The medium of photography provides a first vehicle for the study of architectural and visual form. Through its employment, initially in a spontaneous and instinctive manner but with increasing understanding and awareness over time, a groundwork is laid for visual design in other media. Continuous tone pencil drawing becomes the means to realizing the lessons learned through these photographic exercises. Through this instrument, subsequent studies reveal the need for architectural design to evolve as discoveries of place rooted in a visual seed anchor point and evaluated by the same visual judgment developed in the earlier photographic work. Beginning with fragmentary images, the range of inquiry in the drawings broadens over time to encompass ever larger concerns in the design of architectural places. Reaching fruition in the design of a small retreat house, this process of study initially undertaken in photographic observation, following by drawn fragments and finally entire places, represents a paradigmatic approach to developing a working method of architectural design. The discovery of this design approach through the execution of the thesis itself constitutes the underlying theme. / Master of Architecture

Master of Architecture

The presence and placement of elements and setting up a contrast of the old to the new, presents an opportunity to explore an existing ruin. This thesis book is a presentation of exploration and findings. contrast. 1 to compare in order to show unlikeness or differences note the opposite natures, purposes, etc... presence n. 1. state or fact of being present, as with others or in a place;...; 3. immediate vicinity; close proximity '..identification is related to bodily form, whereas orientation apprehends spatial order. We could also say that they correspond to the architectural function of 'embodiment' and 'admittance'. Any environment thus, embodies meanings, at the same time as it admits certain actions to take place.' — C. Norberg-Schulz, The Concept of Dwelling / Master of Architecture

A safe school is defined as a physically and emotionally safe environment where faculty and staff, members of the community, and students perceive that they are safe. School safety is an important topic for both school administrators and architects who design schools. Previous research into the physical environment of a school has explored its impact on student achievement and, to a lesser extent, school climate and school safety. Overall, research into the relationship between a physical environment of a school and its influence on the perception of safety is inadequate. The study sought to determine what were the design elements that principals and architects believed promoted a safe elementary school. The main research question for the study was, "What are the design elements that principals and architects believe influence a safe elementary school?" The study replicated the methodology of Walton's study (2011) called Physical Design for Safe Schools. Walton focused on perceptions of high school principals and architects who were involved in designing and building schools. Walton's study concluded that safety was an important issue to principals and architects. Specifically, each group identified supervision, technology and cameras, and controlling access to school buildings as important to school safety. The groups also identified restrooms and locker rooms as the two most problematic areas of a school building due to inability to supervise. Data for the study were gathered through qualitative methods and utilized a phenomenological approach to exploring data. Principals from elementary schools built before 1999, principals from elementary schools built since 2011, and architects with experience designing elementary schools were included as participants in the study. Participants were asked five to nine semi-structured and open-ended questions relevant to the design elements and physical features associated with school buildings. Results of the study found that the physical design of a school building was viewed as having an influence on safety in schools. The two common themes from all three groups were access control and visibility. Sub-themes were the importance of preparation for emergencies, perceptions of inequality in funding for school safety measures, the prevalence of technology that has created greater opportunities to keep schools safe, and the need for balance between safety and aesthetics when designing schools. / Ed. D.

A philosophical standpoint that directly informs the design method: concern to invoke genius loci, to make a specific place, to give appropriate expression to architectural form. There is an attempt to remain in touch with what, in another age, would be described as romantic: the emotional appeal of nature, collective archetypal aspects of human culture, and the individual creative impulse. Polarities figure prominently : positive / negative, formal/random , orthogonal / organic. These are not all-out oppositions but symbiotic dualities--sides of the same coin. Orthogonal formality is posed against the site's natural vagaries. The positive is defined precisely by the negative: it needs the presence of the negative in order to register, and vice versa. The siting of the building, its various materials and its different outlooks are all chosen with the aim of putting those who will inhabit it in touch with their surrounds, the genius loci. / Master of Architecture

O presente trabalho aborda a formação acadêmica e a obra do arquiteto brasileiro Attílio Corrêa Lima (1901-1943) analisando, desde os seus conhecidos trabalhos na área do urbanismo, até os seus projetos de paisagismo e arquitetura, realizados em sua curta, mas intensa, carreira profissional. Formado pela Escola Nacional de Belas Artes do Rio de Janeiro e sendo o primeiro brasileiro diplomado em urbanismo pela Universidade de Paris, Attílio Corrêa Lima participou dos mais importantes projetos brasileiros entre 1932 e 1943. Os planos urbanísticos de Goiânia, Recife e Volta Redonda, e os projetos elaborados para os industriários, revelam um perfil profissional sintonizado com a modernidade. Sua formação clássica na linha da beaux-arts e uma pioneira evolução rumo ao Movimento Moderno são a tônica deste trabalho, que revela ainda dados inéditos de sua produção profissional e procura estimular a realização de outras pesquisas semelhantes. / The present study approaches the academic foundation and the work of the Brazilian architect Attílio Corrêa Lima (1901-1943) studying his work since his best known studies about town planning until his landscape and architecture designs developed during his short but intensive professional career. He was graduated at Escola Nacional de Belas Artes do Rio de Janeiro and was the first Brazilian architect graduated in town planning at Paris University, Attílio Corrêa Lima took part in the most important Brazilian designs between 1932 and 1943. The city plans of Goiânia, Recife and Volta Redonda, and the designs elaborated for the industry workers reveal a professional profile connected to modernity. His classic foundation in beaux-arts trends and his pioneer evolution driven to the Modern Movement are the predominant subject of this study which also reveals unpublished data of his professional production and try to stimulate other similar studies.

