In 1941, German architect Konrad Wachsmann (1901–1980) emigrated to the U.S. to escape the Second World War. Erstwhile a trained cabinetmaker, the chief architect of one of the largest prefabricated construction companies in Europe, and a private practitioner, Wachsmann brought a particular line of prefabricated timber construction knowledge to the U.S., which he utilized in the development of military technologies as well as for the development of an ambitious prefabricated kit-of-parts house known as the Packaged House (1941-47), developed in collaboration with Walter Gropius (1883–1969). Later, he transferred to academia and developed an algorithmic teaching system, which he employed in his teaching posts in the U.S. and his state-sponsored workshops around the world. With two novel architectural research institutes, which he supported with military and government commissions that became the subject of design inquiry at these programs, Wachsmann envisioned a transformation of architectural education within the university system and the larger order of society. Through Wachsmann's post-emigration oeuvre, covering his projects, collaborations, and pedagogy, this dissertation delves into the post-war transatlantic exchange of architectural and intellectual capital and the influence of production technologies and cybernetics on architectural imagination and theory. / Doctor of Philosophy / In 1941, German architect Konrad Wachsmann emigrated to the United States, seeking refuge from the turmoil of the Second World War. With a background as a trained cabinetmaker, the chief architect for a major European prefabricated timber construction company and an architect who practiced on his own, Wachsmann brought with him a wealth of knowledge in prefabricated timber construction. His expertise found diverse applications in the U.S., ranging from military technologies to the development of an ambitious prefabricated housing system called the Packaged House (1941-47), created in collaboration with renowned architect Walter Gropius. Transitioning to academia, Wachsmann pioneered an algorithmic teaching system that choreographed the movement of students, information, and tasks within the studio. He employed this system in in his teaching posts in the U.S. and his state-sponsored workshops around the world. He envisioned a transformation of architectural education within universities and society at large, exemplified by two innovative architectural research institutes he founded. These institutions were financially supported by military and government commissions, which became the subject of design exploration. This dissertation examines Wachsmann's post-emigration body of work, encompassing his projects, collaborations, and pedagogical approach. It delves into the profound influence of production technologies and cybernetics on architectural imagination and theory, shedding light on the dynamic transatlantic exchange that shaped the architectural landscape in the post-war era.

Previous studies of the design studio have tended to treat learning to design as a matter of learning to think in the right way, despite the recognition that material artifacts and the ability to make and manipulate them in architectural ways is important to the design process. Through the use of empirical data gathered from watching design teachers and students in action, this thesis works to discover how material things and bodies are important to the fabrication of architectural meaning and architectural subjectivity within design studios. In particular the role of gesture is highlighted as doing important work in design studio knowledge practices. / The approach taken in this thesis is to treat design activity in design studios in a ‘post-human’ way. An analytical eye is turned to how things and people perform together and are organised in various ways, using Actor network theory (ANT) as a way to orientate the investigation. The assumption drawn from ANT is that that architectural meaning, knowledge and identity can positioned as network effects, enacted into being as the design studio is ‘done’ by the various actors — including material things, such as architectural representations, and human behaviours, such as gesture. / Gesture has been largely ignored by design studio researchers, perhaps because it tends to operate below the threshold of conscious awareness. Gesture is difficult to study because the meanings of most gestures produced during conversations are spontaneous and provisional. Despite this humans seem to be good interpreters of gesture. When studied in detail, ongoing design studio activity is found to rely on the intelligibility of gesture done in ‘architectural ways’. The main site for the observation of gesture during this study was the ‘desk crit’ where teachers and students confer about work in progress. In the data gathered for this thesis gesture is found to operate with representations in three key ways: explaining and describing architectural composition, ‘sticking’ spoken meanings strategically to representations and conveying the phenomenological experience of occupying architectural space – the passing of time, quality of light, texture and movement. / Despite the fact that most of the work of the thesis centres on human behaviour, the findings about the role of gesture and representation trouble the idea of the human as being at the centre of the action, putting the bodies of teachers and students amongst a crowd of non human others who participate together in design knowledge making practices.

