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This thesis provides a reassessment of Barry's travels and early career up to late 1834. There is no modern analysis of Barry, and no biography has appeared since 1867. A reassessment is necessary as, although Barry was one of the most important early 19th century architects, his contribution to architecture has - especially in the 1930s-1960s - been ignored, either because his reputation has been belittled or because the scope of his work has been too daunting to master. This thesis shows the architectural foundation of Barry's career and analyses his early commissions in order to provide a basis for a more objective reassessment of him. To make a reassessment this thesis examines what has been written about Barry and utilises data which has hitherto been ignored or unknown. It makes extensive use of travel diaries and drawings by Barry and Wolfe - his associate -, Wolfe's MS. written for A. Barry's 1867 biography, Barry's letters and drawings owned by his descendants, albums of drawings by his office staff and visits to the buildings he designed together with those he and Wolfe examined. The thesis concludes that Barry achieved a broad and sophisticated knowledge of architecture through his travels; he possessed flexible architectural principles that freed him from aesthetic dogmatism; Wolfe played an important and under-estimated role particularly in Barry's early career; Barry always retained a love for Greek architecture; he was an able designer in Gothic; he could not be crudely termed a plagiarist or historical copyist; his re-introduction of Italianate was of great significance to English architecture and he was an artist architect who, as an eclectic able to design with virtuosity in many architectural modes, was not confined by one architectural style. The thesis makes a chronological analysis of the evolution of Barry's architectural principles and his executed and unexecuted schemes up to late 1834. It provides a clearer understanding of the periods when Barry first employed various architectural styles and places his finished architectural creations in the context of their evolutionary background.

This thesis is based upon the study and analysiso f computerv isualisationa pplicationse ncounteredin architecturapl resentationI.t focuseso n the accuracyo f environmentaple rceptiono f daylighta nds ounda s in computerv isualisations oftware.T he researchh as identifiedp roblemsa ssociatedw ith computers imulation whicha ffectsa rchitecturadle signr epresentatioTn.h el iteraturere viewc arriedo utb yt his researchh ase xplored: the currents tatuso f the "computevr isualisationa nd architecturadl esigna ndp resentationd" ebate;t he basic CADp remisesu nderlyingth e natureo f architecturadle sign;a ndt he problems associatedw itha ttempting to integrate'e nvironmentapl erceptiono f design'a ndc omputerv isualisation. The researchd esignm ethodologyis derivedf rom both the Platonica nd'Aristotelianm odelso f knowledge acquisitionth roughr esearch. Basedo n the Platonicm odelo f knowledgea cquisitionth roughi ntuition,t he studya rguest hat the'intuitiona' ndt he'experienceg' ainedf romc onstructingc omputerm odelsh ase nableda comprehensivken owledgeo f computevr isualisationa nd its applicationisn architecturapl ractice.T he study also adoptst he Aristotelianm odelo f knowledgea cquisitionth roughr eason,a nd followst he 'reasoninga' nd 'laws' of scientificc onsiderationto assesst he performancea nd accuracyo f computerv isualisationfo r the environmentapl erceptiono f daylighta nds ound. Threec ases tudiesd eterminedth e problemsp ertainingto computevr isualisationa,s employedin architectural designr epresentation.C ases tudyo ne explorest he use of CAD visualisationa nd animationa s an aid to researcha rchitecturahl istory. Case study two examinesc omputerv isualisationa nd animationu sage in architecturadl esigne valuationa nd analysis. Cases tudy three investigatesth e problemse ncounteredin developingc omputeriseda rchitecturarle presentationosf the environmentapl erceptiono f sound and light. The applicationo f botht he Platonica ndA ristotelianm odelso f knowledge*acquisititohnro ughr esearcht o the abovec ase studies,h as led to the followingfi ndings: A) Computerisetdh ree-dimensionmal odellingr equiresb othp reciseg eometricaal ndv isuali nformation.T his tool appliedt o architecturahl istoricarl esearchh as necessitateda n accurated ocumentationp rocess,w hich hasr esultedin a deeperu nderstandinogf architecturael lementst,h eirp ositionsa, ndt heir relationshipsw ithin the context. As a result,c omputerv isualisationh as providedm orea ccurates imulationsa nd thus is a useful applicationfo r architecturaul tilisation. B) Int ermso f designe valuationa nda nalysist,h e ObjectB asedM odellinga pproache nablesa morem anageable environmenrte lativet o traditionalp aper-basedm edia. The problemsr emaininga, re those of inputtingt he two or threed imensionavl isuala ndc ontextuadl ata. The accuracyo f computerisedm odellingis an essential premiset hat enhancesC AD visualisationa s a successfutlo ol for desigrie valuationa nd analysis. C) Environmentpael rceptioins notf ullys upportebdy CADv isualisatioann da nimationT. hea ppearancoef lightingc onditionds ependsu pont he visualisatiodne signer'sin terpretatioann dm anipulatioonf naturaol r artificialli ghting.T hea ccuracyo f lightings imulationis subjectivea,n dt herefored oubtful.T he subjective soundp resentation(musmica),y b eo fv aluein o rdertoe stablisahe sthetipcr incipleosf a rchitecturparle sentation whereit canh elpa tangibled esignto bee xpresseadn dc ommunicatethdr ougha n intangiblem edium.T he environmentpael rceptioonf backgrounsdo undI noiseis missingin computerisepdre sentatiobne, causeo f its unavailabiliitny the programmeI.n additiont,h e capabilityo f inputtingd ata,s ucha s lightingin tensitya nd noisele velsis alsol acking.T hisi nformatiosnh ouldb et akeni ntoa ccounitn futurem odellingsy stems. Buildinugp onth isr esearchg,u idelineasr ee stablishethda tw illb eu sefuflo ra rchitectsc,o mputepr rogrammers ando therr esearcherins furtherr esearcahn dd evelopmeonft CADv isualisatioann da nimationI.n response to specificr equiremenotsf differenpt rofessionsth, is studyp roposesa multi-disciplinaarpyp roachto CAD visualisatioann da nimatioinn ordert o developa nda chievere alistica nde ffectiveco mputevr isualisation

