A tese investiga o conceito de Ornamento no arquiteto e teórico Gottfried Semper (1803-1879), quem elabora, em meados do século XIX, importante teorização deste elemento arquitetônico. Destina-se a demonstrar que, em meio a um processo de depreciação semântica vigente na época, Semper procura restabelecer o status quo do Ornamento, consagrando a ele uma importância fundamental para os indivíduos e suas instituições sociais. Os vínculos tradicionais entre Ornamento e noções clássicas como Estilo e ordem são reforçados e atualizados pelo autor, considerando o contexto da época. Para este estudo, a investigação considerou dois momentos. Primeiramente, adotou-se um recuo temporal, trabalhado na longa duração, com o intuito de se apresentar um quadro sintético de noções e conceitos interdependentes que estruturaram o conceito de Ornamento na Tradição Clássica. Aqui a escrita foi organizada a partir da observação atenta às transformações dos sentidos atribuídos ao termo, aos conceitos que giraram em torno dele e o constituíram como um componente imprescindível do que se compreende por Arquitetura na Tradição. Em um segundo momento analisou-se o conceito de Ornamento em Semper em meio ao contexto europeu de meados dos oitocentos, tendo em vista o enfraquecimento da legitimidade da Tradição Clássica e as implicações resultantes do desenvolvimento da indústria moderna. Considera-se que os escritos deste autor, na medida em que procuram atualizar o conceito de Ornamento, evidenciam parte do contexto de crise da ornamentação em Arquitetura, que, diferentemente do que costuma colocar a historiografia tradicional, iniciou-se bem antes da aurora do moderno. O Ornamento em Semper deve ser compreendido como um conceito que opera dentro da disciplina Arquitetura e que faz parte dos esforços do autor em reorganizá-la em meados do século XIX. / This thesis investigates the concept of Ornament in the writings of the architect and theorist Gottfried Semper (1803-1879), who put forth an important theory about this architectural element in the middle of the nineteenth century. It aims to show that Semper tried to restore the status quo of the Ornament in the midst of semantic devaluation, thereby granting the Ornament essential prominence in social institutions and to individuals. This thesis also shows that the author reinforces and updates traditional connections between the Ornament and classical notions, such as Style and Order. In order to accomplish the above, this study considered two moments. Firstly, the concept of Ornament in Classical Tradition was presented using temporal regression in a long duration structure; the writing about this moment is organized according to transformations in the meanings attributed to the term Ornament, and to the concepts that revolved around it and constituted essential components of Architecture in Tradition. The second moment is that in which Semper\'s concept of Ornament is analyzed throughout the mid-nineteenth century European context; in this view, thelegitimacy of Classical Tradition is weakened, due in part to the development of modern industry. In seeking to update the concept of Ornament, Semper\'s writings make explicit the crisis of Ornamentation in Architecture, which began well before the dawn of modern time, unlike traditional historiography says. This thesis argues that the Semperian Ornament should be understood as a concept that operates within the discipline of Architecture and is part of the author\'s efforts to reorganize it in the mid-nineteenth century.

A tese investiga o conceito de Ornamento no arquiteto e teórico Gottfried Semper (1803-1879), quem elabora, em meados do século XIX, importante teorização deste elemento arquitetônico. Destina-se a demonstrar que, em meio a um processo de depreciação semântica vigente na época, Semper procura restabelecer o status quo do Ornamento, consagrando a ele uma importância fundamental para os indivíduos e suas instituições sociais. Os vínculos tradicionais entre Ornamento e noções clássicas como Estilo e ordem são reforçados e atualizados pelo autor, considerando o contexto da época. Para este estudo, a investigação considerou dois momentos. Primeiramente, adotou-se um recuo temporal, trabalhado na longa duração, com o intuito de se apresentar um quadro sintético de noções e conceitos interdependentes que estruturaram o conceito de Ornamento na Tradição Clássica. Aqui a escrita foi organizada a partir da observação atenta às transformações dos sentidos atribuídos ao termo, aos conceitos que giraram em torno dele e o constituíram como um componente imprescindível do que se compreende por Arquitetura na Tradição. Em um segundo momento analisou-se o conceito de Ornamento em Semper em meio ao contexto europeu de meados dos oitocentos, tendo em vista o enfraquecimento da legitimidade da Tradição Clássica e as implicações resultantes do desenvolvimento da indústria moderna. Considera-se que os escritos deste autor, na medida em que procuram atualizar o conceito de Ornamento, evidenciam parte do contexto de crise da ornamentação em Arquitetura, que, diferentemente do que costuma colocar a historiografia tradicional, iniciou-se bem antes da aurora do moderno. O Ornamento em Semper deve ser compreendido como um conceito que opera dentro da disciplina Arquitetura e que faz parte dos esforços do autor em reorganizá-la em meados do século XIX. / This thesis investigates the concept of Ornament in the writings of the architect and theorist Gottfried Semper (1803-1879), who put forth an important theory about this architectural element in the middle of the nineteenth century. It aims to show that Semper tried to restore the status quo of the Ornament in the midst of semantic devaluation, thereby granting the Ornament essential prominence in social institutions and to individuals. This thesis also shows that the author reinforces and updates traditional connections between the Ornament and classical notions, such as Style and Order. In order to accomplish the above, this study considered two moments. Firstly, the concept of Ornament in Classical Tradition was presented using temporal regression in a long duration structure; the writing about this moment is organized according to transformations in the meanings attributed to the term Ornament, and to the concepts that revolved around it and constituted essential components of Architecture in Tradition. The second moment is that in which Semper\'s concept of Ornament is analyzed throughout the mid-nineteenth century European context; in this view, thelegitimacy of Classical Tradition is weakened, due in part to the development of modern industry. In seeking to update the concept of Ornament, Semper\'s writings make explicit the crisis of Ornamentation in Architecture, which began well before the dawn of modern time, unlike traditional historiography says. This thesis argues that the Semperian Ornament should be understood as a concept that operates within the discipline of Architecture and is part of the author\'s efforts to reorganize it in the mid-nineteenth century.

