Dissertations / Theses on the topic 'Architectural drawing'
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1
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.
Full textAbstract:
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.
2
Koliji, Hooman. "Drawing as Landscape Architectural Scholarship." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/33077.
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Considering the vital role that drawing plays in conceiving buildings and landscapes, the question of â knowledgeâ in relation to visual representations becomes a matter of importance. The conventional view of drawing considers it a passive and neutral means to communicate mental concepts in visual form. The present study, however, views drawing as an essential vehicle that both enlists our critical reasoning
faculties, as well as engages our senses and imagination in an integrated way to generate new knowledge.
As a means to acquire architectural/landscape knowledge, drawing becomes an essential vehicle for scholarship in the field. Depending on the circumstances, drawing can capture or cast (or both). When the drawing is a recipient of the external world, it captures or catches the qualities of an actual place. When the drawing is of a space that perhaps will exist, it can bring out or cast ideas, thoughts, or sensations to an external world and eventually to that envisioned space.
After a discussion of the commonalities of drawing in architecture and landscape architecture, the present study concentrates on areas that distinguish landscape drawing from architectural drawing. In the end, the personal experiences of the author, in which the drawing served both as capturing and casting
mechanism, is briefly depicted.
Master of Landscape Architecture
3
Crenshaw, Andrew. "The architectural image Finnegans Wake and the text of drawing." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23013.
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4
Smith, Kendra Schank. "A new view of architectural sketches." Diss., Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/22981.
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5
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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6
Koliji, Hooman. "In-Between: Architectural Drawing and Imaginative Knowledge." Diss., Virginia Tech, 2013. http://hdl.handle.net/10919/50412.
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Design drawings mediate between the world of ideas and the world of things, spanning the intangible and tangible. However, contemporary technical architectural drawings, in establishing a direct relationship between the drawing and its object, tend to base this relationship on a visual paradigm that authenticates the visible physical world over the conceptual invisible world, including that of the designer\'s imagination. The result is that the drawing may become a reduced utilitarian tool for documentation, devoid of any meaningful value in terms of a kind of knowledge that could potentially link the visible and invisible.The imaginal drawing, assuming mundus imaginalis, is an ontological third world mediating between the invisible and visible worlds. As such, it offers an alternative view of the architectural drawing. Inhabitants of this domain are subtle bodies that hold physical attributes (e.g. form, proportion, color), highly evocative, yet with no matter. Representing a world of similitudes, the imaginal is fundamental to the field of architectural representation, as it introduces a perspective in which the architectural drawing finds an ontological home, wherein the drawing becomes a true in-between territory, mediating between the invisible and visible. In this realm, the drawing becomes a subtle architecture in itself.
Prevalent Islamic geometric architectural drawings, namely girih, which lend themselves to the imaginal, provide clues by which the drawing is recognized as an in-between. The geometric interlocking patterns they feature, the girih mode, represent a creative agent by which the built transcends the physical world and penetrates realm of spirituality. An examination the girih mode in its intellectual, imaginative, and physical contexts re-identifies these geometric drawings as a productive realm of consciousness.
As an aperture to the imaginal, these architectural drawings open the door to a world of its own, wherein the drawing has a true subtle existence. In this view, the drawing starts from the domain of human imagination with the possibility of ascending to the realm of the intellect, while at the same time descending to the realm of the senses to guide the architect toward a built object. Seen this way, the imaginal drawing can offer an in-between state of being and becoming, a subtle matter, lighter than the building and denser than the idea"essentially representing a mode of consciousness involving the conscious imagination.
Ph. D.
7
Mezughi, Mustafa M. "The integral role of drawing in architectural conception." Thesis, Glasgow School of Art, 1996. http://radar.gsa.ac.uk/4569/.
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8
Levy, Marshall Ira. ""A misreading of tropological space" : an investigation of Harold Bloom's theory of poetic transumption in the construction of a dialectical spece in architectural drawing." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22404.
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9
Wiggins, Glenn E. "Architectural drawing as designing and creating : a constructionist perspective." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12671.
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10
Zhang, Yimeng. "Chinese drawing, architectural poetics : traditional painting as a semantic representation of modern architectural design." Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/667320.
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This thesis is partly an attempt to explore the potential of pre-modern Chinese painting, on its distinctive formats and schemes to achieve spatial depth and time duration, as a way to interpret and design architecture. By a survey on changing modes of Chinese traditional landscape and cityscape paintings in different scales, the poetic language of painting will be gradually explored. Beyond pictorial techniques, language is concerned with an ideological level of understanding and experience. Thus, it signposts a wider significance of architectural representation – as a verbal medium to express narrative and critic semantics besides visual effects.
In this thesis, we will also see how traditional painting remains a base in the ideating process of several contemporary Chinese architects, so to avoid a mere uncritical imitation of international models. A subtle fusion of contemporaneity with cultural identity afforded by the presence of taken concepts from traditional painting, allows this architecture to increase its meaning and dimension.
