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Boonzaaier, Johann H. „Nurturing architecture : shifting conventional architectural approaches towards regenerative architecture“. Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53344.
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The natural world consists of incredibly complex and integrated systems. Ecosystems and biodiversity all work cohesively to sustainably maintain the basis of our very existence on the planet. These interrelationships form the foundation of all living things and have zero impact on the natural environment. Mankind hugely influences natural systems through its introduction of technological systems . This influence is traceable to the unsustainable extraction of natural resources, which became wide-spread in the industrial era.
Since the start of the industrial era, city borders have rapidly expanded often leaving the inner-city decentralized. Such expansion has made its mark on the central business district of Pretoria, where natural voids have been created in the city fabric. The environment in the CBD, through the impact of human activities, is in a state of decay, which is a threat to the very existence of the ecological environment.
Architecture needs to return to its roots and find a spatial condition to co-exist with the natural realm in a regenerative manner. Thus utilizing nature s ability to solve problems that we currently struggle with. This dissertation focuses on regenerative architecture. The ecological environment, and certain insects in particular, provides us with countless solutions. Unfortunately, we sometimes mistake the innovation and services of insects as the aggravation of pests. The proposed program therefore centers on the research of these insects and on learning what they can provide for the greater good of humanity s future; a future where humans and nature have a mutually beneficial relationship.
This project also taps into the closed-loop-system of the regenerative theory in which, nothing is seen as a single entity, but rather as a system where anything is beneficial and interrelates to everything. This theory can only strengthen and densify Pretoria s inner city, filling the voids with systems and contributing positively towards the regeneration of resources.Mini Dissertation (MArch(Prof))--University of Pretoria, 2015.
tm2016
Architecture
MArch(Prof)
Unrestricted
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Anderson, Charles Nicholas, und charles anderson@rmit edu au. „Ephemeral Architectures: towards a process architecture“. RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.143239.
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This PhD responds to a two fold problem with the philosophy of design and the practice of design. The philosophical problem is stated as the discrepancy between a dominant philosophical framework that orders the world according to eternal essences and the actual conditions of the world in which we exist: the conditions of becoming and of flux. Commencing with a critique of the western metaphysical tradition of statics this research project proposes that we need to find a way of describing an evolutionary model of practice, and by so doing to provide a revitalised narration of process. Consequently, the PhD explores the meanings of process through a critical examination of an ensemble of projects created by the author. Within this framework, a number of questions are posed in order to explore the proposition of a process practice. These questions are: What is process? How does one think process? Indeed, how do we get to grasp change? What are the consequences of process thinking on the practices of design, their fields of operation, and their productions? And, how can the thematising of process contribute to the design of the constructed environment, as well as reconfigure the practices of design? This thematising of process is argued to involve a necessary address to the constitutive and interrelated characteristics of process: space/time, movement, change, form and matter. Such an address is also seen to problematise the status of the object, the paradigms of representation, the modes of creation, the economies of exchange, and the structures of community, and to offer a modality of practice which would re-imagine the forms of social exchange to offer an ethical alternative to the tyranny of supply and demand, and thereby reconfigure the potential for dwelling. Making an overview of the discourses and practices engaging with theories of becoming, this thesis argues that almost all of these re-inscribe statics and that consequently the practice of design seems to drag behind our understanding of the world. Through a meditation on dis/appearance, in which the dynamics of being and becoming and the restless ambiguity of the gap are examined, the work establishes a process vocabulary, and makes clear through a material practice, the domains of process thinking, its inclinations, and the kinds of operations and procedures that flourish there. Foregrounding the fertile character of process practice, the PhD then proceeds to introduce notions of the movement-form, the duration-form, the transformational-form, the geometry of encounter, and to argue for physical form as an in-movement poise. Advocating new modes of approach and of attentiveness, and demonstrating new generative methods, this PhD argues that process thinking is not simply an operational stance, but an ethical position that identifies a field of care, and that consequently the design practices be expanded by taking seriously the relationship between process thinking and place making. Thus, this thesis concludes by advocating a mode of place making which, rather than reproduce planned environments as systems of control, configures place as the discursive contested place of encounter and exchange.
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Grundström, Oskar, und Theo Storesund. „Autotelic Architecture : A collection of architectural stories“. Thesis, KTH, Arkitektur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-146327.
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• Autotelic Architecture is a collection of buildings with architectural stories. • The buildings included are described with black line drawings on white paper and a supplementary text. The drawings have been stripped down to only show walls, pillars, stairs, ramps and significant objects. Together the drawing and the text describes what story is told in the building through its architectural elements. • The reason to include a building in the collection is our recognition of a story within it. • All of the buildings in the collection have been built. • Each of the buildings in the collection hold a story thought of as relevant, communicated with spaces and objects. The relevance is based on an incomplete set of attributes, indicating a strong architectural story. • The buildings are categorized in different themes. For example, the theme of labyrinths describe buildings that are of a maze like nature, schizophrenic describe buildings with multiple logics and nothingness describe buildings appearing to be almost nothing. One building can be part of several themes, and the number of themes is not fixed. • The intention is to visualize the nature of the architectural story and to provide a conceptual inventory for further development of architectural stories. We believe that from telling stories with only the configuration of a buildings physical conditions there arises a direct intellectual stimulation which adds poetic depth to the building. • This book argues that the poetical aspects of architecture has a purpose in itself and should take precedence over the technical aspects. • This book is not a manual and can therefore not be seen as dogmatic or as a recipe for architecture. It is a body of strong architectural stories that deserve to be noted and shared. • This book does not take a stand against other forms of architecture, it simply proposes a language of designing that is both serious and happy, both literal and tentative, both enigmatic and real.• Autotelisk Arkitektur är en samling av byggnader med arkitektoniska berättelser. • Byggnaderna är beskrivna med hjälp av planer och text. Planerna har blivit reducerade för att enbart visa väggar, pelare, trappor, ramper och signifikanta objekt. Tillsammans beskriver planen och texten den berättelse byggnaden berättar genom sina arkitektoniska element. • Alla byggnader i samlingen har byggts. • Byggnaderna är kategoriserade i olika teman. En byggnad kan vara part av flera teman och antalet teman är inte fast. • Intentionen är att visualisera arkitektoniska berättelser och tillgängliggöra en konceptuell inventering för vidare utveckling av arkitektoniska berättelser. Vi tror att genom att berätta historier genom enbart en byggnads rumsliga konfiguration uppstår det en intellektuell stimulering vilket skapar poetiskt djup i en byggnad. • Boken föreslår ett formgivningsspråk som är både seriöst och glatt, både bokstavligt och sökande, både enigmatiskt och verkligt.
