Thèse doctorale en cotutelle entre l’Université de Seville (Espagne) et l’Université Paris-Est (École Doctorale): "Objets: projet et maquette dans l’œuvre de Le Corbusier". Directeurs: Amadeo Ramos Carranza (Universidad de Sevilla) et Caroline Maniaque-Benton (Université Paris-Est). Doctorant: Miguel A. de la Cova Morillo-Velarde.Le projet architectonique et sa représentation sont inséparables, de même que les instruments utilisés le sont de son propre processus de création.C’est là que réside l’intérêt de l’étude présente. Dans les maquettes réalisées sous la supervision de Le Corbusier, des aspects tels que les matériaux et les échelles utilisés, leur présentation, leur objectif, etc. atteignent une autre dimension, car elles sont le travail non seulement d’un architecte, mais d’un artiste plastique.Tel que le signale Jean Louis Cohen, la maquette possède une double condition, expriméeen français grâce aux termes "œuvre" et "ouvrage", difficiles à traduire dans d’autres langues: la maquette est bien plus que l’objet fruit d’une représentation à l’échelle d’un édifice, elle est aussi un travail intellectuel, une présence de cette architecture. ChezLe Corbusier, l’identification d’objets de différentes tailles (pierres, bouteilles, boites d’allumettes, coquillages, cellules, accidents géologiques…) avec son architecture, peinture et sculpture souligne cette métamorphose d’échelle qui caractérise ses processus créatifs. La maquette surgit comme un agent intermédiaire entre les valeurs poétiques de ces objets inspirateurs et l’architecture à venir.La formation artistique et artisanale de Le Corbusier et de ses collaborateurs fait en sorte que les maquettes soient réalisées au travers de systèmes et de techniques des Beaux-Arts ou des Arts et Métiers. Ceci supposera certains transferts de ces méthodes d’élaboration vers les architectures en gestation, étroitement liées aux dessins. La maquette favorise une première expérience tridimensionnelle, un fait d’une importance particulière étant donné la condition picturale de l’espace dans l’œuvre de Le Corbusier. Au-delà d’illustrer les temps d’exécution de l’édifice projeté, le montage ou démontage de ces anatomies, représentées par le biais de photographies ou de films, mettent en évidence les relations entreleur construction et la dématérialisation du corps à travers la cinétique, propre à l’art du 20ème siècle. Et, par conséquent, à l’architecture représentée.À travers l’étude comparée des maquettes et des planimétries, plusieurs relations entre les deux instruments ont été déduites, lesquelles prouvent largement le rôle actif du modèle architectonique dans la manière de projeter de Le Corbusier. Afin de contraster les différentes informations recueillies (planimétries, lettres, agendas, bibliographies, photographies, etc.) une base de donnée des plus de deux cents maquettes localisées a été créée. Une compilation des plus signalées dans l’étude présente se trouve en annexe du document de thèse doctorale.La thèse est organisée en une série de chapitres nommés selon des méthodes artistiques ou artisanales, mettant en évidence le caractère manuel de ces travaux, réunis en deux parties -"Plastique" y "Texturique"- en fonction de leur capacité à représenter l’intérieur de l’objet-architecture. Au caractère actuel, correctement révisée, de l’héritage de Le Corbusier, il faut ajouter la pertinence de reprendre les relations entre forme et manualité, présente dans les lectures de l’architecte-artiste, parmi lesquelles est ravivée la figure deHenri Focillon, dont "Vie des formes. Eloge de la main" suit la ligne de penseurs actuels comme Richard Sennett. Une main tendue à l’ère du numérique / The architectural project and its representation are indivisible, as are the tools used at the beginning of the creation process; hence the interest in their study. In the models made under the supervision of Le Corbusier, aspects such as materials, scales, presentation and objectives reach another dimension, since this worknot onlycomes from an architect but also from a plastic artist.As Jean Louis Cohenpointed out, models can be seen as having two forms, which in French are calledœuvre and ouvrage. In this sense,a model is more than the resulting object of a scaled representation of a building; it is also an intellectual work, like another state of that architecture. In Le Corbusier's case, the identification of objects of different sizes (stones, bottles, matchboxes, shells, cells, landforms, etc.) with his architecture, painting and sculpture maintains the scaling metamorphosis that characterises his creative process. Models appear as intermediaries between the poetic values of those inspiring objects and the future architecture.As Le Corbusier and his collaborators were trained in Arts and Crafts, models are created with methods and techniques used in Fine Arts and Arts and Crafts. As a result, those creation methods are transferred to the architectural works in process, as well as to the drawings. Models favour an initial three-dimensional experience, which is especially relevant taking into account the pictorial condition of space in Le Corbusier's work. Beyond illustrating execution times for the designed building, the assembly or disassembly of those anatomies—represented by photographs or films—show the relations of its construction with the dematerialisation of the object through filming, typical in the art of the 20th century and, therefore, with the represented architecture.Through the comparative study of models and drawings, several relations between both tools have been established which prove the active role of the architectural model in the projecting process of Le Corbusier. In order to compare the used data (planes, letters, agendas, bibliographies, photographs, etc.), a database was created containing the over two hundred identified models. A compilation of the most significant models can be found attached to the document of the doctoral thesis.This thesis is organised in chapters titled by different artistic or craft methods, as a testimony to the manual nature of these works. The chapters are organised in two parts —Plastique and Texturique—depending on the ability to represent the inside of the object-architecture. In addition tothe proper review of Le Corbusier's important legacy, it is relevant to reconsider the relationship between form and craft, which was dealt with in works read by this artist and architect. Among those works,Henri Focillon's "Vie des formes. Eloge de la main" outstands and links with current thinkers such as Richard Sennett. A hand reaching out to the digital time

