Dissertations / Theses on the topic 'Architectural representation'
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1
Bakht, Nazli. "Analysis Of The Limits Of Representation Of Architectural Photographic Images In Periodicals." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608921/index.pdf.
Full textAbstract:
This study aims to analyze the limits of representation of architectural photographic images in periodicals within architectural media that shape today’
s architectural production. This aim is accomplished in three sections
examining the power of image in architecture
examining architectural media and examining the periodicals&
#8217
attitudes towards using architectural photography. A case study is done to uncover the relationship between the photograph and the medium that it takes place on and determine the continuities and discontinuities between the architecture and visual language that is used to &
#8216
represent&
#8217
it. Zaha Hadid is selected as she is one of the leading figures in contemporary architectural culture and her projects are widely published in media. The exemplary periodicals from different cultural domains are selected according to their positions in architectural media. Selected examples are thought to be the representative for each domain. The contextual properties of each domain are outlined and compared through a set of variables. These variables appear to form the ground for the identification of the limits of architectural media within contemporary architectural production. Finally, the case study aims to understand the periodicals&
#8217
attitudes towards using photographic imagery and finally compare architect&
#8217
s intentions and design considerations about his projects and the way it is represented in selected periodicals.
2
Bridgens, Benjamin Nathan. "Architectural fabric properties : determination, representation & prediction." Thesis, University of Newcastle Upon Tyne, 2005. http://hdl.handle.net/10443/1735.
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Coated woven fabrics are used in state-of-the-art structures and yet broad assumptions are made in both material testing and behaviour. Current design practice makes little reference to the complex non-linear behaviour of architectural fabrics. A better understanding of fabric response should enable reduction of safety factors, use of more economic materials and allow more architectural freedom in the forms that can be achieved. With limited availability of test equipment and no European standards on biaxial testing, a biaxial test rig has been designed and built for this work and a new test protocol has been developed. Application of prestress followed by cyclic loading conditions the fabric and enables medium to long term properties to be measured which are appropriate for structural design. Thorough sampling of all feasible design stress states fully quantifies the fabric response. Testing has been carried out on a wide range of PVC coated polyester and PTFE coated glass-fibre fabrics. Fabric test data is commonly manipulated to fit within a plane stress framework. It is shown in this work that plane stress theory is inappropriate for representing the complex deformation mechanisms of coated woven fabrics. It is proposed that the test data is used directly in finite element structural analysis by interpolation between values in a database of test results, with no limiting plane stress assumptions. 'Feasible strain plots' provide a new tool for quantifying fabric behaviour. A predictive fabric model based on force equilibrium in the fabric 'unit cell' has been developed. The model aims to be easily accessible to the design engineer, with all parameters derived from standard tests. Whilst avoiding unnecessary complexity, the model realistically models key fabric deformation mechanisms. The model provides a more accurate representation of fabric behaviour than current industry best practice (i.e. use of elastic constants based on biaxial test data), but without the need for specialist testing.
3
Koslowski, Benjamin. "Framing privacy : architectural representation in digital spaces." Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3398/.
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Individual privacy can be compromised in digitally mediated spaces, as networked communication has made scales of interaction and degrees of visibility difficult to grasp. This inquiry argues that privacy is a spatially-conditioned mental construct and tests architectural representation as a means of orienting the individual online through spatial design practice on three scales, from the miniature to the room and the neighbourhood. Framed by the methodology of architectural representation, privacy online offers the narrative hook and driver for research. This identifies principles underlying architectural practice that can contribute to understandings of digital spaces of interaction, such as online social networking platforms, from the point-of-view of a designer-researcher. The research has been developed under the umbrella of the Creative Exchange, a national AHRC-funded knowledge exchange hub enabling interdisciplinary and inter-organisational collaboration between academia and industry. Asking how different scales of architectural representation can help to orient the individual in digital spaces, ‘methods of spatialisation’ aim to render tangible and experiential a range of observations of the digital; they result in miniature artifacts, immersive installations and interactive hybrid digital-physical platforms. Through methods of inquiry, including Donald Schön’s methods of reflective practice and the ‘design situation’, these operate as a lens on to the digital. Instead of aiming to reconceptualise privacy itself, it is considered as symptomatic of the challenges brought about by digital spaces, and informs means of evaluation. The original contribution the research makes to knowledge in the field of design research at the intersection of architecture and communication design lies in adapting architectural representation for digital contexts: it develops approaches rooted in architecture and aims to frame them for interdisciplinary design contexts engaging with digital spaces. The resulting framework brings together the key foundational architectural parameters of scale, distance and time, and three design methods of spatialisation: miniaturisation, immersion and mapping. These help to reframe challenges of digital communication – such as privacy online – from the perspective of the designer-researcher. Through the practice-led inquiry, digital settings that are not easily grasped intuitively are framed as new contexts for architectural expertise, helping to establish the efficacy of architectural representation in addressing challenges of the digital through reflective design processes.
4
Sims, Anita Nanette. "The influence of representation on the design process." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/22995.
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5
Smith, Troy James. "Generating a holistic architecture of direct experience, the negation of conventional architectural representation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0024/MQ50308.pdf.
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6
Dwityabaswara, Dionisius M. "Voluntary movement in architectural representation the exploration of video game technology in architecture /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1206627219.
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Thesis (M.S.)--University of Cincinnati, 2008.Advisors: John E. Hancock Dr (Committee Chair), David G. Saile PhD (Committee Member), Jose M. Kozan MS. Arch (Committee Member) Title from electronic thesis title page (viewed Sept. 7, 2008). Includes abstract. Keywords: Architectural representation; real-time rendering technology; voluntary movement; virtual reality; video game Includes bibliographical references.
7
DWITYABASWARA, DIONISIUS M. "Voluntary Movement in Architectural Representation: The Exploration of Video Game Technology in Architecture." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1206627219.
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8
Yu, Hao-wei. "The role of integrated graphic representation of architectural space and human behavior." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/539811.
