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1
Machado, Oscar A. „A Philosophy of Architecture“. Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/205.
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To evaluate specific architectural theories, an analytic methodology was used. The specific architectural theories evaluated all have in common the fact that their formative models can explain how their original ideas manifest in the practice of architectural works. Although these architectural theories researched are thousands or in some cases hundreds of years apart, a way to compare and contrast them was to use philosophies of art common to all. This contemporary approach to analysis was done with the use of ?analytic philosophy? for its effectiveness to clarify concepts. Central aspects of architectural theories will be analyzed in detail through the lenses of four contemporary theories of the philosophy of art. They are: formalism (including neo-formalism and theories that emphasize the connection between form and function), expression theories, representation theories (including neo-representational and mimetic accounts), and theories based on aesthetic experience. Looking at architecture from the viewpoint of analytic philosophy of art provides new insights into the nature of architecture and illuminates the field in significant ways. A recommendation for further study is enclosed.
2
Eaton, Marcella. „Philosophy and design in landscape architecture“. Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/32101.
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Frydrych, David. „The architecture of rights“. Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8a0f3763-e786-42d6-bd62-b9eee7ad36c7.
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This thesis concerns the various concepts of rights and philosophical accounts of them. Chapter 1 addresses some methodological issues affecting analytic legal philosophy and the philosophy of rights. Chapter 2 distinguishes between two kinds of philosophical accounts of rights: models and theories. Models outline the 'conceptually basic' types of rights, their differences, and their relationships with other kinds of 'normative positions' (e.g., duties, liabilities, etc.). Theories of rights serve two roles: first, to posit a supposed ultimate purpose for all rights; second, to provide criteria for determining what counts as 'a right' in the first place. The chapter also criticises both monistic models (ones positing only a single basic kind) for being under-inclusive and a subset of pluralistic ones (those positing several basic kinds) as over-inclusive. Chapter 3 clarifies the concepts of rights exercise, enforcement, remedying, and vindication. Chapter 4 explains the Interest-Will Theories of rights debate, while Chapter 5 argues that its constituents are irredeemably flawed, unnecessary, and under-inclusive. Chapter 6 further analyses the concept of rights enforceability, showing why legal rights are not invariably enforceable by legal powers. It then explains why wholly unenforceable legal rights nonetheless constitute 'imperfect' or defective cases. Chapter 7 argues there are more ways to enforce legal rights than just via powers, elucidating two such modes: legal rights can generally be claimed or invoked using legal liberties in private and social circumstances. While Chapter 8 shows why it might not always be possible to make liberty-based claims or invocations of right, it also provides reasons for thinking that legal rights that cannot be enforced in these ways are also imperfect.
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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.
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Durning, Louise. „The Architecture of Humanism : an historical and critical analysis of Geoffrey Scott's architectural theory“. Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276634.
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Meraz, Avila Fidel Alejandro. „Architecture and temporality in conservation philosophy : Cesare Brandi“. Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/10819/.
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In conservation of culturally significant architecture (CSA), awareness about problems of temporality and their consideration has been frequently approached with different perspectives. However, these partial explanations have usually focused on accounts of temporality that mainly approach the past and the present, and more rarely the future, but do not consider the complete spectrum of human temporality, nor explicit ontological bases. In this thesis, architecture emerges as a manifold being in constant becoming that compels human being to exercise permanently memory and assimilation. The main contribution is the proposal of an existential approach towards conservation as an intentionality grounded on the more fundamental attitudes of cultivation and care. Through epistemological and phenomenological analysis of Brandi’s thought – focusing on his paradigmatic Theory of Restoration – his attitude comes forth as a particular form of conservation intentionality limited to architecture as a work of art. Following mainly Ingarden and Ricoeur, the results of ontological and phenomenological investigations about architecture and temporality demonstrate conservation in its modern form as a limited temporal intentionality. After these theoretical pre-conditions, the existential approach applied on the previously deduced dimensions of the space and time of Dasein – in Heidegger’s terms – proved the grounding of conservation on an existential interpretation of the more fundamental notions of cultivation and care. Making an analogy with Ingarden’s notion of the architectural work of art, CSA is ontologically analysed emerging to consciousness as a manifold being that can be concretized in different ways according with the attitude of the receptor. After the phenomenological analysis of memory, architectural conservation in its modern form is demonstrated as a partial account of human temporality that can be overcome considering human inhabitation in a creative way. Partially supported on the obtained cases of remembered architecture, the hermeneutical approach concluded suggesting a solution for the impasse with an existential account of both, the artistic grounding of architecture and its characterisation as the place that temporally accompanies Dasein. Thus, architecture is ontologically demonstrated to have a manifold being in constant state of transformation that participates of an unavoidable humanised temporality, appearing as a less ambiguous object of conservation. Hence, architecture is existentially demonstrated as constituting the space for the authentically concerned human, whose temporal consciousness compels to cultivate and care about, enriching the possible approaches to conservation as a collective endeavour.
