Luso-Brazilian Baroque Art: The role of Music in the Design of Architectural Elements in Portugal and its Repercussions in Bahia (Brazil)

<p>Historically, there have been two ways of perceiving space that have been considered opposed to one another and that have significant implications for the way in which architecture is understood. The first is real space, which relates to the direct, sensory and embodied perceptions of architecture as built. This space generates the symbolic meanings of architecture and is understood as our primary way of understanding space. The Second is the analytical, measured space of representation - the drawings and models architects make, which have historically been called the instrumental as they are instruments in the description of architecture. This work challenges that these are independent and oppositional ways of understanding space. I argue that this perceived separation perpetuates the notion of the instrumental and symbolic meanings of architecture to be held in a dichotomous relationship. The aim of this research is to reorient the instrumental and symbolic meanings of architecture toward a reciprocal relationship by examining their presence within both real and representational space. The research first explores the distinct characteristics of real and representational space that have perpetuated the notion they are distinct entities. Once these characteristics are identified, two central case studies explore ways in which they are translated through real and representational space in order to engender a more meaningful reciprocity. Referencing Michael Webb’s Temple Island (1966 - ongoing) and Guarino Guarini’s Santissima Sindone in Turin (1667-1694) as revealing examples, this thesis argues that the qualities of real and representational space are constantly permeating the assumed boundaries of each other, and that consequently, an architectural space exists between them. Indeed, this thesis aims to examine the existence of a metaphorical interval between a physical building, and its representation in drawings and modeling. This research proposes that pure instrumentality is an illusion, maintaining its legitimacy through a self-imposed autonomy. The research concludes in a design project that suggests a more complex form of inhabiting architecture may challenge the gap between real and representational space, and by extension the separation of the instrumental and symbolic meanings of architecture. It sets out to achieve this through an allegorical investigation exploring a more complex way to occupy architecture - where both real space and the space of representation can be occupied simultaneously. The design research seeks to dissolve the distinctions between how architecture is designed and represented, and how it is understood experientially as built. The thesis concludes that by collapsing the sensory, embodied complexities of real space, with the abstract, analytical characteristics of representational space, the instrumental and symbolic meanings of architecture can be understood in a reciprocal relationship, where one gives structure and meaning to the other.</p>

<p>Historically, there have been two ways of perceiving space that have been considered opposed to one another and that have significant implications for the way in which architecture is understood. The first is real space, which relates to the direct, sensory and embodied perceptions of architecture as built. This space generates the symbolic meanings of architecture and is understood as our primary way of understanding space. The Second is the analytical, measured space of representation - the drawings and models architects make, which have historically been called the instrumental as they are instruments in the description of architecture. This work challenges that these are independent and oppositional ways of understanding space. I argue that this perceived separation perpetuates the notion of the instrumental and symbolic meanings of architecture to be held in a dichotomous relationship. The aim of this research is to reorient the instrumental and symbolic meanings of architecture toward a reciprocal relationship by examining their presence within both real and representational space. The research first explores the distinct characteristics of real and representational space that have perpetuated the notion they are distinct entities. Once these characteristics are identified, two central case studies explore ways in which they are translated through real and representational space in order to engender a more meaningful reciprocity. Referencing Michael Webb’s Temple Island (1966 - ongoing) and Guarino Guarini’s Santissima Sindone in Turin (1667-1694) as revealing examples, this thesis argues that the qualities of real and representational space are constantly permeating the assumed boundaries of each other, and that consequently, an architectural space exists between them. Indeed, this thesis aims to examine the existence of a metaphorical interval between a physical building, and its representation in drawings and modeling. This research proposes that pure instrumentality is an illusion, maintaining its legitimacy through a self-imposed autonomy. The research concludes in a design project that suggests a more complex form of inhabiting architecture may challenge the gap between real and representational space, and by extension the separation of the instrumental and symbolic meanings of architecture. It sets out to achieve this through an allegorical investigation exploring a more complex way to occupy architecture - where both real space and the space of representation can be occupied simultaneously. The design research seeks to dissolve the distinctions between how architecture is designed and represented, and how it is understood experientially as built. The thesis concludes that by collapsing the sensory, embodied complexities of real space, with the abstract, analytical characteristics of representational space, the instrumental and symbolic meanings of architecture can be understood in a reciprocal relationship, where one gives structure and meaning to the other.</p>

