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Dissertations / Theses on the topic 'Architecture drawing'
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Chard, N. J. "Drawing indeterminate architecture, indeterminate drawings of architecture." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1344187/.
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Architecture is made to support certain activities. This thesis asks how architecture might also nurture the uncertain. The program and the conventions of architectural drawing encourage ideas of certainty. The architectural drawing is a rehearsal of the architecture it represents. This thesis searches for ways of drawing to rehearse the sorts of engagement we might have with architecture that could nurture an indeterminate condition. This is studied through the invention of seven types of drawing instrument. The early versions represent an indeterminate relationship with architecture while the later instruments nurture an indeterminate engagement through the act of drawing. Indeterminacy is a condition of uncertainty. At first the instruments concentrate on working with the sublime, an existential uncertainty. In order to understand the spatial potential of picturing there is extended research into the natural history diorama. In parallel to lessons on projective geometry, the dioramas provide a convincing case for the power of the uncanny, an intellectual uncertainty. The lessons from these studies, embodied in Instruments Two and Three, achieved what had been set out in the initial question but also provided new questions, especially about the experience of making the drawing. The later instruments project paint rather than light and provide an engagement with the person who is drawing that is analogous to the condition that is being drawn. The process of drawing becomes a rehearsal for inhabiting the architecture. The instruments are informed by a number of parallel studies: one that asks questions about ways of appropriating the city (as an indeterminate reception of the world as it is given); another into an opening up of the program, studied through a house, and the discovery of a way to disturb our certainty in the shadow and the invention of an instrument to understand the potential of that discovery.
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Kauffman, Jordan Scott. "Drawing on architecture : the socioaesthetics of architectural drawings, 1970-1990." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/97376.
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Thesis: Ph. D., Massachusetts Institute of Technology, Department of Architecture, February 2015.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 391-422).<br>This dissertation examines a period in the late twentieth century when architectural drawings provoked a profound re-evaluation of architecture. It does so through novel research of the individuals, galleries, institutions, and events-and the networks that originated therefrom-that drove this reappraisal by shifting the perception of architectural drawings. During the 1970s and 1980s, for the first time, architectural drawings became more than an instrument for building. Prior to this period, except for scattered instances, buildings were considered to be the goal of architectural practice; architectural drawings were viewed simply as a means to an end. However, through a confluence of factors architectural drawings emerged from this marginal role. Drawings attained autonomy from the architectural process and were ultimately perceived as aesthetic artifacts in and of themselves. No attention has been given to this shift, and recovering this period's forgotten history reveals a rich and complex tapestry. Research unearths interrelated individuals, galleries, institutions, and events outside of practice that impacted the perception of architectural drawings during this period. This reveals the uniqueness of this period, for at no other time was debate generated in the same way, since at no other time did the necessary structures exist to support this change. During this period, architectural drawings became the driving force of architectural debate, not for what architects put in them, but for what others asked them to be and saw in them. Through exhibitions that emphasized drawings in and of themselves, through collectors and galleries, through the development of a market for architectural drawings, and through the interrelation of these, all of which this work reconstructs for the first time, the role and perception of drawings fell between and among aesthetic, artistic, architectural, commercial, conceptual, cultural, and historical understandings. It was this shifting that drove questioning during this period of nearly all facets of architecture.<br>by Jordan Scott Kauffman.<br>Ph. D.
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Makrinos, George Adam. "Drawing Music, Playing Architecture." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33890.
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Architecture and music share intrinsic meanings generated by a constant stream of metaphors which are forms of poetic transformations.
This thesis sought to challenge the present way an architect-musician makes drawings through the exploration of multimedia possibilities at hand. The drawings are composed using Macromedia Flash MX.
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<a href="http://www.macromedia.com/shockwave/download/download.cgi?P1_Prod_Version=ShockwaveFlash">
Download flash Player</a><br>Master of Architecture
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Sammis, Kim. "Drawing/s." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/88806.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (p. 175-179).<br>Drawing has become essential to the making of architecture. Though some of the most magnificent structures were created without documentation, testified by The Pyramids, the Parthenon, primitive dwellings, treehouses and many other "spontaneous" constructions, the contemporary profession of making buildings demands countless representations. From sketchy initial concepts to persuasive presentations to detailed construction documents, the making of images for a design sometimes takes longer than the construction process. Images must be read by many diverse people involved in the formation of buildings, therefore architectural notation systems demand consistency. Despite the accepted language of representation, images are abstractions of real objects. They are limited in their scope of information and allow us to bring our own perceptions to them. Architectural drawings stand between us and an object Due to their two dimensional nature, they must present information with symbols and conventions that we take for granted, just as we accept the structure of language. Many contemporary drawings are created not to serve the making of buildings, but to make a visual or ideological statement They are illustrative of ideas, and their resultant physical forms would express the manipulations of drawings, rather than the reverse. This aspect of representation has led me to question the substance of architectural images, their functions and the use of traditional notation systems specific to architecture and its allied crafts. Herbert Spenser said. "language must truly be regarded as a hindrance to thought" We think in images, though the mandatory learning of verbal formations may well befuddle our visions. Notation systems in architecture are similar to language. They too are abstractions of concepts and require training for understanding and manipulation. An investigation of their implications may offer more effective utilization.<br>by Kim Sammis.<br>M.Arch.