Submitted by Jakeline Ortega (jakortega@unoeste.br) on 2018-03-28T20:06:33Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Eliana Nunes Ribeiro Barista.pdf: 3274854 bytes, checksum: 274ee58ebb4cbb163252bdf7a64206b3 (MD5) / Made available in DSpace on 2018-03-28T20:06:33Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Eliana Nunes Ribeiro Barista.pdf: 3274854 bytes, checksum: 274ee58ebb4cbb163252bdf7a64206b3 (MD5) Previous issue date: 2017-08-30 / The following dissertation is the result of a research promoted by the Master's Program in Education of the Universidade do Oeste Paulista (UNOESTE) and the main objective is to analyze the proposal and the pedagogical didactic development of the subject Architectural Project, as a supporter of the interdisciplinary program, in an Architecture Graduation Course in a private institution located in the countryside of the State of Sao Paulo. This study is justified by the need of more punctual research on interdisciplinary teaching, in order to contribute to a better performance of the course, considering the National Curricular Guidelines of the undergraduate course of Architecture and Urbanism (2010), which states that the institutions should provide the student ways of achieving interdisciplinarity and new ways of combining theoretical and practical subjects. The research was developed as a qualitative approach, characterizing itself as a study of cases, being used on data collecting, semi-structured interviews of the people involved (students, teachers and course coordinator) and documentary analysis (Curricular Guidelines for the Undergraduate Degree Course in Architecture, Pedagogical Project of the Course and teaching plans for the discipline). The data which had been collected allowed the creation of five categories of analysis: The intentions and objectives of the discipline of Architectural Design; The transversality and interdisciplinarity on the discipline of Architectural Design; Interdisciplinarity materializing in action; Challenges and difficulties faced by students, teachers and coordination; Actions for interdisciplinarity. The results of the research revealed that: teaching a discipline does not foster interdisciplinarity; The documents analyzed (PPC and teaching plans of the subject) do not present proposals that surely provide interdisciplinary actions in the course; Teachers do not establish exchange of information and partnerships; The students notice the lack of encouragement for interdisciplinary practice and when they are performing the project they have a lot of trouble The institutional organization of the course does not encourage reflections and interdisciplinary propositions. We conclude that interdisciplinarity is not materialized on teaching the subject of Architectural Project under study. In order to make interdisciplinarity effective in the course, it is necessary to restructure the discipline so that it is set in an interdisciplinary way, as well as the reformulation of the PPC and the teaching plans of the disciplines so that the contents are related and lead to the discipline project. Besides that, it requires the involvement, communication and integration of teachers and students. It is believed that this study may lead discussions and reflections on the teaching of Architecture and interdisciplinarity, in order to contribute to the formation of future architects. / Esta dissertação é resultado da pesquisa elaborada no Programa de Mestrado em Educação da Universidade do Oeste Paulista e teve como objetivo principal analisar a proposição e o desenvolvimento didático-pedagógico da disciplina Projeto Arquitetônico, como favorecedora da interdisciplinaridade, em um Curso de Graduação em Arquitetura de uma instituição privada localizada no interior do Oeste Paulista. Justifica-se este estudo pela necessidade de uma pesquisa mais pontual sobre a interdisciplinaridade no ensino de projeto, a fim de contribuir para o melhor desempenho do curso, tendo em vista que nas Diretrizes Curriculares Nacionais do curso de Graduação em Arquitetura e Urbanismo (2010), consta que as instituições devem proporcionar ao estudante formas de realização da interdisciplinaridade e modos de integração entre as disciplinas teóricas e práticas. A pesquisa configurou-se por ser de abordagem qualitativa, caracterizando-se como estudo de caso, sendo utilizados como procedimentos para a coleta de dados, entrevistas semiestruturadas dos sujeitos envolvidos (alunos, docentes e coordenadora do curso) e análise documental (Diretrizes Curriculares para o curso de Graduação em Arquitetura, Projeto Pedagógico do Curso e planos de ensino da disciplina). Os dados coletados permitiram o levantamento de cinco categorias de análise, a saber: As intencionalidades e objetivações da disciplina de Projeto Arquitetônico; A transversalidade da disciplina de Projeto Arquitetônico e a interdisciplinaridade; A interdisciplinaridade se concretizando na ação; Aspectos propiciadores e dificultadores