Dissertations / Theses on the topic 'Humanity in architecture'

Three houses are presented in this book. Each house has been designed with distinct site parameters with the expectation that obvious differences in form would occur. The focus of this investigation lies within the significant parallels that exist between the projects and how those parallels relate to the principles that constitute a framework of operation for a designer.
Master of Architecture

People use a variety of means to orient themselves towards the future. A more organised approach to handling the future known as "futures studies" is often used in a variety of contexts including long-term planning within large organisations. In the effort to enhance the quality of such studies, there have been arguments for better methods (which makes sense), but methods may not be the most important aspect in the production of futures studies. Greater theoretical awareness in the substantive questions upon which the study is based is more important. To that end, the intent of this dissertation is to infuse a keener awareness of fundamental assumptions in futures studies and contribute to increasing their quality.

One objective of the dissertation is to formulate a method or procedure to analyse the futures studies of large organisations, apply it to two empirical cases and thereafter analyse its strengths and weaknesses. The method I discuss and develop extensively in this work consists of an analytical framework that focuses on three aspects of each future study: its architecture, its relationship to a few of the key future issues of our time and its assumptions regarding our views on society, humanity and technology. A second objective is to systematically study future documents from two large organisations and attempt to clarify motives, orientation, methodology and distinguishing characteristics in their future processes. The cases I have chosen are the Swedish Armed Forces and the telecommunications company Ericsson, which were both in a period of transition around the mid 1990s.

The dissertation shows how the method has been used to bring to the fore and clarify central ideas in futures studies, identify ambiguities and fuzzy thinking and to show and expose more covert assumptions. The analysis also illustrates that certain aspects of the model have been observed in the empirical material, other ideas are found to a lesser extent and certain perspectives are entirely absent. The paper stresses that the model developed has both strengths and weaknesses, but the overall assessment is that it was well-balanced and maintains appropriate depth in relation to desired efficiency. The study shows that the analytical method is relevant and adequate to understand and describe the direction and content of futures studies and in so doing enhance their quality.

Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture; and, (S.M.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2003.
Includes bibliographical references (leaf 46).
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
In high density urban areas where the land acquisition and construction cost components are significant relative to total development costs, the market typically supplies a high-income housing product in order to justify the risks for new construction. In places such as New York, Tokyo, London and other land supply restricted cities, the effect of these rising costs has forced the unsubsidized middle-class to migrate further and further from the center of the city where most of the infrastructural area amenities and jobs are located. This causes extended commuting times that result in the exacerbation of pollution and wasted allocation of resources. In effect, the overall function of the city grows more inefficient. All the while, the demographic texture of the central city becomes a polarized gathering of the wealthy elite and the service oriented subsidized poor. The lack of income diversity results in a spatial built form that also mimics this polarized condition. In these circumstances, might there be a strategy for encouraging a housing prototype that specifically targets the broad middle class market in order for cities to maintain diverse communities, a tapestry of spatial form, and a more efficient competitive city. The hypothesis is that if housing occupancy levels can be doubled from what is currently allowed within spaces that are tighter than typical American standards, then middle-income affordability can be achieved without diminishing design quality. This thesis investigates what flexible spatial possibilities there may be for middle-income housing based on a series of design priorities that are underpinned with an approach that advocates for a more intense occupancy use per unit of housing. Due to the augmented use intensity, flexibly designed elements are built within the spatial form of each unit. Each design variation is subsequently tested against a private sector based feedback mechanism that measures the affordability range that the design can offer. This iterative tool reveals what income groups can be supplied due to the design changes put forth by the varying design priorities. It is the hope that this tool will enable architects, developers, and the capital markets to understand the trade-offs made from both a spatial form perspective as well as a market perspective in order to ultimately enhance the condition of the built environment.
by Ryunosuke Konishi.
S.M.
M.Arch.

