages, and in the writing of papers and articles in both English and Spanish. The aim of this work is to help, in particular, students and archaeologists in the field to find quickly a word relating to a specific period, a specific area or a research field, in a book easy to carry everywhere. But this dictionary is also intended for everyone fond of archaeology, from prehistory to the Middle Ages. Entries are classified according to alphabetical order. Basic grammar categories are denoted according to the abbreviations below: adj., adjective adv., adverb t.v., transitive verb i.v., intransitive verb n., noun pl.n., plural noun English–Spanish
    [Show full text]