Dissertations / Theses on the topic 'Architectural design – History'
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Doyle, Ryan P. "Framing history through cinematic storytelling." This title; PDF viewer required. Home page for entire collection, 2006. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Charron, Craig E. "The piece sur piece log houses of Michigan : an architectural history." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1074548.
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This study presents a history of the French Canadian piece sur piece log houses constructed in Michigan in the 18th and early 19th centuries. Drawing upon a 17th century architectural tradition in Canada, the early French Canadian settlers switched from the poteaux en terre building style to the piece sur piece, or horizontal log construction form. This type of log house, through the building techniques it employed, was distinct from any of its contemporaries. The reason for this change dealt with the changing nature of the French settlement in Michigan, from a fur trade economy to one that included agriculture. These houses were not the crude log structures which have been popularly associated with the settlement of the nation's frontier, but rather a sophisticated design which made use of local and imported materials to create a refined structure that was intended for long term habitation.Department of Architecture
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Blomqvist, Mika. "Varför kritik?" Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-222129.
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I detta examensarbete görs en diskursiv och historisk undersökning av kritikgenomgången i arkitektutbildningen. Kritikgenomgången utgör en central komponent i det samtida paradigmet för arkitektutbildning – studion. Examensarbetet går igenom och diskuterar aktuell forskning om kritikgenomgången, vilket ger en nedslående bild av kritikgenomgångens pedagogiska potential. Vidare undersöks kritikgenomgångens historiska rötter med fokus på den svenska kontexten, vilket ger vid handen att kritikgenomgången i sin nuvarande form fick sin roll i svensk arkitektutbildning under 1990-talet, alltså samtidigt med studioparadigmets genomslag. Dessutom redovisas resultaten av en intervjustudie med lärare vid KTH Arkitekturskolan, vilka visar att diskursen om kritikgenomgången innehåller flera motsägelser och problem. Resultaten av undersökningarna diskuteras sedan utifrån en förståelse av omdömet som centralt begrepp och förmåga för att förstå den implicita definition av arkitekten som manifesteras i kritikgenomgången och i disciplinens kanon.This thesis presents a discursive and historical investigation of the origins and causes of the design review in architectural education. The design review, jury or ”crit” i s an integral and central part of the contemporary paradigm for architectural education – the design studio. The thesis discusses previous research on the design review, which paints a gloomy picture of the learning possibilities of the review. The historical roots of the review are studied with the Swedish context as a focus, showing that the review in its contemporary form was adopted concurrently with the design studio paradigm during the 1990’s. Furthermore, interviews were carried out with instructors at the School of Architecture at the Royal Institute of Technology in Stockholm. Results from the interviews point to several contradictions and issues in the discourse about the review. Seeing the concept and faculty of judgment as central to understand the implicit definition of the architect, as manifested in the review and in the canon of the discipline, these findings are the discussed and contextualised.
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Gilles, Werner. "Communication aided architects : the information age and the architectural profession." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1136717.
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The fundamental question in design communication is how closely the architect's intention matches what the viewer perceives in the proposed design representation. The goal of this thesis is to find more efficient means to facilitate understanding of design ideas, especially between the architect and the client or other lay-people.In the following sections this will be accomplished by investigating the history of various communication modes and evaluating their significance. The development of communication technology throughout recent centuries has contributed to changes in the architectural process. After assessing the current situation of applying communication technology in the architectural process, the thesis concludes with a scenario. The scenario will describe a futuristic architectural process, which eliminates misunderstanding in design presentations by using the next level of communication technology - immersive computer generated spaces.Department of Architecture
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Balas, Ronald J. "Designing the Airstream: The Cultural History of Compact Space, ca. 1920 to the 1960s." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1408097844.
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Boyington, Amy. "Maids, wives and widows : female architectural patronage in eighteenth-century Britain." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/271383.
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This thesis explores the extent to which elite women of the eighteenth century commissioned architectural works and the extent to which the type and scale of their projects was dictated by their marital status. Traditionally, architectural historians have advocated that eighteenth-century architecture was purely the pursuit of men. Women, of course, were not absent during this period, but their involvement with architecture has been largely obscured and largely overlooked. This doctoral research has redressed this oversight through the scrutinising of known sources and the unearthing of new archival material. This thesis begins with an exploration of the legal and financial statuses of elite women, as encapsulated by the eighteenth-century marriage settlement. This encompasses brides’ portions or dowries, wives’ annuities or ‘pin-money’, widows’ dower or jointure, and provisions made for daughters and younger children. Following this, the thesis is divided into three main sections which each look at the ways in which women, depending upon their marital status, could engage in architecture. The first of these sections discusses unmarried women, where the patronage of the following patroness is examined: Anne Robinson; Lady Isabella Finch; Lady Elizabeth Hastings; Sophia Baddeley; George Anne Bellamy and Teresa Cornelys. The second section explores the patronage of married women, namely Jemima Yorke, Marchioness Grey; Amabel Hume-Campbell, Lady Polwarth; Mary Robinson, Baroness Grantham; Sarah Churchill, Duchess of Marlborough; Frances Boscawen; Elizabeth Herbert, Countess of Pembroke and Montgomery; Henrietta Knight, Baroness Luxborough and Lady Sarah Bunbury. The third and final section discusses the architectural patronage of widowed women, including Susanna Montgomery, Countess of Eglinton; Georgianna Spencer, Countess Spencer; Elizabeth Somerset, Duchess of Beaufort; Elizabeth Home, Countess of Home; Elizabeth Montagu; Mary Hervey, Lady Hervey; Henrietta Fermor, Countess of Pomfret; the Hon. Charlotte Digby; the Hon. Charlotte Boyle Walsingham; the Hon. Agneta Yorke and Albinia Brodrick, Viscountess Midleton. Collectively, all three sections advocate that elite women were at the heart of the architectural patronage system and exerted more influence and agency over architecture than has previously been recognised by architectural historians.
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Johnson, Michael Andrew. "Architectural taste and patronage in Newcastle upon Tyne, 1870-1914." Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/2867/.
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This thesis examines architectural taste and patronage in Newcastle upon Tyne between 1870 and 1914. During this period, the city experienced dramatic expansion as the wealth generated in industry, finance and retail was channelled into commercial and public architecture. The overall aim is to determine whether Newcastle formed a distinctive architectural culture. Newcastle's economic and social profile gave rise to specific patterns of taste and patronage. The thesis explores the cultural networks that shaped the built form of the city, arguing that architectural patronage in Newcastle was dominated by a cultural oligarchy. This group formed an 'architectural culture', a relatively self-contained community in which particular styles and architects were favoured above others. Newcastle was a major centre of industry, finance and retail, and played a significant role in the national economy. The thesis seeks to reposition Newcastle within the context of the dynamic forces that were reshaping Britain's built environment. As the period progressed, the distinctive patterns of taste and patronage within the city were eroded by the increasingly national economy, the influence of the metropolis and the more active role played by the centralised state. The thesis relates the architectural culture under study to the national mainstream, thus shedding light on the relationship between provincial architecture and the metropolis. The thesis employs a range of methodological strategies in order to bring the different facets of architecture into focus. With clearly defined geographical and temporal boundaries, it seeks to clarify the economic, social and cultural factors that underpin architectural production, thus offering a new insight into architectural patronage.
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Barrett, Niels. "The rise of a profession within a profession : the development of the architectural technology discipline within the profession of architecture." Thesis, Robert Gordon University, 2011. http://hdl.handle.net/10059/645.
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This thesis investigates the emergence of a new specialisation within the profession of architecture, namely that of the architectural technologist. The main original contributions from the research concern a deep understanding of how that emergence has been realised, and a study of the implications for buildings in the longer term. Using the UK and Denmark as examples it finds that this profession has existed for a long time, but until recently without formal recognition. It also finds that the consequences of the lack of attention are potentially major, and it suggests why recognition came so late. By researching literature the history of the building and architecture industries was investigated and it is shown how the architects were cooperating with well-trained craftsmen for many centuries. This is compared with the kind of cooperation with architectural technologists going on today, and what will most likely occur in the future. Questionnaires, to provide data about current architectural and architectural technologist education, were sent to groups of newly graduated professionals. After statistical treatment the resulting quantitative data were thoroughly analysed by discussing the possible interpretations. Focus groups of highly qualified professionals also interpreted the data and insights into the needs of industry in both the UK and Denmark were provided. Finally, the thesis concludes by identifying necessary means of improvement, and points at the serious risk of a further division of the construction industry into more consulting companies. This increases the risk of future architecture failing to properly integrate technology and design.