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Dean, Craig Franklin. „Form + order: investigations into architecture + the architectural“. Thesis, Virginia Polytechnic Institute and State University, 1992. http://hdl.handle.net/10919/52116.
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The process of the architect involves the contradictory yet coexisting realms of form and order, the soul and the intellect, the nondiscursive and the literal.
Meaning can be found in both worlds. The rational and linguistic manifests itself in the architectural; architecture, however, expresses ideas as art and reveals that which is verbally ineffable.Master of Architecture
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Shastri, Devdutt. „Dance of architecture : choreographic and architectural movement“. Thesis, Cardiff University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.584890.
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The aim of this thesis is to develop a theoretical framework that is based on the body and on the theme of Movement, for the analysis, interpretation and creation of Architecture. My research pro poses that Movement rather than Form may be the way forward for Architecture. A theory that is based on the experience and perception of Movement, requires a Movement-focused re-search of Architecture, and is furthered by examining the discipline that is primarily concerned with the design of human movement in space, namely Choreography. My central argument, therefore, is that there is sufficient commonality between the process of creating Architecture and that of Choreography to warrant examining principles of the latter, to advance our knowledge of the former. The term 'movement' can conjure different associations and so it is necessary to define the scope of the term as it pertains to the research at hand. This study identifies five treatments of Movement: Pictorially Affective, Literal, Animated, Choreographed and Ex pressed, which are subsets of three broad categories based on the movement of: 1 - people in space: P, A, C 2 - the building (actual) : L 3 - the building (implied) : E The thesis a) critiques the historiography of Architecture from a movement-themed perspective, and provides a brief over view of Choreographic theories about Movement, b) uses photographs, video and other digital media as tools to analyse both Architecture and dance Choreography, interpreting the treatment of Movement in Architecture, according to P/L/A/C/E and, lastly, c) the thesis explores a syncretic approach towards the making of a movement-based Architecture, informed by Choreography. Video capture and editing are among several methods explored in order to study the design of movement in an architectural con text, evidence of which is presented on an accompanying DVD.
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Lehman, Andrew. „Transitional Architecture: Architectures Response to a Social Program“. University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470043128.
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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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Kwon, Kyoung Eun 1974. „Filmic architecture : on motion perspective in architectural synthesis“. Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28326.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.Includes bibliographical references (p. 82-83).
This thesis is an inquiry into the potential of film as an extended perspective defined by the sequential juxtaposition of images. Based on the notion that linear perspective in Renaissance architecture was used as a formal tool for the poetic imagination, it is assumed that motion perspective used as a design tool would have a formative influence on the architectural design process and thence, on the final product, architectural space and the sequence of spaces. The project uses film theory as the conceptual framework from which to gain a better understanding of the fourth dimension (time) in the creation of architecture. Cinematic camera movements, which already have a syntax or patterned language are modified for defining specific geometries in the creation of built space. The program consists of a housing block and community center in East Boston, offering a variety of spatial types for experimentation. In the primary analysis, the site is observed through a series of camera sequences. In the design process these camera movements are used to generate a spatial geometry based on the relationship between camera and filmed space. For instance, the housing has a layered spatial configuration corresponding to the tracking shot used in the site analysis. Computer generated motion graphics (4-D motion perspective) are used in each step of conceptual design. A dialectic of observation and form-generation with camera sequences are repeated throughout the building using the syntax of other movie-based sequences. The thesis demonstrates the potential of cinematographic sequencing in architectural design, moving beyond the three-dimensional scenography of traditional perspective.
by Kyoung Eun Kwon.
Titles from disk: Forest of light -- Jungle steps -- East Boston Project.
M.Arch.
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Kattein, J. „The Architecture Chronicle : diary of an architectural practice“. Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/18941/.
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Most books on architecture start when a building is completed, carefully editing out any evidence of the design and production process. As a result, architecture is often seen as a product rather than a process. The Architecture Chronicle is about architecture as a practice. It has two parts. The book Blur: the Making of Nothing, by Diller and Scofidio, has informed the format of part one. Blur book reports on the design and construction process of Blur building from initial design ideas to the completion of the building. Part one is a diary reporting on the realisation of five stage sets and one urban intervention realised over a period of four years, starting on 16 December 2003. The diary is intercepted by references that are, where appropriate, carefully integrated in the overall design. The book Delirious New York: A retroactive Manifesto for Manhattan, by Rem Koolhaas, tells the story of the building of New York with the author taking on the role of a ‘ghost writer’1, putting into perspective the ‘mountains of evidence’2 to discover patterns, methodologies and strategies. Part two is such a ‘retroactive manifesto’3, mining the projects in the diary for strategies that re-appear and fortify throughout The Architecture Chronicle. In his book Words and Buildings: A Vocabulary of Modern Architecture, Adrian Forty observes that the pre-Renaissance architect worked on the building site amongst other tradesmen in an environment of dispersed authorship. It was his ability to draw and to write, acquired during the Italian Renaissance, that allowed the architect to remove himself from the site of construction and to upgrade his status from anonymous craftsman amongst others to artistic creator. New procurement methods have changed the role of the architect in contemporary construction projects. To minimise liability, and as a result of the increased specialisation of building professionals, contemporary buildings are designed by a design team. This threatens the status of the architect as artistic creator. Today, the architect operates once again in an environment of dispersed authorship as a member of the design team working alongside other design professionals. Drawings are more often produced by visualisers, engineers and sub-contractors than by architects while text is more often written by surveyors or specifiers. To maintain his status as artisitc creator, the architect in The Architecture Chronicle takes on three distinct characters. The architect-inventor challenges conventions and questions the social status quo. The architect-activist transgresses the boundary of the profession and enters the construction process. The architect-arbitrator engages the audience to realise the ambitious project. The Architecture Chronicle concludes that the contemporary architect still draws and writes, but that it is often the architect’s ability to engage and direct that asserts his or her status. To assert his or her status in the design team, the architect’s ability to talk and to act is more important than his or her ability to draw and write.
