Thesis (M. Arch.)--University of Hong Kong, 2004. / Includes special report study entitled :Urban battlefield : the art of competition in Hong Kong. Also available in print.

Thesis (Ph. D.)--University of Sydney, 2000. / Title from title screen (viewed December 12, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Architectural and Design Science, Faculty of Architecture. Includes bibliographical references. Also available in print form.

Orientador: Doris Catharine Cornelie Knatz Kowaltowski / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-09T00:32:46Z (GMT). No. of bitstreams: 1 Moreira_DanieldeCarvalho_D.pdf: 14343433 bytes, checksum: 46db7faddf6c104c35436278c724cb3c (MD5) Previous issue date: 2007 / Resumo: No início da década de 1960, o projeto arquitetônico foi influenciado por aplicações científicas que permitiram lidar com uma grande quantidade de informação na solução de problemas complexos. A partir dos princípios da filosofia da ciência, da teoria dos sistemas e da pesquisa operacional, diversos projetistas desenvolveram métodos de análise, síntese e avaliação para auxiliar os procedimentos de projeto. Entre os trabalhos apresentados neste período, destaca-se o livro "Notes on the synthesis of form" do matemático e arquiteto Christopher Alexander. Nessa obra, Alexander apresentou os princípios que orientam o projeto arquitetônico, e uma estrutura para gerir problemas complexos: o programa arquitetônico. Desde então, diversas técnicas de programa arquitetônico vêm sendo definidas e baseadas nos mesmos princípios. A partir dos princípios da síntese da forma e seus conceitos de forma, contexto, conjunto e ajuste, são definidas com maior precisão e objetividade as informações disposps no processo de projeto. Já o programa arquitetônico oferece o arcabouço que permite organizar as informações. Os três estudos de caso apresentados neste trabalho aproximam os conceitos da síntese da forma e do programa arquitetônico aos problemas práticos de projeto. A partir de entrevistas com arquitetos sobre projetos de residências unifamiliares, foram organizadas as informações levantadas segundo diferentes técnicas de programa: o procedim~nto descrito por Alexander, o método Problem Seeking e os valores de projeto definidos por Hershberger. Para isso, foi desenvolvida uma base de dados que permite reunir as informações sobre os projetos e organizá-Ias através das estruturas dos -programas arquitetônicos escolhidos. Também, foi desenvolvido um aplicativo computacional que reproduz a decomposição de sistemas (HIDEC~j, descrita por Alexander em seus primeiros trabalhos, e aplicado na análise dos estudos de caso. Mais de quarenta anos depois de sua primeira aplicação, o programa HIDECS foi reconstituído através de linguagens de computação atuais e está novamente disponível para uso em projetos. Os resultados desta tese permitiram verificar como cada estrutura colabora com a análise do projeto arquitetônico e identificar as origens das soluções em cada estudo de caso. A partir das análises individuais, os projetos foram compreendidos de novas maneiras. Em conjunto, os métodos de análise ressaltaram a importância do pensamento objetivo e da prática construtiva no processo de projeto / Abstract: ln the first years of the 1960's, architectural design was influenced by scientific applications, dealing with a large amount of information to achieve solutions of complex problems. lmpacted by the Philosophy of Science, Systems Theory and Operational Research, many designers and engineers developed analysis, synthesis and evaluation methods to support the design processo At the same time, Christopher Alexander' s book "Notes on the synthesis of form" had a special interest and influence in the design methods movement. ln his work, Alexander presented principles to guide architectural design and a conceptual framework to organize the variables of complex problems, called "program". Since the publication of the "Notes on the synthesis of form" many architectural programming methods have been developed under these principles. Along with the principles of the synthesis of form and the definitions of form, context, ensemble and fitness, the design process information is more precisely defined. Architectural programming presents the conceptual framework to organize this information. The present research applied the synthesis of form concepts and architectural programming methods to the analysis of three case studies with the goal of adopting a practical mean to the architectural design process. The information about the case studies was obtained by interviewing the principal architects, who described the development of their residential project. All the interview information was organized according to three different architectural programming frameworks: the program described by Alexander, the Problem Seeking Method and the Contemporary Values of Architecture enumerated by Hershberger. To assist this research a database was developed to store the three case study information and organize this according to the three selected architectural programming frameworks. A computer tool to reproduce Alexander' s Decomposition of Systems (HIDECS) was developed and used for the case study analyses. The HIDECS computer program was reconstituted within a contemporary computer programming language, more than forty years after its first use, and is available for architectural design development now. The results of this research pointed out the rich design issues of the three case studies and each architectural programming framework identified the origins of design solutions adopted. As a set, the analysis methods showed the importance of objective reasoning and demonstrated the essential influence of construction knowledge on a productive design process / Doutorado / Edificações / Doutor em Engenharia Civil

No description available.