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Choi, Jin Won. "The design and implementation of a multimedia information and authoring system for teaching and learning architectural history and theory /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862972137761.
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Du, Plessis Tara. "The Capital Park Steam and Railway History Museum: Implementing a Holistic Methodology for Contextual Museum Architectural Design - The Rovos Rail Estate." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78348.
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This dissertation focuses on the development of the site in and around Rovos Rail. Rovos Rail is a unique train travel company cut off from the public view. The project context is located in Capital Park adjacent to Transnet Avenue. The primary purpose of the site was to accommodate railway-related workshop facilities that provisioned and maintained the trains and carriages on their way to the industries of Johannesburg. Rovos Rail has done much in terms of the conservation of railway history in Pretoria. This ambition should be celebrated and built upon. It is necessary to promote the conservation of the rich railway history of South Africa and understand the impact thereof on the contemporary landscape. In order to understand the significance of contextualism, research based on philosophical, theoretical and practical lenses will be conducted. The argument relies on understanding the context through these different lenses. The historical significance of the site is celebrated. The dissertation places it within the historical continuum of both the larger context of Pretoria and the smaller context of the surrounding community. Through the design of a Steam Locomotive Museum next to Rovos Rail, a holistic approach, based on contextualism theories and South African case studies is illustrated. The project proposal establishes a physical connection with the historically significant structures of the site and emphasises the historical layers. Inspiration is drawn from the existing railway lines, the existing platform, ecological features and buildings. The chosen function, that of the museum, intends to act as the arbitrator for the diversity of narratives of an ever-evolving landscape, be it manmade or natural. The museum represents a prototype for the methodology proposed. The design aims to facilitate the conservation of railway history, the education of the importance thereof and enticement to develop these sites to represent a prosperous future.Mini Dissertation (MArch (Prof))--University of Pretoria, 2020.
Architecture
MArch (Prof)
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Darragh, Alison. "Prison or palace? Haven or hell? : an architectural and social study of the development of public lunatic asylums in Scotland, 1781-1930." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1715.
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In 1897 John Sibbald, Commissioner in Lunacy for Scotland, stated that ‘the construction of an asylum is a more interesting subject of study for the general reader than might be supposed.’ This thesis traces the development of the public asylum in Scotland from 1781 to 1930. By placing the institution in its wider social context it provides more than a historical account, exploring how the buildings functioned as well as giving an architectural analysis based on date, plan and style. Here the architecture represents more, and provides a physical expression of successive stages of public philanthropy and legislative changes during what was arguably one of the most rapidly evolving stages of history. At a time when few medical treatments were available, public asylum buildings created truly therapeutic environments, which allowed the mentally ill to live in relative peace and security. The thesis explores how public asylums in Scotland introduced the segregation or ‘classification’ of patients into separate needs-based groups under a system known as Moral Treatment. It focuses particularly on the evolving plan forms of these institutions from the earliest radial, prison-like structures to their development into self-sustaining village-style colonies and shows how the plan reflects new attitudes to treatment. While many have disappeared, the surviving Victorian and Edwardian mega-structures lie as haunting reminders of a largely forgotten era in Scottish psychiatry. Only a few of the original buildings are still in use today as specialist units, out-patient centres, and administrative offices for Scotland’s Health Boards. Others have been redeveloped as universities or luxury housing schemes, making use of the good-quality buildings and landscaping. Whatever their current use, public asylums stand today as an outward sign of the awakening of the Scottish people to the plight of the mentally ill in the nineteenth and early twentieth centuries.
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Sheehan, Molly Elaine. "GLORIOUS CONSTRUCTIONS: The Struggle to Preserve Salvation-Themed Visionary Art Environments." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/447.
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Salvation-themed art environments are a roadside rarity, built out of a strong visionary dedication to God, but the sites are disappearing simply because the work is misunderstood. The historiography on the subject is sparse, trending more toward coffee table books with big glossy pictures than real scholarly endeavors, but the consensus among all has been clear. The sites are a valuable part of the recent American cultural landscape, crossing several scholarly fields - art, architecture, and history - and uniting them into a cohesive preservation movement. On a series of trips to visit, see, and experience five of these sites, I began to understand the massive scale that each site required to assemble and exactly what it would take to restore and preserve each site. The preservation goal is not small, but it is not unattainable. There are federal grants, nonprofit groups and localized support committees from which to gather support so that the site may continue to be a piece of history.
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Kayikci, Duygu y. "The Behavior of Moment Resisting Steel Frames Under Seismic Excitation with Variation of Geometric Dimensions of Architectural Setbacks." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/583.
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This study investigates seismic response of the Moment-Resisting-Steel Frames (MRSF) with the architectural setbacks. The main objective of the study is to understand the variation of the elastic and inelastic, static and dynamic behavior with changes in the geometric dimensions of the tower portion. A second objective of the study is to determine the adequacy of the analysis procedures of various rigors, specified in current seismic design provision, in predicting those behaviors for MRSF with various size of setback. The analytical study is conducted using a regular and 16 irregular models to capture all possible combinations of configuration of setback in five-story, five-bay MRSFs. An irregular model is developed by gradually changing the horizontal and vertical dimensions of the tower portion of the regular base 2D frame-model. All models were designed for (a) equal global displacement and uniform distribution of inter-story drift under First-Mode (FM) lateral force distribution pattern at first significant yield, and (b) equal period of vibration at the first mode, using Nonlinear Static Seismic analysis procedure. Among the conclusions derived from the research is that the variation of (a) the elastic and inelastic inter-story drift, the ductility demand for the top three stories, and (b) the elastic and inelastic global displacement exhibited a pattern similar to the variation of the FM participation factor at the roof, PF1Φr,1. The square-root-of-sum-of-square (SRSS) distribution provided accurate estimates of elastic story shear and inter-story drift demand as well as the story yield strength and drift.
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Melhuish, Elizabeth Clare. "Inhabiting the Image : architecture and social identity in the post-industrial city." Thesis, Bucks New University, 2007. http://bucks.collections.crest.ac.uk/10112/.
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The research presented in this thesis is intended to reveal the layers of social and cultural meaning invested in a building conventionally regarded as a work of abstract aesthetic modernism, and one which has been evaluated, within the framework of a national heritage preservation policy, as an architectural landmark of the post-war era of urban reconstruction. By combining the research methods of architectural history (archival) and of anthropology (ethnographic) I have located and interpreted the architecture of the Brunswick within a larger social story that demonstrates how the lived experience of a particular environment exists in parallel with the more objective official discourse that invests a work of architecture or art with cultural significance. The thesis traces the architectural inception and complex evolution of the building, its critical reception, and the proposals for redevelopment that culminated in a major refurbishment and transformation of the shopping precinct in 2006. It goes on to present an ethnographic account of the Brunswick as a social, as much as an architectural space, and an anthropological interpretation of the relationship between identity and place in terms of the specific qualities of the built environment. It shows that the material environment becomes real and vivid to people as an embodiment of the social dimensions of their lives, and that the boundaries between ‘inside’ and ‘outside’ – the private space of the home, and the layered sequence of public spaces extending through the building to the city beyond - are not objectively fixed, but subjectively perceived and negotiated in different ways. Although the Brunswick exerts considerable power as a unique architectural image, its boundaries do not define an integrated social space, nor a unified experience of the place as a living environment. Nevertheless, repeated interaction and sensory experience make it a tangible architectural framework for everyday and domestic life which evidently shapes the view from the inside looking out. The research aims to make a significant contribution to knowledge at a meeting-point between anthropology and architecture, which might help to inform future understanding of the interaction between people and the built habitat in modern urban societies.