Esta pesquisa é uma sistematização da carreira do arquiteto e funcionário público Geraldo Vespaziano Puntoni, tendo como pano de fundo sua atuação como funcionário do Estado no Departamento de Obras Públicas (DOP), no qual trabalhou de 1960 a 1990. Além do DOP, o arquiteto foi comissionado para cinco outros órgãos e companhias públicas, FECE - Fundo Estadual de Construções Escolares, CECAP - Companhia Estadual de Casas para o Povo, CESP - Centrais Eléctricas de São Paulo, EMURB - Empresa Municipal de Urbanização, e IPESP - Instituto de Previdência do Estado de São Paulo onde foram possíveis diversas experiências e expressões arquitetônicas e urbanas. A partir da pergunta: Qual é a função do arquiteto na construção do país, do estado e da cidade, escolhi um profissional que, de seus sessenta anos de trabalho, dedicou metade à elaboração de projetos e obras em órgãos públicos do estado de São Paulo. Esta pesquisa retrata o trajeto deste homem e profissional público. A ideia é avançar na compreensão das políticas públicas urbanas desta época e investigar o quanto destas posturas influenciaram e foram influenciadas pelo arquiteto Geraldo Vespaziano Puntoni. O objetivo deste trabalho é estudar a história desses órgãos e relacionar a trajetória do arquiteto Geraldo Vespaziano Puntoni com os aspectos mais relevantes da cultura e do imaginário moderno em São Paulo. O levantamento, a organização e a restituição de sua obra, característica da arquitetura brasileira contemporânea, tem como intuito contribuir para o avanço na reflexão acerca da profissão e do seu papel na constituição do espaço urbano nas décadas em questão. / This research is a systematization of Geraldo Vespaziano Puntoni\'s carrier as an architect and public servant, having as a background his work on the Department of Public Building (DOP), where he stayed from 1960 to 1990. Beyond DOP, the architect was commissioned to work in five others institutions and companies: Educational Buildings State Fund (FECE), State Company of Houses for the People (CECAP), São Paulo Electrical Centers (CESP) and Municipal Company of Urbanization (EMURB) and Welfare Institute of São Paulo (IPESP). During his stay at those institutions, the architect had several experiences and was able to try many different architectural and urban expressions. Starting with the question \"What is the architect\'s role in the development of a country, state and city?\", I chose a professional that dedicated half of his 60 years of work to the elaboration of projects for public institutions in São Paulo. This research shows the story of a man and public servant. The idea behind it is to explore the realm of public politics of the studied period and investigate just how much of this scenario influenced and have been influenced by the architect Geraldo Vespaziano Puntoni. The main objective of this work is to study the story behind those institutions and relate it to the architect\'s story, along with the most important aspects of the culture and modern imaginary of São Paulo. The gathering of data, organization and restitution of the architect\'s work, known for being embedded with characteristics of modern Brazilian architecture, helps to enrich the discussion about the role of the professional and its relation to the development of the urban space in the studied decades.

Este estudo documenta a vida e a obra de Roberto José Goulart Tibau (1924-2003), arquiteto brasileiro. O objetivo fundamental - e mais importante - é reunir informações sobre os projetos e obras mais significativos desenvolvidos durante sua atividade profissional, tornando-os acessíveis através dessa pesquisa. O trabalho baseou-se em pesquisa bibliográfica, levantamento e registro das obras e projetos realizados, currículo profissional, e depoimento de Tibau, concedido ao autor, em 1998. Em Roberto Tibau e o fazer arquitetura são descritos os caminhos percorridos pelo arquiteto; o contexto histórico de sua formação e atuação profissional; a relação de sua produção arquitetônica com outras obras da época; e eventuais referências projetuais utilizadas na criação dos seus projetos. Este trabalho vem preencher uma lacuna bibliográfica considerável, trazendo à luz, a obra deste significativo arquiteto, que dedicou sua vida ao trabalho na prancheta, na qual deixou sua marca de humanista. / This study documents the life and work of Roberto José Goulart Tibau (1924-2003), a Brazilian architect. It aims to collect information about the most significant projects developed during the years of his professional career, which will become available through this research. The present study based on bibliographical research, examination and registration of the projects executed by the architect, his resumé, and his testimonial to the author of this research, in 1998. In Roberto Tibau and the process of making architecture there is a description of the ways in which his projects were conceived; the historical context through his professional activity since graduation, the relation between his own production and the production of other architects of the same period, and the projecting references used for his creations. This research is also an attempt to fill a signicant bibliographical gap of architecture history in Brazil by bringing to light the work of this relevant architect, who dedicated his life to working on his drawing table, leaving to us his humanistic style.