Lastly, understanding such processes of ideation can possibly provide us assistance in the intuitive formulation of ways to enrich Western architecture. Particularly, establishing poetic connections to our cultural traditions can be a useful strategy to prevent Western architecture's frequent falls into empty excesses of utilitarianism, iconicism or simple banality.Esta tesis en parte intenta explorar la capacidad de la pintura china pre-moderna en sus peculiares formatos y esquemas para lograr expresar la profundidad del espacio y la duración del tiempo, como una manera de interpretar y diseñar arquitectura contemporánea. Mediante un estudio de la pintura tradicional de temática paisajística y urbana, y a diferentes escalas, se analizará el lenguaje poético de la pintura china. Más allá de las técnicas pictóricas, este lenguaje se sitúa en un nivel ideológico de comprensión y experiencia; expresa, por tanto, una gama de significados más amplia que la mera representación arquitectónica, actúa como lo haría un medio verbal para expresar una semántica de tipo crítico y narrativo, además de los consiguientes efectos visuales. En esta tesis, también veremos cómo la pintura tradicional sigue siendo la base del proceso de creación de ideas de varios arquitectos chinos contemporáneos para evitar así una mera imitación acrítica de modelos internacionales. Una fusión sutil de la contemporaneidad con la identidad cultural proporcionada por la presencia de conceptos de la pintura tradicional permite a esta arquitectura ganar nuevas capas de significado y dimensión. Por último, comprender tales procesos de ideación puede brindarnos ayuda en la formulación intuitiva de formas de enriquecer la arquitectura occidental. En particular, establecer conexiones poéticas con nuestras tradiciones culturales puede ser una estrategia útil para prevenir las frecuentes caídas de la arquitectura occidental en los excesos vacíos del utilitarismo, el iconicismo o la simple banalidad.
11
Green, Peter Wright. "Architecture and the tectonics of printmaking." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/24005.
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12
Maysenhölder, Christa. "Ausdruck und Bedeutung, zwei formale Aspekte der Architekturzeichnung." Stuttgart : Institut für Grundlagen der Modernen Architektur und Entwerfen (IGMA), Universität Stuttgart : In Kommission, K. Krämer, 1988. http://books.google.com/books?id=J_9PAAAAMAAJ.
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13
Cal, Nazli Naz. "A Proposal For The Structure Of Production Drawings Of." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608735/index.pdf.
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Documentation is an important aspect in the construction industry since there are many types and number of documents that have to be controlled for the success of a given project. In design/build projects, site technical groups of the contractor upgrade the tender drawings by preparing shop drawings to be sent to the consultant for checking purpose. Especially in large projects a great many shop drawings are produced, causing a need of a system to keep track of and to understand the status of the drawings. These all can be achieved with a proper documentation system to be used within the company.
The main aim of this study was to make a proposal for the structure of production drawings of &ldquodesign/build&rdquo
construction projects in computer environment to maintain control of the drawings in the construction sites while documenting them for project completion. This system should base on CADD Standards. In this, first, the architectural production drawings were identified. These were then arranged according to the model file-naming convention of the selected CADD Standard. Following, the main folders of the proposed documentation structure were created and, finally, the working principles of the structure were introduced. The system was applied to a real construction project for a period of two weeks and tested by usability evaluation. The results of the usability evaluations revealed that the system provides advantages in terms of the control of shop drawings and documentation for project completion. Conversely, the system did not maintain ease of communication.
14
Kim, In-Sung. "Drawing my office : a study on architectural representation of time." Thesis, University of Sheffield, 2010. http://etheses.whiterose.ac.uk/14965/.
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This thesis is an attempt to recover the temporality of architecture. Although many contemporary architects argue their ways of dealing with time in their architecture, their idea of time is confined within narrow-mined assumptions of science, and their methods are locked in the intrinsic limitation of architectural representation. This thesis criticises the idea of time with only successive instants for its incompetence of accommodating our exuberant experience of architecture, and finds the origin of the problem at the conventional architectural representation which cannot show what we are together with, but just what we can confront. As a "research by design", this thesis is led by a desigri experiment, which is simply to represent my office. The experiment tries to catch the time of my office with various strategies, and the theory follows it while weaving a story by analysing and evaluating it. Theoretical arguments, which have been initiated mainly from Deleuze, grope for their way in the dialogue with drawings. The strategy of drawing experiment is to approve material and conceptual substantiality of drawing so that it can 'work' in time. Concerning the material substantiality, physical size, shape, texture and frame of paper, and various qualities of lines and touches are examined. For the conceptual substantiality, metamorphosis of meaning, isolated figures, vibrating picture ground, and forces in drawing are explored. Ironically, the drawing can manifest my office-ness when it is truly itself. Although the experiment may not be executed in a systematic order, I hope that its audience will generate with the drawings his/her own meanings and sensations, which may 'evolve' into his/her architecture.
15
DEL, BONO ELISA M. "ARCHITECTURAL CONSERVATION RECORDS: DRAWING UPON MUSEUM AND ARCHAEOLOGICAL CONSERVATION RECORDING MODELS." The University of Arizona, 1995. http://hdl.handle.net/10150/555241.
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BERTELSEN, WENDLE R. "ARCHITECTURAL EDUCATION: A ONE YEAR LONGITUDINAL STUDY IN DESIGN DRAWING METHODOLOGY." The University of Arizona, 1985. http://hdl.handle.net/10150/555243.
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17
Babalola, Olubi Oluyomi. "A model based framework for semantic interpretation of architectural construction drawings." Diss., Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/47553.
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The study addresses the automated translation of architectural drawings from 2D Computer Aided Drafting (CAD) data into a Building Information Model (BIM), with emphasis on the nature, possible role, and limitations of a drafting language Knowledge Representation (KR) on the problem and process. The central idea is that CAD to BIM translation is a complex diagrammatic interpretation problem requiring a domain (drafting language) KR to render it tractable and that such a KR can take the form of an information model.
Formal notions of drawing-as-language have been advanced and studied quite extensively for close to 25 years. The analogy implicitly encourages comparison between problem structures in both domains, revealing important similarities and offering guidance from the more mature field of Natural Language Understanding (NLU). The primary insight we derive from NLU involves the central role that a formal language description plays in guiding the process of interpretation (inferential reasoning), and the notable absence of a comparable specification for architectural drafting.