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Whitmire, Derrick. „Architecture as Theater; Creating a Vital Architectural Narrative“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337950009.
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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
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Hoffmann, Alexis Maria Caja. „Sex architecture, architecture sex“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ48270.pdf.
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Marchman, Granger Hansell 1962. „Architectural displacements : the supplemental condition of site and architecture“. Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/22346.
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Lee, Jong Woo. „Un territoire de l’architecture : aMC et le renouveau de la culture architecturale en France (1967-1981)“. Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST1113.
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La thèse porte sur le renouveau de la culture architecturale, intervenu grâce à l'action d'un milieu de jeunes architectes français dans les années 1960 et 1970 qui sont devenus les acteurs principaux des Unités Pédagogiques d'Architecture et en ont fait le lieu de la refondation de l'enseignement de l'architecture et de la naissance de la recherche architecturale. La recherche prend pour support principal d'analyse la revue Architecture Mouvement Continuité publiée entre 1969 et 1981 par la SADG. Si la période traitée correspond d'abord à la vie de la revue, elle se réfère aussi à une histoire plus générale de la société française et de l'architecture contemporaine en France dans une période de changements profonds. En effet, l'intérêt principal de la revue vient du fait que son histoire se soit nouée avec les réalités extérieures complexes. Au coeur de ce renouveau culture, il y a un regard sur l'objet architectural, voire une redéfinition de celui-ci étroitement liée à la construction de l'identité de ces jeunes architectes. Les épisodes constituant l'histoire d'AMC illustrent le projet de ses acteurs d'él argir la discipline architecturale, en donnant une autre légitimité au travail de l'architecte. Ce projet a été élaboré principalement par le biais de la recherche historique, et ce dans le rapport étroit de deux pôles qui paraissent a priori opposés : "connaissance" et "projet" dont le rapport mutuel et productif est fondamental dans ce renouveau culturelThe research aims to understand the renewal of architectural culture, which occurred through the action of a circle of young French architects of the 1960s and 1970s. They have become the key players in the foundation of the Unités Pédagogiques d'Architecture and made the place of remaking architectural education and the birth of architectural research. Our research takes, as the main support of study, the architectural review Architecture Mouvement Continuité published by the SADG between 1967 and 1981. If this period corresponds to the life of the magazine, it also refers to the broad history of society and the contemporary architecture in France in the period of profound changes. Indeed, the main interest of the magazine is that his story is tied with external realities complex. In the middle of this cultural renewal, there is a reconsideration of the architectural object, even a redefinition of it closely related to the construction of the identity of those young architects. The episodes constituting the history of AMC illustrate the project of his actors to broaden the architectural discipline, giving a new legitimacy to the work of architect. This redefinition was done through historical researches – a review of the “Modern movement”, the history of social housing and early-urbanism in France - , in the close relationship of two poles that seem a priori opposed : "knowledge" and "project", whose productive mutual relationship is fundamental to the understanding this cultural renewal
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Salim, Faida Noori. „The Impact of Globalisation on Architecture and Architectural Ethics“. Thesis, University of Auckland, 2011. http://hdl.handle.net/2292/6358.
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The development of globalisation, both economically and financially, has promoted the flow of both information and people. Globalisation is also seen as an outcome of communication technology and the development of the Internet and this is subsequently encouraging international interdependence and the compression of time and space. This thesis is devoted to answering the question: in what way does the impact of globalisation affect the role of architecture, and how should it be interpreted ethically? It argues that the ethical evaluation of the role of architecture should be linked to architecture's natural ethical ability to form a relationship with a culture. Nevertheless, in modernity, cultural identity is closely linked to national identity and because both are by nature unstable, the result is the formation of unstable relationships and the creation of dilemmas for the ethical role of architecture. There are four important trajectories that affect the ability of architecture to form a relationship with a national-cultural identity and its formation process; those trajectories are: the physical nature of the region, materials and methods of construction, belief system(s), and memory. Under the impact of social and cultural diversity, technology, industry, and forgetfulness, all four trajectories are challenged and severely undermined. Because of the increase in information flow, advancements in communication technology and greater mobility of goods and people, the global culture is advancing its version of homogenisation. Challenges, on the other hand, are constantly being presented through the need for change and the dynamic nature of modern nations. These are exhibited in two processes: innovation/stabilisation and innovation/transformation, and also in the two dynamics of: interpretation/reinterpretation and differentiation/integration. Today, iconic type of architecture and celebrity architects lead the innovation/transformation process, and the 'ordinary' practice of architecture leads the innovation/stabilisation process using the differentiation/integration dynamic. Architectural theory, on the other hand, advances the use of the interpretation/reinterpretation dynamic in architecture, which helps to destabilise meaning in architectural language that, when transformed to real world architecture, can result in alienating the physical horizons of cities and thus in the alienation of people.Note: Thesis now published as a book. The Impact of Globalisation on Architecture and Architectural Ethics / Faida Noori Salim. Published: The Constructed Environment, 2011. http://theconstructedenvironment.cgpublisher.com/product/pub.226/prod.2
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Woo, Wing-tat Alfred, und 胡榮達. „Deconstructing the Faculty of Architecture: the architectural school 2001“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984939.
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Woo, Wing-tat Alfred. „Deconstructing the Faculty of Architecture : the architectural school 2001 /“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953175.
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Zografos, Stamatios. „Architecture and fire : an archival approach to architectural conservation“. Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/8596/.