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Branda, Ewan E. (Ewan Edward) 1964. "Drawing interfaces : building geometric models with hand-drawn sketches." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/64901.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.<br>Includes bibliographical references (p. 49-51).<br>Architects work on drawings and models, not buildings. Today, in many architectural practices, drawings and models are produced in digital format using Computer-aided Design (CAD) tools. Unquestionably, digital media have changed the way in which many architects perform their day to day activities. But these changes have been limited to the more prosaic aspects of practice. To be sure, CAD systems have made the daily operations of many design offices more efficient; nevertheless, they have been of little use - and indeed are often a hindrance - in situations where the task at hand is more conjectural and speculative in nature, as it is during the early stages of a project. Well-intentioned efforts to insinuate CAD into these aspects of practice have only served to reveal the incongruities between the demands of designer and the configuration of the available tools. One of the chief attributes of design practice is that it is action performed at a distance through the agency of representations. This fundamental trait implies that we have to understand how computers help architects describe buildings if we are to understand how they might help architects design buildings. As obvious as this claim might seem, CAD programs can be almost universally characterized by a tacit denigration of visual representation. In this thesis, I examine properties of design drawings that make them useful to architects. I go on to describe a computer program that I have written that allows a designer to build geometric models using freehand sketches. This program illustrates that it is possible to design a software tool in a way that profits from, rather than negates, the power of visual representations.<br>by Ewan E. Branda.<br>M.S.
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Koliji, Hooman. "Drawing as Landscape Architectural Scholarship." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/33077.
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Considering the vital role that drawing plays in conceiving buildings and landscapes, the question of â knowledgeâ in relation to visual representations becomes a matter of importance. The conventional view of drawing considers it a passive and neutral means to communicate mental concepts in visual form. The present study, however, views drawing as an essential vehicle that both enlists our critical reasoning
faculties, as well as engages our senses and imagination in an integrated way to generate new knowledge.
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As a means to acquire architectural/landscape knowledge, drawing becomes an essential vehicle for scholarship in the field. Depending on the circumstances, drawing can capture or cast (or both). When the drawing is a recipient of the external world, it captures or catches the qualities of an actual place. When the drawing is of a space that perhaps will exist, it can bring out or cast ideas, thoughts, or sensations to an
external world and eventually to that envisioned space.
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After a discussion of the commonalities of drawing in architecture and landscape architecture, the present study concentrates on areas that distinguish landscape drawing from architectural drawing. In the end, the personal experiences of the author, in which the drawing served both as capturing and casting
mechanism, is briefly depicted.<br>Master of Landscape Architecture
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Spangler, Eric. "Drawing as a means to architecture." Thesis, This resource online, 1998. http://scholar.lib.vt.edu/theses/available/etd-09092008-063736/.
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Librande, Stephen E. (Stephen Edward). "Example-based character drawing." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/12925.
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Pleasant, Elizabeth A. "Ornamentation, representation, and experimental drawing." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/21606.
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Lum, Eric Kim. "Architecture as artform : drawing, painting, collage, and architecture, 1945-1965." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/9492.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1999.<br>Includes bibliographical references (p. 319-329).<br>The development of an American architectural avant-garde after the Second World War is examined in relation to the formal properties and institutionalized cultural authority of modern art. Rather than looking to the artwork of their American artistic contemporaries, architects and critics appropriated the early European avant-garde as typological precedents, guided by a pedagogical approach steeped in Bauhaus teaching methods. Drawing became the common conduit between the abstract work of art and its transformation into modern architecture. Architecture was seen as a problem that could be studied diagrammatically, and consequently also thought of as a fundamentally conceptual, immaterial artifact. At the same time that architecture was moving towards a flattened artistic condition, however, abstract expressionist painting began to take on the material and dimensional properties of the architectural object, demarcating volume and structure. Modernist collage techniques were also introduced into postwar architectural design, but again the material aspects of the medium were suppressed in favor of its purely visual qualities.<br>by Eric K. Lum.<br>Ph.D.
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Crenshaw, Andrew. "The architectural image Finnegans Wake and the text of drawing." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23013.
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Jacoby, Samuel (Samuel David Glauberman). "Drawing the electric." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82425.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 84-87).<br>This thesis explores the intersection of craft and electronics by way of paper and conductive ink, a domain that I'm terming papercraft electronics-a synthesis of electronics, drawing, and painting. I investigate the nature of making a physical electronic artifact, and the ways in which that making informs our relationship with both the artifact, specifically, as well as technology writ large. I examine craft-the manual process-as a means for embedding new kinds of personally-significant meaning in electronics, re-positioning electronics fabrication as the creation of personal, unique, hand-crafted artifacts. I do so through a series of case studies oriented around the papercraft electronics domain. Through a sequence of projects, workshops, and evaluations, I examine the personal connection and pride that comes with making, as well as the handmade artifact's place in technology. In particular, I initiate projects around the making of paper sensors, speakers, synthesizers, and audio-augmented artworks.<br>by Samuel Jacoby.<br>S.M.
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Green, Peter Wright. "Architecture and the tectonics of printmaking." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/24005.
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Gilley, Amy Bragdon. "Drawing, Writing, Embodying: John Hejduk's Masques Of Architecture." Diss., Virginia Tech, 2010. http://hdl.handle.net/10919/29724.
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The following dissertation will examine the architectural masques of architect and poet, John Hejduk. Hejduk's masques are more than the text or the drawing; like their inspiration, the Stuart Court Masque, the architectural masque is a compendium of text, symbol, history, and performance, which is meant to lead the viewer to a greater comprehension of the citizen's role in the creation of community.