This thesis aims to re-analyze the early twentieth century modern architecture, with in the frame work of posthumanism. Referring to the materialist and socioconstructive architecture of Hannes Meyer, the study proposes a shift from humanist ways of production and reception to posthumanism, where the centrality of human in the productive processes of both art and life is questioned. With this respect, the thesis proposes a historical continuity with the post 1960&
#8217
s posthumanist involvement of the postmodern architecture with the early twentieth century modern architecture. Moreover, it is argued that the ideal of modern architecture&
#8217
s break with tradition could be realized through a move towards posthumanism referring posthumanist shift occurred in the avant-garde modernism. Within this framework the thesis, via proposing the book by Michael Hays: Modernism and the Posthumanist Subject: The Architecture of Hannes Meyer and Ludwig Hilberseimer as a pretext, argues that the modern architecture&
#8217
s ideal of break with tradition is realized through the Neue Sachlichkeit architecture of Hannes Meyer within which the architectural production is integrated with the social and productive determinants of life.

&ldquo
New monumentality&rdquo
is a term which was first introduced to architectural discourse by Sigfried Giedion, Jose Luis Sert, and Fernand Lé
ger right after the post-World War II in the early forties. The effect of the term comes from the polemical power of reformulation of the accustomed category &ldquo
monument&rdquo
within the field of the modern architecture. In this way, as it is shaped by the three authors, for the first time &ldquo
New Monumentality&rdquo
had been identified as a modern task under the name of Nine Points on Monumentality in 1943. Therefore, this thesis is mainly grounded on this significant text that is a primary manifestation of the need for the new monumentality. On these bases, that the manifesto is stressed an effort to determine the ethics of the post war modern architecture regarding: historicism, functionalism, and representation. This thesis seeks to clarify the self-critical frame which is unfolded by the manifesto within the context of the modern architecture. Thus, the first one of the three objectives of this thesis is to clarify the concept of new monumentality
the second one is to locate its position in the history of modern architecture
and the third one is to differentiate proposed and unintended outcomes of this movement within the contemporary discourses of architecture.

In April 1997 Kainos Community in HMP The Verne, Dorset, England became the first faith-based prison unit to be established in the Western world. The foundations and ethos of Kainos are based on Christian concepts of ‘loving your neighbour’ and forgiveness. The community operates as a hybrid therapeutic community (TC) and cognitive behavioural programme (CBP). It is open to and inclusive of prisoners of all faiths and none. The aim of this study is to explore the Kainos community ethnographically, guided by the principles of grounded theory and thematic analysis, in order to investigate whether or not Kainos ameliorates some of the de-humanising aspects of prison, and if so, how it rehumanises the prison space. Theoretically, this study highlights the dehumanisation of imprisonment, and illuminates the role that a holistic, Christian-based approach can play in terms of making the prison environment ‘more human’. My findings reveal that on Kainos there are physical, liminal and spiritual spatial mechanisms, in which a family of sub-themes interact to enable flourishing to occur. Kainos has created a physical space in which spaces of architecture and design; sensory experience; movement; and home interact to enable flourishing, whereby prisoners feel ‘more homely’, ‘free’, safe, and calm. Kainos has created a liminal space in which spaces of atmosphere; identity; home; and creativity interact to enable flourishing, empowering prisoners in their self-expression; as a cathartic tool; and as a means of regaining or creating a new identity. Kainos has created a spiritual space in which spaces of Christian activism, love, and forgiveness enable self-worth, healing, transformation, and meaningful change. The implication is that Kainos has created spaces of flourishing, safety and peace within an otherwise dehumanising carceral space, and this plays an important role in the process of transformational change imperative in the desistance process. If society must have prisons, this study concludes that Kainos provides a model for how they should be.

