Dissertations / Theses on the topic 'Deconstructivism'

Thesis (M.F.A.)--Virginia Commonwealth University, 1990.
Title on page 6. Two folded displays. Prepared for: Dept. of Communication Arts and Design. Includes bibliographical references. Also available online.

My work consists of wooden structures in the shape of rectangular prisms with varying heights. The structures are wrapped with wool but because of the heavy handedness of the pull, the structures have twisted through time and now result in distorted, warped structures. Some works in the series are more transparent as they are intentionally left unfinished, revealing the process through its imperfections. The structures continue to twist and warp through time, creating an infinite work that dance in the space, giving the work a human quality. Although the first work failed as the aim was only to create a straight edged rectangular prism, the outcome was more of a success as it created a more intriguing work that formed relationships. There is a fascination in the unfinished and failed works of artists, which is something I explore. I look at the types of unfinished works, those that are literally unfinished and those that appear unfinished. Both types of unfinished works reveal the process and create a picture of the artist in the studio working. There is a fascination in the unfinished as the viewer is able to add to the work through imagination, or in some works physically. Therefore, the process becomes of more importance than its progress. There is a questioning of whether an artwork is truly a failure. Some artists intentionally invite failure into their work as there is a chance success can emerge from it. I believe that a work is truly a failure when it does not meet the artist’s expectations. When a work is intentionally made to fail it gives an impression of failure. Deconstructivist architecture is warped and looks as if it may break at any moment, also giving an impression of failure. Whether intentional or not, it is the failed works that are more intriguing rather than the plain geometric abstract structures. Failure and the unfinished no longer carry negative connotations, but are now embraced.

The design of this architecture academy for one hundred students is an exploration of educational function, geometric construction with digital drawing tools, perspectival manipulation, and minimalist architectural aesthetics. Within the school are studio spaces, a shop, a library, a lecture room, faculty studies, and outdoor building yards. Itself technologically derived and constructed, this project fits into the framework of the modernist architectural movement. But like a wayward atom in an otherwise rigidly determined crystalline matrix, the building's form inserts itself into this stanchion at a point intended to commence a generative rift of new possibility. The goal for the institution is to foster an environment of exploration and progressive innovation through exchange and collaboration. This charge would fall squarely on the faculty of course, but hopefully the building itself would act as a catalyst for the search. Through its programmatic organization as well as its perspective-warping angular form, the building is designed to encourage or at least accommodate a participatory, dialectic way of studying and making architecture. Open studio spaces and the proximity and availability of the faculty studies are intended to foster ease of communication and collaborative interchange within the academy. Exchange of knowledge across multiple levels and points of view would occur both intellectually and spatially. The specific outcome of such a dialectically educational environment cannot be accurately predicted, and therein lays the vibrant potential of the proposal. The rigid predictability of enlightenment rationalism has outlived its modality and a new model is needed in order to move forward. The goal of the contemporary architecture academy should not be to establish the primacy of one mode of operation but to invite a plurality of approaches to the table.
Master of Architecture

Includes bibliography. This thesis examines deconstructive writings, employing those strategies as a basis for re-forming approaches to architecture. A theory is posited that a distinction must be made between architecture as idiom and architecture as medium, expressed as a separation between architecture as a built form, Architecture the Idea and A(a)rchitecture as a new direction for framing an approach to its discourse.

Thesis (BTech (Surface Design))Cape Peninsula University of Technology, 2010
The purpose of this research is to explore and create an understanding of how architectural structures. that adhere to deconstructivist design principles, can inspire the reconstruction of second-hand school fumiture and scrap metal. The planned pieces will continue to create an awareness of sustainability, by designing for reuse. These functional fumiture pieces of low tables and chairs will be handcrafted, appealing to a niche market, or specific spaces and they will act as expressions of contradiction. This research will act as an addition to a body of knowledge, where I will primarily focus on contradicting the traditional form and aesthetic of furniture design. I have decided to create these functional pieces to express a new possible direction of furniture design. The study context is a potential confrontational experience in that I want to challenge the conventional form and aesthetics of fumiture design. These pieces of fumiture will be placed in a niche market where they will exist as one-offs that are not produced for mass-consumption, as they will be individually hand-erafted. These days more and more people are attempting to live in a more sustainable manner by practicing to reduce our consumption of products and resources; reuse that which we have disposed of and forgotten as consumers and to recycle waste products and transform them into a feasible afterlife (Martin, 2010). The theory is focused on Sohaill Inayatullah's theory of "Futures Thinking", and this .theory is further supported by Victor Margolin's study of changing existing situations into preferred ones. The research further reflects on Jacques Derrida's theory of deconstruction, and this research is further supported by the theory of sustainability, by designing for reuse, with a focus on Ezio Manzini. Therefore, my research study is concerned with confronting and challenging the conformity that the form of furniture and its aesthetic adhere to.