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The purpose of this creative project was to develop suitable design tools and language of behavioral analysis which could be employed in environmental design with regard to the related human behavior. The interaction of human activity and the built environment was considered as a common ground on which a basic architectural design process could be founded. To achieve a clearer understanding of the role of integrated graphic representation of the interaction of human behavior and environment, three concerned aspects were explored. These are: Pattern of the interaction between people and the built environment, Design tool and language, and Communication in the design process. As for the first aspect, three kinds of interactions of people and environment were distinguished. For the second aspect, design language was enriched with the exploration of integrated graphic representation of architectural space and human behavior. For the third aspect, the focus of graphic communication in the traditional design process was shifted from physical form to the pattern of interrelationship of people and environment. The design of the proposed International Student Center at Ball State University was completed to demonstrate the above aspects.Department of Architecture
9
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.
10
Gunhan, Aslihan. "From Houses To House Museums: Architectural Representation Of Different Narrations." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613838/index.pdf.
Full textAbstract:
The transformation of historic houses into house museums is not only a current issue within the field of museology, but also a new phenomenon for architecture. The deconstruction of the term &ldquohouse museum&rdquo
into &ldquo
house&rdquo
and &ldquo
museum&rdquo
and the meaning these terms acquire, have the potential to generate a new discussion in architecture. Besides being a physical dwelling unit, &ldquo
house&rdquo
will be interpreted as a domestic space where the inhabitants are able to personalize. A museum, on the other hand, will be approached as a modern institution reflecting issues related with historiography and aesthetics. &ldquo
Curiosity Cabinets&rdquo
as the origin of museums are re-visited for its conceptual correspondence with the house museum. Interpreting the house museum as the new curiosity cabinet, the analysis of the terms &ldquo
house&rdquo
, &ldquo
home&rdquo
, &ldquo
museum&rdquo
and &ldquo
house museum&rdquo
has the power to decipher the potentials of a spatial transformation, which renders the curiosity arousing concepts and spatial formations visible. Specific tools of architectural narrative are used to interpret selected cases, aiming to perform an integrated discussion on this architectural entity.
11
Moustafa, Amer A. (Amer Adham). "Architectural representation and meaning : towards a theory of interpretation." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/78999.
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12
Ugrankar, Prajakta A. "The use of architectural metaphors in dynamic model representation." [Gainesville, Fla.] : University of Florida, 2002. http://purl.fcla.edu/fcla/etd/UFE1001188.
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13
Otte, Gary (Gary James) Carleton University Dissertation Architecture. "Photographing the void: the camera and the representation of Islamic architecture." Ottawa, 1999.
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14
Macken, Marian. "The Book as Site: Alternative Modes of Representing and Documenting Architecture." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/8400.
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Architectural space is usually documented in the form of orthographic projections, that is, plan, section and elevation drawings, with perspective and three-dimensional models. These render the space in a particular way and hence, have limitations and specificity. The artist’s book – that is, a book made as an original work of art, with an artist or architect as author – offers a different mode of presenting documentation and reading representation. This thesis examines the potential for the documentation of space by coupling the artist’s book with the content of post factum architectural documentation. Through an examination of the relationship between the drawing, the building and the book, and various case studies, the potentiality of the book as a site for architecture is examined. This thesis proposes the artist’s book as a complementary, three-dimensional architectural representation with a generational and propositional role within the design process. This examination repositions books within an expanded notion of the design process, which displaces the built object as the endpoint of this process, and investigates the critical facility of artists’ books. The creative work presented for examination comprises three artists’ books – 'Mies van der Rohe: Built Houses'; 'Ise Jingū: Beginning Repeated'; and '$1.45¢: Houses in the Museum Garden: Biography of an Exhibition' – which operate as case studies, within the text. These works are informed by the research of the dissertation and frame the reading of this text. Three other works, undertaken through the course of the study, are also presented, and further explore the ideas presented in the textual enquiry of the thesis.
15
Waddoups, Linda Jane. "A binary representation for built forms." Thesis, Open University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343749.
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16
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.
17
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.
18
Bāo, Chén. "Écrire l'idée [Xie Yi] : entre l'écriture idéographique et l'écriture architecturale." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00736206.
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Un bâtiment ne parle pas, mais il communique d'une autre manière des messages qui sont le reflet des idées des architectes. Si l'architecture est un langage, si elle est une " écriture d'idées ", alors comment rendre l'idée visible ? Comment peut-on, dans un sens métaphorique, faire parler un bâtiment ? Nous proposons alors une hypothèse analogique : " Si le bâtiment parlait alors il parlerait chinois ". Cette hypothèse oriente nos recherches vers l'étude des rapports entre langage architectural et langage naturel. À l'intérieur de ce champ interdisciplinaire, l'écriture graphique et idéographique chinoise devient notre objet référentiel. Les caractères chinois unifient la forme et le sens en même temps, ils proposent une figuration des idées fondée sur le système idéographique. De par sa logique combinatoire et ses procédés rhétoriques, le processus de figuration des caractères chinois est un processus de transformation de formes simples vers des formes complexes, passant de significations limitées à des significations riches. Ce processus de conception de caractères montre également une série de schèmes idéographiques qui pourrait constituer un système méthodologique de sémantisation pour la représentation architecturale. Ainsi, l'écriture idéographique et l'écriture architecturale, pris comme deux processus de figuration peuvent parallèlement se comparer, et l'écriture idéographique pourrait proposer un outil conceptuel pour l'écriture architecturale. Il s'agit d'examiner un nouveau modèle linguistique qui pourrait être utile pour la conception de l'architecture contemporaine.
19
Norell, Daniel. "Taming the Erratic : Representation and materialization in post-digital architectural design." Licentiate thesis, KTH, Arkitekturteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-195099.