There has been as yet no study of the direct links to the Stuart Court Masque, the invention poet Ben Jonson and architect Inigo Jones, or what the links in Hejduk's masques to the emblem books, which are the heart of the Court Masque. The following dissertation will undertake an explication of two key Hejduk texts as means to demonstrate the architectural meaning of Hejduk's Architectural Masques as a descendant of the Stuart Court Masque. The dissertation examines Hejduk's pedagogical biography, the history of the Court Masque and emblem book (which is the basis of the Architectural Masques), Hejduk's own dumb' emblem book, Silent Witnesses, and finally, Victims, his first masque which is the application of his theory to the masque.
The methodology of the dissertation involves an explication of Hejduk's texts, drawing on an understanding of his own education as an architect and educator. The examination of his two texts, Silent Witnesses, and Victims, are to be the basis for drawing out the imagination as a student and a teacher. Such textual examination is meant to encourage the reader, and future architects, of the deep influence of the past in creating art of the present and future.<br>Ph. D.
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Tolba, Osama S. 1962. "A projective approach to computer-aided drawing." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/70340.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.<br>Includes bibliographical references (p. 92-95).<br>I present a novel drawing system for composing and rendering perspective scenes. The proposed approach uses a projective two-dimensional representation for primitives rather than a conventional three-dimensional description. This representation is based on points that lie on the surface of a unit sphere centered at the viewpoint. It allows drawings to be composed with the same ease as traditional illustrations, while providing many of the advantages of a three-dimensional model. I describe a range of user-interface tools and interaction techniques that give the drawing system its three-dimensional-like capabilities. The system provides vanishing point guides and perspective grids to aid in drawing freehand strokes and composing perspective scenes. The system also has tools for intuitive navigation of a virtual camera, as well as methods for manipulating drawn primitives so that they appear to undergo three-dimensional translations and rotations. The new representation also supports automatic shading of primitives using either realistic or non-photorealistic styles. My system supports drawing and shading of extrusion surfaces with automatic hidden surface removal and emphasized silhouettes. Casting shadows from an infinite light source is also possible with minimal user intervention. I describe a method for aligning a sketch drawn outside the system using its vanishing points, allowing the integration of computer sketching and freehand sketching on paper in an iterative manner. Photographs and scanned drawings are applied to drawing primitives using conventional texture-mapping techniques, thereby enriching drawings and providing another way of incorporating hand-drawn images. I demonstrate the system with a variety of drawings.<br>by Osama S. Tolba.<br>Ph.D.
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Winder, James Ira. "Complete drawing prototypes for urban complete streets." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59200.
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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010.<br>A study was performed to determine how drawings for streets may be tailored to a broad range of viewers and agendas, yet still be viewed as a credible design tool for architects. With a growing number of cities designing their own guidelines according to the Complete Streets movements, it's necessary to develop a graphic style that not only appeals to the typical engineering aspect of streets, but is also robust enough to include details for various design components and spatial qualities not before considered in street design. New drawings and information graphics were invented to better describe multi-modal streets, spatial qualities, and a fully conceived taxonomy of urban street types. It was discovered that three drawing types are especially useful for conveying this type of information: Perspective- Sections, Overhead Views, and Transects.<br>by James Ira Winder.<br>S.B.
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Lostritto, Carl. "Computing drawing : programming a vintage pen plotter." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/72816.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2012.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references.<br>The drawn artifact and the act of drawing are uniquely suited for design thinking. Specifically, drawings that were traditionally crafted "by hand" are prone to qualities that promote a productive multiplicity of interpretations. These qualities are often incompletely characterized using terms such as "fuzzy" or "loose." Digital output, however, is biased toward the notion of re-production. Representation in design, as a result, has become image-centric. This project explores a method for computing drawing (and the converse, drawing computing) by programing a vintage pen plotter. An apparatus that spans from the computational to the material allows for the incorporation of the desirable qualities of the "hand" drawing into a digital process. The same limitations that led to the obsolescence of the pen plotter lead to an integrated relationship between process and project. Pen plotters demand linear (rather than pixel) information. Imperfections resulting from ink-filled pens making contact with paper at various speeds mandate the consideration of time. A range of computational methods for representing line and making drawing are documented and implemented. A set of 32 drawings are framed in terms related to their making, and then evaluated in terms of their implications for architectural representation.<br>by Carl Lostritto.<br>S.M.
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van, Dalen Jana. "Drawing The Void - Fabricating The Ruined Garden." Master's thesis, Faculty of Engineering and the Built Environment, 2018. http://hdl.handle.net/11427/32105.
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This dissertation questions the process through which subjectivity is transferred into spatial constructs and how singular and collective subjectivities are mediated and constructed through the processes involved in architectural production. It is proposed that architecture is the transfer of subjectivity into the landscape, through re-envisioning the ideological narrative found in “the Garden”, it considers how architecture can be made resiliently within the current state of socio-cultural entropy. Architecture is considered primarily an en-devour through abstraction, the project draws on the garden as an analogous narrative, constructing within its bounds the translations of cultural subjectivity into the landscape, a container of that which is valued and a measure of ideological shifts over time, in itself a stratified ruin, a marked tabula rasa, much like the city. The spatial questions and issues are constructed in parallax, a spatial dialogue between two gardens within the bounds of Cape Town, `the Company Gardens` and the “Void Garden” found in Salt River. The void garden is founded through the processes of parallax as the result of the establishment of the 'Company Garden’. An attempt is made to subvert the subjective fabric which held authority and reposition it in terms of its ideological `other`. The parallax narrative speculates the coming together of various parts in stereoscopic moments of tension, posing a space of question and interference relevant to the current mode of entropy. This entropic parallax space finds its programmatic counterpart in Achille Mbembe’s notion of the Pluriversity1, a space of epistemological and ontological questioning, discovery of alternative methods of knowledge cultural subjectivity production, which is manifested through the projection of diverse epistemic traditions. Following the configuration of parallax superimposition a reconstructed master plan emerged as one stereoscopic moment, providing a multiplied ideological framework of dissonance, to be filled and ruined, as knowledge is reassigned and re-imagined. The architecture embodies a new ideological understanding, a complex network of deepened and multiplied interactions. Envisioned as an armature within which a series of disaggregated programmatic fragments are arranged as a methodology for future architectural speculation to developed. Finally the project manifests as a garden of imminent ruin, as water impedes and the landscape disintegrates, the site is epistemologically disseminated, extending it beyond its bounds.