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Chernisheva, M. O., und М. О. Чернишева. „New philosophy of building architecture for the elderly“. Thesis, National aviation university, 2021. https://er.nau.edu.ua/handle/NAU/54516.
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Unfortunately, the modern boarding house for the elderly in
Ukraine is often inconvenient and outdated, both physically and morally for the
comfortable stay of residents there: the living rooms are arranged as hospital wards
and do not cause a feeling of comfort and reliability.
Most of these buildings do not meet the requirements of inclusiveness,
so more and more often orphanages become only the last refuge, where the main task
of the elderly is survival, because there is no space for fun, platforms for personal
development and spiritual growth, conditions for communication. In addition, the
existing buildings in the country are not enough to accommodate everyone who needs
this service.
This becomes a catalyst for the operation of illegal boarding houses,
where the owners' goal is to make money. After all, a person does not feel supported,
and the idea that life in retirement is only the beginning of new hobbies, a resource for
development and communication, becomes unrealistic to perceive.Сучасний пансіонат для людей похилого віку в Україні часто незручна і застаріла, як фізично, так і морально будівля: житлові кімнати облаштовані як лікарняні палати, і не викликають відчуття комфорту та надійності. Більшість із цих будівель не відповідають вимогам інклюзивності, тому все частіше такі будинки стають лише останнім притулком, де головне завдання людей похилого віку – це виживання, тому що тут немає місця для розваг, платформ для особистого розвитку і духовного зростання, умов для спілкування. Крім того, існуючих будівель недостатньо, щоб вмістити всіх, хто потребує цієї послуги. Це стає каталізатором появи нелегальних пансіонатів, де метою власників є заробіток. Адже людина там теж не відчуває підтримки, і думка про те, що життя на пенсії — це лише початок нових захоплень, ресурс для розвитку і спілкування, стає нереальним для сприйняття.
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Mokha, Bhavana K. „Investigating temporary architecture(s)“. Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1348350.
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Architecture has always been associated with the qualities of permanence and timelessness. The thesis investigates the notions of temporality and permanence in relation to the built environment. It recognizes that in the ever changing dynamic flux of the built environment, there is an architectural paradigm which is as important as the imagined timeless structures that constitute the architectural discourse.First, the notions of permanence are discussed. It is pointed out that what is considered to be permanent in architecture is, in fact, the `image' of the building, and not the actual structure as it constantly changing, deteriorating, and undergoing metamorphosis with time. The second part deals with the constructs of time and space through history; resultant architectural theories and its effects on the built environment.An attempt to understand the history of temporary architectures is made in the third part. Further analysis draws on the understanding of the difference in the western and the eastern perspective on temporary architecture. In the fourth part it is argued that there are alternative ways of looking at temporary architectures that need to be addressed. One of the ways of looking at them is how they affect the urban and the public realm.The fifth part of the thesis, discusses the various meanings of urban space and the formation of the public realm. The contrasting examples of the transforming urban space in Ahmadabad, India and San Francisco, USA give an insight of the ways temporary architectures can assist in the ever changing urban environment.The sixth part proposes a diagram of taxonomical organization through which temporary architecture(s) can be better understood; namely as `temporary structures',' temporary spaces', `temporary uses/users' and the resulting `temporary urbanisms.'The concluding chapter finally discusses the importance of recognizing this void in our understanding of temporary architecture; as also realizing their importance in creation of a successful urban realm.Department of Architecture
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Antony, Michael Verne. „Consciousness, content, and cognitive architecture“. Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/13729.
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Elshafei, Ahmed. „Une approche mathématique pour la forme architecturale“. Phd thesis, Université Paris-Est, 2014. http://tel.archives-ouvertes.fr/tel-01061095.