This thesis focuses on the effects of globalisation on educational field of architecture, in Turkey, in recent decades. The aim of the study is to develop a method of analysis in order to read the four early established educational institutions of architecture in a critical and comparative manner*. This reading is very crucial in order to comprehend their attitudes and methods of constructing their particularities while being a part of the globalised world of education. Globalisation / rapid developments in communication technology, instantaneous mobility of knowledge and student-staff exchanges lead to a common worldwide architectural education area, where educational institutions of architecture do co-exist with awareness of other institutions operating in the field. However, the interdisciplinary character of architecture, and the regional, cultural, institutional distinctiveness of schools leads to a certain diversity of educational models in the educational field of architecture. In this context, this thesis proposes a method of analysis in order to read the four schools in a comparative and critical manner. Through the reading of the institutons with their structures and educational components, in the tension between universality and particularity, the purpose of the thesis is to find out several clues for the institutions that may be applied while constructing their particularity in the globalised world of education. The accidental, evolutionary and inentional actions of schools in the tension between universality and particularity are the findings of the research. At the end, the positive as well as the negative dimensions of the methodology are criticised with reference to the findings of the research.

This thesis attempts to determine if misconception about vapor retarders and air barrier systems affects building enclosure design and construction. Literature on this subject is continually evolving and often contradictory, supporting confusion. A survey of designers and builders representing four climate zones within the United States was done. Respondents disclosed where they learned about building enclosures and shared how clear or confusing they think the resources are on this subject and also weighed in on a few basic principles about enclosure design. Results show that most building professionals learn about enclosures through experience or a colleague. The internet is the first written resource they use when questions arise. The most significant misconceptions identified are that in some cases vapor retarder placement does not follow accepted building science or code requirements and that a portion of respondents only consider the air barrier system the vertical surfaces of an enclosure.

pablo@espaciosdigitales.org / In this paper, the author explains why architects who know how to use scripts have an advantage over the ones who just know how to manipulate a specific software. The reason behind this affirmation is that knowing how to program frees the architect from the rules and language of the interactive software. To prove his point, the author organized two workshops where students at the school of architecture learned to use Rhinoscript. The students didn’t create a new interface, but used an existing one. They adapted the program (Rhino) to a design problem they had formulated at the beginning of the workshop. Students could have also used MaxScript (3DS Max) and MelScript (Maya).

Reunida em um único volume pela primeira vez, a obra completa do arquiteto Eduardo Riesencampf de Almeida foi catalogada, digitalizada e organizada para esta tese, permitindo a compreensão do conjunto dos trabalhos desenvolvidos a partir de estudos, projetos executivos, perspectivas, croquis e fotografias. Tal material se somou a inúmeras entrevistas que não só permitiram leituras específicas sobre alguns projetos, como possibilitaram reflexões sobre os procedimentos projetuais aplicados durante seu percurso profissional. Realizada ao longo de mais de cinquenta anos, pode-se notar que a obra de Eduardo de Almeida passou por diferentes fases e, dependendo das influências ou das parcerias estabelecidas em cada período, revela mudanças de linguagem e emprego de técnicas construtivas variadas, de acordo com o enfrentamento específico de cada projeto. Apesar destas variações, é possível identificar a recorrência de estratégias projetuais que garantem unidade e caráter ao conjunto de sua obra, mesmo nos trabalhos destinados a diferentes usos, escalas ou contextos. Este material, ainda inédito, permite revelar a um público mais amplo a produção arquitetônica de Eduardo de Almeida e ser utilizado como orientação para novos estudos sobre seu trabalho e, consequentemente, sobre a Arquitetura Moderna Paulista e Brasileira. A abordagem permite ainda uma reflexão sobre estas táticas de projetar e suas relações com o ensino, uma vez que a obra de Eduardo de Almeida não se dissocia de sua atuação como professor, pois reflete-se na produção de novas gerações, ex-alunos e ex-colaboradores. / This thesis covers the complete works of architect Eduardo Riesencampf de Almeida. For the first time, his sketches, study, execution and perspective drawings and photographs, were digitalized, organized and catalogued creating the first comprehensive analysis of his life\'s work. In addition to the graphic material, numerous interviews highlight his personal view of various projects, providing a reflection and deep analysis of the design process throughout his career. The work of Eduardo de Almeida spans more than fifty years. It may be categorized in phases aligned to the partnerships and sources of influence prevalent to each period. This subsequently revealed changes in expression and construction techniques according to the specific project needs. Despite these changes, it is possible to identify recurring design strategies that unify and characterize his work; even in projects with different use, scale and context. The analysis also reveals the relationship between the architect\'s design techniques and his teaching. As a respected professor, at the Sao Paulo University\'s Architectural School, his work is continuously referenced in new generations of architects\' works, embodied by his former students and coworkers. This still-unpublished material is intended to reveal Almeida\'s extensive architectural work to the general public. It should serve as reference for future studies about the architect as well as the Brazilian and Sao Paulo Modern Architecture.

