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1
Pickersgill, Robert Sean, und sean pickersgill@unisa edu au. „Architecture and Horror: Analogical Explorations in Architectural Design“. RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090525.162052.
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This thesis examines the relationship between the practice of architectural design and the media through which it is represented. It makes a consistent critical appraisal of the philosophical presumptions under which architectural theory is made, in particular, the relationship between theories of expression and representation. The thesis presents seven distinct projects by the author which developmentally explore the degree to which architecture is able to represent the sublime - in particular through the concept of horror. In this instance horror emerges as a category of excess that supervenes the uses of the term in the genres of film and literary studies. Within the thesis horror describes an (impossible) objective for representation The thesis argues that the environment within which these philosophical questions of 'effect' may most resonantly be explored is, ultimately, digital media. The author draws on contemporary commentary by Jacques Derrida and Georges Bataille, in particular Derrida's discussion of the Parergon and contemporary discussion of l'informe, the informal to support these arguments. It is within the apparently 'real' environments of virtual reality that the presentation of the mise-en-scene of horror may be explored. Immersive digital environments, it is argued, provide an appropriate level of freedom and direction for the exploration of the spatial experience of the abyss. The thesis concludes by presenting observations on the antinomy of aspirations that any materialist theory of architectural practice must attend to when working within digital media.
2
Chase, Davis William. „Architectural design principles as evidenced in Gothic architecture“. Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/53714.
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Three specific architectural design principles are identified and documented through a study of gothic architecture.
The comparative method is used to show progressive change in gothic architecture and to illustrate how these design principles are evident in this change.Master of Science
3
Jansen, Antonius Gradus Johannes. „Architectural design decisions“. [S.l. : Groningen : s.n. ; University Library of Groningen] [Host], 2008. http://irs.ub.rug.nl/ppn/314295305.
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4
Davidson, Bradley Ross. „Poetic intent in architectural design“. Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23392.
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5
Armstrong, Jeffrey Kent. „The homeowner as designer : a method for improving architect-clinet communication“. Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61677.
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6
Cheng, Kwai-wai. „A collaborative design tool for virtual design studios /“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20971497.
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7
Mohamed-Ahmed, Ashraf. „Proposition d'une méthode mixte d'évaluation de l'Incidence des média sur le processus de conception architecturale“. Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29560/29560.pdf.
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La thèse traite de l'incidence des media d'aide à la conception sur le processus de conception architecturale. Plus spécifiquement, en se basant sur une littérature multidisciplinaire, l’objectif de la thèse est d’analyser l’incidence de trois media, utilisés traditionnellement dans les milieux académique et professionnel, soit l’esquisse à main levée, la maquette et le logiciel de conception assistée par ordinateur (ici, Sketch-UP 7.0) sur le concepteur, le processus de conception architecturale et de la qualité des projets générés. 35 étudiants en architecture ont participé à cette étude. Une méthodologie d’évaluation mixte de cette incidence est proposée, soit d’une part des mesures quantitatives pour évaluer les capacités visuo-spatiales des étudiants-concepteurs (tests psychométriques), la gestion de leur charge cognitive (tâche secondaire) lors du processus de conception et d’autre part, des mesures qualitatives de la gestion de la charge cognitive (questionnaire du NASATLX) et de la qualité des projets générés (évaluation consensuelle d’experts). Les résultats n’ont pas permis de montrer de différence significative entre les media concernant les deux mesures de la charge cognitive, ainsi que pour la qualité des projets générés. De plus, aucune corrélation n’a été établie entre la charge cognitive et la qualité des projets.The thesis discusses the impact of design media upon architectural design. Based on a multidisciplinary literature revue, the objective of the thesis is to analyze the impact of three media, namely the freehand sketch, the physical model and the software (here, Sketch-UP 7.0) on architectural design. 35 students in architecture have participated in the study. A mixed evaluation methodology is proposed to evaluate the impact, namely quantitative measures of visual-spatial abilities (psychometric test), and the cognitive load management (secondary task technique) during the design, and also qualitative measures to evaluate the cognitive load management (NASATLX) and the quality of projects generated (consensual assessment technique). The results show no significant statistical difference between the three media for the cognitive load management, and the project quality. Furthermore, no correlation was found between the cognitive load management and the project quality.
8
Wiggins, Glenn E. „Methodology in architectural design“. Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/14498.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Includes bibliographical references (leaves 173-174).
The act of designing in architecture is a complex process. Many designers, when probed for reasons to explain their actions, are either unable to answer questions, or provide explanations that are not true descriptions of their actions. Frequently the designer will answer that his or her reason for making a particular design decision is based on 'feeling' or 'intuition.' Under this model the design process assumes a 'mystical' aura. Architectural designers can create, yet are unable to say how they do so. Often that which can be explicitly discussed by the designer is the least significant part of his or her design process. It is unlikely that designers are 'channeling' information from cosmic sources. Rather, they are working with knowledge that is largely tacit. This thesis attempts to de-mystify the process of architectural design. Through a close scrutiny of existing literature, incorporation of personal experience as an architect, and testing of theories with lay, novice, and expert designers a theory of design methodology is proposed.
by Glenn E. Wiggins.
M.S.
9
Papakammenou, V. „Lighterials in architectural design“. Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1388845/.
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This research offers a new approach to architectural design by suggesting that artificial light could be included in the architect’s conceptual toolbox. An exploration of the lighting techniques currently used in interior design shows a direct connection between artificial light and architectural design. This is followed by an investigation of innovative lighting applications that are based on new materials. These materials either emit light themselves or can be connected to light in different ways to radiate light. For this thesis the word lighterials has been coined to distinguish them from opaque, non-light-related materials. After lighterials have been accepted as an architectural group of forms, the architectural space is analysed in terms of its most important elements with reference to artificial lighting and interior architecture. Within this scope a new element, poetics, is introduced, bringing the two design fields even closer together. The question is asked: How can lighterials influence architectural design, including the poetics of a space? The question is tackled by three different studies, a pilot study, a case study and interviews, which employed architecture students, lighting design students and professional architects respectively. The first study provides information about future trends around lighterials and the second about how lighting designers could use lighterials. In the third and main study, using the methodologies of think-aloud protocol, structured interviews and questionnaires, the architects indicate through their use of lighterials in design how lighterials could influence architectural space and its poetics. From analysis of these studies it is apparent that these new lighting applications have the potential to completely change or to enhance an architect’s design. Further, the incorporation of lighterials in design can dramatically change the user’s experience of a space. In its examination of new characteristics of light as architectural form this research offers a unique contribution to the field.