Preocupações observadas durante mais de 12 anos de vida docente nas disciplinas de Desenho e Projeto Arquitetônico para classes de curso superior de Arquitetura deram início ao presente trabalho de mestrado. Para tanto, primeiramente, se fez necessária uma releitura acerca do papel do desenho na Arquitetura. Diversos autores contribuíram com conceitos e experiências para uma melhor compreensão dos diversos valores atribuídos ao desenho. Uma vez suficientemente caracterizada a importância deste meio de representação gráfica, foi preciso expor o panorama recente do ensino de desenho no país, desde o Ensino Médio, passando pelo Ensino Superior e acompanhando o arquiteto no início do exercício de suas atividades profissionais. Foram aplicados questionários de campo quantitativos e investigativos da real situação do ensino de desenho junto a faculdades de Arquitetura na cidade de São Paulo. Em seguida, o estudo comparativo e qualitativo de uma trajetória acadêmica vivida pelo próprio autor, enquanto aluno de ensino médio técnico profissionalizante e depois como aluno de curso de arquitetura e urbanismo, frente ao material gráfico produzido por seus alunos nos dias de hoje, estudantes de curso de Arquitetura de período noturno. Por fim, uma análise sobre técnicas de representação gráfica utilizadas pelo estudante de Arquitetura recémformado, em especial desenhos à mão livre comparados aos desenhos elaborados por meio de programas de computador, visando identificar a melhor forma de coexistência entre essas diversas formas de expressão do projeto arquitetônico. Momento oportuno que traduz um pouco o constante interesse e necessidade do professor em permanecer sintonizado com as competências dos seus alunos e com as exigências do mercado a que se destinam, além de produzir algumas reflexões em busca da otimização do sistema de ensino-aprendizagem no Ensino Superior, ou seja, esclarecimentos sobre o profissional que estamos formando e sobre os destinos que estão sendo traçados para o futuro da profissão de arquiteto. / Concerns observed during more than 12 years of educational life in the disciplines of Drawing and Architectural Project for classes of Architecture schools gave beginning to the present master\'s degree work. For so much, firstly, it was done necessary a rereading concerning the paper of the drawing in the Architecture. Several authors contributed with concepts and experiences to a better understanding of the several values attributed to the drawing. Once sufficiently characterized the importance of this way of graphic representation, it was necessary to expose the recent panorama of the drawing teaching in the country, from the Secondary Education, going by the Higher Education and accompanying the architect in the beginning of the exercise of their professional activities. They were applied field\'s questionnaires quantitative and investigative of the real situation of the drawing teaching close to universities of Architecture in the city of São Paulo. Soon afterwards, the comparative and qualitative study of an academic path lived by the own author, while student of technical and professional Secondary Education and later as student of an Architecture course, front to the graphic material produced by their students in the days today, students of course of Architecture of night period. Finally, an analysis on techniques of graphic representation used by the student of Architecture recently-formed, especially drawings by hand free compared to the drawings elaborated through computer programs, seeking to identify the best coexistence form among those several forms of expression of the architectural project. Opportune moment that translates a little the constant teacher\'s interests and needs in staying tuned in with their students\' competences and with the demands of the market the one that is destined, besides producing some reflections in search of the optimization of the teaching-learning system in the Superior Education, in other words, explanations on the professional that we are forming and on the destinies that are being drawn for the future of architect\'s profession.

Hi Donald, It just occurred to me that I might be finished with this fieldwork. I’m sitting at the side of the road looking over this fucked up landscape of cattle, golf carts, trees with turning leaves, being rained on, frozen out, everything feels forced, and I’m double-taking sight after sight, saying to myself I’ve seen this before, I’ve done this already. I’m packing up my things. I’ll write more later, or perhaps I’ll call. bau Thirty-three locations in pursuit of the long view, from the borders of an expropriated forty year old ghost town. Thirty-eight Polaroids, thirty-six mobile phone photographs, thirty-six photos from a digital single lens reflex camera with an oiled lens filter, forty 15.2 x 10.2 cm drawings, fifty-six 38.4 x 16.4 cm drawings, sixty-three white-bordered 38.4 x 20.8 cm drawings, sixty-four 33.5 x 17.2 cm sketchbook spreads. 20 085 words; 14 123 by choice, 5962 out of obligation. It is important to figure things out for yourself. It is important to not learn too much of any one thing. This is a thesis because it’s a thesis; it is what it is. (That’s begging the question.) This is a thesis about begging the question.