published_or_final_version / Architecture / Master / Master of Architecture

Just as natural adaptation comes from evolutionary processes that lead to 'fit' of an organism to its environment, adaptive buildings come from design processes that lead to the 'fit' of a building to its environment. A building which 'fits' its environment is considered to be sustainable. The environment is defined to encompass economic, social and ecological context. Buildings are artifacts chosen by a designer from among possible designs based on human value judgements about internal and external constraints. It is hypothesized that a project design process will result in more adaptive buildings when: first, the project team has sufficient relevant information related to the environment; second, the project team is sufficiently motivated to 'fit' the project to its environment; and third, the project team develops specific targets for resource consumption. Design process occurs at both the team level (project design process) and the individual level (design process). A model of design as a complex adaptive system is developed. The model shows creativity as a phenomenon arising from the interplay of two forces: pattern and constraint. In design, a designer transforms the 'chaos' of new and unintegrated input (change agents) into emergent pattern by integrating the input so as to be consistent with existing patterns and responsive to constraints (conservation agents). This integration results in the 'click' which designers experience during design activity. The 'click' signals boundary-breaking between the designer's internal and external (content and context) constraints and patterns. Dynamic equilibrium arises from balancing between change and conservation of input and between integration and differentiation of that input. Total equilibrium arises from combined conservation and differentiation. Further it is suggested that oscillation between integration and differentiation will result in creative breakthroughs. The model is researched in a case study of a built project, tested in a design exercise in a seminar setting with students and professionals, and discussed in an interview with a noted designer. Indicators for sustainable buildings are developed. The model provides a new description of design process and the findings indicate that its use is likely to result in more adaptive buildings as measured by indicators for sustainability.

The method of Design/Build is known for its practicality and skillful designers and builders. However, high quality buildings produced by this method suggest there is an intellectual wealth hidden beneath this technical practicality. To uncover this wealth, a definition for the processes of design used in this method must be constructed to clarify its intellectual aspects. Such a definition begins with the assumption that design is an intelligent process through which people arrange their environment. To uphold the intelligence of design, the interaction between human (designer, tradesperson, client, or inhabitants) and architecture must be maintained throughout the process. The unique conditions in the method of Design/build allow the human intellect to freely interpret and intervene in the processes of architecture. To fully exploit these conditions, a designer must develop a particular view, seeing architecture as combined processes rather than as an end-result. Via this view, it becomes evident that the arrangement of lines, forms, and structures of buildings is just a material manifestation of a deeper reality, i.e. the agreed values that an individual or society holds. These values are translated into two groups of design principles in architecture. The first group is geometrical and includes proportion, symmetry, order, and unity. The second group is relational and leads to consideration of adaptability, nature, need, tradition, and material. These principles define the relationships of architecture, humans, and the environment, expressing the role of intelligence in man-made settings. In Design/Build, these principles can be incorporated into the processes of design far more than in any other method, because architecture is intimately connected to environment (social and natural), and there is a dynamic interaction between designing and building. This method sees architecture as a combination of processes, considering design not as rules and regulations, but as a process that is empowered and motivated by the events of everyday life. This method arrives at the rules and regulation of architecture only after recognizing this fact. Without the attendance of life in an architectural process, the geometrical and relational principles of design are dull and meaningless. By establishing this view, this paper hopes to construct a definition for the design process of Design/Build, a definition that does not deal solely with the technicality and practicality of this method but rather with the intellectual aspects of the process.

The notion of seriality describes such relations where each element has a processor. It could be also understood as a condition of sequential translation and transfonnation. This thesis investi gates “seriality” in the relationship to architecture and landscape. I begin my investigation with a criticism of the conventional relationship between architecture and landscape. This relationship is often static and inert while it should be more dynamic and interactive within the design process. Reconsidering the relationship between “research” and “design,” my attempt to connect the two using algorithmic design was instrumental in formulating a new design process. In this thesis, a new design process has been developed and examined in three different sec tions: 1) “Theoretical Approach,” 2) “Technical Approach” and 3) “Case Study.” In the theoretical section, I investigate “rhythm,” which is an underlying series of movements affecting on architecture physically and fundamentally, in both architecture and landscape. In re sponse to this theory, I propose a method known as the “Genetic Grid” to manage grid flexibly by receiving its new identities from “natural conditions.” In the technical approach, I introduce methods in algorithmic design to manage grid flexibly. The basic method is called the ‘UVN generator’ which is based on the algorithmic process com bining the scripting potentiality and flexibility of traditional 3D surface modeling. This technique contributes to a method to generate the “Genetic Grid.” In the third section, I examine this “Genetic grid” more closely throughout a proposed design process called “Condition Linkage.” By embedding “Gene of Place” into architectural elements, I hope to show an underlying harmonious relationship between architecture and landscape.

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No description available.

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