Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, June 1993. / Includes bibliographical references (leaves 206-218). / This dissertation discusses the architectural writings of Louisa Tuthill ( 1798-1879), a little known nineteenth-century American author. Tuthill has been acknowledged for her History of Architecture from the Earliest Times (1848), the first history of architecture published in the United States. However, her numerous other books dealing with architecture have been largely ignored. As early as 1830, Tuthill published Ancient Architecture, a concise history of architectural origins for young readers. This volume was followed by three fictional works for juveniles describing the adventures of model Americans--an architect, an artist and a landscape architect. Tuthill also edited The True and the Beautiful, the first American collection of selections from Ruskin's work (reprinted twenty three times). Like her famous contemporaries, Downing and Ruskin, Tuthill associates architectural principles with moral qualities. Her educational books move beyond the sophisticated architectural and social theory of such authorities by presenting aesthetic ideas in popular literary forms for the common reader. While a tradition of male architectural writers addressed eager builders and wealthy patrons, Tuthill wrote for the American public of all classes and ages. In contrast to the tradition of builders' guides and style books, Tuthill contributed histories, advice books, children's stories and edited collections. When the History is placed within the context of Tuthill's other writings r it becomes part of a larger plan for elevating national morals, a plan requiring education in architecture history. / by Sarah Allaback. / Ph.D.

A changing perception based on the appreciation for information in our era allows a broader idea and different understanding of life as a system driven by the flow of information. Simultaneously, our understanding of 'the' urban was broadened. It enabled us to perceive urban structures as living organisms beyond their physical manifestation and separated from human control. Like species, our cities are great products of evolutionary forces and contain invaluable information worth preserving.When writing about urban spaces, urban is understood as a system which is constituted not so much by built forms and infrastructures, but as a heterogeneous field that is constituted by intervention and lines of forces and action. These lines form the coordinates of an urban topology that is not based on the human body and its movements in space alone, but also on relational acts and events within the urban system. These relational acts can be economic, political, technological or tectonic processes, as well as acts of communication. The urban is therefore quite different from the physically defined spaces of events and movements.The focal point of this paper is to explore the relationship between the spaces of movement, the spaces of events and the relational systemic 'spaces'. It will be attempted to identify fundamental processes behind urban design. Rules are derived from connective principles in complexity theory, systems theory, pattern recognition, and artificial intelligence. / Department of Architecture

Com o intuito de estudar a industrialização da arquitetura nas décadas de 1950 e 1960, definimos como objeto de estudo a FAUUSP e o que era debatido por sua comunidade, professores e estudante, sobre o tema durante os anos que vão desde sua fundação em 1948 até 1970. Por meio da Reforma Curricular de 1962, que marcou o amadurecimento da proposta do ensino de arquitetura orientado pelo movimento moderno, e estimulados pelo período desenvolvimentista por que passava o Brasil no final dos anos 1950, a comunidade docente implantou um Sequência de Disciplinas de Desenho Industrial que resultou, ainda que numa proposta legítima, na formação de profissionais da arquitetura com perfil para o trabalho na indústria de bens de consumo. Por comparação, e entendendo que a industrialização da arquitetura é um importante componente da origem da arquitetura moderna, desejamos compreender se o desenho industrial, da mesma maneira, havia penetrado também no ensino de projeto de arquitetura. Portanto, as disciplinas de projeto de arquitetura incorporaram essas ideias depois da reforma, até o final dos anos 1960? Se sim, como o desenho industrial para a produção de componentes e sistemas construtivos de arquitetura era trabalhado em sala? Havia ainda um imaginário sobre a industrialização da arquitetura, latente nas revistas e nas memórias de viagem, incentivado principalmente pelos esforços de reconstrução do pós-guerra. A imagem do grande painel de concreto, içado por grua, representando um canteiro mecanizado e avançado (ou pouco precário) era um paradigma a ser alcançado. Ao mesmo tempo, os mesmos docentes da escola debatiam nas instituições da categoria, como o IAB, nos congressos brasileiros de arquitetos e nas revistas a necessidade de industrializar a arquitetura para a produção de habitação. Parecia que a industrialização da arquitetura, a ser alcançada pela ação político-profissional do arquiteto no desenvolvimento nacional, ainda estava longe de se concretizar. / In order to study the industrialization of architecture in the 1950s and 1960s, We defined FAUUSP as the object of study and what was discussed by its community, Teachers and students on the subject during the years since its founding in 1948 through 1970. Through the Curricular Reform of 1962, which marked the maturation of Of the teaching of architecture guided by the modern movement, and stimulated By the developmental period through which Brazil passed in the late 1950s, the The teacher implemented a sequence of Industrial Design Disciplines that resulted, In a legitimate proposal, in the training of Profile for work in the consumer goods industry. By comparison, and understanding That the industrialization of architecture is an important component of the origin of architecture Modern, we want to understand if industrial design, in the same way, Had also penetrated the teaching of architectural design. Therefore, the Architectural design incorporated these ideas after the reform, until the end of the 1960? If yes, how the industrial design for the production of components and systems Constructive architecture was worked in the room? There was still an imaginary about Architecture, latent in journals and travel memories, encouraged Mainly through post-war reconstruction efforts. The image of the great Concrete panel, hoisted by crane, representing a mechanized and advanced (Or rather precarious) was a paradigm to be achieved. At the same time, the same Teachers of the school, such as the IAB, in the congresses Brazilians of architects and in the magazines the need to industrialize architecture for The production of housing. It seemed that the industrialization of architecture, to be achieved By the architect\'s political-professional action in national development, was still Far from materializing.

