Compositional structures in mural design : towards a site-specific deconstructive mural methodology

A thesis submitted to the University of Bedfordshire in partial fulfilment of the requirements of the degree of Doctor of Philosophy (PhD)Murals have been the formal visual interpretation of the cultural, social and political life of all ages. Throughout they have been consistently combined with their architectural setting, for example, in ancient Egyptian tombs, in Renaissance churches and on the external walls of buildings in Mexico in the twentieth century. This is a central feature of mural painting. However many contemporary murals do not integrate with their architectural settings, in other words, do not fulfil the site-specificity of the architectural spaces for which they were made. This means that the most important aspect that distinguishes murals from other types of painting is absent. I studied and analysed a number of murals produced in the Italian Renaissance, Baroque and Rococo as this particular period is considered to be not only one of the most significant in the history of art but also a period in which painting and architecture were very closely allied as practices. In particular the radical developments in painting of pictorial space took place along side the developments in architecture. I argue that Renaissance murals could be described, using the terminology of contemporary art, as site-specific art. By identifying the relationship between pictorial space, architectural space and compositional structure I was able to test, through my own practice, the importance of these relationships in understanding the site-specificity of the compositional structure of murals. To address the issue of sitespecificity in murals, I investigated and developed a set of compositional structures through my mural practice that could be applied in the design, execution, and teaching of contemporary mural design. I have developed the notion of a deconstructive method of mural design in which the illusory space of the mural derives its compositional structure from the architectural space in which it sited. I have applied it, tested it and refined it through the execution of a number of hypothetical and live mural commissions. I believe that the approach to the study and practice of mural design I have developed from the perspective of a practice lead researcher contributes to the furtherance of mural design as both a profession and field of study. In particular the identification of compositional structures in mural design and the proposal of a deconstructive method contributes to our understanding of what a mural is as well as current notions of site-specificity in contemporary art

Artistic manifestations as a mean of connection to the world outside the cloister: mural paintings in the Monastery of São Bento de Cástris

S. Bento de Cástris Monastery was the first extramural monastic community in the town of Évora and the first Cistercian female community in southern Portugal. In the 16th century, as in other monasteries, its regular life underwent an intense reformation, because one of the main goals of the Ecumenical Council of Trent – held between 1545 and 1563 – was the regularization of monastic communities. Together with a spiritual renovation, influences of the Counter-reformation and of the Baroque culture were felt in the monastery artistic production (e.g. gilded woodwork, tiles, liturgical furniture, vestments, and frescoes). Mural paintings were particularly present in the cloistered spaces that were only accessible to the nuns (Refectory, High Choir, and Infirmary). Even today these spaces are not easely accessible for security reasons. The aim of this paper is to provide an insight view of the paintings and of the religious and cultural context on which they were produce

Experience with mural in formalising Dust-Expert

The mural system was an outcome of a significant effort to develop a support tool for the effective use of a full formal methods development cycle. Experience with it, however, has been limited to a small number of illustrative examples that have been carried out by those closely associated with its development and implementation. This paper aims to remedy this situation by describing the experience of using mural for specifying Dust-Expert, an expert system for the relief venting of dust explosions in chemical processes. The paper begins by summarising the main requirements for Dust-Expert, and then gives a ¯avour of the VDM speci®cation that was formalised using mural. The experience of using mural is described with respect to users' expectations that a formal methods tool should: (i) spot any inconsistencies; (ii) help manage and organise the specifications and allow one to easily add, access, update and delete specifications; (iii) help manage and carry out the refinement process; (iv) help manage and organise theories; (v) help manage and carry out proofs. The paper concludes by highlighting the strengths and weaknesses of mural that could be of interest to those developing the next generation of formal methods development tools

Richmond Mural Tour

In the past years Richmond has been growing in popularity in the world of street art. This popularity is due in part to the many projects that brought in artists from around the world to create beautiful artwork. There is so much art outside in Richmond as a result of these projects, but no great way to navigate the streets of the city in an efficient manner to see all of it. Richmond Mural Tour is a mobile cross-platform application that allows users to explore all of the amazing outdoor artwork around the city. This application is built on ionic 2, a cross-platform framework that allows developers to write code in one language, Javascript. The project can then be built into a native iOS, Android, and Windows phone applications. The app utilizes the Google Maps Javascript API to display a map of all the murals in Richmond. It then allows users to build and customize “Tours” or routes with any number of murals that have been selected. It also takes advantage of the Mapquest Web API to find the most optimal route between a list of waypoints. To serve all of this data to mobile phones this application uses a simple ASP.NET Core web API to transmit the data to devices via the internet.https://scholarscompass.vcu.edu/capstone/1159/thumbnail.jp

The Unity Mural: Bridging Communities through Artmaking

A visual essay of a community based art education mural between two universities and a local community, following a tragic hate crime

“Passages” Mural on College Union Building

The mural “Passages” in the back of the Ballroom in the College Union Building may seem to be another painting on the wall to add to the décor of the room, but it can be found to be a case of “history in plain sight.” The mural depicts the history of Gettysburg College through the art work of Ellen Elmes on four separate panels. But the mural is more than a visual reminder of Gettysburg College’s past. It was donated by Luther Ritter, Class of 1933, and as such is a reminder of all the great Alumni who have passed through Gettysburg College. [excerpt] Course Information: Course Title: HIST 300: Historical Method Academic Term: Fall 2006 Course Instructor: Dr. Michael J. Birkner \u2772 Hidden in Plain Sight is a collection of student papers on objects that are hidden in plain sight around the Gettysburg College campus. Topics range from the Glatfelter Hall gargoyles to the statue of Eisenhower and from historical markers to athletic accomplishments. You can download the paper in pdf format and click View Photo to see the image in greater detail.https://cupola.gettysburg.edu/hiddenpapers/1024/thumbnail.jp

No evidence for an early seventeenth-century Indian sighting of Keplers supernova (SN1604)

In a recent paper Sule et al. (Astronomical Notes, vol. 332 (2011), 655) argued that an early 17th-century Indian mural of the constellation Sagittarius with a dragon-headed tail indicated that the bright supernova of 1604 was also sighted by Indian astronomers. In this paper it will be shown that this identification is based on a misunderstanding of traditional Islamic astrological iconography and that the claim that the mural represents an early 17th-century Indian sighting of the supernova of 1604 has to be rejected.Comment: 7 pages, 6 figures. To appear in Astronomical Notes, vol. 334, issue 5 (2013), DOI number 1172