Main task was to create architectural design of city wellness building. Building is situatec beetween hotel Voroněž and the river Svratka. Building contains entrance space, swimming pools, changing rooms, rest room, service space. Sauna, massage, fittness, restaurant is also part of building. Structure respond to several fenomens- car transport system, style of hotel Voroněž, urban situation-relationship beetween city and river. Shape of mass was inspired by elements of deconstructivism style. Building construction is created by reinforced concrete frame, non-bearing part of walls is wooden frame. The detail of city wellness building is included in low-energy standard. Technical equipment is based on modern trends and technologies.

The first part states the reasons for the disappearance of the body: the influence of modern technology, effects on self-perception and on the perception of reality. It questions how to deal with the shift from physical reality as reference of existence toward an infinite spectrum of virtual realities. The second part concerns a way of thinking - a fiction to explain the phenomena of disappearance - in drawing a parallel to recent thinking models in physics formulating the disappearance of matter. This shift of thinking is so fundamental that it literally reverses our notion of body and materiality. The thesis tries to imagine and to explain a reappearance of the body, the birth of the concrete out of the immaterial. The last part images and models necessary, ambiguous spaces in a world where inside and outside, weight and lightness, solid and immaterial are no longer clearly defined positions but zones, uncertainties, overlays.
Department of Architecture

I detta Kommunhus ville jag utforska den offentliga platsen. I Tensta, likt andra förorter, finns ofta en brist på utrymmen man kan umgås på. Det kan ofta lösas med små medel genom att skapa offentliga rum. Tomten präglas av en 4 meters höjdskillnad mellan Tenstagången och Taxingegränd. Tenstagången ligger överst och är en väg som fungerar som passage till centrum och torg. Taxingegränd är nedsjunket och är utrymmet där Tensta konsthall ligger tillsammans med ett litet torg och parkering. Jag hade en idé om att utjämna höjdskillnaden och använda taket på min byggnad till torg. Resultatet blev två offentliga utrymmen, ett på taket och en i den stora entréhallen. Byggnadens tak är böjt och har en organisk form som påminner om ett landskap. På undre plan finns en stor entréhall med stor takhöjd. Den stora hallen ska fungera som en öppen plats att vara på. En offentlig inomhusplats där man kan sitta och umgås, studera eller äta mat. Personalens kontor är i en kubformad byggnad och är upphöjd med pelare. Kontoren är enkla i sin utformning. Detta kanske tråkiga kontorslandskap kompenseras med en stor och ljus reträttzon.
In this City Hall I wanted to explore the public place. In Tensta, like other suburbs, there is often a shortage of gathering spaces. I wanted to solve this by turning my City Hall into a public space.The Tensta site is characterized by a 4-meter height difference between Tenstagången and Taxingegränd. Tenstagången is 4-meter above Taxingegränd and is a road that serves as a passage to the small city center. Taxingegränd is the space 4-meter below, where Tensta Konsthall is located along with a small square and parking lot. I choose to work with this height difference and incorporate it into the design. By creating a new space on top of my building I could increase the public space. The roof is used as a public square, which also works as a connection between Tenstagången and Taxingegränd. The roof of the building has an organic shape reminiscent of a landscape. On the lower level there is a large entrance hall with a high ceiling. This entrance hall should serve as a public indoor place where you can sit and socialize, study or eat food. There is also a reception with waiting room and visiting room for the grant applicants. The staff offices are in a cube-shaped building and is raised with pillars. The offices are simple in their design. This slightly mundane office landscape is contrasted by a large and bright retreat zone.