Esta tese trata de uma parcela minoritária da arquitetura paulista que foi partícipe da Contracultura brasileira, no período de 1956-1979. O trabalho teve como eixo temático a trajetória dos arquitetos Lina Bo, Sérgio Ferro, Rodrigo Lefèvre, Flávio Império, Eduardo Longo, Vitor Lotufo e Pitanga do Amparo; constatou a singularidade de suas produções em relação ao contexto hegemônico; analisou obras exemplares dessas produções através do re-desenho e levantamentos in loco; identificou correspondências entre tendências contemporâneas internacionais e o debate de ideias e ideais com a cena cultural ampliada às áreas de música, teatro, jornalismo, literatura, artes plásticas e cinema. A autonomia teórica e crítica e o comportamento diferenciado dos arquitetos elencados, constituiu-se num questionamento ao status quo sóciocultural, à linha hegemônica da Escola Paulista Brutalista e ao Estilo Internacional. Os projetos, da denominada Arquitetura Alternativa, se distinguiram pelas soluções plásticas, uso de materiais e técnicas construtivas vernaculares ou adotando novas abordagens, repúdio à serialização ou industrialização e busca de fontes de legitimação mediante interfaces multidisciplinares. A Arquitetura Alternativa, é, portanto, uma produção à margem da hegemonia que, por integrar a Contracultura brasileira, participou da Revolução Cultural que ocorreu em diversos países ocidentais nos anos 1950 e 1970. / This thesis deals with a minor portion of the São Paulo state architecture that was part of the Brazilian Counterculture in the period of 1956-1979. The work had as main theme the trajectory of the architects Lina Bo, Sergio Ferro, Rodrigo Lefèvre, Flávio Império, Eduardo Longo, Vitor Lotufo and Pitanga do Amparo, and established the uniqueness of their productions in relation to hegemonic context; evaluated exemplary works of these productions through the re- drawing and on-site surveys; and identified correspondences among contemporary international trends and the debate of ideas and ideals with the cultural scene extended to the areas of music, theater, journalism, literature, visual arts and cinema. The theoretical and critical autonomy and the differentiated behavior of the architects listed, constituted in a challenge to the \"status quo\" social and cultural, to the hegemonic line of the \"Escola Paulista Brutalista\" and to the International Style. The designs, of the denominated Alternative Architecture, were distinguished by plastics solutions, use of vernacular materials and construction techniques or adopting new approaches, rejection to serialization or industrialization and search for sources of legitimation by multidisciplinary interfaces. The Alternative Architecture is therefore, a production on the sidelines of the hegemony, which by integrating the Brazilian Counterculture, attended the Cultural Revolution that occurred in many Western countries in the 1950s and 1970s