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Skiles, Joshua Brisbin. "Field, Lines and Drawing." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/33598.
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An architectural idea has been drawn out in a row house on an imaginary site. Architectural drawings in plan, section and elevation, as well as diagrams, sketches and graphite renderings show a process of working that presupposes existential questions as necessary for making architecture.<br>Master of Architecture
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Levy, Marshall Ira. ""A misreading of tropological space" : an investigation of Harold Bloom's theory of poetic transumption in the construction of a dialectical spece in architectural drawing." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22404.
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Smith, Kendra Schank. "A new view of architectural sketches." Diss., Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/22981.
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Lundberg, Simon. "Architecture as Image." Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-263059.
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My investigation have been done in the field of architectural representation. The aim of this project was explore architectural imagery beyond the instrumental use of representation. With the intent to pursue the autonomy of image, but also the dependency of architecture of spectators and interpretations, myths and images. My method is hand made drawings and an approach to image making in four parts. The steps are observation(to depict actual buildings), dissection(to break apart and to analyze), assembling( to modify, distort, put together) and immersion (make credible, make animate). The project relates to the built environment but is not meant as a proposal. In a series of drawings, I have tried to create a playful approach to the city and a site. As motifs and motivation I have studied three areas in the Stockholm: Södra stationsområdet, Skarpnäck and Starrbäcksängen. They were all residential areas constructed in the end of the 1980’s, beginning of 1990’s and are heavily influenced by postmodern ideals of reconstructing a pre-functionalist city. The method aims to extract details and aspects of the existing architecture and fitting it together, many times over, in order to inspire and produce imagery that are loaded with atmosphere and storytelling. In doing so trying to prove that images are never just instructional manuals in the hands of architects. And the potential that lies within this realization.
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Lewis, Michael. "Drawing blood : writing architecture at the Old Slave Lodge." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/18801.
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The intent of this design dissertation was to set off on a journey of exploration and experimentation that would open itself up to unexpected or surprising results. With no expected result, this inductive process of research would hopefully result in a design investigation that was rich and original, and certainly not predetermined. In this spirit, Jeremy Till argues that research is not a linear process, and that the contingent researcher should enjoy "the sideways knocks of new ideas." These contingencies are to be seen as a field of opportunities to be gathered and filtered through the intent of the research project.' In order to document this process, a report was generated during the year that attempted track the various operations, strands of thought, and experiments that took place during the investigation. It was necessary at the time for this work to be located personally, to effectively tell the story of "my experiments with process"'. It was an interwoven mat of academic texts, narratives, personal experiences and subjective formal work, and it was hard to know at the time exactly how these would all fit together to inform a design project. Jennifer Bloomer notes that the word text comes of the past participle of the Latin texere, to weave, arguing that " ... a text is a woven thing. " In this way, the documentation of the process of initial research attempted to be a woven thing. It can be argued, however, that this research was, and still is, the design project, that the intention was not actually to inform a design project, but for the research itself to be a form of architectural and spatial projection.
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Sherwood, Stuart. "Drawing the Analogy: Nature as Idea, Architecture as Response." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/35819.
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This thesis attempts to establish a first design philosophy by proposing nature and architecture as mutually interactive conceits within the scope of the design process. Positing that our conceptions of "green" design are rightfully influenced by the various and often highly metaphorical social constructions of nature that precede them, an architecural exercise is then explored as a similarly constructed response. After assembling a definition of nature based in part on the climate, terrain and traditional building practices of rural western North Carolina, a house is then posed for its site on the border of the Pisgah National Forest.<br>Master of Architecture
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Montanio, Bryan Thomas. "an Architecture Manufactum." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/34196.
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The human hand, in building as in art, has left its impression on all the earliest forms of architecture. Its mark has been one of imperfection, variation, and uniqueness, and with these traits the personification of something innately human. This character, instilled into any work, immortalizes the idiosyncrasies descriptive of its creator. Rather than viewed as anachronism, inculcating the human component, â manufactumâ , into modern design reacquaints us with our own capricious temperaments. As powerful tools of the contemporary world heighten our faculty for exactitude, the prudence remains as to whether and when it is appropriate to do so.<br>Master of Architecture
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Yeh, Chih-Jen. "Straight, no chaser : drawing a parallel between architecture and music." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/70696.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.<br>Includes bibliographical references (p. 58).<br>Architecture and music share the same vocabularies: rhythm, proportion, harmony, repetition, contrast, etc, and contain similar structure in terms of composition and spatial characteristics, Given these parallels, how can music principles be used to create and inform architectural compositions? The intent of this thesis is to investigate the relationship of these two art forms, seeking to establish a methodology through repetition, displacement, contrast, transition and other devices, which enables an understanding of the inherent nature of both, In order to generate the analogies of architecture and music, a multi-use art center will be the instrument through which the dynamics of architectural composition will be created, This new cultural facilities, containing the programmatic elements: art galleries, exposition space, and an auditorium will be located near the Dorchester Bay in New Squantum in North Quincy, Massachusetts, As the outcome of this exploration, this multi-use art center will establish the consciousness of memory which provides people with a variety of spatial experiences while moving through a sequence of spaces.<br>by Chih-Jen Yeh.<br>M.Arch.