Надано результати дослідження сутності напряму деконструктивізм. Метою стало визначення особливостей деконструктивізму як течії нового мислення в світовій культурі кінця ХХ – початку ХХІ століття. Охарактеризовано метод, характерні риси, закони нового напряму в дизайні та архітектурі. На основі аналізу складових деконструктивізму виявлено внутрішньостильову структуру: підтечії раціонального та ірраціонального спрямувань.
Provided research results of the deconstructivism trend entity. The goal was to identify the features of deconstructivism as a new thinking flow in world culture of the end of the 20th - the beginning of the 21st century. Described method, features, rules of a new design and architecture trend. On the basis of analysis of the deconstructivism components revealed the structure of the internal style flow: branches of rational and irrational directions.

Publicación a texto completo no autorizada por el autor
Manifiesta que las principales ideas o teorías sobre el deconstructivismo de Jaques Derrida han influenciado en la arquitectura. Los arquitectos deconstructivistas contemporáneos lo han aplicado. La cuestión es cómo inciden estas ideas o teorías deconstructivistas en la arquitectura, específicamente en el movimiento denominado deconstructivismo. La presente investigación es importante, pues hay poca investigación aún sobre el tema que se trata. Sin embargo, existen muchas posturas pero no muy claras y son generales. De ese modo, los objetivos de esta tesis son los siguientes; analizar los argumentos centrales del pensamiento filosófico de Jacques Derrida sobre el deconstructivismo. También hacer un análisis crítico de la apreciación del deconstructivismo de Derrida a la arquitectura; y, por último, un tercer objetivo es analizar y criticar los planteamientos de los arquitectos deconstructivistas con respecto al deconstructivismo y Jacques Derrida.
Tesis

On the following pages are images of an architecture which pushes the limits of design. Conceived as an amalgamation of semiautonomous fragments, the thesis project strives to decompose into complete disarray. At the verge of structural (compositional) collapse, the building asks the question 'where does structure break down, and chaos begin?'. A table I have designed and built is an experiment in spontaneity, and questions the validity of traditional ways of building furniture. Building analysis drawings I have included at the end of the book are compositional exercises and have, from a graphic perspective, some of the density and formal complexity of the images of the thesis. While I have relied upon Deconstructionist terminology to describe the building represented, I must admit that the building is not truly Deconstructed. It is fragmented. Some visual continuity between design elements remains. If I were to produce a deconstructed building, I would have to go beyond playing formal games and question what forms signify. Then, perhaps, I could find alternative significations; I might also be able to make a new link between the signifier and the signified. I think I would be searching for a new conception of form, one free of convention, of precondition.
Master of Architecture

This thesis analyses deconstructivist fashion in a wider framework: from the ways it is defined and its designers. Arguing against positions that classify both material and conceptual features within the single area of ‘‘deconstructivist’’ fashion, it proposes Malabou’s plasticity as an additional methodology to Derridean deconstruction. By utilizing Malabou’s plasticity and introducing the concept/process of de-design(ing), the project claims deconstruction to be a twofold process: 1.The technical de-designing of a garment 2.The conceptual deconstruction caused by the de-designed garment. In terms of its designers, the thesis applies these two processes to the unconventional garments of what it classifies as three different waves of deconstructivist fashion: Japanese, Belgian and Turkish. The thesis also proposes the emergence of a third wave deconstructivist fashion by focusing on the unconventional designs of Bora Aksu and Hussein Chalayan. To study these designs of the third wave and further examples of the previous two waves, the thesis utilizes designer and curator interviews, observation of Turkish local wears and motifs and garments displayed on exhibitions and fashion shows as primary research. The thesis focuses on the concepts of transformation/metamorphosis and culture to establish links between the third wave and the first and second wave designers as well as within the third wave itself. Further, it studies the garments of deconstructivist design from a wider framework, which positions the thesis closer to a cultural studies approach.