This paper examines the contribution of cross-cultural studies to our understanding of the perception and representation of space. A cross-cultural survey of the basic difficulties in understanding pictures—ranging from the failure to recognise a picture as a representation to the inability to recognise the object represented in the picture— indicates that similar difficulties occur in pictorial and nonpictorial cultrues. The experimental work on pictorial space derives from two distinct traditions: the study of picture perception in “remote” populations and the study of the perceptual illusions. A comprison of the findings on pictorial space perception with those on real space perceptual illusions. A comparison of findings on pictorial space perception with those on real space perception and perceptual constancy suggersts that cross-cultural differences in the perception of both real and representational space involve two different types of skills: those related exclusively to either real space or representational space, and those related to both. Different cultural groups use different skills to perform the same perceptual tasks.

This article analyses the architectonic rhetoric of Luis de Góngora's Fábula de Polifemo y Galatea through a comparison with Baroque quadratura, the painting of walls and/or ceilings with illusionistic architecture on a one-to-one scale with real space. It draws upon the theories of Baltasar Gracián and, especially, Maciej Kazimierz Sarbiewski to argue that what links quadratura and such architectonic wit is the manner in which both embody contrastive elements and impact on the viewer or reader, and, especially, the consequences attendant on their merging of contrastive elements. The article aims both to contextualize what I term Baroque space by reading it through the aesthetic of wit dominant in the seventeenth century and to read the Polifemo's rhetoric and conceits, especially when at their most architectonic, as superb folds in the fabric of language in order to explore one of the Baroque's most striking and disquieting features, the interplay of opposites, in visual and verbal media.

The present paper focuses on the cognitive modelling of literary text space. The aim of the research was to conduct a comparative study of the cognitive proxemic models of the subconcepts “virtual space” and “real space”, as represented in the multicultural novel «Walking in Two Worlds» by W. Kinew. In accordance with E.A. Ogneva’s research, a cognitive model of literary text space is defined as a construct which demonstrates the correlation between various constituents of the nominative field of the literary concept “space”, which is perceived and comprehended by the reader. The term “proxeme” is used to denote a word or a word combination that is semantically related to parameters of space. The article presents data on the quantitative relation between the types of thematic proxemic models which comprise the nominative field of the literary subconcepts “virtual space” and “real space”, namely, models of personalised anthropocentrically marked literary text space, models of non-personalised anthropocentrically marked literary text space, as well as those of non-personalised anthropocentrically unmarked literary text space. For each of the abovementioned categories of proxemic models the most common types of proxemes are identified. In addition to this, the representation of dynamic literary text space and the spatial axes is examined. The results obtained highlight the qualitative differences between the significance of the virtual literary text space and the real literary text space, as conceived by the author of the novel. Despite the fact that the characters perceive real life as less salient and important than their performance in the virtual space, the real literary text space turns out to be more intense in terms of human activity than the virtual literary text space and, therefore, not less meaningful, whereas the virtual text space is represented as an environment conducive to creativity alongside revival and/or preservation of traditional culture.

