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Dissertation proposal architecture

Your dissertation proposal should have several key aspects, regardless of the structure. The introduction, the methodology , aims and objectives, the literature review, and the constraints of your research all need to included to ensure that your provide your supervisor with a comprehensive proposal. But what are they?

Here's a checklist to get you started. The introduction will state your central research question and give background on the subject, as well as relating it contextually to any broader issues surrounding it. Read more about picking a topic for your dissertation. You may also want to include how you will analyse the data you gather and what if any bias there may be in your chosen methods.

Depending on the level of detail that your specific course requires, you may also want to explain why your chosen approaches to gathering data are more appropriate to your research than others.

A List Of Unused Dissertation Topics On Architecture

Your dissertation proposal should also include the aims and objectives of your research. Be sure to state what your research hopes to achieve, and what outcomes you predict. You may also need to clearly state what your main research objectives are, in other words, how you plan to obtain those achievements and outcomes. The literature review will list the books and materials that you used to do your research.

This is where you can list materials that give you more background on your topic, or contain research carried out previously that you refer to in your own studies.

Architecture Dissertations

Lastly, you will also need to include the constraints of your research. Many topics will have broad links to numerous larger and more complex issues, so by clearly stating the constraints of your research, you are displaying your understanding and acknowledgment of these larger issues, and the role they play by focusing your research on just one section or part of the subject.

The structure of your dissertation proposal will depend on your specific course requirements. Some courses may specify that the aims and objectives of your research be a separate section in your proposal, or that you do not need to include a methodology or literature review section.

Rather than resort to prescriptive architectural legislation, Francis addressed this dilemma through an intricately choreographed performance of his death whose poetic image would be unforgettable for those who wished to imitate him in word, deed and architecture. Two years after this event, the Basilica of San Francesco in Assisi, built by his friend and hand-chosen successor, Br. Elias, rapidly rose to house the newly canonized saint. Its earliest form, narrative and symbolism, also widely imitated, seems to illustrate aptly Francis' architectural vision: if the Portiuncula was the Bethlehem of the order, the Basilica's tau plan became its Jerusalem.

From these two prototypes Italian mendicant architecture for the next century drew its meaning and form. As an investigation of the origins of the narrative history museum, this dissertation formulates a new critical discourse and framework for theorizing an ontology of the modern museum, one that does not ground its analysis uniquely in traditional theories of art and aesthetics, but rather derives its terms from a hermeneutical reading of eighteenth-century philosophy and architectural theory — toward an understanding of the larger representational and cultural practices that shaped modern historical consciousness and the construction of subjectivity.

The project thereby brings the prevailing theoretical basis of the museum institution into question through the positing of other possible foundational themes of investigation: memory, mimesis, myth and death. These themes are not arbitrarily imported and grafted onto the museum but rather they have surfaced from correspondences with established social discourses and practices, both synchronic and diachronic, in the civic sphere.

Thus, the departure point for this investigation is the assumption that the narrative history museum is, and historically has been, both an expression of historical consciousness and the product of social actions brought about by this consciousness and, in this way, affords insight into how architecture and objects may provide the space of poetic experience to open up history for the future — rather than memorializing the burden of the past.

By understanding the origins of the narrative history museum in this way, this project posits a second theory: that in its ontological essence, the museum, like theatre, responds to a social and psychic need to rehearse for the transformational experiences of the conditio humana.

Thesis Proposal Template in Word

The humoral body is regulated by the proper mixing of humors and elements in the bodily interior; disease is marked by the separation, or disarticulation, of humors. Articulation thus becomes proportion. A recurring theme is that the body created in discourse is articulated, strong, and solid—something that a building, a city, or an empire could emulate—precisely because it is found to be weak, in pain, and capable of disintegration, but I do not see this as pessimistic. Rather, the real, frightening fragility of both the body and the political body tells us that architecture is necessary, or at least was understood as necessary at the Greek origins of western culture, to establish an order beyond suffering.

This suggests that architecture has the capacity to create something strong, healthy and beautiful—something whole—emerging from but also transcending a lived experience that is all too often fragmentary. The boudoir, a space especially invented for women, has been described as the quintessential room of the eighteenth century. Characterized in literary and cultural studies as erotic and as metaphor of a woman's body, the boudoir is generally understood as a site for secret pleasures. Yet little has been written exclusively about the boudoir from an architectural perspective or from a woman's point of view.

Combining art, architectural and social histories as well as literary studies, the dissertation presents the multiple meanings and understandings of the boudoir, from its inception in early eighteenth-century France as a space for religious devotion to its transformation as a voluptuous space towards the end of the century. Part one examines three types of private rooms dedicated to a woman: the oratory, the hybrid oratory-boudoir, and the boudoir proper. It focuses on its consolidation into a sexually affective space, through the accounts of late eighteenth century writers, architects and courtesans.

In examining the codification of behavioral norms, their relationship to spatial organization and decor, and the affect of the architecture, the dissertation demonstrates the significance of the boudoir as a psychological architecture fostering an interior life. The history of the boudoir in the eighteenth century can thus shed a new light on the way architecture contributed to the development of modern private life.

Presenting a dissertation proposal

This study examines the debates which marked the entry of culture as a theoretical issue in French architectural writing at the end of the 17th century. The premise is that while culture could be said to have always been present in the very earliest treatises as the context, goal, and medium of architectural speculation, the focus on culture for considering the grounds, principles, and aims of architectural work portends a modern struggle to define a secular basis for human work.


