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1
Kattein, J. "The Architecture Chronicle : diary of an architectural practice." Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/18941/.
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Most books on architecture start when a building is completed, carefully editing out any evidence of the design and production process. As a result, architecture is often seen as a product rather than a process. The Architecture Chronicle is about architecture as a practice. It has two parts. The book Blur: the Making of Nothing, by Diller and Scofidio, has informed the format of part one. Blur book reports on the design and construction process of Blur building from initial design ideas to the completion of the building. Part one is a diary reporting on the realisation of five stage sets and one urban intervention realised over a period of four years, starting on 16 December 2003. The diary is intercepted by references that are, where appropriate, carefully integrated in the overall design. The book Delirious New York: A retroactive Manifesto for Manhattan, by Rem Koolhaas, tells the story of the building of New York with the author taking on the role of a ‘ghost writer’1, putting into perspective the ‘mountains of evidence’2 to discover patterns, methodologies and strategies. Part two is such a ‘retroactive manifesto’3, mining the projects in the diary for strategies that re-appear and fortify throughout The Architecture Chronicle. In his book Words and Buildings: A Vocabulary of Modern Architecture, Adrian Forty observes that the pre-Renaissance architect worked on the building site amongst other tradesmen in an environment of dispersed authorship. It was his ability to draw and to write, acquired during the Italian Renaissance, that allowed the architect to remove himself from the site of construction and to upgrade his status from anonymous craftsman amongst others to artistic creator. New procurement methods have changed the role of the architect in contemporary construction projects. To minimise liability, and as a result of the increased specialisation of building professionals, contemporary buildings are designed by a design team. This threatens the status of the architect as artistic creator. Today, the architect operates once again in an environment of dispersed authorship as a member of the design team working alongside other design professionals. Drawings are more often produced by visualisers, engineers and sub-contractors than by architects while text is more often written by surveyors or specifiers. To maintain his status as artisitc creator, the architect in The Architecture Chronicle takes on three distinct characters. The architect-inventor challenges conventions and questions the social status quo. The architect-activist transgresses the boundary of the profession and enters the construction process. The architect-arbitrator engages the audience to realise the ambitious project. The Architecture Chronicle concludes that the contemporary architect still draws and writes, but that it is often the architect’s ability to engage and direct that asserts his or her status. To assert his or her status in the design team, the architect’s ability to talk and to act is more important than his or her ability to draw and write.
2
Boughan, R. S. Trajn. "Strategic expansion of architectural services through project management : toward excellence in architecture as a public good /." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14740138.
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Ng, Kal. "Architectural cinema a theory of practice for digital architectural animation /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B4308574X.
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Hook, Martyn Richard, and martyn hook@rmit edu au. "The act of reflective practice; the emergence of iredale pedersen hook architects." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100209.150125.
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The Act of Reflective Practice explores the manner in which three individuals, young architects, came together and the manner in which their inherent value systems inform and determine the way they produce architecture. The research offers a systematic distillation of the common value systems behind the individuals who comprise iredale pedersen hook architects, identifying the particularity of each practitioner in terms of their expertise, experience and character within the collective and the situations from which the individuals have emerged. The PhD tracks the evolution of the practice and identification of its architecture through the RMIT Invitational Masters of Architecture by Project program and PhD by Project program, contextualizing the work through the establishment of a network of mentors and peers and ultimately locates the work locally, nationally and globally. When introduced to the idea of the 'Reflective Practitioner', the architecture of iredale pedersen hook has taken a significant evolutionary step where the three individuals have begun to operate in a more cohesive manner and the inherent value system and concerns behind the work are now able to inform the future direction of the architecture. The research also explores how this shift has expand the character of the work and transform the manner in which the architecture is conceived, described and ultimately produced. Through the PhD and the accompanying Masters by my two practice partners and collaborators, Adrian Iredale and Finn Pedersen, the primary concerns embedded within our work have been isolated and a systematic but qualitative method developed that may assess the impact of these concerns across a selection of iredale pedersen hook projects. The PhD defines a methodology, The Field of Concerns, by which the projects produced by iredale pedersen hook architects may be scrutinised and assessed in a qualitative framework, based on the agreed parameters and inherent value system underpinning the work. The definition of the Field of Concerns is critical in the ability to establish an identity for each project and place it within the evolutionary output of the practice. Subsequent testing of the projects against the Concerns through the creation of spider diagrams enables the establishment of a visual process for evaluating the success of the projects against the aims of the practice and can be applied throughout the design process and upon completion. Together, the process of clarification, the questioning of our ability to claim authorship, and presence of all partners in each project may offer a qualitative framework for other 'Self-Curating Collectives' to establish criteria for exploring the evolution of their work.
5
Dean, Penelope. "Delivery without discipline architecture in the age of design /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779835461&sid=6&Fmt=2&clientId=48051&RQT=309&VName=PQD.
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Ng, Kal, and 吳家龍. "Architectural cinema: a theory of practice for digital architectural animation." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B4308574X.
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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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Pedersen, Finn Tingleff, and p@iredalepedersenhook com. "Remotely Sustainable." RMIT University. Architecture & Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090506.140845.
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Remotely Sustainable focuses on a specific line of work that could be called 'remote Indigenous architecture'. I define this as architecture for Aboriginal clients who are the traditional owners of their homelands, where these projects are built. This context is critical because the issues I discuss may be relevant to other Indigenous communities in Australia. However, the customs, culture, bureaucracy and conditions mean I must caution anyone in applying any of these ideas to another community without deep consideration of and good consultation with that community. The context also extends to the broader framework of federal and state governance. As architects and citizens it seems there is little we can do to impact on these systems, but if the government and agencies do not make appropriate decisions, there is little chance of improving the outcomes for Aboriginal people. Working in this field as an architect is extremely hard. There are almost insurmountable problems that arise from ineffective government agencies, difficulties in communicating with clients, extreme distances to travel, physical discomfort to be endured and very little in the way of fees to perform these tasks. The difficulties begin at the consultancy stage and continue throughout the project until occupation by the clients. There is great difficulty in ensuring that the builders and tradespeople do their jobs properly and ensuring they return to sites to fix defective work is problematic. The budgets allocated to Indigenous housing projects are often well below that required to produce buildings that satisfy the clients' needs and expectations. Finally, there is little appreciation of the work that architects do in these communities, possibly because in some cases architects do their job badly. This Master of Architecture Project uses case study buildings by iredale pedersen hook architects to reveal some of the difficulties faced when delivering these projects, in order to encourage the development of better solutions in the future.
9
Baker, Abby Marie. "Meditations on Selle Generator Works and Adaptive Reuse Practice." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1431430165.
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Cheng, Yan-oi Debbie. "Putting practice into practice a journey of positioning 15 years of architectural experience into teaching the associate degree of architectural studies /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36789094.
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Iredale, Adrian Steven, and i@iredalepedersenhook com. "Constructed Isolation." RMIT University. Architecture & Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090505.155318.
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Constructed Isolation investigates the development of a collection of architectural devices and operations that respond to and have evolved from the specific nature of residential suburban Perth, Western Australia. These devices explore the potential for ambiguity to create space that transforms the occupant from being a passive observer into a dynamic participant. It collates a collection of projects by iredale pedersen hook architects and examines the devices under the thematic concerns of geometry, place, time and craft. The Masters Thesis identifies the potential for Perth's geographic isolation to manifest as a positive construct, developing a unique architecture that opportunistically reinterprets past traditions to create individual environments. 'Constructed Isolation' is an ambitious idea where identity may begin with the individual dwelling and collectively evolve to create a constellation of considerable influence. It demonstrates how these devices may result in new propositions for suburbia, how big ideas with small-scale projects and a little irrational joyousness may contribute to or at least aspire to create change. These small projects will be viewed as a continuation of Perth's 'Heroic Period of Modernism', the fertile and ambitious but incomplete project from the 1950s and '60s. This will also focus on the development and change that occurred as a result of the reflective practice process, while identifying potential opportunities for the future.
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Anderson, Curtis Warren. "The relationship between design theory and architectural practice." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23406.
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鄭仁愛 and Yan-oi Debbie Cheng. "Putting practice into practice: a journey of positioning 15 years of architectural experience into teaching theassociate degree of architectural studies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36789094.
