A casa dos imigrantes japoneses é estudada nesta tese do ponto de vista qualitativo, sendo as construções analisadas não como objetos, mas focadas no processo que decorre das implicações culturais, sociais e técnicas. As moradias construídas em uma área de imigração ainda inexplorada como fronteira agrícola, situada na região do Vale do Ribeira ao sul do estado de São Paulo, surgiram com as famílias que deparavam com a mata virgem. A despeito da situação de pioneirismo e das dificuldades enfrentadas pelas famílias, formou-se um acervo de mais de 500 casas no auge da prosperidade, todas construídas com material local: a terra e a madeira. Partindo do contexto histórico em que se iniciaram a colonização da região e os condicionantes que possibilitaram a criação da colônia, o trabalho analisa os modos de construção de suas moradias e as vicissitudes que possibilitaram a realização desse conjunto arquitetônico. Uma arquitetura espontânea que representa uma categoria expressiva e variada sob os aspectos construtivo, tipológico e programático. Como construíram, quem eram os responsáveis, quais eram os saberes trazidos do oriente e quais eram os saberes locais? O que propiciou sua durabilidade por mais de um século? Respostas a estas questões são buscadas ao longo da pesquisa, a qual também verifica a mescla da técnica japonesa com a influência cabocla e quilombola e investiga os processos originais japoneses para cotejar com os exemplares construídos no Vale do Ribeira. O estudo põe em foco o Tsuchikabe, palavra que literalmente significa parede de terra e que é uma técnica correspondente à taipa de mão no Brasil. Os dados científicos e históricos de caracterização correspondentes serão cotejados para verificar em que medida os saberes orientais foram adotados, adequados e ajustados à realidade brasileira. A relevância da pesquisa está na apresentação dos processos singulares e plurais que ocorreram há um século atrás, na abertura de novas frentes de investigação sobre o tema e na sistematização de informações que podem contribuir tanto na manutenção futura dos patrimônios tombados, como subsidiar a construção de casas mais sustentáveis e duráveis tão demandadas na atualidade. / The Japanese immigrants houses will be studied on this thesis by the qualitative point of view, and the buildings won´t be analyzed as objects, but as processes that occur from cultural, social and technical contexts. The housing built in a yet unexplored area as agricultural frontier, located in Vale do Ribera, in the south of São Paulo State, began with families that faced rain forest. Despite the pioneerism and the inherent difficulties faced by de families, there was an amount of more than 500 houses during the height of prosperity, each of them built with local materials such as wood and earth. Beginning with the historical context when the colonization started, and studying the conditions that allowed the colony settlement, this assignment will analyze the way of building their houses, and the events that propitiate the construction of that spontaneous architectural set representing an expressive and varied category, under a constructive, typological and programmatic aspect. Who built, who was the responsible, what was the knowledge brought from East, and what was the knowledge from the local population? What allowed an over a century staying? The answers to those questions are sought alongside the research, which also analyzes Japanese techniques mixed with Caboclo and Quilombos influences, investigates the Japanese original process in order to compare with the samples found in Vale do Ribera. This study focuses on a technique called Tsuchikabe, that literally means mud wall, which is similar to the Brazilian technique called Taipa de mão (wattle and daub). The scientific and historic data with corresponding characteristics will be collated to measure how much the Eastern knowledge was used, suited and adjusted to the Brazilian reality. The research relevance is to present these singular and plural processes that happened a century ago, to start new work fronts about this theme, to dispose information that could help with the future maintenance of the listed buildings, as well as subsidize the building of more sustainable and durable houses that are so demanded nowadays.

Buildings which address space through all the senses, rather than being dominated by ocular centric considerations solely, have become the minority within the discipline of Architecture. This can create an imbalance, perceivable as feelings of estrangement and detachment for the inhabitant. Estrangement is particularly evident within health care architecture, which owes much of its current form to ideas developed during Modernism. In response to this imbalance, Architecture from the past may have lessons which can be applied. This thesis investigates the potential of applying spatial techniques and approaches learned from the 16th century Japanese tea-house. A health care building which benefits from the same kind of reflective and contemplative spaces inherent in the tea-house includes counseling facilities, and therefore an outpatient cancer care center was chosen to apply these lessons. Among the techniques researched and applied, the use of a sequential vision of spatial experience, which reveals the building in stages and facilitates spaces for pause and reflection, was particularly powerful. The result is a building with spaces that take on an almost sacred tone, where one can be at peace with the realities of their current situation, and begin thinking about the path forward. / Master of Architecture

The dissertation deals with ideas about Japanese architecture in the Western, namely European discourse between 1945 and 1970. Architects and critics identified striking similarities between the Modernist architectural principles and the Japanese tradition from the 1920s; after the World War II, these similarities sparked a wide interest among the architectural public, which led to numerous publications on Japan unprecedented in scope and depth when compared with any other non-Western culture. The goal of this work is to map the discourse that occurred this way, identify the main themes connected to Japan, and show their significance. The sources for the study are prevalently printed media: architectural magazines and books. The notion of 'image' of Japan proves useful since we study interpretations of a different culture; history of ideas as well as visual representation in photography. At the same time, work also follows the of general issues of understanding the 'other'. An analysis of these various representations of Japan in the printed architectural media makes up the main part of the research presented here. To examine the origins of these ideas we go back to the 1930 with architects-writers Tetsurō Yoshida and Bruno Taut, and subsequently look into of writings about Japan by architects who...