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Guo, Yuqiao. "Post-disaster Transitional Housing for Displaced People." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/pomona_theses/124.
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Post-disaster displacement, with the increasing frequency and intensity of natural disasters, is quickly arising to become one of the most serious humanitarian challenges in the 21st century. As post-disaster housing spans several phases, the transitional housing phase is equally crucial as emergency sheltering and permanent housing: as dwellers remain in transitional housing projects up to years, their physical and emotional wellbeing is directly influenced by their surrounding built environment. Existing literature and practice have not paid enough attention to the built structures of post-disaster transitional housing. This thesis revisits past practices world-wide and architectural theory in the 20th century. Arguing that current transitional-housing design methodology is still deeply rooted in early 20th century Modernist ideologies, this thesis ties the missing link between architectural theory and humanitarian built environment design. Through examining theories and case studies, this thesis stresses the importance of approaching post-disaster transitional housing through the lens of architectural design, and makes suggestions for future improvements.
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Shearer, Katherine. "The "Postmodern Geographies" of Frank Gehry's Los Angeles." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1031.
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This thesis examines the ways in which Frank Gehry’s architectural contributions to Los Angeles’ social and built environment have shaped the region’s “postmodern geographies” throughout the 20th and 21st century. Through a focused exploration of three of Gehry’s postmodernist structures in Greater Los Angeles—a house, a library, and a concert hall—this thesis analyses how Gehry and his designs reflected and affected the artistic and socio-spatial development of Los Angeles’ “decidedly postmodern landscape.”
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Sans, Casanovas Jordi. "El mètode projectual en l’arquitectura moderna catalana: del mestre d’obres al GATCPAC." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/461183.
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Aquest estudi planteja que l’arribada de la modernitat a l’arquitectura catalana va consistir principalment en un canvi metodològic en la manera de dissenyar. Per demostrar-ho examina la metodologia de disseny de l’habitatge plurifamiliar a Barcelona entre els anys 1875 i 1936 a partir dels expedients d’obra dels fons documentals particulars de vint-i-nou arquitectes.
La transformació en la metodologia de disseny es dona principalment per quatre factors: l’arribada de la reproductibilitat tècnica dels plànols, la configuració del sistema de notació arquitectònica, la concepció de l’edifici com a sistema i, finalment, la consolidació del plànol i el projecte com a formats de referència. Aquests factors impliquen la transformació del mètode tipològic, el qual es caracteritza pel disseny fet entre l’estudi i l’obra, l’ús de models preestablerts per la tradició local i l’ús de l’oralitat com a eina principal de treball, en el mètode projectual, el qual es caracteritza pel disseny integral a l’estudi, el projecte com a horitzó de treball i l’ús del dibuix i el llenguatge visual com a eina heurística, analítica i comunicativa.
Aquesta transformació metodològica implica el pas d’una cultura de l’arquitectura oral a una cultura de l’arquitectura dibuixada on el dibuix i el llenguatge visual assumeixen gradualment totes les facetes del disseny i no només contribueixen a definir la pròpia idea de disseny sinó que transformen radicalment la forma de pensar l’arquitectura pel que fa a dinàmiques cognitives, socials i econòmiques. Les noves dinàmiques es caracteritzaran per la jerarquització, l’anàlisi, la simplificació, la prefiguració, l’abstracció, la imposició individual, la professió liberal, la internacionalització, l’abstracció visual, la resolució de problemes, el finalisme i l’apriorisme. La transformació radical del mètode de disseny i la instauració del mètode projectual és una aportació genuïna de la modernitat en arquitectura que convida a definir i a jutjar sota nous paràmetres el llegat material i discursiu de l’arquitectura moderna.This study suggests that the arrival of modernist architecture in Catalonia consisted mainly of a methodological change in the way of designing. To demonstrate this we examine design methodology in multi-family housing works in Barcelona between 1875 and 1936 based on the private records of twenty-nine architects. The transformation of the design methodology is given primarily by four factors: the arrival of mechanical reproduction of plans, the configuration of an architectural notation system, the conception of the building as a system, and the consolidation of the plan and the project as key formats. These factors lead to the transformation of the typological method, which is characterized by the design both at the study and at the construction site, the use of pre- established traditional models and the use of orality, into the projectual method, which is characterized by designing the whole work at the study, having the project as core working format and using drawing and visual language as a heuristic, analytical and communicative tool. This methodological transformation involves the passage of an oral culture to a drawn culture in architecture, where drawing and visual language gradually assume all facets of design and not only contribute to defining the idea of design itself but also they radically transform our way of thinking architecture in terms of cognitive, social and economic dynamics. These new dynamics are characterized by hierarchy, analysis, simplification, prefiguration, abstraction, individual imposition, liberal profession, internationalization, visual abstraction, problem solving, finalism and apriorism. The radical transformation of the design method into the project method is a genuine contribution of modernity in architecture that invites us to define and judge under new parameters the material and discursive legacy of modernist architecture.
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Kotchetkoff, Júlia Coelho. "Limites e possibilidades no ensino de projeto de arquitetura." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-23012017-105436/.
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Este trabalho busca compreender e questionar a declaração, característica do período Moderno, de que Projeto de Arquitetura não se ensina, mas se aprende. Pretende entender as razões pelas quais fora proclamada e disseminada, e as chaves pelas quais pode ser contestada. Assim, a pesquisa almeja descobrir quais possibilidades existem ao ensino de Projeto de Arquitetura, em meio as suas limitações. Para tal, em uma primeira etapa o trabalho diferencia as noções de ensinar e aprender, pesquisando em fontes etimológicas, filosóficas e históricas. Tal etapa é necessária para que se compreenda os atributos que poderiam tornar algo aprendível, mas não ensinável. Também, para que se conheça os argumentos sob os quais se afirma uma imprescindível correlação entre os dois polos, de modo que tudo o que fosse possível de aprender também o fosse de ensinar. A segunda etapa do trabalho vasculha a história da instrução e do aprendizado da ação de projetar em arquitetura. Complementando as descobertas do capítulo anterior, essa passagem aponta motivos que basearam a declaração da impossibilidade do ensino, e, em contraposição a tal ato, apresenta diversas maneiras com que já se ensinou a projetar ao longo da história. Em um terceiro momento, que se apropria dos dois anteriores, a pesquisa lista aspectos que poderiam fundamentar a impossibilidade do ensino para arquitetura, e contraposições a eles. Firma-se, assim, um panorama de limites e possibilidades ao ensino de Projeto de Arquitetura. A fim de conferir e complementar tal cenário, no quarto momento utiliza-se um estudo de caso, composto de uma série de livros com temas vinculados ao ensino de projeto de arquitetura. Verificando aquilo ausente nas publicações constatou-se acerca das limitações, e analisando aquilo presente compreendeu-se e se explicou acerca das possibilidades ao ensino. Foram realizadas diversas classificações a fim de organizar estes dois campos, e assim surgiram as classes dos Conteúdos e das Capacidades. Dentro do primeiro campo, encontrou-se duas classes que tornam mais nítida a definição de arquitetura, e que conseguem esclarecer quais as dificuldades para a ação de projeto. Trata-se das Questões, a parcela verbalmente comunicável que tematiza a Arquitetura, e dos Produtos, os objetos de fato arquitetônicos, constituídos de formas, espaços e materialidade. Percebeu-se que estas duas classes, e suas posteriores subdivisões, relacionam-se por meio de um processo, denominado de Tradução, que as transforma, uma vez que são constituídas de naturezas diferentes. A caracterização dos elementos e dos processos envolvidos na ação de projetar permitiu localizar os pontos em que haveria limitações, mas não impossibilidade, para o ensino em especial no campo das Capacidades; e os pontos que poderiam ser explorados dentro do ensino, pois estão ao seu alcance os Conteúdos. Tal organização permitiu não somente responder a uma declaração que bloqueava o desenvolvimento do ensino, mas gerar um panorama dos limites e possibilidades tanto ao aprendizado quanto ao ensino de Projeto de Arquitetura.This work seeks to comprehend and put into question a statement which is characteristic of the Modern period, the one that proclaims that Architecture Design cannot be taught, but can be learned\". The research aims to understand the reasons by which it had been announced and disseminated, and find the keys by which it can be challenged. Thus, it pursues to find out existent possibilities to the teaching of Architectural Design, among its limitations. For this purpose, in a first stage the work differentiates the notions of teaching and learning, researching in etymological, philosophical and historical sources. This step is necessary in order to understand the attributes that could make something learnable but not teachable. Also, in order to know the arguments which states an essential correlation between the two poles, producing the notion that everything which was possible to learn, was also to teach. The second stage of work searches the history of education of designing in Architecture. Complementing the findings of the previous chapter, this passage points out reasons that could base the declaration of the impossibility of teaching, and, as opposed to such act, shows several ways in which design was taught throughout history. In a third step, which appropriates of the previous two, the research list aspects that could justify the impossibility of education to architecture, and contrasts them. It is firmed, thus, an overview of limits and possibilities to the education of Architectural Design. In order to check and complement such scenario, the fourth chapter uses a case study, consisted of a series of books with topics related to the education of Architecture Design. Checking what was absent in the publications, it was found about the limitations, and analysing what was present it was possible to understand and explain about the possibilities to education. Various classifications were made to organize these two fields, and thus came the classes of Contents and Skills. Within the first field, it was met two classes that can turn the definition of Architecture clearer, and which can clarify the difficulties for the designing action. These are the Questions, the verbally communicable portion which thematises architecture, and the Products, the true architectural objects, made up of forms, spaces and materiality. It was noticed that these two classes, and their subsequent subdivisions, are related through a process, which was called Translation, that produces transformations, since the two poles are formed by different natures. The characterization of the elements and processes involved in the action of design allowed to locate the points where there would be limitations, but not impossibility, for teaching - particularly in the Skills field; and the points that could be exploited in the education, since they are within reach - the Contents. This organization allowed not only to respond to a statement that used to block the teaching development, but to generate an overview of the limits and the possibilities of both learning and teaching of Architectural Design.