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The aim of this thesis is to develop an alternative conceptual understanding of architectural conservation, which overcomes inherent problems and paradoxes that its current theory and practice is commonly associated with. To achieve this, I explore conservation through the interdisciplinary approach of archival theory arguing that listed buildings comprise the official archivisation of architecture. Through Henri Bergson’s philosophy, however, I explain that archives are also sites of forgetting thus the function of conservation appears problematic. I, therefore, re‐examine the fundamental relationship between architecture and memory by focusing on the memory of fire, as it is an element that is present from the birth until the death of architecture. Fire and its conflicting nature of temporality inform also the philosophical methodology of this research; I employ the philosophy of Gaston Bachelard who is known for his psychoanalytic work on fire, memory and fragmented time, and the philosophy of a theoretical opponent, Henri Bergson, who is famous for his work on memory and temporal continuity. Based on both philosophers, I first explore architectural evolution in regards to how buildings absorb fire, spanning from the flames of the ancient hearth to contemporary architecture, and then look into the critical moment of architectural evolution, which is its destruction by fire. Through this study, I comment on architecture in archival terms arguing that it carries with it either a reduced or a complete memory of its entire past, thus making the function of conservation fundamentally redundant. Finally, I develop a psychoanalytic approach to conservation based on Jacques Derrida’s understanding according to which archives are associated with the Freudian unconscious, and argue that conservation can result in the repression of the death drive unless the latter is sublimated. This implies that conservation policy must be adjusted accordingly to allow destruction to be part of the agenda.
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Shekhar, Mayank. „ARCHITECTURE-AWARE HARD-REAL-TIME SCHEDULING ON MULTI-CORE ARCHITECTURES“. OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/971.
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The increasing dependency of man on machines have led to increase computational load on systems. The increasing computational load can be handled to some extent by scaling up processor frequencies. However, this approach has hit a frequency and power wall and the increasing awareness towards green computing discourages this solution. This leads us to use multi-core architectures. Due to the same reason, real-time systems are also migrating from single-core towards multi-core systems. While multi-core systems provide scalable high computational power, they also expose real-time systems to several challenges. Most of these challenges hamper the key property of real-time systems, i.e., predictability. In this work, we address some challenges imposed by multi-core architectures on real-time systems. We propose and evaluate several scheduling algorithms and demonstrate improved predictability and performance over existing methods. A unifying them in all our algorithms is that we explicitly consider the effects of architectural factors on the scheduling and schedulablity of real-time programs. As a case study, we use Tilera's TilePro64 platform as an example multi-core platform and implement some of our algorithms on this platform. Through this case study, we derive several useful conclusions regarding performance, predictability and practical overheads on a multi-core architecture.
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Kauffman, Jordan Scott. „Drawing on architecture : the socioaesthetics of architectural drawings, 1970-1990“. Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/97376.
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Thesis: Ph. D., Massachusetts Institute of Technology, Department of Architecture, February 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 391-422).
This dissertation examines a period in the late twentieth century when architectural drawings provoked a profound re-evaluation of architecture. It does so through novel research of the individuals, galleries, institutions, and events-and the networks that originated therefrom-that drove this reappraisal by shifting the perception of architectural drawings. During the 1970s and 1980s, for the first time, architectural drawings became more than an instrument for building. Prior to this period, except for scattered instances, buildings were considered to be the goal of architectural practice; architectural drawings were viewed simply as a means to an end. However, through a confluence of factors architectural drawings emerged from this marginal role. Drawings attained autonomy from the architectural process and were ultimately perceived as aesthetic artifacts in and of themselves. No attention has been given to this shift, and recovering this period's forgotten history reveals a rich and complex tapestry. Research unearths interrelated individuals, galleries, institutions, and events outside of practice that impacted the perception of architectural drawings during this period. This reveals the uniqueness of this period, for at no other time was debate generated in the same way, since at no other time did the necessary structures exist to support this change. During this period, architectural drawings became the driving force of architectural debate, not for what architects put in them, but for what others asked them to be and saw in them. Through exhibitions that emphasized drawings in and of themselves, through collectors and galleries, through the development of a market for architectural drawings, and through the interrelation of these, all of which this work reconstructs for the first time, the role and perception of drawings fell between and among aesthetic, artistic, architectural, commercial, conceptual, cultural, and historical understandings. It was this shifting that drove questioning during this period of nearly all facets of architecture.
by Jordan Scott Kauffman.
Ph. D.
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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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Aslam, Emrah. „Historical references in architectural design with special emphasis on Anatolian vernacular architecture : a study in Turkish tourism architecture“. Thesis, University of Salford, 2011. http://usir.salford.ac.uk/26554/.
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Architects in Turkey have made extensive reference to traditional Anatolian building styles in recent work. However, there has been little systematic study of how they have gone about the use of these references. This research analyses varied approaches of designers and their ways of interpreting the vernacular heritage in recent living environments. This research is not designed to investigate the architectural design process itself; the aim is rather to look for possible influences of the archetypes of vernacular and regional architecture in contemporary architecture in order to create a unique identity, using different design actions; imitation, bricolage, analogies, interpretation and mimesis. In order to search for the possible effect of the archetypes of vernacular environment on contemporary design practice, selected architects who have been active in the recent design of tourism buildings in Turkey have been selected. Seventeen case studies have been analysed and nine architects have been interviewed. Many regions in Turkey have been visited in order to have wider archive of Anatolian Historical and Vernacular archetypes. From each architect, several buildings have been chosen for observation and analysis. The data was collected in several different ways, which are: first, direct observation, visiting the sites for the relevant information such as photographs, sketches and scaled drawings; second, semi-structured interviews with the designer in order to catch their intentions in selected case studies. The current study is based on qualitative analysis using HyperResearch software on both materials gathered by observation and interview transcripts. The result of the collected data with selected research method showed that the Anatolian historical and vernacular archetypes are being used by the architects in their recent architectural practices via different level of referential interpretations. The research goes beyond simple subjective observations of the use of historical references; this has been achieved through the development of framework for the systematic classification and analysis of a range of reference types. This has been used both in the interpretation of visual material and in the analysis of documentary sources and interviews with architects. The intentions of each architect in case studies have been identified and a list of most frequently used historical elements have also been given. Keywords: Vernacular architecture, historical references, Tourism Buildings, Turkish Architecture, Imitation, Bricolage, Analogy, Interpretation, Mimesis.
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Khalighinejad, Farshad. „Architecture Aesthetic Preferences and Architectural Habitus: A Comparison Among Architecture and Business Students at the University of Cincinnati“. University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1551971907333194.
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24
Kline, Erin. „Ceramic Architecture: Showcasing a Forgotten Architectural Medium Through Recycled Rubble“. University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491305761415643.
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25
Hariharan, Charanya Cameron Brian H. „Enterprise architecture & service oriented architecture“. [University Park, Pa.] : Pennsylvania State University, 2009. http://etda.libraries.psu.edu/theses/approved/PSUonlyIndex/ETD-4880/index.html.