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Gün, Onur Yüce. "A place for computing visual meaning : the broadened drawing-scape." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/106364.
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Thesis: Ph. D. in Design and Computation, Massachusetts Institute of Technology, Department of Architecture, 2016.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Cataloged from student-submitted PDF version of thesis.<br>Includes bibliographical references (pages 439-447).<br>Meaning is the essence. It is the primary reason for us to keep doing things. Meaning is both significance and the endless unfolding of significance. Visual Meaning is fundamental for visual arts and design processes. One draws, paints, sculpts, throws sponges on the wall, dips one's own body into paint and crawls on the ground or codes to create lines, spots or fields (Knight), all of which are then looked into, perceived and iterated. Vision is so important that Alberti's eye becomes a godly creature with wings that flies among thunderstorms, Kepler's eye becomes a perfect machine through which stars and galaxies leaks (Alpers), Vermeer's eye becomes the ultimate light filter and depicter. Finally Stiny's eye establishes a "unique computational theory: Shape Grammars" (Knight and Stiny). And all this happens in a series of places (Casey), as one wanders through streams of creative visual processes along one's humaning (Ingold). Once I portray the moment of visual discovery as an encounter, the artists and the designer as encounterers and the computer as the counter, I ask: can the ultimate counter [the computer] provide true encounters for creative visual processes? Computing visual meaning -- it really possible? I unfold these questions by introducing a visual-making apparatus around which all scientifically separated players, the encounter, the encounterer and the counter become interwoven in one place. Visual-making, similar to living, requires us to twist, bend, embrace and abandon. The human-be-comput-ing tree grows to introduce a novel model for drawing and painting, for humaning. An uncommon place for discovering and computing visual meanings, the Broadened-Drawing Scape, emerges.<br>by Onur Yüce Gün.<br>Ph. D. in Design and Computation
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Kaasa, Adam. "Writing, drawing, building : the architecture of Mexico City, 1938-1964." Thesis, London School of Economics and Political Science (University of London), 2013. http://etheses.lse.ac.uk/860/.
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This thesis evaluates textual, visual and material legacies of modern architecture and urbanism in Mexico City between 1938 and 1964. There is a growing literature on the architects, architecture and urban development of Mexico City in the twentieth century, but few that provide an analysis of these material legacies beyond their claim as historical evidence. My research attends in detail to writing, drawing and building through key moments in the work of the Mexican architect Mario Pani. I analyse an archive of material that moves from his co-founding of the journal Arquitectura/México in 1938, to the construction of the Centro Urbano Presidente Alemán, a modernist housing estate in Mexico City in 1949, to the work of his Taller de Urbanismo (Urban Studio) between 1946 and 1964. I argue for an understanding of architectural and urban writing, building and drawing as ways of producing the world, rather than describing or responding to it. I demonstrate that latent geographical biases in the architectural writing of Arquitectura/México contributed to Mexican debates about architecture and the nation. A visual analysis of urban plans and research from the Taller de Urbanismo foregrounds their role in defining the problem of housing in Mexico City towards the legitimation of a specific genre of public housing. By examining the inauguration of the Centro Urbano Presidente Alemán, I uncover the materiality of the building as generative for the Revolutionary Mexican state. Within the context of emerging scholarship that rearticulates colonial circulations of urban planning and architecture within a framework of multiple or alternative modernities, I emphasise an attention to the co-constitution of writing, drawing and building, and their role in assembling the urban.
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Cureton, Paul. "Drawing in landscape architecture : fieldwork, poetics, methods, translation and representation." Thesis, Manchester Metropolitan University, 2014. http://e-space.mmu.ac.uk/580030/.
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By analysing landscape architectural representation, particularly drawing, the thesis contribution will develop the mode and process of making - poesis: between production and representation. Extending the work of James Corner on drawing within landscape architecture (1992), the thesis will develop a positive hermeneutics from the novelist Italo Calvino (1997) in which this agency of drawing can be understood and conceived. From this framework of operation, a number of drawing methods are to be developed - particularly heuristics and scoring which creates a positive valence for landscape architectural production. The focus will lie within the process or translation of drawing into landscape, or its process of ‘becoming’ (Vesely 2006, Evans 1996, 2000, Deleuze 1992). This focus will be contextualised amongst others by the work of: Paolo Soleri (1919- 2013), Wolf Hilbertz (1938-2007) and Lawrence Halprin (1916-2009). The agency of drawing is to be situated in broader theories of space and ‘everyday life’ particularly by extracting critical neo-Marxist notions and readings of social productions of space as found in Henri Lefebvre (1901 -1991) (De Certeau 1984, 1998, Lefebvre, 1991, 1996, 2003, Soja 1996, 2000 & Harvey 1989. 1996). The thesis contribution to knowledge will thus chart drawing use, communication, alternative strategies, and new concepts of urban environments; a ‘poetic mediation on existence’ (Kundera 1987). This very movement & ‘becoming’ whilst containing analysis, in each separate component, has yet to be collectively discussed in a constructive and meaningful way. This inturn will reflect back on the role of representation in the shaping and conception of space – this is the role of drawing in landscape architecture. This knowledge is enabled using methods of interdisciplinary exhibition, educational modules, oral history interviews and the history of professional landscape architecture practices, as well by deploying a visual literacy method within the thesis (Dee 2001, 2004).
