I have attempted two major tasks in this thesis. First, I argue that Deborah Mayo’s Error Statistical epistemology makes an excellent tool for historical research into experimental episodes. This is because it focuses the historian’s eye on the nitty gritty details of experimental arguments, particularly on the generation and manipulation of data. Moreover, her hierarchy of models provides an excellent organizing tool for disentangling complex experimental narratives. I illustrate the fruitfulness of this method by contrasting John Dorling’s and Ronald Laymon’s summaries of Cavendish’s Great Globe experiment with my own account. Second, and perhaps less successfully, I have used her concept of "arguing from error" along with her attendant hierarchy of models and severity criterion to make claims for the procedural objectivity of Cavendish’s experimental tests of an inverse square force law for describing electrical attraction and repulsion. Simultaneously, I confronted Harry Collins’ experimenters’ regresses and Pickering’s view of experimenters’ "tinkering" (in his mangle of practice) and show that neither is either a necessary part of experimental practice nor holds for Cavendish’s experiments. / Master of Science

Master of Architecture

The design of the complex addresses Roman Catholic and pre-Christian legends, symbols, and signs. It transforms them based on our understandings of ourselves and our universe today. Saint Barbara is a Roman Catholic Church located on a suburban site in Chantilly, Virginia on the eastern coast of the United States of America. Chantilly was chosen because it has been victimized by a lack of comprehensive planning. The complex is composed of a bell tower, baptistry, Sunday school, sanctuary, outdoor funeral chapel, cemetery, and parking area. The church of Saint Barbara addresses the dichotomy of human existence as both spiritual and material being. / Master of Architecture

The design of this project - a religious retreat - although based on the form of a traditional monastery differs from it in its basic premise. The idea of monastic life is based on solitary contemplation and restricted social exchange, while a retreat places group interaction at its base. lt is a place where a community of persons shares time and thoughts, but also where each individual is given a space of his or her own to which to retreat when needing privacy. The retreat consists of three separate elements: a church, a dormitory complex and a "Unity House" that includes a library, and meeting and dining spaces. A massive travertine wall that divides public (profane) and private (sacred) spaces, is the main geometrical, focal and symbolic element to which the three buildings relate. In the design of this project the questions of what constitutes the necessary qualities of spaces in the structures designated for a religious purpose were explored. The design was approached with the understanding that for a project such as a religious retreat natural and man-made environments must be treated as one. Only then, design resources will allow for creation of harmonious, intimate and poetic spaces and give the retreat participants a chance to quiet themselves and experience the surroundings with all their senses. / Master of Architecture

The site for this seminary is located within the northwest quadrant of the District of Columbia. The site consists of a ridge approximately one hundred and ten feet in elevation bounded by Clark Street at its north western tip and a rocky promontory a quarter of a mile to the southeast. Along its southwestern edge lies Canal Road, the C&O Canal and the Potomac River. To the northeast lies upper Georgetown. My intention was to utilize the natural axis of the ridge to construct a clear line of demarcation between the secular world and the world of religious education and scholarship. It was clear from the beginning that the site had to be developed in accordance with the natural orientation and steep topography of the ridge. The clearest means of access to the site exists to the north east along an abandoned rail bed that intersects Fox hall Road. The new road to be constructed within this depression constitutes the first in a series of moves to create a datum line between the natural setting of the seminary and the urban fabric of Georgetown. Parallel to this road lies a continuous reflecting pool eight hundred feet in length. This second element of separation is broken only at the entry to the seminary. The third and final element of separation is an extended wall that defines both the natural orientation of the site and the linear structure of the seminary. From the northwest it extends over one thousand feet to the southeast. Like the reflecting pool, the datum wall is broken only at its single point of entry. The structure of the seminary can be viewed in its entirety from the southwest. It is a linear composition with a semi-circular terrace at its entry which forms an open air cloister. On either side stand the auditorium and lecture spaces, administrative facilities, library, refectory, seminarian cells, chapel, terrace and bell tower. / Master of Architecture