apresentados pelos alunos, professores e coordenação; Indicativos e ações para interdisciplinaridade. Os resultados da pesquisa revelaram que: o ensino da disciplina não propicia a interdisciplinaridade; os documentos analisados (PPC e planos de ensino das disciplinas) não apresentam propostas que de fato propiciem ações interdisciplinares no curso; os professores não estabelecem troca de informações e parcerias; os alunos percebem a ausência de incentivo para prática interdisciplinar e sentem dificuldades no momento da realização da atividade projetual; a organização institucional do curso não favorece espaços para reflexões e proposições interdisciplinares. Concluímos que a interdisciplinaridade não se concretiza no ensino da disciplina de Projeto Arquitetônico em estudo. Para que a interdisciplinaridade se efetive no curso, é necessária a reestruturação da disciplina para que se configure de forma interdisciplinar, bem como a reformulação do PPC e dos planos de ensino das disciplinas para que os conteúdos se relacionem e sejam conduzidos para a disciplina de Projeto. Além disso, é necessário o envolvimento, comunicação e integração do corpo docente e discente. Acredita-se que este estudo poderá suscitar discussões e reflexões sobre o ensino de Arquitetura e a interdisciplinaridade, a fim de contribuir para a formação dos futuros arquitetos.

Cette thèse entend contribuer à la compréhension du processus de conception architecturale par le biais du concept de tectonique, notion dont l’historicité confirme une certaine diversité de significations, mais qui suscite une réflexion fondamentale sur le rapport entre l’esthétique architecturale et les moyens constructifs. La connaissance technique de la construction, constituée principalement au 18ème siècle, permettra une nouvelle réflexion sur le rapport entre l’esthétique architecturale et les moyens constructifs. Au 19ème siècle, moment de l’apparition du concept de « tectonique » dans le contexte du débat sur la notion de style, l’indéniable contribution de l’architecte et théoricien Gottfried Semper reconnaît la complexité matérielle de l’édifice. La reprise du terme au 20ème siècle par l’historien et théoricien Kenneth Frampton va quant à elle déplacer le sens de la tectonique vers l’idée d’un « potentiel d’expression constructive ». Ces deux auteurs représentent deux grandes approches tectoniques convergeant sur la nécessité, pour toute théorie de l’architecture, d’encourager une réflexion critique de la construction. Cette thèse se développe en deux parties, l’une retraçant l’histoire et les enjeux de la tectonique, l’autre, de nature plus concrète, cherchant à tester l’actualité du concept à travers une série d’analyses tectoniques de projets modernes et contemporains. À la croisée de deux contextes géographiques différents, le Canada et le Brésil, le corpus de projets de concours que nous avons constitué considère la tectonique comme un phénomène transculturel. Nous formulons l’hypothèse d’une « tectonique du projet », c’est-à-dire d’un espace théorique dans lequel les questions relatives au bâtiment s’élaborent dans des « tensions » dialectiques. L’actualité des catégories semperiennes, dans lesquelles les différents « éléments » du bâtiment représentent différentes techniques de construction, est revisitée à partir de l’étude des projets de Patkau Architects (1986) et de MMBB Arquitetos (1990). Une tension entre les expressions symbolique et formelle issues du matériau brut est plus explicite dans l’étude des projets de Ramoisy Tremblay architectes (2002) et de Brasil Arquitetura (2005). La théorie de la transformation de matériau (Stoffwechseltheorie) de Semper est réexaminée parallèlement dans les projets d’Arthur Erickson et Geoffrey Massey (1967) et de Paulo Mendes da Rocha (1969). Dans l’ensemble de tensions tectoniques présentes tout au long de la conception, nous avons retenu plus particulièrement : le contact avec le sol, la recherche d’une homogénéité constructive, ou son opposé, la recherche d’une variété matérielle et, finalement la tension entre la dimension représentationnelle et la dimension technique de l’architecture. La modélisation du concept de tectonique, par un ensemble de tensions auxquelles les concepteurs doivent s’adresser en phase de projet, confirme que des questions en apparence simplement « techniques » concernent en fait tout autant le génie de l’invention que la connaissance historique des idées architecturales. / This thesis aims to contribute to the understanding of the architectural design process through the concept of tectonic, a notion that historically has assumed different meanings and raised essential considerations on the relationship between architectural aesthetics and techniques of construction. The technical knowledge of building processes developed during the 18th century encouraged a new theoretical approach to the question of the rapport between architectural aesthetics and construction. The following century, when the concept of tectonic made its appearance in architectural discourse in the context of the debate on the notion of style, architect and theorist Gottfried Semper emphasized the material complexity of construction. A century later, historian and critic Kenneth Frampton resurrected the notion of tectonic shifting its meaning to signify the “expressive potential” of construction. The diverse positions of Semper and Frampton converge on the assumption of the necessity for any theory of architecture to encourage a critical thinking of construction. The present thesis consists of two parts: the first traces the history and significance of the concept of tectonic; the second tests the operational capacity of the notion through a series of investigations of projects from the 1970s to the present. This survey isolates a number of