10
Parnell, Steve. „Architectural design, 1954-1972“. Thesis, University of Sheffield, 2012. http://etheses.whiterose.ac.uk/14585/.
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This thesis examines the architectural magazine's contribution to the writing of modern architectural history using the magazine Architectural Design (AD) as a case study. There are four main narratives to this research, one "grand" and three "micro"; The overarching grand narrative (or meta-narrative) is the proposal to replace the existing art historical formulation of architectural history with a more holistic understanding of history based on power struggles in the field of architecture. This strategy is derived from an application of Pierre Bourdieu's theoretical framework to the field of architectural cultural production. The position of the architectural magazine as an institution in the construction of the architectural profession, and the ever-changing definition of architecture is one underlying micro-narrative. The introduction discusses the role that the architectural magazine played in the emergence of the modern architectural profession, alongside other institutions, specifically the academy and professional bodies. The central, and largest, micro-narrative is a critical history of the magazine Architectural Design from 1954 to 1972. Brief biographies of its editors and a background to the magazine from its inception in 1930 up to 1953 precede this by way of contextualisation. This history of AD discusses the content and context of the magazine and traces its shift from a professional architectural magazine to an autonomous. "little" magazine, focussing on several key structural themes that underpin the magazine. Throughout, the role that AD played in the promotion of the post-war neo-avant-garde, in particular the New Brutalists and Archigram, is documented and the relationships between the small circle of people privileged to produce and contribute to the magazine, and AD's rivalry with the Architectural Review are highlighted. The final micro-narrative is a reading of post-war modem architectural history from 1954 to 1972 through the pages of AD, tracing the rise and demise of modem architecture in terms of three defining shifts from the period evident in the magazine: "high to low"; "building to architecture"; and "hard to soft". This period also coincides exactly with the life of the Pruitt Igoe housing blocks in SI. Louis whose demolition, according to Jencks, represented the death of modern architecture. A growing post-modern sensibility in architecture is manifest in the magazine through an increasing resistance to modernist thinking. This study consciously employs post-modern methodologies to a period of modern architecture in an attempt to disturb modernist mythologies that have ossified into history.
11
Altman, Andrew. „Branding Architectural Corporate Design“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337362892.
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Hurst, Felicia. „Architectural participatory design methods“. Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000hurstf.pdf.
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Yuen, Siu-hei Lawrence. „Sustainability refines architecture : a demonstration project in Wanchai /“. Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947278.
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14
Komez, Esin. „On Urban Architecture: Urban Architectural Strategies In Three Examplary Cases“. Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610765/index.pdf.
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The term &ldquourban architecture&rdquo
has different meanings and is open to many interpretations. This thesis aims to highlight and further elaborate some definitions of &ldquo
urban architecture&rdquo
in which it is mainly characterized as architecture in the urban context. The Second Volume of Harvard Architecture Review on &ldquo
Urban Architecture&rdquo
is referred as a main source in discussing the content of the term. The concept of &ldquo
urban architecture&rdquo
can be identified in several theoretical contributions to the field of architecture. In this context, the themes &ldquo
urban artifact&rdquo
developed by Aldo Rossi and &ldquo
urbatecture&rdquo
developed by Bruno Zevi, are discussed in relation to &ldquo
urban architecture&rdquo
. In order to further clarify the concept, its relation to the fields of urban design, urbanism, and landscape urbanism is investigated. While it is distinguished from these fields, &ldquo
urban architecture&rdquo
is defined as an alternative architectural design approach and not as a new field. As an approach to architectural design that operates in an expanded field including landscape design and urbanism, &ldquo
urban architecture&rdquo
points to some strategies that allow to integrate works of architecture into their urban settings. Following this conceptual elaboration, the thesis aims at exploring the design strategies that characterize urban architecture. In this context, strategies related with landscape, infrastructure, and urban field are identified. The strategies based on these themes and their tools of operation are discussed through three case studies that cover Olympic Sculpture Park for the Seattle Art Museum, Kunsthal, and Borneo and Sporenburg.
15
Mitsogianni, Vivian, und Vivian Mitsogianni@rmit edu au. „white noise PANORAMA: Process-based Architectural Design“. RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091218.111942.
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This PhD by project is an examination of process-based architectural design. It offers an examination of one approach to undertaking process-based experimentation in architecture - based on reflection of my own practice and body of work - through which I have been able to consider a complex array of questions and issues that are associated with working in this way. By
16
Gamble, Carl Jeffrey. „Design time detection of architectural mismatches in service oriented architectures“. Thesis, University of Newcastle Upon Tyne, 2011. http://hdl.handle.net/10443/1241.
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Service Oriented Architecture (SOA) is a software component paradigm that has the potential to allow for exible systems that are loosely coupled to each other. They are discoverable entities that may be bound to at run time by a client who is able to use the service correctly by referring to the service's description documents. Assumptions often have to be made in any design process if the problem domain is not fully speci ed. If those decisions are about the software architecture of that component and it is inserted into a system with di ering and incompatible assumptions then we say that an architectural mismatch exists. Architectural styles are a form of software reuse. They can simply be used by referring to a name such as \client-server" or \pipe and lter", where these names may conjure up topologies and expected properties in the architects mind. They can also however be more rigorously de ned given the right software environment. This can lead to a vocabulary of elements in the system, de ned properties of those elements along with rules and analysis to either show correctness of an implementation or reveal some emergent property of the whole. SOA includes a requirement that the service components make available descriptions of themselves, indicating how they are to be used. With this in mind and assuming we have a suitable description of the client application it should be the case that we can detect architectural mismatches when designing a new system. Here designing can range from organising a set of existing components into a novel con guration through to devising an entirely new set of components for an SOA. This work investigates the above statement using Web Services as the SOA implementation and found that, to a degree, the above statement is true. The only element of description required for a web service is the Web Service Description Language (WSDL) document and this does indeed allow the detection of a small number of mismatches when represented using our minimal web service architectural style. However from the literature we nd that the above mismatches are only a subset of those that we argue should be detectable. In response to this we produce an enhanced web service architectural style containing properties and analysis supporting the detection of this more complete set of mismatches and demonstrate its e ectiveness against a number of case studies.