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La recherche tente d'assembler divers fragments de différentes branches mathématiques en un seul corps du savoir mathématique qui est pertinente d'un point de vue de la conception architecturale, comprise dans huit chapitres. Le premier chapitre traite principalement les conséquences philosophiques de cette prise de position entre l'architecture et les mathématiques; expliquant le contexte de leur relation et éclairer la nature esthétique de la recherche. Dans le chapitre deux, nous essayons de préparer la fondation pour les constructions mathématiques, à savoir examiner la relation entre la géométrie et de la perception. Nous expliquons aussi la différence entre les espaces formels et physiques, et nous définissons formellement les notions de base de la spatialité en utilisant la topologie et enfin nous construisons le principal objet géométrique de la recherche, qui est la variété différentiable (en particulier à deux dimensions à savoir la surface). La logique de structuration des constructions mathématiques dans la recherche provient essentiellement de l'approche intuitive de la conception architecturale de définir d'abord une forme de base, puis appliquer des modifications. Par conséquent, nous avons deux parties générales des constructions mathématiques la première est la définition des formes et la deuxième partie est les opérations sur les formes. Dans le chapitre trois, nous donnons une explication de la différence entre nos deux types principaux de définitions de formes à savoir la définition paramétrique et la définition algébrique. Dans le chapitre quatre, nous donnons une explication sur les deux principales techniques de définitions de forme utilisés par les logiciels de CAO à savoir les meshes et les splines (en particulier les NURBS). Ceci est couplé avec une réflexion philosophique sur l'utilisation de logiciels de CAO et de sa relation à la connaissance géométrique, et sur une perspective plus large, la relation entre cette recherche et l'architecture numérique. Dans les trois chapitres suivants, nous définissons trois types d'opérations différentes qui peuvent être appliquées à des formes que nous avons définies, à savoir les opérations algébriques, analytiques et algorithmiques. Comme il ressort de leurs noms, ces opérations correspondent aux différentes branches de la géométrie: la géométrie affine (en particulier euclidienne) et la géométrie projective, puis la géométrie différentielle et enfin la géométrie combinatoire et computationnelle. Dans le chapitre cinq, l'accent est sur les opérations algébriques, nous commençons par expliquer les différents espaces en question et de passer ensuite la notion de la symétrie par lesquels ces différents types de géométrie sont constitués une dans l'autre (cf. programme d'Erlangen). Dans le chapitre six, nous nous concentrons sur la géométrie différentielle (en particulier des courbes et surfaces), avec une variété de résultats analytiques qui permet un large éventail d'outils et techniques de conception. Tous ces résultats sont couplés avec des exemples des conceptions architecturales élaborées à l'aide de ces calculs. Dans le chapitre sept nous déplaçons vers des opérations algorithmiques, qui sont divisés en deux parties: la première partie traite de géométrie combinatoire et computationnelle et la seconde porte sur les méthodes d'optimisation tels que les algorithmes génétiques. Nous concluons finalement la recherche au chapitre huit, dans lequel nous revenons une fois de plus à nos réflexions philosophiques. Nous prenons trois grandes idéologies en architecture à savoir, le fonctionnalisme, la sémiotique et la phénoménologie et essayer de voir comment cette recherche se rapporte aux leurs points de vue
11
Bail, Muriel. „Dance and architecture“. Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23739.
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Glenn, Molly. „Architecture demonstrates power“. Diss., Connect to the thesis, 2003. http://hdl.handle.net/10066/714.
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Rizzuto, Anthony P. „Tectonic memoirs: the epistemological parameters of tectonic theories of architecture“. Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/39567.
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The purpose of architectural theory is to provide a paradigm, or episteme, from which
one can address contemporary design issues within the broader cultural context. It
comprises any written system of architecture and may be either partial or comprehensive,
but it must encompass a framework of cognitive categories that inevitably provide criteria
for judgment. If not explicitly stated, it nevertheless implies an epistemology, a
substructure for architectural knowledge.
Previous studies of tectonics have tended to treat it as an autonomous architectural
discourse, focusing on an individual writer and theory, or on a thematic concern such as
the relationship between ontology and representation. This study approaches tectonics
differently, relating it to the broader shifts within the discourses of architecture and
philosophy, thereby sanctioning a more synergistic, as opposed to autonomous,
examination. In exploring the epistemological parameters of tectonics theories in the
West it isolates three major periods in its development: Classical Tectonics- derived from
ancient philosophy, Rational Tectonics- emerging from the epistemology of science and
Poetic Tectonics- developed out of concerns raised by the German Counter-
Enlightenment and the Romantic Movement. At each stage in its development tectonics
has served to provide key principles that collectively constitute its ground.