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Zeitgenössische Fertigungstechnik ist im Begriff, einen Einfluss auf die Architekturentwicklung auszuüben wie zuletzt in der Industrialisierung des 19. Jahrhunderts. Während neue computergestützte Möglichkeiten auf breiter Basis diskutiert und erprobt werden, bleiben ihre Wurzeln und ihr Verhältnis zu früheren Fertigungstechniken im Dunkeln. Christoph Schindler betrachtet Architektur aus der Perspektive der Fertigungstechnik. Sein Ziel ist es, die von aktueller Informationstechnik getriebene gegenwärtige Forschung im Bauwesen historisch zu kontextualisieren und als Teil einer kontinuierlichen Entwicklung zu identifizieren. Im Zentrum der Arbeit steht als These das Schema eines allgemeinen technikgeschichtlichen Periodisierungsmodells, das handwerkliche, industrielle und informationstechnische Fertigung zu integrieren versucht. Grundlage dieses Periodisierungsmodells ist das Verhältnis der drei Kategorien Stoff, Energie und Information in der jeweiligen fertigungstechnischen Periode. Die Stichhaltigkeit des Modells wird anhand der Geschichte des Holzbaus überprüft, da der Holzbau wie keine andere Konstruktionsweise die Beziehungen zwischen Fertigungstechnik und Bauen umfassender über einen vergleichbar langen Zeitraum illustriert. Es wird untersucht, ob das vorgeschlagene Modell sich anhand von historischen Fakten belegen lässt – 
wie grundlegende Veränderungen in der Fertigungstechnik die Holzverarbeitung beeinflusst und wie diese jeweils Konstruktion und Erscheinungsbild der Holzarchitektur geprägt haben. / Contemporary production technology is about to exert an influence on the development of architecture as fundamentally as experienced during Industrialization in the 19th century. While new computer-aided methods are widely discussed and applied, their roots and relation to previous production technology remain obscure. Christoph Schindler analyzes architecture from the perspective of production technology. It aims to contextualize contemporary research in the building industry—driven by information technology—and identify it as part of a continuous development in history of technology. The thesis is built around the scheme of a periodization model, which intends to integrate fabrication within manual, industrial and information technology. It is based on the relation between the three categories matter, energy, and information in each respective period. The validity of the model is proven with help of history of timber architecture, as no other construction method illustrates the relation between processing technology, fabrication methods and architecture more comprehensively over a comparable period of time. It will be studied whether the proposed model can be circumstantiated with historical facts— how constitutive changes in process technology influenced wood processing and how they respectively coined construction and appearance of timber architecture.

The purpose of this study is to show that an awareness of modern architecture is developing in Dallas, Texas. This will be shown by an analysis of several recently constructed residential, civic, and commercial buildings. The contributions of American and European architects who have influenced our contemporary architecture are reviewed to in order to develop a background for this study. This will be shown by an analysis of several recently constructed residential, civic and commercial buildings.

In this study the public-school buildings of Denton are examined for evidences of modern architectural design. Chapter I serves as an introduction. Chapter II presents a history of the Denton Public Schools. Chapter III presents standards for evaluating modern school architecture. Features of existing school buildings, built earlier than 1964, which, in character, exemplify modern architectural design are described in Chapter IV. The three school buildings built since 1946 and the one under construction are described in detail and evaluated according to the standards given. Representative photostatic reproduction and photographs illustrate the text. In Chapter V a summary of the study is given and conclusions are presented.

Virginia architecture of the seventeenth and eighteenth centuries prior to the American Revolution has distinctive geometries which determine proportion. The square, root-two rectangle and equilateral triangle are the figures which establish most proportions. Plans and elevations underwent a development based on a rational method of incorporating the figures into a coherent building. This investigation establishes the use of geometry as a starting point for the culmination of many elements which together composed a building. / Master of Architecture

"Undercurrents of Urban Modernism: Water, Architecture, and Landscape in California and the American West" conducts an art-historical analysis of historic waterworks buildings in order to examine cultural values pertinent to aesthetiteics in relationships between water, architecture and landscape in the 19th and early 20th centuries. Visual study of architectural style, ornamental iconography, and landscape features reveals cultural values related to water, water systems, landscape/land use, and urban development. Part 1 introduces a historiography of ideas of "West" and "landscape" to provide a context for defining ways in which water and landscape were conceived in the United States during turn-of-the-century urban development in the American West. Part 2 provides a historical context for California waterworks with a discussion of major U.S. city waterworks from 1799 to 1893 in Philadelphia, Louisville, New York, and New Orleans. Primary architectural styles discussed are Greek Revival, Egyptian Revival, and Roman Revival. Part 3 presents the dissertation's central object of study: waterworks and hydropower architecture for the greater San Francisco Bay Area between 1860 and 1939. From substations to dams, architects who designed waterworks structures drew from historical revival, academic eclecticism, and structural design traditions. The specific waterworks structures anchoring inquiry in this chapter are two round, peripteral, neoclassical water temples built for San Francisco's water supply to mark key underground aqueduct features. I analyze these two temples--the Sunol Water Temple from 1910 and the Pulgas Water Temple from 1939--in formal terms as well as from within broader urban and historical contexts. Part 4 culminates the dissertation with a case study of two dams whose aesthetic features were obscured by unneeded buttresssing when concerns for dam safety arose after a Southern California dam failure had killed several hundred people in 1928. I inquire into a cultural ambivalence stemming that seems to stem from historical conflicts determining the relative aesthetics of "use" and "beauty" in utilitarian waterworks structures. The overall questions in this dissertation inquire into ways in which aesthetic aspects of architectural design of waterworks structures expressed cultural values regarding water, architecture, and landscape in California between 1860 and 1939. / text