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Gaier, Samantha. "Interior Decoration as Fine Art: Rachel Feinstein and The Sorbet Room, 2001." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363604230.
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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.
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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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Ferring, Mari. "Dionysos på Årsta torg : färgfrågan i svensk efterkrigsarkitektur." Licentiate thesis, KTH, Arkitektur, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4258.
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The overall aim of the thesis is to discuss cultural significations and notions of colour in Swedish post-war architecture. More specifically, the purpose is to analyse the question of colour in architecture linked to the polychrome walls of Årsta Community Centre, including background, intentions, cultural context and debate. Årsta Community Centre, situated just south of Stockholm, was built in 1947-53. The buildings as well as the colourful paintings covering the walls facing the square were designed by architects and brothers Erik and Tore Ahlsén. Newspapers and journals showed a clear indignation concerning the colourful exterior walls. Why did the polychrome walls at Årsta raise so much attention and cause such criticism? And how are these reactions related to contemporary ideas of colour in architecture in general? The thesis is divided into six chapters. The introductory chapter is followed by a historical retrospect with examples of use and notions of colour in architecture, in order to present a prelude to post-war thoughts and design. This text leads up to two central concepts developed for this thesis: Structural and independent colour effect. The third chapter presents Årsta Community Centre with focus on the polychrome walls at Årsta square, analysing the role of the architects and the cultural and social environment in which they were interacting. Special attention is paid to the important inspiration provided by the thoughts of the Danish artist and writer Asger Jorn. The forth chapter deals with the critique of Årsta square as well as arguments in contemporary debates concerning colour in architecture (as for example in the Apollo and Dionysus-debate). Chapter five discusses the role of independent colour effect in art and architecture of the 1940´s and 50´s related to examples of contemporary ideas and use of history. The conclusions of the study are presented in the sixth chapter. It contains an interpretation of the polychrome space, mainly focusing on two themes: The first is the understanding of the square as a theatre, based on historical social and urban patterns. The second is the suggestion of a modernistic language of colour and architecture for common man that is universal and time-less, challenging established social and material hierarchies. The thesis finishes with an analysis and a summary point by point of the critique directed at the colours of Årsta Community Centre with main emphasis on the underlaying political motives.QC 20101112
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Gutierrez, Rodrigo Luiz Minot. "Estudo sobre as representações e o processo de produção da arquitetura colonial em Ouro Preto no século XVIII: risco debuxado na parede da capela do Carmo de Ouro Preto." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16132/tde-20122016-152717/.
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Este trabalho apresenta um estudo sobre as representações de arquitetura, a partir da leitura e interpretação de um objeto histórico, o risco debuxado na parede do consistório da Capela do Carmo de Ouro Preto em 1789, e promove uma abordagem ainda não realizada, desde a sua descoberta em 1942, durante reforma realizada na capela pelo então SPHAN (Serviço do Patrimônio Histórico e Artístico Nacional). O risco e os documentos da Ordem do Carmo revelam aspectos importantes para a compreensão da fábrica da arquitetura religiosa no período colonial brasileiro, quando o Brasil era parte do vasto reino de Portugal. Ao longo do texto confirma-se a existência de uma trama social e produtiva hierarquizada, em que o risco aparece como parte da fábrica da arquitetura religiosa, um recurso de reflexão coletiva no campo hoje reconhecido como das práticas projetuais. Mais especificamente, um procedimento de reforma do risco original feito para a obra de talha dos seis altares do corpo da capela, uma revisão de aspectos formais que só foram percebidos com os altares já asentados, ou instalados. Ao desenhar, ou debuxar, eram articulados conhecimentos técnicos e artísticos. As pessoas envolvidas em tal processo, mestres oficiais ou não, conheciam o peso da matéria e o sentido das ideias representadas a partir de recursos gráficos específicos, que comunicavam, antecipavam e constituíam elemento de coesão dessa estrutura social, consolidada na concepção e materialização de suas ideias, como pode ser visto na cidade de Ouro Preto.This work presents a study on the architectural representations, from the reading and interpretation of a historical object, the risk drawn on the wall of the consistory of the Carmo Chapel of Ouro Preto in 1789, and promotes an approach not yet accomplished, since its Discovered in 1942, during a reform carried out in the chapel by the SPHAN (National Historical and Artistic Heritage Service). The risk and documents of the Order of Carmel reveal important aspects for the understanding of the religious architecture factory in the Brazilian colonial period, when Brazil was part of the vast kingdom of Portugal. Throughout the text, the existence of a hierarchical productive and social fabric is confirmed, in which the risk appears as part of the religious architecture factory, a resource of collective reflection in the field today recognized as of the project practices. More specifically, an original risk reform procedure done for the carving work of the six altars of the chapel body, a review of formal aspects that were only perceived with the altars already settled, or installed. When drawing, or debugging, technical and artistic knowledge was articulated. The people involved in this process, both official and non-formal masters, knew the weight of the material and the meaning of the ideas represented by specific graphic resources that communicated, anticipated and constituted an element of cohesion of this social structure, consolidated in the conception and materialization of its Ideas, as can be seen in the city of Ouro Preto.
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Alanazi, Naif F. "Successful Urban Design Principles for the Redevelopment of the Historic Seafronts in the Kingdom of Saudi Arabia, along the North Red Sea , Case Study: Yanbu Al-Bahr’s Historic Seafront." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3769.
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This thesis highlights the role of urban planners in the revitalization of historic
seafronts as creative and attractive places for people and a key factor in the
regeneration of the urban economy in the historic seafront areas. The Saudi Arabia
historic seafront areas along the North Red Sea have been neglected and are suffering
because of slow development and changes to industrial uses. This thesis will focus on
the urban design principles that make historic seafronts more attractive and
successful, and will use a case study approach of several American waterfront cities
such as Baltimore, Maryland; San Francisco, California; and Charleston, South
Carolina. These American cities and the urban design principles applied for their
successful revitalization were selected for analysis because of their similarities with
the Yanbu Al-Bahr's historic seafront. The results of this analysis will enable planners
to apply the best of these urban waterfront design models to assist in the revitalization
of historic seafronts along the North Red Sea in the Kingdom of Saudi Arabia (KSA).
