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The thesis aims to examine how the formation of fa&ccedil / ades, that is, the interface with a dual response both to interior functioning and exterior urban fabric, is separated from the totality of architectural design by new technological developments and design intentions. This aim is accomplished in three sections, respectively: analysis of the fa&ccedil / ade, the properties and formation process in time / examining the fa&ccedil / ade formation of the high-rise office buildings in Levent-Maslak area in respect to the analysis and examining the working principles and marketing attitudes of fa&ccedil / ade manufacturing firms in terms of their role in fa&ccedil / ade formation. The focus is on the description of a fa&ccedil / ade and the process that generated the autonomy in time is examined. In this sense, the thesis analyzes that the &amp / #8216 / free-fa&ccedil / ade&amp / #8217 / application, by which physical autonomy is totally gained, transforms the fa&ccedil / ade to a production element by using the technological developments and specifications of curtain-wall system in the Turkish context, in particular in Levent-Maslak area. Besides the technical availability, the representational qualities of the new materials transform this production based character of the free-fa&ccedil / ade to a more representational character as an object-fa&ccedil / ade. Finally, the study investigates how the technical knowledge inherent in the new fa&ccedil / ade systems gives the authority,in formation process of fa&ccedil / ades, to the manufacturing firms instead of the architect. It is therefore stressed that the changing role of the architect in the formation process of fa&ccedil / ades is often based on the working principles and marketing attitudes of fa&ccedil / ade manufacturing firms at present.

The main objective of this thesis is to review the problems of stone facades according to the performance criteria determined with codes and standards and to propose solutions for proper application. In this process the codes, standards, other documents and the knowledge of the researcher all served to determine the inadequacies present in this field. The thesis also aims at clarifying the terminolgy confusion related to stone cladding and stone curtain wall.

The aim of the project was to design a library with a gallery in the cadastral area of Nový Jičín – Horní předměstí of Bohuslava Martinů street. The main idea was to create a comfortable backdrop for students as well as the possibility of cultural education in the form of various exhibitions. The plan will be implemented according to the investor's requirements and will be in line with the land-use plan. This is a basement new building of the library with 2 above-ground floors. This large new building is in the shape of an irregular U. The building is based on a base plate. A combined wall and column construction system is used. The object is designed with a rasterized front lightweight perimeter casing with a front web-shaped facade

A dissertação focaliza as transformações do processo de trabalho da arquitetura, ao longo do século XX, detendo-se na análise da produção de duas obras que constituem referências culturais da cidade de São Paulo, analisadas a partir da maneira pela qual, nelas, o vidro ganhou forma: o Teatro Municipal de São Paulo (1903-1911) e o edifício do Museu de Arte de São Paulo (1957-1968). O Teatro Municipal, construído como teatro de ópera no início do século XX pelo escritório de Ramos de Azevedo, no centro da cidade, possui um conjunto de vitrais no corpo de entrada, parte deles importada da Alemanha, parte fabricada em São Paulo, aplicados em esquadrias fabricadas no Liceu de Artes e Ofícios de São Paulo. O Museu de Arte, MASP, cartão postal da cidade, de autoria da arquiteta Lina Bo Bardi, tem seu bloco principal fechado por grandes placas de vidro de seis metros de altura, as primeiras dessa medida fabricada no país, encaixilhadas em montantes metálicos fabricados também nas oficinas do Liceu de Artes e Ofícios de São Paulo. Através da análise de relatórios de obra, correspondências, fotografias e imprensa, em cada período, a pesquisa articula as transformações da produção da arquitetura e dos agentes envolvidos na concepção e construção do objeto arquitetônico, à luz dos processos de modernização da construção civil e do projeto de arquitetura em São Paulo. / This dissertation focuses on the changes in the labor processes in architecture throughout the twentieth century, circumscribing the analysis to the way glass was shaped on two referential buildings to the cultural history of São Paulo: the Teatro Municipal de São Paulo (1903-1911), and the building of the Museu de Arte de São Paulo (1957-1968). The Teatro Municipal, built downtown as an opera theater in the beginning of the twentieth century by Ramos de Azevedo`s office, assembles VITRAIS on the entrance, built as much in Germany as in São Paulo, applied on frames produced in the Liceu de Artes e Ofícios de São Paulo. The main volume of Museu de Arte, MASP, the city\'s postal card, designed by the architect Lina Bo Bardi, is shut by big glass plates, measuring six meters high, the first of its size manufactured in Brazil, framed in metal structures also produced in the Liceu de Artes e Ofícios de São Paulo. Through the analysis of the construction\'s rep orts, and of mail, photographies and the press, in each period, our research articulates the changes of the architectural production and the agents involved in the conception and production of the architectural object, in light of the processes of modernization in construction and the architectural design in São Paulo.