Depuis la nuit des temps, les autoconstructions médinales tunisoises ont été, souvent brutalement, rasées par les autorités. L’avènement de la révolution de 2011 a revivifié leurs réapparitions. Les dynamiter une nouvelle fois aggraverait l’hémorragie de leurs renouvellements. Les « valoriser », les regarder autrement au lieu de s’en débarrasser, pourrait ouvrir de nouveaux horizons. Les considérer dans un comparatisme avec le Déconstructivisme nous conduirait certainement vers de fructueuses voies. Comparer ainsi la complexité, le chaos, la bizarrerie formelle et géométrique déployée par la déconstruction architecturale et les caractères formels des autoconstructions de la médina, constitue l’hypothèse de travail qui nous a guidé. La problématique développée dans la thèse consiste à porter un autre regard sur les autoconstructions de la médina de Tunis, en convoquant l’esthétique du Déconstructivisme afin de le discuter, voire de l’enrichir, d’une part, et, d’autre part, de promouvoir une autre approche de l’habitat spontané dans la ville de Tunis qui serait susceptible de fournir une autre lecture du phénomène de son émergence. L’une des ressemblances de l’autoconstruction au regard de la déconstruction architecturale tient à sa non-réglementation. Il en découle des espaces totalement bizarres, des plans déformés, des angles insolites, des lignes brisées, des asymétries télescopées... L’« idée » de déréglementation des autoconstructions transgresse nos habitudes de voir l’architecture. Elles nous semblent plutôt « vides de règles » que « déréglementées » et apparaissent complètement non académiques, non architecturales et pratiquement sans architectes qualifiés. Une autre ressemblance entre les (auto-) et (dé-)constructions réside dans l’ « idée » de ruine. Témoins de déshérence générale, de précarité et de souffrances, les autoconstructions incarnent le lieu d’une défragmentation chaotique de l’architecture. Planchers abandonnés, poteaux inachevés, façades hasardeusement superposées, revêtements anarchiquement combinés, constructions complètement ou partiellement ruinées... ; tous ces fréquents aspects esthétiques entretiennent de curieuses résonnances avec beaucoup de réalisations déconstructivistes. Une troisième ressemblance réside dans l’aspect d’incomplétude. En parcourant les ruelles de la médina, nous rencontrons des talus de sables, des sacs de ciments, des graviers, des briques, des pierres, des tôles ondulées, des déchets de bois, etc. Les autoconstructions médinale tunisoise sont-elles en « voie de déconstruction » ? Pourraient-elles inspirer les architectes déconstructivistes ? Pourrions-nous proposer que le Déconstructivisme constitue le meilleur appui théorique pouvant valoriser les aspects esthétiques des autoconstructions tunisoises ?
Since the beginning of time, Tunisian autoconstructions of the medina had been brutally razed by the governement. The advent of the 2011 revolution revived the desire for their reappearances. The dynamiting them again aggravates the hemorrhage of their renewals. "Speculating", "valuing" them and looking at them differently instead of getting rid of them will open up new opportunities. In the present work, the comparative method between autoconstruction and Deconstructivism would certainly lead us to fruitful paths. The complexity, the chaos, the formal and bizarre geometry deployed by the architectural deconstruction and, from the outset, by the autoconstruction of the medina seem to us the first hypotheses. In these brief lines, we shall be content to develop other aspects. The problematic developed in the thesis is to take another look at the autoconstruction of the medina of Tunis, summoning the aesthetics of Deconstructivism to discuss it, even to enrich it, on the one hand, and on the other hand , to promote another approach to spontaneous housing in the city of Tunis that would be likely to provide another reading of the phenomenon of its emergence. One of the resemblances that combines autoconstruction with deconstruction is its ability to be deregulated. The result is totally bizarre spaces, distorted planes, unusual angles, broken lines, telescoped asymmetries, etc. The "idea" of deregulation of autoconstructions transgresses our habits of seeing architecture. More than deregulation, they seem "empty of rules" and remain completely non-academic, non-architectural and practically without qualified architects. Another resemblance between the (auto-) and (de-)construction lies in the "idea" of ruin. Witnesses general desertion, precariousness and suffering, autoconstructions embody the place of a chaotic defragmentation of architecture. Abandoned floors, unfinished posts, randomly overlapping facades, anarchically combined facades, completely or partly ruined buildings, etc ; all these frequent and current aesthetic aspects have strange resemblances to many deconstructivist achievements. A third resemblance resides in its incomplete appearance. Just by walking through the narrow streets of the medina, we come across sandy slopes, bags of cement, gravel, bricks, stones, corrugated sheets, wood waste, etc. The result is interminably open chantier. It also results in excessive use of precarious, urgent, essential building materials. Are the Tunisian autoconstructions of the medina in a "way of deconstruction"? Could they inspire deconstructivist architects ? Could we propose that Deconstructivism constitutes the best theoretical support that can enhance the aesthetic aspects of Tunisian autoconstructions ?