The study reveals that Poetic Tectonics was a reaction against the duality of mind and
abstract rationalism- so central to Cartesian thought and the epistemology of science- and
its impact on architectural thought. In response Poetic Tectonics while accepting the key
principles of Rational Tectonics sought to redirect it along the philosophical lines of the
2
German Enlightenment and Romanticism while also re-presencing the ethical
substructure of Classical Tectonics.
This study recognizes that through the course of time, the epistemology upon which
cultures are formed have and will continue to change and as they do new tectonic theories
will need to be negotiated; rendering tectonics in a continual state of 'becoming'. If there
is to be a conclusion it lies in the fact that in its historical persistence and continuity
tectonics represents a tradition within Western architecture on par with the likes of the
Vitruvian, Organic and Functionalist.
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Ashworth, Brad. „Architecture Lucida : photography and design--a center for photographic studies“. Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23780.
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Davidson, Bradley Ross. „Poetic intent in architectural design“. Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23392.
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Capdevila, Werning Remei. „Construing reconstruction : the Barcelona Pavilion and Nelson Goodman's aesthetic philosophy“. Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39307.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 86-93).
This thesis explores Mies van der Rohe's Barcelona Pavilion through the lens of Nelson Goodman's philosophical categories of the autographic and the allographic in order to determine what constitutes the building's identity. The Pavilion was originally designed as a temporary structure for the 1929 International Exposition in Barcelona and rebuilt in 1986 as a permanent building. The reconstruction of this iconic building provokes a complex questioning about the identity of the Barcelona Pavilion in particular and of any architectural work in general. Goodman's notions are unique criteria to deal with issues of identity and authenticity in architecture. The autographic identifies a category of works that cannot be replicated, i.e., every difference between a work and even its closest copy makes a difference to the work's identity. In contrast, the allographic identifies a category of works that can be replicated, i.e., the difference between an original and its duplication is irrelevant to the work's identity. By examining the Barcelona Pavilion through the lens of these notions, this thesis shows that Mies's building is a hybrid case in which the autographic and the allographic criteria are inextricably linked.
(cont.) To consider the 1986 Pavilion simply as a copy does not completely define its identity status; conversely, to conclude that they are two instances of the same work or that they are two different buildings is not accurate, either. This case illustrates the complexity that arises when trying to establish what constitutes the identity of an architectural work in general and, at the same time, allows us to reconsider Goodman's statements regarding architecture.
by Remei Capdevila Werning.
S.M.
17
Last, Nana D. „Images of entanglement : Wittgensteinian spatial practices between architecture and philosophy“. Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/9673.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, February 1999.Includes bibliographical references (p. 217-218).
This thesis explores the deep spatio-linguistic relationship between the Austrian born philosopher Ludwig Wittgenstein's practices of philosophy and of architecture. Wittgenstein's philosophy of language is notable for its sharply distinguished early and late work: with the early work most strongly associated with his Tractatus Logico-Philosophicus (1922) and the later frequently designated by his posthumously published Philosophical Investigations (1953). Following the completion of the early work Wittgenstein abandoned philosophy for a period of ten years, spending the years from 1926 to 1929 engaged in the design and construction of a house in Vienna for his sister Margarethe Stonborough. The thesis considers the ways in which the intervening practice of architecture infiltrated, altered, influenced and manifested itself in the later philosophy by focusing on the spatial. temporal. conceptual and cognitive gaps in the philosophy. The importance and the prevalence of the practice of architecture for Wittgenstein's later philosophy are exhibited in a variety of ways that together broaden, reconceive and resituate the functioning of language and philosophy. The thesis considers these developments in the philosophy as they are revealed in the visual and spatial language, thinking and construction of the philosophical texts. This analysis reveals a shift from the removed, idealized and flattened picture theory of the Tractatus to the production of the spatially complex and ambiguous images of entanglement in the Investigations. The Stonborough house, itself, is analyzed through its production of cognitive and spatial practices and problematics. Wittgenstein's practice of architecture is shown to utilize. develop, challenge and reveal related spatial concepts found in the philosophy. These include the ideas of limits, boundaries, inner/outer dichotomies, the relationship between showing and saying, the idea of correspondence and the practices of representation, assembly. resemblance, construction, building and rearrangement.
by Nana D. Last.