Reviewed by: Society and Culture in Medieval Rouen, 911–1300 ed. by Leonie V. Hicks and Elma Brenner Lindsay Diggelmann Hicks, Leonie V. and Elma Brenner, eds, Society and Culture in Medieval Rouen, 911–1300 (Studies in the Early Middle Ages, 39), Turnhout, Brepols, 2013; hardback; pp. xiv, 400; 35 b/w illustrations, 25 b/w line art; R.R.P. €100.00; ISBN 9782503536651. Rouen enjoyed an extended era of influence from the tenth to the early thirteenth centuries as the chief city of Normandy during its time as a rising duchy and, after 1066, its union with the English crown. After the conquest of Normandy by the French king Philip Augustus in 1204 the city continued to grow, but its central role in the political and economic life of the Anglo-Norman and Angevin realms was lost. Considering its importance throughout the period, it is somewhat surprising that more attention has not been paid to the city in recent historiography, at least among English-speaking scholars. This volume seeks to repair that oversight by presenting a series of articles on Rouen during and just after its time of prominence, building on developments in urban history and the methodologies of the ‘spatial turn’. [End Page 170] The collection opens with Bernard Gauthiez’s detailed study of the topography of the city and the changes it witnessed from the eleventh to the thirteenth centuries. In the twelfth century Rouen was ‘notably larger than Paris’ (p. 28), with perhaps 25,000 inhabitants. Detailed charts of the shifting layout of the city, based on the author’s own intense study of the subject over many years, provide an excellent basis on which to appreciate the subsequent discussions of related aspects of Rouen’s history. For example, Leonie Hicks considers movement through the city streets in episodes such as processions and riots. Hicks assesses chronicle descriptions of these events which, she argues, can illuminate social conditions and urban culture. This focus on urban space and its changing uses over time allows a number of the volume’s essays to speak to one another in enlightening ways. While disagreements are not absent (over issues such as the concept of a ‘capital city’ and whether Rouen can be described in this way) the overriding sense is of unity in diversity. A result such as this is not always the case in collected editions of essays, but here the contributions tend to complement one another even while approaching Rouen’s medieval past from a variety of perspectives. Another of the volume’s key themes is the examination of social networks. Fanny Madeline and Paul Webster both assess Rouen’s importance to the Angevin monarchs, especially by studying royal itineraries and patronage. Similarly, Daniel Power argues for a strong relationship between the Anglo-Norman aristocracy and Rouen’s mercantile elite despite a rhetoric of disdain towards the latter by the former in contemporary texts. At the other end of the social spectrum, Elma Bremner and Leonie Hicks focus on Rouen’s outsiders: not only the poor and the sick, but also Rouen’s significant Jewish community which suffered notable violence in 1096 during the moment of religious fervour associated with the calling of the First Crusade. Essays by Richard Allen and Grégory Combalbert consider Rouen’s role as an archiepiscopal seat and the secular as well as spiritual networks that emerged as a result of its important ecclesiastical function. The volume could usefully be consulted in conjunction with another recent Brepols collection, Normandy and its Neighbours 900–1250 (see my review in Parergon, 29.2). That edition covered a very similar time period but tended to look outwards, as its title suggests. Here the focus is inwards but together the two collections represent a significant advance in scholarship on Normandy during its medieval heyday. The metropolis at its political, social, and economic centre is only just beginning to reveal its secrets. Medieval Rouen was, as the volume’s editors conclude, ‘an important city, about which much still remains to be discovered’ (p. 10). [End Page 171] Lindsay Diggelmann The University of Auckland Copyright © 2014 Lindsay Diggelmann

What happens when the present (perceived or real space) is ‘conceived’ (as artwork) from memories of a lived experience?According to Lefebvre, ‘representational space’ is space as directly (or lived) experienced by users through “associated images and symbols” (p. 39); one that is passively experienced or felt – “a space which the imagination seeks to change and appropriate” (1974/1991, p. 39).Like New York City and perhaps other cities in urban India, Pune has been experiencing rapid transformation where the urban landscape is dotted with high-rise developments in residential, industrial, institutional and commercial sectors. However, Pune has a unique urban landscape given its geographical locational advantage of being nestled in the rich and biologically diverse Sahyadri mountain range or the Western Ghats. As a result, the city boasts of small hills that are marked by urban planners, technocrats, and those in power as bio-diverse areas - spaces where no urban transformation may be permitted. This leads to a type of development that constantly struggles between accommodating the demands of the influx of migrants from other towns and cities and Pune’s natural landscape.In this context of urban transformation of Pune city and my personal journey of moving from New York City to Pune in 2013, I use painting as a medium to unpack my decade long personal journey of change. In total, there are five artworks, where each piece reflects ‘representational space’– i.e., space as directly experienced by me using vivid colors and abstract shapes.The five paintings are chronologically positioned based on the year of completion. As a result, when viewed in order, the artworks tell a story of change – of crossing over (the bridge) from a life of a graduate student /researcher /lecturer in New York City to a life of a PhD scholar/ mother/ wife/ daughter/ working professional in Pune city. Through each art piece, I lean into the theme of ‘urban nature’ to share my subjective experiences. When you look closer, each art piece, much like Pune’s demanding urban landscape, represents a story of change, challenge, acceptance, and resistance.