Dans l’historiographie contemporaine, le déconstructivisme constitue un moment significatif d’une expression négative de la forme. En effet, la morphologie architecturale met en vue une recomposition à partir d’une décomposition : elle affirme et présente un processus de négation. Comment comprendre ces formes architecturales paradoxales qui expriment leur propre abolition et quelles sont les différentes manifestations de cette négativité morphologique dans l’architecture contemporaine ? En effet, bien que se défendant de toute attention à la forme, les architectures qualifiées de non-rhétoriques par l’historien J. Lucan (A. Lacaton & J.-P. Vassal, OFFICE Kersten Geers David Van Severen etc.), en cherchant précisément à faire disparaître toute expressivité morphologique, ne participent-elles pas d’une même visée que le déconstructivisme, lequel opère ce retrait de la forme de manière explicite ?Une première partie de cette recherche se propose d’explorer différentes approches d’architectes et de philosophes qui ont consacré une partie ou l’ensemble de leurs travaux à l’imagination et à la poïétique des formes : J. Lucan, D. Guibert, D. Raynaud, E. Cassirer, G. Bachelard, G. Durand. Dans une deuxième partie, dans le sillage de l’œuvre d’H. Maldiney qui établit un parallèle entre Art et existence, j’inscris ma recherche dans une herméneutique existentielle de ces formes négatives que j’ai nommées : antéformes. Mon hypothèse s’attache à proposer qu’au fondement négatif de notre rapport au monde répond une mise en forme négative des morphologies architecturales. En attaquant leur propre forme, c’est-à-dire le sens de la mise en forme proprement dite, les antéformes posent la question de ce qui fonde leur existence et y répondent en projetant dans l’objet une manière de se rapporter au monde. Certains concepteurs contemporains donnent à voir en partie et projettent à leur insu leur propre expérience vécue et désirante de la quête cherchante de forme qui les habite lors de la conception. Dans cette recherche, je suggère ainsi d’établir une analogie entre l’état poïétique et l’expression d’une forme négativée de l’œuvre. En outre, je m’emploie à repérer, proposer et articuler dans une architectonique des antéformes, différentes modalités de néantisation de la forme architecturale pouvant correspondre à des styles ou orientations de la présence proposés par le philosophe. Je développe ainsi des schèmes stylistiques fondés sur des tendances pulsionnelles ou qualités énergétiques tensives. Enfin, je propose que les antéformes expriment un ça-voir poïétique de la crise qui les fondent, les émotivent, et témoignent de cette épreuve surmontée. Il s’agit ici de réactiver la double implication originaire du verbe poïen : à la fois accomplissement et novation. Tout travail poïétique, en tant qu’il demeure porté par une exigence de singularité, implique l’imprévisibilité de l’objet qui émergera de son processus de conception. Les antéformes sont un appel à concevoir au sens plein du terme tout autant qu’un appel à un rapport propre (authentique) à l’existence ; lequel s’envisage, non comme un Moi ou un cogito qui se pose, mais comme le processus d’individuation d’un Soi. Celui-ci ne peut exister sans un travail incessant de désindividuation préalable dont les antéformes sont le témoignage. L’acte poïétique invite, non à choisir parmi des possibles préalables, mais précisément à engendrer sa propre forme d’être au monde
In contemporary historiography, deconstructivism is a significant moment in a negative expression of form. Indeed, architectural morphology puts forward a recomposition from a decomposition: it affirms and presents a process of negation. How can we understand these paradoxical architectural forms that express their own destruction? What are the different manifestations of this morphological negativity in contemporary architecture? Although defending themselves from any attention to forms, architectures described as non-rhetorical by the historian J. Lucan (A. Lacaton - J.-P. Vassal, OFFICE Kersten Geers David Van Severen, etc.), by seeking precisely to remove all morphological expressiveness, would they not participate, like deconstructivism, which removes forms explicitly? First, we explore different approaches of architects and philosophers, such as J. Lucan, D. Guibert, D. Raynaud, E. Cassirer, G. Bachelard, G. Durand, who devoted some or all of their work to the imagination and the poïetics. Second, in the spirit of H. Maldiney, which draws a parallel between Art and existence, I build my work on the existential hermeneutics of these negative forms, which I have named: antéformes. My hypothesis is that the negative basis of our relationship to the world responds to a negative shaping of architectural morphologies. By attacking their own form, that is to say the manner in which they are shaped, the antéformes question their own existence and respond to it by projecting into the object a way of relating to the world. Some contemporary designers partially reveal and project their own experience of searching for the form, that drives them during conception.In this research, I suggest an analogy between the poietic state and the expression of a negative form of the work. Besides, I work to identify, propose and articulate in an architectonic of the antéformes, different aspects of the nothingness of the architectural form that may correspond to styles or orientations of presence proposed by philosophers. I thus develop stylistic schemes based on drive tendencies or tensile energy qualities. Finally, I propose that the antéformes express a poietic sense of crisis that melts them, emotes them, and testifies to this experience.The aim here is to reactivate the dual implication originating from the poien verb : at once accomplishment and novation. Any poetic work, as it remains driven by a requirement of singularity, implies the unpredictability of the object that will emerge from its design process. The antéformes are a call to conceive in the full sense of the word as well as a call for a proper (authentic) relationship to existence; which sees itself, not as the emerge of the self or cogito, but as the process of individuation of a Self. This one can not exist without an incessant work of preliminary désindividuation for which antéformes are the testimony. The poietic act invites, not to choose among possible prerequisites, but precisely to generate its own form of being in the world

