Academic literature on the topic 'Towers architecture'

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.<br>Includes bibliographical references (leaves 78-88).<br>This thesis attempts to relate the principal elements of Modern Portfolio Theory ('MPT') to real estate, recognizing that MPT was built not for real estate, but for stocks and bonds. It is split into two parts; the first part deals with 'the theory' of real estate investing, including a commentary on both why mixed-asset portfolios include real estate components, and how MPT relates to real estate. The second part deals with 'the reality'; the extent (or otherwise) to which different investor types apply MPT to their direct, private equity real estate investment strategies. It attempts to answer this question by a case study approach, focusing on four investor types. These investors were specifically chosen because of the fact that they are, in each case, sophisticated groups who have a knowledge and understanding of the principal elements of MPT. The extent to which they feel that all elements of MPT are relevant to real estate is, ultimately, the question that this paper attempts to answer.<br>by David B. Marks.<br>S.M.

A questioning of methods: If we are to accept existing American culture as an entity, should design not embody the spirit inherent in that culture? In Europe, architecture has been afforded the luxury of time. There, the concept of dwelling has encompassed the questions of man’s position as a rational being separated both from his surrounding environment and his divinity. A sense of alienation from such a universe forced him to search beyond his immediate environment. The role of architecture thus became a mediator, a departure point where man could dwell between heaven and earth. Sanctity, purity, proportion, centrality, and hierarchy all became building blocks for an architecture striving for a transcendental perfection. In the United States, however, architecture has been adjusted to accept its surrounding environment as a formal model. Space is defined either by the existing condition of the environment or by the will of man existing within his surroundings. Man, no longer alien or subservient, now does not need a mediator but instead a throne on which to share in the government within his surrounding environment. As a result, the American conception of space (i.e. the ‘tradition of the way we view our landscape’) has evolved into something different from that of our European counterparts. In a sense, America is the embodiment of the rational enlightenment in a new society. Its history lies not in the hearts and minds of its citizens, but on the other side of the ocean. Because of this unique occurrence where history loses its proximity, America has been able to develop into what Jean Beaudrillard describes as truly modern: a “utopia achieved”. It is a space where random meets rational and the limitless becomes a limit, a space which rejects European conceptions of centrality and hierarchy. If the foundations of Europe lie within the philosophy of Aristotle, than those of North America lie within the theories of Newton. Whereas Aristotle revealed the parameters of a perfect order, along with its ensuing hierarchy and centrality. In Dice Thrown, Benjamin Gianni investigates both early American farmsteads as well as the development of its cities (the rural and the urban) and compares them to European types. In the rural comparison, the European farm seems to be organized around a courtyard, creating an order of symmetry and proportion. The American farm structures, however, are arranged loosely in a cluster, their relationship being functional necessities and a common way of building (the doghouse is designed to look like the shed, which is designed to look like the main house). Moreover, Gianni draws similar contraindications in the urban comparison. In Europe, the city is autonomous, walled off from the outside and arranged in a hierarchy with the most important structures at the highest points in the center. Conversely, in American cities the countryside is brought into the city at its center in the form of parks to remind the people of their link with their natural origins. For traditional Europe then, purity and perfection lie in the symbolic harmony of formal relationships, where a center defines the elements around it and provides a place for man between nature and the heavens. For America, however, purity and perfection lie in the vast expanse of the natural surroundings. No longer a symbolic mediator between heaven and earth, architectural forms confront the world around it as it is. Without the guidance of formal relationships in culture, we have developed a conception of arrangement (or anAmerican type) which combines the classical adaptation of a rational imposition by a grid system with the limitless aspect of horizontal space. So important in the United States is the sanctity of individual freedoms. This suggests that the individual has the capacity through rational thought to intervene in nature and dictate his or her destiny. In early America, cities were built modeling the roman grid system. The urban plan was derived rationally as an egalitarian way of dividing space. Also inherent in theAmerican mind set, however, was the perception of boundless opportunity and individual freedom which promoted a dimensionless unregulated horizontal expansion of the built environment. The grid emerged as a way of organizing town centers. No sacred truths of the heavens and the earth were revealed, no ritual was carried out in a departure point for the transcendental; instead, a rational organization occurred as a means of confronting an environment as it existed in its own state, just as earlier settlements had developed a seemingly random order based on the boundless opportunities of providing landscape as a means of confronting nature in its own state. An interesting paradox emerged between two orders. One looked as if buildings and places were dropped from the sky, left to be dwelled within depending on how they tumbled and lied to rest on the landscape; a celestial game of jax played on an uneven surface. The other depended on a complete and unyielding imposition on the landscape where every thing, place or building was measured or monitored. As a result cities would emerge, each with their own rational imposition, with no relationship to each other. Today, a certain randomness permeates their rational existence. The result has been deformative. That is the realization of something completely different from original intention. It is a combination of an upward extrusion with the introduction of a diffusive horizontally which re-orders its existence. It is, in a sense, a changing of definition. Even New York, with its density and strictly imposed grid, has a kind of deformative diss-order which defines its place as a totally American (though unique in and of itself) phenomenon. Rem Koolhaas identifies the madness of piling up chaos on chaos in a rigid system which creates its “delirious effect” Even language, signs, and meaning have become deformative, setting in motion a wave of paradoxical relationships.Intention dissolves over time, history becomes representative or imitative, the immutable becomes alterable, and new definitions are formed to re-explain existence. The universal, the transcendental, they are the spiraling center which decomposes and recomposes, leaving sometimes only a shell from which to decipher meaning and existence. Umberto Eco, in his essay "Travels in Hyper-reality”, examines the relationship in American culture between the sign, the thing, and that which links them together, history. The sign is not a means for understanding the thing it symbolizes but rather is an object which "aims to be the thing, to abolish the distinction of the reference. This is the mechanism of replacement." In doing so, the sign becomes more real (or hyper-real) than the thing because it is identified by and more tangible to the existence of our culture. This explains our fascination with historical reenactments, dramatizations, wax museums, escalators, and Dysney main streets. All are hyper-realities which have taken over and become "more real” than the things they represent. They are “better” because they excite the senses and give material evidence of our place in history. In doing so the hyper-real in American culture has successfully performed an about face in the way we define things, creating the perfect irony: “the completely real becomes the completely fake”. If modernism lies within the tradition of the way we view ourselves and our landscape, if we live in Newton’s limitless universe of absolute space independent of perfect geometry, if we live devoid of origin with no primitive accumulation of time, if architectural space does not always necessitate the symbolic harmony of formal relationships but rather seeks to confront its natural surroundings, if the arrangement of space is deformative, lying somewhere in between rational intervention and the application of the limitless, and if irony is the result of our application of language and meaning, should these conditions not become tools for design in architecture? Does this not suggest that the modern conception of space has deformed itself into something completely different from that of our European counterparts?<br>Master of Architecture