Canadian and Brazilian competition projects selected as privileged examples of innovation and research. In the diverse geopolitical contexts of Canada and Brazil, tectonic is considered as a trans-cultural phenomenon. According to the preliminary hypothesis the ‘tectonic of the project’ considers a theoretical space in which building issues are elaborated in dialectic tensions. The Semperian categories according to which the various ‘elements’ of the building represent different construction techniques are revisited in the study of projects by Patkau Architects (1986) and MMBB Arquitetos (1990). The tension between the formal and symbolic expressions in raw materials is made explicit in the study of architectural projects by Ramoisy Tremblay (2002) and Brasil Arquitetura (2005). Semper’s theory of material transformation (Stoffwechseltheorie) is investigated in relation to the projects of Arthur Erickson and Geoffrey Massey (1967) and Paulo Mendes da Rocha (1969). Among the general tectonic tensions, present in design processes, particular emphasis is devoted to: the contact with the ground; the research for constructive homogeneity (or at the opposite of the spectrum, the multiplicity of building materials); the tension between the representational and the technical aspect of architecture. The shaping of the concept of tectonic, throughout the ensemble of dialectic tensions that inform the design of a building, confirms that questions that may appear merely 'technical' include not only the genius of invention but also the historical knowledge of architectural ideas.

A dissertação apresenta o projeto de arquitetura, desenvolvido entre 2006 e 2008 pelo arquiteto Paulo Mendes da Rocha, para transformação do edifício do antigo Educandário Santa Teresa, no Rio de Janeiro, em museu para a instituição suíça Daroslatinamerica. O trabalho também reúne 12 projetos do arquiteto para intervenções em edifícios de interesse histórico e cultural e apresenta, por meio da leitura destas propostas, distintas estratégias de intervenção. O projeto Casadaros aparece, portanto, discutido dentro do panorama dessas intervenções de Paulo Mendes da Rocha anteriormente publicados na mídia especializada. A partir da compreensão de que não é possível estabelecer um método próprio para intervenções desta natureza - uma vez que as questões são específicas de cada conjunto construído - o trabalho promove uma sistematização e interpretação crítica dos princípios teóricos e da prática da intervenção em arquitetura a fim de apresentar caminhos para o desafio do desenho de intervenções espaciais responsáveis em relação ao patrimônio construído. / This dissertation presents the architectural project, developed from 2006 to 2008 by Paulo Mendes da Rocha, for the transformation of the old school building Educandário Santa Teresa, located in Rio de Janeiro, into a museum for the Daroslatinamerica Swiss institution. This paper also highlights 12 projects of the same architect for cultural and historical heritage buildings, stressing different strategies of intervention, based on the author\'s take. The Casadaros project is then shown and analyzed under the context of these interventions by Paulo Mendes da Rocha, previously published by the specialized media. Departing from the understanding that it is not possible to establish a unique method for interventions of this nature - since there are specific issues related to each building complex - the paper fosters a critical systematization and interpretation of theoretical principles and the practice of architectural intervention in order to present alternatives for the challenge of designing responsible spatial interventions on built heritage.

A dissertação apresenta o projeto de arquitetura, desenvolvido entre 2006 e 2008 pelo arquiteto Paulo Mendes da Rocha, para transformação do edifício do antigo Educandário Santa Teresa, no Rio de Janeiro, em museu para a instituição suíça Daroslatinamerica. O trabalho também reúne 12 projetos do arquiteto para intervenções em edifícios de interesse histórico e cultural e apresenta, por meio da leitura destas propostas, distintas estratégias de intervenção. O projeto Casadaros aparece, portanto, discutido dentro do panorama dessas intervenções de Paulo Mendes da Rocha anteriormente publicados na mídia especializada. A partir da compreensão de que não é possível estabelecer um método próprio para intervenções desta natureza - uma vez que as questões são específicas de cada conjunto construído - o trabalho promove uma sistematização e interpretação crítica dos princípios teóricos e da prática da intervenção em arquitetura a fim de apresentar caminhos para o desafio do desenho de intervenções espaciais responsáveis em relação ao patrimônio construído. / This dissertation presents the architectural project, developed from 2006 to 2008 by Paulo Mendes da Rocha, for the transformation of the old school building Educandário Santa Teresa, located in Rio de Janeiro, into a museum for the Daroslatinamerica Swiss institution. This paper also highlights 12 projects of the same architect for cultural and historical heritage buildings, stressing different strategies of intervention, based on the author\'s take. The Casadaros project is then shown and analyzed under the context of these interventions by Paulo Mendes da Rocha, previously published by the specialized media. Departing from the understanding that it is not possible to establish a unique method for interventions of this nature - since there are specific issues related to each building complex - the paper fosters a critical systematization and interpretation of theoretical principles and the practice of architectural intervention in order to present alternatives for the challenge of designing responsible spatial interventions on built heritage.