We adopt a modified version of Engelhard's approach which expresses drawing structure in terms of a symbol set, a set of relationships, and a set of compositional frameworks in which they are composed. We further define an approach for establishing the features of this KR, drawing upon related work on conceptual frameworks for diagrammatic reasoning systems. We augment this with observation of human subjects performing a number of drafting interpretation exercises and derive some understanding of its inferential nature therefrom. We consider this indicative of the potential range of inferential processes a computational drafting model should ideally support.
The KR is implemented as an information model using the EXPRESS language because it is in the public domain and is the implementation language of the target Industry Foundation Classes (IFC) model. We draw extensively from the IFC library to demonstrate that it can be applied in this manner, and apply the MVD methodology in defining the scope and interface of the DOM and IFC. This simplifies the IFC translation process significantly and minimizes the need for mapping.
We conclude on the basis of selective implementations that a model reflecting the principles and features we define can indeed provide needed and otherwise unavailable support in drafting interpretation and other problems involving reasoning with this class of diagrammatic representations.
18
Dayer, Carolina. "The conjured drawings of Carlo Scarpa: a magic-real inquiry into architectural representation." Diss., Virginia Tech, 2016. http://hdl.handle.net/10919/78389.
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This dissertation proposes a theory of architectural representation based on a close examination of Carlo Scarpa's drawing practices at the Brion cemetery located in San Vito d'Altivole, Italy. Informed by the literary practice of magic-realism and Massimo Bontempelli's thoughts on the ontology of the real, it projects Scarpa's drawing practices into larger questions of theory that parallel and intersect Giambattista Vico's philosophy of knowledge as making.
Architectural drawing is understood herein as a practice that belongs in the realm of magic. In theorizing on the intersection between magic and architectural representation, this dissertation focuses in the twentieth century, where magic in its original sense had seemingly become an obsolete tradition. Magic-realism acts as the contemporary theoretical framework to investigate the question. Such a framework is relevant because the movement acknowledged the perennial gap between how reality is defined and what reality really is. The movement intensified the notion that reality is not given but must be constructed, and its point of departure in the modern world is not something extraordinary, but that which circumvolves everyday life.
Structured in nine chapters that investigate a very specific set of drawings, Scarpa's way of working emerges through a very close reading of minimal events that become the locus for the theory proposed here. Architectural drawing understood as place of ambiguous realities offers a unique approach to architects' imagination. Such realities, however, are not a product of aleatory allegories, but they emerge within an immersive and witty approach to the work and the world.Ph. D.
19
Zakaria, Khalid Hj. "The joy of graphics." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/543774.
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In the environmental design professions, many students and practitioners lack confidence in visual communication skills, especially in the case of quick perspective sketching. For many, sketching as a beneficial design tool is not fully learned or appreciated.This study explores sketching fundamentals and a teaching technique to promote perspective sketching as an effective design tool. Experimental workshops were conducted with various beginning environmental design students in three universities. Students responded to a post-workshop questionnaire which attempted to solicit feedback about the demonstrated sketching technique as to whether the technique 1) increased their ability, 2) increased their confidence, 3) increased their enjoyment, and 4) increased their willingness to pursue sketching in the future. Students were also evaluated on the degree of improvement according to simplicity, clarity and proper perspective setting of their sketches.The results suggested that the workshop, teaching methods and sketching techniques were successful. Students showed marked improvement and indicated in the questionnaire that they enjoyed the experience and were pleased with their new skills. They also indicated a positive feeling about the teaching methods and the sketching techniques.Department of Landscape Architecture
20
Ditcher, Kamille. "Exploring the Materials of Architectural Development." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32884.
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A factory inspired exploration in the architectural potential of space, material, sound, and light. This thesis is divided into chapters of the media types used for design. Primarily, the materials include photography, drawing, and modeling. The process yields overlap and interchange in ways of design that alter the ways of seeing and of advancing the work. Consequently, divisions of the book reoccur throughout the course of the thesis.Master of Architecture
21
Rojiani, Rehanna B. "Framing Impressions: Image, Drawing, and Collage." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/36353.
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The architectural image acts towards two primary objectives; to represent what is there and to make present what is not. This differentiation between the two constitutes a frame in which what is not present can appear. Images considered as such allow for the exploration of the formal questions of place, questions that address both longing and belonging and one's belief that something can and should take place. Through photography, drawing, and collage, the project considers the nature of a room with a view in relation to the house and the field.Master of Architecture
22
Sewell, David Joseph. "The craft of the detail." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22966.
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Ram, Mohan Nethra Mettuchetty. "Emerging technologies in architectural visualization implementation strategies for practice /." Master's thesis, Mississippi State : Mississippi State University, 2003. http://library.msstate.edu/etd/show.asp?etd=etd-04072003-164447.
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Goffi, Federica. "The Sempiternal Nature of Architectural-Conservation and the Unfinished Building and Drawing." Diss., Virginia Tech, 2010. http://hdl.handle.net/10919/29312.
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Conservation is today often interpreted as the preservation of a still-shot, an understanding informed by the belief that by displaying photographic memory of the past, it is possible to gain access to it. Naturalistic representation is unequivocal and presents the onlooker with a single meaning. The dominance of the photorealistic image as model for memory, should be challenged by undermining the notion that architectural representation is a portrayal of likeness, restoring its full potential as an iconic representation of presence.
A micro-historical study of the Renaissance concept of restoration, focused on Tiberio Alfaranoâ s 1571 ichnography of St. Peterâ s Basilica in the Vatican, offers an alternative paradigm in order to inform, critically, contemporary theory and the practice of the renewal of mnemic buildings. The hybrid drawing (1571) extends beyond the opera of graphic architecture, realizing a real effigy.
