P Q Theory Phd Thesis

P Q Theory Phd Thesis-42
It is hoped that this research, through revealing the narrative functions of form, symbol, and order in a particular temple may illuminate the more general symbolic principles of Thai sacred architecture, whether by congruence or contrast.

It is hoped that this research, through revealing the narrative functions of form, symbol, and order in a particular temple may illuminate the more general symbolic principles of Thai sacred architecture, whether by congruence or contrast.More abstractly, unveiling Wat Pho’s narrative should assist in the revelation of the cultural sensibilities crucial to its host city and its historic form.

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This thesis strives to articulate the narrative or narratives latent in the manipulation of form, symbol, and order in the architecture of Wat Pho, a major royal temple complex in Bangkok, and to consider the temple’s revelatory significance in relation to the broader question of Thai sacred building.

Wat Pho presents a compelling model for such a study.

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This project focuses on images of apocalyptic destruction of the city in film, specifically the Metropolis stories by Fritz Lang (silent, 1926) and Rintarô (animated, 2001), reached by way of Osamu Tezuka's comic strip of the same name (1949).

These films act on and through the image of the city to render acute the problematic modern relationships of architecture to the body, and of community to its others.This architecture and its urban analogies, demonstrating the persistence of symbolic and even mythic sensibilities, may, in addition, provide potent lessons for considering urban development today. This thesis analyzes the problems and contradictions inherent in modernity’s levelling of the fabricative and political realms.Seeking a broader perspective on the origins of aesthetic culture and aestheticized politics, it examines the relation of architecture to technology, culture, and politics.These experiences articulate the unstable relationship of body and architecture arising from modern conditions, yet the film offers no easy answers.While Lang's resolution depended on the annihilation of the technical body, such bodies survive the animated apocalypse, if in broken form.Yet is a condition for which we secretly yearn; indeed it is the only condition through which an authentic becoming is possible.Contrary to the view of many interpreters that Francis of Assisi (1181-1226) dabbled in church renovation for a few years following his first conversion experience in 1205, architecture remained a central preoccupation until his death in 1226.This is arguably due to the complexities of their host culture which combines a broad range of influences within its own unique synthesis.The differences may also, however, derive from a fundamentally different approach to form and architectural event - one which has been overlooked due to the implicit biases of recent architectural sensibilities.Their survival in a landcape generated out of the Labyrinth -- and in clear rejection of Towers -- implies that the mode of dwelling and form of life which allow us to dwell authentically in our current condition involve, perhaps paradoxically, a critical (even playful) use of technology, an engagement with the strange/the foreign, and the navigation of a landscape which offers no simple homecoming.This condition of dwelling is thrust upon us by postmodern circumstances.


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