University of Technology, Sydney. Faculty of Design, Architecture and Building. / Documentation within architecture refers to working drawings that are produced to envisage an imagined building. These drawings are a tangible representation of an object that has no tangible existence. Conventional documentation regards the act of drawing as that process upon which the object is wholly dependent for its coming into existence: they assist in ‘getting to’ the building. However, the definition of the word ‘document’ refers to a record of events, that is, post factum evidence. Within architecture, drawing as a record is not the dominant practice. Instead, representation that is a visualisation of the non-existent dominates. Hence, the realm of post factum documentation is under-examined. Due to the predominance of drawing within architecture, models are seen as an adjunct to drawings and so their role and potential has been examined in far less depth than that of architectural drawings. This thesis explores the notion of the model as three-dimensional post factum documentation of architecture. Through the theory of drawing, case studies of models of various scales are examined. These case studies are the Panorama model of New York City, the reconstruction of Mies van der Rohe’s German Pavilion, and the exhibition of architecture as post factum model, in particular the work of Peter Eisenman, Herzog and de Meuron, El Lissitzky, Allan Wexler and Diller and Scofidio. This examination repositions models within an expanded notion of the design process, which displaces the built object as the endpoint of this process, and investigates the critical facility of models.

University of Technology, Sydney. Faculty of Design, Architecture and Building. / Documentation within architecture refers to working drawings that are produced to envisage an imagined building. These drawings are a tangible representation of an object that has no tangible existence. Conventional documentation regards the act of drawing as that process upon which the object is wholly dependent for its coming into existence: they assist in ‘getting to’ the building. However, the definition of the word ‘document’ refers to a record of events, that is, post factum evidence. Within architecture, drawing as a record is not the dominant practice. Instead, representation that is a visualisation of the non-existent dominates. Hence, the realm of post factum documentation is under-examined. Due to the predominance of drawing within architecture, models are seen as an adjunct to drawings and so their role and potential has been examined in far less depth than that of architectural drawings. This thesis explores the notion of the model as three-dimensional post factum documentation of architecture. Through the theory of drawing, case studies of models of various scales are examined. These case studies are the Panorama model of New York City, the reconstruction of Mies van der Rohe’s German Pavilion, and the exhibition of architecture as post factum model, in particular the work of Peter Eisenman, Herzog and de Meuron, El Lissitzky, Allan Wexler and Diller and Scofidio. This examination repositions models within an expanded notion of the design process, which displaces the built object as the endpoint of this process, and investigates the critical facility of models.

The thesis explores human embodiment in 3D Virtual environments as a means of enhancing interaction. I aim to provide a better understanding of embodied interaction in digital environments in general. 3D interactive virtual environments challenge users to question aspects of their embodiment by providing new modes for interacting with space. Designers are facing new challenges that require novel means of interacting with virtual environments that do not simply mirror the way we interact within physical environments. Much of the research in the field aims to show how such environments can be made more familiar and "realistic" to users. This thesis attempts to probe the unfamiliar aspects of the medium. In this thesis I explore the concept, image and object of intimate space. How can an understanding of intimate space inform embodied interaction with virtual environments? I also investigate the role of familiarity by analysing and testing it in two contrasting interactive virtual environments. My contribution is to provide an account of familiarity as the driver behind embodied interaction in virtual environments based on human experience (from a phenomenological standpoint). In order to enhance the process of design for human embodied interaction in 3D virtual environments or in physical environments, I will identify tangible and intangible elements that affect human embodiment in 3D virtual environments and space, such as ethics and scale. Both examples are explored in interactive 3D virtual environments corresponding to real physical environments by subjects who are the daily users of the real physical environments. The thesis presents scale as a tangible element and ethics as an intangible element of human embodied interaction in space in order to highlight the different aspects that affect human engagement with space, and therefore human perception of their space and their embodiment. The Subjects’ accounts contribute toward informing the design of interactive 3D virtual environments within the context of embodied interaction.

Between the actualized built spaces that the artist moves around and through on a daily basis and the more abstract systems we invent to represent these structures sits the illusion of space and structure found in his drawings and paintings. Constant turnover within the built environment offers not only content, but rich analogy for his artistic practice. The artist’s endeavors in the studio in many ways echo the genesis, evolution and possibility he observes in the transitioning city around him. In the actual making of the work, he gleans from traditional methods of drawing and painting, from the architectural lexicon, from experiments with new materials, from the effects of time and decay and from building processes themselves.

This dissertation traces the concept of national memory through the five architectural spaces that have housed the dead body of Mustafa Kemal Atat&uuml / rk: the bedroom in Dolmabah&ccedil / e Palace, Istanbul, where he died on 10 November 1938 / the catafalque in the Grand Ceremonial Hall of Dolmabah&ccedil / e Palace used between 16-19 November 1938 / the official funeral stage in Ankara designed by Bruno Taut and used between 20-21 November 1938 / the temporary tomb in The Ethnographic Museum, Ankara / and Atat&uuml / rk&rsquo / s mausoleum, Anitkabir, in use since 10 November 1953. The dissertation firstly narrates the construction of a Turkish collective memory by means of architectural representation and politicization and secondly the physical and ideological maintenance of this memory by means of additions and subtractions to these spaces.