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This thesis investigates materialization and representation in contemporary architectural design practice. Due to cultural and technological shifts, the act of design is no longer squarely located in the abstract realms of drawings or digital geometries. Computer aided manufacturing, simulation and scanning offer new design opportunities that are located in the transfer between representation and material. This has given rise to a post-digital model of practice and thought, in which ‘real’ and discrete chunks of matter are incorporated at the earliest stages of design. The thesis is practice-based, and spans in scope from design to technology to theory. The design work included explores materialization and representation from a particular point of view. In addition, it suggests a methodological approach to design, and explores the theoretical implications in this approach. These implications are addressed in two connected research questions: How can material processes, whether real or simulated, turn transfers between geometry and materialized objects into productive design opportunities? And how might material simulation alter the ways in which representations are conceptualized and used by architects? In parallel with practice-based work, the thesis suggests a theoretical framework for current issues of representation and materialization in architecture. This framework draws from the recent history of the digital turn in architecture as well as from recent design research work and theory in a post-digital turn. This thesis makes contributions in three main areas. Through the design work Erratic, it makes a visceral case for how the use of material simulation might open up new ways of harnessing material agency. It positions simulation in the field of architecture in-between established polarities such as geometry vs. matter, virtual vs. real and drawing vs. mock-up. It discusses the conceptual difference between design based on geometry and design based on discrete pieces of material. Finally, it proposes that form in architecture increasingly can be conceptualized as ‘chunks,’ as opposed to reduced descriptions of geometry.QC 20161102
20
Okamoto, Hiroshi 1968. "Time, speed and perception : intervals in the representation of architectural space." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/37560.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (leaves 52-54).
Although the notion of "space" in architecture is a relatively contemporary one, this research looks at the difference between the conception and representation of space and the actual material reality. With contemporary thought brought about by the modern measure, as architects formalize their ideas in representations, this paper argues that there arises a tendency to quantify and objectify the represented space and discount the experiential nature of the space. This research was initiated in reaction to this tendency to conceive of space as a given, formal static container in search of a wider notion of space as a product of interactions between various dynamics. Using small time based representational design experiments as well as specific precedents of conceptions and representations of space as running parallel points of reference; this investigation explores the element of time as one of the possible components of the various dynamics that produce space. Specifically, a non-chronological look at the modern, contemporary and pre-modern notion of time was taken to explore possible alternative conceptions and representations of space and time, contending that space is neither static or exclusive of time, nor is it a stage set for speed. In other words, this paper concludes that space and time are first and foremost products of experience.
by Hiroshi Okamoto.
S.M.
21
Ucar, Basak. "An Assessment Of The Architectural Representation Process Within The Computational Design Environment." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607005/index.pdf.
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With the introduction of a computational design environment, architectural design and representation processes witness a radical transition from the analog to the digital medium, that may be asserted to initiate a paradigm shift affecting both. In this new design environment, extending the instrumentality of computer-aided processes to the generative use of computational tools and procedures, architectural design and representation processes are subject to mutual alterations, challenged with computational design strategies such as parametric design, associative geometry, generative diagrams, scripting and algorithmic procedures.
Computational design approaches proceed with the definition of a mathematical model based on the numeric definition of relations and equations, substituting the conventional visual/orthographic representation. This thesis aims to inquire the outcomes of assuming non-visual/numeric representation as a strategy in the therefore redefined process of architectural representation.
Through the generative logic embedded in the mathematical model, attention shifts from form to process. This emphasis on process rather than the formal outcome, aids the experimentation of a desired indeterminacy, coming forth in dynamic, non-linear design processes, blurring the boundaries between different phases of design, and of representation. The intentional search for a generative design process liberated from the visual/formal determinism of the conventional design approach, initiates a conscious delay in the definition of form, and thus of visual representation. The thesis discusses the potentials presented by generative mathematical models defined with the aid of computational design tools, and the ways in which they alter and inform architectural design and representation.
22
Sert, Gul Berrak. "A Survey On Photographic Representation In Architectural Magazine Covers: Covers Of Arredamento-mimarlik." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608044/index.pdf.
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This study has an aim of exploring how a Turkish architectural magazine, Arredamento Mimarlik, communicates itself to the reader by its cover designs. Since, representation is a tool for architects to transmit ideas and express positions in the discipline of architecture, usage of representation in architectural media has a critical role to promote the communication in architecture.
The theoretical framework of the research based on the photographic image investigation of Roland Barthes. In the light of this investigation, the study cites that photographic images with accompaniment of texts transmit messages which construct the communicative role of magazine covers in architectural media. In the realm of predefined identity of a magazine, the interpretation of cover concept confronts with a critical position which identifies magazine&rsquos approach to both architecture and its mediatic character. Since Arredamento-Mimarlik is a significant magazine which has a discursive approach on cover concept, the publication history and critical position of the magazine is investigated elaborately in the light of Bü
lent Erkmen&rsquo
s, the designer of the covers, and Ugur Tanyeli&rsquo
s, the managing editor, citations. Through this survey on Arredamento Mimarlik covers, the representation of architecture in media through a significant representative tool-magazine cover- is studied in terms of signification character of image and text. In this sense, the critical role of magazine which orients the comprehension of architecture in society is emphasized as a discursive value in addition to magazine&rsquo
s informative character.
23
Yamali, Namtip. "Exotic Settlements through Compromise: The Interpretation of the Western Diplomatic Compounds in Siam, 1855 to WW II." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584016028637727.
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24
Kelly, Daniel IV. "Parsing the Non-finito: Systems, Thresholds and Imaginative Space in Representation." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1640.
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Between the actualized built spaces that the artist moves around and through on a daily basis and the more abstract systems we invent to represent these structures sits the illusion of space and structure found in his drawings and paintings. Constant turnover within the built environment offers not only content, but rich analogy for his artistic practice. The artist’s endeavors in the studio in many ways echo the genesis, evolution and possibility he observes in the transitioning city around him. In the actual making of the work, he gleans from traditional methods of drawing and painting, from the architectural lexicon, from experiments with new materials, from the effects of time and decay and from building processes themselves.
25
Alkan, Alper Semih. "Framing The Invisible:section As A Spatial Frame For A Reconsideration Of Architectural Representation." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605390/index.pdf.
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This thesis is a critical reconsideration of the relationship of architectural production with its modes of representation. Historically, the representation of architecture has been signifying an interval where the displacement between the mental conception and its material expression has taken place. The group composed of plan, section and elevation is called orthographic set, which has been accepted as a universal code in architecture since it is attributed with the basic premise of its being objective and international. It is this attributed character of the drawings, which will be investigated in respect to the act of sectioning. Section displays an ambiguous character that it is the picture plane and the act of cutting at once. This study is a critical redefinition of section as a spatial act of framing. The construction of picture plane is discussed as a specific condition of framing, thus of sectioning.
Like the specificity of the perspectival representation, the section constructs its own frame, in which the physical cut into the body of architectural object and its flattened spatial depth overlap. Therefore, section is redefined as the operation of a spatial framing, which rather hides than displays. It is in this hidden dimension that the epistemological value in architectural representation lies.