Alfarano factured a track-drawing, providing memory traces on the drawing-site, which, acting like a veil, bear marks of the buildingâ s presence within time. The ichnography makes visible a â hallowed configurationâ , conceived as a substratum for the imagination of conservation. This defines a collective daydreaming strategy, from which multiple authors can imagine possible futures. Ambiguity and polysemy inform the drawing, generating an equivocal space where unforeseeable inventions occur by the process of future predictions by recollecting memories. This invites merging multiple stories.
Grasping the significance of Alfaranoâ s drawing, one begins to comprehend the mistaken belief in the primacy of photo rendering to access a building and conserve its essence. Any essence cannot be achieved through exact visual reconstruction, rather through a chiasmus of past and present form, expressing allegoric significance.
The retrospective and prospective character of the architectural-conservation process can be experienced through the intermediacy of hybrid-drawings directing the gaze simultaneously in two directions; a pre-existent condition engages in dialogue with future design. This is a condition absent from todayâ s practice, where measured drawings and design drawings are often kept separate. Seen this way, architectural drawings could rejoin these two temporal conditions, through metaphoric or literal transparency, and allow for a real transformation within continuity of identity.Ph. D.
25
Eeckhout, Riet, and riet@ap com mt. "Design Armatures." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091029.114938.
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The process drawing is defined as a constant meandering between the consciousness or hunch towards an object and the concept of understanding or rationalizing that object. This falls back to a search for form submitting to critical reflection including both intuition and analysis. With Process Drawing, this reflection initially comes from an ideal conception as opposed to a pragmatic idea. In such a way that during the design discourse a functional brief is replaced by a series of self-inflicted design instructions moving the mind further and further away from 'the familiar'. For a brief moment, the ideal exists only in the drawing, the model, or any other artefact produced, free from concept, free from pragmatic application yet aiming towards the discovery of a new program or new application.
26
Baran, Kemal Mustafa. "Travelling/writing/drawing: Karl Friedrich Schinkel." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613886/index.pdf.
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Sherwood, Stuart. "Drawing the Analogy: Nature as Idea, Architecture as Response." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/35819.
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This thesis attempts to establish a first design philosophy by proposing nature and architecture as mutually interactive conceits within the scope of the design process. Positing that our conceptions of "green" design are rightfully influenced by the various and often highly metaphorical social constructions of nature that precede them, an architecural exercise is then explored as a similarly constructed response. After assembling a definition of nature based in part on the climate, terrain and traditional building practices of rural western North Carolina, a house is then posed for its site on the border of the Pisgah National Forest.Master of Architecture
28
Tamashiro, Heverson Akira. "Desenho técnico arquitetônico: constatação do atual ensino nas escolas brasileiras de arquitetura e urbanismo." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/18/18131/tde-27012009-144722/.
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Trata-se da constatação de que o ensino de desenho arquitetônico, nas escolas brasileiras de arquitetura, apresenta um quadro pouco positivo, em que os alunos não utilizam adequadamente a representação gráfica do desenho técnico arquitetônico na criação e na produção do objeto de arquitetura. Fica evidente o pouco domínio dessa ferramenta básica, necessária ao exercício da profissão de arquiteto, o que compromete seu bom desempenho. O trabalho se dá a partir da fundamentação teórica sobre a matéria, seguindo-se com a elaboração e aplicação de um questionário a professores de desenho arquitetônico e de CAD, o levantamento e análise de manuais ainda em uso por professores e alunos e, por fim, entrevistas com arquitetos e/ou professores. Os resultados nos instigam à auto-reflexão e à revisão de algumas posturas, a fim de contribuir para a qualidade do ensino de arquitetura e urbanismo e, conseqüentemente, para uma melhor capacitação profissional do arquiteto.This work analyses the teaching of architectural drawing at Brazilian schools of architecture, coming to a general picture which is not a good one, for the students do not use correctly the graphic representation of the architectural technical drawing, when creating or producing the object of architecture. Such lack of knowledge for using this basic tool, which is so necessary to the architects, endangers their professional performance. The works presents a theoretical foundation on architectural drawing; a questionary apllied to the teachers of architectural drawing and CAD; a list and analysis of manuals in use by teacher and stundents; and, eventually, interviews with architects and/or teachers. The results instigate us to reconsider our role and to review our positions, in order to contribute to the improvement of the quality of the architecture and urbanism teaching and, as a consequence, to a better professional performance of the architects.
29
Gonavaram, Bala Sai Shivani Seshadri. "Interactive teaching model : a proposal to integrate basic architecural [sic] design pedagogy with digital media /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422926.
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Morelock, Mark Geoffrey. "A multimedia information system for architectural design." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/21604.
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Ertugrul, Elcin. "An Inquiry Into Architectural Scenario." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606648/index.pdf.
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This study is an inquiry into the phenomenon of &lsquoarchitectural scenario&rsquo
generally understood as architect&rsquo
s temporal projections about his/her real product: the edifice. The means of architectural representation are utilized to display the architect&rsquo
s projections in advance of the realization of an edifice. They can also be considered as tangible products to reveal the &lsquo
architectural scenario&rsquo
. The aim of this study is to examine verbal/written and visual modes of &lsquo
architectural scenario&rsquo
through a historical survey and to uncover its various definitions and interpretations. While elaborating on this issue cinema/filmmaking is used as a paradigm for comprehending the architectural scenario as the process of image construction. &lsquo
Architectural scenario&rsquo
is explored in the frame of architectural representation. This thesis is a reconsideration of the architectural production in terms of conceptualizing &lsquo
AS&rsquo
, which is inherently valid in the form making processes.
