Baigiamajame magistro darbe nagrinėjama XX a. žymių architektų ir inžinierių įtaka konstrukciniams statinių sprendiniams. Išnagrinėti pagrindiniai XX a. žymių architektų ir inžinierių darbo principai, kuriais remdamiesi jie darė įtaką konstrukciniams statinių sprendiniams. Baigiamajame darbe aptarti šių dviejų profesijų santykiai. Pateikiama XX a. architektūros ir inžinerijos raidos istorija. Išanalizuoti kelių architektūros stilių, dariusių įtaką konstrukcijoms, skirtumai, pateikiant jų ryšį su naujomis konstrukcijomis. Vertinant architektų ir inžinierių įtaką konstrukciniams statinių sprendiniams atsižvelgiama ne tik į jų objektus, bet ir į jų akademinę veiklą architektūros ir inžinerijos srityse. Darbe analizuojami objektai, kuriuose ryškiausiai atsispindi architektų ir inžinierių daroma įtaka naujų konstrukinių sprendinių nuosekliai integracijai į architektūrą, pabrėžiant konkrečius specialistų nuopelnus. Išnagrinėjus surinktą medžiagą, pateikiamas baigiamojo magistro darbo apibendrinimas ir išvados. / The influence of famous architects and engineers of the twenty-century for structural building’s decisions is analysed in this final master’s work. Their principals of work are analysed too. This final work talks about relations between architects and engineers, the process of architecture and engineering. Several architectonic styles differences, which made an influence to the structural, are analysed, as well as their relation with new structural. This final work talks not only about the objects of architects, but also about their academic activity in the sphere of architecture and engineering. This final work analyses objects, in which it can be seen the biggest influence of architects and engineers for the new structural decisions integration to the architecture. In this work there is a generalization and a conclusion.

As Galileo peered through a lens to see the twinkle of the Jovian moons, and Antonie Van Leeuwenhoek did the same to study the tremulous basis of all life, so the fabric of threads we weave across time and space – the vast net of relations that bind and separate us – is visible only through a lens. Footprints in the snow and the weathered stone steps of buildings hint at the shape of these threads, but the coming of spring and the hardness of stone limit our observations. The Global Positioning System (GPS) now provides us a lens to see the path that individuals, families, and communities take in space-time -- their worldlines. When millions of GPS signatures are collected from hundreds of individuals, heritable patterns emerge that embody particular individual’s ideas and practices, as well as those of the society and the environment in which they operate. Besides providing a tool to test assumptions about how space is used, I argue in this thesis that by allowing us to glimpse a terra incognita, mapping worldlines also provides a unique perspective on our spatial relationship to one another.

Typefaces contain explicit and implicit character in their appearance. They are valuable to the designer to convey an appropriate rhetorical voice. Typefaces can be powerful expressions for the persona of user groups and their specialized information. This interpretive exploratory study looked at design as research. Textual data was collected from several sources that revealed typeface trends. As a precedent, Helvetica and Times used on National Park plans forecasted Parks Canada’s preference for Helvetica Neue as the current display font family. The second case study revealed several recurrent typefaces used for titles and headings on Canadian Society of Landscape Architects’ professional journals. Lastly, survey data about landscape architects’ current typeface preferences showed a trend for certain styles and persistent connotations. The personality and physical characteristics of these preferences were synthesized into design guidelines and a typeface concept. This representative landscape architecture typeface is intended to promote professional salience and unity. / The continuity of this thesis will generate a digital design resulting in the release of a typeface taking approximately two years. The author will engage with professionals within landscape architecture and typography to ensure that the typeface development and assessment is holistic and fulfills the recommendations outlined by the key informant and popular literature. / Landscape Architecture Alumni Award

Blurred LInes seeks to reopen discussion of the scale and interrelation of architecture and furniture, traditionally conceived. It traces the recent history of furniture and architectural making from the high-point of the “built-in” through the manufacturing age, questioning the corresponding stratification of our immediate built environment into building, infill and objects. Engaging modernist and contemporary criticism, it explores a return to unified building in which the architecture might well become the furniture and vice-versa, erasing built hierarchy and asynchronicity. The paper describes lessons learned from modern masters of the discipline from Adolf Loos to Nader Tehrani and attempts to identify key formal, spatial and constructional considerations in the successful integration and “blurring” of this line. All of this comes to bear in the establishment of design experiments to be carried out in studio, testing the possibilities and viability of the paper's theoretical models.

The goal of this thesis is to investigate and propose housing that increases density while offering a better quality of life for citizens inhabiting Toronto’s Avenues. This thesis compares three different building prototypes, all of varying scales and typological characteristics. The viability of each prototype is discussed with regards to the current economic and regulatory conditions within the city, as well as the varying quality of life that each prototype creates.