In den größten Städten Russlands werden aktuell Entwicklungstendenzen sichtbar, welche die Frage nach einem Ende der postsozialistischen Transformation aufwerfen. Ein Beispiel für derartige – posttransformative – Entwicklungstendenzen bildet die Planung und Verwirklichung ikonischer Architekturprojekte. Diese sollen vor allem Innovations- und Wettbewerbsfähigkeit symbolisieren. Vor Ort sind sie aber insbesondere dann umstritten, wenn sie die überkommenen städtebaulichen Traditionen in Frage stellen. Besonders gut zeigt sich das beim Ochta-Zentrum, einem Geschäfts- und Kulturzentrum mit 400 m hoher Dominante, das nach dem Willen des Gazprom-Konzerns am Rande der historischen Innenstadt Sankt Petersburgs errichtet werden sollte. In der Hochphase der Diskussion beschäftigte das Projekt nicht nur die Stadtbevölkerung, sondern auch die Führungsriege der Russischen Föderation und die UNESCO. Die Analyse des Diskurses über das Ochta-Zentrum ermöglicht daher ebenso Erkenntnisse über Tendenzen der Stadtentwicklung Sankt Petersburgs wie über Strategien der russischen Innen- und Außenpolitik. / Recent trends in the development of major Russian cities are raising questions about the end of post-socialist transformation. Post-transformative urban trends have become visible in the context of the planning and realization of iconic architectural projects. Their purpose is to symbolize a capacity for innovation and competitiveness. At the local level, however, they are subject to controversial debates, especially when challenging regional traditions of urban planning. The Okhta-Center, a business and cultural center with a skyscraper reaching a height of 400 m, serves as a good example. The Gazprom Group intended to build the complex at the edge of the historical city center of Saint Petersburg. During the height of the debate the project involved not only the citizens of Saint Petersburg, but also the leadership of the Russian Federation and UNESCO. Analyzing the discourse regarding the Okhta-Center therefore allows insights into current trends of urban development in Saint Petersburg as well as strategies of Russian domestic and foreign policies.

Cette thèse entend contribuer à la compréhension du processus de conception architecturale par le biais du concept de tectonique, notion dont l’historicité confirme une certaine diversité de significations, mais qui suscite une réflexion fondamentale sur le rapport entre l’esthétique architecturale et les moyens constructifs. La connaissance technique de la construction, constituée principalement au 18ème siècle, permettra une nouvelle réflexion sur le rapport entre l’esthétique architecturale et les moyens constructifs. Au 19ème siècle, moment de l’apparition du concept de « tectonique » dans le contexte du débat sur la notion de style, l’indéniable contribution de l’architecte et théoricien Gottfried Semper reconnaît la complexité matérielle de l’édifice. La reprise du terme au 20ème siècle par l’historien et théoricien Kenneth Frampton va quant à elle déplacer le sens de la tectonique vers l’idée d’un « potentiel d’expression constructive ». Ces deux auteurs représentent deux grandes approches tectoniques convergeant sur la nécessité, pour toute théorie de l’architecture, d’encourager une réflexion critique de la construction. Cette thèse se développe en deux parties, l’une retraçant l’histoire et les enjeux de la tectonique, l’autre, de nature plus concrète, cherchant à tester l’actualité du concept à travers une série d’analyses tectoniques de projets modernes et contemporains. À la croisée de deux contextes géographiques différents, le Canada et le Brésil, le corpus de projets de concours que nous avons constitué considère la tectonique comme un phénomène transculturel. Nous formulons l’hypothèse d’une « tectonique du projet », c’est-à-dire d’un espace théorique dans lequel les questions relatives au bâtiment s’élaborent dans des « tensions » dialectiques. L’actualité des catégories semperiennes, dans lesquelles les différents « éléments » du bâtiment représentent différentes techniques de construction, est revisitée à partir de l’étude des projets de Patkau Architects (1986) et de MMBB Arquitetos (1990). Une tension entre les expressions symbolique et formelle issues du matériau brut est plus explicite dans l’étude des projets de Ramoisy Tremblay architectes (2002) et de Brasil Arquitetura (2005). La théorie de la transformation de matériau (Stoffwechseltheorie) de Semper est réexaminée parallèlement dans les projets d’Arthur Erickson et Geoffrey Massey (1967) et de Paulo Mendes da Rocha (1969). Dans l’ensemble de tensions tectoniques présentes tout au long de la conception, nous avons retenu plus particulièrement : le contact avec le sol, la recherche d’une homogénéité constructive, ou son opposé, la recherche d’une variété matérielle et, finalement la tension entre la dimension représentationnelle et la dimension technique de l’architecture. La modélisation du concept de tectonique, par un ensemble de tensions auxquelles les concepteurs doivent s’adresser en phase de projet, confirme que des questions en apparence simplement « techniques » concernent en fait tout autant le génie de l’invention que la connaissance historique des idées architecturales. / This thesis aims to contribute to the understanding