Extruded aluminium has become the material of choice for building envelope owing to its lightness, wide range of possibilities for profile design, durability and the eco-friendly attitude. In the light of recent technological developments in metal and glass industries, there has been various new approaches towards aluminum curtain wall systems which are mostly preferred by architects in high-rise buildings. Herein, the panel curtain wall system is determined as innovative and the modern aluminium curtain wall system. Furthermore, in the recent prestigious high-rise buildings, the demand of the architects and the contractors begins to replace the conventional curtain wall system which is constructed via stick construction technique, with panel curtain wall system which is applied to the building in a modular form . The main aim of this study is to investigate why the panel curtain wall system comes to the forefront especially for high-rise buildings. Accordingly, the basic architectural, structural and constructional design principles of unitized aluminium curtain wall systems are defined, analyzed and then the advantages and disadvantages of this system are pointed out from an architectural point of view. In order to evaluate the performance of panel curtain wall system against environmental factors, the facade tests, which are new and still-developing methods in Turkey, are used. The extensive facade tests have been conducted on full-scale specimen under field conditions reproduced in an equipped test chamber by authorized facade testing company and the assessment of this curtain wall performance was provided accordance with related standards. The two story full-size specimen, was 3000 mm to 7600 mm, belongs to one of the prestigious office towers constructed in Istanbul. The facade tests conducted to the specimen include watertightness, air permeability, wind resistance and building movement tests. In this study, the performance criteria of panel curtain wall system were investigated not only against environmental factors but also against human sourced factors. It is expected that this study will provide a guideline for system designers on the future research and development phase and for architects on the selection of curtain wall systems for their buildings due to the conducted test results and other advantages taken throughout this study.

A dissertação focaliza as transformações do processo de trabalho da arquitetura, ao longo do século XX, detendo-se na análise da produção de duas obras que constituem referências culturais da cidade de São Paulo, analisadas a partir da maneira pela qual, nelas, o vidro ganhou forma: o Teatro Municipal de São Paulo (1903-1911) e o edifício do Museu de Arte de São Paulo (1957-1968). O Teatro Municipal, construído como teatro de ópera no início do século XX pelo escritório de Ramos de Azevedo, no centro da cidade, possui um conjunto de vitrais no corpo de entrada, parte deles importada da Alemanha, parte fabricada em São Paulo, aplicados em esquadrias fabricadas no Liceu de Artes e Ofícios de São Paulo. O Museu de Arte, MASP, cartão postal da cidade, de autoria da arquiteta Lina Bo Bardi, tem seu bloco principal fechado por grandes placas de vidro de seis metros de altura, as primeiras dessa medida fabricada no país, encaixilhadas em montantes metálicos fabricados também nas oficinas do Liceu de Artes e Ofícios de São Paulo. Através da análise de relatórios de obra, correspondências, fotografias e imprensa, em cada período, a pesquisa articula as transformações da produção da arquitetura e dos agentes envolvidos na concepção e construção do objeto arquitetônico, à luz dos processos de modernização da construção civil e do projeto de arquitetura em São Paulo. / This dissertation focuses on the changes in the labor processes in architecture throughout the twentieth century, circumscribing the analysis to the way glass was shaped on two referential buildings to the cultural history of São Paulo: the Teatro Municipal de São Paulo (1903-1911), and the building of the Museu de Arte de São Paulo (1957-1968). The Teatro Municipal, built downtown as an opera theater in the beginning of the twentieth century by Ramos de Azevedo`s office, assembles VITRAIS on the entrance, built as much in Germany as in São Paulo, applied on frames produced in the Liceu de Artes e Ofícios de São Paulo. The main volume of Museu de Arte, MASP, the city\'s postal card, designed by the architect Lina Bo Bardi, is shut by big glass plates, measuring six meters high, the first of its size manufactured in Brazil, framed in metal structures also produced in the Liceu de Artes e Ofícios de São Paulo. Through the analysis of the construction\'s rep orts, and of mail, photographies and the press, in each period, our research articulates the changes of the architectural production and the agents involved in the conception and production of the architectural object, in light of the processes of modernization in construction and the architectural design in São Paulo.