There exist many various representations of the space C(X) of continuous functions on a compact space X. Characterizations of this space in the class of real Banach spaces in terms of natural properties of normed spaces were obtained by Arens and Kelley, Jerison, and Myers. In this paper, we give a characterization of C(X) in the class of complex Banach spaces. To this end, we first describe properties of Myers functionals on a complex normed space E and define representations of the orbital function space Cσ(X) with respect to the action of a one-parameter homeomorphism group X. The real and complex cases are considered in parallel.

Book Review| June 01 2022 Review: Riemenschneider in Rothenburg: Sacred Space and Civic Identity in the Late Medieval City Katherine M. Boivin Riemenschneider in Rothenburg: Sacred Space and Civic Identity in the Late Medieval City University Park: Pennsylvania State University Press, 2021, 248 pp., 77 color and 20 b/w illus. $99.95 (cloth), ISBN 9780271087788 Kyle G. Sweeney Kyle G. Sweeney Winthrop University Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2022) 81 (2): 236–238. https://doi.org/10.1525/jsah.2022.81.2.236 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Kyle G. Sweeney; Review: Riemenschneider in Rothenburg: Sacred Space and Civic Identity in the Late Medieval City. Journal of the Society of Architectural Historians 1 June 2022; 81 (2): 236–238. doi: https://doi.org/10.1525/jsah.2022.81.2.236 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search Katherine M. Boivin’s monograph Riemenschneider in Rothenburg is a fine contribution to the study of late Gothic architecture and urbanism. The author’s case study approach adds depth to a field where recent attention has focused on the remarkable breadth and diversity of late Gothic architecture.1 Boivin focuses on the parish church of St. Jakob, the principal church of Rothenburg ob der Tauber; the large-scale altarpieces associated with Tilman Riemenschneider that were displayed in the city’s churches and chapels; and the formation of civic identity through a programmatic effort on the part of Rothenburg’s city council to shape urban space through patronage and promotion of a distinctive visual culture across the late medieval city. The first chapter, “The City as Patron,” relates the construction of the Gothic choir (ca. 1303–50) and nave (1373–ca. 1422) of the parish church of St. Jakob to changing social-political circumstances in Rothenburg. Specifically, Boivin compares... You do not currently have access to this content.

This paper presents the findings from a comparative study of an architectural space communicated as the space itself and its two different representations, i.e. a virtual reality model and traditional plan and section drawings. Using eye tracking technology in combination with qualitative questionnaires, a case study of an architectural space is investigated in physical reality, a virtual reality 3D BIM model, and finally through representation of the space in plan and section drawings. In this study, the virtual reality scenario seems closer to reality than the experience of the same space experienced through plan and section drawings. There is an overall higher correlation of both the conscious reflections and the less conscious behaviour between the real physical architectural space and the virtual reality space, than there is between the real space and the space communicated through plan and section drawings. We can conclude that the scenario with the best overall size estimations, compared to the actual measures, is the virtual reality scenario. The paper further discusses the future applications of virtual reality in architecture.

This paper presents an ethnomethodological analysis of the representation of space in hand-drawn maps. The rendering practice of hand drawn maps includes some systematic devices by which real space is transformed into two-dimensional space on paper and a map is recognized as the map representing a certain space. In other words, members use these devices not only to trace real space but also to enable the recognition of space in a specific mode. The paper deals with three distinctive patterns affording accountability of geographical features: retention of the three-dimensionality of real space; formal resemblance with intertextuality; and identification of space by means of words. Retention of the 3D of space on map is the device that assigns 3D effect to maps and contributes to the perception of the figure as being similar to real space. Intertextuality bestows formal resemblance on various maps to secure the intersubjectivity and scientific objectivity of maps. Words entered on hand-drawn maps enable a reading of a correspondence of maps with real space. The representation of space makes sense by virtue of these devices that accomplish the recognizability of space between the drawers and readers of hand-drawn maps.