Le domaine de Kerazan, ensemble encore méconnu, fut légué à l’Institut de France par Joseph-Georges Astor en 1929. Situé en plein cœur du Pays Bigouden, sur la route de Pont-l'Abbé à Loctudy, le manoir de Kerazan est aujourd'hui l’un des fleurons de l’art de vivre au XIXe siècle, en sud Finistère. S’étalant du XVIe siècle à 1934, toute une collection d’arts décoratifs imprègne le manoir : toiles de maîtres régionaux, meubles bretons ou encore faïence de Quimper font vivre ce bâtiment comme ils font vivre le passé. Cet ensemble éclectique fut composé par une famille de trois collectionneurs : Joseph Astor II, Maire de Quimper de 1870 à 1886, conseiller général (de 1877 à 1895) et premier Sénateur républicain du Finistère, élu en 1890, et qui le restera jusqu’à son décès, en 1901. Son fils, Joseph-Georges Astor, docteur en droit, compléta la collection familiale tout au long de sa vie, avant de léguer - sous certaines conditions - l’ensemble de la collection à l’Institut de France. Dernier membre de cette famille de collectionneurs, beau-frère de Joseph Astor II et oncle de Joseph-Georges Astor, Georges Arnoult fut élu Député de la seconde circonscription de Quimper de 1876 à 1885. Le manoir et son domaine, connurent de très amples modifications, depuis la fin du XVe siècle à nos jours, et c’est ce que nous allons aborder ici, par le prisme de différentes disciplines, à savoir : histoire politique, histoire sociale et histoire des arts.Ce fut donc sous l’action de plusieurs familles et collectionneurs que le manoir fut modifié : tant dans son architecture, que dans ses décors intérieurs. Enfin, nous analyserons, l’histoire du goût au travers de l’exemple de la constitution de la collection de Kerazan. Peintures, mobiliers et objets quotidiens demeurés en l’état méritent-ils l’appellation de « collection bretonne » ? Quels étaient les objectifs de cette collection, quelles impulsions peuvent en être dégagées, et quels processus avons-nous pu déceler ? Ces derniers peuvent-ils être comparés à d’autres collections ?
The domain of Kerazan, still an underestimated set, was bequeathed to the Institute of France by Joseph-Georges Astor in 1929. Placed right in the heart of the Bigouden County, between Pont-l'Abbé and Loctudy, the manor house of Kerazan is today one of the jewels of the lifestyle in the XIXth century, in South Finistère. Spreading out from the XVIth century to 1934, a whole collection of decorative arts fills the manor house: paintings of regional masters, Breton furniture or still earthenware of Quimper make this building live as they make the past live. This eclectic set was made by a family of three collectors: Joseph Astor II, Mayor of Quimper from 1870 to 1886, member of the “General Council” (from 1877 to 1895) and first republican Senator of Finistère, elected in 1890 until he died in 1901. His son, Joseph-Georges Astor, Doctor of Law, continued the family collection throughout his life, before bequeathing - under certain conditions - the whole collection to the Institute of France.Last member of this family of collectors, brother-in-law of Joseph Astor II and uncle of Joseph-Georges Astor, Georges Arnoult was elected Member of Parliament of the second district of Quimper from 1876 to 1885.The manor house and its domain, have known very important modifications, since the end of the XVth century up to nowadays, and that is what we are going to study here, thanks to various subjects, that is to say : political history, social history and art history.Thus, the manor house was changed thanks to several families’ and several collectors’ actions in its architecture and also in its internal decoration. Finally, we will analyze, the history of taste through the example of the constitution of the collection of Kerazan. Do paintings, furniture and daily objects deserve the name of " Breton collection "?What were the goals of this collection, which trends can be observed, and which processes could we identify ? Can the latter be compared with other collections ?

Tout au long de ses évolutions, l'ordinateur n'a cessé de permettre autant la consultation que la création de médias. Mais contrairement à l'activité de consultation, la création de logiciels interactifs demande une certaine maîtrise de la programmation informatique, qui reste le seul moyen de produire des programmes agissant sur une machine numérique. Dans ce contexte, les pratiques artistiques engagées dans la création d'œuvres interactives ne peuvent se dispenser de recourir à la programmation informatique, c'est-À-Dire à la création logicielle. Mais dans quelles situations les artistes se placent-Ils face aux techniques du numérique et à la programmation en particulier ? Cette interrogation, qui trouve de multiples réponses, revient au premier plan lorsque le paysage des appareils numériques de grande consommation connaît un événement majeur. Notre recherche est issue d’une telle situation : à partir de 2007, l’apparition des écrans mobiles (smartphones et tablettes) a été pour nous l’occasion d’interroger le potentiel de ces nouveaux supports dans la création artistique œuvrant avec l’interactivité. Il s'agissait pour nous de faire œuvre avec les écrans mobiles autant que d’en définir les modalités de mise en œuvre esthétique et technique au moment même de leur introduction dans notre quotidien. Nous cherchons à situer une certaine pratique de l’interactivité dans l’art permise par les écrans mobiles et leurs spécificités techniques, en partant de l'hypothèse selon laquelle les écrans mobiles permettent des mises en œuvre artistiques de l’interactivité que d’autres supports numériques ne permettent pas, mais imposent également des créations logicielles spécifiques
Throughout its evolution, the computer never stopped allowing media consultation as well as media creation. Unlike the consultation activity, the creation of interactive software requires some computer programming skills, as it remains the only way to produce programs that acts on a digital machine. In this context, artistic practices involved in the creation of interactive works cannot avoid the use of computer programming and the creation of software. But what circumstances artists are facing when then work with digital technologies and software programming? This question, which has multiple answers, gain in importance when the landscape of massively produced digital devices experiences a major event.Our research is the result of such a situation: starting in 2007, the emergence of mobile screens (smartphones and tablets) was an opportunity to examine the potential of these new digital devices in the field of interactive arts. Our purpose was to create effective art works with mobile screens to be able to define their aesthetic and technical specificities at the very time of their introduction into our daily lives. We try to situate some interactive art practices that mobile screens makes possible thanks to their technical specifications. Our base hypothesis is that mobile screens allow the creation of interactive art work that other digital media cannot afford, but also require the creation of specifics softwares