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Kim, David Hynsuk 1964. "Drawing on the private sector experience : asset management of public housing." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/67513.
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Wiggins, Glenn E. "Architectural drawing as designing and creating : a constructionist perspective." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12671.
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Ponder, Trevor. "Event Space: Generative Drawing and Spatial Understanding." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427799467.
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Banou, Sophia Konstantina. "Kinematography of a city : moves into drawing." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25413.
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This thesis aims to explore the temporal and material limits of architectural drawing through the question of urban representation. Challenges posed by the latter are used to put pressure on the fixity of drawing conventions, in order to expand architectural drawing’s range of concerns to the transitory conditions of space that emerge between order and event. Since the eighteenth century, the city has acted as the ground and mirror of the productive, economic, social and epistemological breaks and turns that have marked the passage to modernity. This radical transformation of the city and its modes of experience and inhabitation, combined with the visual culture that has since emerged, have raised questions of presence and representation with regards to both the city and its image in architectural drawing. This thesis aims to bring these questions into the frame of the current concerns in architectural representation, following the deconstructive and cartographic approaches that emerged in the latter half of the twentieth century and the effects of a rising virtuality. As the understanding of space has shifted from the idea of an a priori extensity of vacuum versus matter to a dynamic multiplicity of relations, respectively architectural representation is understood as itself a transaction: a complex oscillation between the real and the mental. This research becomes concerned with exploring drawing as a situated experience that involves the inhabitation of both the space of the city and the drawing. Such a consideration of drawing as a distinct spatiality consequently brings to the fore a dynamic and productive reciprocity between the city and its representation. In order to engage with the intangible projective spatiality of drawing and the negotiations that take place in the movement of representation, the thesis examines the processes involved in the representation of the urban through the immersive site-specificity of installation. Installation is proposed as a way of drawing in space, and thus of foregrounding the question of the space of drawing. The thesis unfolds as a movement across the space of drawing, through a series of essays and corresponding installations which cumulatively form a survey of a city, while performing a close inquiry into the agency of the distinct elements of drawing. Edinburgh serves as both the object and the place of performance, the testing ground, for this act of observation and representation.
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Berzowska, Joanna Maria 1972. "Computational expressionism : a study of drawing with computation." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/61101.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, February 1999.<br>Includes bibliographical references (leaves 68-73).<br>This thesis presents computational expressionism, an exploration of drawing using a computer that redefines the concepts of line and composition for the digital medium. It examines the artistic process involved in computational drawing, addressing the issues of skill, algorithmic style, authorship, re-appropriation, interactivity, dynamism, and the creative/evaluative process. The computational line augments the traditional concept of line making as a direct deposit or a scratching on a surface. Digital representation is based on computation; appearance is procedurally determined. The computational line embodies not only an algorithmic construction, but also dynamic and interactive behavior. A computer allows us to construct drawing instruments that take advantage of the dynamism, interactivity, behavioral elements and other features of a programming environment. Drawing becomes a two-fold process, at two distinct levels of interaction with the computer. The artist has to program the appearance and behavior of lines and subsequently draw with these lines by dragging a mouse or gesturing with some other input device. The compositions incorporate the beauty of computation with the creative impetus of the hand, whose apparent mistakes, hesitations and inspirations form a complex and critical component of visual expression.<br>by Joanna Maria Berzowska.<br>S.M.
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Sewell, David Joseph. "The craft of the detail." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22966.
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Dayer, Carolina. "The conjured drawings of Carlo Scarpa: a magic-real inquiry into architectural representation." Diss., Virginia Tech, 2016. http://hdl.handle.net/10919/78389.
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This dissertation proposes a theory of architectural representation based on a close examination of Carlo Scarpa's drawing practices at the Brion cemetery located in San Vito d'Altivole, Italy. Informed by the literary practice of magic-realism and Massimo Bontempelli's thoughts on the ontology of the real, it projects Scarpa's drawing practices into larger questions of theory that parallel and intersect Giambattista Vico's philosophy of knowledge as making.
Architectural drawing is understood herein as a practice that belongs in the realm of magic. In theorizing on the intersection between magic and architectural representation, this dissertation focuses in the twentieth century, where magic in its original sense had seemingly become an obsolete tradition. Magic-realism acts as the contemporary theoretical framework to investigate the question. Such a framework is relevant because the movement acknowledged the perennial gap between how reality is defined and what reality really is. The movement intensified the notion that reality is not given but must be constructed, and its point of departure in the modern world is not something extraordinary, but that which circumvolves everyday life.
Structured in nine chapters that investigate a very specific set of drawings, Scarpa's way of working emerges through a very close reading of minimal events that become the locus for the theory proposed here. Architectural drawing understood as place of ambiguous realities offers a unique approach to architects' imagination. Such realities, however, are not a product of aleatory allegories, but they emerge within an immersive and witty approach to the work and the world.<br>Ph. D.
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Shivers, Christina Nicole. "Counter-spaces and notation machines." Thesis, Georgia Institute of Technology, 2015. http://hdl.handle.net/1853/53622.
