Clarity, Light, and Logic : Parallels between Olafur Eliasson’s The weather project and the Gothic Cathedral

This Master’s Research Paper investigates Olafur Eliasson’s The weather project as a case study for the dialogue between Gothic artistic principles and prominent elements of contemporary art. A product of a post-modern mindset, weakened historicity allows us to examine these connections anew; past, present, and future blur and artists (and viewers) have the whole of time from which to gain inspiration and meaning in works of art. I demonstrate similarities through theories on phenomenology; the spatiotemporal relationship between viewer and artwork; the convergence of art and science; and the communal, quasi-liminal experience of pilgrimage. I embrace Eliasson’s belief in the self-reflexive potential of art and the importance of the viewer’s own values, memories, and methods of seeing. This new interpretive layer will hopefully offer a richer experience for future participants of both Gothic cathedrals and environments produced by Studio Olafur Eliasson.

A finite element model of perforated panel absorbers including viscothermal effects

Most of the analytical models devoted to determine the acoustic properties of a rigid perforated panel consider the acoustic impedance of a single hole and then use the porosity to determine the impedance for the whole panel. However, in the case of not homogeneous hole distribution or more complex configurations this approach is no longer valid. This work explores some of these limitations and proposes a finite element methodology that implements the linearized Navier Stokes equations in the frequency domain to analyse the acoustic performance under normal incidence of perforated panel absorbers. Some preliminary results for a homogenous perforated panel show that the sound absorption coefficient derived from the Maa analytical model does not match those from the simulations. These differences are mainly attributed to the finite geometry effect and to the spatial distribution of the perforations for the numerical case. In order to confirm these statements, the acoustic field in the vicinities of the perforations is analysed for a more complex configuration of perforated panel. Additionally, experimental studies are carried out in an impedance tube for the same configuration and then compared to previous methods. The proposed methodology is shown to be in better agreement with the laboratorial measurements than the analytical approach.

Subsidence damage assessment of a Gothic church using differential interferometry and field data

The Santas Justa and Rufina Gothic church (fourteenth century) has suffered several physical, mechanical, chemical, and biochemical types of pathologies along its history: rock alveolization, efflorescence, biological activity, and capillary ascent of groundwater. However, during the last two decades, a new phenomenon has seriously affected the church: ground subsidence caused by aquifer overexploitation. Subsidence is a process that affects the whole Vega Baja of the Segura River basin and consists of gradual sinking in the ground surface caused by soil consolidation due to a pore pressure decrease. This phenomenon has been studied by differential synthetic aperture radar interferometry techniques, which illustrate settlements up to 100 mm for the 1993–2009 period for the whole Orihuela city. Although no differential synthetic aperture radar interferometry information is available for the church due to the loss of interferometric coherence, the spatial analysis of nearby deformation combined with fieldwork has advanced the current understanding on the mechanisms that affect the Santas Justa and Rufina church. These results show the potential interest and the limitations of using this remote sensing technique as a complementary tool for the forensic analysis of building structures.

Copy of William Watson's account for painting and glazing of Holden Chapel, September 1801

Contains an itemized list of costs for painting and glazing tasks to be completed and supplies needed by Watson for Holden Chapel. Tasks include painting Doctor Warren's room twice, painting window sashes and shutters, transporting glass from Boston, and setting each window pane. Supplies needed include oil, white lead, and putty.

An analysis of Santa María urn painting and its cultural implications / Ronald L. Weber.

n.s. no.2(1981)

Un receuil: containing painting, penmanship, algebra and pieces selected from various authors in prose and verse, with a few pieces in French with their translation / by Phebe Folger of Nantucket : manuscript, 1797-1806

Written mostly in a copperplate hand in black ink, and illustrated with watercolor drawings.

O tríptico da paixão de Cristo do Palácio Nacional da Ajuda: história, estudo material, iconografia e filiação estílistica

O objeto de estudo desta dissertação é um pequeno tríptico do Palácio Nacional da Ajuda, provavelmente dos finais do séc. XV, sobre o qual existe pouca informação. A obra pertence ao acervo de pintura antiga deste palácio/museu (inv. 3540) e encontra-se exposta no “Atelier de Pintura de D. Luís”. Trata-se de uma pintura sobre tábua de carvalho, em mau estado de conservação, representando cinco episódios relativos à Paixão de Cristo: a Flagelação, a Coroação de Espinhos, o Caminho do Calvário e duas cenas relativas à Ressurreição. Apresenta uma iconografia singular, mas as suas características gerais indicam tratar-se de uma pintura tardo-gótica do Norte da Europa, nomeadamente da Alemanha. O objetivo desta tese de mestrado em História da Arte, Património e Teoria do Restauro, consiste na investigação histórica e material desta obra, sobre a qual existe pouca informação. Por ser desconhecida a sua cronologia, autoria e local de produção, além de não haver qualquer documentação ou bibliografia sobre a mesma, iremos estudar esta obra a partir da sua materialidade, iconografia e estilo, na medida em que a obra é um “documento vivo”. Tendo sido agora encontrada a única e a mais antiga referência documental relativa a esta obra, nos arrolamentos de 1913 do palácio (Inventário Judicial), este tríptico consta na "Galeria de Quadros”, indicando ter pertencido à coleção de pintura de D. Luís I. Interessa, então, focar a política de aquisições de pintura antiga nórdica desenvolvida pelo monarca, tentando perceber porque é que o tríptico não consta nos catálogos das exposições (duas edições dos catálogos, 1869 e 1872) da “Galeria de Pintura no Real Paço da Ajuda”, aberta ao público em1869. Porque a interdisciplinaridade entre arte e ciência é fundamental para um conhecimento mais profundo da História da Arte, esta obra foi objeto de um estudo material que consistiu no levantamento in situ da pintura (exames de área e de ponto), na análise laboratorial (estratigrafia, pigmentos e aglutinantes) e na integração dos resultados, para compreender a técnica pictórica, que se articula com a análise iconográfica e de filiação estilística, contribuindo para a integração da obra no seu contexto histórico-cultural de origem, como pintura devocional germânica.