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Turgay, Ozce. "Hands-on Building Practice In Architectural Education: Metu Summer Construction Practices." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/2/12606915/index.pdf.
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This thesis explores the position of hands-on building practices in architectural education by focusing on METU Summer Construction Practices (ARCH190), which has been conducted in the rural sites of Turkey since 1958. It is believed that the summer construction practice is a tool of education to acquire knowledge of architecture by building 1-to-1 scale constructions. METU Summer Construction Practices are examined by asking the questions of what is learned and how is learned in order to understand both the content and objectives and also the pedagogic strategies, learning methods of the summer construction practices. The main purpose of summer construction practices is learning how to build and ways of making architecture. The basic learning methods of METU summer construction practices are determined as learning by doing, learning with collaborative working, task-oriented and student-based active learning, integrating the tasks of designing-building, and learning from working with and for the context.
This study emphasizes that learning by building 1-to-1 scale constructions are complementary of learning in design studios, and it should become an integral part of the whole learning process in the design education. Hands-on building practice is a productive process that supports the design education. Students are expected to derive and produce knowledge by building full-scale constructions in the real site. The thesis argues for the fact that hands-on building practice is to be more than the obtaining of knowledge and skill of making architecture only by instructions. Learning process is to be based on the simultaneous involvement of thinking-doing (taking action)-skill-production of knowledge rather than a linear process of knowledge-skill-taking action.
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Sun, Hao. "Total Quality Management: A Future in Chinese Architecture Practice." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1217299513.
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Thesis (M,S,)--University of Cincinnati, 2008.<br>Advisors: David Saile (Committee Chair), Gordon Simmons (Committee Co-Chair). Title from electronic thesis title page (viewed Apr. 19, 2010). Includes abstract. Keywords: Architectural practice; architectural service marketing; globalization; Chinese architects; management; quality control; social aspects; Total Quality Management. Includes bibliographic references.
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Delport, Hermie Elizabeth. "Towards design-build architectural education and practice : exploring lessons from educational design-build projects." Thesis, Cape Peninsula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2393.
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Thesis (DTech (Architectural Technology))--Cape Peninsula University of Technology, 2016.<br>This research explores design-build projects in
architectural education. The design-build studio is
an alternative to the conventional theory-oriented
studio. In design-build projects students both
design and build real buildings. Internationally,
design-build projects have increased rapidly in
architectural programmes over the past decade.
Literature suggests that design-build projects
are relevant for architectural education, but that
there is a definite need for more theoretical and
critical exploration.
Design-build projects in the context of this study
are defined as socially responsive, inhabitable,
full-scale investigations. The value of this
pedagogical construct for educators, students,
architectural practice and society in general was
an underpinning theme guiding this exploration.
Design-build projects are located on the
boundary between theory and practice. This
research provides a view into my journey across
this boundary, immersing myself in both the
theoretical and practical. Principles of the designbuild
process and design research mapped the
research path. The research process commenced
with the initiation of and active participation in a
number of design-build constructions. Through
critical reflection on the construction experiences
and the literature, specific pedagogical and
practice implications were explored. Cultural
historical activity theory provided me with a
sense of theoretical direction in this journey.
Collaboration as a pedagogical tool and the
possibility of exposing students to alternative
practice possibilities were foregrounded as being
uniquely situated within the design-build project.
The value of this research is the contribution
it makes to the current international call for a
clearer understanding of the pedagogical and
practice merit of design-build projects.
17
Cohill, Andrew Michael. "Patternmakers and toolbuilders : the design of information structures in the professional practice of architecture /." Diss., This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-05042006-164522/.
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Armstrong, Jeffrey Kent. "The homeowner as designer : a method for improving architect-clinet communication." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61677.
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Szumlic, Thomas Stephen. "Architectural Apprenticeship: A Case Study of Exemplary Practice." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7095.
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The purpose of the study was to describe the nature of the architectural apprenticeship experience from a curricular, instructional, social, and transformative perspective to help interns move from novice status to entry-level expertise in architectural practice. The study examined the apprenticeship experience from a holistic perspective to develop a better understanding of the architectural internship program. To meet the study purpose and inquiry, a case study research design was used to explore and describe the nature of the apprenticeship experience from the perspectives of three stakeholder groups: the interns, the mentors, and the members of the community of practice (CoP). Overall, as evidenced by the perspectives of the Interns, the Firm serving as the case study emphasized all-aspects of architectural practice as the basis for the development of a holistic apprenticeship experience. That is, the Interns participated in the whole of the Firm’s architectural practice. Additionally, the Firm used work- and project-based learning as the vehicle for the apprenticeship curriculum and instruction. As a result, the Interns were grounded in authentic learning and work contexts requiring the application of architectural knowledge and skills. Further, because of the all-accepts of architectural practice and the grounding of work- based and project-based learning, the interns purposefully progressed in expertise through increased participation in architectural projects requiring enhanced demands in terms of knowledge and skills. Study findings highlighted the role of a holistic approach to the apprenticeship experience, the value of immersion in all aspects of architectural practice, and the firm’s commitment to be engaged in a process of shared transformation. As such, related findings should be helpful in the conceptualization and implementation of the architectural apprenticeship experience in the field.
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Gabriel, Gerard Cesar. "COMPUTER MEDIATED COLLABORATIVE DESIGN IN ARCHITECTURE: THE EFFECTS OF COMMUNICATION CHANNELS ON COLLABORATIVE DESIGN COMMUNIATION." University of Sydney, 2000. http://hdl.handle.net/2123/3961.
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Doctor of Philosophy (PhD)<br>Up till now, architects collaborating with other colleagues did so mostly face-to-face (FTF). They had to be in the same space (co-located) at the same time. Communi-cation was ‘spontaneous’ and ideas were represented, whether verbal or non-verbal, by talking and using ‘traditional drawing tools’. If they were geographically displaced, the interaction was then space affected as well as the probability of being time affected. In this case communication was usually mediated through the tele-phone, and graphically represented ideas were sent by Fax or posted documents. Recently, some architectural firms started using modems and Internet connections to exchange information, by transferring CAD drawings as well as design informa-tion, through e-mail and file transfer protocol (FTP). Discussing ideas in architecture, as a more abstract notion, is different from discuss-ing other more concrete arguments using video conferencing. It is more important to ‘see’ what is being discussed at hand than ‘watch’ the other person(s) involved in the discussion. In other words the data being conveyed might be of more impor-tance than the mode of communication. Taking into consideration recent developments in computer and communication technologies this thesis investigates different communication channels utilised in architectural collaboration through Computer Mediated Collaborative Design (CMCD) sessions as opposed to FTF sessions. This thesis investigates the possi-ble effects these different channels have on collaborative design in general and col-laborative design communication in particular. We argue that successful CMCD does not necessarily mean emulating close prox-imity environments. Excluding certain communication channels in a CMCD envi-ronment might affect the flow and quantity of synchronous collaborative communica-tion, but not necessarily the quality and content of mutually communicated and rep-resented design ideas. Therefore different communication channels might affect the type of communication and not necessarily the content of the communication. We propose that audio and video are not essential communication channels in CMCD environments. We posit that architects will collaborate and communicate design representations effectively although with some differences, since those two chan-nels might cause interruptions and successful collaborative sessions can take place without them. For this purpose we conducted twenty-four one-hour experiments involving final year architecture students all working to the same design brief. The experiments were divided into three categories, FTF, full computer mediated collaborative design sessions (CMCD-a; audio-video conferencing plus whiteboard as a shared drawing space) and limited computer mediated collaborative design sessions (CMCD-b; with Lambda MOO used as a chat medium plus whiteboard as a shared drawing space). The experiments were video and audio taped, transcribed and coded into a custom developed coding scheme. The results of the analysed coded data and observations of the videotapes provided evidence that there were noticeable differences between the three categories. There was more design communication and less communication control in the CMCD-b category compared to the FTF and CMCD-a categories. Verbal communi-cation became shorter and straight to the point in CMCD-b as opposed to spontane-ous non-stop chat in the other two categories. Moreover in CMCD-b the subjects were observed to be more reflective as well as choosing and re-examining their words to explain ideas to their partners. At times they were seen scrolling back through the text of the conversation in order to re-analyse or interpret the design ideas at hand. This was impossible in FTF and CMCD-a sessions, since the sub-jects were more spontaneous and audio representations were lost as soon as they were uttered. Also the video channel in the CMCD-a category was ignored and hardly used except for the first few minutes of the experiments, for a brief exchange of light humour on the appearance of each subject. The results obtained from analysing the experiments helped us conclude that differ-ent communication channels produce different collaborative environments. The three categories of communication for architectural collaboration explored in our ex-periments are indicative of the alternatives available to architects now. What is not clear to architects is why they would choose one category over another. We pro-pose that each category has its own strengths and difficulties for architectural col-laboration, and therefore should be selected on the basis of the type of communica-tion considered to be most effective for the stage and tasks of the design project.