32
Rogers, Taylor W. "assemblage: a water taxi for alexandria." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/31141.
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projects start with a goal, an end to be realized.
this project provided a platform to explore architecture. drawings, models, text and printmaking were used to this end. a project is found through the assembly of these pieces.
these pages contain no finite conclusion on architecture.
rather they illuminate the path I choose travel.
where will my ideas take me from here?Master of Architecture
33
Prillaman, Susan Carol. "The Effectiveness of Interior Design Students' Study Drawings in the Design Process." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/32687.
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Visualization is an important part of the design process. The sketches that are created during the design process are the visible evidence of the visualization that occurs in the brain. The process of designing involves a conversation that occurs between the student and the sketches created during problem finding and problem solving in the design process.
This conversation allows the student to progress through the design process manipulating both the drawn image on paper and the visualization that occurs in their mind until a fitting solution to the problem is found. This study sought a better understanding of this communication style and it's effect on designed final products.
Two methods of analysis were utilized in this research. Quantitative analysis was used to measure the correlation between quality of sketching process and the quality of the final designed product. Then multiple case studies were examined to describe in detail the design process styles of three students. First the sketches that were created during the designing of a student project were counted and then evaluated for sketch creativity and sketch efficacy. The final design products were evaluated for project creativeness and project function. Significant positive statistical correlations between the variables were observed.
In summary, the quality of sketches and visual thinking during the design process had a measurable positive effect on the final designed solution.Master of Science
34
Oakley, Glenn W. "Fragment to foundation: photographic observation and tonal drawing as a point of beginning for architectural design." Thesis, Virginia Polytechnic Institute and State University, 1994. http://hdl.handle.net/10919/53380.
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The medium of photography provides a first vehicle for the study of architectural and visual form. Through its employment, initially in a spontaneous and instinctive manner but with increasing understanding and awareness over time, a groundwork is laid for visual design in other media.
Continuous tone pencil drawing becomes the means to realizing the lessons learned through these photographic exercises. Through this instrument, subsequent studies reveal the need for architectural design to evolve as discoveries of place rooted in a visual seed anchor point and evaluated by the same visual judgment developed in the earlier photographic work. Beginning with fragmentary images, the range of inquiry in the drawings broadens over time to encompass ever larger concerns in the design of architectural places.
Reaching fruition in the design of a small retreat house, this process of study initially undertaken in photographic observation, following by drawn fragments and finally entire places, represents a paradigmatic approach to developing a working method of architectural design. The discovery of this design approach through the execution of the thesis itself constitutes the underlying theme.Master of Architecture
35
Yip, Wan-hung. "The relative functions of text and drawing in computer-supported collaborative problem-solving." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22786521.
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Kucuk, Alper. "The Architectural Precedent And The Diagram: A Comparative Analysis Of Le Corbusier'." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608993/index.pdf.
Full textAbstract:
The last decade of the 20th century witnessed a revival of interest in the idea of diagrams in many disciplines, including architecture. Thus, terms like 'diagram architecture'
and '
diagrammatic practice'
have started to dominate the architectural discourse, both in theory and practice. Although much of the contemporary work examined under the rubric '
diagram architecture'
celebrate diagram'
s capacity to generate new ideas and forms and embrace the diagram as a tool to revolt against the authority of established architectural traditions (such as design and planning methods, typological solutions), this study, in a critical attempt, underlines diagram'
s role as a mnemonic tool mediating what the architectural history and tradition hand down to us. While the significance of diagram'
s share in the generative activities of architectural design is acknowledged, it is proposed that diagram'
s role as an antidote for precedence is overemphasized and misleading, and that its repetitive character in form generating procedures through the study of architectural precedents should come under scrutiny as well. To achieve a better understanding of the mediating role of diagrams as mnemonic tools in architectural design, this study presents a comparative analysis of Le Corbusier'
s Villa Savoye and Rem Koolhaas'
Maison a Bordeaux. The idea of this comparison is borrowed from Anthony Vidler and its model is an adaptation based on the comparative formal analysis employed by Colin Rowe in his seminal "
Mathematics of the Ideal Villa"
to compare Palladio'
s Villa Malcontenta and Le Corbusier'
s Villa Stein. Rather than an exhaustive diagrammatic analysis, the comparison is instrumentalized to initiate a dialogue between the two buildings in an attempt to highlight the relation between architectural precedents and diagrams. The study also aims to cast light on the issues related with the contemporary architectural discourse of diagrams.
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Kavas, Kemal Reha. "Architectural Form Generation In Suprematist Painterly Space: The Significance Of El Lissitzky'." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12605911/index.pdf.
Full textAbstract:
This thesis re-conceptualizes Lazar Markovich (El) Lissitzky's (1890-1941) PROUN drawings as architectural representations. The study reframes the PROUNs within the intellectual climate of the Russian Avant-garde, circa 1920 when the compatibility of the two-dimensional form generative approach with industrial production was contested. The mentioned reframing is intended to serve as a tool for the principal argument of this thesis: the PROUNs as architectural representations, indicate an alternative and inspiring constructivist strategy. This condition might suggest an intellectual process for architectural design along with the contributions of individual skill and craftsmanship which were surpassed by the mainstream Constructivism.
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Hladkyi, Daniela Zavisas. "Desenho em observação: o ensino de desenho nos cursos de arquitetura da FAUP e do IAU." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-04092017-151456/.