The purpose of this creative project was to develop suitable design tools and language of behavioral analysis which could be employed in environmental design with regard to the related human behavior. The interaction of human activity and the built environment was considered as a common ground on which a basic architectural design process could be founded. To achieve a clearer understanding of the role of integrated graphic representation of the interaction of human behavior and environment, three concerned aspects were explored. These are: Pattern of the interaction between people and the built environment, Design tool and language, and Communication in the design process. As for the first aspect, three kinds of interactions of people and environment were distinguished. For the second aspect, design language was enriched with the exploration of integrated graphic representation of architectural space and human behavior. For the third aspect, the focus of graphic communication in the traditional design process was shifted from physical form to the pattern of interrelationship of people and environment. The design of the proposed International Student Center at Ball State University was completed to demonstrate the above aspects. / Department of Architecture

Chan Wai Ching. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2000-2001, design report." / Time chart of design process --- p.01 / 1st external review --- p.09 / 2nd external review --- p.13 / Final review --- p.15

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (leaves 109-112). / Today's architectural knowledge base is a heterogeneous mixture of empirical wisdom generated in numberless ways by thousands of practitioners through centuries' of trial-and-error. Architecture has never developed a professionally recognized system or research, nor any organized method for continuously developing the body of commonly held knowledge. Traditionally, this lack or organization has not hindered the profession's ability to successfully integrate available means to meet the desired ends. The past decades, however, have produced a myriad of new techniques, materials, building products and. processes, and a similar increase in societal demands. The abundance of knowledge necessary for successful intuitive design has overwhelmed the traditional methods of assimilation. The lack of an organized knowledge base and the means of producing such a base threaten the ability of the profession to fulfill its traditional responsibilities. Research entails the organized production of knowledge, and for over twenty five years, architecture has been struggling to develop an effective form of research. Initial attempts, however, have generally not had any tangible results; borrowed almost directly from science, investigative methods have not been tailored to the needs or nature of architecture. Architectural design is not a pure science; the scientific method, unadapted, in not an appropriate method of inquiry. Traditional methods of architectural inquiry can be updated and combined with appropriately modified scientific attitudes to form an effective system of architectural research. Initially, the relationship between organized inquiry and design must be clarified, and the work of the former directed towards the needs of the latter. To effect the integration between analysis and synthesis, a new type of professional must emerge, the facilitator. With a background in both design and research, the facilitator will be able to fill a variety of roles within the profession, always working to develop a systematic and effective way of adding new information to the knowledge base and bringing this knowledge into professional practice. Intuition is still the foundation of successful design, but intuition can spring only from knowledge. Organized research is a means of providing such knowledge, but only if research is appropriate to both the subject and the user. / by James A. Moore. / M.S.

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / includes bibliographical references (p. 139-142). / As an architect works, his or her design grows and shifts, contracts and metamorphoses through many different shapes and configurations. Each shape and length of span imposes an order on the structure of a building; The Order of Gravity. This thesis proposes a way of understanding structure in a way that allows it to swing through limits of shape that can then be related by a designer to the space that a design suggests, and interact with it, proposing new forms. A description of malleable structure will be invaluable to an architect, for it will allow the structural elements, and their relation to each other, to contribute to the form of a building. / by John Ripley Freeman IV. / M.Arch.