of the architectural design process through the concept of tectonic, a notion that historically has assumed different meanings and raised essential considerations on the relationship between architectural aesthetics and techniques of construction. The technical knowledge of building processes developed during the 18th century encouraged a new theoretical approach to the question of the rapport between architectural aesthetics and construction. The following century, when the concept of tectonic made its appearance in architectural discourse in the context of the debate on the notion of style, architect and theorist Gottfried Semper emphasized the material complexity of construction. A century later, historian and critic Kenneth Frampton resurrected the notion of tectonic shifting its meaning to signify the “expressive potential” of construction. The diverse positions of Semper and Frampton converge on the assumption of the necessity for any theory of architecture to encourage a critical thinking of construction. The present thesis consists of two parts: the first traces the history and significance of the concept of tectonic; the second tests the operational capacity of the notion through a series of investigations of projects from the 1970s to the present. This survey isolates a number of Canadian and Brazilian competition projects selected as privileged examples of innovation and research. In the diverse geopolitical contexts of Canada and Brazil, tectonic is considered as a trans-cultural phenomenon. According to the preliminary hypothesis the ‘tectonic of the project’ considers a theoretical space in which building issues are elaborated in dialectic tensions. The Semperian categories according to which the various ‘elements’ of the building represent different construction techniques are revisited in the study of projects by Patkau Architects (1986) and MMBB Arquitetos (1990). The tension between the formal and symbolic expressions in raw materials is made explicit in the study of architectural projects by Ramoisy Tremblay (2002) and Brasil Arquitetura (2005). Semper’s theory of material transformation (Stoffwechseltheorie) is investigated in relation to the projects of Arthur Erickson and Geoffrey Massey (1967) and Paulo Mendes da Rocha (1969). Among the general tectonic tensions, present in design processes, particular emphasis is devoted to: the contact with the ground; the research for constructive homogeneity (or at the opposite of the spectrum, the multiplicity of building materials); the tension between the representational and the technical aspect of architecture. The shaping of the concept of tectonic, throughout the ensemble of dialectic tensions that inform the design of a building, confirms that questions that may appear merely 'technical' include not only the genius of invention but also the historical knowledge of architectural ideas.

Made available in DSpace on 2014-12-17T13:56:53Z (GMT). No. of bitstreams: 1 FernandoJMC_TESE.pdf: 4090837 bytes, checksum: c86bb775317f1faa46b14511be554257 (MD5) Previous issue date: 2013-03-02 / In the teaching practice of architecture and urbanism in Brazil, educational legislation views modeling laboratories and workshops as an indispensable component of the infrastructure required for the good functioning of any architectural course of study. Although the development of information technology at the international level has created new possibilities for digital production of architectural models, research in this field being underway since the early 1990s, it is only from 2007 onwards that such technologies started to be incorporated into the teaching activity of architecture and urbanism in Brazil, through the pioneering experience at LAPAC/FEC/UNICAMP. It is therefore a recent experiment whose challenges can be highlighted through the following examples: (i) The implementation of digital prototyping laboratories in undergraduate courses of architecture and urbanism is still rare in Brazil; (ii) As a new developing field with few references and application to undergraduate programs, it is hard to define methodological procedures suitable for the pedagogical curricula already implemented or which have already been consolidated over the years; (iii) The new digital ways for producing tridimensional models are marked with specificities which make it difficult to fit them within the existing structures of model laboratories and workshops. Considering the above, the present thesis discusses the tridimensional model as a tool which may contribute to the development of students skills in perceiving, understanding and representing tridimensional space. Analysis is made of the relation between different forms of models and the teaching of architectural project, with emphasis on the design process. Starting from the conceptualization of the word model as it is used in architecture and urbanism, an attempt is made to identify types of tridimensional models used in the process of project conception, both through the traditional, manual way of model construction as well as through the digital ones. There is also an explanation on how new technologies for digital production of models through prototyping are being introduced in undergraduate academic programs of architecture and urbanism in Brazil, as