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Williams, Aidan. "Architectural emptiness : on a reinterpretation of the architectural implications of Heidegger's concept of dwelling." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/fe948d78-8f2e-44e9-8cbb-53fe7e2b07d8.
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This thesis reinterprets the architectural implications of Heidegger’s concept of dwelling. In particular it stresses the importance of the concept of poetry on dwelling that was outlined in ‘ ... Poetically Man Dwells ... ’. This essay from Heidegger’s late period has been less frequently quoted in the literature of the architectural profession than some of Heidegger’s more well known essays. The importance of poetry is developed in this thesis through creative practice explorations of Heidegger’s philosophy supplemented by deep textual analysis. By developing Heidegger’s concept of poetic dwelling, it is possible to reinterpret his ideas about building in richer ways than have previously been carried out in architecture. We will discover that space has a particular kind of emptiness that allows for poetic experience. Ways of building that manifest this emptiness can be considered building for dwelling. The focus on poetic dwelling unravels previous architectural interpretations of Heidegger’s concept of dwelling. These interpretations tend to focus on the creation of a certain type of product rather than on enabling the poetic dwelling process. Consequently, by shifting this understanding of dwelling new links can be suggested to the work of architectural writers and practitioners who hitherto have not been considered to be Heideggerian.
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Bennetts, Helen. "Environmental issues and house design in Australia : images from theory and practice /." Title page, contents and abstract only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phb472.pdf.
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Tavernor, Robert William. "Concinnitas in the architectural theory and practice of Leon Battista Alberti." Thesis, University of Cambridge, 1985. https://www.repository.cam.ac.uk/handle/1810/239042.
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In his treatise on architecture, de re aedificatoria, Leon Battista Alberti (1404 - 72) described Beauty in architecture as concinnitas: a harmony or congruity of the various parts of a building assembled according to principles :summarised by three categories of numerus, finitio and collocatio . This term has been interpreted variously and most famously in recent times by Rudolph Wittkower. Starting with his and other scholars' interpretations, this dissertation proposes a new definition for concinnitas based on studies of Alberti's architectural theory and practice and the work of his contemporaries. Chapters 1, 3 and 4 of the dissertation focus on the application of numerus and finitio in Alberti's architectural practice and observations made here are supported by separate historical studies of the buildings (be found in the appendices) and survey drawings (bound together at the end of the dissertation). Chapter two is a study of the symbolic references, traditions and themes which appear to underlie the design of centralised churches and points raised here are expanded in later chapters. The third category, collocatio, is examined in the final chapters when the continuity of tradition in Alberti's approach to architecture is outlined within the framework of the city and the urban ensemble of church, palace, piazza and loggia.
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Brouwers, Stephen Frans. "Chinese architectural practice and the spatial discourse of Vancouver's Chinatown." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2440.
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The thesis examines Chinese architectural practice within the city of Vancouver as a means of identifying the historical extent of Chinese lived social space and to challenge the notion that Vancouver's Chinatown existed as a clear and separate spatial category. By using a definition of space that includes its temporal dimension the thesis argues that Chinatown spatially is a dynamic phenomenon that has exhibited tremendous changes over the last 130 years. The intention of the thesis is two part, first it illustrates the historical significance of early Chinese architectural practice, and secondly, it begins to construct a spatial discourse that considers the totality of Chinese lived social space and its influence on the formation of the city of Vancouver.
The research specifically examines Chinese hybrid architectural practices that have been organized as a genealogy in an attempt to provide a means to identify and explain multiple points of origin from multiple sources. These practices have been placed within a series of maps defined by the Canadian Pacific Railway's subdivision of District Lot 196 and include Chinese land occupation, city zoning boundaries and major urban development proposals. The study is divided into fourteen discrete architectural cases. Although the cases are organized into three general periods the intention of the research is to identify the specific historical and contextual circumstances that produced and inform each case. The intention was to identify how hybrid architectural practices were used to negotiate space and produce new social practices.
The thesis reaffirms the social, historical and cultural significance of the architecture produced around the area identified as Chinatown. The area is populated with a number of historically significant buildings, comprising a number of distinct architectural practices that have produced some unique spatial conditions. The study also clearly refutes the conceptualization of Chinatown as a coherent or accurate historical image of Chinese lived social space within the city of Vancouver. The research identifies fundamental problems in the conception and historical description of Chinatown as a discretely defined space.
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Grignon, Marc. ""Loing du Soleil" : architectural practice in Quebec City during the French regime." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/66728.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.<br>Supervised by Stanford Anderson.<br>Includes bibliographical references (v. 2, leaves 337-364).<br>In my dissertation, I study the conditions in which architecture was produced in Quebec City, capital of New France, at the end of the seventeenth and at the beginning of the eighteenth century. The first part deals with the attitude of institutional clients, for whom buildings constituted an important means by which to establish power and social status in the colony. The architectural qualities of their buildings, expressing the prestige of the various institutions, were by the same token a source of competition and conflict among them. This competition was witnessed by the local population through its impact within the city fabric as well as by Louis XIV by means of city views that were regularly sent to France. The second part of my dissertation presents the careers of the architects Claude Baillif, Hilaire Bernard de La Riviere, Joseph Maillou, and Jean-Baptiste Maillou. All were master masons who earned the title of architect by working for prestigious clients and by participating in the design of important buildings. However, the desire for social promotion led some of these builders away from architecture. Some attempted to go into trade, but the most likely way for an architect to improve his social status was for him to seek a small royal office such as those of public notary or land surveyor. In that way, the attitudes of architects and their clients were characteristic of French ancien regime society as a whole, a society in which, on one hand, social status was perceived through architecture, clothing, food, and the like and, on the other hand, social ascension often led to changes in activity that appear quite radical today.<br>by Marc Grignon.<br>Ph.D.
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Bentel, Paul. "Modernism and professionalism in American architecture, 1919-1933." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12561.
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Thesis (Ph. D. in Architecture and Environmental Studies)--Massachusetts Institute of Technology, Dept. of Architecture, 1993.<br>Vita.<br>Includes bibliographical references (v. 2, p. 371-395).<br>This dissertation examines the dominant conventions of architectural practice in the United States between 1919 and 1933. It proceeds from two assumptions: first, that by the 1900s, both the American Institute of Architects (AlA) and the numerous professional journals available to architects across the country solidified the profession nationally and yielded a coherent field within which practitioners could debate the content of their professional service; second, that within the context of its national discourse, the architecture profession drew inspiration for its effort to identify a social function for itself from the White City Movement which forged a link between the architect and a national political, industrial and cultural leadership drawn together by American Progressivism. The study focuses on the period following the demise of the White City Movement during which American architects cast off their allegiance to its traditional aesthetic formulae but retained the aspiration to associate themselves and their work with prevailing trends in a national political and social milieu. It demonstrates that in their efforts to redefine the terms of their professional service, American architects invoked the popular terminology of Scientific Management, Technocracy, Fordism, and the nostrums of the 'New Era' and promised 'efficiency' in their work and in the industries they presumed to manage. It reveals that within these efforts of professional redefinition, the professional ideology supporting the architect's aspirations for work converged with a modernist idealism espousing the value of technical expertise as a medium of social emancipation and progress. By giving evidence of a widespread and indigenous modernism that perceived a social benefit in the architect's capacity to utilize industrial technology, this project amends the dominant historical view which attributes the re-emergence of an American Modem Movement in the 1930s to the 'diaspora' of European artists and intellectuals before to WW II. This study has two parts. In Part One, it examines first the canons of Beaux-Arts Classicism and their gradual dissolution after World War I under the pressure of criticism from writers such as Ralph Adams Cram, Louis Sullivan and Lewis Mumford and through the work of the AlA's PostWar Committee; and second, the institutional structure of the AlA and its organizational ideologies in the 1920s. In Part Two, it looks more closely at the evolving conventions of professional service, demonstrating that American architects reached a consensus about the necessity of a 'new' architecture which identified itself in three areas: first, in its rejection of the Beaux-Arts method of interpreting a building program through a stylistic rendition of its social 'character' in favor of design strategies that maximized usable space; second, in its abandonment of the visual paradigm of the White City in favor of the expansionist rhetoric of Regional Planning; and third, in its disavowal of stylistic conventions based on historical precedent in favor of styles that both demonstrated a discontinuity with the past and celebrated an evolving consumerist 'utopia' populated by industrial commodities.<br>by Paul Louis Bentel.<br>Ph.D.