17
Bay, Joo-Hwa. „Cognitive biases in design the case of tropical architecture /“. Delft, the Netherlands : Design Knowledge System Research Centre, Faculteit Bouwkunde, Technische Universiteit Delft, 2001. http://catalog.hathitrust.org/api/volumes/oclc/49528245.html.
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18
Pan, Rong. „ARCHITECTURAL EXPRESSIONS: CASE STUDY AND DESIGN DEVELOPMENT OF MUSEUM ARCHITECTURE“. The University of Arizona, 1995. http://hdl.handle.net/10150/555244.
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Zimmermann, Olaf. „An architectural decision modeling framework for service oriented architecture design“. Berlin dissertation.de, 2009. http://d-nb.info/994960557/04.
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20
Huang, Zhaoheng. „Landscape plants in architectural design“. Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/845986.
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This creative project has explored the design methods to integrate landscape planting materials and architectural elements. A demonstrative architectural design is proposed to apply these research methods. This report comprises two major sections: one is the description of landscape materials and their characteristics; the other is an architectural design to demonstrate the usage of these landscape materials. The first section of this report has emphasized on an inventory of landscape materials with the descriptions of their individual functions and characteristics in architectural design as well as the samples of those landscape elements in spatial organization. About 40 most popular plant materials were collected and their growing patterns and spatial geometries were integrated in various building typology. The case study has demonstrated the practical application of those landscape materials. The cultural and aesthetic values of plant materials were evaluated according to the cultural and historical background of selected prominent landscape designs. In the second section, a creative architectural design was developed based on a proposed Tree Museum located in Muncie, Indiana. The objective of this design was to apply the design principals developed in previous research, and to demonstrate how the landscape materials could be properly integrated with architectural design. As a trial approach, the tree museum has presented a unique perspective of architectural design in which the organizations of both building structures and plant elements are highly implemented.Department of Architecture
21
Yuncu, Onur. „Research By Design In Architectural Design Education“. Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12610061/index.pdf.
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Research by design refers to the design of architectural research as an integral part of architectural design processes. In 1980s, it emerged as a third way in design research that was dominated until then by the methods of natural sciences and humanities. With this new formulation of design research, a methodological and epistemological transformation occurs, leading to the integration of practical knowledge into architectural research. The primary epistemological question transforms from knowing what design is and knowing how to design to knowing what through the act of design. The integration of the act of design in research transforms the status of design in design research from being an object of inquiry to being a research approach.
In the literature on research by design, this transformation is often related with Donald Schön&rsquo
s conceptualization of &ldquo
reflective practice.&rdquo
The main discussion of reflective practice is primarily methodological rather than epistemological. Although it provides methodological insights, it is not sufficient to constitute an epistemological basis for research by design. Thus, the epistemological basis of research by design has not yet been adequately defined. In this study, the notion of &ldquo
reflective practice&rdquo
is investigated in a broader context relating it to its sources in the concepts of &ldquo
tacit knowledge&rdquo
and &ldquo
action research.&rdquo
A conceptual framework for research by design is constructed by relating these concepts with the discussions on research by design and with practical philosophy, the implications of which has remained rather uninvestigated in this context. Aristotle&rsquo
s elaboration of knowledge generation in action and the concept of phron&
#275
sis (practical knowledge, prudence, or practical wisdom) constitute the underpinning of this conceptual framework. The conceptual framework that is constructed on the basis of the key concepts in practical philosophy is discussed in the context of architectural design education. When architectural design education is formulated as a process of research by design within this framework, knowledge generated in the educational design processes promises not only to improve the particular educational context and architectural education but eventually to contribute to architectural knowledge.
22
Ataman, Osman. „Media effect on architectural design“. Diss., Georgia Institute of Technology, 1999. http://hdl.handle.net/1853/23925.
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23
Riley, James Preston. „A paradigm for Kemetic architectural design : the beginnings of a Kemetic architectural design language“. Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/69741.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.Includes bibliographical references (p. 59-60).
Kemetic [Egyptian] architecture is highly recognizable. In particular, there was a distinct monumentality to its religious architecture. As well, familiar design characteristics permeated many of them. These edifices continue to be a source of discussion and debate. Opposing interpretations range in opinion; from traditional and conservative to embedded with scientific and mathematical knowledge. In this thesis, I investigate one facet of the Kemetic architectural tradition. I will first define tradition and architectural tradition. Second, I will identify the main themes. They include the Kemetic architectural continuity; the Kemetic architectural design principle; and, the determinants of the architectural design principle. The themes assist in further understanding underlying components of Kemetic architecture. To demonstrate these points, the Kemetic temple plan is used as a reference point for discussion. In the conclusion, it is my intention to bridge opposing areas of discussion to enhance them and advance the comprehension of Kemetic architecture.
by James Preston Riley, Jr.
M.S.
24
Dogan, Fehmi. „The role of conceptual diagrams in the architectural design process case studies of the First Unitarian Church by Louis Kahn, the staatsgalerie by Stirling & Wilford Associates, and the Jewish Museum by Daniel Libeskind /“. Diss., Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/5398.
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VonderBrink, David Thomas. „Architectural Phenomenology: Towards a Design Methodology of Person and Place“. Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1185571813.
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Penniman, William Edward. „Restorative Design“. Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/penniman/PennimanW0509.pdf.