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26
Long, Richard C. „Resort architecture : the architecture of leisure“. Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/22355.
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27
Michel, Nicole Yael 1977. „Architecture of interiority (architecture of traces)“. Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/68810.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002.Includes bibliographical references (p. 135-137).
In a growing globalized world where ideas of connections, transparency and exposure are becoming commonplace, the need will arise to devise an architecture that addresses issues of identity and belonging by creating places that protect the INTIMATE. By looking at a culturally significant housing typology in Buenos Aires, Argentina, one can begin to understand how, one hundred years ago, it achieved a sense of intimacy while remaining modern (modern meaning that with very rational moves, it reaches a high level of simplicity and flexibility) and maintaining a site and culture -specific feel. An analysis and reinterpretation of its major architectural components lead to a formal and conceptual transformation that derived in the proposal of three PROTOTYPICAL URBAN INTERVENTIONS that explored the REFORMULATION of spatial relationships in order to create intimacy within a highly transparent volume. By reinventing a cultural typology one can engage in a discussion about IDENTITY. By creating spaces of intimacy within a world of exposure, it becomes possible to allow one's self to be expressed and thus to intensify and strengthen a feeling of BELONGING to a place. While exploring an architecture of INTERIORITY one can generate an architecture that allows for IMPRINTS to be made, and for TRACES to be read.
Nicole Yael Michel.
M.Arch.
28
Snider, David E. „Architecture is Life... ...Life is Architecture“. Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/31734.
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When thinking about architecture, I cannot help but think about my life and the things that have affected my life. How does the environment around us effect the daily decisions we make? How do the experiences throughout our life impact who we are and who we become? The people and surroundings we choose will ultimately decide the type of people we become. When we select our surroundings we are in turn selecting our ideal community. Everyone is trying to achieve community in some sense, from individuals to city planners. Council members, politicians, city officials... make decisions everyday based on their idea of what community is to them and their citizens.
In the following pages I will design a community and put in place the elements for it to prosper and grow...
Master of Architecture
29
McBrien, Brandon James. „NTD Architecture: Strategies of Architecture Management“. Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/244435.
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Award-winning jazz musician, Dave Grusin said, "Outside-the-box thinking works best if you know what's inside the box first." When applied to the defining characteristics of leadership and management, this philosophy reveals how business, ideas, and profits are propelled forward through a clear understanding of the qualities of strategic management. This thesis sets out to analyze business situations of an architectural firm in order to obtain a unique point of view of a firm's operational actives, structure, and policies. In order for this research to be of most value to the participating architectural firm, this thesis will result in a detailed report that includes an evaluation of its industry structure, an assessment of the firm's resources and capabilities, as well as a set of detailed recommendations designed to help the firm improve its competitive position.
30
Daniel-Lacombe, Éric Paquot Thierry. „Architecture, paysage et urbanisme“. Créteil : Université de Paris-Val-de-Marne, 2006. http://doxa.scd.univ-paris12.fr:80/theses/th0250195.htm.
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31
Fontenas, Hugues. „Architectures inhumaines : étude sur les disjonctions entre corps, projet et objet en architecture“. Paris 1, 1994. http://www.theses.fr/1994PA010545.
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Cette étude s'intéresse aux architectures qui ne sont pas liées à une occupation humaine et échappent ainsi ce qui constitue un fondement essentiel sur lequel s'appuie toute la pensée occidentale de l'architecture : cette présence corporelle qui serait une référence incontournable. Après des introductions qui rappellent les modes de "territorialisation" sans participation humaine de l'espace extra-terrestre et les bases des liaisons traditionnellement établies entre le corps et l'architecture, sont étudiés les différents types de dispositifs architecturaux non destinés à accueillir une présence humaine permanente: sanctuaires interdits ; stockages (châteaux d'eau, silos. . . ); dispositifs automatiques ou environnements hostiles (transformateurs électriques, usines robotisées, centrales nucléaires. . . ). Sont examinés aussi bien les formulations architecturales résultantes, leurs spécificités et leurs modes de perception (problème de la visibilité d'édifices que l'on ne peut vraiment contempler), que leurs conditions d'élaboration (le projet comme seul temps de "présence") et la nature de "l'absence" humaine par rapport aux différents modèles corporels considérés. L'enjeu de cette étude des motivations et modalités de la construction humaine de ce qui demeurera inaccessible à l'homme est finalement situe dans le contexte actuel d'une instrumentalisation généralisée et d'une redéfinition des limites du corps et du territoireThis study is concerned by the architectures which are not linked to any human occupancy and therefore baffle a major base on which the occidental thinking of architecture is constituted: this present human body that should be a reference beyond all question. After introductions evoking the constitution of outer-space territory without human participation and the bases of the traditionaly established links between body and architecture, the different types of architectural apparatuses not intended for housing any permanent human presence are studied: forbidden sanctuaries; stocking structures (water towers, grain elevators. . . ) ; automatic or hostile apparatuses (transformer stations, unmanned factories, nuclear power-stations. . . ). The architectural dispositions, their particularities, their modes of perception (problem of the visibility of un-contemplatable buildings) are examined, as well as the conditions of their formation (the project as the only time of "human presence") and the nature of the human "absence" in relation to the different visions of the body. The stake of this study on the motivations and modalities of the human construction of what will remain inaccessible ios finaly linked to the present context of a general instrumentation and re-definition of the body and territory limits
32
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.
33
Kaliniak, Piotr. „Migration of a Chosen Architectural Pattern to Service Oriented Architecture“. Thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-4892.