Ph.D.
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Bonnin, Javier L. „The poiesis of architecture“. Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23384.
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De, la Riva Richard. „Architecture and music : on rhythm, harmony and order“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22393.
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This paper examines the relationship of architecture to music in terms of rhythm, harmony and order in both the Greek Antiquity and the early Middle Ages. These basic concepts are crucial because they emphasize 'fullness' of experience and demonstrate the extent to which our own regulating experience of the world has become empirical (or formal). The discussion thus places architectural theory within the movement of ideas between mythical thought and metaphysical construct; it places architectural practice within the movement between bodily experience and reasoning.
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New, Joachim H. L. „Architecture in mind : Hegel's history of architecture and its place in the Philosophy of Fine Art“. Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413736.
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Crenshaw, Andrew. „The architectural image Finnegans Wake and the text of drawing“. Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23013.
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Stinson, Benjamin. „Descriptive narrative : the experience of architecture through writing /“. view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p1418756.
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Harmon, Justin L. „The Normative Architecture of Reality: Towards an Object-Oriented Ethics“. UKnowledge, 2016. http://uknowledge.uky.edu/philosophy_etds/9.
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The fact-value distinction has structured and still structures ongoing debates in metaethics, and all of the major positions in the field (expressivism, cognitivist realism, and moral error theory) subscribe to it. In contrast, I claim that the fact-value distinction is a contingent product of our intellectual history and a prime object for questioning. The most forceful reason for rejecting the distinction is that it presupposes a problematic understanding of the subject-object divide whereby one tends to view humans as the sole source of normativity in the world. My dissertation aims to disclose the background against which human ethical praxis is widely seen as a unique and special phenomenon among other phenomena.
I show that ethical norms, as delimited by utilitarianism, deontology, virtue ethics, etc., derive from an originary proto-ethical normativity at the heart of the real itself. Every object, human and nonhuman, presents itself as a bottomless series of cues or conditions of appropriateness that determine adequate and inadequate ways of relating to it. That is, objects demand something from other objects if they are to be related to; they condition other objects by soliciting a change in disposition, perception, or sense, and for this reason are sources of normativity in and unto themselves. Ethical norms, or values, are the human expression of the adequacy conditions with which all objects show themselves.
In the post-Kantian landscape it is widely thought that human finitude constitutes the origin of ethical norms. Consequently, the world is divided up into morally relevant agents (humans) on one side, and everything else on the other. Adopting a deflationary view of agency, I argue that human-human and human-world relations differ from other relations in degree rather than kind. Thus, instead of a fact-value distinction, value is inextricably bound up with the factual itself. The critical upshot of my project is that traditional subject-oriented ethical theories have served to conceal the real demands of non-human objects (such as animals, plants, microorganisms, and artificially intelligent machines) in favor of specifically human interests. Such theories have also been leveraged frequently in exclusionary practices with respect to different groups within the human community (e.g. women and those of non-European descent) based on arbitrary criteria or principles.
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García, Moreno Beatriz. „Contextualist thought and architecture“. Diss., Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/22370.
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Barnes, Andrew James. „A modular architecture for systematic text categorisation“. Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/23292/.
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This work examines and attempts to overcome issues caused by the lack of formal standardisation when defining text categorisation techniques and detailing how they might be appropriately integrated with each other. Despite text categorisation’s long history the concept of automation is relatively new, coinciding with the evolution of computing technology and subsequent increase in quantity and availability of electronic textual data. Nevertheless insufficient descriptions of the diverse algorithms discovered have lead to an acknowledged ambiguity when trying to accurately replicate methods, which has made reliable comparative evaluations impossible. Existing interpretations of general data mining and text categorisation methodologies are analysed in the first half of the thesis and common elements are extracted to create a distinct set of significant stages. Their possible interactions are logically determined and a unique universal architecture is generated that encapsulates all complexities and highlights the critical components. A variety of text related algorithms are also comprehensively surveyed and grouped according to which stage they belong in order to demonstrate how they can be mapped. The second part reviews several open-source data mining applications, placing an emphasis on their ability to handle the proposed architecture, potential for expansion and text processing capabilities. Finding these inflexible and too elaborate to be readily adapted, designs for a novel framework are introduced that focus on rapid prototyping through lightweight customisations and reusable atomic components. Being a consequence of inadequacies with existing options, a rudimentary implementation is realised along with a selection of text categorisation modules. Finally a series of experiments are conducted that validate the feasibility of the outlined methodology and importance of its composition, whilst also establishing the practicality of the framework for research purposes. The simplicity of experiments and results gathered clearly indicate the potential benefits that can be gained when a formalised approach is utilised.