Esta tese tem como foco principal a análise das letras e letreiros presentes em projetos arquitetônicos desenvolvidos entre 1925 e 1955 na cidade de São Paulo. Leva em consideração tanto as letras utilizadas para fornecer informações, quanto aquelas projetadas com o intuito de efetivamente serem inseridas nas edificações. O desenvolvimento da pesquisa aqui relatada foi baseado num corpus constituído por 170 projetos arquitetônicos de autoria de arquitetos cujo trabalho está significativamente relacionado ao estilo Art Déco: o Escritório Técnico Ramos de Azevedo Severo & Villares; o escritório Siciliano & Silva; e os arquitetos Elisiário Bahiana, Álvaro Botelho, Gregori Warchavchik, Rino Levi e Jayme da Fonseca Rodrigues. Teriam as letras e os letreiros utilizados nas pranchas de projetos arquitetônicos desse período, repetido as características gráficas e posturas encontradas também nos letreiros de edificações Art Déco construídas? Esta é a questão central da tese, que procura ainda, responder a questões secundárias relativas à relação entre estilo de letra e edificação; ao estabelecimento de padrões de desenho de letras em escritórios, ou entre escritórios; e à possibilidade de identificação dos profissionais envolvidos no desenho das letras e letreiros. Em relação ao letreiros arquitetônicos projetados para uso nas edificações, buscou-se compreender de que maneira isso ocorreu no trabalho dos arquitetos analisados, verificando como eram detalhados e especificados esses letreiros. Também fez parte deste trabalho, o levantamento das práticas de ensino do desenho de letras e caligrafia dentro dos principais cursos de formação profissional para arquitetos e desenhistas existentes em São Paulo naquele momento, o do Liceu de Artes e Ofícios de São Paulo, o da Escola Politécnica de São Paulo e o da Escola de Engenharia do Mackenzie College. A resposta à questão central foi positiva, porém com nuances nos resultados conforme as características particulares de cada um dos arquitetos. Os questionamentos secundários revelaram descobertas que possibilitaram um maior entendimento sobre o uso dos letreiros no desenho arquitetônico. / This dissertation focuses on the analysis of the letters and letterings found in architectural drawings produced between 1925 and 1955 in the city of São Paulo. It takes into account the letters used to convey information, and also those designed to be part of the buildings. The development of the research reported here was based on a corpus of 170 architectural designs from major architects whose work is significantly related to the Art Déco style: the companies Escritório Técnico Ramos de Azevedo Severo & Villares, and Siciliano & Silva; and the architects Elisiário Bahiana, Álvaro Botelho, Gregori Warchavchik, Rino Levi, and Jayme da Fonseca Rodrigues. Would the letters and letterings present in architectural drawings during this period, have repeated graphic characteristics and postures also found in architectural lettering on Art Déco buildings from the same period? This is the central question of this dissertation, that also aims to answer secondary issues regarding the relationship between letterform and architectural styles; the establishment of lettering standards in the offices or between them; and the possibility of identification of those responsible for drawing those letters and letterings. Concerning the design of letters for architectural use, it was sought to understand how that occurred in the work of the architects analyzed, observing how were detailed and specified. A survey of lettering and calligraphy teaching practices in the main professional courses for architects and draftsmen in São Paulo in the period was also conducted. The answer to the central question was positive, but with nuanced results according to particular characteristics from each architect. Secondary questions revealed findings that made possible a better understanding of the practice of lettering in architectural drawing.