Orientador: Sergio Resende Carvalho
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Ciencias Medicas
Made available in DSpace on 2018-08-10T20:50:14Z (GMT). No. of bitstreams: 1 Pessatti_MirelaPilon_M.pdf: 1608396 bytes, checksum: 2a72ca5d56f67076013392918fff5f43 (MD5) Previous issue date: 2008
Resumo: Este trabalho investiga a intercessão arquitetura e saúde destacando alguns modos como vem ocorrendo a produção do espaço físico nas instituições de saúde. Inicia com uma breve revisão da arquitetura e urbanismo, realçando dois movimentos importantes que influenciaram a formação dos arquitetos nas ultimas décadas, o Movimento Modernista e o Movimento Situacionista, trazendo de forma sucinta como esses movimentos tangenciaram a temática da saúde. Faz uma síntese dos discursos e tendências de alguns autores brasileiros sobre o tema da arquitetura e saúde no Brasil, destacando que determinados modos de tratar e compreender a produção do espaço físico na saúde, assim como seus arranjos, possibilita dar visibilidade à relação desses pensamentos a própria compreensão do processo saúde-doença e aos modos de administração e gestão de que mais se aproximam. Descreve o processo de constituição das normas que regulamentam os Estabelecimentos de Assistência à Saúde, fazendo uma análise sobre os riscos do engessamento e da burocratização que as normas podem gerar e também aponta possibilidades para se lidar com a perspectiva restritiva e normativa da Vigilância Sanitária para além do "agir segundo regras". Relata a discussão do espaço físico numa política pública de saúde específica, a Política Nacional de Humanização no Ministério da Saúde, com uma nova proposta de conceito para a "ambiência" na saúde e modo de co-produção do espaço, com inclusão dos sujeitos trabalhadores, gestores e usuários no processo. Discute possibilidades para um método de co-produção do espaço e suas variações como potência e dispositivo que pode contribuir nas mudanças proposta para a gestão e atenção nas instituições de saúde, usando como material para problematização algumas cenas que são contadas inspiradas em memórias de vivências cotidianas. Conclui apontando alguns desafios e possibilidades para estudos futuros apostando na potência da composição dos saberes na intercessão arquitetura e saúde para a produção do espaço físico na saúde, e na inseparabilidade entre a produção do espaço, a produção de saúde e a produção de subjetividade. Na produção de um espaço que não é dado, estático, morto. E sim, um espaço que se habita, se experimenta e que se produz, onde tem processo de trabalho, encontros entre as pessoas e modos de se viver e conviver nesse espaço
Abstract: This research investigates the architecture-health intercession highlighting some ways the production of the physical space has been occurring in the health institutions. It starts with a brief review of the architecture and urbanism emphasizing two important movements that influenced the formation of architects in the last few decades: the ¿Modernist Movement¿ and the ¿Situational Movement¿ and how these movements influenced the subject of health. It makes a synthesis of the speeches and trends of the authors on the subject of the architecture and health in Brazil, showing that we determine ways to treat and to understand the production of the physical space in the health, as well as its arrangements. It makes possible to give visibility to the relation of these thoughts the proper understanding of the health-illness process and to the ways of administration and management to which they come closest. It describes the process of constitution of the norms that regulate the Health Assistance Establishments, analyzing the risks of bureaucracy that the norms can generate. It also points out possibilities to deal with the restrictive and normative perspective of the Sanitary Monitoring beyond ¿acting according to rules¿. It reports the discussion about the physical space in a public policy of specific health, the National Humanization Policy in the Ministry of Health, with a new proposal of concept for the health ambience, and for the way of co-production of the space with inclusion of the workers, managers and users in the process. It points out possibilities of a method for co-production of the space and its variations as the power and a device that contribute to the changes of the health institutions, using as material for reflection some scenes that were clipped from the daily experience of the author regarding the work of health teams. It concludes by indicating some challenges and possibilities with respect to future studies believing in the power of the knowledge composition in the architecture-health intersection for the production of the physical space in the health, and in the inseparability involving the space production, health production and the production of subjectivity in the production of a space that is not given, static and dead, but a space that is inhabited, where people get experience and produce, where there is a process of work, where people meet, interact and share ways of living and coexisting in this space
Mestrado
Saude Coletiva
Mestre em Saude Coletiva