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Wagler, Brent M. „Stars, stones and architecture : an episode in John Dee's natural philosophy“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22550.
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The work of John Dee (1527-1608) posits an approach to architecture based upon the concept of wonder. Sympathetic correspondences permeate Dee's disparate practical activities and architectural discourse. His contributions to astronomy, alchemy, cartography and navigation are grounded in the intersubjective cosmology of the Renaissance. It is in Dee's Mathematicall Praeface (1570), which promotes mathematics as a natural philosophy, that the architect's metier is aligned with the marvellous and established as an art encompassing numerous disciplines. Dee's syncretic formulation of architecture is distinctly attuned to the alchemical and magical discourses pervading the Renaissance and established in relation to his hieroglyphic "Monas" symbol. This emblematic device, discussed in the Monas Hieroglyphica (1564), exemplifies the link between architecture and writing. The Monas symbol permits the architect-as-alchemist to contemplate marvels and effect them in practice. In addition to positioning wonder in human activity, as a navigational beacon guiding the work of the architect, Dee signals the possibility of restoring conjuring-the dangerous and denigrated art of sixteenth century England--into architectural practice.
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Yusof, Ahmad Shukri. „Towards a national architecture : the relationship between Enlightenment philosophy and symbolic elements in Scottish architecture 1750-1850“. Thesis, Robert Gordon University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392042.
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Grimes, Leigh A. „Wanderings : a study of the image in architecture“. Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/36214.
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Gordon, Brant Douglas. „Towards a language of architecture“. Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/53098.
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Architecture is a language in that, through order, it gives expression to the meaning of what it is to be human (to live on the earth as man). As a language, it provides a way to see, to understand what is seen, and to present what is seen and understood.Master of Architecture
30
Klingenberg, Katrin Alexandra. „The disappearance of the body as a necessary friction“. Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1033633.
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The first part states the reasons for the disappearance of the body: the influence of modern technology, effects on self-perception and on the perception of reality. It questions how to deal with the shift from physical reality as reference of existence toward an infinite spectrum of virtual realities. The second part concerns a way of thinking - a fiction to explain the phenomena of disappearance - in drawing a parallel to recent thinking models in physics formulating the disappearance of matter. This shift of thinking is so fundamental that it literally reverses our notion of body and materiality. The thesis tries to imagine and to explain a reappearance of the body, the birth of the concrete out of the immaterial. The last part images and models necessary, ambiguous spaces in a world where inside and outside, weight and lightness, solid and immaterial are no longer clearly defined positions but zones, uncertainties, overlays.Department of Architecture
31
Okamoto, Paul Craig. „Architecture between the idea and the reality : a comparative study of ecological philosophy with the architecture of Paoli Soleri“. Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09ARCHM/09archmo41.pdf.
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Diggins, Nicholaus Michael. „The process of place for architecture“. Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/diggins/DigginsN0510.pdf.
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Too often architecture is perceived as only a building and its site. To utilize the power of architecture one must harness and develop the true nature of place in its totality. Development must be rooted in the human need to connect to their world and surroundings, allowing one to fully understand their own identity. Every site has its own unique spirit, or genius loci. Finding this is a process and, when tapped into correctly, the genius loci can create a connection between the human body and the spirit of their surroundings. Ultimately the human existence thrives on the need to belong. The separation of place and architecture leads to confusion and the division of body and spirit. Architecture needs to be the medium that enhances a place's identity and can connect one to the world around them. Place must be developed through an understanding of how it came to be, what it is now and how it will be shaped and strengthened as a union between architecture and place. Knowing how to deconstruct the social and built environments to origins for our understanding is the basis of questioning. A full body experience has the power to enrich our life by connecting spirit and identity into an environment. Architecture is art and science of design; it develops identities related to site, further strengthening them. It is a product of man alone, who has an inner ability to leave his mark respectively within a landscape by using human design, creating harmony between body and nature through the art of architecture. The solution is to create an Architecture that allows one to be awakened to the world around them, through a process of raising awareness to an environment and its specifics.