The meaning of term &ldquo / representation&rdquo / has shifted in both relevancy and definition in the discipline of architecture with the introduction of computational design technologies. The assumption of this study is that the selected mode of representation has the power to affect the process of design and even the production of architecture. At the present time, while the discipline is witnessing a change in its tendencies and terminologies, such as from drawing to 3D modeling, from construction to fabrication, and from geometry to topology, it is crucial to look at the &ldquo / conventions&rdquo / of architectural representation that are identified through &ldquo / projections,&rdquo / and particularly the &ldquo / orthographic set&rdquo / . This study aims to challenge the prejudices against the &ldquo / orthographic set&rdquo / that consider it to be an ineffective or inadequate tool for representation in the contemporary practice of architecture following the emergence of &ldquo / digitization&rdquo / . It is the claim of this thesis that the &ldquo / orthographic set&rdquo / is actually a methodology that is still powerful in the visualization of the &ldquo / rational&rdquo / thinking processes of design, and is still a highly pertinent technique in the representation and production of architecture. With the arrival of computational design technologies to the practice of architecture, the &ldquo / visibility&rdquo / of its representations have started to blur / and considering the dialectics between architectural representation and the architectural object, while Modern Architecture can be assessed as the transformation of the orthographic set into a declaration of a stylistic manifesto, in the digital age the question arises of what makes architecture visible, and whether it is possible to come up with a &ldquo / new&rdquo / definition of style.

This thesis is an architectural study surveying on miniature parks and miniature models exhibited in them and particularly focuses on Miniaturk - the first miniature park of Turkey- located in Istanbul. It is established as an environment containing a group of miniature models of buildings and landscapes, which display the variety, and richness of the cultural tradition of the previous and contemporary Anatolian civilizations, and especially Ottoman grandeur. In this study, it is argued that Miniaturk stands as a hybrid category between a museum, a public park and entertainment centre. Miniaturk is also conceived as an architectural environment providing a possible ground to discuss the conceptions, misconceptions and presuppositions about architecture in the popular realm and in the professional and disciplinary framework. Thereby, Miniaturk is investigated through the processes of its production including the initial design idea and all the stages of its construction. This study also tries to discuss the miniature models from different points of view. Whether they are considered as tools of architectural representation or not by the professionals, the popularity and the communicative advantage of these models can be used to arouse interest in the cultural and historical heritage as well as the contemporary architecture. The daily life of man on the street is strictly connected with architecture / therefore Miniaturk requires recognition as an environment for realization of these connections and relations.

This thesis re-conceptualizes Lazar Markovich (El) Lissitzky&#039 / s (1890-1941) PROUN drawings as architectural representations. The study reframes the PROUNs within the intellectual climate of the Russian Avant-garde, circa 1920 when the compatibility of the two-dimensional form generative approach with industrial production was contested. The mentioned reframing is intended to serve as a tool for the principal argument of this thesis: the PROUNs as architectural representations, indicate an alternative and inspiring constructivist strategy. This condition might suggest an intellectual process for architectural design along with the contributions of individual skill and craftsmanship which were surpassed by the mainstream Constructivism.

This study is an inquiry into the phenomenon of &lsquo / architectural scenario&rsquo / generally understood as architect&rsquo / s temporal projections about his/her real product: the edifice. The means of architectural representation are utilized to display the architect&rsquo / s projections in advance of the realization of an edifice. They can also be considered as tangible products to reveal the &lsquo / architectural scenario&rsquo / . The aim of this study is to examine verbal/written and visual modes of &lsquo / architectural scenario&rsquo / through a historical survey and to uncover its various definitions and interpretations. While elaborating on this issue cinema/filmmaking is used as a paradigm for comprehending the architectural scenario as the process of image construction. &lsquo / Architectural scenario&rsquo / is explored in the frame of architectural representation. This thesis is a reconsideration of the architectural production in terms of conceptualizing &lsquo / AS&rsquo / , which is inherently valid in the form making processes.

With the introduction of a computational design environment, architectural design and representation processes witness a radical transition from the analog to the digital medium, that may be asserted to initiate a paradigm shift affecting both. In this new design environment, extending the instrumentality of computer-aided processes to the generative use of computational tools and procedures, architectural design and representation processes are subject to mutual alterations, challenged with computational design strategies such as parametric design, associative geometry, generative diagrams, scripting and algorithmic procedures. Computational design approaches proceed with the definition of a mathematical model based on the numeric definition of relations and equations, substituting the conventional visual/orthographic representation. This thesis aims to inquire the outcomes of assuming non-visual/numeric representation as a strategy in the therefore redefined process of architectural representation. Through the generative logic embedded in the mathematical model, attention shifts from form to process. This emphasis on process rather than the formal outcome, aids the experimentation of a desired indeterminacy, coming forth in dynamic, non-linear design processes, blurring the boundaries between different phases of design, and of representation. The intentional search for a generative design process liberated from the visual/formal determinism of the conventional design approach, initiates a conscious delay in the definition of form, and thus of visual representation. The thesis discusses the potentials presented by generative mathematical models defined with the aid of computational design tools, and the ways in which they alter and inform architectural design and representation.