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Pereira, Claudio C. (Caludio Calovi) 1961. "Architectural practice and the planning of minor palaces in Renaissance Italy, 1510-1570." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/69404.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1998.<br>Includes bibliographical references (v. 1, leaves 157-164).<br>This dissertation proposes to study how the commission and design of minor palaces contribute to the understanding of architectural practice in early 16th century Italy. The particular nature of the small urban palace as a reduced and less expensive version of larger palaces and its recurrent nature in the practice of architects malke this type of building very important in illustrating the changes in the profeSSion at that time. Minor palace commissions also show architects dealing with a growing private market for the exercise of the profession: in Rome, the architect's clients belong to a lesser nobility composed of merchants and professional men (doctors, lawyers, notaries, artists, diplomats, bureaucrats) mostly connected to the Papal civil service. Moreover, the planning of these buildings manifest the increasing specialization of the profession at that time, when expertise in Ancient Roman architecture and the mastering of new instruments of representation (orthogonal projection, perspective, sketches) were added to the usual technical and artistic skills required of an architect. The dissertation focus on how architects define a planning procedure to cope with the new set of circumstances related to the commission of a minor palace (budget, site, program, recurrence). The design of a palace comprised different functions arranged in horizontal sequence with a few vertical connections; therefore, drawings of plans were the central instrument of their design. The dissertation is primarily based on the study of original plans that illustrate the working methods of 16th century Italian architects. Three of them were chosen (Antonio da Sangallo the Younger, Baldassare Peruzzi and Andrea Palladio) based on their activity as ~esigners of minor palaces and the existence of a substantial amount of plans for this kind of building by them. A second part of this work presents a general view of the working procedures employed by these three architects in commissions of minor palaces. Through the study of their drawings and planning procedures, this dissertation intends to illustrate the establishment of the modern sense of architectural practice in 16th century Italy as shown through the design of minor palaces.<br>by Caludio C. Pereira.<br>Ph.D.
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Baharoon, Walid A. M. "Architect-user communication process through the use of computers in multi-unit housing design." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59621.
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It is commonly believed that by involving the user in the design process of his dwelling unit, a higher level of satisfaction could be achieved. Attempts have been made in several countries to include users in the design process of their units using different communication media including computers. However, today computers have been implemented primarily for the use of architects. This study aims at narrowing the architect-user communication gap by using computers in multi-unit housing design. The author reviews past work in user involvement in the design process through the use of computers and the possibility of introducing computers into the North American homebuilding Industry. Through an algorithm the author will demonstrate how the communication process can take place. Two simulations were conducted in order to test the proposed system in a realistic situation. The results of the study suggest that the user is able to make his own decisions, control his budget and satisfy his needs independently within a reasonable amount of time. These results could have further positive impact on the architect, user, building industry and the built environment.
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Koch, Daniel. "Structuring Fashion : Department Stores as Situating Spatial Practice." Doctoral thesis, KTH, Arkitektur, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4321.
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This dissertation investigates department stores as complex spatial and cultural buildings, in which values and ideas are expressed, negotiated, and produced. Situated in a cultural context commonly referred to as a society of consumption, where identity and social structures are worked out through consumption rather than production, the query turns to a specific act of consumption: that of shopping. More precisely, it investigates the role of space and spatial distribution in shopping. How space is distributed, arranged, or ordered allows for different possibilities in constructing categories from which the shoppers are to make a selection, and for how these categories can be related to one another, which informs the shoppers what belongs together, what is to be held apart, what is important, what is private, what is public, and what is of higher or lower status. It further supports, prevents, and promotes different routes and choices, giving different patterns of presence, publicity, privacy, purpose, etc. that not only affects the atmosphere of the spaces, but makes suggestions of what is found in them. These questions are investigated through a series of conceptual laboratories, each addressing the problem from different standpoints and focusing on different parts of the question: from how categories are constructed and given character, to how they form systems of values, how shoppers are trained in aesthetics of fashion, how relative degrees of presences are made use of, and how they appear influenced by spatial distribution. In this, the work shifts between qualitative and quantitative methods, each completing and evolving the other. It shows that to a remarkable degree, much of the emergent values and ideas can be understood through the filter of spatial configurations, and especially when treated as two systems: one of exposure and one of availability. As similar operations also affect patterns of movement and being, which enables them to also be related to publicity, privacy, and other social characters, the department stores can be understood as not only commercial spaces but as sites of negotiation of public culture. As such, both the analytic model and the more specific findings have important implications for architectural theory in general.<br>QC 20100803
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Kalligas, Stefanos A. "A computing environment for the application of system building in architecture : a computer based building system within a general computing environment for architectural practice." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/75513.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH<br>Bibliography: leaves 209-218.<br>by Stefanos A. Kalligas.<br>M.S.
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Tovivich, S. "Architecture for the urban poor, the 'new professionalism' of 'community architects' and the implications for architectural education : reflections on practice from Thailand." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1306880/.
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Conventional architectural practice and education has long been limited to serving a minority of the world's elite population. This research is interested in extending the boundaries of architectural practice and education. It sets out to explore the role of architects in addressing the emergence and growth of informal settlements which represent the majority of the built environment in most developing countries. It traces the transformation from a providing paradigm to a supporting paradigm in global housing policies for the urban poor which calls for a new role for architects and the architectural profession – the 'architecture of empowerment'. As a contribution to this paradigm shift, the research focuses on architectural design processes 'with' poor urban communities in Thailand as a case study. Reflections on the practice of NHA, CODI and CASE architects are examined and compared through an investigation of the relationship between their values, knowledge and skills, in order to understand not only the challenges faced in their practice, but also the implications for architectural education. The research illustrates that architects, who employ the architectural design process as an empowering tool for community members, work as 'reflective educators' encompassing the professional roles of 'provider', 'supporter' and 'catalyst'. The conditions underlining each role include (1) the architect's personal values, knowledge and skills; (2) organizational policies and supports; and (3) clients' values concerning participation and participatory design process. The research argues that the knowledge and skills of the architect as provider remain important, but not enough to deal effectively with the challenges posed by informal settlements. Also crucial are the new architectural values, knowledge and skills related to the roles of supporter and catalyst which relate respectively, to design to support community members to make their own decisions; and empower them to believe in themselves, collectively act for themselves and reflect on their actions. This calls for a transformation in the power relations between architects and their clients in the design process, and when addressed in an 'alternative architectural education', also calls for a transformation in the power relations between architectural tutors and their students in the classroom and design studio, and the promotion of a reflective educational practice.
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Doherty, Grant E. "How BIM and integrated practice may change architectural, engineering, and construction education." Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1944186301&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Yuncu, Onur. "Research By Design In Architectural Design Education." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12610061/index.pdf.
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Research by design refers to the design of architectural research as an integral part of architectural design processes. In 1980s, it emerged as a third way in design research that was dominated until then by the methods of natural sciences and humanities. With this new formulation of design research, a methodological and epistemological transformation occurs, leading to the integration of practical knowledge into architectural research. The primary epistemological question transforms from knowing what design is and knowing how to design to knowing what through the act of design. The integration of the act of design in research transforms the status of design in design research from being an object of inquiry to being a research approach.