The significance of the picture plane, that is the incision plane, is revealed by its relation to the constitution of perspective and projective drawings. The related concept of projection, whose mode strictly corresponds to the distance stimulated by the mode of projection, provides not only a critical distance but also brings about the operations to overcome that distance. In this respect, acknowledging section in architectural representation as a conceptual spatial frame, the study tries to reveal the inherent depth of the medium of representation, which is sometimes more promising than what is displayed in.
26
Cao, Guiyun. "Representation and manipulation of geometric and architectural data stored in a relational database." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ39640.pdf.
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27
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.
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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.
28
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.
29
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.
Full textAbstract:
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.
30
Peng, Chengzhi. "Teamwork in architectural modelling : representation and communication requirements for computer support in collaborative design." Thesis, University of Edinburgh, 1994. http://hdl.handle.net/1842/20735.
Full textAbstract:
This thesis presents a study of what is required for a computer system to support human creative collaborative design activity. The field of design study is targeted on architecture. Design is seen essentially as an activity of modelling complex objects with or without computers. 'Teamwork in architectural modelling' is, therefore, the realm of inquiry, with the goal of identifying the representation and communication requirements for computer support. A phenomenon of collaborative design to be explained is how the distribution of design work among multiple participating expertise is related to the integration of individual design contributions into products with architectural unity. Several historical cases of building design projects are studied. We examine the design expressions produced by members of the design team in each case. Based on the results of case studies, we put forward two distinct teamwork patterns in collaborative design: metaphorist and structuralist. The teamwork patterns are subsequently treated with more elaborate analyses and simulations. Prior to the presentation of the requirement studies, a survey of the current state of the art in building collaborative drawing and design support systems is provided. The survey shows that our concern of supporting collaborative design modelling remains a subject largely unexplored by the current system designs. For each teamwork pattern identified, a situation-theoretical framework is adopted for carrying out a more elaborate analysis.
31
Haciomeroglu, T. Nihan. "Reconstruction Of Architectural Image In Science Fiction Cinema: A Case Study On New York." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609545/index.pdf.
Full textAbstract:
This thesis interrogates the interrelation between architecture and science fiction cinema to understand the fictional and representative power of architecture. Since cinema embraces both physical and representative aspects of architecture it is convenient to carry out the research through the mediation
of cinema. To accomplish this goal science fiction genre is particularly chosen where architectural image can break its commonly acknowledged facet and can reconstruct to participate in the narrative. The architectural image is intended to be interpreted through the concept of city and architectural components in science fiction cinema.
To create a mutual language, a world wide known city –
New York City &
#8211
is selected as the case study subject
that the research is developed upon. Initially the study is based on the discussion over cinema architecture relationship from an architect&
#8217
s point of view. Subsequently architectural image in architecture and cinema is studied under several categories. Twenty four science fiction movies with various plots are chosen where all the movies are either located in New York City or in a fictional city inspired by it. By analyzing these movies through architectural concepts it is aimed to gain understanding to key points in architectural design.
32
Akcay, Aysegul. "The Architectural City Images In Cinema: The Representation Of City In Renaissance As A Case Study." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609699/index.pdf.
Full textAbstract:
The aim of this study is to understand the limits of spatial transformations of
architectural images in cinema. In this exposition the architectural city images
are analyzed with referenced to case study by reading the representation of space and city in model film Renaissance which in the city becomes notion. The interaction between architecture and cinema is discussed by using concepts
such as space, time, perception, framing, editing and continuity in addition to their relations with future cities and spatial designs in these worlds.
33
Osmanoglu, Esin. "An Architectural Study On Miniature Parks And Miniature Models: Miniaturk." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12605751/index.pdf.
Full textAbstract:
This thesis is an architectural study surveying on miniature parks and miniature models exhibited in them and particularly focuses on Miniaturk - the first miniature park of Turkey- located in Istanbul. It is established as an environment containing a group of miniature models of buildings and landscapes, which display the variety, and richness of the cultural tradition of the previous and contemporary Anatolian civilizations, and especially Ottoman grandeur. In this study, it is argued that Miniaturk stands as a hybrid category between a museum, a public park and entertainment centre. Miniaturk is also conceived as an architectural environment providing a possible ground to discuss the conceptions, misconceptions and presuppositions about architecture in the popular realm and in the professional and disciplinary framework. Thereby, Miniaturk is investigated through the processes of its production including the initial design idea and all the stages of its construction.
This study also tries to discuss the miniature models from different points of view. Whether they are considered as tools of architectural representation or not by the professionals, the popularity and the communicative advantage of these models can be used to arouse interest in the cultural and historical heritage as well as the contemporary architecture. The daily life of man on the street is strictly connected with architecturetherefore Miniaturk requires recognition as an environment for realization of these connections and relations.
34
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.
35
Murrani, Sana. "Unstable territories of representation : architectural experience and the behaviour of forms, spaces and the collective dynamic environment." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/310.
Full textAbstract:
This thesis applies an interdisciplinary cybernetic and phenomenological analysis to contemporary theories of representation and interpretation of architecture, resulting in a speculative theoretical model of architectural experience as a behavioural system. The methodological model adopted for this research defines the main structure of the thesis where the narrative and the contributing parts of its complexity emerge. The narrative is presented through objectives and hypotheses that shift and slide between architectural representation and its experience based on three key internal components in architecture: the architectural forms and spaces, the active observers that interact with their environment, and finally, the responsive environment. Three interrelated research questions are considered. The first seeks to define the influence of the theoretical instability between complex life processes, emerging technologies and active perception upon architecture. The second questions the way in which the architectural experience is generated. The third asks: Does architecture behave? And if so, is it possible to define its behavioural characteristics related to its representation, experience and the medium of communication in-between? The thesis begins by exploring the effect of developments in digitally interactive, biological, and hybrid technologies on representation in architecture. An account of architectural examples considers the shift in the meaning of representation in architecture from the actual and literal to the more conceptual and experimental, from the individual human body and its relations to the multifaceted ecosystem of collective and connected cultures. The writings of Kester Rattenbury, Neil Leach, and Peter Cook among others contribute to the transformation of the ordinary perceptual experience of architecture, the development of experimental practices in architectural theory, and the dynamism of our perception. The thesis goes on to suggest that instability in architectural representation does not only depend on the internal components of the architectural system but also on the principles and processes of complex systems as well as changes in active perception and our consciousness that act as the external influences on the system. Established theoretical endeavours in biology of D’Arcy Thompson, Alan Turing, and John Holland and philosophies of Merleau-Ponty, Richard Gregory, and Deleuze and Guattari are discussed in this context. Pre-programmed and computational models, illustrative and generative, are presented throughout the thesis. In the final stage of the development of the thesis architecture is analysed as a system. This is not an unprecedented notion, however defining the main elements and components of this system and their interactions and thereafter identifying that the system behaves and defining its behavioural characteristics, adds to the knowledge in the field of theoretical and experimental architecture. This thesis considers the behavioural characteristics of architecture to be derived from the hypothetical links and unstable thresholds of its non-dualistic notions of materiality and immateriality, reality and virtuality, and finally, intentionality and interpretation.