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Gadelha, Júlio Barretto. "Joaquim Barretto: o exercício da criação." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-02092011-151445/.
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O trabalho proposto procura fortalecer a pesquisa sobre a arquitetura paulista em um período não muito estudado, trazendo para a discussão crítica contemporânea arquitetos, cuja produção arquitetônica teve uma certa relevância nas décadas de 70 e 80, mas que ficaram à sombra de ícones da arquitetura do período mencionado. A análise crítica sobre a produção arquitetônica brasileira teve como corrente predominante de discussão as obras e projetos propostos pelo chamado movimento moderno ou arquitetura moderna brasileira. Para enriquecer o repertório da discussão sobre a arquitetura brasileira, mais especificamente, arquitetura paulista, num período de transição dos paradigmas propostos até então, a intenção foi a de resgatar a história da arquitetura paulista, não permitindo que se perca em um depósito empoeirado, arquivos importantes para a compreensão de determinados períodos de nossa arquitetura. Com a catalogação e sistematização dos arquivos dos projetos e das obras construídas pelo arquiteto Joaquim Barretto, o Barretinho, formado pela F.A.U. Mackenzie em 1967, em um período de intenso e rico debate arquitetônico, analisar a criação do arquiteto pesquisado, procurando entender seu processo de criação arquitetônico, inserindo-o no movimento dos anos 70/80.This work proposed, is a search to reinforce the research about Paulista´s Architecture from a period of time, not quite studied, introducing for contemporaneous criticism, the discussion of architects that the Architectonical production had a certain relevance in the decades of 70´s and 80´s, but stayed apart of Architecture´s Icons at the mentioned period. This critical analysis about Brazilian Architectonical Production had as it predominant course of discussion, the works and projects proposed by the called Modern Movement or The Brazilian Modern Architecture. To enrich the repertory about the Brazilian Architecture, more specifi cally, Paulista´s Architecture, in a period of transition of the proposed paradigm at that time, the intention was to rescue the History of Paulista´s Architecture, not allowing to disappear at a dusty deposit, important archives for the comprehension of determined periods of our architecture. With the tabulation and systematization of the fi les of the projects and the constructed buildings by the architect Joaquim Barretto, known as Barretinho, graduated at F.A.U. Mackenzie in 1967th, in a period of intense and rich architectonical debate, to analyze the creation of the architect researched, trying to understand his process of architectonic creation, inserting him at the architectonical movement at the 70´s and 80´s.
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Chwiecko, Nancy A. "Residential renovation : architecture, history, and interior design /." Online version of thesis, 1987. http://hdl.handle.net/1850/10152.
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Emond, Matthew W. "Endogenous Process & Designing Through Change." Amherst, Mass. : University of Massachusetts Amherst, 2009. https://scholarworks.umass.edu/theses/300.
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This project was an exercise in aligning my intuition, community experience, and design sensitivities under the pretext of an architectural expression. My desire was to work endogenously, or out of my home environment, on a project that had no clear programmatic or formal requirements or limitations. I began by assessing a prevalent issue in my home town (a connection between the river and the town center) both from the top down and the bottom up. Throughout, I sought to challenge my preconceived notions of what might be, and allow a design process to emerge out of the layers of information I had absorbed as a participant in this holistic landscape. Inflection and change became a driving force in this pared down design process, and through them came a working territory that framed the programmatic and formal specificities of the South River P.O.R.T.
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Kulseth, Marthe. "The Beginner´s guide to Standardization." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6310.
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Welcome to The Beginner’s Guide to Standardization. I will tell you what it means when they say, “that is not the standard”. I will give you the tools to fight for your design, and its right to exist. From now on, you will to stop treating the standard as the correct answer, but rather question how it will shape your design and examine the purpose of the standard. Standardization has shaped a correctness to design, which will echo through our practices long after our time, but together we will scream louder and let the echo fade away.
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Quinlan, Joshua Mortimer. "Reduce, Reuse, Recycle – Research: Sustainable Scene Design for a Production of Henrik Ibsen’s An Enemy Of The People." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461084681.
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Persson, Gerda. "Misunderstandings." Thesis, KTH, Arkitektur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-150125.
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This project can be seen as a collection of architectural explorations that originate from the concept of misunderstanding. The misunderstanding involves an unconscious transformation that can create something new and unexpected and is therefore an important element both in history and in an individual design process. Five examples of misunderstanding from the history of architecture are described in short texts. From each text a drawing is selected that becomes the starting point for a process where translation between alternating digital and analog representation techniques transform the original object, in multiple steps. For each transformation, a text follows, in which the story is reinterpreted and distorted. The last step in this process is a larger physical object that no longer resembles the original drawing, and which, by its ambiguity begins to live its own life. One theme that emerged during the process has been the relationship between architecture and figures or bodies.Detta projekt kan ses som en samling arkitektoniska betraktelser som tar sin utgångspunkt ur begreppet missförstånd. Missförståndet innebär en omedveten transformation som kan skapa något nytt och oväntat och är därför ett viktigt inslag både i historien och i en individuell designprocess. Fem exempel på missförstånd ur arkitekturhistorien beskrivs i korta texter. Utifrån dessa väljs ett antal ritningar som blir utgångspunkt för en process där översättningen mellan omväxlande digitala och analoga representationstekniker förvandlar det ursprungliga objektet i flera steg. För varje transformation följer en text där berättelsen omtolkas och förvrids. Det sista steget i denna process är ett fysiskt objekt i större skala vars gestalt är svår att härleda till den ursprungliga ritningen och som genom sin tvetydighet börjar leva sitt eget eget liv. Ett tema som utkristalliserat sig under processen har varit relationen mellan arkitektur och figurer eller kroppar.
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Li, Jiyuan. "Construction Simulation of Wudian Using 3-D Graphics and Animations." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429212482.
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Jamieson, Claire. "NATØ : exploring architecture as a narrative medium in postmodern London." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1683/.
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This thesis is concerned with the way that architecture, (that is space, buildings, cities and urban environments), has been and continues to be speculated upon through a rich palette of narrative methods. Taking NATØ, the group of young architects led by Nigel Coates that emerged from the Architectural Association in the early 1980s as its subject matter, the thesis questions how architectural production is able to narrate and the modes and methods it employs. The research reveals echoes and resemblances between NATØ projects and a wider artistic, filmic and literary culture that emerged from the specific political, social and physical conditions of 1980s London. Personal archives of original NATØ material – including drawings, photographs, magazines, ephemera and writings – are exposed for the first time. Combined with personal interviews with NATØ members and other significant individuals, the narrative traces the group’s evolution and development at the AA in Unit 10 in the late 1970s, to their active period between 1983-1987. The thesis also examines the key influences of Coates and his early work: exploring his relationship with Bernard Tschumi, the influence of a period spent in New York and his association with diverse artists and filmmakers in London. As such, the research presents the first detailed examination of NATØ and produces original insight into the territory of architectural narrativity. The thesis contextualises this moment of narrative architecture with the evolution of narratology over the same period – a discipline whose changing consideration of narrative in the 1980s expanded from a literary basis to take in a broad range of media. Engaging with contemporary narratology, the thesis employs concepts and terms from narrative studies to develop an interdisciplinary understanding of how narrative functions in architectural production. The thesis also constitutes a history of postmodernism that represents an alternative to the dominant architectural mode, considering NATØ’s output as a subcultural form of architectural production that drew on techniques of bricolage, montage, fragmentation, polyvocality and defamiliarisation. Framing NATØ’s work through an understanding of the way in which their use of medium evolved alongside their conceptual ideas, the thesis considers the material in relation to four distinct areas, each constituting a chapter: performance and video, the drawing, the magazine and the exhibition. Chapter 1 on performance and video exposes the influence of both Tschumi and a pivotal year spent in New York on Coates, and the development of his ideas from student to co-tutor at the AA in the late 1970s. The chapter proposes a move from the highly cerebral and literary approach of Tschumi, to one concerned with the presentness of direct experience via video. Chapter 2 takes the architectural drawing as its subject, showing how Coates evolved the drawing in his unit at the AA in the early 1980s, and how in turn NATØ employed the drawing as an 8 expressive narrative medium. Chapter 3 considers the group’s self-published magazine, NATØ, produced between 1983-85, drawing parallels with street style publications i-D and The Face, of the same era. The chapter proposes the graphic design of the magazine as a medium through which NATØ developed the explorations of the drawings into a more complex form – positing the idea of the mise-en-scène of the magazine. Finally, Chapter 4 examines the apotheosis of NATØ’s output: the exhibitions Gamma City at the Air Gallery (London, 1985), and Heathrow part of ‘The British Edge’ at the Institute of Contemporary Art, (Boston, 1987). Taking the ideas established in the previous chapter into three dimensions, the chapter proposes the installation as a microcosm of the narrative experience of the city that NATØ sought – evoked through an embodied drift through space, and the replacement of the architectural scale model with the auratic object or stimulator artefact. Concluding, the framework of narrative architecture set out in the thesis is proposed as both a period preoccupation and a way of thinking about spatial narrativity more broadly. It critical assesses the potential for such architectural narrativity to be designed and built, finding the truest form of narrative architecture emerging from the city condition itself. Finally, the conclusion proposes a lineage of projects and ideas that have evolved since the late 1980s whose concepts represent a continuation of NATØ’s preoccupations.