I have used weaving as a method to investigate connections between this craft and architecture. The project can be divided into four parts: The first part is a research phase starting from the etymology of the word textile, which derives from the latin word texere which means - to weave, to join, to build, to construct etc. Following the spirit of Gotfried Semper and his ideas in his book “The four elements of architecture” I have built frames to learn the principles of weaving. The second part is a basic research of an attempt to create a prototype for a structural element that is based on previous studies. In part three I illustrate potential areas of use of the elements. In the final conclusive part I reflect upon my work and what I have learned during the project.

This book documents an exploration of emergent and linear modes of defining space, form, and structure. The thesis highlights a dialog between analog and digital modeling techniques, in concept and project development. It identifies that analog modeling techniques, coupled with judgment, can be used to develop complex forms. The thesis project employs critical judgment and the textile techniques of crochet as a vehicle generate form. Crochet lends itself to this investigation because it is a serial process of fabrication that allows for the introduction of specific non-linear modifications. The resulting emergent forms produced by this mode of working can be precisely described by digital modeling techniques. These analog crochet models are translated into the digital through the employment of advanced digital modeling tools. This translation enables the visualization, development, testing, and execution of an architectural space, form, and structure. / Master of Architecture

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.

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.

Schloss Weesenstein ist eines der wenigen „Museumsschlösser“ in Deutschland, das zahlreiche originale Zimmerausstattungen aufweist. Dies bezieht sich auf die Wandbespannungen, Tapeten und Mobiliar. Fünf Zimmerausstattungen der herrschaftlichen Wohnetage im Unterschloss werden beschrieben, das Vogeltapetenzimmer, das Johann-Zimmer, der Chinesische Salon, das Empfangszimmer und das Wohnzimmer der Königin Amalie Auguste. Dabei wird der Einfluss Gottfried Sempers deutlich.

Dans le cadre du projet de « maintenir ou accroître l'habitabilité du monde » (Ezio Manzini, 1991), nous interrogeons la manière de penser l’habiter par le design, qui rencontre de notre point de vue la question des enveloppes de l'homme, artificielles versus biologiques, matérielles versus virtuelles. Le cas de l’habit, hypothétique enveloppe habitable dérivée du vêtement, première architecture selon Gottfried Semper et le « principe du revêtement », retient tout particulièrement notre attention. Le sujet est abordé par une théorisation située à partir d’un projet expérimental personnel de conception et fabrication d’enveloppes textiles, qui attesta d’une rationalité et d’une expansivité tout à fait singulières. Son étude est conduite par une méthode poïétique, au sens de Paul Valéry, qui combine une étude herméneutique des productions, une exégèse de la nature systémique de la démarche (programme et émergences), ainsi qu’une exégèse complémentaire du travail technique en actes (facture et irrégularités). La transdisciplinarité inhérente à la problématique est ainsi envisagée à partir de la pensée de l’art textile de Semper, la pensée poétique et épistémologique de Valéry, et la pensée esthétique complexe issue des sciences du vivant. La construction théorique nous emporte à suggérer, en regard de l’habitabilité, la perspective d’un nouveau paradigme, la textilité. / In context of the project intended to « maintain or increase the habitability of the world » (Ezio Manzini, 1991), we question the way of thinking the dwelling by design, which meets, according to us, the question of human envelopes, artificial versus biological, material versus virtual. The case of the habit, hypothetical inhabitable envelope derived from garment, primary architecture according to Gottfried Semper and the “theory of clothing”, particularly focuses our attention. The subject is approached by a situated theorizing from a personal experimental project of conception and manufacture of textile envelopes, which demonstrated a rationality and expansiveness quite singular. The study is leaded by a poïetic method, as defined by Paul Valéry, combining an hermeneutical study of production, an exegesis of the systemic nature of the process (program and emergences), and an additional exegesis of the technical work through the acts (craft and irregularities). The inherent transversality of the problem is thus considered with means of the thought of textile art of Semper, the poetic and epistemological thought of Valéry, and the complex aesthetic thought outcome from of the life sciences. The theoretical construction takes us to suggest, in comparison with the one of habitability, the way to a new paradigm of textility.