Operating within the landscape of new materialism and considering recent advances in the field of additive manufacturing, the thesis is proposing a novel method of designing with a new type of material that is known as functionally graded. Two of the additive manufacturing advances that are considered of radical importance and at the same time are central to the research have to do with the progressively increasing scales of the output of 3D printing, as well as with the expanding palette of materials that can now be utilised in the process. Regarding the latter, there are already various industrial research initiatives underway that explore ways that various materials can be combined in order to allow for the additive manufacturing of multi-material (otherwise known as functionally graded material) parts or whole volumes that are continuously fused together. In light of this and pre-empting this architectural-level integration and fusing of materials within one volume, the research initially outlines the anticipated impacts of the new way of building that this technology heralds. Of a total of six main anticipated changes, it then focuses on the impact that functionally graded materiality will have on how design is practiced. In this attempt to deal with the uncertainty of a material realm that is unruly and wilful, an initial criticism posed of the scant existing methods for designing with multi-materials in the computer is that they do not consider the intrinsic behaviour of materials and their natural propensity to structure themselves in space. Additionally, these models essentially follow a similarly arbitrary assignment of sub-materiality within larger multi-materials, to the hylomorphic imposition of form on matter. What is effectively proposed as a counter design technique is to computationally ‘predict’ the way materials will fuse and self-structure, with this self-arrangement being partially instigated by their physical properties. Correspondingly, this approach instigates two main objectives that will be pursued in the thesis: – The first goal, is to formulate an appropriate epistemology (also known as the epistemology of computer simulations-EOCS), which is directly linked to the use of computer simulations to design with (computational blending). This is effectively the creation of a methodological framework for the way to set out, run, and evaluate the results of the simulations. – The second goal, concerns the new design methodology proposed, in which the conventional material-less computer aided design methods are replaced by a process of constructing b-rep moulds and allowing digital materials to fuse with one another within these virtual frameworks. Drawing from a specific strand of materialist and cognitive theory (conceptual blending), the theoretical objective in effect is to demonstrate that form and material are not separate at any instance of the proposed process. The resulting original contribution of the design research is a process model that is created in an existing simulation software that can be used in a standard laptop computer in order to design with functionally graded materials. The various ‘stages’ of this model are mapped as a diagrammatic design work ow in the concluding end of the PhD, while its main parts are expanded upon extensively in corresponding chapters in the thesis.

How do architects address the ambiguity of practice, being on the one hand tasked with making buildings that perform well in terms of energy use and environmental strategy, and on the other facilitating the production of capital, through their service to ensuring that the performance of the occupants (efficiency, productivity and wellbeing) is satisfied? In this PhD by practice, I use the theoretical concept of ‘the performative’ through both the written thesis and project to interrogate the various ways in which thermal management becomes entangled with management processes. The context is specific: the workplace at a moment of convergence between smart technology with architecture; where notionally, agency is given over to autonomous environmental systems to do the right thing, and work environments that are embedded in performative-linguistic company cultures that urge their occupants to ‘do the right thing’. In other words – where machines do things with fans and boilers, and humans do things with emails, meetings, performance reviews and corporate culture. I invoke Lucy Schuman’s question ‘who is doing what to whom?’ to draw attention to the way that actions are elicited from employees through discursive and constitute organisational practices. At a point where new-build non-domestic buildings, which are specifically designed to perform environmentally well, are failing to do so- I invoke Isabelle Stengers’ ethical proposition ‘what are we busy doing?’ to ask whether architects’ actions are fundamentally compromised by this entanglement. I propose a strategy for architects to address their practice in relation to these propositions, and trace the actions as they migrate through discursive fields – sustainability, organisational management, theories of motivation, workplace politics, technological innovation, activism and resistance. The narrative of the written thesis is asynchronous, and is interconnected with the project in multiple ways, it is structured in such a way so as to introduce strategies of encountering the various discursive fields which form the context of study. The project work, on the other hand, immerses the reader directly within these fields. The database that reveals the multiple realms that embed the concepts of power, economics, desire, love, productivity and war into the architectural concerns for comfort and energy use; while the performance video places two subjects constituted by management, whose passions are put to work and situate them within a discursive environment latent with the full cultural significance of its metaphors in the workplace of the knowledge economy. The first part of the written component of the thesis opens up discussions about performance and action – which are generally applicable for the discourse of environmental performance, as mediated by the occupant and the use of technology, within the contemporary workplace. I move into the second part of the written thesis, which places the context specifically within the conceptual domain of thermal management, elaborates on the implications of taking a performance oriented approach to ‘heat’, and reveals how performance and the domain of heat converge on issues of productivity, subjectivity, and wellbeing. The two actors who perform in the video can only continuously improve their performance, every action can be subverted or appropriated, presenting the urgency for my conclusion in the written thesis, that as we, in architecture, are expected to also act entrepreneurially – the question is not how we do so subversively, or as a mode of critique. We should instead pay attention to Stengers’ and Suchman’s questions, and paying attention to what is brought about, and for whom, and focus our work on care for precarious, exhausted and hyper-active subjectivities that are produced through these actions.