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Hosseinabadi, Shahram. "Une histoire architecturale de cinémas : genèse et métamorphoses de l'architecture cinématographique à Paris." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG021/document.
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Cette thèse étudie la naissance et l’évolution de cinéma comme type architectural en examinant deux-cent projets soumis, entre 1907 et 1939, à l’administration parisienne pour le permis de construire. Ceux-ci sont analysés selon quatre critères : l’implantation, les protagonistes, la conception architecturale et la réception des œuvres. Le parc cinématographique parisien, à la veille de la Seconde Guerre, est le résultat de trois vagues de constructions à la suite des événements marquants : la naissance du cinéma narratif (1907-1913), l’Armistice (1919-1920), l’avènement du parlant (1931-1938). Ces trois vagues riment avec trois phases successives dans la genèse du nouveau type : l’expérimentation, la théorisation et la modernisation. Ainsi est mise en évidence la constitution, dès 1907, d’un type originel architecturalement caractérisé par la triade projection-visibilité-publicité. Il en dérive, par la suite, différentes espèces qui, malgré leurs variations, restent « un hangar noir » plus ou moins judicieusement disposés et décorés pour un spectacle projeté sur écran, hangar doublé extérieurement d’une façade parlante et peu ou prou attrayanteThis thesis explores the emergence and the evolution of the cinema as a building type. It examines two hundred projects submitted to the Parisian administration for obtaining construction permits, from 1907 to 1939. These projects are analyzed according to four major criteria: localization, protagonists, architectural design and their reception. At the beginning of the Second World War, Parisian cinemas were mostly built through three waves of constructions subsequent to historical events: emergence of narrative cinema (1907-1913), end of the First World War (1919-1920), arrival of talkies (1931-1938). These three waves correspond with three successive phases in the rise of the new building type: experimentation, theorization, modernization. This study demonstrates that an original building type has been created since 1907, which is architecturally characterized by the trio of projection- visibility-appeal. From this original type different pieces are derived, that despite their variations are all a blind shed less or more judiciously designed and decorated for a show projected on the screen, a blind box covered by an attractive and expressive façade
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Parsons, Marc Alan. "Life in the City: Housing, History and the Supermarket, an Episode in Urban Architecture." Thesis, Virginia Tech, 1996. http://hdl.handle.net/10919/31298.
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The project began as a response to a proposal to construct a suburban style grocery store and surface parking lot in the middle of an existing residential neighborhood, including the substantial demolition and 'strip-mall' conversion of a historic theater located on the Washington, DC site.
The Thesis evolved as an exploration of how do we reconcile our contemporary mercantile needs within the urban environment; specifically, how can one incorporate a suburban-scaled, 'big-box' retail structure in an existing, complex urban context.
The proposal that follows offers an integrated, mixed-use and contextually sensitive solution, incorporating a full size grocery store (the most fundamental of our consumer needs) with multiple levels of parking below, new residential row-housing and commercial space above - retaining and restoring both the historic theater and the overall neighborhood fabric.Master of Architecture
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Briffa, Sancha. "Against the grain : a cultural history of the making of wood." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/37299/.
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This thesis acknowledges the role of the designer and design in constructing and communicating the meanings that become attached to materials. This critically engaged study of wood is informed by Roland Barthes's semiological analysis and seeks to expose the myth of wood as a natural material. It demonstrates that complex technical and cultural processing result in a series of connoted meanings becoming attached to wood. By referring to Jean Baudrillard's distinct 'Phases of the image' (in Simulacra and Simulation, 1981) it is able to question critically examples that include the use of wood in the work of twentieth century and contemporary artists and designers. It asks whether the role of wood in the examples presented is to reflect reality, mask reality, mask the absence of reality or ultimately to reject reality altogether. The thesis is organised into a series of eight interconnected thematic chapters that present an essentially industrialised understanding of wood. It concludes that wood is a tremendously varied material, able to describe its substance at its surface. In spite of its variety, a simplified graphic depiction of wood benefits from the cultural understanding of the material that has been developed over a lengthy period of time, during which the product of the natural landscape has become cultivated and commodified.
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Stergiou, Stavroula. "The concept of the avant-garde in twentieth and twenty-first century architecture : history, theory, criticism." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32215/.
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The ‘Avant-Garde’ in architecture seems a challenging subject: first, because the term has not yet clearly defined, despite the ubiquity of its use; second, because through that ubiquity it has become a buzz-word that is empty of precise meaning; third, because although this use includes the history of modern architecture, its application to this field has been largely unreflective and often unconsidered, as this thesis demonstrates. There is ambivalence as to which architectures are ‘Avant-Garde’ or should be regarded as ‘Avant-Garde.’ Therefore, there is a challenge in any question such as: what is the Avant-Garde in architecture? How can the architectural Avant-Garde be defined? What is the concept of the Avant-Garde in architecture? My thesis is a sociological conceptualization of the Avant-Garde in architecture. It is based on the mapping of the use the‘ term ‘Avant-Garde’ in architectural history, theory and criticism and its analytical tools are sociological. While it belongs to the above fields, it is informed by art theory and history, cultural studies, and the sociology of the professions, and includes sociological, cultural and political analyses. I suggest that the Avant-Garde is an Operation internal to architecture; a mechanism that does not only describe it but formulates it, motivates it, or else, influences our perception of it. I propose that the Avant-Garde is directed by prominent elements of its internal domain. It includes a filtering process, a rough selection process, and a selection process, by which one or more architectures internal conditions - are introduced to the discipline to renew the profession toward the desired and necessary, for the element who directs the operation, direction (see fig. 2, appendix). The end result of the selection process is what we commonly understand as ‘Avant-Garde’ architecture, e.g. Russian Constructivism or Bauhaus. I also propose that the Avant-Garde lies in and operates within the socio-ideological sphere of architecture and that renewal of the architecture's internal domain is necessary, thus the Avant-Garde is necessary, so as to make architecture respond to each time new external conditions and so endure, as a profession, over time. The Avant-Garde is for me an operation of renewal, a driver of difference and change in architecture (see fig. 1, appendix). The methodology adopted is as follows: I first introduce my analytical tools, some key sociological concepts, and concepts from the ‘Avant-Garde’ discourse (chapter 1). I then examine the filtering process and rough selection process in architectural history: I map the usage of the term in a historiographic corpus and arrive at the more frequently and the less frequently named ‘Avant-Garde’ architectures, which become my two case studies. These are Russian Revolutionary Architecture and Italian Rationalism (chapter 2). The third step is to arrive, through the comparison of my case studies, at those parameters that are crucial in being selected as ‘Avant-Garde,’ i.e. their ‘Avantgardification’ - this occurs after 1960 when the term starts being used describing architectures (part 2). The fourth step is to examine the period of the extended 19605 when the term starts appearing as a means of describing architectures and thus the selection process begins (chapter 6). As a fifth step I research the selection process in the discourse of architectural theory and criticism: I investigate in a particular corpus of writings which architectures, by whom they are chosen as ‘Avant-Garde,’ and the reason why, as Well as which are the concomitant effects of the usage of the term on architecture. In other words, beyond concentrating on which architectures or architectural movements are ‘Avant-Garde' in these writings, I focus on the effects of this selection and denomination (chapter 7). As a sixth step, I examine the selection process of my two case studies in architectural theory and criticism, i.e the Avantgardification of Russian Revolutionary Architecture and less of Italian Rationalism. I investigate when, by whom, and the reason why the first architecture is mostly selected as ‘Avant- Garde,’ as well as which are the concomitant effects on architecture (chapter 8, see also fig. 3, appendix). As a final step I examine the Avant-Garde as a sociological concept based on the key-concepts introduced in chapter 1 (Conclusions). A sociological conceptualization of the Avant-Garde is important for shedding light on issues beyond those of ‘Avant-Garde’ architectures. Through such a concept of the Avant-Garde we recognize issues of the profession, issues which are wider than questions which are directly connected to those architectures selected as such. Looking through the ‘Avant-Garde’ we understand the ways by which architecture is being renewed and Operated. By recognizing the conditions, in which the ‘Avant-Garde’ architectures have been created, and the way and time in which the term was employed to describe them, we understand the mode in which architecture, as a discipline, functions. My thesis is a hermeneutics of the architectural profession through the term ‘Avant-Garde.’