In the literature on research by design, this transformation is often related with Donald Schö<br>n&rsquo<br>s conceptualization of &ldquo<br>reflective practice.&rdquo<br>The main discussion of reflective practice is primarily methodological rather than epistemological. Although it provides methodological insights, it is not sufficient to constitute an epistemological basis for research by design. Thus, the epistemological basis of research by design has not yet been adequately defined. In this study, the notion of &ldquo<br>reflective practice&rdquo<br>is investigated in a broader context relating it to its sources in the concepts of &ldquo<br>tacit knowledge&rdquo<br>and &ldquo<br>action research.&rdquo<br>A conceptual framework for research by design is constructed by relating these concepts with the discussions on research by design and with practical philosophy, the implications of which has remained rather uninvestigated in this context. Aristotle&rsquo<br>s elaboration of knowledge generation in action and the concept of phron&<br>#275<br>sis (practical knowledge, prudence, or practical wisdom) constitute the underpinning of this conceptual framework.
The conceptual framework that is constructed on the basis of the key concepts in practical philosophy is discussed in the context of architectural design education. When architectural design education is formulated as a process of research by design within this framework, knowledge generated in the educational design processes promises not only to improve the particular educational context and architectural education but eventually to contribute to architectural knowledge.
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Daniels, John Dennis II. "Edifying Design-Build: Towards a Practice and Place based Architectural Education." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/82553.
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Architecture in its primitive form enacted a relationship of making between intentions and outcome. Post- industrialized modernization has created a multiplication of complexities, resulting in a profession that has disengaged theory and practice through the specialization of the architect and the craftsman. Design-build has the ability to be an educational process that re-engages a direct dialog and collaboration of the roles of designer and maker, reinforcing the resilience of culture and place through joining intentions and built reality. Design-build projects have the ability to be an integral part of design education because of their ability to engage in physical manifestation that is fundamentally different than formal education of designing through drawing or design at a distance. Exploring the Washington Alexandria Architecture Center's Design-Build ethos as a primary case study, I intend to support this claim by providing evidence of how a Design-Build process can engage the designer, tools, methods, and materials, with the cultural, social, and environmental context that is sensible to place. By utilizing creativity and ingenuity of available resources as an opportunity for adaptation, an organic sense of place is perceptible, the place is created. Representation beyond drawing encourages one to be proactive in connecting the qualities and characteristics of existing space; this leads to a sustainable practice of continued investment in object, materiality, time, and place. Hybrid approaches to design, or the assembly of both design and building as an academic practice, are no longer insular, but are encouraged as a way to interrelate and connect the built environment with its unbuilt opportunities and impressions.<br>Master of Architecture
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Osain, Enato James. "A conceptual framework for the strategic practice of architecture in an uncertain external environment : a study of the implications of the recession of the early 1990s on UK architectural practice." Thesis, University of Nottingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320020.
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Korkuti, Arian. "Ratiocinium in the Architectural Practice of Giuseppe Terragni and its role in the relationship between architecture and the city during the modern movements in Italy." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/101842.
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The architectural practice of Giuseppe Terragni (1904-1943) takes place during the twentieth century modern social movements, as architecture and urban form follow a major shift in the political conditions, in Italy and beyond. This dissertation is a demonstration of the quest for the rational in the architectural practice of Giuseppe Terragni. Furthermore, it sorts out the role of Terragni's practice in the dichotomous relationships between city and architecture as well as state and project. Initially, it is the obligation of this dissertation to address questions of principles, in order to build a plenum for the relationship between the city and architecture. It traces movements through translation and transformation of architectural impression, in form and type, and its meta in concinnity, in terms of legacy, legitimacy, and the rational in idea.
THESIS. The implicit rational in architecture exists in hierarchical order that allows for it to form unity of the whole that any of its constituents cannot form individually. It should be the architect's duty to fully reconcile all the elements in action – for and against form – in architecture, and demonstrate that the resultant is not a mere compromise but a necessary optimal condition. Therefore, I start with a stance in which I attempt to show how Giuseppe Terragni, in his ratiocinium, explicates the implicit rational in architecture, against the sea of protean political conditions.
Giuseppe Terragni can be understood in his convictions which we may be able to sort out through his words, works, and deeds. In his pursuit of the rational Giuseppe Terragni offers a clue to the time and actions taking place, as if he were to remind us of the Homeric song about the deeds of men with convictions under their destiny and their ironic tragicomedy. Terragni's Danteum is the one instance where destiny seems closer to fulfillment. Dante Alighieri's dream of the glorious empire seems to materialize in the signs of the monarchy and its savior – Mussolini. Since the fascist movement concerns itself with questions of legitimacy that in lineage shifts between histories of origins and middles, the shifting in language plays an important role in the sorting out of factum and verum. Languages that enter into this play shift laterally mainly between Greek, Latin, and Italian. And, at times Dardanian and Proto-Albanian, both Illyrian dialects, enter the play.
METHOD. Many aspects of this inquiry demand specific research methods as shown through the general and specific instances of man's activity as work which results in that which is made (factum) and the pursuit of that which is true (verum). Therefore, method in the sense of search for the way concerning purpose in what is made is conducted through istoria and historiography. Meanwhile, the search for truth, as it does not concern itself with the same scope as factum, requires philosophy as means towards knowledge, to sort out questions regarding truth. This dissertation follows certain Italian philosophers as guides in the pursuit. Not the least among them is Giambattista Vico who proposes that universal laws of development of men and society can be traced through the union between verum and factum. So, verum and factum become characters of the same play. Philology, love for reason, as a subspecies of philosophy, is a means toward knowledge in unraveling of the layers of the rational in the making. Additionally, in this inquiry, I employ analogies, diagrams, ideograms, and images, which demonstrate the quest for the rational in the architectural practice of Giuseppe Terragni.<br>Doctor of Philosophy<br>The architectural practice of Giuseppe Terragni (1904-1943) takes place during the twentieth century modern social movements, as architecture and urban form follow a major shift in the political conditions, in Italy and beyond. This dissertation is a demonstration of the quest for the rational in the architectural practice of Giuseppe Terragni. Furthermore, it sorts out the role of Terragni's practice in the dichotomous relationships between city and architecture as well as state and project. Initially, it is the obligation of this dissertation to address questions of principles, in order to build a plenum for the relationship between the city and architecture. It traces movements through translation and transformation of architectural impression, in form and type, and its meta in concinnity, in terms of legacy, legitimacy, and the rational in idea.
THESIS. The implicit rational in architecture exists in hierarchical order that allows for it to form unity of the whole that any of its constituents cannot form individually. It should be the architect's duty to fully reconcile all the elements in action – for and against form – in architecture, and demonstrate that the resultant is not a mere compromise but a necessary optimal condition. Therefore, I start with a stance in which I attempt to show how Giuseppe Terragni, in his ratiocinium, explicates the implicit rational in architecture, against the sea of protean political conditions.
Giuseppe Terragni can be understood in his convictions which we may be able to sort out through his words, works, and deeds. In his pursuit of the rational Giuseppe Terragni offers a clue to the time and actions taking place, as if he were to remind us of the Homeric song about the deeds of men with convictions under their destiny and their ironic tragicomedy. Terragni's Danteum is the one instance where destiny seems closer to fulfillment. Dante Alighieri's dream of the glorious empire seems to materialize in the signs of the monarchy and its savior – Mussolini. Since the fascist movement concerns itself with questions of legitimacy that in lineage shifts between histories of origins and middles, the shifting in language plays an important role in the sorting out of factum and verum. Languages that enter into this play shift laterally mainly between Greek, Latin, and Italian. And, at times Dardanian and Proto-Albanian, both Illyrian dialects, enter the play.