This thesis is about the native architecture of the highlands of the Asir region in the south-western corner of Saudi Arabia. The thesis is made up of three parts. The first part introduces the region and its architecture. It has three chapters. The first chapter discusses significant cultural and social aspects of the people, and their impact on the architecture. The second chapter introduces the native architecture of the highlands, and classifies this architecture into towers and villages. It provides ground plans for the most important types of towers, and assigns them to their geographic and tribal context. The chapter also describes the basic features of these towers and villages. The third chapter describes the natural features of the highlands and their influence on selected stone-built villages. The second part is devoted to the study of one type of tower built in the central and south sections of the highlands: the duct tower. Twelve duct towers are under close focus in this part. This part has five chapters. The fourth chapter classifies the duct types of these towers and explores the purpose of the duct. Chapter five describes and argues the purpose of three duct grain towers built in different physical contexts. The first tower is an isolated tower. The second tower is built inside a compact stone village. The third tower and its companions overlook a stone village. Chapter six describes three duct defensive towers. The first tower is built inside a defended stone village. The second tower is built outside a compact village. The third tower is built within a fortress. Chapter seven describes three watch and retreat towers. The first tower is a simple duct tower. The second tower is of the platform-duct type. These two towers are built overlooking stone villages. The third tower is a round duct tower built beside grain fields. Other round towers are also discussed in this chapter.

Antoni Gaudi was the architect of the Sagrada Familia from 1883 to 1926. Over this period of time he prepared the overall design and supervised the construction of the Nativity facade. One of Gaudi's main design objectives was to include tubular bells in the tall slender towers. It has been said that through his sound studies for these bells, Gaudi developed his musical sentiments most fully. Through the sound of bells, accompanied by song, he imagined a festive environment around the temple. These considerations might be seen as reflecting the overall spirit of the time, as Catalonia was in effect experiencing a cultural rebirth known as the Renaixenca . Originating with the call of the poets, this time of exuberant growth for Catalonia was one that was built upon the rebirth of language. As a result, language through poetry continued to be celebrated throughout the century, particularly through annual poetic contests called the Jocs Florals. This paper studies the facade of the Nativity as a expression of this culturally exuberant time by exploring how the Jocs Florals, and poetry in general, may have played a role in shaping its form and sound. The study also acknowledges the fact that Gaudi's inspiration for his design was derived from symbolism associated with the Catholic liturgy. The result is architecture that might be described as a union of religious and cultural symbolism, yet ultimately its festive expression is a poetic one. As such, the Sagrada Familia might be described as a celebration that is a call to gathering.