A certain architectural &quot / ethos&quot / come into being as a result of the specific training which architects receive as producers of space, of their dual status as artists and professionals, of the conditions in which they live and the social status of their profession. This ethos is a product of the architects&#039 / collective habitus. The attitudes of architects regarding their position in the building industry, their role in society and their self-image (or its lack of) as artists determine the transformation within the architectural profession under the impact of the changes in society. This study investigates architects&#039 / professional practice by focusing only on those architects working independently and mostly having their on offices. Thirty-one architects were grouped by age, gender, the faculties from which they graduated and province of residence and work. The international influence on architectural discourse, the effects of architects&#039 / organisations and their professional ideology were introduced as additional variables for investigating the nature of their habitus. The interviews revealed that the architects&#039 / &quot / spontaneous professional ideology&quot / (SPI) is the main adhesive of their collective habitus and ethos, and it force architects to think in a specific way about space, the sovereignty of architecture, its art component, its legitamacy, architects&#039 / devotion to their profession, their feelings of superiority over clients and users as well as their overall code of conduct.

Abstract The construction industry is at a critical point in time where the construction and design of the majority of projects is now done simultaneously. If historical trends persist, then there will be an increase in the number of construction projects done concurrently with design. This empirical study describes the management of design in collaborative design and construction projects in a construction company that is dealing with an increasing number of collaboration type projects. The different roles of managers of design, the activities they undertook and conceptions that could describe the practice were researched. A major outcome of the research was the identification of seven major activities that were undertaken by the design managers. These were: 1. Coordinating Stakeholder Input 2. Coordinating Design Work with Other Work 3. Managing Design 4. Project Development Management 5. Managing Design Work 6. Selecting and Managing the Design Team 7. Managing Design Management It was found that design management went through three distinct stages in the collaborative projects: 1. An early stage comprising of mostly design development and planning activities 2. A mid stage consisting of collaborative design and construction activities 3. A latter stage, which comprised of completing the construction work Design managers also undertook activities outside of the project stages, which were considered as company based activities. In the early stages activities were orientated towards developing the project, dealing with different design solutions and setting up the project. In the mid stages activities were orientated towards obtaining design for construction, producing one design solution and keeping up with the schedule. In the latter stages activities were orientated towards dealing with design issues and maintaining design intent. Activities outside of any project were orientated towards developing personnel and company systems. The goals of each stage and the activities required to reach those goals changed the nature of design management in each stage and ultimately resulted in a change in the person required to manage the design. Design managers with the ability to establish client relationships and develop the design were required in the early stages and design managers with the ability to manage the production of design documents and deal with construction issues were required in the mid stages. Different design managers were utilised for the early and mid project stages. During the latter stages of a project, when design was practically completed, design managers had a part time or consultant type role in the projects. In order to examine design management, seven conceptions that could describe the practice of design management were explored. The conceptions consisted of, ‘brand management’, ‘design and construction integration’, ‘a division of project management’, ‘meta-design’, ‘master builder’, ‘task, flow and value management’ and ‘management of the design process’. No one single conception was observed to adequately describe everything that the design managers did. Rather each conception provided a useful perspective that adequately described design management in particular situations. For example ‘a division of project management’ more readily described situations where design managers undertook planning, cost and design production related activities. Similarly ‘meta-design’ more readily described situations where design managers were involved in design discussions. The trends of the conceptions across project stages revealed where the conceptions more readily applied. For example, ‘brand management’, ‘task, flow and value management’ and ‘master builder’ applied more in the early stages of the projects, when the design managers had to promote the company and design, determine the flow of information and had more control over the direction of the project. In the mid stages the conceptions ‘design and construction integration’ and ‘management of the design process’ more readily applied, as design process activity was increased and as construction activities required coordination with design. ‘Design and construction integration’, ‘brand management’ and ‘master builder’ conceptions applied in the later stages where construction activities were checked against the design, the construction required promotion and where the design manager dealt with quality and economic issues with the design. This research explores design management in the Civil and Process sectors of the construction company, in addition to the Building sector. Differences were found between the Building, Civil and Process sectors. In the Building sector, design managers took more ownership of a project; in the Civil sector, design managers carefully took into account stakeholder issues; and in the Process sector, design managers were more technically orientated. These insights into the management of design in integrated design and construction projects can be incorporated into management structures, personnel selection and training programs. For example, the results of this research can be used for the training and selection of design managers for the early, mid and latter stages of design and construction projects. The research can also be used as a basis for making improvements to design management. For example, current practices can be compared to the results of this research to determine which activities might need greater prioritisation. This research provides practitioners and academics with renewed ways of thinking about the management of design, based on the actual practices of design managers.