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The design challenge for this thesis project is to evaluate the socio-cultural influences of Modern design on the city and people of Chandigarh, India, identify a human need to address and design socially relevant housing for them in current architectural vernacular The project began with on-site evaluation of the living conditions and people of Chandigarh. Current housing standards and lifestyles were researched photographically and textually through evaluation of thesis projects found at the Chandigarh School of Architecture library. Interviews with local citizens provided the tool for assessment of a need to be addressed. Input from individuals regarding this need and cultural implications with precedent were researched within the setting. From there architectural design evaluation and development methods were applied from the base of study materials accumulated in the Architecture program at MSU. Sketches, models, and graphics developed were reviewed regularly with the advisor group and crit sessions were completed as prescribed. Research with conclusions and material decisions were condensed into the thesis book and reviewed by professors. The building design was then compiled graphically by various means. Models, hand drawings and computer generated graphics were combined for final presentation boards. In concept for the design, application of culturally appropriate elements of material and form that are accepted by current residents will be used to create an individual identity for the residence that is unique yet a community fit. The proposal is not to copy the universal design type or ideals of Le Corbusier applied to Chandigarh, but to counterbalance it with a focus on individuality as a basis for design expression. People, enrichment of their lives and creation of place and belonging, are the heart of this project, not to erase the past, but to move forward in the present from where they have arrived. Saying this in a different way, it would be to present the project as a 21 Century "modern" design, using materials from the "Modernist" vernacular to create a place for celebration of cultural roots while reshaping perception of individual worth for some within the culture.
27
Sung, Li-wen. „Decoding Chinese Classical Architecture for Contemporary Architectural Design - With Special Reference to Modern Architectural Development in Taiwan“. Diss., Virginia Tech, 2006. http://hdl.handle.net/10919/40260.
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This research began with an exploration of the phenomenon of cultural conflict and fusion in the process of architectural modernization in Taiwan. It will examine the impact of modern and contemporary theories on the practice of architecture of the island. It will then seek out the essence of Chinese classical architecture in order to develop an approach for the development of the future Chinese/Taiwanese architecture. In addition, the findings of the study could serve as a reference for scholars who would pursue historical and theoretical studies of in the subject, or for architects who are seeking design concepts to enhance their projects.
The study utilizes an interpretive-historical methodology. It emphasizes that researchers should investigate social phenomena within broader and more complex contexts of what to uncover the underlying cultural factors. To highlight their significance, the author will pursue a hypothetic project to examine and demonstrate the meaningfulness and applicability of the concepts learned from the research.
Efforts were made to discover ways in which Taiwanese and Chinese architectural culture can deal with foreign influences, such that it will be able to enjoy the benefits of modernization while maintaining its unique character and identity. Moreover, it will attempt to uncover ways in which Chinese architecture can in fact influence the global contemporary architectural culture. Finally, it is hoped that this work will produce a useful reference for students, scholars and architects who wish to develop design projects that reflect and celebrate regional cultures.Ph. D.
28
Christodoulides, Marios Andreas. „Design heuristics : facilitating architectural thought“. Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/65239.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.Includes bibliographical references (p. 48).
As D A Schon describes the problem space is not given with the presentation of the design task, but constructed by the designer as he/she invents the moves by which he/she attempts to find solutions. From such a design process two episodes emerge, the first one comprised of all the moves a designer makes to construct and organize a problem space, and the second one describing how a designer might navigate through such a problem space in his/her attempt to arrive at solutions. It is the methods which designers use in these episodes which I define as 'design heuristics'. These can facilitate the early stages of the design process in several ways. First they can help set up a platform upon which designers can begin to operate, and which can become the catalyst for further development and refinement to occur. Secondly, they help introduce into the problem space any concerns the designer chooses to address, whether those emerge from site, climate, or other potential factors. These help to complement programmatic concerns, set up hierarchies, and subsequently help the designer determine the important aspects of the problem he/she is attempting to address. Thirdly, the introduction of different 'design heuristics' in both episodes of the design process helps to limit the range of possible solutions, and therefore eliminate the need for exhaustive search. In this thesis an iterative process of investigation is carried out in order to gain a better understanding into the nature of different 'design heuristics' and examine the potential for the development of a tool that can facilitate their implementation. Different categories of rules are introduced in an attempt to create an environment where deSign operations, independent of particular design problems, can be identified. Rules such as the grid, line, and boundary are implemented to investigate concepts of alignment, articulation, and envelope respectively. A random generator is used upon which these rules are superimposed, allowing for a better understanding of the potential and limitations of single rules, or combinations of them. The careful evaluation of a series of experimental products gave rise to a series of concepts that could be critical in the development of an appropriate tool offering more insight as to how one should proceed next. Introducing 'flexibility' for each one of these rules allowed for the development of hierarchies of importance among the different heuristics a deSigner might choose to apply. 'Directional constraints' for each of the rules emerged as critical allowing the development of different variants from each one of the rules described above. The grid for example could have different constrains in anyone of its three axis. The 'sequence' by which these rules are applied emerged as important in the articulation of each one of these rules. The rule applied first would have to compromise the most following the application of subsequent rules. The careful study of products utilizing different variations of such concepts gave better insight as to how these concepts might be further developed and also allowed for new ones to emerge. Furthermore an attempt is made to address both episodes described above by defining a stage of 'generation' followed by a stage of 'post-generation control'. A collection of such concepts can begin to clarify some of the operations that are part of the design activity, setting up the ground for the development of a design tool that facilitates the application of heuristics in the early stages of the design process.
by Marios Andreasa Christodoulides.
M.S.
29
haj, Juana. „Post-Pandemic Alternative Architectural Design“. Thesis, Malmö universitet, Institutionen för Urbana Studier (US), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44425.
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Architecture is known to gather people and encourage shared spaces in our buildings and homes, while the Corona virus, aka COVID-19 has refrained us from our usual face to face communication and meetups. For some, work and social life has been reduced and limited to a screen, virtual meetings for studies, work, social events and so forth. Architecture has its impact on us more than ever before. It can and should provide us safety, infection control and prevention from getting sick. The materials we choose to design our home with is also crucial in a pandemic situation as we should be looking for disinfectant material properties. Copper have been shown to perform better than other common materials like steel, plastic, and wood. Air circulation and ventilation in inner spaces will also have stricter requirements where the air should be changed every hour and checking the air quality – that could be improved with the ratio of greenery and open spaces. Designing a home that can stimulate the productivity, flexibility, comfort, happiness, and health in its dwellers is the ultimate goal for this study. The target audience for the thesis are architects, interior designers and laymen who are interested in this field or those that are seeking a design which promotes healthy, safe and adequate living spaces and homes. The methods used in this study where both quantitative and qualitative methods through an international online survey as well as conducting local interviews with residential buildings’ dwellers in Berlin. On one hand, poor design can lead to both higher expenses in the long term as well as leading to bad physical and mental health, which is felt through the responses from both the survey and interviews. The biophilic design on the other hand, can have a huge positive impact on the dwellers both physically and mentally and should be tested and used more as a solid base for designing interior spaces.