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Context: Several examples of successful migrations of systems to Service Oriented Architecture (SOA) are presented in the literature. Some of the approaches also try to structure the process of migration to SOA. The reported migration attempts underline the role of architecture of migrated system, but they do not explore the architectural patterns applied in architecture of migrated systems while proper usage of patterns may simplify and improve quality of migration. Objectives: This work is aimed at elaborating guidelines that support migration from a system that is based on a chosen architectural pattern towards a system based on Service Oriented Architecture. Methods: Literature review is used as a basic method in the initial steps of the research, that is during investigation of existing techniques of migration to SOA, establishing procedure for selection of the migrated pattern and identifying building blocks of the target architecture. Results of the literature reviews are further analyzed in order to select the migrated architectural pattern and to elaborate the target architecture. The guidelines for migration are the result of the synthesis of the analyzed information. Results: The migration is realized as a translation between two pattern languages: the first pattern language describes the chosen architectural pattern–Model–View–Controller and the second pattern language describes SOA target architecture, expressed using SOA architectural patterns. The translation is defined by a set of migration guidelines. The approach is also illustrated with migrating an example student project. Conclusion: The study shows that the usage of an architectural pattern during migration allows to define the migration in a simple, structured and precise way using guidelines that represent a set of subsequent well defined steps that should be applied in order to migrate a specific type of legacy system.
34
Wigley, Mark. „Jacques Derrida and architecture the deconstructive possibilities of architectural discourse /“. Online version, 1986. http://bibpurl.oclc.org/web/29991.
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35
Olshavsky, Peter. „Questions concerning architectural machines: or 'pataphysics in early modern architecture“. Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110410.
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The primary contention of this study is that there are ways to orient architecture other than technological concerns. By studying the nature of architectural machines and their changes through history, their reduction to instrumental and aesthetic concerns is shown to be problematic. These aspects have dominated architectural thinking and making since modernity; however, this history also shows the limits and possibilities of these technological concerns. But modernism has not been homogeneous. During this period, the literary and theatrical works of Alfred Jarry and his science of pataphysics offered a significant approach to engage and resist the machine. His work challenged technological practices through the machine itself. I explore this relative to the human will, knowledge, and creative practices. Modernist architectural machines by Pierre Chareau, Eileen Gray, and Paul Nelson are then studied with respect to this intentionality. Ultimately, these works attempted in various ways to reconcile poetics and ethics in the design of pataphysical machines for living in.La thèse principale de cette étude est qu'il existe d'autres façons d'orienter l'architecture en dehors des préoccupations technologiques. Par l'étude de la nature et les modifications aux machines architecturales dans l'histoire, leur réduction à des préoccupations instrumentales et esthétiques se révèle être problématique. Puisque la modernité, ces aspects ont dominé le domaine de l'architecture. Cependant, cette histoire montre aussi les limites et les possibilités de ces préoccupations technologiques. Mais le modernisme n'est pas homogène. Durant cette période, les œuvres littéraires et théâtrales d'Alfred Jarry et sa science de la pataphysique offre une approche profonde à s'engager et à résister à la machine. Son travail défit pratiques technologiques à travers la machine elle-même. L'étude explore ce rapport à la volonté, la connaissance humaine et des pratiques créatives. Cette intentionnalité est également découverte et étudiée dans certaines machines architecturales modernistes de Pierre Chareau, Eileen Gray, et Paul Nelson. Finalement, tous ces «solutions imaginaires» tentative de réconcilier la poétique et l'éthique en la conception de machines pataphysiques à habiter.
36
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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37
Boyacıoğlu, Bilgen Erkarslan Özlem. „The construction of turkish modern architecture in architectural history writing/“. [s.l.]: [s.n.], 2003. http://library.iyte.edu.tr/tezler/master/mimarlik/T000289.rar.
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38
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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39
HOXHA, Keti. „Exploring Multi-Sensoriality in Architecture: Architectural Experience in Visual Deprivation“. Doctoral thesis, Università degli studi di Ferrara, 2021. http://hdl.handle.net/11392/2488185.
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Architecture is a nonverbal language that provides multi-sensorial experiences, which involves the collaboration of the sensorial and perceptual experience. It is a tool for transmitting emotions and psychological effects through atmospheres created by configurations, elements, characteristics and shapes. Throughout years, architecture has been a product of focusing in form, aesthetic properties, function and technology, leaving aside the importance of the involvement of all senses as a contribution in designing architecture.In architectural practice, vision is considered as the main sense of creating spaces and aesthetics of the buildings, leaving aside other sensorial modalities. This is a result of the considerable amount of sensorial information obtained by vision, which shifts perceptual attention to visual information preventing experience from other sense modalities. As a result, architecture tends to be considered a visual discipline, while being concerned with the aesthetic quality and visual harmony between composing element in the search of beauty.One of the main concerns of the research is analysing the multi-sensorial nature of perceptual signals obtained by the architectural environment and the effects on human’s consciousness. In response to this concern, it is required to obtain further analysis concerning the understanding of perception in spatial design. Such concern is addressed to a target group, which experiences architecture by not considering sight as the main perceptual means for spatial exploration and orientation. There is insufficient interchange of theoretical knowledge concerning the use of instruments that support the interests of visual impairments in architectural design. The perspective of the visually impaired could provide the knowledge of a different conscious level of exploring architectural spaces, which can be used further as not a typical perceptual model to be considered by architects when designing spaces. The research aims to provide knowledge for developing design parameters for people with reduced sensorial activities, which in fact are not taken in consideration during the architectural design process. Even when these spaces are designed, the method is through the use of guidelines, which in fact are standard architectural solutions that do not take in consideration their perceptual experiences. Their ways of perceiving space can become the starting point for the discipline of architecture to learn how to perceive space from another perspective point of view.L’architettura è un linguaggio non verbale in grado di fornire esperienze multisensoriali, le quali mettono in collaborazione sia la componente sensoriale che quella percettiva. Attraverso l’atmosfera creata dalla combinazione dei suoi elementi, delle sue forme, e delle sue caratteristiche intrinseche, l’architettura si configura quale strumento per la trasmissione di emozioni ed in grado di scatenare precisi effetti psicologici. Tuttavia, durante gli anni, essa è stata sempre interpretata solamente attraverso le sue proprietà formali, estetiche, funzionali e tecnologiche, tralasciando la sua capacità di attivare ciascuno dei sensi umani al fine che anch’essi vengano consideranti parte integrante del processo progettuale. Nella disciplina architettonica, la