Le cardinal Georges Ier d’Amboise est connu pour ses fonctions cléricales et politiques. Lorsqu’il eut atteint le faîte de sa gloire, en réunissant les fonctions apostoliques, de légat en France et en Avignon, et politique, de premier conseiller du roi Louis XII, il fit construire à Gaillon un splendide palais privé, au sein duquel il fit édifier plusieurs chapelles. Un ensemble de stalles a été construit, entre 1509 et 1518, pour la chapelle haute dont l’abside se superpose exactement à celle de la chapelle basse. Ces stalles sont conservées dans la basilique Saint-Denis, et sont la seule œuvre, parmi celles que le cardinal a commandées, qui nous soit parvenue dans une intégrité pratiquement totale. À l’image du château de Gaillon elles présentent une mixité de style propre à leur époque, alliant avec bonheur les vocabulaires gothiques et antiques. Des artisans italiens sont venus en 1509 sur le chantier, ils ont créé les panneaux de marqueterie. Parmi eux était Giovanni Barili qui a mené cette équipe. Tous les éléments innovants ont été réalisés cette année-là. Le décès du cardinal, en 1510, a bloqué le chantier qui a été repris en 1516 par Nicolas Castille. Il a créé quelques éléments mais pas suffisamment pour réaliser les quatorze stalles prévues au programme, donc elles ne sont que douze. Les éléments qui ont été restaurés ou créés sous Viollet-le-Duc n’ont pas modifié l’aspect ni l’iconographie de l’ensemble. Les scènes sculptées sont choisies dans les vies de saints ou se sont inspirées de gravures de la Margarita philosophica de G. Reisch ou des Métamorphoses d’Ovide. Les scènes marquetées font appel au Calendrier des bergers, au livre d’Heures de Louis de Laval et le dialogue entre les sibylles et les vertus les relie au recueil des Institutions Divines de Lactance. L’esprit humaniste de Georges Ier d’Amboise a donc pu se révéler dans la valorisation de l’esprit antique et le soin qu’il a mis à dispenser cette culture
Cardinal George I d'Amboise is known for his clerical and political functions. When he had reached the height of his glory, by combining the apostolic functions of legate in France and Avignon, and political functions of first counsellor to King Louis XII, he had a splendid private palace built in Gaillon, within which he had several chapels erected. A set of stalls was built, between 1509 and 1518, for the high chapel whose apse is exactly superimposed on that of the low chapel. These stalls are kept in the Basilica of St. Denis, and are the only work, among those commissioned by the cardinal, which has come down to us in almost complete integrity. Like the Château de Gaillon, they present a mix of styles specific to their time, happily combining Gothic and ancient vocabulary. Italian craftsmen came to the site in 1509 and created the marquetry panels. Among them was Giovanni Barili who led this team. All the innovative elements were realized that year. The death of the cardinal in 1510 blocked the work, which was taken over in 1516 by Nicolas Castille. He created a few elements but not enough to make the fourteen stalls planned, so there are only twelve. The elements that were restored or created under Viollet-le-Duc have not altered the appearance or iconography of the ensemble. The sculpted scenes are chosen from the lives of saints or have been inspired by engravings of G. Reisch's Margarita philosophica or Ovid's Metamorphoses. The inlaid scenes call upon the Calendar of the Shepherds, the Book of Hours of Louis de Laval and the dialogue between the sibyls and the virtues links them to the collection of the Divine Institutions of Lactance. The humanist spirit of George I d'Amboise was thus able to reveal itself in the valorization of the ancient spirit and the care he put into dispensing this culture