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Week, David. „A hermeneutic approach to the practice of architecture in a foreign culture / by David Week“. Thesis, The University of Sydney, 2000. https://hdl.handle.net/2123/27595.
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Hiraiwa, Ken 1974. „Dimensions of symmetry in syntax : agreement and clausal architecture“. Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/28921.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Linguistics and Philosophy, 2005.Includes bibliographical references (p. 347-373).
(cont.) are, then, determined at phase levels by late insertion of categorial features. One crucial aspect of the proposed theory of structural symmetry involves interweaving effects, which emerge as categorial determination of different sizes and types. The present thesis discusses three such cases: Nominative-Genitive Conversion, Head-Internal Relative Clauses, and Predicate Cleft Constructions. It is further argued that Agreement Symmetry and Structural Symmetry interact with the Case theory and bring far-reaching implications for aspects of syntactic phenomena.
This thesis is a theoretical investigation of various dimensions of symmetry exhibited in human language. I discuss two kinds of symmetry: AGREEMENT SYMMETRY and STRUCTURAL SYMMETRY. Building on these types of symmetry, the chapters develop and articulate theoretical explanations for a variety of phenomena within the framework of the Minimalist Program and provide empirical verification backed up by a cross-linguistic study. AGREEMENT SYMMETRY manifests itself under Case and agreement phenomena in natural languages. In the literature, there have been various theoretical proposals to capture the mechanism of Case and agreement (e.g. Government, Spec-Head Agreement, Feature Checking etc.). I argue for a theory of Multiple Agree as a feature valuation theory. Under Multiple Agree, a probe P Agrees with all matching goals simultaneously. Given that valuation is in essence bi-directional, Multiple Agree reveals two natural probe-goal relations: Mirrorsymmetry and Centrosymmetry. Further, I also propose that a syntactic derivation allows Derivational Simultaneity and that syntactic operations apply simultaneously at a probe level. I call this the Probe Theory of Parallel Derivation (PTPD). It is demonstrated that Multiple Agree and the PTPD explain intricate agreement patterns in Icelandic and other languages. STRUCTURAL SYMMETRY is exhibited in geometric parallelism between clauses and nouns. Building on observations of CP/DP parallelism sporadically made in the literature, I argue that their symmetric properties are subsumed under the Supercategorial Theory of the CP/DP Symmetry. The supercategorial theory views "clausal" and "nominal" structures as arising from a category-neutral supercategorial structure. The categorial differences
by Ken Hiraiwa.
Ph.D.
35
Szewczyk, Amy. „Building from memory“. This title; PDF viewer required Home page for entire collection, 2007. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Inoue, Hiroshi. „Japanese aesthetic principles & their application“. Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1116356.
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Japanese have been known to have a special notion toward the aestheticism which deals with human experiences. They are ingenious about finding subtle beauty within every little thing which exists in nature and apply that to their architecture. What are the secrets behind all this? This thesis focuses on the research of Japanese aesthetic principles to find out the way for application in the architecture in the United States.Department of Architecture
37
Power, Steve W. „To draw/to build : an investigation exploring the idea of construction as a tool for generating architectural form“. Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23418.
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Hubbard, Charles David. „Architecture derived from constructivism : an abstract narrative at the intersection of the cave and the market place“. Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/33450.
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Weate, Jeremy. „Phenomenology and difference : the body, architecture and race“. Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/2472/.
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The aim of the thesis is to consider the position of phenomenology in contemporary thought in order to argue that only on its terms can a political ontology of difference be thought. To inaugurate this project I being by questioning Heidegger's relation to phenomenology. I take issue with the way that Heidegger privileges time over space in "Being and Time". In this way, the task of the thesis is clarified as the need to elaborate a spatio-temporal phenomenology. After re-situating Heidegger's failure in this respect within a Kantian background, I suggest that the phenomenological grounding of difference must work through the body. I contend that the body is the ontological site of both the subject and the object. I use Whitehead and Merleau-Ponty to explore the ramifications of this thesis. I suggest first of all that architecture should be grounded ontologically in the body, and as such avoids being a 'master discourse'. Secondly, by theorising the body and world as reciprocally transformative, my reading of Merleau-Ponty emphasises the ways in which his thinking opens up a phenomenology of embodied difference. It is on the basis of these themes that I develop this thinking in the direction of race, exploring the dialectics of visibility and invisibility in the work of Frantz Fanon and James Baldwin. I argue that embodied difference attests to variations in the agent's freedom to act in the world. If freedom is understood through Merleau-Ponty as being the embodied ground of historicity, we must ask after unfreedom. I suggest that the "flesh" ontology of a pre-thetic community should be rethought as a regulative ideal, the ideal of a justice that can never be given. In this light, phenomenology becomes as much as poetics. Beyond being though of as conservative, phenomenology henceforth unleashes the possibility of thinking a transformative embodied agency.