vista è spesso stata considerata il senso più importante nella genesi spaziale ed estetica degli edifici, anche a causa dello scarso interesse che è stato rivolto verso alle altre modalità percettive. La motivazione di ciò risiede nel gran numero di informazioni che siamo in grado di captare attraverso la vista; una quantità tale da aver spostato la nostra attenzione percettiva verso i dati visivi piuttosto che su quelli provenienti da altri sensi. A conferma di ciò, l’architettura tende ad essere considerata una disciplina ‘visiva’, interessata alla ricerca di una determinata qualità ed armonia estetica tramite una continua indagine della bellezza insita nella composizione delle sue forme.Una delle principali investigazioni che questa ricerca si propone è l’analisi della natura multisensoriale degli stimoli percettivi provenienti dallo spazio architettonico e dei loro effetti sulla coscienza umana. Al fine di ciò, è necessario dapprima interrogarsi sul senso concetto stesso di ‘percezione’ in relazione alla progettazione dello spazio. Per rispondere a questo interrogativo, si è deciso di rivolgere prendere in considerazione uno specifico gruppo, quello dei non vedenti, che vive lo spazio architettonico non utilizzando la vista come principale strumento di esplorazione e orientamento. Partendo dalla constatazione che non esista un adeguato background teorico riguardo l’uso di specifici strumenti che possano favorire la componente esperienziale dei non vedenti in relazione allo spazio architettonico, proprio la loro condizione è in grado di fornire una nuova consapevolezza riguardo le modalità di esplorazione di tale spazio da poter utilizzare successivamente quale modello percettivo al servizio degli architetti come vero e proprio strumento progettualeQuesta ricerca ha quindi l’obiettivo di ricercare specifici parametri progettuali da prendere in esame nella progettazione dedicata ad individui affetti da percezione sensoriale ridotta che molto spesso non sono tenuti in considerazione nei processi architettonici. Anche quando gli spazi sono ‘pensati’ per queste persone, gli unici riferimenti a disposizione sono una serie di linee guida che altro non sono che una serie di soluzioni standard completamente separate da una qualsiasi componente percettiva od esperienziale.Al contrario, proprio il modo in cui questi individui percepiscono lo spazio può rappresentare il punto di partenza per far sì che anche la disciplina architettonica possa interrogarsi su quest’ultimo possa essere compreso proprio partendo da un punto di vista completamente differente. Questa dissertazione non vuole rivolgersi solo ad uno specifico pubblico, quello degli affetti da disabilità visiva, ma prende in considerazione tutti i fruitori degli spazi architettonici al fine da offrire loro luoghi più accessibili e ricchi di esperienze multisensoriali. Per far ciò, la ricerca si propone di oltrepassare la convinzione che sia solo la vista a guidare il processo progettuale e che l’architettura stessa si offra a molteplici modalità di lettura sensoriale.
40
Li, Hua. „'Chinese architecture' + 'Western architecture' : a false dichotomy“. Thesis, Open University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495576.
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For some time, even if this is not expressed explicitly, 'Chinese architecture' and 'western architecture' are conceived and perceived as two homogeneous totalities, in opposition to one another. In consequence, the fast transformation of Chinese cities in the last three decades is often accounted for in terms of the influence of 'western architecture' upon 'Chinese architecture'. Indeed, the urban growth in this period has involved architectural expertise, products, technologies and designs from Europe and the USA. To some people, what is seen as 'new' is 'western', and hence, the transformation is a process of 'westernisation'. However, this is precisely what the thesis argues against. It argues that to use the category of the 'Chinese' and the 'Western' to explain the products of architecture and urbanism in last thirty years China is neither useful nor appropriate. This thesis concerns the issue of 'conceptual translation' of architectural discourse from Europe and the USA into the context of China, as an opposition to 'linguistic translation' which concerns literal meanings of terms. Its examination focuses on the category that the concept 'western modern' indicates in Chinese architecture, and relates its operation and construction to the importation history of European and American architecture throughout the twentieth century, as well as pedagogy of architectural training, regularisation of design principles and methods, identification of architectural profession, practice of the architects' offices, organisation of design competition, and management of the city, mode of marketing and purchase in the real estate market, state politics and cultural interpretations. The analysis reveals that while waves of importation have sustained the formation of architecture as a modem practice in China from the early twentieth century up to now, they have not arrived as symmetrical reflection of what they are in the 'original' context. A difference, in comparison to European and American architecture, can be characterised by the absence. of a coherent 'modernism' and the continuity of the modified 'Beaux-Arts' practice in Chinese architecture. Therefore, 'fne assumption of 'westernisation' is wrong in its first place, as there is no such distinction that could be made between the 'Chinese' and the 'Western'.
41
Chard, N. J. „Drawing indeterminate architecture, indeterminate drawings of architecture“. Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1344187/.
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Architecture is made to support certain activities. This thesis asks how architecture might also nurture the uncertain. The program and the conventions of architectural drawing encourage ideas of certainty. The architectural drawing is a rehearsal of the architecture it represents. This thesis searches for ways of drawing to rehearse the sorts of engagement we might have with architecture that could nurture an indeterminate condition. This is studied through the invention of seven types of drawing instrument. The early versions represent an indeterminate relationship with architecture while the later instruments nurture an indeterminate engagement through the act of drawing. Indeterminacy is a condition of uncertainty. At first the instruments concentrate on working with the sublime, an existential uncertainty. In order to understand the spatial potential of picturing there is extended research into the natural history diorama. In parallel to lessons on projective geometry, the dioramas provide a convincing case for the power of the uncanny, an intellectual uncertainty. The lessons from these studies, embodied in Instruments Two and Three, achieved what had been set out in the initial question but also provided new questions, especially about the experience of making the drawing. The later instruments project paint rather than light and provide an engagement with the person who is drawing that is analogous to the condition that is being drawn. The process of drawing becomes a rehearsal for inhabiting the architecture. The instruments are informed by a number of parallel studies: one that asks questions about ways of appropriating the city (as an indeterminate reception of the world as it is given); another into an opening up of the program, studied through a house, and the discovery of a way to disturb our certainty in the shadow and the invention of an instrument to understand the potential of that discovery.
42
Lindberg, Siri. „Embodied sequences : Sculptural architecture, architecture for sculpture“. Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223745.
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For the last decade many spaces of museums have meet new demands; the spaces are getting less specific to the art it is displaying as the need of flexibility, total control or alteration of light e.g. has increased due to various reasons. For many art forms those conditions can be beneficial. But how one perceive the three-dimensional art of sculpture is something different, than two dimen-sional art such as painting, and there for the demands on the architectural spaces and its qualities are different. A museum exclusively for the art of sculpture does not exist in Stockholm, without it being mixed with other art forms or dedicated to just one artist. Therefor it is of curtail interest to introduce a museum dedicated to sculpture in the context of Stockholm.
