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For centuries the architect was the master builder; the one who was responsible for both the design and the construction of a project with sufficient construction expertise to oversee the project from inception to completion. Eventually, complexity of projects required a higher level of specialization leading to the separation of the designer and the builder. Since that separation, the role of the designer, or architect, has continued to shift and evolve. In recent history, the architect has been the one selected by a building owner, at the inception of the project, as the professional who is able to assist and represent the owner throughout the duration of the project. Today however, the role of the architect is once again shifting and leading the architect in a different direction. Building owners are beginning to approach the builder through a design-build or construction manager delivery method first and relying upon them for the overall project and construction expertise instead of the architect. The architect will continue to carry the responsibility of creating the building's design and producing the construction documents. It is very unlikely that this role will change. Any of its other construction related roles, however, are being assumed by the build team. If the architect remains on its current path, it will continue to become more specialized with design and production and carry less responsibility. While the exact role of the architect of today is unclear and heading in a negative direction, the entire construction process continues to evolve and provide new opportunities. The successful architect to come is going to be the one who looks at ways to reclaim its lost responsibilities, explore new alternative services, and promote a higher level of collaboration with the build team.

This thesis concentrates on problematic field of architectural education and practice related to window role. Phenomena of window loosing it’s primary functional purpose [inside-outside connection in terms of view and daylight] and becoming more decorative element of the facade. This paper content consists of analysis of case studies by evaluating window provided light and view qualities using qualitative and quantitative methods in chosen office buildings. Analysis and results are followed by the discussion of window role oppositions between architect’s and user’s perspective together with secondary topics coming out of it. As the result of analysis and discussion - guidelines for window design are suggested and conclusive experiment of their customization is demonstrated. This thesis  concentrates on awareness of window identity crisis as well as examine and provide simple manners, which can increase quality of daylight and view through the openings in architectural planning.

The following paper will explore the future of sustainable building practices as it relates to building design rating systems and whether building design rating systems are effective in conserving energy and resources in the construction of new buildings. This paper will begin by highlighting some of the general principles behind sustainable design practices, and the challenges of determining if building design rating systems are utilized effectively towards the goal of sustainability. In addition, the paper will highlight issues specific to ongoing litigation in Gifford v. U.S. Green Building Council and allegations made within the lawsuit that question the methodology and efficacy of building design rating systems. How political and ideological influences have propelled sustainability practices into the mainstream, and to what extent government is and should be involved in regulating building design rating systems will also be explored. Lastly, how will new energy performance and sustainable design methodologies, which are now being required in the law, affect the professional liability of building design professionals in the future?

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Depth is an architectural quality created by progression, delineation, and repetition. This project explores depth through the design of three major elements- floor, wall, and roof. Each element is created using one or more aspect of depth and combined to produce a house which is an integral part of its site. / Master of Architecture

"Between the Ocean and the Bay" is about a design process enabling the designer to see and know through three different graphic methods. The thesis concentrates both on the design of a specific structure, and on the ability to develop a design through two and three dimensional graphic manipulations. The three design methods are sketching, three-dimensional modeling, and computer drawing. All three have their unique qualities and all are effective. The Sketching method evolved through observing, seeing and drawing architecture in western Europe. The intimate visual process formulated a greater sense and comprehension of architecture. The on site drawing experience initiated this particular design expression. Furthermore the fragments of architecture recorded in these visual sketches became a vocabulary for all future designs. There are two kinds of three dimensional models. The first is for displaying a building or a project as an object in three dimensions. The second is a sketch, which is a fragment of a whole building or an idea. Fragmentary modeling provides a simple method of combining three dimensional elements enabling one to scrutinize them as they become part of a whole composition. This method of modeling allows the observer to see the spatial relationships between each element and the form as a whole. Modeling is a tactile experience. This physical involvement brings to the design a tangible relationship that develops scale and proportion. Fragment modeling was used in the development of the house between the ocean and the bay. Computer drawing produces two dimensional drafted plans or wire frame models that are viewed from infinite angles and then reproduced. Computer drafting lacks immediate tactile involvement of the other two methods of design discussed here. The results can appear to be flat and not dynamic. However, the computer provides discipline; by forcing one to make decisions on a design, it organizes abstract visual thoughts. There was a point in the designing of the house when turning to the computer to explore order was essential. The house between the ocean and the bay developed by employing the three different yet complementary design tools. Sketching was the strongest tool to explore a design problem through quick immediate production. Modeling forced the realization in space of the strengths and weaknesses of a design. The computer drawings in this project helped control the final shape of the house simply by forcing decisions and creating order. Each of these methods is productive by itself and together as they meld and feed on each other to create the product. / Master of Architecture

This inquiry attempts to examine different aspects of architecture and an understanding of space by exploring architectural expectations. The process described herein depicts the struggle to find a translation between two languages, one verbal and one visual. The key to my search was a constant set of ideas. The challenge was first to discern, and then to learn to use, the tools that would become my guide to the language of architecture. / Master of Architecture

The thrust of this project is twofold. The first is to create an addition to a reconstructed two-story log house. The second is to locate this structure upon the site in such a manner as to enhance the experience of its presence during approach. The first goal is addressed by connecting two appendage structures to the rear facade of the log house by means of a narrow transitional space. The intent is to maintain this transitional space as an architectural connection between the greater masses without allowing it to become a dominant element. The arrangement of the addition massing respects the prominence of the original log structure and compliments its dog-trot configuration. The shapes of the addition masses, freestanding studio/utilities building, deck area and pool also respond to the vehicular path which culminates in a circle. The second goal, the positioning of this structure within the boundaries of the selected site, was greatly facilitated by the site's numerous attributes. These range from the historical precedent of a previous log dwelling built upon the grassy knoll of choice to the natural enclosure of the site. A U-shaped, deciduously forested valley of dramatic slope along the three enclosing sides, the site provides a seasonally changing backdrop within which the entire structure can be experienced. Further enclosing this valley along the fourth side is a small, treelined river whose woody screen is permeated only in one small spot by a ford, which had been the site's previous access. / Master of Architecture