The topic of this thesis has been approached mainly in four fields of investigation. First it has been investigated, in which way theater developed through the ages to make some conclusion of what a theater of the 21st century will be determined, especially with its distinction from the cinema. What evolution has the theater experienced from the cart of Thespis to modern theater-machines? A second investigation has been conducted in the history of the site, being a place of human activity for more than 250 years. The third approach started from the question, what the links between architecture and theater, or in a more complex sense, between visual arts and performing arts are and how these forms of human creative work influence each other. Finally some reflections were made about the problem of building in a historical context. What determines historical architecture and how can buildings of our days relate to the conditions of these structures? / Master of Architecture

We are taught history abstractly as a time-line; sequentially. In reality, history presents itself as an accumulation of layers of happenings and occurrences. These layers are present in the built environment of the city as it is today. Similarly, the layers of culture are present in the daily rituals and language of the present. In the case of a train station, layers present themselves as layers of velocity. It is the place where pedestrians, automobiles and trains converge and individuals move between varying degrees of motion. The challenge in the built world today is to make a place for all layers of motion, but in a hierarchical fashion so that the individual (the pedestrian) is honored. If the pedestrian is relegated a place below machines which facilitate movement, then the city suffers. "In the narrow streets of the medieval town, persuasion is mainly through the sight and smell of real cakes in the window. On the commercial strip the supermarket windows contain no merchandise. [there are signs instead]" - Robert Venturi Learning from Las Vegas When the automobile is given the place of honor, the sign is more important than the experience. The speed at the motorist scale does not allow for any experience other than symbol or sign. This reduces the sensual experience of the individual's life and results in the collective loss of place and rootedness. Just as the individual's memory can be triggered by smells, sounds or textures, the city's memory is also made of these things. Americans seem to be constantly in search of roots. The majority of objects and places in American cities seems to cater to the motorist scale and for this reason there can be no roots. At best there is only a symbol for roots, like a coat of arms with no meaning. / Master of Architecture

This thesis is an attempt to reconcile the form of an idea with the form of a thing in this world to be experienced. An exploration of the meaning behind the words idea, form, making and experience begins to unite the intellect of an architect with the design of an architect. The terms are defined in the thesis and explained through the project. The thesis through the project sets out to take these terms beyond mere words and give them an opportunity to inform each other. It is this dialectic between idea, form, making and experience that I believe to be the heart of architecture. Idea and form are inextricably tied to one another. "Which is the origin of the other?" is not as pertinent a question as "how do the two inform each other?". Ideas change from project to project as do the forms inherent in those ideas. Proceeding both idea and material form is another type of form that is immaterial and often remains unseen. It is the character which is essential to a thing. Whether it be a place or an object, it is the quality in the thing itself. This character is the instigator of idea and form. It is the architect's goal to make this inherent form perceivable. An architect makes idea and form manifest through a concept of making. In Notes for a Theory of Making in a Time of Necessity, Giuseppe Zambonini emphasizes that "We must look not only at the quality of the material used and at the craft employed, but also at the quality of the thought process selecting and shaping the material. . .quality cannot be an intrinsic condition that belongs to the object . . . but rather it must express the intent by which it is created and therein the clarity and strength of the meaning being produced by its form" (Zambonini, 21). This quality of design can best be achieved the earlier making and materiality are involved in the design process. The questions of "what is the form of this idea?" and "how is this form to be made?" begin the relationship between idea, form and making. The immediate responses may be intuitive, but the final one is the result of numerous makings. This is why architecture is practiced. When the question arises:"how can this form not only embody an idea but be the idea?", the dialogue takes on a greater import. The way in which a thing will be experienced starts to inform its making. "It is the process that will engage both user and observer in an active, participating relationship with the work and thereby give the work its meaning" (Zambonini, 21). It is at this point that the dialectic is fully engaged. These four aspects simultaneously inform each other and nurture the project throughout its life, from drawing board, to construction to the various experiences that it will impart. It is not just one aspect, but these four in communion that are the architecture. / Master of Architecture

published_or_final_version / Asian Studies / Master / Master of Arts

Orientador: Jose Carlos de Souza Braga / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-07-23T13:06:39Z (GMT). No. of bitstreams: 1 Sousa_LucyAparecida_D.pdf: 5907186 bytes, checksum: 0cc1b1b42bfb3e757b13e66aec3050b2 (MD5) Previous issue date: 1998 / Resumo: Não informado / Abstract: Not informed. / Doutorado / Doutor em Economia