30
MENDEZ, ECHENAGUCIA TOMAS IGNACIO. „Computational Search in Architectural Design“. Doctoral thesis, Politecnico di Torino, 2014. http://hdl.handle.net/11583/2543137.
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The objective of this PhD research is to investigate how best to use computational search processes in the early phase of design. Search algorithms are implemented in combination with parametric models of different kinds of geometry, with the purpose of studying various building performances.
The early phase of design and the nature of the design problem are stud-ied to get an idea of the kind of search process that would best accompany architects during this phase. Multi-disciplinarity and contrasting objectives are singled out as fundamental required characteristics of such a process. This leads to the proposal of multi-disciplinary studies into architectural shapes, both in the realm of complex curved geometry and in more traditional orthogonal forms.
The search process itself is studied in its capacity to generate solutions in a multi-objective setting. The process of selecting and formulating search problems, the parametrization of geometric families for study as well as the selection criteria for outstanding solutions are all topics of discussion. A particular type of algorithm called Genetic Algorithms is implemented and studied in length. Search processes are proposed for 3 architectural design fields: structural, acoustic and energy design.
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Gabriel, Gerard Cesar. „COMPUTER MEDIATED COLLABORATIVE DESIGN IN ARCHITECTURE: THE EFFECTS OF COMMUNICATION CHANNELS ON COLLABORATIVE DESIGN COMMUNIATION“. Thesis, The University of Sydney, 2000. http://hdl.handle.net/2123/3961.
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Up till now, architects collaborating with other colleagues did so mostly face-to-face (FTF). They had to be in the same space (co-located) at the same time. Communi-cation was ‘spontaneous’ and ideas were represented, whether verbal or non-verbal, by talking and using ‘traditional drawing tools’. If they were geographically displaced, the interaction was then space affected as well as the probability of being time affected. In this case communication was usually mediated through the tele-phone, and graphically represented ideas were sent by Fax or posted documents. Recently, some architectural firms started using modems and Internet connections to exchange information, by transferring CAD drawings as well as design informa-tion, through e-mail and file transfer protocol (FTP). Discussing ideas in architecture, as a more abstract notion, is different from discuss-ing other more concrete arguments using video conferencing. It is more important to ‘see’ what is being discussed at hand than ‘watch’ the other person(s) involved in the discussion. In other words the data being conveyed might be of more impor-tance than the mode of communication. Taking into consideration recent developments in computer and communication technologies this thesis investigates different communication channels utilised in architectural collaboration through Computer Mediated Collaborative Design (CMCD) sessions as opposed to FTF sessions. This thesis investigates the possi-ble effects these different channels have on collaborative design in general and col-laborative design communication in particular. We argue that successful CMCD does not necessarily mean emulating close prox-imity environments. Excluding certain communication channels in a CMCD envi-ronment might affect the flow and quantity of synchronous collaborative communica-tion, but not necessarily the quality and content of mutually communicated and rep-resented design ideas. Therefore different communication channels might affect the type of communication and not necessarily the content of the communication. We propose that audio and video are not essential communication channels in CMCD environments. We posit that architects will collaborate and communicate design representations effectively although with some differences, since those two chan-nels might cause interruptions and successful collaborative sessions can take place without them. For this purpose we conducted twenty-four one-hour experiments involving final year architecture students all working to the same design brief. The experiments were divided into three categories, FTF, full computer mediated collaborative design sessions (CMCD-a; audio-video conferencing plus whiteboard as a shared drawing space) and limited computer mediated collaborative design sessions (CMCD-b; with Lambda MOO used as a chat medium plus whiteboard as a shared drawing space). The experiments were video and audio taped, transcribed and coded into a custom developed coding scheme. The results of the analysed coded data and observations of the videotapes provided evidence that there were noticeable differences between the three categories. There was more design communication and less communication control in the CMCD-b category compared to the FTF and CMCD-a categories. Verbal communi-cation became shorter and straight to the point in CMCD-b as opposed to spontane-ous non-stop chat in the other two categories. Moreover in CMCD-b the subjects were observed to be more reflective as well as choosing and re-examining their words to explain ideas to their partners. At times they were seen scrolling back through the text of the conversation in order to re-analyse or interpret the design ideas at hand. This was impossible in FTF and CMCD-a sessions, since the sub-jects were more spontaneous and audio representations were lost as soon as they were uttered. Also the video channel in the CMCD-a category was ignored and hardly used except for the first few minutes of the experiments, for a brief exchange of light humour on the appearance of each subject. The results obtained from analysing the experiments helped us conclude that differ-ent communication channels produce different collaborative environments. The three categories of communication for architectural collaboration explored in our ex-periments are indicative of the alternatives available to architects now. What is not clear to architects is why they would choose one category over another. We pro-pose that each category has its own strengths and difficulties for architectural col-laboration, and therefore should be selected on the basis of the type of communica-tion considered to be most effective for the stage and tasks of the design project.
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Gabriel, Gerard Cesar. „COMPUTER MEDIATED COLLABORATIVE DESIGN IN ARCHITECTURE: THE EFFECTS OF COMMUNICATION CHANNELS ON COLLABORATIVE DESIGN COMMUNIATION“. University of Sydney, 2000. http://hdl.handle.net/2123/3961.