36
Green, Nigel. "Photography and the representation of modernist architectural space : from the melancholy fragment to the colour of utopia." Thesis, University of Kent, 2007. http://www.research.ucreative.ac.uk/id/eprint/1060.
Full textAbstract:
The questions that this project poses are centred on an examination of photography's relationship to modernist architectural space. Polarising the melancholic and the utopian, the definition of photography is extended to include its manifestation across a number of diverse sites and processes. What is the connection between the processes and technology of photography and its representation of modernist space? How can these relationships inform and articulate a photographic practice? This thesis comprises five key areas of investigation, with each theoretical chapter being followed by a complementary sequence of photographic images. The first section considers the process of `fragmentation' in relation to a body of photographs which I have termed `fragments'. These images reveal the aspirational or utopian content of modernist architecture as a condition of loss or melancholy. The second section develops the notion of the `fragment' in relation to `allegory', which I argue, opens photography to metaphoric interpretation thus taking on the duality of meaning. The third section uses W. G. Sebald's novel Austerlitz and Kracauer's work on history, to locate this duality within Husserl's Lebenswelt. The fourth section shifts the emphasis of inquiry towards an examination of how the utopian emerges within specific aspects of the photo-reprographic process, such as the error of misregistration in colour printing. This forms the basis for a development of the practice into the field of the photographic representation of colour. The fifth section looks at how colour has been added to the monochromatic image in a series of postcards of modernist architecture from the 1930's thus suggesting a site of utopian investment With reference to Kristeva and Benjamin I develop the notion of colour as an excess of meaning indicative of utopian aspiration. The conclusion of the project is firmly located in the practice outcome and a body of work, which I have termed `constructed images'. Representing a convergence of the five themes, these reveal the ability of photography to uniquely articulate the utopian-melancholy polarity, a transformative process, intervening into architectural space to indicate new ways of thinking about it.
37
Fialho, Valéria Cássia dos Santos. "Arquitetura, texto e imagem: a retórica da representação nos concursos de arquitetura." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-27052010-104933/.
Full textAbstract:
Este trabalho busca lançar um novo olhar sobre momentos relevantes da história dos concursos de arquitetura no Brasil, partindo da premissa de que concursos são eventos que geram interesse por conterem um tipo de informação que reflete cada momento específico da produção arquitetônica. Discute a importância da representação no desenvolvimento do projeto arquitetônico, o papel do material gráfico na propagação de conceitos, assim como a supervalorização do discurso e da imagem e a inversão de valores que tal processo acarreta. Identifica, neste contexto, a existência de uma gramática específica nos projetos desenvolvidos para concursos, na qual a relação entre texto e desenhos assume características peculiares. Coloca a questão de como estes eventos geram uma discussão crítica e de que maneira este material torna-se referência para a formação de conhecimento específico na área. Para tanto, seu conteúdo está organizado em três momentos. O primeiro estabelece um arcabouço conceitual e define uma metodologia para análise dos projetos coletados. O segundo consiste na análise de três eventos fundamentais de nossa historiografia: o concurso para o Plano Piloto de Brasília (1956) um dos acontecimentos essenciais para a arquitetura brasileira e marco na história dos concursos; o do Pavilhão de Osaka (1969) representante de um período de afirmação de um discurso e parte fundamental da trajetória do movimento moderno brasileiro; e o concurso para o Pavilhão de Sevilha (1991) - evento polêmico e de repercussão expressiva, que caracteriza um atribulado período de transição cultural. Após a análise destes eventos de formação, o trabalho altera seu foco e, em seu terceiro momento, traça a trajetória construída desde a realização do concurso para Sevilha até os dias de hoje. Seguindo esta narrativa panorâmica, discute um evento contemporâneo, o concurso para o Museu da Tolerância da USP (2005), para, a partir do arcabouço gerado pelo estudo dos momentos de formação e seu rebatimento neste evento, abordar o contexto atual. Nas conclusões, o trabalho trata da identificação de uma retórica da representação expressa no conjunto de desenhos e textos analisados e discute a mensagem específica que cada desenho carrega e sua influência no desenvolvimento dos projetos. Confronta a democratização de meios com a especialização dos concorrentes e questiona a acessibilidade às técnicas de representação em contraponto à dificuldade de lançar mão dos recursos disponíveis sem cair na gratuidade. Como segundo ponto discute o valor dos textos que acompanham os desenhos, encarados como fios condutores da opção retórica, e identifica as diferentes posturas adotadas pelos autores. A última questão colocada diz respeito ao papel didático dos eventos enquanto momentos de reflexão crítica e discute a permanência das idéias, os elementos de formação de repertório e sua influência no campo da educação. A pesquisa conclui sua argumentação defendendo a leitura deste conjunto de trabalhos a partir do resgate de documentos que podem revelar aspectos fundamentais para o retrato de uma época e a formação de um conjunto de valores.This research pursuits a new understanding on relevant moments of the history of architectural competitions in Brazil, by the premise that these are events that render interest for they provide a kind of information that reflects each specific moment of the architectural production. It discusses the importance of representation in the development of the architectural design, the role of graphic material for the transmission of concepts, as well as the overvaluation of discourse and image and the inversion of values that it causes. In this context, it identifies the existence of a specific language in projects developed for competitions, in which the relation between texts and drawings assume peculiar characteristics. It sets the question of how these events generate a critical discussion and how the produced material becomes reference to the formation of specific knowledge in the subject. For that purpose, its content is organized in three moments. The first one establishes a conceptual basis and defines a methodology for the analysis of the collected projects. The second moment consists of an analysis of three fundamental events of our historiography: the Brasilia Urbanization Plan competition (1956) one of the essential realizations for the Brazilian architecture and the history of competitions; the Osaka Pavilion competition (1969) representant of a period of affirmation of a discourse and important part of the Brazilian Modern Movement development; and the Seville Pavilion competition (1991) a polemic event with an expressive repercussion, which characterizes a turbulent period of cultural transition. Following the analysis of theses events of formation the research changes its focus and, in its third part, traces a panorama of realizations from the Seville competition to nowadays. After that, it discusses a contemporary event, the USP Tolerance Museum competition (2005), in order to, from the basis generated by the study of the formation events and its reflections on the recent one, establish an approach to the current context. In the conclusions the research treats of the identification of a representational rhetoric expressed in the analyzed collection of drawings and texts and it discusses the specific message contained in each drawing and its influence in the development of the projects. It confronts the democratization of means with the contestants\' specialization and questions the accessibility to the representation techniques in counterpoint to the difficulty of exploring the available resources avoiding loosing consistence. As a second point, it discusses the values of the texts that accompany the drawings, faced as main conductors of the rhetorical option, and it identifies different strategies adopted by the authors. The last question is about the didactic role of the events while moments of critical reflection and it discusses the permanence of ideas, the formation of repertoire elements and its influence in the field of education. The research concludes its argumentation defending the understanding of the collection of works based in the rescue of documents that may reveal fundamental aspects to the portrait of an era and the formation of our values.