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Barry, Marie Porterfield. "Lesson 06: Divine Architecture." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/7.
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Betadam, Joburt. "Geometry of pre-revolutionary Virginia architecture." Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/53092.
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Virginia architecture of the seventeenth and eighteenth centuries prior to the American Revolution has distinctive geometries which determine proportion. The square, root-two rectangle and equilateral triangle are the figures which establish most proportions. Plans and elevations underwent a development based on a rational method of incorporating the figures into a coherent building. This investigation establishes the use of geometry as a starting point for the culmination of many elements which together composed a building.Master of Architecture
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Hill, Shannon L. "The Indianapolis Home Show : its history, evolution, and centerpiece homes." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1231395.
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This thesis examines the Indianapolis Home Show and its significance to the city of Indianapolis in the twentieth century. Since 1922, the annual show has influenced the development of residential architecture in Indiana by introducing the newest, most innovative products related to the home in its many exhibitor booths. Many of the exhibited products have since become parts of our every day lives. Each year, the show has also presented the people of Indianapolis with a fully landscaped "centerpiece" home-a home that embodies good design, excellent craftsmanship, quality materials, the latest styles, and innovative features. The legacy of the eighty-two (+) centerpiece homes reaches beyond Indianapolis to communities across the state including Terre Haute, Muncie, Hope and Logansport-places where the centerpieces have been rebuilt or copied. The centerpiece homes stand as testaments to the longevity and endurance of the Indianapolis Home Show from its beginning in 1922 through the lean years of the depression, its reemergence after World War II, and its duration to the turn of a new century. The Indianapolis Home Show has had an exceptional reputation, receiving national praise from many admirers. It has been recognized by numerous publications such as American Builder, Architectural Forum, Architectural Record, Arts and Architecture, and Better Homes and Gardens. In 2002, The Indianapolis Home Show celebrated its eightieth anniversary. Hoosiers continue to look forward to what they will see at the home show, and travel from all parts of the state to experience its innovative exhibits and centerpiece home.Department of Architecture
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Kim, Sooyoung. "Spatial sequence in the historic gardens." Thesis, Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/53224.
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In designing spaces, designers should consider spatial sequence and its experiences, since we experience environment in a sequence along movement. The more a place satisfies desired experiences, the more the place will be successful. This thesis explored spatial sequence as a design tool by examining the major design elements of spatial sequence, the designed patterns of these elements in some cultures, and the sequential experiences and effects of the patterns. As a way of exploring spatial sequence as a design tool, cases in formal classic landscapes (Korean temples, Mughul gardens in Kashmir and Italian villas) have been examined. Classic landscapes have developed elaborate sequential patterns to achieve certain experiences and effects. Especially, the spatial sequence of classic formal landscapes is designed to be experienced along a major axis and to show straight forward and highly controlled sequence. Thus, classic formal landscapes are good examples of showing strong relationship between spatial sequence and spatial experiences. The three landscapes are examined and compared in terms of change of level, change of spatial characteristics and transition places to explore spatial sequence and sequential experiences.
The results of this research showed that the designers of these landscapes deliberately used - spatial sequence to elicit certain emotional responses and experiences specifically desired under the contexts and purposes of the places. Korean temples located in the mountains provide good nature-reIated experiences and religious-but-inspiring experiences. The temple designers created delicate yet powerful sequential experiences through the effective use of site conditions and landscape elements. The designers of Mughul gardens worked to create cool and friendly spatial experiences in the hot climate and vast landscapes. They utilized water and planting materials in various ways to give a refreshing and intimate feeling through the whole sequence. Spatial sequences of Italian villas are designed to add to the pure pleasure of the residences and thus show the most articulated sequence design. Especially, level changes, as one of the sequential elements, have been used effectively to create or increase certain sequential experiences. ln Korean temples, the irregular slopes of sites are shaped sometimes into even and constant rises or sometimes into a rapid rise to make various sequential effects. The Mughuls deliberately made small level changes out of flat plains to create an intimate sequence. The Italians used level changes to create a vivid sequence. The steep slopes of hillsides are altered in two opposite directions: horizontally wide and vertically high. The existing site conditions are utilized and modified in various ways to make specific sequential experiences and effects.
The findings confirm that spatial sequence is an effective design device which can satisfy desired experiences and thus can create successful places. Good sequence is the one that is appropriate for its purpose and for the context in which it belongs. More concern for and more understanding of spatial sequence will enable the designer to create an environment that will provide more pleasing spatial experiences.Master of Landscape Architecture
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Bertram, Aldous Colin Ricardo. "Chinese influence on English garden design and architecture between 1700 and 1860." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610795.
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Tatton, Bronson Ron. "Design Guidelines for the Historic Downtown of the City of St. George, Utah." DigitalCommons@USU, 2008. https://digitalcommons.usu.edu/etd/53.
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This document proposes historic preservation guidelines for the downtown area of the City of St. George, Utah. It grew from a summer internship with the city where I took inventory of the streetscape in the Historic Downtown and prepared recommendations in the form of a PowerPoint Presentation that was given to the city council. This paper summarizes the summer internship and introduces a more appropriate approach based on reflection of the internship. The new approach involves a thorough inventory of the historic character, in-depth research of the historic elements that contribute to the historic character, development of design guidelines and standards, reviews, and codification of the design guidelines and standards. The historic elements that contribute most to the city’s historic character are identified as 1) block and lot layout and building setbacks, 2) architecture, 3) irrigation ditches, 4) tree lined streets, and 5) other streetscape elements and site features. Through comprehensive research of old photography, literature, and existing conditions these historic elements are further defined. The historic elements are currently being specified in design guidelines and standards and reviewed by the city in preparation for possible codification. (173 pages)
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Gordon, Robert Edward. "The Heart in the Matter: Design, Belief and a History of Buddhist Architecture in America." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556587.