Private family garden + phenomenology + deconstructivism; alias landscape design cooking a la Czech is a thesis project the main purpose of which was to answer authors questions concerning the practical use of the two design approaches applied to project for a real site through a development of designs driven by the principles of the respective styles/movements. Emphasis were paid to the influence the movements have on architectural and garden design. Second aim was to investigate the appropriateness and usefulness of designing through a model creation in a miniaturised simulation of the real situation in three dimensions. Following, and the last step, was to investigate the effectiveness of the model to communicate and truthfully represent/simulate the impact of the proposed design interventions. Throughout the work on the project, stages and consecutive steps taken were recorded to document the process. Development of the project was divided into several phases. First, suitable site was chosen and data related to the property gathered. Second, phenomenology and deconstructivism had been studied - mainly through looking at precedent design work and development of visual annotated analysis. Third step, happening simultaneously with second, was creation of a model simulating the current state and conditions on the site. Fourth, preliminary design proposals were developed. As a reflection on step four, design guidelines were developed (step five) to provide more steady ground/base for development of a coherent and better focused final design, which was the product of step six. In the seventh step, a rough model of the final design was developed and had been gradually refined into a stage of a final model with minor changes to the design elements occurring throughout the process. The changes were executed as they became desirable after the three dimensional simulation of the proposed design was developed and a higher level of understanding of the spatial relations was achieved. In conclusion, a high effectiveness of the model "to tell the story" was observed and emphasized even further by digital photo-documentation targeted to "draw the viewer into the model space." Lessons about time demands for the model creation were learned and better level of understanding the way deconstructivism and phenomenology reflect in design work was achieved.