38
Uslu, Irem. "On Critique Of Architectural Image:reading Jean Baudrillard Through Jean Nouvel." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613170/index.pdf.
Full textAbstract:
The aim of this study is to question the relationality between conception of image, social condition of an era and architecture. With acceptance of a transition to a new kind of relationality in contemporary era, a trialectical analysis is carried on, in order to understand changes in this relationality and its effects on contemporary architecture. Image, mainly depicted as the tool for communication, loses its transcendental and ideal status and degrades to an artificial and tricky state under the contemporary social condition. Likewise, current state of both image and social condition manipulates architecture, architectural production and the position of architect. Therefore, in this study, for understanding the new social condition, it is referred to the world constituted as a system of sign in philosophy of French thinker, Jean Baudrillard which originates from new status of image. For comprehension of contemporary architecture, it is referred to the practice of French architect, Jean Nouvel who features special value to image in his architecture. Finally, for consequences of this collision and effects on architecture, it is referred to the analysis of the book of &ldquoThe Singular Objects of Architecture&rdquo
which is composed of dialogues between Jean Baudrillard and Jean Nouvel.
39
Kapusuz, Beril Bilge. "Perspective For The Reproduction Of Architectural Space: Arch524 As A Pretext." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614741/index.pdf.
Full textAbstract:
Discovery of the linear perspective of the Renaissance is momentous in terms of the appearance of a new &ldquoway of seeing&rdquo
that is central to the &ldquo
subject&rdquo
and emergence of a &ldquo
subjective&rdquo
&ldquo
way of representing&rdquo
the world. With the assumption that &ldquo
perspective&rdquo
is a cultural constituent of the &ldquo
Renaissance paradigm&rdquo
that generates the representational notions of art and architecture, perspective is considered as a &ldquo
convention&rdquo
and a &ldquo
mode of representation&rdquo
that has been influential until the &ldquo
paradigm shifts&rdquo
in the nineteenth and twentieth century. With the influx of the modernist avant-gardes, &ldquo
subjective&rdquo
linear perspective is replaced with the &ldquo
instruments&rdquo
of the new paradigm, and &ldquo
parallel projection&rdquo
becomes the mere tool for the representation and production of art and architecture introducing a new &ldquo
objective&rdquo
structure. The aim of this study is to reawaken and reconsider perspective through the &ldquo
conventions&rdquo
and the &ldquo
aberrations&rdquo
it reproduces. In this context, the course in the curriculum of METU Department of Architecture entitled Arch524 Architecture and Different Modes of Representation is covered as a &ldquo
pretext&rdquo
for this study. The theoretical framework and the structure of the course has a great impact on this study, since the course reconsider Renaissance perspective and its architectural production in a new context
within the modern architectural space of METU Faculty of Architecture Building. Following the traces of the selective works from the final exhibitions of the course, creating &ldquo
illusionistic spaces,&rdquo
and recalling the subject &ldquo
participation,&rdquo
it is questioned how perspective is &ldquo
exhibited&rdquo
and how the architectural space is reproduced.
40
Caradant, Dominique. "Application du concept d'objet a la representation et a l'utilisation de connaissances dans un systeme de conception assistee par ordinateur en architecture." Toulouse 3, 1987. http://www.theses.fr/1987TOU30082.
Full textAbstract:
Presentation du langage lorca, dans le cadre des langages orientes objets (l. O. O. ) et de trois exemples architecturaux codes a l'aide de ce systeme. Possibilite d'extension vers les systemes experts
41
Wilson, Christopher Samuel. "Remembering And Forgetting In The Funerary Architecture Of Mustafa Kemal Ataturk: The Construction And Maintenance Of National Memory." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608490/index.pdf.
Full textAbstract:
This dissertation traces the concept of national memory through the five architectural spaces that have housed the dead body of Mustafa Kemal Atatürk: the bedroom in Dolmabahç
e Palace, Istanbul, where he died on 10 November 1938
the catafalque in the Grand Ceremonial Hall of Dolmabahç
e Palace used between 16-19 November 1938
the official funeral stage in Ankara designed by Bruno Taut and used between 20-21 November 1938
the temporary tomb in The Ethnographic Museum, Ankara
and Atatü
rk&rsquo
s mausoleum, Anitkabir, in use since 10 November 1953. The dissertation firstly narrates the construction of a Turkish collective memory by means of architectural representation and politicization and secondly the physical and ideological maintenance of this memory by means of additions and subtractions to these spaces.