43
Snyder, Rebecca. „The Power of Architecture: Architecture of Power“. University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397477684.
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44
Durmaz, Nur. „Awarding Architecture In Turkey: National Architecture Exhibition And Awards Program“. Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12611377/index.pdf.
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The establishment of the National Architecture Exhibition and Awards (NAEA) program in 1987, by Chamber of Architects, coincides with the period of dissolving modernist paradigm and rising pluralist influences in Turkey. The program, as a critical medium, is expected to reflect &ldquonational&rdquo
architectural practice and contribute in the &ldquo
contemporary&rdquo
architectural practice in Turkey. In order to evaluate the consistencies with these objectives, firstly the program identity and then the participations are analyzed. On the other hand, regarding the searches for &ldquo
innovativeness&rdquo
and &ldquo
contemporaneity,&rdquo
parallelism with the international architectural agenda and concerns for geographic differences are analyzed through the awarded projects and the jury reports. In the analysis about the position of the program as well as its indications about Turkish architectural practice, the following results are obtained: Program can be defined as having an insulated and closed character with regard to its structure. Considering the participations, it is seen that it does not reflect the heterogeneous character of its geographical scope and has an elitist profile in awards distribution. Priority given to senior architects in Grand Prizes, the weight of the restoration category and the newly established commemoration program itself point out to a conservative stance. In the thesis, the awarded submissions are analyzed comparatively with Progressive Architecture (PA) Awards program. It is an established program in United States, which perpetuate since 1954 and it is claimed to have both &ldquo
reflective&rdquo
and &ldquo
limit-pushing&rdquo
positions in the architectural platform. In NAEA program, instead of the claims for giving precedence to &ldquo
limit-pushing&rdquo
attempts, a &ldquo
reflective&rdquo
position has been maintained. In the jury reports, the &ldquo
modernist&rdquo
award criteria can be defined as parallel with the agenda of international platform. In recent years, in international platform, instead of domination by styles, conceptual productions and sustainable themes gain prominence. Thus, regarding the submissions of NAEA, these parallelisms have been diminished.
45
Mans, Jacob w. „Recycling the Family Farm: exploring implement architecture“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276955639.
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46
Ridgway, Sam. „Theorizing the construction of architecture“. Phd thesis, Faculty of Architecture, Design and Planning, 2010. http://hdl.handle.net/2123/8801.
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47
Ashraf, Kazi Khaleed. „Architecture as evocation of place : thoughts on an architectural "beginning" in Bangladesh“. Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/71071.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.Includes bibliographical references (p. 121-127).
This thesis is a trajectory of a quest of trying to understand certain fundamental notions of architecture, triggered initially by the cultural conditions of Bangladesh: How does an architectural position really find 'validation'? What is the significant meaning of architectural "appropriateness"? And, how does an artifact fit into place? The key idea of the investigation is that place is not merely a physical but also a psychic reality; it is the basic strata of "collective consciousness" that provides identity and psychic security. Place denotes an 'existential structure', formed by material and immaterial entities, in the palpable, the conscious and the 'unconscious' realm, from which its dwellers draw the meaning and relevance of their collective action and existence. In the study here, it is argued that it is the role of architecture to "concretize" or "exteriorize" this 'existential structure', and thus reinforce the dimension of place. Place, as a continuous repository of "artifacts" and "human events", can provide the instrumental and material tool for the making of such architecture. The investigation, in conclusion, attempts to find how can the repository be tapped, within the domain of design, so that not only the immaterial dimension is engaged, but also the 'new' artifact evokes and becomes a new deposit to the place-repository.
by Kazi Khaleed Ashraf.
M.S.
48
Matteson, Matthew Benjamin. „Between architectures : institutionalization and architectural discourse in early twentieth-century Poland“. Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/93015.
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Thesis: Ph. D. in Architecture: History and Theory of Architecture, Massachusetts Institute of Technology, Department of Architecture, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 265-287).
This dissertation explores the development by architects in interwar Poland of new epistemological approaches responsive to the challenges of modernity and modernization in the early twentieth century. It probes the establishment of institutional structures in higher education, publishing, and corporate life, investigating their development in relation to concomitant evolution of discourses around the role of history, architectural pedagogy, the social role of the architect, and the legal status of the architecture profession - crucial matters at the limen between the romantically glorified past and gloriously hopeful future. I argue that the robust intellectual currency ultimately shared among architects across the newly reconstituted Polish state facilitated challenges to long-standing narratives of romantic nationalism thus paving the way for a reconstruction of collective identity and consequently sophisticated contributions to cultural modernity and economic modernization. Presenting this largely untold story contributes to reevaluation of the genesis, development, and impacts of modernist culture in ostensibly peripheral locals, such as Central Europe, revealing these phenomena to be more pluralistic and nuanced than canonical historiography of modernism suggests. I present the construction of this institutional and epistemological armature as a process in three phases, with a segment of the developing network taking the leading role in each. Chapter one provides historical context and outlines a model of theory change developed by Ludwik Fleck in which social forces with particular historical contours are embodied in institutions crucial to the development of characteristic "thought styles" underlying the persistence of unique "thought collectives." Chapter two explores the newly formed Department of Architecture at the Warsaw University of Technology, showing how its faculty and students worked to form themselves into an intellectual community reimagining the historical and aesthetic foundations of Polish architecture. Chapter 3 addresses strategies for communication deployed in Polish architectural journals, where the articulation of a disciplinary identity for architecture as professionalized occupation, cultural phenomenon, and intellectual project was presented for both practitioners and a broader public. The final chapter focuses on architects' negotiation of conflicts both internally between generational groups and externally against peer engineers in the marketplace to formalize the corporate and legal organization of their profession.
by Matthew Benjamin Matteson.
Ph. D. in Architecture: History and Theory of Architecture
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Otte, Gary (Gary James) Carleton University Dissertation Architecture. „Photographing the void: the camera and the representation of Islamic architecture“. Ottawa, 1999.
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Lachowski, Eric. „Thesis book“. This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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