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Doctor of Philosophy (PhD)Up till now, architects collaborating with other colleagues did so mostly face-to-face (FTF). They had to be in the same space (co-located) at the same time. Communi-cation was ‘spontaneous’ and ideas were represented, whether verbal or non-verbal, by talking and using ‘traditional drawing tools’. If they were geographically displaced, the interaction was then space affected as well as the probability of being time affected. In this case communication was usually mediated through the tele-phone, and graphically represented ideas were sent by Fax or posted documents. Recently, some architectural firms started using modems and Internet connections to exchange information, by transferring CAD drawings as well as design informa-tion, through e-mail and file transfer protocol (FTP). Discussing ideas in architecture, as a more abstract notion, is different from discuss-ing other more concrete arguments using video conferencing. It is more important to ‘see’ what is being discussed at hand than ‘watch’ the other person(s) involved in the discussion. In other words the data being conveyed might be of more impor-tance than the mode of communication. Taking into consideration recent developments in computer and communication technologies this thesis investigates different communication channels utilised in architectural collaboration through Computer Mediated Collaborative Design (CMCD) sessions as opposed to FTF sessions. This thesis investigates the possi-ble effects these different channels have on collaborative design in general and col-laborative design communication in particular. We argue that successful CMCD does not necessarily mean emulating close prox-imity environments. Excluding certain communication channels in a CMCD envi-ronment might affect the flow and quantity of synchronous collaborative communica-tion, but not necessarily the quality and content of mutually communicated and rep-resented design ideas. Therefore different communication channels might affect the type of communication and not necessarily the content of the communication. We propose that audio and video are not essential communication channels in CMCD environments. We posit that architects will collaborate and communicate design representations effectively although with some differences, since those two chan-nels might cause interruptions and successful collaborative sessions can take place without them. For this purpose we conducted twenty-four one-hour experiments involving final year architecture students all working to the same design brief. The experiments were divided into three categories, FTF, full computer mediated collaborative design sessions (CMCD-a; audio-video conferencing plus whiteboard as a shared drawing space) and limited computer mediated collaborative design sessions (CMCD-b; with Lambda MOO used as a chat medium plus whiteboard as a shared drawing space). The experiments were video and audio taped, transcribed and coded into a custom developed coding scheme. The results of the analysed coded data and observations of the videotapes provided evidence that there were noticeable differences between the three categories. There was more design communication and less communication control in the CMCD-b category compared to the FTF and CMCD-a categories. Verbal communi-cation became shorter and straight to the point in CMCD-b as opposed to spontane-ous non-stop chat in the other two categories. Moreover in CMCD-b the subjects were observed to be more reflective as well as choosing and re-examining their words to explain ideas to their partners. At times they were seen scrolling back through the text of the conversation in order to re-analyse or interpret the design ideas at hand. This was impossible in FTF and CMCD-a sessions, since the sub-jects were more spontaneous and audio representations were lost as soon as they were uttered. Also the video channel in the CMCD-a category was ignored and hardly used except for the first few minutes of the experiments, for a brief exchange of light humour on the appearance of each subject. The results obtained from analysing the experiments helped us conclude that differ-ent communication channels produce different collaborative environments. The three categories of communication for architectural collaboration explored in our ex-periments are indicative of the alternatives available to architects now. What is not clear to architects is why they would choose one category over another. We pro-pose that each category has its own strengths and difficulties for architectural col-laboration, and therefore should be selected on the basis of the type of communica-tion considered to be most effective for the stage and tasks of the design project.
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Todd, Laura Ruth. „Spin-offs in the architectural design process“. Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/21763.
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34
Choi, Doo Won. „Analogy and architectural design : an operational process to transfer design solutions from architectural precedents to new building design“. Thesis, Oxford Brookes University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247597.
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鄭桂懷 und Kwai-wai Cheng. „A collaborative design tool for virtual design studios“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31220526.
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Thery, David. „Architectural auralizations : towards the integration of virtual acoustic design in architecture“. Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASS016.
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Cette thèse a étudié l’usage des auralisations durant la phase de design de projets architecturaux. Cette technologie, qui consiste à rendre audibles des simulations numériques à partir de modèles acoustiques géométriques, a été beaucoup utilisée en recherche, allant d’études cognitives à l’évaluation de l’acoustique des salles de concert, en passant par des études archéoacoustiques permettant la conservation du patrimoine via la reconstitution de l’empreinte acoustique de lieux historiques. La question ici était donc d’évaluer la potentielle amélioration que l’usage des auralisa- tions apporterait durant la conception d’espaces architecturaux. En se basant sur la théorie de l’acceptabilité pratique, l’usage des auralisations a été étudié à partir de questionnaire et entretiens de consultants en acoustique, ainsi que l’observation d’un cas pratique d’utilisation, en collaboration avec Theatre Projects Consultants. Ces études ont permis l’identification des principaux usages des auralisations, ainsi que les difficultés rencontrées, tant déclarées qu’observées, freinant l’adoption par les consul- tants. L’une des nécessités pour favoriser cette adoption tient dans la fiabilité de la technologie, que ce soit les outils eux-mêmes, ou les rendus de ces auralisations. La stabilité de la perception auditive a donc été évaluée, comparant différents systèmes de restitution. La méthode de reproduction sonore pour commencer, en comparant un rendu Binaural traqué et un rendu Ambisonic. De même, l’influence du système de VR visuel pour des auralisations multimodales a été évalué. Une relative stabilité de notre perception auditive a été observée, avec toutefois un léger impact du système sur l’évaluation de l’impression d’enveloppement (LEV) et de la largeur apparent de source (ASW). Des efforts sur l’adaptabilité des outils d’auralisations, et le transfert de connaissances de la recherche á l’industrie sont nécessaires pour permettre de mieux intégrer les auralisations dans les pratiques des architectes et acousticiensThis thesis investigated the use of auralization in the design phase of architectural projects. While this technology, which consists of rendering audible numerical acoustical simulations, has been extensively used in research, from cognitive to human-computer interfaces to archeology to concert halls acoustics evaluation studies, only limited data existed on its use by acoustical consultants for acoustical design. The question was to evaluate if auralizations can improve the processes of acoustical design for the conception of architectural spaces. Based on the practical acceptability theory, the use of auralizations has been studied through questionnaire and interviews of acoustical consultants, as well as the observation of a practical case study project, conducted in collaboration with Theatre Projects Consultants. These enabled the identification of the main uses of auralizations, as well as the difficulties encountered that impede the adoption of the technology. One of the requirements for its adoption is the accuracy and reliability of both the results and the tools themselves. Therefore, the stability of auditory perception was assessed in perceptive studies along a set of subjective attributes, with auralizations rendered over different interfaces, including sound reproduction methods and VR visual interfaces. The two sound reproduction methods compared were head-tracked Binaural and Ambisonic while the VR visual devices compared were a HMD and a CAVE-light system. A relative stability of auditaptory perception was observed, while the perceived Envelopment and Apparent Source Width were slightly impacted by the rendering system in both cases. Efforts in the adaptability of auralization tools for use in architectural design and knowledge transfer from research to industry are still needed for a better integration of auralizations in architects and acousticians workflow
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Williams, Malachy Marie. „Sacred space God's architectural design for God-centered worship /“. Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
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Moriarty, Nicholas. „Finding context“. This title; PDF viewer required. Home page for entire collection, 2010. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Roland, Stephanie. „A new typology - re-imagining a civic building“. Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/24369.