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The study begins with Claude Perrault's controversial declaration of arbitrary and positive beauty in the 17th century. Key to this research is the concept of arbitraire which attended his thinking on custom. Following Perrault's own cue, and complementing earlier studies of his scientific background, the study examines evidence of these concepts in contemporaneous discussions of jurisprudence and language. These contexts indicate that Perrault spoke from within an already prevalent discourse--one which affected the terms of architectural thought even amongst Perrault's critics in the 17th and 18th centuries.

As elaborations of a theory of architectural expression, the thinking on architectural character by these two authors can be considered heir to Perrault's legacy in more than one respect. More specifically, in seeking to ground architectural expression upon a language community--albeit a tenuous and finite one--Boffrand and Blondel developed a theory of signification which was a unique development of, and a demonstration for Perrault's analogy of arbitrary beauty and civil law.

The uniqueness of this moment is framed by later developments in the thinking of grounds and fundaments, of invention and convention, and of architectural character at the end of the 18th century. This dissertation analyses changing concepts of city and frontier in early nineteenth century France. Throughout the eighteenth century all of Europe's major cities had undergone a striking urban metamorphosis — they had lost their enclosing walls.

The three functions of the city walls, military, legal and symbolic, had become dissociated and within a few decades the walls had disappeared from the urban landscape. Yet, in the theoretical definitions of the time, a city continued to be differentiated from a village or town by virtue of its walls. A paradox and a crisis of both meaning and form ensued; the modern city, open and complex, existed and yet it no longer resembled any of the cities described in classical discourse which took as precedents ancient cities like Athens, Rhodes or Rome.

In these ancient cities, the walls had inscribed the limits and the physical space of the city but they had also served to symbolize the city and its place in a greater cosmology. With the disappearance of its walls, the city was thought to be at risk of degeneration, spreading outward and transforming into a shapeless, unstable and sick place.

These anxieties provoked a great deal of thought and questioning; What constitutes a city? What was the symbolical function of early city walls?

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How is a city different from any other place? What should cities look like? Can a city exist without shape or limits? One of the earliest, most interesting and overlooked thinkers to grapple with these questions was Jacques-Antoine Dulaure, an unusual character who drew on his personnal experience as architect and geographer to confront the emerging crisis of the unwalled city.

Dulaure wrote from a variety of perspectives working as a mythologist, historian and archaeologist. His grand oeuvre, a History of Paris was very widely read and contributed in a significant way to elaborating and diffusing our notions of the modern city. In his book Dulaure synthesises all his previous writings, linking them with the history of Paris. His studies on phallic cults, primitive landscape and territorial markers led him to a groundbreaking thesis to explain not only the foundation of Paris but the origins of all cities.

Dulaure rewrote the history of architecture and cities. He invented a new historical narrative which plunged the origins of building into a past that preceded all written histories, grounding his descriptions almost exclusively on archaeological discoveries of his time, privileging built evidences and ruins over textual precedents.

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He demonstrated that the earliest expression of architecture was not the ideal hut or the temple, but rather the boundary marker, the cromlech and the cippus — which were all territorial markers. For Dulaure, these monuments of frontier embodied the very beginnings of architecture, cities and of all social institutions. The way in which this powerful archetype originated is uncertain, we can confidently underline, however, two necessary aspects for its appearance. First of all, the geography: the land of Mesoamerica is geographically determined by two mountain ranges that run from north to south and met at the Itsmo de Tehuantepec.

Ph.D. dissertations | Architecture History and Theory - McGill University

These ranges, known today as the Sierra Madre Oriental and Sierra Madre Occidental, conform sloped sides to the seas and large fertile plateaus at the top between them, that is to say, the whole Mesoamerican world is given by its geographical condition as a truncated pyramid. Almost all Mesoamerican cosmogonical myths tell us how the gods sacrificed their lives to separate the sky from the earth or cast themselves into the fire to transmute into the sun or moon or gave their blood to generate the movement of the cosmos. The earth was conceptualized as terrifying living creature who was constantly giving her flesh for the maintenance of humans, but that required the pay back of the sacrificial act.

Mountains were also living gods, -or were seen as inhabited by gods,- who could propitiate raining. They would function as a religious-cosmic mediator in time and space between men and cosmos, the sky and the underworld, men and the gods. Their ritual use was regulated by a dual calendar. It is hard for us to grasp the ethical dimension of the sacrificial act because, in our mechanistic mentality, there is no real connection between the offered blood and the movement of the cosmos, but for Mesoamericans, the connection was as evident as the plants grow and as the sun burns.

The Main Temples would usually mark an axis mundi for the community, and were usually orientated towards the solstices, marking the agricultural seasons, contributing strongly for the communal sense of belonging. Just after the foundation of Mexico-Tenochtitlan, in the place where they encounter an eagle devouring a snake over a prickly pear cactus, the Aztecs proceed to build a teocalli for their tribal good Huitzilopochtli. The dual Temple of Huitzilopochtli and Tlaloc, the traditional god of rain, grew in size and grandeur during the next hundred and fifty years until the arrival of the Europeans.

My dissertation can be conceptualized as an hermeneutic promenade around the Great Temple of Mexico-Tenochtitlan. I intend to reach the top platform after reviewing different interpretations of the Temple, not to have a complete scientific understanding of it, but to have an advantage point for my own partial interpretation.