Image of place as a byproduct of medium: Understanding media and place through case study of Foursquare

Kentleşmenin hızına bağlı olarak, şehir alanları arazi örtüsü üzerinde her geçen gün daha geniş alanlar kaplamaya başlamıştır. Bu durum çoğu zaman özellikle kent çevresindeki doğal alanların ve tarım alanlarının amaç dışı kullanımına neden olmaktadır. Bu nedenle, şehirlerin sahip olduğu yayılma özelliklerinin ve yönlerinin ortaya çıkarılarak gelecekte kaplayacakları alanların belirlenmesi ve bu alanların uygunluğu, arazinin planlanması açısından çok büyük bir önem taşımaktadır. Türkiye'nin başkenti olması nedeniyle Cumhuriyet tarihi boyunca her zaman önemli bir cazibe merkezi olan Ankara, hızlı kentleşmeye ve alansal olarak hızlı yayılmaya sahip önemli bir şehirdir. Bu nedenle bu çalışmada metropolitan ilçelerin oluşturduğu alan içerisinde Ankara şehrinin kentsel büyüme uygunluğunun belirlenmesi hedeflenmiştir. Bu hedef doğrultusunda planlama çalışmaları için geniş imkanlar sağlayan Coğrafi Bilgi Sistemleri yazılımları aracılığıyla frekans oranları ve karmaşık problemlerin çözümünde kullanılan karar verme yöntemlerinden biri olan Analitik Hiyerarşi Süreci kullanılmıştır. Bu kapsamda doğal ve beşeri çevreye ait alt özellikler belirlenmiş, bu özelliklere bağlı olarak veri toplanmış ve yeni veri setleri üretilerek bu kriterlerin şehirsel büyümedeki katkıları belirlenmiştir. Bu katkılar doğrultusunda incelenen doğal ve beşeri çevre kriterleri çakıştırılarak Ankara şehri büyüme alanının uygunluğu haritası üretilmiş ve bu alanlar tablolaştırılarak değerlendirilmiştir. Elde edilen bulgular ışığında Ankara şehrinin mevcut yayılım alanının yaklaşık %26'sının yüksek ve çok yüksek uygunluk gösterdiği, %40'a yakın kesiminin ise düşük ve çok düşük uygunluğa sahip olduğu sonucuna ulaşılmıştır. Gelecekte Ankara şehrinin yayılabileceği yüksek ve çok yüksek uygunluğa sahip alanların özellikle batı ve güneybatı yönünde görülmesi sürdürülebilirliğin sağlanması ve amaç dışı arazi kullanımının engellenmesi için özellikle bu alanlardaki doğal ve beşeri çevrenin planlanmasını zorunlu kılmaktadır.

We showed previously that macaque monkeys (Macaca mulatta) could orient in real space using abstract visual stimuli presented on a computer screen. They made correct choices according to both spatial stimuli (designed as an abstract representation of a real space) and nonspatial stimuli (pictures lacking any inner configuration information). However, we suggested that there were differences in processing spatial and nonspatial stimuli. In the present experiment we show that monkeys could also use as a cue abstract spatial stimuli rotated with respect to the real response space. We studied the ability of monkeys to decode abstract spatial information provided in one spatial frame (computer screen) and to perform spatial choices in another spatial frame (touch panel separated from the screen). We analyzed how the monkeys were affected by the type of training, whether they perceived the stimuli as "spatial" or "nonspatial," and which cues they used to decode them. We compared humans to monkeys in a similar test to find out which cognitive strategy they used and whether they perceive spatial stimuli in the same way. We demonstrated that there were two possible strategies to solve the task, simple "fitting" ignoring rotations and "remapping," when the stimulus was represented as an "abstract space" per se.

The ten distance regular graphs of valency 3 and girth > 4 define ten non-isomorphic neighborhood geometries, amongst which a projective plane, a generalized quadrangle, two generalized hexagons, the tilde geometry, the Desargues configuration and the Pappus configuration. All these geometries are bislim, i.e., they have three points on each line and three lines through each point. We study properties of these geometries such as embedding rank, generating rank, representation in real spaces, alternative constructions. Our main result is a general construction method for homogeneous embeddings of flag transitive self-polar bislim geometries in real projective space.