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My personal interest in cities and their layering of spaces and functions served as a starting point for this dissertation. Cities evolve over time, and the resultant networks of movement and public spaces are the filters through which most inhabitants experience the city they live in. By examining the Cape Town CBD and surrounds, it became apparent that these networks have become secondary to other commercial systems. Whilst Cape Town has some open public spaces of historic significance such as the Grand Parade and Greenmarket Square, the public space network has become fragmented and often overwhelmed by commercial interests which inevitably limit public access and use. Upon closer examination, it seems that economic concerns have shaped the city rather than a layering and balance between public and private, access and control. A discernible building typology can be found in the inner city, one which I have referred to as the tower block. The tower blocks have varying programmes but hold in common private ownership and controlled access, thereby limiting the connection to the city severely, and in most cases do not add anything of value to the public urban fabric. Instead, where the tower block access meets the movement and public space network of the city a hostile environment is created, where loiterers and security guards jostle for control. The inhabitants and users of the tower blocks step from the city into a controlled, sterile environment, and do not interact with the urban environment further. Most of these tower blocks naturally accommodate office space in the CBD. Whilst it is not realistic to lay the onus on private investors and developers putting up tall buildings in the city to contribute extensively to the public urban space, civic buildings should shoulder that responsibility. Historically, as with the Old Town Hall overlooking the Grand Parade, this is how the public space network was constructed. Civic building and the publicly accessible space which they created were the generative elements of cities. By examining the CBD it became clear that the last extensive civic building done by the city was during the apartheid era, buildings such as the Civic Centre and Customs House on the foreshore. Built to deal with the growing administrative apparatus of that era, and following modernist guidelines the public spaces created by these buildings are mostly unused, due to unsuitable location and being awkwardly scaled and imposing. The trend for the city to instead lease tower blocks of generic office space to accommodate their civic functions has further led to a deterioration of the public urban realm, as a building typology focused on disconnection from the city now has to accommodate a constant influx of people whilst still having to maintain security for its internal workings. The street, entrances and internal corridors become crowded with people which they were not designed to contain, leading to a frustrating experience for both public and public servant alike. The focus of this thesis became to challenge the conventional tower block that makes up much of our cities today, by putting forward spatial possibilities that are flexible for alternate uses and new crossprogrammatic possibilities for a partnership between private building and public building. The connection between the private and public was made through the programme of an office building, which in its generic form has already become a typology that houses both public (civic) and private.
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Watson-Smith, Adam Graham. „Imagining a new public space in the foreshore by re-creating the city-sea relationship“. Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/24372.
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Aim: Reconnect the City to the Sea through investment in the pedestrian and public space, supported by activity generating and accommodating architecture. Theory question: What architectural methods are being employed in global port-side cities to reinvent and make use of large tracts of de-valued inner city land? Technology question: What is the nature of the physical condition that the foreshore area presents and what impact has this had on the haphazard development of this inner city space? Sub Questions: What are the key factors in global cities' development and fabric which have resulted in large inner city tracts of undervalued land, and their condition? What are the implications of different modes of mobility within urban space, and particularly their effects on the resulting urban form, and utilization of this space? What negative effects of mobility in a global society are universal to all contemporary cities and societies, and what are some of the contextually derived typological solutions? What are the primary opportunities and technical challenges presented by the unique conditions of the foreshore to development?
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Messaris, Anastasia Miranda. „Composition: Music as inpiration and generator of space“. Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/24368.
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The analogy between the two arts of music and architecture has been a central theoretical theme since the conception of either. Emerging from a background that is situated in both architectural and musical instruction, the correlation between the two has always provided a certain degree of fascination for me. Having understood the linear narrative running between the translation of music and architecture, I endeavoured to locate a more conceptual foothold from which to derive my arguments. The essays below outline my discovery and development of the topic, transforming a simple analogy into a conceptual way of reading context so as to create an architectural composition of space, just as a musician uses the tools of notes (sounds), rests (silences), instrument quality, beat (time) and sequence to create a musical composition. This thesis developed similarly to that of a musical composition: where themes are presented, then developed, then treated in new ways, and finally returned to, creating a final composition that moves through exposition (stability), development (heightened tension and conflict) and resolution.
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Rossouw, Renee Elizabeth. „A new learning environment: designing an urban school dedicated to the learner and the community at large“. Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/24370.
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My project is the design of a primary school in an urban context with an interest in developing a school that speaks about new type of learning environments. This typology will address the challenges of designing a school in an urban context, Cape Town, while rethinking how schools are designed with regards to its programme and layout. I am concerned with designing a school which will truly be a space for the learner. This environment is a space where he/she can work/learn together as a group or individually, in classes or in self-study-activities. This environment is a place where the learner can meet and play in an ungoverned manner, where the school building has an equal emphasis on learning and playing. The design of this building should address the needs of the learner as a child that needs to learn, express, move, run. At the same time, the school-building is no longer a sole institution used only by its learners. Rather, it becomes a building which can bring together learners from different schools, and other members of the public to become an active community building. This document will reveal the process of uncovering that Circulation-space is one of the primary spatial components in new School Design - This component will resolve my above-mentioned inquiries as it becomes the solution to architecturally resolving it. This document is divided into the following processes: Chapter l (The Design Principles): I will investigate 3 case studies of three different types of schools and conclude with design principle which will act as design informants for the school I will design. The primary conclusions will then be developed into conceptual ideas whose architectural expression will be addressed in chapter 4. In Chapter 2 (Site Selection), I start of by investigating 6 schools and their facility deficiencies located in close proximity to each other in the city of Cape Town. These deficiencies act as informants to what the Semi-public Shared facilities will be as part of the programme of my school. This chapter also includes diagrams and investigation into the site I have chosen. In Chapter 3 (Timber as Material) I look at different used of timber as a material in school design. Chapter 4 (Design Development), I focus my-design as responding to the challenges of an urban school, as well as further developing the concept of Circulation as one of the primary spatial components in School design. The rest of the chapter will include the spatial explorations of designing the new type of urban school.