well as a review of recent academic publications in this area. Based on the paradigm of reflective practice in teaching as designed by Sch?n (2000), the experiment applied in the research was undertaken in the integrated workshop courses of architectural project in the undergraduate program of architecture and urbanism at Universidade Federal do Rio Grande do Norte. Along the experiment, physical modeling, geometric modeling and digital prototyping are used in distinct moments of the design process with the purpose of observing the suitability of each model to the project s phases. The procedures used in the experiments are very close to the Action Research methodology in which the main purpose is the production of theoretical knowledge by improving the practice. The process was repeated during three consecutive semesters and reflection on the results which were achieved in each cycle helped enhancing the next one. As a result, a methodological procedure is proposed which consists of the definition of the Tridimensional Model as the integrating element for the contents studied in a specific academic period or semester. The teaching of Architectural Project as it is developed along the fifth academic period of the Architecture and Urbanism undergraduate program of UFRN is taken as a reference / Na pr?tica do ensino de Arquitetura e Urbanismo no Brasil, verifica-se a exist?ncia de laborat?rios e oficinas de maquetes, reconhecidas pela legisla??o educacional como parte da infraestrutura necess?ria para o funcionamento de um curso. Embora a evolu??o da tecnologia da informa??o no ?mbito internacional disponibilize novas possibilidades para a produ??o digital de maquetes e modelos de Arquitetura com pesquisas produzidas desde o in?cio da d?cada de 1990, no Brasil essas tecnologias s? come?aram a ser apropriadas pelo ensino de Arquitetura e Urbanismo a partir de 2007 com a experi?ncia pioneira do LAPAC/FEC/UNICAMP. Trata-se, portanto de uma experi?ncia recente e que evidencia a desafios. Por exemplo: (i) s?o raros os casos de implanta??o de laborat?rios de prototipagem digital em cursos de Arquitetura e Urbanismo no Pa?s; (ii) por ser um campo em desenvolvimento com poucas refer?ncias de aplica??es na gradua??o, h? dificuldades na defini??o de procedimentos metodol?gicos que sejam adequados aos projetos pedag?gicos j? implantados e consolidados; (iii) as novas formas digitais de produ??o de modelos tridimensionais cont?m especificidades que dificultam a compatibiliza??o com as estruturas de laborat?rios e oficinas de maquetes j? existentes. Considerando o exposto, na presente tese se discute o modelo tridimensional como instrumento auxiliar no desenvolvimento da capacidade do estudante de perceber, compreender e representar o espa?o tridimensional. Analisa-se a rela??o entre diferentes formas de modelos e o ensino de projeto de Arquitetura e Urbanismo com interesse no processo projetual. Partindo da conceitua??o do modelo em Arquitetura e Urbanismo, busca-se identificar os tipos de modelos tridimensionais utilizados no processo de elabora??o do projeto, tanto nas formas tradicionais de constru??o manual de maquetes e modelos quanto nos meios digitais. Procura-se conhecer como as novas tecnologias para a produ??o digital de modelos por meio da prototipagem digital est?o sendo introduzidas nos cursos de gradua??o de Arquitetura e Urbanismo no Brasil, assim como a produ??o acad?mica recente na ?rea. Considerando o paradigma do ensino pr?tico reflexivo concebido por Sch?n (2000), o experimento realizado na pesquisa tem como ambiente de estudo o ateli? integrado de projeto do Curso de Arquitetura e Urbanismo da Universidade Federal do Rio Grande do Norte. No experimento a Modelagem f?sica, a Modelagem Geom?trica e a Prototipagem Digital s?o inseridas em momentos do processo do projeto com o objetivo de se observar a adequa??o do modelo ?s fases do projeto. A metodologia empregada nos experimentos muito se aproxima da Pesquisa A??o na qual o alvo principal ? a cria??o de conhecimento te?rico com o aprimoramento da pr?tica. O processo se repetiu por tr?s semestres consecutivos e a reflex?o sobre os resultados alcan?ados em cada ciclo forneceram subs?dios para aprimoramento no seguinte. Como resultado prop?e-se um procedimento metodol?gico no qual o Modelo Tridimensional constitui elemento integrador de conte?dos desenvolvidos em um per?odo curricular, tendo como refer?ncia o ensino de Projeto Arquitet?nico e Urban?stico no quinto per?odo do Curso de Arquitetura e Urbanismo da UFRN

