Architectural representation is much more than a process of transcription between a concept and the building; it is a tool that determines the very mentality and praxis of the architect. This thesis studies the technique of film montage through the work of Andrei Tarkovsky and the possibilities it offers to the process of architectural conception. A general outline of the development of the perspective tools of representation in architecture lead to an understanding of the significance of the cinematographic image in the context of the history of projection. Montage in the tradition of Surrealism placed an emphasis on the potential power of poetic evocation between its elements. Comparing the narrative forms of three film-makers, the "surrealist montage" of Luis Bunuel, the "intellectual montage" of Sergie Eisenstein, and the temporal modulation in the films of Tarkovsky, this thesis examines different ways to qualify cinematographic space which affect the spatial and temporal experience of the spectator and offer the possibility of a redefinition of ritual in architecture.

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Call number: LD2668 .T4 1958 D85 / Master of Science

Thesis (M.S.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 47-48). Also available on the Internet.

Thesis (M.S.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 47-48). Also available on the Internet.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 104-109. / There are two distinguishable parts to this thesis. Part I is a discourse on architectural representation. It defines the theoretical boundary for Part II, research on a particular spatial representation system, physical models, and their use as a design aid. In Part I, representation is discussed as it pertains to the design process. An opinion is built around the excessive 'visual' nature of the topic. The many types of representation systems are described. Finally, a brief historical survey, as well as two current design processes provide insight into applications of these systems. Part II is the documentation of a research project that attempts to visualize physical phenomena (energy behavior) as they act on physical models representative of architectural form. A statement is put forth postulating a design approach that addresses energy behavior in a 'qualitative' sense based on its comprehension through these established visualization techniques. A procedure for testing physical phenomena on models is described and finally, the documentation of such tests for wind, solar shading, convection and light are presented. A conclusion forecasts potential applications of this research. The multi-disciplinary exploration of visual communications and energy conscious design is addressed in the content, as well as the communicative technique and medium of this presentation. The author is responsible for reproducing all the images in this book. Reproductions from other sources were copied photographically. In its original form several pages were printed in offset. This process was completed entirely by the author, from original photograph to pasteup, printing preparation and running the press. An experimental video production is being prepared as well. / by Donald Alberto. / M.S.

In the environmental design professions, many students and practitioners lack confidence in visual communication skills, especially in the case of quick perspective sketching. For many, sketching as a beneficial design tool is not fully learned or appreciated.This study explores sketching fundamentals and a teaching technique to promote perspective sketching as an effective design tool. Experimental workshops were conducted with various beginning environmental design students in three universities. Students responded to a post-workshop questionnaire which attempted to solicit feedback about the demonstrated sketching technique as to whether the technique 1) increased their ability, 2) increased their confidence, 3) increased their enjoyment, and 4) increased their willingness to pursue sketching in the future. Students were also evaluated on the degree of improvement according to simplicity, clarity and proper perspective setting of their sketches.The results suggested that the workshop, teaching methods and sketching techniques were successful. Students showed marked improvement and indicated in the questionnaire that they enjoyed the experience and were pleased with their new skills. They also indicated a positive feeling about the teaching methods and the sketching techniques. / Department of Landscape Architecture

Thesis (M. Arch.)--Carleton University, 2004. / Includes bibliographical references (p. 52-53). Also available in electronic format on the Internet.

Thesis (M.Arch.) - Carleton University, 2005. / Includes bibliographical references (p. 135-137). Also available in electronic format on the Internet.

Thesis (M.Arch.) - Carleton University, 2005. / Includes bibliographical references (p. 91-93). Also available in electronic format on the Internet.