A obra do historiador da arquitetura Manfredo Tafuri (1935-1994) mantém grande pertinência nos debates contemporâneos. Sua contribuição é caracterizada pelo rigor filológico de suas pesquisas, pela leitura crítica das utopias das vanguardas e sobretudo pelo trânsito intenso de suas análises por outras disciplinas das ciências humanas, como a filosofia, a psicologia e a sociologia. Em seus textos, o autor ladeou o Renascimento e a atualidade de diferentes modos para tecer suas argumentações, através de articulações de noções de tempo. O tempo, na prosa de Tafuri, é um objeto de estudo em si, e remonta às raízes de seu trabalho nos debates filosóficos italianos. A tese se aprofunda nesse aspecto do historiador, na determinação feita entre períodos históricos, dando ênfase ao modo como Tafuri entendia a temporalidade. Toma-se como texto de base a conferência As formas do tempo (1993), onde podemos encontrar uma síntese de suas considerações sobre o assunto, relacionando-a com os textos mais ensaísticos sobre história assinados pelo autor, que formam o corpus desta pesquisa: Teorias e história da arquitetura (1968), Projeto e utopia (1973) e Machine et memoir: a cidade na obra de Le Corbusier (1979). Estudar-se-á este núcleo considerando a hipótese de que a complexidade da obra de Tafuri reside no entremeio de tempos. Espera-se com este recorte destacar a atualidade das considerações críticas do autor sobre a arquitetura, demonstrar a interlocução de seus escritos com os debates filosóficos italianos de sua época, bem como aprofundar em alguns aspectos a interdisciplinaridade de sua teoria.
The work of Manfredo Tafuri (1935-1994) remains important for the History of Architecture. His contribuition is often summarized in the filological accent of his research subjects, the critical approach of contemporary trends in architecture and most of all for the interdisciplinarity of his writings, leaning towards other fields of humanities such as philosophy, psicology and sociology. In the overall of his work, the author established connections between Renaissance and Contemporary in different ways to make a point in his essays. The ways he framed different periods of history concerned a specific transit between notions of temporality. In Tafuri\'s work, time appears as a subject itself and denotes its philosphical origins in the political trends of Italy. This thesis seeks to shed light on one specific aspect of the work of Tafuri. It will work with his most ensaistic works regarding time: The forms of time: Venice and the Renaissance (1993) and Machine et memoir: The city in the work of Le Corbusier (1979). Along with these two articles, we will focus on two seminal books signed by the author: Theories and history of architecture (1968) and Architecture and utopia (1973). Through the study of the temporality in the work of Tafuri, we expect to broaden the understanding of his contribution, shedding light to the pertinence of his critical opinions on architecture, to the persistent dialogue his work with philosophical trends in Italy, and to give a better overall understanding of the interdisciplinary approach of his theory.

Through discursive essays and poetic narrative, Antithetical Commentaries on X, Y and the Disruption of Being explores the tenuous relationship between modes of measurement and the struggle for human relevance in the post-contemporary digital age. In the introductory essay, “Not the Feather, but the Bird”, I give an overview of the inherent problems of object-oriented ontology, and how it relates to aesthetics and social issues of our times. In the Developmental Overview, I detail how I developed my installation approach and techniques, particularly with regard to the three-way dynamic of the artist:work:viewer relationship and how it can encourage a ‘transgression’ that leads to the possibility of a transformative awareness of being. Subsequently, I present a series of ‘antithetical’ commentaries that neither explain nor expand the installation, rather, they create a non-binary duality that, through an entirely non-linear anti-narrative, work to erode the overlay of personal, civic and collective grids present in the memory space/time referenced in the video, TAG. Finally, in “Grid: Towards a Transgressive Humanism.” I propose a path by which installation art might serve to create transgressive opportunities for viewers, rather than the transcendence sought through religious rituals, which often reinforce stigmas, fears and authoritarian social dynamics, or worse, the reductive loop, of many contemporary approaches to art which proclaim their detachment in wordy displays, essentially leading to a form of aesthetic nihilism. This Transgressive Humanism is not presented as a dogma, but rather a revitalization of the work as a vessel of possibilities, an agent of creative growth for the artist and the viewer.