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The modern American city is organized into a multitude of spaces based upon function and use. These organized spaces dictate a prescribed behavior and social awareness resulting in a landscape of ill-fitting and awkward territories existing in opposition to one another. An unintended byproduct of these collisions is the counter-space. Akin to slag, sludge and waste resulting from modern industrial processes, the counter-space is the left-over and neglected space of the city resulting from the ever increasing hegemony of society. Hidden within plain site, abandoned and unused, these spaces exist everywhere.
This thesis seeks to understand and reveal these counter-spaces and their subsequent populations within the city of Atlanta in order to bring an awareness to the design of the city for all populations. The spatial-temporalities of counter-spaces will be understood through a de-territorialization of representation through notation and mapping. Through this act, a “cartography of events” will be created for each counter space using series of notation machines in which temporal stimuli from each counter-space site will be used as inputs for the machines.
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Tamashiro, Heverson Akira. "Desenho técnico arquitetônico: constatação do atual ensino nas escolas brasileiras de arquitetura e urbanismo." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/18/18131/tde-27012009-144722/.
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Trata-se da constatação de que o ensino de desenho arquitetônico, nas escolas brasileiras de arquitetura, apresenta um quadro pouco positivo, em que os alunos não utilizam adequadamente a representação gráfica do desenho técnico arquitetônico na criação e na produção do objeto de arquitetura. Fica evidente o pouco domínio dessa ferramenta básica, necessária ao exercício da profissão de arquiteto, o que compromete seu bom desempenho. O trabalho se dá a partir da fundamentação teórica sobre a matéria, seguindo-se com a elaboração e aplicação de um questionário a professores de desenho arquitetônico e de CAD, o levantamento e análise de manuais ainda em uso por professores e alunos e, por fim, entrevistas com arquitetos e/ou professores. Os resultados nos instigam à auto-reflexão e à revisão de algumas posturas, a fim de contribuir para a qualidade do ensino de arquitetura e urbanismo e, conseqüentemente, para uma melhor capacitação profissional do arquiteto.<br>This work analyses the teaching of architectural drawing at Brazilian schools of architecture, coming to a general picture which is not a good one, for the students do not use correctly the graphic representation of the architectural technical drawing, when creating or producing the object of architecture. Such lack of knowledge for using this basic tool, which is so necessary to the architects, endangers their professional performance. The works presents a theoretical foundation on architectural drawing; a questionary apllied to the teachers of architectural drawing and CAD; a list and analysis of manuals in use by teacher and stundents; and, eventually, interviews with architects and/or teachers. The results instigate us to reconsider our role and to review our positions, in order to contribute to the improvement of the quality of the architecture and urbanism teaching and, as a consequence, to a better professional performance of the architects.
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Le, Roux André. "Re-drawing the thin blue line: Re-configuring the public interface of the Delft Police Station." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/28063.
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This dissertation has two departure points: the social phenomena of crime, particularly in Delft, and a concern with the character of institutional buildings, particularly in 'township' areas. These two departure points intersect in an interrogation of the police station as an architectural type, particularly the Delft Police Station. The police are often referred to as the 'thin blue line', suggesting an agency that delicately differentiates between the community and criminal activity. The apartheid era has left this line thickened and its effects are still felt in the buildings that it left behind, despite the shift from a police force to a police service, post-1994. This dissertation hopes to reconfigure this line in both; a physical way, through built form but also a social way, using mixture of programme. To produce a building that encourages interaction with the vibrant community, Delft.
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Crafoord, Roderick. "In the Thick of Ruins." Thesis, KTH, Skolan för arkitektur och samhällsbyggnad (ABE), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-276845.
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This project is not about buildings. It is not a project about convincing solutions or future cities. It is also not a project about bearing structures or crumbling ruins. This is an investigation about the evolution of buildings. It is an exploration of the instances from which dignity of buildings appear. It is a project about a story already in action with seemingly no end.
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Goffi, Federica. "The Sempiternal Nature of Architectural-Conservation and the Unfinished Building and Drawing." Diss., Virginia Tech, 2010. http://hdl.handle.net/10919/29312.
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Conservation is today often interpreted as the preservation of a still-shot, an understanding informed by the belief that by displaying photographic memory of the past, it is possible to gain access to it. Naturalistic representation is unequivocal and presents the onlooker with a single meaning. The dominance of the photorealistic image as model for memory, should be challenged by undermining the notion that architectural representation is a portrayal of likeness, restoring its full potential as an iconic representation of presence.
A micro-historical study of the Renaissance concept of restoration, focused on Tiberio Alfaranoâ s 1571 ichnography of St. Peterâ s Basilica in the Vatican, offers an alternative paradigm in order to inform, critically, contemporary theory and the practice of the renewal of mnemic buildings. The hybrid drawing (1571) extends beyond the opera of graphic architecture, realizing a real effigy.
Alfarano factured a track-drawing, providing memory traces on the drawing-site, which, acting like a veil, bear marks of the buildingâ s presence within time. The ichnography makes visible a â hallowed configurationâ , conceived as a substratum for the imagination of conservation. This defines a collective daydreaming strategy, from which multiple authors can imagine possible futures. Ambiguity and polysemy inform the drawing, generating an equivocal space where unforeseeable inventions occur by the process of future predictions by recollecting memories. This invites merging multiple stories.
Grasping the significance of Alfaranoâ s drawing, one begins to comprehend the mistaken belief in the primacy of photo rendering to access a building and conserve its essence. Any essence cannot be achieved through exact visual reconstruction, rather through a chiasmus of past and present form, expressing allegoric significance.