High-rise residential tower is an inevitable and prevalent building type in high-density areas such as China. Because of the large population such buildings accommodate, improving the quality of people's lives in these towers has significant meaning. One of the important problems in such environments is the loss of identity of individual homes. This occurs because living spaces cannot fit individual families' unique and changing physical and spiritual needs. People can identify their lives and express their individual values in their homes in only the most meager ways. Consequently, people and their communities suffer deeply for the loss of identity of individual homes.The first focus of this thesis is to bring the question of individual control into light with the issue of identity of individual homes. Identity of any built environment results from the interplay of both shared values and individual values. In an identifiable and accommodating environment, both value sets should be in balance, over time. In high-rise residential towers, individual values are hardly presented because of the lack of individual control. So the radical way to establish identity of individual homes is to enable individual control in the building process.The second focus of this thesis is a study in architectural design of the distribution of control in such high-rise environments. Two kinds of individual controls are assumed and distributed: the control of the dwelling layouts and the control of dwelling unit facades. To enable these tow configurations of parts to be subject to individual control, propositions for setting up a new balance between centrally controlled parts and individually controlled parts in high-rise residential towers are put forward.To demonstrate these propositions, a specific high-rise residential tower in Beijing is redesigned to the solution of technical problems, regulatory issues and conventions when control is distributed. Individual control of both the dwelling layouts and the facades are simulated in a methodical way.Finally, notes about supportive products and management techniques, broader developments in other types of high-rise buildings, and the cultivation of shared values out of individual values are offered.<br>Department of Architecture

This thesis choreographs the procession around and within a tower. An alternating sequence of compression and expansion of space creates a rich spatial experience. Each moment along the sequence is meant to complement or contrast the others, exaggerating their effect. The tower's form is designed by producing and then selecting from a series of potential solutions. Each iteration is guided by the aforementioned sequence of spatial conditions.<br>Master of Architecture

This PhD responds to a two fold problem with the philosophy of design and the practice of design. The philosophical problem is stated as the discrepancy between a dominant philosophical framework that orders the world according to eternal essences and the actual conditions of the world in which we exist: the conditions of becoming and of flux. Commencing with a critique of the western metaphysical tradition of statics this research project proposes that we need to find a way of describing an evolutionary model of practice, and by so doing to provide a revitalised narration of process. Consequently, the PhD explores the meanings of process through a critical examination of an ensemble of projects created by the author. Within this framework, a number of questions are posed in order to explore the proposition of a process practice. These questions are: What is process? How does one think process? Indeed, how do we get to grasp change? What are the consequences of process thinking on the practices of design, their fields of operation, and their productions? And, how can the thematising of process contribute to the design of the constructed environment, as well as reconfigure the practices of design? This thematising of process is argued to involve a necessary address to the constitutive and interrelated characteristics of process: space/time, movement, change, form and matter. Such an address is also seen to problematise the status of the object, the paradigms of representation, the modes of creation, the economies of exchange, and the structures of community, and to offer a modality of practice which would re-imagine the forms of social exchange to offer an ethical alternative to the tyranny of supply and demand, and thereby reconfigure the potential for dwelling. Making an overview of the discourses and practices engaging with theories of becoming, this thesis argues that almost all of these re-inscribe statics and that consequently the practice of design seems to drag behind our understanding of the world. Through a meditation on dis/appearance, in which the dynamics of being and becoming and the restless ambiguity of the gap are examined, the work establishes a process vocabulary, and makes clear through a material practice, the domains of process thinking, its inclinations, and the kinds of operations and procedures that flourish there. Foregrounding the fertile character of process practice, the PhD then proceeds to introduce notions of the movement-form, the duration-form, the transformational-form, the geometry of encounter, and to argue for physical form as an in-movement poise. Advocating new modes of approach and of attentiveness, and demonstrating new generative methods, this PhD argues that process thinking is not simply an operational stance, but an ethical position that identifies a field of care, and that consequently the design practices be expanded by taking seriously the relationship between process thinking and place making. Thus, this thesis concludes by advocating a mode of place making which, rather than reproduce planned environments as systems of control, configures place as the discursive contested place of encounter and exchange.