Walter Benjamin a fait du « boîtier » et de la « maison de rêve » les « mode[s] d’existence du XIXe siècle ». En suivant ses pas, ce travail se propose d’explorer l’architecture moderne et contemporaine afin d’identifier ce qui pourrait manifester, non pas l’arbitraire des architectes, mais « une constellation historique objective » et constituer ce qu’il appelle une « preuve dans la vérité de l’action actuelle ».Selon lui, ce sont les architectes modernes qui ont inauguré la sortie du « boîtier » et, avec leur « goût pour la porosité, la transparence, la pleine lumière et l’air libre, […] mis fin à la façon ancienne d’habiter. » Pourtant, force est de constater que l’essentiel de leurs réalisations était moins l’expression d’une sortie ou d’un réveil, que de ce qu’il décrit comme une « fausse délivrance ». Celle-ci a néanmoins déclenché un nouveau rêve qu’il n’a eu de cesse d’interpréter en décrivant façades et seuils auxquels, depuis plus de vingt ans, les architectes cherchent à donner forme. Mouvantes et singulières, ces nouvelles façades nous obligent à aborder sous un jour nouveau la technique du mur-rideau. A la différence de la façade fondée classique et de la « façade libre » des modernes, cette façade suspendue défie les lois de la statique ordinaire et les oppositions binaires. Pur produit de la révolution industrielle, elle s’avère être à présent la substance qui fait exploser la mentalité qui en était à l’origine car elle abolit, plus qu’elle ne la reconfigure, l’opposition – c’est-à-dire la hiérarchie – entre dedans et dehors, privé et public, structure et ornement et, par extension, proche et lointain, infrastructure et superstructure, sujet et objet. / Walter Benjamin developed the « shell » and the « dream house » as the « condition[s] of nineteenth-century existence. » Following in his footsteps, this work aims to explore modern and contemporary architecture in order to identify what could be « an objective historical constellation » instead of the arbitrariness of architects and constitute what he calls « evidence in the truth of the actual action ».According to him, modernist architects have launched the exit of the « shell » and, with their taste for « porosity and transparency, [their] tendency toward the well-lit and airy, ha[ve] put an end to dwelling in the old sense. » However, we have to admit that the majority of their buildings was less the expression of an exit or an awakening than what he describes as a « false liberation ». The latter has nonetheless triggered a new dream he has never ceased to interpret when describing façades or thresholds, which architects have aimed to give shape for the last twenty years.Both moving and unique, these new façades compel us to view the curtain wall technique in a new light. Contrasting with the classic founded façade and the modern free façade, this suspended façade defies the laws of ordinary statics as well as binary oppositions. Emerging from the industrial revolution, it has now become the substance which blows up its original mindset as it abolishes, more than it redefines it, the opposition – meaning the hierarchy – between inside and outside, private and public, structure and ornament and, by extension, close and distant, infrastructure and superstructure, subject and object.

Project solves seven-storey building with basement in urban area. Object mainly consists of building and private parking area. Functionally, the building is divided into parts for commercial, administrative and housing. The shape of the building is terraced with flat roof. Structural systém is a frame with locally supported ceilings founded on reinforced concrete slab supported by piles. The building envelope is partly of ceramics blocks, concrete wtih ETICS and curtain wall. The aim of project is to create documentation for realization based on building physics solution.

The diploma thesis deals with the proposal of new interventions within the area above the underground reservoirs in the area of the Žlutý kopec. Various urban structures, atmospheres and influences of surrounding, natural or urbanistic are encountered in the area. The place is unique for its location near the historic center of Brno, the potential of the green public priesthood within a built-up part of the city with a view of the city's landmark, Spilberk Castle. The aim of the work is to offer a dessign that responds to these impacts and links them in a design that complements existing underground reservoirs. It invites the inhabitants of the city, new visitors or tourists to regenerate body and soul, in the gallery or athletic center in the environment of reservoirs. The programme of the place offers both, the social space through a new cultural and visitor center but also soothing space in the form of a park.