This thesis chronicles my experiences with developing a panelized wall system for use by Habitat for Humanity and with testing that system in the design and construction of a house. Presented as a series of narratives, it follows the progress of the project from August 2003 to December 2005. Described is my motivation to test my theories through design and construction, the applicability of prefabrication to Habitat for Humanity’s use of unskilled volunteer labour, the incorporation of panelization into the design of a house for the Waterloo Region affiliate of Habitat for Humanity, the prefabrication of preclad wood framed wall panels for this house by students at the University of Waterloo School of Architecture, the erection of these wall panels on-site, and the completion of the house to a weathertight state. The thesis concludes with discussions of the understanding I gained through my experiences, the necessity for further development and testing of the panelized wall system, and the future use of prefabrication by Habitat for Humanity.

碩士
國立臺北科技大學
建築與都市設計研究所
102
“Collaborative Architectural Design” represents a process of mutual cooperation between different professionals, communities and resources to solve problems together and to create environments. “Architecture for Humanity” is a concrete action to implement humane doctrine in architectures. Collaborative Architectural Design teams with university teachers and students as major taskforce are solidly rooted in many schools, and these teams continue to serve many areas in Taiwan. Considering the commonality of study background, architecture type and construction scale, we chose six cases from two projects in this case study: the “Core” project lead by and continuously implemented by Institute of Architecture of National Taipei Technology University and the “Architecture for Humanity, Tai-Tung” project lead by and implemented by the “Architecture for Humanity” laboratory of National Chiao-Tung University in the recent two years. Using these cases, we examined the experiences of implementing “Collaborative Architectural Design”. We constructed database from these accumulated experiences to provide feedback, and we investigate the implementation contents and operation model for future “Collaborative Architectural Design”. “Collaborative Architectural Design” projects such as “Architecture for Humanity” operated by University teams not only achieved tangible outcome goals, but also encompassed three core values in the societal, educational and professional domains. Based on the experiences in this study, we divided the objective and outcome of implementing “Collaborative Architectural Design” into four areas: 1.To construct hardware architectural infrastructure that provides environment that supports reading and cultural heritage: There is one bamboo building structure and five wood building structures in this study based on the building construction classification. 2. To orchestra soft infrastructure that provides activities of collective learning and education: Each case in this study held a variety of soft infrastructures such as activities and curriculum during the process of project implementation to provide students and volunteers in “Collaborative Architectural Design” project opportunities for participation of learning. 3. Open information technology programs aiming at promoting the concept of “Collaborative Architectural Design”, recruitment plans and consolidating the concept of open technology: In this study, recruitment plans were broadcasted on the internet to achieve publicity. However, the implementation of the “open technology” concept was still insufficient. 4. Promote recruitment plans that can facilitate the consolidation of “Collaborative Architectural Design” projects: All cases in this project used internet as a platform to announce fund raising and manpower recruitment information for the promotion of project implementation. All cases of “Collaborative Architectural Design” projects in this study had common objectives, however, the implementation processes and outcomes were different. This may due be to the fact that not all “Collaborative Architectural Design” projects were assembled and led by professionals. Therefore, different issues surfaced when attempting to achieve implementation goals without proper planning of project phases and contents: The first effect was on the construction of hardware infrastructures with poor handling of construction plans and progresses during the construction process. Many cases in this project created soft infrastructures such as various educational activities and curriculum to stimulate students’ creativity and to nurture service volunteers’ learning attitudes. However, cases in this study lacked proper planning for the contents of soft infrastructures to achieve objectives in their “Collaborative Architectural Design” projects. Sometimes this was limited and affected by the progress of hardware infrastructure construction, preventing the consolidation of soft infrastructure activities. There were no systematic databases or internet platform to satisfy the needs of individuals who wanted to retrieve information pertaining to project implementation outcomes based on the concept of consolidating open technology expected from using open information technologies. Recruitment plans aimed primarily at realizing the objectives of promoting “Collaborative Architectural Design” projects. However, observations based on past implementation experiences demonstrated that recruitment plans lacked corresponding objectives to hardware or soft infrastructures. These deficiencies resulted in insufficient fund, insufficient or redundant manpower, respectively. After understanding the corresponding relationship between various objectives of “Collaborative Architectural Design” projects, we further develop workflow and itemized task for each objective in this study. We also divided the process of implementing “Collaborative Architectural Design” projects into four stages: planning, preparation, implementation and follow-up stages. We expected to know the corresponding relationships between the appropriate stage to arrange planning and itemized tasks for each objective. Finally, we developed the key points for itemized task for each objective to serve as a basis for future implementation of “Collaborative Architectural Design” projects and reference model for operation.