The master´s thesis pays attention to the information system dealing with the procession of insolvency proposals. This requirement originated in the terms and conditions of the prepared amendment to the act on insolvency. The first part analyses the existing system of procession. The demands for the information system are formulated based on the foundout facts. The second part describes the proposed solution by means of charts depicting examples of use, and a process and checking chart processed in the Enterprise Architect programme. The third part includes a description of the information system implementation. The information system has been programmed by means of the PHP scripting language using the Nette framework and the MySQL database. The FPDF and FPDL libraries were used to generate the insolvency proposal in PDF. This system respects the valid legislation, facilitating the work and saving the costs related to the procession of insolvency proposals.

L'intérêt philosophique pour la « visibilité » – Sichtbarkeit –, à la fin du XIXe siècle, participe d'une interaction nouvelle entre art, science et technique. Le dessin réunit les arts graphiques comme science du « visible ». Vitruve établit déjà que la « science de l'architecte » – Architecti scientia – prend valeur et se renforce par la « science du dessin » – Graphidis scientia. La recherche porte sur l'analyse du dessin que l'architecte utilise et produit lorsqu'il travaille à s'instruire selon son propre arbitre et ses propres moyens, hors les murs des écoles et des ateliers, au tournant du XIXe au XXe siècle. Charles-Édouard Jeanneret (1887-1965), Paul Tournon (1881-1964) et Jean-Charles Moreux (1889-1956) voyagent pour leur apprentissage. Ils regardent le monde et transcrivent leur étonnement activé au contact de la réalité. De la même manière, pour se former, alors que leur production architecturale sera très différente, ils notent en dessin. Nous interrogeons la réduction intellectuelle et graphique de la note comme une forme courte de représentation. La forme courte est le travail conscient d'analyse et de recherche synthétique. Chaque trait est pensé et pensé comme matérialité. C'est un acte conceptuel d'abstraction. Comment cette forme courte, que nous interprétons dans sa vocation théorique, participe-t-elle de l'acquisition du « regard instruit » de l'architecte ? / The philosophical interest for the « visibility », - Sichtbarkeit -, at the end of the XIXth century, involved a new interaction between art, science and technique. The drawing combines graphic arts as science of « visible ». Vitruve already establishes that the « science of the architect » – Architecti scientia – takes value and is reinforced by the « science of the drawing » – Graphidis scientia. The research relates to the analysis of the drawing which the architect uses and produces when he works to educate himself, according to his own referee and his own means, out of schools and the workshops, in the bend of the XIXth in the XXth century. Charles-Edouard Jeanneret (1887-1965), Paul Tournon (1881-1964) and Jean-Charles Moreux (1889-1956) travel for their learning. They look at the world and transcribe their astonishment activated in contact with reality. In the same way to form, while their architectural production will be very different, they note in drawing. We interview the intellectual and graphical reduction of note drawing, as a short form of representation. The short form is the conscious work of analysis and of synthetic research. Each feature is thought and thought like materiality. It is a conceptual act of abstraction. How this short form, that we interpret in his theoretical vocation, takes part-such of the acquisition of the architect's trained glance ?

Esta é uma investigação sobre a formação do arquiteto em sua dimensão sensível. A visão persistente de que ser artista é uma condição inata de alguns seres humanos tem gerado dificuldades na ação de criar, entre os aprendizes de arquitetura, à revelia das descobertas da Ciência sobre as capacidades cerebrais do ser humano, descobertas que interferem nas reflexões sobre como acontece o conhecimento. Ainda dificulta essa formação, um mundo atual consumista e negativamente pragmático que interfere na missão formadora da instituição escola de arquitetura, querendo forçá-la a ser mero curso profissionalizante. Esse panorama apresenta uma estrutura de formação sem a condição de poder alcançar a sensibilidade do aprendiz para fazê-lo perceber, intuir, criar espaços com sua dimensão que supera a função de abrigo das atividades humanas: sua condição de Arte. Este é o motivo desta Tese: propor uma modificação na fisionomia das estruturas vigentes de formação do arquiteto para que ela possa ser mais estimuladora da sensibilidade de seus aprendizes. / This is a research on architect formation in its dimension of Art. The predominant and persistent view that to be an artist is an innate condition of some human beings has been producing difficulties in the action of creation, among the apprentices of architecture, which ignore the science discoveries about the human beings brains. Another difficulty to this formation is the present consumer and pragmatic world which interferes on the formative mission of the school of architecture institution, pretending enforced it to be a mere professional course. This scene presents a formation structure without a condition that could allow to reach the sensibility of the apprentice in order to make him perceive, feel, create spaces with his own dimensions which overcome the function of sheltering human activities: its Art dimension. This is the leitmotiv of this thesis: to propose another physiognomy to the present structure for the architect formation as a way to make it more stimulating to the sensibility of its apprentices.