METHOD. Many aspects of this inquiry demand specific research methods as shown through the general and specific instances of man's activity as work which results in that which is made (factum) and the pursuit of that which is true (verum). Therefore, method in the sense of search for the way concerning purpose in what is made is conducted through istoria and historiography. Meanwhile, the search for truth, as it does not concern itself with the same scope as factum, requires philosophy as means towards knowledge, to sort out questions regarding truth. This dissertation follows certain Italian philosophers as guides in the pursuit. Not the least among them is Giambattista Vico who proposes that universal laws of development of men and society can be traced through the union between verum and factum. So, verum and factum become characters of the same play. Philology, love for reason, as a subspecies of philosophy, is a means toward knowledge in unraveling of the layers of the rational in the making. Additionally, in this inquiry, I employ analogies, diagrams, ideograms, and images, which demonstrate the quest for the rational in the architectural practice of Giuseppe Terragni.
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Abdelmohsen, Sherif Morad Abdelkader. "An ethnographically informed analysis of design intent communication in BIM-enabled architectural practice." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/41181.
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The building information model (BIM) is assumed to encompass all the required parameters, rules and attributes about a design product and process for Architecture-Engineering-Construction (AEC) practitioners in a way that is comprehendible by all participants sharing the model and that communicates their needs and intentions. The socio-cognitive day-to-day interactions that occur in the workplace imply however that there are discrepancies between what is exchanged as design information when sharing a model and what is exchanged as goals, needs and possibly conflicting intentions and interests when sharing a common ill-structured problem.
The findings of an ethnographic study are presented. The study investigates affordances and limitations in BIM-enabled practice regarding the communication of design intent among design teams in the context of an architectural project. Grounded theory coding was used as a basis for analytic induction through constant comparison and examination of data from field observation, interviews and design meetings, to identify emergent conceptual categories central to the research inquiry. A "thick description" was provided that took into account the dynamic interactions among teams, including interdisciplinary, intradisciplinary and non-disciplinary interaction. By dissecting hypothetical models of shared project information offered by BIM, the dissertation identified interfaces of information exchange, states of the BIM model as a boundary object, and emergent and overlapping communities of practice that delineate the degree of completeness and correctness of a BIM model and describe its effectiveness in capturing and conveying the intent of participants upon interaction.
To draw parallels to other contexts, the assumptions central to the study were discussed in relation to a spectrum of possible scenarios within the larger population of AEC firms. In light of the findings and "persona" descriptions identified in the study, the dissertation examined and proposed amendments and richer descriptions to existing surveys and market reports that address the use and benefits of BIM in the AEC industry, including topics such as the internal business value of BIM, top ways to improve value of BIM, and impact of project factors on BIM value.
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Nikolic, Slavica N. "Image and architecture : is what you expect what you get?" Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1191715.
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The profession of architecture is passing through challenging times. Technological progress and a rapidly changing society have brought confusion into the profession regarding the self-image of architects and the image of architects from the viewpoint of clients and the public. This has a concomitant echo within the images communicated by the built environment; buildings do not always perform the importance of human benefits among the economical, technological or expressionistic advantages.Throughout history, the image of architects reflected the position of the profession in a particular time and place. Architects carried with them the tags of genius, God creators, heroes, etc. The more recent history of architecture has brought changes in the practice and services that architecture offers. Differentiation of the building and design aspects of practice was the result of the growing complexity of the building market. The new aspects of the practice have been followed by a corresponding confusion regarding the images of the profession.Architects in North America today are experiencing the declining power of the profession; the public cannot clearly recognize the role of architecture and its extensible possibilities within society; and clients are less blindly trustful of the genius of the architect and are more specific in defining their goals. In addition, the marketable image cf a building has grown in demand, further prompted by signature architecture popularity on the one side and the profit oriented building market on the other. This diminishes human benefits - such as contextual, environmental and functional demands, to a name few - that architecture, as a social practice, should provide.The hypothesis proposed by this paper is that the declining power and shaken authority of the architectural profession produce the possibility of a manipulation by those who perceive buildings as a market product which in turn significantly threatens human values and the quality of life.In order to better understand the problems that are facing the profession the author conducted a one-year, full-time internship employment in a New York City based architecture & interior design firm, observing in particular the architect-client relationship and the design process itself. This paper analyzes present conditions in architectural practice concerning issues such as the images which society and the profession itself hold of architecture, how these images influence the physical environment that architects are creating, especially the relationships that are making possible the misinterpretations of these images.The most important issues that this research reveals relate to perceptions about the role of the architects in the building process and in the society. perceptions which consequently frame the possibilities of architectural practice. The everyday professional practice of architecture is influenced by a variety of factors and participants, which together tend t,-; limit architects to a singular and specific position, thus rendering them vulnerable to control the building process and the final product.<br>Department of Architecture
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Armstrong, R. A. "Vibrant architecture : how 'vibrant matter' may raise the status of the material world in architectural design practice and be recognised as a codesigner of our living spaces." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1418245/.
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This thesis proposes a radical material design philosophy that embodies the 21st century agendas implicit in our ecological crisis. It identifies a new technological platform to underpin forms of making that do not damage the potency of our world but enhance it. By asserting the lively nature of matter and the technological character of the natural world, described as Millennial Nature, the material realm is given a voice through process philosophy and the language of chemistry to forge lively, complex bodies, which are recognized as new forms of architecture. Spatial programs that shape fertile metabolic networks and post natural fabrics produce such ‘vibrant architectures’. Key to my research is the establishment of a new technological platform in the operationalization of ‘assemblages’, which are active groupings of lively bodies that are applied in a series of prototypes and projects. These are developed experimentally using lively chemistries in the laboratory, field and speculatively through project work such as, ‘Vibrant Venice’, which proposes to grow an artificial limestone reef underneath the foundations of the city. My research suggests that the theory and practice of vibrant architecture enables architects to codesign in partnership with human and non-human collectives and to produce buildings that enhance biotic environments through the construction of post natural landscapes. While the concepts and technologies are at their earliest stages of development, the realization of vibrant architecture could completely change our ideas about sustainability, which is no longer recognized as a better form of industrialization, but is transformed into an ecological platform for human development that augments the liveliness of our planet, rather than diminishes it.
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Ryan, Susan Christine. "Architectural Communities of Practice: Ancestral Pueblo Kiva Production During the Chaco and Post-Chaco Periods in the Northern Southwest." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/299119.
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This study analyzes the vernacular architecture of ancestral Pueblo kivas dating from the Pueblo II (A.D. 900-1150) and Pueblo III (A.D. 1150-1300) periods in the northern, middle, and southern San Juan regions in the American Southwest in order to shed light on communities of practice and their social, temporal, and spatial production practices. This research specifically examines kivas--or round rooms used for ritual and domestic activities--to address how architecture, as a symbolic system, emphasized the ways in which sign-objects were actively mediated by communities of practice and how their semiotic signatures can shed light on material expressions of ancestral Pueblo group identity. The theoretical perspectives used within this study are influenced by the work of educators and anthropologists analyzing the processes by which knowledge and skills are learned and transmitted from one generation to the next--these processes are responsible for the continuity of all material culture. This study adopts a community of practice approach to analyzing ancestral Pueblo kiva architecture for two primary reasons. First, the continuity of all material culture--including architecture--depends on the processes by which knowledge and skills are learned and transmitted from one generation to the next. Second, architectural production is an additive technology in which variations in learning frameworks are encoded as choices made by production groups during construction. The methodological applications used within this study are crucial to the identification and analysis of communities of practice in that additive vernacular architectural forms are encoded with learned production techniques. Learned production techniques were materially manifested as unique modes of fabrication and were recognized as the semiotic signatures of particular communities of practice. This study is the seedling from which larger research may germinate, providing insights into large-scale anthropological processes including identity formation and maintenance, population movement, the psychological effects of population aggregation, the nature and extent of social networks, the transmission and practice of learning, the production and movement of material culture, and the development and dissolution of political and ritual organization.
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Boughan, R. S. Trajn. "Strategic expansion of architectural services through project management: toward excellence in architectureas a public good." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31266319.
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Shaikh, Abdul Samad, and Ahmad Ali Khalifeh. "Impact of Lean Thinking and Practices on Architectural/System Architectures Level Innovation in Swedish Manufacturing Industry." Thesis, Högskolan i Halmstad, Sektionen för ekonomi och teknik (SET), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-26104.