Full textAbstract:
Este trabalho busca salientar a importância do ensino de desenho à mão nos cursos de Arquitetura e Urbanismo, com foco no desenho de observação, que possibilita um contato atento com objetos e a realidade urbana. Para isso, foi realizado o resgate de conceitos sobre as origens do desenho de arquitetura e com base na fenomenologia da percepção, instauramos três instâncias do ato do desenho a partir das quais realiza-se a revisão bibliográfica e a leitura de dois estudos de caso: a visual, a sensorial e a cognitiva. Ademais, os estudos das disciplinas de desenho nos cursos de Arquitetura e Urbanismo no Instituto de Arquitetura e Urbanismo (Universidade de São Paulo, campus São Carlos, Brasil) e na Faculdade de Arquitetura da Universidade do Porto (Porto, Portugal), pretenderam entender as metodologias de ensino, mas principalmente, como cada escola explora o desenho à mão, seja como ferramenta de projeto, comunicação, expressão pessoal ou representação gráfica. Verifica-se o desenho de observação como ponto de partida dos ciclos pedagógicos, de onde se derivam outras propostas para a mediação de um olhar atento, uma percepção sensível dos espaços e da cidade, de seus registros pelo desenho e interações nos processos de projeto.This work aims to highlight the importance of teaching freehand drawing in the courses of Architecture and Urbanism, focusing on the observation drawing, which allows a close contact with objects and urban reality. In order to do so, we have retrieved concepts about the origins of architectural drawing and based on the perception phenomenology, we set up three instances of the drawing act from which the bibliographic review and reading of two case studies are performed: the visual, the sensory and the cognitive. In addition, studies of the subjects of drawing in the Architecture and Urbanism courses at the Institute of Architecture and Urbanism (University of São Paulo, Campus São Carlos, Brazil) and at the Faculty of Architecture of the University of Oporto (Oporto, Portugal) pretend to understand teaching methodologies, but mainly, as each school explores drawing by hand, as a tool for design, communication, personal expression or graphic representation. The observation drawing is seen as the starting point of the pedagogic cycles, from which other proposals are derived for the mediation of an attentive look, a sensitive perception of the spaces and the city, of its registers by the drawing and interactions in the design processes
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Chard, N. J. "Drawing indeterminate architecture, indeterminate drawings of architecture." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1344187/.
Full textAbstract:
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.
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Kruger, Stephanus Mauritz. "Design patterns in architecture : towards a proposed graphic instrument to assist designers." Access to E-Thesis, 2001. http://upetd.up.ac.za/thesis/available/etd-07302008-153937.
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Steinmann, Marc. "Die Westfassade des Kölner Domes : der mittelalterliche Fassadenplan F /." Köln : Kölner Dom, 2003. http://catalogue.bnf.fr/ark:/12148/cb40939971t.
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Demonet, Chloé. "Quand Giuliano da Sangallo « misura a punto » : relever et dessiner l’architecture à la Renaissance." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP031.
Full textAbstract:
Le relevé d’architecture constitue « la toute première forme de connaissance », « la somme des opérations, du mesurage et des analyses qui vont permettre la compréhension et la documentation du bien architectural dans son ensemble […] ». Nécessaire à la conservation des biens culturels, le relevé architectural est aussi source de réflexion sur l’histoire de l’architecture et son usage, car ses méthodes sont élaborées dès la fin du XVe siècle, dans le cadre des investigations menées sur les vestiges de l’architecture antique. Devenue discipline, la pratique du relevé s’érige en lien fondamental entre recherche « archéologique » et création architecturale, et apparaît comme la meilleure des formations pour les artistes souhaitant devenir architectes. Ceux-ci s’aventurent hors des ateliers, dans une véritable école d’architecture à ciel ouvert dont le siège se trouve à Rome. Sources importantes pour la connaissance de l’Antique, sa réception et son appropriation par les artistes de la Renaissance, les dessins de relevé de cette période peuvent être également envisagés comme le résultat d’un processus analytique, qui nécessite une pratique et un langage spécifiques. Cet aspect, ainsi que l’histoire et les spécificités d’un corpus exceptionnel, sont au centre de ce travail de recherche. Les dessins de relevé conservés pour la Renaissance, relativement nombreux, peuvent être disparates et les auteurs parfois difficiles à identifier avec certitude. C’est l’une des raisons qui nous a conduit à étudier le corpus de Giuliano da Sangallo et plus particulièrement ses deux albums, le codex Barberini (Barb. Lat. 4424, Rome, Bibliothèque apostolique vaticane) et le carnet de Sienne (S. IV. 8, Sienne, Bibliothèque communale des Intronati). Non seulement leur attribution à l’architecte florentin ne fait pas débat, mais ils résultent d’un assemblage conscient de dessins choisis, réalisés à divers moments de sa carrière ; des dessins d’architecture, pour beaucoup des relevés, mais aussi des projets, ainsi que quelques vues et des dessins mécaniques. Cet ensemble apparaît comme une biographie graphique, où chaque dessin peut être rapporté à un épisode de la vie professionnelle de Giuliano da Sangallo, ce qui contribue à éclairer son histoire, parfois lacunaire. Il s’agit d’un corpus tangible, qui permet une approche globale de la question du relevé d’architecture tout en révélant l’évolution des préoccupations de l’architecte et de sa maîtrise de la restitution graphique, dans laquelle sa rigueur analytique s’allie à des interprétations toutes personnelles, et à une grande sensibilité dans le traitement. Giuliano da Sangallo semble faire la transition, autour de 1500, entre une génération qui expérimente les codes d’une représentation proprement architecturale et celle qui, ceux-ci élaborés, les applique de manière systématique. Par l’analyse de ses dessins nous cherchons à mettre en lumière ses capacités d’analyse sur le terrain, ses procédés de restitution graphique et sa manière de s’approprier et de diffuser l’information issue du relevé. On peut alors constater que les dessins de relevé constituent une typologie particulière dans le dessin d’architecture en général, et nécessitent une approche dont nous avons tenté, dans cette thèse, de fournir axes et méthodesThe architectural survey is “the very first form of knowledge”, “the sum of operations, measurement and analysis that will allow the understanding and documentation of the architecture in general [...]”