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Aksoy, Gökhan. „The building performance of the metro station buildings' entrances“. Ankara : METU, 2003. http://etd.lib.metu.edu.tr/upload/1136043/index.pdf.
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Magan, Jose Luis. „Residential projects, a process of design“. Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/722237.
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Schools of architecture are in general oriented to place more importance on the shape of buildings, following fancy models and "discovering" rules of composition based in new fashion, and in the past of architecture as principle generators of design. Most of those schools have forgotten that the final product of architecture must be in the thinking of the users who are going to be the final consumers of the project. In designing, Architects should try to fulfill the basic needs of people and to consider the environmental characteristics of each project more than creating elements for the critical admiration of other colleagues.There is not a specific rule or order to follow in a design process which guarantees that the final product will fulfill the necessities of its future users. Each designer should discover his or her own process of design and which factors must be considered in each case. This thesis is based on the study of important elements called Environmental Factors and their intervention in the process of design, projection and creation of any architectural event. Several factors are necessary to consider in a process of design. They could be divided into physical factors such as illumination, acoustics, and climatic factors such as sun orientation and protection, wind orientation, passive and active energy systems. There are cultural factors which include psychological and social elements. Every architect should consider those elements as part of the design process in order to produce an architectural event that fulfills the needs of its potential users.The first part of the this thesis proposes a strategy of design for large scale projects that includes all the environmental considerations necessary to obtain a final habitable product starting in a small element called The Cell. The second step analyses the union of several Cells into a new element called The Unit, and the last step is the study of The Residential Development which becomes a product of the union of different Units and has urban connotations.Jose Luis Magan Architect As a conclusion, three different methods used in the design of a house are studied. In the first example, one works in the organization of a house as a whole element. Working only with a section of the house is the second method. Finally, using the geometry to generate each spatial component of the house is the third method exemplified.This thesis is the product of experience in research, design and construction of different housing solutions. It is just one step of a research in which I will be involved for the rest of my life. This is a research about the meaning of housing involving the physical, social, cultural, psychological and economical necessities of people, and how an architect could contribute with his design to make of this planet a more comfortable place for living.Department of Architecture
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Pagani, Freda R. „Adaptive buildings through evolutionary design, towards more sustainable buildings. project design process as a complex adaptive system“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ38952.pdf.
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Sheeks, Andrew V. „Scripted Narratives as Architectural Process“. University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397233150.
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Willemse, Mariet. „Exploring folded space in urban Cape Town : unfolding the Strand / Adderley Street juncion“. Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/24373.
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This thesis started with a personal interest as to what informs architectural form, specifically the folded, smooth or continuous form so visible in contemporary architecture. I was interested in the relationship between the formal 'folds' of contemporary architecture and the spatial theory of 'folded space'. In order to understand where these forms are coming from and whether or not the idea of 'folded space' could bring value to the construct of architecture in the South African context I had to gather a comprehensive understanding of the state of architecture in the 21" century and of course that meant researching the failures and successes of what went before. I have learned that the obsession with folded form comes from contemporary architecture's preoccupation with connection and complexity in architecture. In short; Modernism sought to group, zone and separate different spatial programs which were often translated into pure geometric forms, Post-Modernism reacted against the monotony of Modernism by juxtaposing exaggerated oppositions in form and spaces. Today, in the transitional phase from the late 20th century to the beginnings of the 21" century, contemporary architecture still struggles with the theme of connection and complexity in architecture. The idea of 'folded space' where previously unrelated elements are smoothly integrated within a continuous, but heterogeneous mixture seems to provide contemporary architects with an alternative to the purity of Modernism and the vulgar oppositions of Post-modernism. So the question contemporary architecture is faced with today is: How can architecture formulate a continuous mixture which still allows for variety complexity? The theory investigation concluded that the relevance of the folded space in the South African context could be the realization that through the folding or blurring of the relationship between previously unrelated programs, spaces and the building and its urban context, new and interesting social interactions might arise. The corner of Strand and Adderley Street on the station site proved an appropriate site on which to test this theory of 'folded space' on both a social and a spatial level. Although the site is situated on the most important intersection in the city it is known for its clear separations and barriers. The three levels in the center of the city, the underground, the ground and the above ground I station roof are separated both spatially and socially. The design project strives to experiment with ways in which to 'fold' the distinct spaces that are imminent, but repressed on this corner site in the heart of Cape Town's city. Through folding or connecting these spaces and programs that were previously separated the architecture will aim to act as a platform for social encounters amongst its users.
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Al-Azhari, Wael. „Scenarios as a design framework in architectural practice and architectural education“. Thesis, University of Strathclyde, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501786.
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The thesis reviews design methods in general, and emphasizes the understanding of design as a thinking process that depends on designers' experience, and their interaction with the different design activities performed with regard to the environmental settings and contexts. It focuses on building a framework for the description of the architectural design approaches used by experienced architects in practice. After analysing the protocols revealed by twelve experienced architects, the thesis argues that 'scenario-based design' (SBD) is a way of thinking that used by the architects to generate the design solution by means of cognitive matching of technical, functional, contextual, and inspirational criteria throughout the design process. The research finds that the architects primarily use the context constraints that match with the brief requirements to initiate design concepts and generate solutions.
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Mierke, David S. „project: spARCH: Igniting Design Thinking Through Architecture How the Architectural Design Process can Inspire Social Entrepreneurship“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1346171281.
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Welch, Jeffery D. „Architectural Elegance“. University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1409065637.
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