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This thesis analyzes and argues how implementing lean principles and tools affect an organization’s architectural innovation. Introducing new product architectures and modifying existing architectures is often difficult for companies. Architectural innovation requires extensive company resources for experimentations and new learning. Applying lean principles and tools in an innovative organization often make difficulties since innovation focus on active exploration for new solutions within a constantly changing environment (high risks). Whereas, lean focus on eliminating all kind of waste in the system (low risks). Little is known about how lean principles and tools might affect architectural innovation in organizations. Therefore, this research explores the relationship between lean and architectural innovation in manufacturing industries. The data sample use for this study is Swedish manufacturing companies in seventeen different industry types. The types of industries consist on system level product type such as electrical or/and mechanical integrated products. Results suggest that in lean principles and tools, standardization, value stream and human resource management (HRM) have significantly positive effect on organization’s architectural innovation capability. Whereas, lean design for manufacturability (DFM) has no significant effect on an organization’s architectural innovation capability. This study’s findings suggest companies that have not implemented lean thinking and practices yet can adopt lean concepts not only for efficiently utilizing the resources but for improving the architectural innovation also. Furthermore, lean companies should increase their focus on customer involvement in product development as well as in cross-functional training of employees and on job training programs to improve the architectural innovation. Findings suggest that those companies that have strategic focus on architectural innovation can adopt lean concepts and procedures from manufacturing and production departments in order to dramatically increase the architectural innovation.
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Qabshoqa, M. T. "Conceptual operational model of architecture : an approach for capturing values in architectural practices based on Big Data capabilities." Thesis, University of Liverpool, 2018. http://livrepository.liverpool.ac.uk/3018415/.
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The research focuses on the emerging domain of Big Data and the Internet of Things in the context of architectural design and operation. The profession of architecture relies on the use of data in almost all stages of the building cycle. However, this data is often utilised in a trivial manner, without clearly addressing how the data is utilised, when it is utilised, the value of such utilisation and the impact the data has on the design operations and the overall building. Data in architecture mainly serves as a medium of communication to generate a design. Data can only be as good as the technology available at the time it is gathered. Nevertheless, the role of data has changed with the advancement of digital data technologies such as Big Data and the Internet of Things. Digital data is now a driver for businesses and operations in other industries. The investigation of contemporary data utilisation in architecture design reveals that data is not utilised as a driver for the design in most cases and, when it is utilised as a driver, it is not exploited and is not explicitly addressed as part of the business. A knowledge gap in architecture in addressing the utilisation of data and addressing digital data as a driver in design operations is identified. This identification is supplemented by observing that data-driven operations provide the potential for better and more efficient design and business. To fill this knowledge gap and to build a foundation for data utilisation in architecture, this thesis proposes a Data-Driven Operational Framework for architecture, which is the main output of this research and its main contribution to knowledge. The Data-Driven Operational Framework reveals and explains the required components and operations for employing a data-driven design approach in architectural processes and business. In order to develop such a framework, an investigation of current architectural cases that utilise digital data was completed, which is a crucial part of the research. However, it was not possible to investigate these cases without having a thorough understanding of the state-of-the-art data technologies and an understanding of the existing taxonomy of data and the existing taxonomy of value in architectural operations. To build this taxonomy of data, a literature review investigating the terms data, digital data operations, Big Data and the Internet of Things was conducted. To build the taxonomy of value, a literature review of values, value creation and valuation methods in architecture was performed. Also, this value investigation led to the development of a Digital Value Equaliser, which is a conceptual representation that supports the analysis of values in architectural design cases. The case studies were analysed following the coding techniques of Grounded Theory Methodology. The coding procedures were followed systematically and continuously until data saturation was reached. Reaching data saturation led to the development of the Data-Driven Operational Framework for architecture. The Data-Driven Operational Framework has two theoretical applications, the Data-Driven Levels in architectural operations framework and the Data-Driven Impact on the AEC framework. These two theoretical frameworks are the findings of the second part of the research and add to the research contribution. The Data-Driven Levels framework reveals the different automation levels in utilising data in architectural operations. This framework classifies data operations in architecture into six levels according to how automated they are and the degree of human involvement in each operation. The Data-Driven Impact framework shows the anticipated impact of employing data-driven operations on the existing business and cultural models in architecture, engineering and construction (AEC). This shows the required business and cultural changes in operating an architecture business. The Impact framework supports architects to identify what measures and changes are needed to benefit from the use of data-driven operations in their practices and business.
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Poe, Rachel. "Architectural insomnia." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5603.
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My artistic practice addresses issues of how memory shapes our identity and how to use memory in order to better understand our perspective. Through the construction of liminal space I reflect upon the subconscious and conscious mind. These images address issues of identity and how longing and nostalgia affect the human psyche. Through photographs of sculptures, paintings and light installations I address the architectural spaces in the world around me as catalysts.
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Lacheze, Cyril. "L'art du briquetier, XIIIème XIXème siècle : du régime de la pratique aux régimes de la technique." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H079.
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Les différents acteurs de la société ne conçoivent pas tous une même technique de la même façon. L’artisan, le savant, l’ingénieur, mais aussi l’investisseur, l’administrateur ou le client, font appel à des topiques de pensées différentes, faisant cohabiter dans un même espace socio-technique plusieurs régimes de pensée opératoire – pratique, technique, technologie. Les relations entre ces régimes sont interrogées via le cas de la production de terre cuite architecturale (briques, tuiles, carreaux, tuyaux, etc.), des premières sources écrites (XIIIe siècle) au tournant industriel intervenu vers 1870. Il s’agit d’une production largement répandue, généralement libre, concernant aussi bien des produits luxueux que d’usage courant, et soumise à un certain nombre d’enjeux socio-économiques. L’important corpus ouvert – sources manuscrites, imprimées, iconographiques, archéologiques – est interrogé dans une perspective systémique. De fait, les régimes s’avèrent pluriels et interconnectés. Le régime pratique ne pouvait concerner que la chaîne opératoire à proprement parler. Toutes les opérations sortant du strict cadre de celle-ci, permettant notamment de mobiliser le complexe technique nécessaire à la production, supposaient un dialogue avec des acteurs tiers et, en conséquence, la mise en place de normes – écrites ou orales, officielles ou officieuses, explicites ou tacites – permettant l’intercompréhension par-delà des topiques de pensées différentes voire divergentes. Plus nettement techniques encore étaient les traités aux XVIIIe et XIXe siècles. Les pensées sous-jacentes étaient là aussi plurielles. Qu’ils aient été encyclopédistes non spécialistes recopiant des textes plus ou moins pertinents, ou ingénieurs militaires ou civils répondant à des commandes éditoriales, peu d’auteurs cherchaient réellement à décrire la pratique commune. Une approche « scientifique » se dessina quelque peu dans la décennie 1840 avec Alexandre Brongniart, mais ce furent les nouveautés techniques, intéressant particulièrement le lectorat, qui constituèrent le socle des publications postérieures. Les rédacteurs se tournèrent alors vers la littérature périodique spécialisée. Or, celle-ci servait en premier chef, avec les expositions ou encore les concours, de moyen de communication pour des inventeurs soumis à une forte concurrence. De nouvelles filières techniques apparurent dans les années 1830-1850 lorsque certains, abandonnant une logique de mécanisation de la pratique, commencèrent à penser de manière « technologisante », à défaut de réellement technologique. Toutefois, seuls les quelques-uns qui purent et surent s’insérer efficacement dans ce réseau – ou sous-système – sociotechnique parvinrent à faire largement connaître leurs productions, et à attacher leurs noms à l’innovation<br>Actors of society do not all conceive the same technique in the same way. The craftsman, the scientist, the engineer, but also the investor, the administrator or the client, appeal to different thought patterns, making several modes of operational thinking – practice, technique, technology – coexist in the same socio-technical space. Relationships between these regimes are questioned through the case of architectural terracotta production (bricks, roofing and paving tiles, pipes, etc.), from the first written sources (thirteenth century) to the industrial turnaround that took place around 1870. It is a widespread production, generally free, concerning both luxury and everyday products, and subject to socio-economic issues. The large open corpus – manuscript, printed, iconographic, archaeological sources – is questioned from a systemic perspective. In fact, regimes are plural and interconnected. The practical regime could only concern the operational sequence itself. All operations outside this strict framework, making possible particularly the mobilization of the technical complex necessary for the production, suppose a dialogue with third actors and, consequently, the establishment of standards – written or oral, official or unofficial, explicit or tacit – allowing intercomprehension beyond different or even divergent thoughts. Treaties of the eighteenth and nineteenth centuries were even more clearly technical. Underlying thoughts were here too plural. Whether non-specialist encyclopedists copying more or less relevant texts, or military or civilian engineers responding to editorial commissions, few authors really sought to describe the common practice. A "scientific" approach took shape somewhat in the 1840s with Alexandre Brongniart, but technical innovations, of particular interest to the readership, formed the basis of subsequent publications. Editors then turned to specialized periodical literature. However, this was primarily used, with exhibitions and competitions, as a mean of communication for inventors subjected to strong competition. New technical fields appeared in the 1830s-1850s when some, abandoning a logic of mechanization of the practice, began to think in a "technological-ish" way, even if not truly technological. However, only the few who could and did successfully fit into this sociotechnical network – or sub-system – managed to make their productions widely known, and to attach their names to innovation
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Al-Azhari, Wael. "Scenarios as a design framework in architectural practice and architectural education." Thesis, University of Strathclyde, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501786.