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Jarzombek, Mark Michael. „Leon Baptista Alberti : the philosophy of cultural criticism“. Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/14984.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 355-362.
This dissertation investigates Leon Baptista Alberti's cultural critique, taking into consideration a broad spectrum of Alberti's writings, including many which have remained relatively unknown and ignored. Alberti developed his cultural theories by means of a literary ontology which is based on the definition of the author, his role in society, and his function as catalyst for regeneration. His theory of art and of history, and even his views on the task of Humanism it self, are all subsumed in his comprehensive attempt to demonstrate that myth-making capabilities are central to society's self-definition. Unless society keeps alive the myths of destruction and regeneration, its historical viability, so Alberti argues, is endangered. Alberti's aesthetic theory, which has previously been sought exclusively in his treatises, De pictura and De re aedificatoria, emerges in this inquiry as inextricably interlocked with his cultural critique. For the first time, the treatises will be viewed from within the context of Alberti's own thought.
by Mark Michael Jarzombek.
Ph.D.
41
See, Mark. „Transitions and architecture“. This title; PDF viewer required Home page for entire colleciton, 2007. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Smith, Gavin R. „Cultural authenticity within an architectural discourse : a critical investigation of the blurred distinction between an original and its copy“. Thesis, Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/24093.
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Nys, Philippe A. „Eléments pour une herméneutique et une phénoménologie des lieux de l'habiter: jardin-architecture-paysage“. Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212514.
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Wilk, Michael. „Affinity to infinity : the endlessness, correalism, and galaxies of Frederick Kiesler“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0029/MQ64122.pdf.
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Marchisen, Kirk Joseph. „Transformation through analogy : narrative in architecture“. Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/22379.
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Lerner, Isaac. „Architecture as discourse : form follows fiction“. Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61707.
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Yorgancioglu, Derya. „Steven Holl: A Translation Of Phenomenological Philosophy Into The Realm Of Architecture“. Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605414/index.pdf.
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Yorgancioglu, Derya
M. Arch, Department of Architecture
Supervisor: Asst. Prof. Dr. Cânâ
Bilsel September 2004, 133 pages In this thesis it is aimed to develop a particular reading of Steven Holl&rsquo
s approach to architecture. It is claimed that in Holl&rsquo
s architecture there is a philosophical depth that embraces both his thinking on and making of architecture. This thesis suggests that, the phenomenology of Maurice Merleau-Ponty, the French philosopher (1908-1961) is Steven Holl&rsquo
s main reference in achieving a philosophical depth in architecture. The thesis research focuses on understanding Holl&rsquo
s approach to architecture and its relation to Merleau-Ponty&rsquo
s phenomenological philosophy. In the second part of the thesis, in aiming to unfold how the design process develops the study focused on the intellectual framework in Holl&rsquo
s architecture. Specific concepts that Holl dwells upon are examined in relation to their philosophical references. This section also comprises a focus on the architect as the subject of architectural practice. In the third part, the phenomenological framework in the way Holl makes architecture is studied by examining how he relates building with site and situation
body to architectural space
body and architecture to time. This examination concludes with an inquiry in the haptic sensibility of the architect into articulating spaces and forms. Lastly, the forth part involves a study on Holl&rsquo
s particular projects, through which it is aimed to examine the architectural embodiment of his phenomenological approach. The thesis research in Steven Holl&rsquo
s architectural approach, which is held through his thinking on and making of architecture, opens up a field of study about the practice of an architect and the philosophical engagement of architecture.
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Ho, Jeffrey Kiat. „The philosophy of Louis I. Kahn and the ethical function of architecture“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0004/MQ43979.pdf.
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Lee, Jongkeun. „A phenomenological inquiry into the problem of meaning in architecture“. Diss., Georgia Institute of Technology, 1994. http://hdl.handle.net/1853/21776.
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Ellis, Timothy William. „Leslie Thomas Moore (1883-1957) : his life, influences, ecclesiastical architecture and #preservation' philosophy“. Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242119.
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