42
Tashfeen, Asheer I. "The Presentation of Spatial Design using Autonomous Characters in Virtual Environments." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243612250.
Full text
43
Al-Attili, Aghlab Ismat. "Factors affecting embodied interaction in virtual environments : familiarity, ethics and scale." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4910.
Full textAbstract:
The thesis explores human embodiment in 3D Virtual environments as a means of enhancing interaction. I aim to provide a better understanding of embodied interaction in digital environments in general. 3D interactive virtual environments challenge users to question aspects of their embodiment by providing new modes for interacting with space. Designers are facing new challenges that require novel means of interacting with virtual environments that do not simply mirror the way we interact within physical environments. Much of the research in the field aims to show how such environments can be made more familiar and "realistic" to users. This thesis attempts to probe the unfamiliar aspects of the medium. In this thesis I explore the concept, image and object of intimate space. How can an understanding of intimate space inform embodied interaction with virtual environments? I also investigate the role of familiarity by analysing and testing it in two contrasting interactive virtual environments. My contribution is to provide an account of familiarity as the driver behind embodied interaction in virtual environments based on human experience (from a phenomenological standpoint). In order to enhance the process of design for human embodied interaction in 3D virtual environments or in physical environments, I will identify tangible and intangible elements that affect human embodiment in 3D virtual environments and space, such as ethics and scale. Both examples are explored in interactive 3D virtual environments corresponding to real physical environments by subjects who are the daily users of the real physical environments. The thesis presents scale as a tangible element and ethics as an intangible element of human embodied interaction in space in order to highlight the different aspects that affect human engagement with space, and therefore human perception of their space and their embodiment. The Subjects’ accounts contribute toward informing the design of interactive 3D virtual environments within the context of embodied interaction.
44
Turkay, Seray. "The Orthographic Set: Making Architecture Visible." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613652/index.pdf.
Full textAbstract:
The meaning of term &ldquorepresentation&rdquo
has shifted in both relevancy and definition in the discipline of architecture with the introduction of computational design technologies. The assumption of this study is that the selected mode of representation has the power to affect the process of design and even the production of architecture. At the present time, while the discipline is witnessing a change in its tendencies and terminologies, such as from drawing to 3D modeling, from construction to fabrication, and from geometry to topology, it is crucial to look at the &ldquo
conventions&rdquo
of architectural representation that are identified through &ldquo
projections,&rdquo
and particularly the &ldquo
orthographic set&rdquo
. This study aims to challenge the prejudices against the &ldquo
orthographic set&rdquo
that consider it to be an ineffective or inadequate tool for representation in the contemporary practice of architecture following the emergence of &ldquo
digitization&rdquo
. It is the claim of this thesis that the &ldquo
orthographic set&rdquo
is actually a methodology that is still powerful in the visualization of the &ldquo
rational&rdquo
thinking processes of design, and is still a highly pertinent technique in the representation and production of architecture. With the arrival of computational design technologies to the practice of architecture, the &ldquo
visibility&rdquo
of its representations have started to blur
and considering the dialectics between architectural representation and the architectural object, while Modern Architecture can be assessed as the transformation of the orthographic set into a declaration of a stylistic manifesto, in the digital age the question arises of what makes architecture visible, and whether it is possible to come up with a &ldquo
new&rdquo
definition of style.
45
Coskun, Esatcan. "Documentation Of Architecture: Photography As An Objective Tool?" Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611407/index.pdf.
Full textAbstract:
Since its invention, photography has been accepted as a reliable tool for achitecture in terms of its power for creating objective documents of the built-form. The aim of this study, is to question the so-called objectivity and reliability of the photographic representations of the buildings by showing how architectural photography emerges also with an artistic and purely aesthetic character rather than being a mere tool of objective documentation. Taking this formal emphasis on architectural subject as a basis, a broader focus will be given to the photogenic character of the images used in architectural publications. Instead of reflecting real spatial experience, these idealized photographs are used in a given context to constitute a fiction that alters the viewer's understanding of the architectural subject. Therefore, the main question is not whether architectural photography is an objective tool of documentation which is capable to represent architecture as it really is or it is a category of purely artistic activity
it is about how photography alters our vision about architecture and constructs new ideas for architectural discourse. By taking Tabanlioglu Architects'
Dogan Media Center building in Ankara as a key study, this thesis aims to focus this alteration and question the potentials of architectural photography.
46
Machado, Oscar A. "A Philosophy of Architecture." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/205.
Full textAbstract:
To evaluate specific architectural theories, an analytic methodology was used. The specific architectural theories evaluated all have in common the fact that their formative models can explain how their original ideas manifest in the practice of architectural works. Although these architectural theories researched are thousands or in some cases hundreds of years apart, a way to compare and contrast them was to use philosophies of art common to all. This contemporary approach to analysis was done with the use of ?analytic philosophy? for its effectiveness to clarify concepts. Central aspects of architectural theories will be analyzed in detail through the lenses of four contemporary theories of the philosophy of art. They are: formalism (including neo-formalism and theories that emphasize the connection between form and function), expression theories, representation theories (including neo-representational and mimetic accounts), and theories based on aesthetic experience. Looking at architecture from the viewpoint of analytic philosophy of art provides new insights into the nature of architecture and illuminates the field in significant ways. A recommendation for further study is enclosed.
47
Yazgan, Kerem. "Designography Of Architecture." Phd thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/531228/index.pdf.
Full textAbstract:
Practice of architecture requires the performance of different kind of activities for the production of an architectural work. Architectural production is achieved through two major processes which are design and construction. Each involves activities peculiar to it. Conceptualizing and drawing are two examples of activities embedded in the design process. Generally, there is a time interval between design and construction, in that what is created is not realized immediately. Although there are time intervals between each process and each activity, they must somehow be related. The conventional view of architecture relates them with the aid of analogies or knowledge from socio-political framework. However, these methods divert architecture from questioning issues of the discipline itself. This thesis claims that architecture should be liberated from narratives that are used to relate design, built work and users. Moreover, it suggests that each activity takes shape not through reference to analogies or representations, but through acts at the instant of production. This thesis discusses the acts involved in design process. It claims that design requires
the design of its acts as well. For that, it offers ideas about the identification and operation of acts in design with reference to certain works of architecture. The investigation concerning how acts are organized opens up a new area of research in the architectural discipline: a research concerning designography in architecture.