Full textAbstract:
The thesis reviews design methods in general, and emphasizes the understanding of design as a thinking process that depends on designers' experience, and their interaction with the different design activities performed with regard to the environmental settings and contexts. It focuses on building a framework for the description of the architectural design approaches used by experienced architects in practice. After analysing the protocols revealed by twelve experienced architects, the thesis argues that 'scenario-based design' (SBD) is a way of thinking that used by the architects to generate the design solution by means of cognitive matching of technical, functional, contextual, and inspirational criteria throughout the design process. The research finds that the architects primarily use the context constraints that match with the brief requirements to initiate design concepts and generate solutions.
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Silberberg, Katrin Mary. "Women in architecture : path and practice." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/32662.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.<br>Includes bibliographical references (p. 109-112).<br>This project presents an exploration of the lives of three women in the field of architecture today. Through interview, discussion, and the use of electronic, digital media a history of each individual's history unfolds. The hierarchy of information and design were linked from the early stages of the project and it is in the final form of the project that one can discover a format that is consistent in its presentation and navigational structure. The goal was to enable the user to "walk through" the information and compare stories and experiences. Thus, the viewer is encouraged to draw his or her own conclusions from the information presented in the document rather than be influenced by suppositions of the author. This thesis project was also a study in the creation of an electronic document that would report information of interest to the discussion of gender in the professional world of architecture. The aim was to make this information available to a large number of people through the use of an electronic information distribution service such as the Internet. The architects' stories are available to the public for viewing and learning on the Netscape browser. The second aim was to design a project that would be visually appealing while working within the constraints of the Netscape browser application on the WorldWideWeb. The latter was interesting in its design challenge; I believe this challenge was met. Functional browser programs do not prohibit an attractive, interesting display of information.<br>by Katrin Mary Silberberg<br>M.S.
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McMullin, Julia Alice Jardine. "The Artistic and Architectural Patronage of Countess Urraca of Santa MarÃa de Cañas: A Powerful Aristocrat, Abbess, and Advocate." BYU ScholarsArchive, 2005. https://scholarsarchive.byu.edu/etd/423.
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Countess Urraca Lope de Haro was the daughter of the noble Lord Diego Lope de Haro, friend and advisor to King Alfonso VIII of Castilla-León and granddaughter of Lord Lope Díaz de Haro and Lady Aldonza Ruiz de Castro, aristocratic courtiers as well as popular monastic patrons. As a young and wealthy widow, Countess Urraca took monastic vows at the Cistercian nunnery of Santa María de Cañas founded by her grandparents. Within a short time of uniting herself to this monastery, she was chosen as its fourth abbess in 1225, a position she held for thirty-seven years until her death in 1262. Following the tradition of monastic patronage established by her noble family members, Countess Urraca expanded the monastery's small real estate holdings, oversaw extensive building projects to create permanent structures for the nunnery, and patronized artistic projects including statuettes of the Virgin Mary and St. Peter in addition to her own decorative stone sarcophagus during her term as abbess. This thesis examines the artistic decoration and architectural patronage of this powerful woman and the influences she incorporated into the monastic structures at Cañas as she oversaw their construction. In dating the original buildings of the monastery at Cañas to the period of Countess Urraca's leadership, the predominant architectural features and decorative details of female Cistercian foundations in northern Spain are discussed. Comparisons with additional thirteenth-century Cistercian monasteries from the same region in northern Spain are offered to demonstrate the artistic connections with the structures Countess Urraca patronized. In addition, this thesis examines Countess Urraca's obvious devotion to the Virgin Mary and St. Peter by considering the medieval monastic world in which she lived and the strong emphasis the Cistercian Order placed on such worship practices. The potent spiritual connections Countess Urraca made by commissioning images of essential, holy intercessors testifies to her devotion to them and the powerful salvatory role she herself played in the lives of the nuns for whom she was responsible. As a nun and abbess, Countess Urraca was urged to emulate Mary's mothering, nurturing qualities, and, as she did so was simultaneously empowered by the Virgin's heavenly authority as administrator of mercy. Indeed, through studying her art it is clear that she saw herself as an intercessor on behalf of the nuns for whom she was responsible. Furthermore, discussion of the imagery displayed on Countess Urraca's decorative stone sarcophagus demonstrates not only a similar message of salvation through intercessors such as Peter and Mary, but also testifies of Abbess Urraca's aristocratic lineage. Through this artistic commission, the Abbess creates another direct, personal link between herself and the Virgin by including the symbol of the rosary throughout the iconography of her tomb. Such a symbol represents her devotion to Mary as Queen of Heaven and simultaneously empowers Countess Urraca as an intercessor herself. All of these architectural and artistic commissions confirm that she was a powerful woman who wielded a great deal of influence.
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Burroughs, Brady. "Architectural Flirtations : A Love Storey." Doctoral thesis, KTH, Kritiska studier i arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-194216.
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Formulated as a feminist project, written as a pulp fiction, Architectural Flirtations: A Love Storey begins with our claim that the architectural discipline is centered around a culture of critique, which is based in what bell hooks calls “a system of imperialist, white supremacist, heterosexist, capitalist, patriarchy,” and that the values instilled by this culture not only begin with, but are reinforced and reproduced by, the education of young architects. Sounds serious. Right? In a move toward a more vulnerable, ethical and empowering culture of architecture, the project aims to displace the culture of critique, by questioning and undermining relationships of power and privilege through practices that are explicitly critical, queer feminist, and Campy. In other words, it takes seriously, in an uncertain, improper and playful way, what is usually deemed unserious within the architectural discipline, in order to undermine the usual order of things. All of the (love) storeys take place on March 21st, the spring equinox, in and around a 1977 collaborative row house project called Case Unifamiliari in Mozzo, Italy, designed by Aldo Rossi and Attilio Pizzigoni. Beda Ring, PhD researcher, constructs a Campy renovation of one of these row houses, full of theatricality, humor, and significant otherness; while architectural pedagogue, Brady Burroughs, guides a student group from KTH in an Architecture and Gender course; and Henri T. Beall, practicing architect, attends to the details upstairs.<br><p>QC 20161025</p>
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Rönn, Magnus, Jonas E. Andersson, and Zettersten Gerd Bloxham. "Architectural competitions - histories and practice : Editors’ comments." KTH, Arkitektur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-123400.
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Architectural competitions are no longer simply professional praxis for architects and a recurrent exercise for students at schools of architecture. The competition has also turned into a field of research, and this book is part of an effort constituting the architectural competition as a field for studies with scholarly claims. The first doctoral dissertations on competitions were presented in the 1990s in Europe. Another clear manifestation of research interest is the growth and spread of scholarly conferences on architectural competitions. The contributions to the book show in a convincing way that the architectural competition is an interesting and rewarding object for research. The competition processes bear rich empirical findings to which one may refer for knowledge about architecture as professional practice, as educational subject and research platform. The architectural competition illustrates processes of change in society that are technical and organizational as well as social; it shows up constructive dilemmas, the borderline of rationality and the relative, creative insecurity of knowledge production in architectural projects.<br><p>QC 20130610</p>