Made available in DSpace on 2014-12-17T13:57:01Z (GMT). No. of bitstreams: 1 LeonardoJBFC_DISSERT.pdf: 4968156 bytes, checksum: 1552078bbabf9200e90e9a2e93780139 (MD5) Previous issue date: 2010-02-11 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Natural ventilation is an efficient bioclimatic strategy, one that provides thermal comfort, healthful and cooling to the edification. However, the disregard for quality environment, the uncertainties involved in the phenomenon and the popularization of artificial climate systems are held as an excuse for those who neglect the benefits of passive cooling. The unfamiliarity with the concept may be lessened if ventilation is observed in every step of the project, especially in the initial phase in which decisions bear a great impact in the construction process. The tools available in order to quantify the impact of projected decisions consist basically of the renovation rate calculations or computer simulations of fluids, commonly dubbed CFD, which stands for Computational Fluid Dynamics , both somewhat apart from the project s execution and unable to adapt for use in parametric studies. Thus, we chose to verify, through computer simulation, the representativeness of the results with a method of simplified air reconditioning rate calculation, as well as making it more compatible with the questions relevant to the first phases of the project s process. The case object consists of a model resulting from the recommendations of the C?digo de Obras de Natal/ RN, customized according to the NBR 15220. The study has shown the complexity in aggregating a CFD tool to the process and the need for a method capable of generating data at the compatible rate to the flow of ideas and are discarded during the project s development. At the end of our study, we discuss the necessary concessions for the realization of simulations, the applicability and the limitations of both the tools used and the method adopted, as well as the representativeness of the results obtained / A ventila??o natural ? uma estrat?gia bioclim?tica eficaz na promo??o do conforto t?rmico, da salubridade e no arrefecimento da massa edificada. Contudo, a despreocupa??o com a qualidade ambiental, as incertezas envolvidas no fen?meno e a populariza??o dos sistemas artificiais de climatiza??o costumam servir de argumento para os que negligenciam os benef?cios do condicionamento passivo. As incertezas podem ser reduzidas quando a ventila??o ? contemplada em todas as etapas de processo projetual, principalmente nas fases iniciais, na qual as decis?es t?m grande impacto no desempenho da edifica??o. As ferramentas dispon?veis para quantificar o impacto das decis?es projetuais consistem basicamente no c?lculo da taxa de renova??o ou na simula??o computacional de fluidos, comumente denominada CFD, sigla em ingl?s para din?mica computacional de fluidos , ambas com algum distanciamento da pr?tica do projeto e carentes de adapta??o para que possam ser utilizadas em estudos param?tricos. Assim, optou-se por verificar, atrav?s da simula??o computacional, a representatividade dos resultados obtidos com o m?todo de c?lculo simplificado da taxa de renova??o do ar, bem como torn?-lo mais compat?vel com as quest?es pertinentes ?s primeiras fases do processo projetual. O objeto de estudo consiste em um modelo resultante das recomenda??es do C?digo de Obras de Natal/ RN, cujas aberturas foram dimensionadas de acordo com a NBR 15220. A pesquisa mostrou a complexidade em agregar uma ferramenta CFD ao processo e a necessidade de um m?todo capaz de gerar dados na mesma velocidade com que as id?ias surgem e s?o descartadas durante o desenvolvimento do projeto. Ao final discute-se as concess?es necess?rias para a realiza??o das simula??es, a aplicabilidade e as limita??es tanto das ferramentas utilizadas quanto do m?todo adotado e a representatividade dos resultados obtidos

El presente proyecto desarrolla la propuesta arquitectónica para la Nueva Sede del Conservatorio Nacional de Música, a través de una investigación descriptiva y proyectiva, que permita una visión general en respuesta a las necesidades y proyección de crecimiento de las sedes del actual Conservatorio Nacional de Música. Para ello se ha tenido en cuenta diferentes aspectos según del usuario, como la necesidad de mayores espacios, aumentar la capacidad de alumnado y satisfacer la futura demanda. El proyecto se encuentra ubicado en distrito de Pueblo Libre, en el cruce de la avenida Universitaria con la avenida Mariano H. Cornejo. Será parte del proceso de descentralización de las actividades culturales, teniendo cercanía con distritos con déficit de equipamiento cultural y reforzando el eje de equipamiento educativo. El proyecto arquitectónico plantea los ambientes necesarios para el desarrollo de las actividades del conservatorio, así como diversos espacios de presentaciones con diferentes capacidades de visitantes. Además, propone espacios comerciales complementarios al proyecto. / The project develops the architectural proposal for the New Campus of the National Conservatory of Music, through a descriptive and projective research, which allows a general vision in response to the needs and projection of growth of the campus of the current National Conservatory of Music. For this, different aspects have been taken into account depending on the user, such as the need for larger spaces, increasing the capacity of students and meeting future demand. The project is located in the Pueblo Libre district, in the city of Lima, the capital of Peru. Is at the crossroad of Universitaria avenue and Mariano H. Cornejo avenue. It will become part of the process of decentralization of cultural activities, having proximity to districts with a deficit of cultural equipment and reinforcing an axis of educational equipment. The architectural project proposes the necessary environments for the development of the activities of the conservatory, as well as various presentation spaces with different visitor capacities. In addition, it proposes commercial spaces complementary to the project. / Tesis