No description available.

No description available.

The limited attention paid by architectural historians to the influence of continental European migrant architects on Australian architecture has been noted in recent architecture literature. This study offers a close analysis of the life and work of Canberra architect Enrico Taglietti, who migrated to Australia from Italy in 1955. His work demonstrates a 'highly personal style' offering more depth and playfulness of form and content than the work of his contemporaries. Taglietti designed a broad range of private and public buildings in Canberra, his adopted 'invisible city', including Dickson District Library, Giralang Primary School and the War Memorial Repository, and received in 2007 the Royal Australian Institute of Architects (RAIA) Gold Medal. Yet, despite this success his work has received limited acknowledgment from Australian architectural historians. who show a persistent difficulty with integrating Taglietti's architectural language into prevailing architectural schema. This study adopts an integrated methodology offered by Manfredo Tafuri's 'operative criticism', micro-history and oral history to retrace the origin of Taglietti's 'idiosyncratic design', arguing that an understanding of Taglietti's formative experiences, his habitus (in the words of Pierre Bourdieu), can shed light on his architectural language. Taglietti inherited Bruno Zevi's, Carlo De Carli's and Frank L10yd Wright's belief in the architectural continuum space as the fundamental expression of the modernist period, Pier Luigi Nervi's notion of arte del costruire as the combination of technical as well as artistic knowledge, and the sense of craft as learnt from contact with the Finnish designer Tapio Wirkkala at the 1954 Milan Triennale. With an extraordinary attachment to Canberra, Taglietti developed an architectural language which responds to place, with its strong formalist extemal volumes juxtaposed to an idiosyncratic complex internal spatial arrangement. In questioning whether Taglietti shared common intellectual ground with Australian architects, and whether this common ground was Zevi's and Wright's view of architecture and urban design. this study argues that lan McKay (b.1932) is the Australian architect who shares common aspects with Taglietti, including ideas on the role of the architect as an urbanist.

Thesis (M.Arch.(Prof)) -- University of Pretoria, 2007. / Includes bibliographical references. Available on the Internet via the World Wide Web.

No description available.

People are becoming more aware of the relationships between the built environment and their physical and psychological well-being. This has encouraged numerous studies in the field of environment and behavior, and effects of architecture, urban design and architectural form on human response. In the realm of architectural form, some professionals, from "signature" architects to environmental and organic designers, are strong advocates of free-flowing curvilinear forms. They assume that the use of curvilinear forms is sympathetic to the body, mind and spirit, although there is little empirical research to confirm this claim. There is also little research on the topic of signature / star architects and their design methods. The purpose of this multi-method study was to investigate the emotional effects of curvilinear forms in interior architectural settings. The research involved qualitative and quantitative methodologies. In the qualitative phase, twelve signature architects, known for their use of curvilinear forms, were interviewed to examine the reasons and processes by which they applied curvature in their work. They were also asked to talk about their design process. In the quantitative phase, two modified interior residential views were ranked on their emotional load by 230 non-architect and 75 architect students in card-sorting tasks. In each view, architectural forms gradually changed from fully rectilinear to fully curvilinear. The data from both phases of the research was analyzed. The dissertation concludes by discussing (a) factors that separate signature architects from others (b) how signature architects design (c) how and why designers utilize curvature in the built environment, and (d) different emotional responses of designers and non-designers in response to curvature in architectural settings. In general, quantitative data indicates that non-architects show significant positive response to curvilinear architectural forms. Nonarchitects found curvilinear forms to be pleasant, elevating and reducing stress. The strongest relationship was recorded between curvature and feminine qualities of architectural space, which was shared by both architects and non-architects.

No description available.

Thesis (Ph. D.)--University of Hong Kong, 2007. / Also available online.

Thesis (Ph. D.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

Thesis (M.S.)--University of Tennessee, Knoxville, 2007. / Title from title page screen (viewed on Sept. 22, 2008). Thesis advisor: Susan L. Hamilton. Vita. Includes bibliographical references.