This thesis explores the system of architectural education in the Middle East Technical University Department of Architecture between 1956 and 1980. The formation and the transformation of the system of architectural education in the school are investigated with references to the evolution of the social, political, economic and architectural context of Turkey in the period and the systems of architectural education applied in the country. The education in the Department of Architecture not only formed its system according to the Bauhaus program as applied in the postwar American context, but also transformed it with changing architectural theory and the design methodology. Both the school&#039 / s system of architectural education and the institutional identity established by the school provided significant contributions to the institutionalization of architectural education in Turkey. Besides, in the following decades, the school&#039 / s system of education became basic model for other institutions in the country in re-structuring their systems. In this respect, by focusing on the M.E.T.U. Department of Architecture&#039 / s system of architectural education, this study aims to be a history of the Middle East Technical University and the social, political, economic and architectural context of the period as well.

This thesis explores the position of hands-on building practices in architectural education by focusing on METU Summer Construction Practices (ARCH190), which has been conducted in the rural sites of Turkey since 1958. It is believed that the summer construction practice is a tool of education to acquire knowledge of architecture by building 1-to-1 scale constructions. METU Summer Construction Practices are examined by asking the questions of what is learned and how is learned in order to understand both the content and objectives and also the pedagogic strategies, learning methods of the summer construction practices. The main purpose of summer construction practices is learning how to build and ways of making architecture. The basic learning methods of METU summer construction practices are determined as learning by doing, learning with collaborative working, task-oriented and student-based active learning, integrating the tasks of designing-building, and learning from working with and for the context. This study emphasizes that learning by building 1-to-1 scale constructions are complementary of learning in design studios, and it should become an integral part of the whole learning process in the design education. Hands-on building practice is a productive process that supports the design education. Students are expected to derive and produce knowledge by building full-scale constructions in the real site. The thesis argues for the fact that hands-on building practice is to be more than the obtaining of knowledge and skill of making architecture only by instructions. Learning process is to be based on the simultaneous involvement of thinking-doing (taking action)-skill-production of knowledge rather than a linear process of knowledge-skill-taking action.

Reunida em um único volume pela primeira vez, a obra completa do arquiteto Eduardo Riesencampf de Almeida foi catalogada, digitalizada e organizada para esta tese, permitindo a compreensão do conjunto dos trabalhos desenvolvidos a partir de estudos, projetos executivos, perspectivas, croquis e fotografias. Tal material se somou a inúmeras entrevistas que não só permitiram leituras específicas sobre alguns projetos, como possibilitaram reflexões sobre os procedimentos projetuais aplicados durante seu percurso profissional. Realizada ao longo de mais de cinquenta anos, pode-se notar que a obra de Eduardo de Almeida passou por diferentes fases e, dependendo das influências ou das parcerias estabelecidas em cada período, revela mudanças de linguagem e emprego de técnicas construtivas variadas, de acordo com o enfrentamento específico de cada projeto. Apesar destas variações, é possível identificar a recorrência de estratégias projetuais que garantem unidade e caráter ao conjunto de sua obra, mesmo nos trabalhos destinados a diferentes usos, escalas ou contextos. Este material, ainda inédito, permite revelar a um público mais amplo a produção arquitetônica de Eduardo de Almeida e ser utilizado como orientação para novos estudos sobre seu trabalho e, consequentemente, sobre a Arquitetura Moderna Paulista e Brasileira. A abordagem permite ainda uma reflexão sobre estas táticas de projetar e suas relações com o ensino, uma vez que a obra de Eduardo de Almeida não se dissocia de sua atuação como professor, pois reflete-se na produção de novas gerações, ex-alunos e ex-colaboradores. / This thesis covers the complete works of architect Eduardo Riesencampf de Almeida. For the first time, his sketches, study, execution and perspective drawings and photographs, were digitalized, organized and catalogued creating the first comprehensive analysis of his life\'s work. In addition to the graphic material, numerous interviews highlight his personal view of various projects, providing a reflection and deep analysis of the design process throughout his career. The work of Eduardo de Almeida spans more than fifty years. It may be categorized in phases aligned to the partnerships and sources of influence prevalent to each period. This subsequently revealed changes in expression and construction techniques according to the specific project needs. Despite these changes, it is possible to identify recurring design strategies that unify and characterize his work; even in projects with different use, scale and context. The analysis also reveals the relationship between the architect\'s design techniques and his teaching. As a respected professor, at the Sao Paulo University\'s Architectural School, his work is continuously referenced in new generations of architects\' works, embodied by his former students and coworkers. This still-unpublished material is intended to reveal Almeida\'s extensive architectural work to the general public. It should serve as reference for future studies about the architect as well as the Brazilian and Sao Paulo Modern Architecture.