The retrospective and prospective character of the architectural-conservation process can be experienced through the intermediacy of hybrid-drawings directing the gaze simultaneously in two directions; a pre-existent condition engages in dialogue with future design. This is a condition absent from todayâ s practice, where measured drawings and design drawings are often kept separate. Seen this way, architectural drawings could rejoin these two temporal conditions, through metaphoric or literal transparency, and allow for a real transformation within continuity of identity.<br>Ph. D.
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Steinmann, Marc. "Die Westfassade des Kölner Domes : der mittelalterliche Fassadenplan F /." Köln : Kölner Dom, 2003. http://catalogue.bnf.fr/ark:/12148/cb40939971t.
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Malpani, Czaee. "Drawing Between the Lines: Intersections of Gender, Narratives and Representations." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305893464.
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Lee, Katherine, and katielee mail@gmail com. "Embodying the Built World: Drawing Boundaries, Walking Lines." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091015.141915.
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Intro In this practice-led research project I investigate relations between structures of coercion in the built world and sculptural language. The aim of my project is to present a series of exhibitions and situations that examine architectures of bodily discipline as practices of form/space composition and spatial manipulation. Such architectures range from the delineation of public space to the choreography of bodies by urban design. The project engages the viewer in a dialogue around art and the spatio-visual codes that embody what Michel Foucault regarded as the coercive powers of modern 'carceral culture'. I research a range of studio and workshop, site and gallery based processes contextualised by contemporary notions of sculpture, materiality and art practice. I work from a position derived from the writings on art by the minimalist sculptor Robert Morris (1966, 1970), Rosalind Krauss (1977, 1979) and Hal Foster (1996), which stress the experience of the viewer as an integral part of the art work and emphasise the nature of art work in 'real' spaces. Proposed Project To investigate relations between 'structures of coercion' in the built world and sculptural language through a series of exhibitions and situations (installations at ARIs, public collaborative works, studio documentations) that examine architectures of bodily discipline as practices of form/space composition and spatial manipulation. The proposed artworks will engage the viewer in a dialogue around art and the spatio-visual codes that exist in urban space. Main objective The main objective of this research project is to: Identify new ways of understanding spatio-visual codes of discipline in the city through sculpture practice.
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Miranda, Carranza Pablo. "Program Matters : From Drawing to Code." Doctoral thesis, KTH, Stadsbyggnad, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-218462.
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Whether on paper, on site or mediating between both, means for reading and writing geometry have been central to architecture: the use of compasses and rulers, strings, pins, stakes or plumb-lines enabled the analysis and reproduction of congruent figures on different surfaces since antiquity, and from the renaissance onwards, the consistent planar representation of three-dimensional shapes by means of projective geometry. Tacitly through practice, or explicitly encoded in classical geometry, the operational syntaxes of drawing instruments, real or imaginary, have determined the geometric literacies regulating the production and instruction of architecture. But making marks on the surfaces of paper, stone or the ground has recently given way to the fundamentally different sequential operations of computers as the material basis of architectural inscription. Practices which have dominated architecture since antiquity make little sense in its current reading and writing systems. This thesis examines technologies of digital inscription in a search for literacies equivalent to those of drawn geometry. It particularly looks at programming as a form of notation in close correspondence with its material basis as a technology, and its effects on architecture. It includes prototypes and experiments, graphics, algorithms and software, together with their descriptions and theoretical analyses. While the artefacts and texts respond to the different forms, styles, interests and objectives specific to the fields and contexts in which they have originated, their fundamental purpose is always to critique and propose ways of writing and reading architecture through programming, the rationale of the research and practice they stem from.<br><p>QC 20171129</p>
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Kruger, Stephanus Mauritz. "Design patterns in architecture : towards a proposed graphic instrument to assist designers." Access to E-Thesis, 2001. http://upetd.up.ac.za/thesis/available/etd-07302008-153937.
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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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Ozgirin, Ege. "Observing the observers : a new experimental paradigm for the study of seeing and drawing." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/115630.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, 2018.<br>Thesis: S.M., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2018.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Cataloged from student-submitted PDF version of thesis.<br>Includes bibliographical references (pages [39]-42).<br>One way to study how people design is to understand how others observe them designing. I take a step towards this understanding by examining how people segment visual design events temporally, in other words, how they divide these events into smaller pieces. I developed a methodology to comparatively study how multiple observers segment design events. In order to test my methodology, I conducted an experiment. In this experiment, I compared different attributes of a design event to see if some attributes communicate more meaning than others. From the results of the experiment, I observed that the segmentation of the design event was affected more by the gestures of the designer than by the produced designs. My observations suggest computational principles that could be used to develop computational design assistants that better understand designers intentions.<br>by Ege Ozgirin.<br>S.M.
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Bednar, Michael Andrew. "Memory and Intuition: An Uncovering of Sensibilities." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/73498.
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This is an exploration beginning with memory of growing up in and exploring a forest surrounding my childhood home. This environment encompassed overwhelming scale and comforting intimacy, with a small intervention that related them. My thesis attempts to extract memory from growing up in the woods and create mediating, complimentary built interventions in a hypothetical world of meaning. It is an exercise in creating for others by extracting from personal memory and identifying personal sensibilities. With abstract spatial drawings, architecture's possible influence is understood at a slower pace. Through layered colored pencil drawings, my work attempts to depict human influence and its enhancement on the natural world surrounding it.<br>Master of Architecture
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Skowron, Nicholas. "Dialectal Ruin." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398080464.
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