O estudo da História recente da Arquitectura Nacional é importante para registar o testemunho do presente, ou passado recente, para futuras gerações de arquitectos que, por não terem a oportunidade de testemunhar os acontecimentos da referida época, utilizarão como referência estes escritos que relatam os factos e que depois apontam para uma crítica ou ideia pessoal. Esta dissertação pretende ser um desses documentos que ajudará a compreender, segundo um ponto de vista pessoal, um determinado período da Arquitectura Nacional. As arquitecturas de papel, referenciadas como título da presente dissertação, são projectos que nunca vieram a concretizar-se, nunca passaram do papel. Estes projectos estão sempre envoltos em polémicas, quer no meio da arquitectura quer no meio social. Na sua maioria são projectos utópicos ou com um cunho muito diferente do habitual para a época e local a que se destinam. Na arquitectura, em geral, as Arquitecturas de Papel assumem desde sempre um papel importante na vontade de ultrapassar limites, quer em termos técnicos quer em termos de pensamento, por parte dos seus autores. Em 1993 foi realizada uma exposição no Centro Cultural de Belém com o nome Realidade-Real, que por si só é um marco na história recente da Arquitectura em Portugal. Esta exposição foi muito rica em formas de ver, projectar, perceber e pensar em Arquitectura. Os protagonistas foram os ARX Portugal Arquitectos que, com uma linguagem díspar de todos os outros, criaram como que um protesto à “tradição” das escolas de Arquitectura de Portugal. Esta dissertação pretende recontar a história recente da Arquitectura Nacional de um período de tempo curto (1990-95), é certo, mas em que os ARX pareciam ser a força da ruptura com a tradição.
Studying the recent history of the National Architecture is important to record the testimony of the present or the recent past for future generations of architects who, not having the opportunity to witness the events of that time, take as reference these writings that describe the facts and then point to a critical or personal idea. This dissertation aims to be one of those documents that will help you understand, according to a personal point of view, a period of national architecture. The architectures of paper, referenced as the title of this dissertation, are projects that never came to fruition, never left the paper support. These projects are always shrouded in controversy, whether in the architectural or social environment. Most are utopian projects or, at least, with a very different vision of the time frame and site. In architecture, generally speaking, the Paper Architectures always take an important role in the will of their authors to exceed boundaries, both technical and in terms of thought. In 1993, the exhibition entitled “Realidade-Real” was held at the Centro Cultural de Belém. It was a milestone in the recent history of architecture in Portugal. This exhibition was very fruitful in terms of seeing, thinking and designing architecture. The protagonists were the ARX Portugal Architects who, with a different language to all others, created a sort of protest to the "tradition" of architectural schools in Portugal. This dissertation aims to retell the story of recent architecture National. Within a short period of time (1990-95), but in that time-frame ARX seemed to be breaking with tradition.

This report details a design process that generates new forms from mundane materials and tools. By utilizing a structure of limitations to establish artificial constraints, making becomes a sort of game where the designer must negotiate the rules and objects in order to achieve a solution. The best results come from setting up explicit limitations about the type of manipulation permitted, establishing design objectives, specifying the material or tool to be explored. Throughout the process of designing a structure of limitations affords the designer a critical distance from the assumed uses of common materials and familiar tools resulting in new forms, and often unexpected results. Self-assigned parameters help the designer gain control over rules and constraints established by clients.
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Text in German, summaries in German and English
Diese Masterarbeit handelt von Transzendenzmomenten angesichts des Anderen und nimmt damit Bezug auf einen der einflussreichsten Philosophen der Gegenwart, Emmanuel Levinas. Philosophiegeschichtlich bildet der linguistic turn den Kontext dieses Diskurses. So wird der Wandel im Denken, der mit dem linguistic turn einhergeht, anhand verschiedener philosophischer und theologischer Essays reflektiert und auf das Problem der Gewalt im Prozess des Erkennens hin zugespitzt. In Diskussion mit den Schriften Dietrich Bonhoeffers leistet diese Arbeit hinfort einen Beitrag zum systematisch-theologischen Diskurs über Gottesoffenbarung in zwischenmenschlichen Beziehungen und über Ethik. In Auseinandersetzung mit Levinas und Bonhoeffer baut diese Arbeit eine Brücke zwischen postmodernem, dekonstruktivistischem Denken und der fortwährenden theologischen Aufgabe, Gottes Sein mittels menschlicher Sprache Ausdruck zu verleihen.
This master thesis is about moments of transcendence in face of the other by means of one of the most important philosophers in our days, Emmanuel Levinas. The philosophically based historical context is represented by the term linguistic turn which marks a change of thinking within the 20th century. To outline this change the thesis brings several philosophical and theological essays up for discussion which leads to the problem of power in the process of recognition. Bringing up Dietrich Bonhoeffer’s writings, this research will make a contribution to the systematic-theological discourse about God revealing himself within relationships and about ethics. Furthermore it builds a bridge between postmodern anti-constructivist thinking and the continual theological task of using human language to explore God’s being.
Philosophy, Practical and Systematic Theology
M. Th. (Systematic Theology)