碩士
中原大學
室內設計學系
85
This dissertation seeks to illustrate the evolution of humanism between modernism and postmodernism through discussion of Louis I. Kahn and the humanist qualities in his architecture. Through its prevalence of Marxist social movements and mechanization, modernism has complicated our reference points for studying the development of humanism. By heralding new technology and democracy, it has also introduced a type of purism in design, the chief purpose of which is to destroy bourgeois humanism and thus pave the way for humanism''s integration with society. The diligence of modernist architects to change the destiny of architecture has not, however, succeeded in resolving mankind''s perennial conflict between thought and emotion. 　　The humaism in Kahn''s work symbolizes a personal reflection on modern architecture. It has confronted modernists with their fundamental defeat and initiated change in the chaos brought by their mechanical and industrial values. To achieve this, Kahn applies the Beaux Arts tradition in his work, reconstructing a classical, static, and stable architectural order in which rationality serves as a conduit.But just as reflections on modemism have led Kahn back to the Beaux Arts tradition, they have also allowed him to transcend that tradition. In this sense, his form of humanism is a unique aesthetic concept that resolves the contradictions between modemism and Beaux Arts. adding new aspects to both schools in the process. Since the 1960s, however, philosophical critique of the concept of subjectivity has engendered a type of "post-humanism." This trend has shifted the course of architectural development by giving rise to deconstructuralist architecture. From a dialectical point of view, it is still too early to announce the death of traditional humanism at the hand of its radical counterpart, or to suggest that Kahn''s architectural concepts have lost currency under strong critique. What we are witnessing rather is a new architectural concept in the making, even as the inherent logical crises of that concept become more apparent. If these crises cannot be effectively overcome, designs to eradicate the concept of subject from architecture will likely remain nothing more than a protective amulet for achieving self-satisfaction in architectural creation. 　　One of the unmistakable traits of deconstructuralist architecture is its incongruity between architectural creation and philosophical discourse. This disparity compels us to reexamine the relation between philosophical interpretation and architecture in the postmodern world. It also demands further creative speculation on the position of subjectivity in architecture. The framework for such speculation must not only vertically cohere with historical change, but also horizontally consider the complex relation between humanity and environment as well as the social orders ungovernable by mankind. Only in this manner can we conceive a third subjective position beyond modernism and post-modernism.

The last century has given rise to tremendous technological advancement in the built environment. This has facilitated a shift in building design from architects further into the hands of specialists, and with it, has come a level of sterility and a fracturing of personal experience and sensation for building users. Too readily architects appear to be negating their affiliation with the daily comfort and sensory perceptions for an ocularcentric, spatial and formalistic approach. It would seem that in this way technology has brought freedom to architects, but with it, so too has it brought neglect. This thesis argues the need for the architect to give greater consideration of the user, by creating cohesive, stimulating and experientially rich workplaces, thus asserting the role of the user, to play a dominant and active role within the design process. Creating a framework for an ‘inside-out’ approach to architecture. From this perspective it assesses notions of user experience, comfort, technology, physiology, psychology, while seeking solutions through predominantly sustainable means.

The presented dissertation concerns selected topics on flat construction in the 60's - experiments and prefabricated housing estates - and examines them closely in four different layers - political, ideological, architectonic and social. The work is structured into four main chapters, which constitute four pillars to uncover the history of flat construction and its context. The initial hypothesis of the dissertation was that the birth of panel housing estates at the end of the 50's, as well as its form and content in the upcoming decade, was influenced by the different starting points of the four mentioned layers. The viewpoint of state socialism and its ideology stemmed from the situation, when architecture in the whole socialistic block seized to be the instrument of Stalinist political representation in the spirit of the socialist realism and it became an important instrument of social reform on the promoted path to communism. This opinion, projected on an economic level, lead to an assumption that an affordable and high-quality collective housing makes the society effectively economically modernized. The living in these housing estates was intended to become the "display window" of the socialist lifestyle as well as the means of a morally higher type of consumer society. In the atmosphere of...