. Instrumental in the conservation of cultural property, the architectural survey is also a source of reflection on the history and purposes of architecture, since its methods were developed as early as the end of the fifteenth century, as part of the investigations carried out on the remains of ancient architecture. Once architecture became a discipline in its own right, the survey enabled the architect to analyse ancient buildings from an “archaeological” perspective whilst at the same time offering a seemingly endless source of inspiration for architectural innovation. It was thus considered to be the best training for artists wishing to become architects and venture out of the workshops, in a real open-air architecture school with headquarters in Rome. As an important source for the knowledge of the Antique, its reception and its appropriation by the artists of the Renaissance, the survey drawings of this period can also be considered as the result of an analytical process, which required the development of a practice and a specific language. This research explores precisely these issues, focusing the history and specificities of Giuliano da Sangallo’s exceptional corpus and in particular on his two albums, the codex Barberini (Barb. Lat., 4424, Rome, Vatican Apostolic Library) and the Sienese book (S IV, 8, Siena, Communal Library of Intronati). Giuliano’s work is exceptional for two main reasons: the first is that his drawings have a secure attribution to him that has never been challenged. This is particularly unusual, since attribution is a thorny problem in the study of Renaissance architectural drawings. The second important characteristic of Giuliano’s work is that his Vatican and Sienese albums result from a conscious assembly of selected drawings made at various moments of his career. These include architectural drawings, mostly surveys, but also projects, as well as some views and mechanical drawings. This set appears as a graphic biography, where each drawing can be related to an episode of Giuliano da Sangallo’s professional life, thus shedding light on his sometimes fragmentary biography. It is a tangible corpus, which allows for a global approach to the question of the architectural survey while at the same time revealing how the concerns of the architect and his mastery of graphic rendering evolved over time, combining analytical rigor with more personal interpretations, and with great sensibility for each individual case. Giuliano da Sangallo is a pivotal figure who, around 1500, represented the bridge between a generation that was still experimenting with architectural representation and another which systematically applied the representational rules codified by their predecessors. Through the analysis of his drawings, this study highlights Giuliano’s analytical ability in the field, his process of graphic rendering and the ways he appropriated and then disseminated the information acquired during the survey. Providing specific analytical tools for their, this research therefore demonstrates that survey drawings represent a particular typology of architectural design in general
43
Akinc, Gunseli. "Architectural Programming For Achieving Value-added Design." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606601/index.pdf.
Full textAbstract:
Values and concerns of project participants have influence on design quality as well as on the design process itself. These determine the functional, social and æsthetic characteristics of the project that are necessary to achieve client satisfaction. The issues of value and quality are compared within the context of architectural programming, including their theoretical and philosophical ground as well as current management techniques. Value and quality can be misunderstood and confused with each other
therefore, it is vital for project participants to have a common understanding of terminology and meaning. This study includes a comprehensive literature survey on architectural programming and design quality. The current approaches to the construction project process in Turkey were observed through analyzing an hotel project in Turgutreis, Turkey. Supporting tools like Project Definition Rating Index (PDRI) and Design Quality Indicators (DQI) were studied in detail and discussed by the project participants who involved in and affected the design of the project. This study on architectural programming aimed to explore opportunities for identifying and delivering values into the current process of construction projects. It attempted to claim due recognition for designers in that they had an important role to play in developing better quality buildings and that they designed buildings within pertinent social, political and cultural contexts. It was expected that analysis of participants&
#8217
values would provide an understanding of the elaborate decision-making that architects have to perform in order to produce added value in designs, and of how architects resolve design problems.
44
Vinegar, Aron. "Architecture under the knife : Viollet-le-Duc's illustrations for the Dictionnaire Raisonné and the anatomical representation of architectural knowledge." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23248.
Full textAbstract:
The numerous illustrations--or better yet demonstrations--in Viollet-le-Duc's Dictionnaire Raisonne of Gothic architecture were the most powerful means of implementing biological metaphors in order to transfer or situate the discourse of architecture within the realm of nineteenth century positivistic science. Viollet-le-Duc borrowed dissective strategies of representation from the field of anatomy to implement his alternate 'vision' for appropriating architectural knowledge. By inscribing anatomical metaphors within his architectural drawings, Viollet-le-Duc could filter the viewer's conception of architecture through his own appropriation of anatomy's critical and selective methods of representation. This scientific approach to architectural drawing was in perfect harmony with Viollet-le-Duc's textual and conceptual mission in the Dictionnaire to not only demystify architectural knowledge as practiced at the Ecole des Beaux-Arts, but also to critically reconfigure the reader's relationship to it according to his own system. Through this process, it was his intent to change the public's way of thinking and seeing architecture.
45
He, Weiling. "Flatness transformed and otherness embodied: a study of John Hejduk's Diamond Museum and Wall House 2 across the media of painting, poetry. architectural drawing and architectural space." Diss., Georgia Institute of Technology, 2005. http://hdl.handle.net/1853/36608.