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This dissertation explores Buddhist architecture in America from the nineteenth century through the present day. It examines significant examples of Buddhist architecture with respect to the spiritual beliefs of the practitioners who created them. Its goal is to understand these structures from the point of view of human experience. Given the large number of Buddhist structures that exist in the U.S., the narrative navigates the major contours of its development. It follows in isometric fashion the parallel history of Buddhism’s emergence in America that started with the California Gold Rush and its influence on the New England Transcendentalists. Proceeding chronologically through the twentieth and early twenty-first-centuries, the historical sweep of Buddhism’s architectural presence in America is articulated by exploring important structures in depth with respect to Buddhist belief, human emotion, socio-political contexts, and religious faith. A number of hermeneutic binaries are employed throughout the history presented here. Space and Place, East and West, Interior and Exterior, and Spirit and Matter are the major motifs implemented to explicate the buildings and environments under investigation. The overwhelming feeling pervading the discourse and design of Buddhist architecture and its co-extensive belief system is that of the heart. The human proclivity to attach personal meaning and deep emotion to a space or a place is at the express core of the Buddhist structures that house Buddhist practices. As a result, the study’s methodology is inspired by Yi-Fu Tuan’s humanistic geography, whose work explores the relationship between environment and human subjective experience. The study finds that ritual, lineage, and heritage work in tandem with heart, home, and the human body in the construction, understanding and experience of Buddhist architecture. It argues that traditional forms and practices derived from each community’s home culture infused a sense of shelter and protection onto these buildings. Buddhist belief and its associated architecture assuaged the new and sometimes hostile setting of the United States. As the first study of its kind, this dissertation opens the field of Buddhist architecture in America as a distinct branch of scholarly inquiry.
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Brosz, Jennifer R. "History and architecture of drive-in restaurants in America with a Muncie, Indiana case study." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1355262.
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This thesis contains the results of a study of the architecture and history of drive-in restaurants from their genesis in the late 1920s to their decline in popularity during the 1960s. The study provides a context within which the historic, cultural and architectural significance of this building type can be evaluated. A Muncie, Indiana case study follows the study of the national context. Conclusions are reached concerning how the designs of drive-in restaurants in the Muncie study area compare to national design trends. It provides a framework for further research of the building type.Of the major drive-in restaurant styles, types or forms that were typical on the national scene, the Muncie study area demonstrated only the roadside stand-type, Modern style, and rectangular form. Independent of style or type, Muncie drive-ins demonstrated various interpretations of elements that were common nationally: the sheltering canopy, the pylon, lighting, electronic speaker systems for ordering, and plate glass. It is possible, though, that the Muncie study area contained other restaurants that exhibited national design trends but were demolished and left no record.Department of Architecture
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Cusumano, Vincent. "ReGen Detroit: Rejuvenation of the Motor City through Mobility and Modularity." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584016156451122.
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Blythe, Richard John, and n/a. "A terroir of terroir (or, a brief history of design-places)." RMIT University. Architecture + Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090713.122612.
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This PhD provides insight into designing. It offers a view on the nature and structures of design research proposing that design research occurs within the activity of designing. As a case study, the PhD provides an internal view of the emergent design process of a collaborative architecture design practice terroir. It proposes a way, (the 'design-place'), in which design by collaboration operates within complex and often contradictory contexts. The thesis deals with questions of design in a contemporary, cosmopolitan condition and proposes that within such a condition design is an ethical endeavour. A key underlying proposition of the thesis is that architecture is fundamentally a critical activity. The PhD concludes by demonstrating through design projects how terroir has explored these questions in producing designs that operate at the level of personal and subjective experience in opening up a public, cosmopolitan realm.
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Reynolds, Craig A. "Thomas Jefferson’s Designs for the Federal District and the National Capitol, 1776-1826." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3779.
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This dissertation examines six major points: 1) it argues that Jefferson is an architect of the United States Capitol, having direct and final say over its design; 2) it asserts that Jefferson set two nationally influential models of architectural taste as part of his movement to reform American architecture, first in Richmond as the Virginia State Capitol and second in Washington as the United States Capitol; 3) it explores those models to define what Jefferson called “cubic” and “spherical” architecture; 4) it suggests that Jefferson used his political appointments to maximize his influence over the design of the United States Capitol in order to ground the building in classical sources; 5) it surveys the sources Jefferson looked to for inspiration, both printed texts and images as well as extant buildings in Europe and America; and 6) it proposes that Jefferson and B. Henry Latrobe worked hand in hand to execute a design for the United States Capitol that subdued and at times even replaced the official plan adopted from William Thornton’s winning design.
This dissertation starts with the idea that Jefferson’s architectural reform consisted of conjoining vernacular building custom with architecture of the classical tradition. Most of what Jefferson knew about classical architecture came from books. Chief among them are Claude Perrault’s 1684 French translation of Vitruvius’ Ten Books on Architecture and the three London editions of Giacomo Leoni’s versions of Andrea Palladio’s Four Books of Architecture in English translation. Using these print sources, Jefferson reinterpreted many of the standard public buildings of Virginia into temple forms. In addition, Jefferson’s plan to reform public architecture rested on two overriding principles: erecting buildings with masonry and organizing those buildings using the classical orders.
Furthermore, this dissertation proves that, like the ancients, Jefferson wanted to build on a monumental scale. Jefferson’s own plan for a national capitol shaped like the Roman Pantheon, long misunderstood, clearly reinforces this interpretation. Finally, this dissertation demonstrates that Jefferson and B. Henry Latrobe worked in concert to execute a design for the United States Capitol that subdued the official plan adopted from William Thornton’s winning design.
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Brinck, Martina. "En kropp av vatten : En studie mellan kropp, vatten och simhallens programmerade arkitektur." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6294.
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I mötet mellan luft, kropp och vatten uppstår någonting. Vattnets omfamning av kroppen skapar ett avbrott från omgivningen och endast nuet är närvarande. Tiden saktar ner, kroppen saktar ner. En paus uppstår, en paus från de ständigt gnagande kraven. I mitt projekt har jag undersökt och förvaltat kvalitéerna som jag upplever finns i kroppens möte med vatten. Som före detta tävlingssimmare tar jag avstamp i samhällets tankar om hygien och renlighet, och rör mig i de kommunala badhusen där ritualen av renlighet utförs i gränslandet mellan offentligt och privat. Jag undersöker vattnet som omfamnar kroppen och arkitekturen som omsluter vattnet och försöker genom min praktik att förvalta dess kvalitéer.Vissa av bilderna är borttagna av upphovsrättsliga skäl
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Williams, Tiffany N. "Erudition and Craft: A Proposed Pedagogy of Architectural Education." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731600.
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Barry, Marie Porterfield. "Lesson 07: The History of Blue." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/8.
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Distretti, Emilio. "Materialities in circulation : Italy and its colonies across time and space." Thesis, University of Portsmouth, 2014. https://researchportal.port.ac.uk/portal/en/theses/materialities-in-circulation(3c9d9bcd-035d-44fb-b25d-fc9891e57a52).html.
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In the context of Italian colonialism, relations between the colonisers and the colonised have often been constructed and conducted through materialities (objects, things and artefacts) as means for the transmission, exchange and exercise of power. Practices of architecture, infrastructure and spoliation have then created and intensified systems of circulation connecting the metropole to the periphery. Along this axis the movement of materialities justified the colonial order within a capitalist system of production, trade, migration, communication and conquest. This dissertation interrogates the relationship between ‘materiality’ and ‘circulation’ as central categories of analysis that allow the evaluation of Italian colonialism as a historical event and the deciphering of the complexities of Italy’s post-colonial present. It offers an in-depth analysis of specific materialities that from the earlier phases of Italian colonisation in the Horn of Africa and Libya up to the post-colonial present have circulated between Italy and its colonies, tying the centre to the periphery. This thesis reveals that as a parallel to the movement of humans between the metropole and the colonies, between the Global North and the Global South, an ensemble of materialities – road infrastructure, an obelisk, anthropometric artefacts and skeletal remains - seem to be epistemologically crucial in describing power relations between the colonisers and the colonised in both the colonial and post-colonial epochs. Formerly instrumental for civilisational claims of Italian superiority in relation to native populations, since decolonisation these materialities have turned into objects of dispute, emblems of postcolonial identities and bargaining chips for posthumous justice for colonial violence and pillage. Within such a context, the discourse on memory and the elaboration of the colonial past together with the definition of new power relations and techniques of government over ‘others’ – migration policies, development and humanitarianism – constantly develop while revolving around those same materialities that, in the first place, served the purposes of the colonial mission.