48
Vlantis, Warwick. "An architectural agon : considering a spatial representation of adapting identities, as a temporal domination of order, in the historic CBD of Pretoria." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/60217.
Full textAbstract:
This investigation looks into creating a resilient public building within a political continuum which can remain
contextually relevant to multiple cultures and civic contexts that are in a constant state of change.
The project is considered within the political context of Agonistic Purism, which regards consensus as a temporary
order of domination. In this regard, any consensus may be challenged by another conflicting notion. Nothing can
be regarded as permanent, but rather in a state of temporary hegemony.
Architecture is permanent in relation to rapidly adapting societal life in the city. In Pretoria specifically, Buildings
do not have the ability to accommodate a constantly changing society, further becoming irrelevant within its
immediate context.
The proposed design serves as a backdrop to facilitate the temporary sociological order of domination in Pretoria.
Continued contested public claim to the building through multiple users, groups, and event scenarios require it to
be functionally, culturally and systemically adaptable in the manner it can facilitate whatever it may be required to.
The design attempts to create a permanent structure that can facilitate every individual and accommodate rapid
change in an attempt to be a democratic, however, contested built form.
Challenging the perception of built structure as private space in Pretoria, the building acts as an inclusive internal
public space.Mini Dissertation (MArch (Prof))--University of Pretoria, 2017.
Architecture
MArch (Prof)
Unrestricted
49
Zimm, Malin. "Losing the plot : architecture and narrativity in fin-de siècle media cultures." Doctoral thesis, KTH, Architecture, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-481.
Full textAbstract:
This thesis investigates the role of the term plot in mediating relations between architecture and narrativity. Examining organisational strategies in the creation of real and virtual spaces, it identifies literary works by novelists who have resisted, or subverted, plot conventions in fiction (Joris-Karl Huysmans, Edmond de Goncourt, Xavier de Maistre and Neal Stephenson), and introduces architectural spaces such as Thomas Edison’s film-studio Black Maria, and the plotless productions of early cinematography, to juxtapose concepts of plot and spatiality in a study of the production and consumption of pre-digital virtual spaces. Plot here relates therefore both to narrative sequentiality and spatial organisation – from "storyline" to "ground plan". The "plotless" narrative structure of Huysmans, Goncourt and de Maistre focuses on the interaction between man – the "writerin- residence" – and his domestic interior, functioning as an excitant or stimulant for the production of both material and imagined spaces. The media culture of late 19th century society saw the first significant attempts at moving image technology and its related spatialities – the Black Maria, the kinetoscope, the kinetograph, and the films produced by these, which had yet to find a narrative form. The architecture of the plotless novels and the proto-cinematic experiments of the late 19th century modulate between physical reality and fiction. They are ripe in their descriptive narrativity, expanding in the imagination of the consumer. Stephenson’s imaginative transposition of book media into a "Primer" – a new form of narrative media that develops its narrative content directly from the environmental context of its reader – concludes the discussion of the thesis, highlighting interrelations between fictive and real space, influencing both writer and reader. The refusal of narrative plot deprives the reader of causality, but emphasises the fictitious spatial creation in which the reader becomes immersed. These spaces, by virtue of their disengagement from plot, allow us to revisit the possibilities of virtual space without common preconceptions concerning the creation or experience of digital mediating technology.
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Veloso, Pedro Luís Alves. "Gesto técnico: interferências da modelagem digital na criação arquitetônica." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-13012012-153919/.
Full textAbstract:
A pesquisa investiga o complexo processo de informatização disciplinar da arquitetura, direcionando-se especificamente à abordagem das relações entre a concepção arquitetônica e o uso de modelos digitais. Nessa relação específica entre tecnologia informático-digital e criação toma-se como recorte privilegiado de estudo a produção das arquiteturas suportadas por técnicas digitais nas últimas duas décadas (1990-2010). Com esse intento, estipulam-se duas aproximações. A primeira evoca a compreensão da própria criação arquitetônica como prática disciplinada, por meio de uma revisão da teoria de projeto. Estabelece uma leitura do papel do homem e dos seus instrumentos no projeto arquitetônico, definindo-se critérios para o ensaio sobre as interferências da tecnologia digital. A segunda aproximação, retoma a filosofia do design proposta de Vilém Flusser. Nesse caso, a pesquisa situa os instrumentos tecnológicos como recurso de superação das limitações humanas, que, afetando as estruturas de pensamento e criação vigentes, delimitam novas relações entre homem, conhecimento, criatividade e realidade. Em especial são estabelecidas incursões teóricas a partir de conceitos propostos pelo filósofo: \"gesto de fazer\", \"aparelho\", \"imagem-técnica\", \"gesto do cálculo e da computação\" e, por fim, \"o programa\". Essas incursões propõem diálogos com outros teóricos do campo do conhecimento e estudos de caso que endossam a argumentação. Por fim, estabelecem-se considerações críticas sobre as interferências da tecnologia informático-digital na arquitetura, propondo-se perspectivas para a criação pautada nos modelos digitais.This is a research about the complex computerization of Architecture discipline. It focuses on the relationship between architectural design and use of digital models. In this specific context between digital technology and human creation, the study of the production of Architecture supported by digital techniques in the last two decades (1990-2010) is a privileged study object. Considering this, the study stipulates two approaches. The first refers to the understanding of the architectural conception as a disciplined practice through a review of Design Theory. It establishes a lecture on the role of man and its tools in architectural design, defining criteria for the discussion on the influence of digital technology. The second approach uses the design philosophy proposed by Vilém Flusser. In this case, the research comprehends the technological tools as a means of overcoming human limitation. It affects the structures of thinking and creating, marking new relations between man, knowledge, creativity and reality. In particular, incursions are established from theoretical concepts proposed by the philosopher: \"gesture of making\", \"apparatus\", \"technical image\", \"gesture of calculation and computation\", and \"the program\". These approaches raids propose dialogues with other theorists of the field of knowledge and case studies that endorse the argument. Finally, they settle critical considerations about the influence of digital technology in Architecture offering up prospects for the creation based on digital models.