Full textAbstract:
To study architectural space in relation to other works of art, the author aims at understanding how meaning depends upon the medium within which it is formulated. More importantly, the process of re-stating a work from one medium to another requires analytically rigorous study at the level of design thinking. In this thesis, Piet Mondrian’s sixteen Diamond Compositions, George Braque’s Studio Series, and Jean Auguste Dominique Ingres’s Comptesse d'Haussonville will be studied as points of departure of John Hejduk¡’s two sets of architectural projects: the Diamond Series and the Wall House Series. Compositional similarities among these works will be discovered as the design means of Hejduk’s architecture. Moreover, these paintings suggest two design ends: C flatness and otherness. Hejduk’s poems about paintings and his architectural drawings will be examined as working media in which the two design ends are formulated. On this basis, the Diamond Series and the Wall House Series will be analyzed once again on the basis of how flatness and otherness are constructed in architectural space. In a way, Hejduk defines his own design means in the medium of architecture. It is noted that the re-statement of meaning in the medium of architecture involves both a retrospective understanding of the spatial structure and an embodied experience of the immediate spatial condition. Only when space makes sense independent of the references back to existing works in other media such as painting or poetry and the key design move is made will the readings of such works become architectural concepts. In the media of painting, poetry, architectural drawing, and architectural space, John Hejduk designs intention in its own right as part of the design process. Therefore, working across media entails far more than superficial references or fanciful representations. Rather, it is a serious investigation into the construction of medium-specific meaning, which the work of Hejduk clearly exemplifies. For the same reason, Hejduk’s work can be understood beyond personal or mystical expressions, becoming a tangible, logical, and thereby shared construction.
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Sinnamon, Catherine. "How body awareness interventions can enhance the architectural digital design process." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/209146/1/Catherine_Sinnamon_Thesis.pdf.
Full textAbstract:
This thesis investigates the potential for the architectural design process to be positively impacted using a simple intervention designed to reinstate through conscious awareness, the advantages of the once traditionally physical components of the design process, that are less activated in the digital design process of architecture. This study explores the impact of increasing architects’ conscious awareness of their own movement and body function so as to individually maximise and improve their cognitive, emotional and physical function, including motor skills, to support their architectural decision-making.
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Aguilar, Antonio José. "The architecture of the grotesque : the case of Jean-Jacques Lequeu." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23443.
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Gursoy, Benay. "The Cognitive Aspects Of Model-making In Architectural Design." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611677/index.pdf.
Full textAbstract:
Considerable research has been done by various scholars to assess the significance of sketching in the early stages of the design process. However, sketching in design studies usually corresponds to drawing and the extensive research on the cognitive aspects of sketching does not always include three-dimensional sketching through physical and digital models produced in the early phases of design process. The aim of the presented research is to identify some characteristics of model-making that make it effective in the design process and design cognition as a form of sketching. Departing from key research on sketching which articulates its uncertain nature as a positive drive in early design phases, this thesis looks at whether physical and digital models can also be counted among ambiguous design tools. The inquiry is supported by empirical data from the protocol studies realized with three graduate students of architecture.
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Loske, Alexandra. "The decorative scheme of the Royal Pavilion, Brighton : George IV's design ideas in the context of European colour theory, 1765-1845." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48862/.
Full textAbstract:
This thesis investigates the use of colour in the interior decorations of the Royal Pavilion, Brighton. The building was created between 1785 and c.1823 by the Prince of Wales (1762 – 1830), later Prince Regent and George IV. The main aims of the thesis are firstly, to analyse the intense colour scheme of the building and set it in the historical context of colour theory and pigment production, and secondly, to establish to what extent personal tastes and fashion influenced these designs. Chapter 1 brings together nineteenth century descriptions of and reactions to the building from early guidebooks and visitors' accounts, followed by brief outlines of restoration work carried out since 1850 and observations on how the building is experienced by visitors today. The aim of Chapter 2 is to provide an overview of colour theory and literature in Europe between c.1765 and c.1845, in order to highlight the cultural, social and scientific background to the use of colour in art and interior design. Chapter 3 outlines the role of key figures involved in the creation of the building. It first discusses the Prince's tastes in art and considers to what extent he may have drawn inspiration from other members of the Royal Family and earlier Oriental buildings and interiors. The chapter then discusses the artists and designers John and Frederick Crace, Robert Jones and Humphry Repton. Chapter 4 describes the colour schemes and chromatic layout of the interior of the building in its various stages from the 1780 to the 1820s. The chapter includes a case study of the conspicuous and varied use of silver as a colour in the building, discussed in the context of the use of silver in other European interiors. Three appendices provide detailed information of colour terms found in contemporary account books, pigments identified in the Royal Pavilion so far, their historical context and where they are found in the interiors. The thesis thus analyses the multi-sensory experience of an interior in relation to new ideas about colour as a crucial element of interior design.
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Moser, Misti. "Ru(m)inations; A Project in San Lorenzo." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/33379.
Full textAbstract:
I began with a place, the Roman ruin of San Lorenzo in Milan. This place has been a "provocateur," not an object or a set of parameters from which I responded. Architectural readings of the city are contaminated with foreshadowings or hints of what is yet to appear. One may read the city as "Janus" who pulsates back and forth leaving traces of past cosmogonies which look forward to being remembered. As the "haruspex" regards the liver in order to auspiciously found a city, distinct bodies of the city are "mirrors of the world at the moment of sacrifice."
Reading the city as a Janus-faced entity suggests a slippery liminal zone between what is often clearly separated as existing and intervening. The act of drawing the site is also an act of remaking the site. The section of the city is a hieroglyph to be deciphered and "completed." This "completion" is necessary but not absolute.
Master of Architecture