Seen from abroad, Tokyo appears as a huge, vibrant metropolis where 21st-century Japan meets the traditional side of the country. Tokyo´s skyline is a diverse jumble of traditional houses and shrines, and modern architecture from skyscrapers of glass to 1970´s living capsules. Since the beginning, Tokyo has had great prerequisites for creating a city with amazing urban environment. Water was the first reason for people to settle down in Tokyo Bay. During Edo period (1603 – 1867), Tokyo was always described as a picturesque city with well-planned hydrology and a harmonic relationship with nature. With its canals full of water, it was a city comparable to Venice. The distribution and exchange relied almost entirely on water transport. With the expansion of the city, the water system had to be upgraded, which led to creating a complex network of waterways. Unlike in Western countries, where the economic, social and cultural life of the city developed around rather formal places as plazas and squares, in Japan, the lifeblood of the city developed in close connection with the water and nature. These places, also known as “meisho” (名所, lit. “famous places”) used to be linear open structures such as streets, river shores and bridges. During the transformation of Tokyo into a modern capital, the city cut many ties with the past. The unused canals suddenly became redundant and started belonging to the “wrong” side of the city. By the 1980s, many of the waterways were so polluted that the government began filling them up or covering them with elevated highways in preparation for the 1964 Tokyo Olympics. The modernization and its transformation also meant that most of the network of “meisho” and greenery have disappeared. “From dameisho to meisho” is inspired by series of woodblock prints “One Hundred Famous Views of Edo” (名所江戸百景, Meisho Edo Hyakkei) completed by the Japanese artist Hiroshige Ando (1797–1858), depicting a matrix of famous public spaces in Tokyo. My project examines the possibilities of recasting “meisho”, a spatial representation in Japanese culture, into a new, modern context via editing different layers of the city and its fabric. It explores linear, thread-like spaces such as Edo waterways, its transformations roads, as well as recently built elevated highways in order to search for contaminations and new collaborations, unexpected conditions and create new, green urban stitches. As one of the tackling tools, the project also looks at demographic trends shaping Japan and benefits from aging society and shrinking Japanese population. Last but not least I investigate ways of graphical reinterpretation of the series of woodblock prints using Tokyo and its new “meisho” spaces as a rolemodel.

Ausgehend von Oskar Schlemmers (1888-1943) Bauhaus-Signet aus dem Jahr 1923 analysiert diese Arbeit den Zusammenhang zwischen Mensch und Raum im Œuvre des Bauhaus-Meisters. Die bei Betrachtung des Signets aufkommende These, Mensch und Raum – die zwei tradierten Pole des Schaffens Schlemmers – bedingten sich gegenseitig, wird untersucht, hinterfragt und um die Kategorie der Kunstfigur erweitert. Das erste Kapitel beleuchtet den Menschen als Maß aller Dinge. Der angestrebte Typus entsteht einerseits über Schlemmers Analyse des menschlichen Körpers mittels tradierter Proportionsstudien und Geometrisierung, die zu einer zumindest scheinbaren Berechenbarkeit führen. Betrachtet werden hierbei die Ausführungen Leonardo da Vincis, Albrecht Dürers und Adolf Zeisings. Andererseits nutzt Schlemmer die physiognomischen Überlegungen Richarda Huchs und Carl Gustav Carus‘ für seine Zwecke der Darstellung einer Entindividualisierung des Menschen. Hierauf aufbauend befasst sich das zweite Kapitel mit dem Raum. Es zeigt, dass Schlemmers Überlegungen zu theoretischem und gebautem Raum ihren Ursprung in Albert Einsteins Relativitätstheorie nehmen und von Debatten am Bauhaus genährt werden: Schlemmer betrachtet den Raum als wandelbar und abhängig vom Menschen, was unter anderem durch eigene Schriften und den einzig überlieferten Architekturentwurf Schlemmers gefestigt wird. Zur Untersuchung einer umgekehrten Einflussnahme des Raumes auf den menschlichen Körper erweitert das dritte Kapitel die zwei tradierten Pole des Schlemmer’schen Œuvres um einen weiteren: die Kunstfigur. Diese, so belegt das Kapitel, generiert ihre eigene Körperlichkeit über den Einfluss des veränderlichen Raumes, darüber hinaus aber auch durch die Abstrahierung des zugrundeliegenden menschlichen Körpers mittels des Kostüms und der Maske. Über diese beiden wiederum vollzieht sich auch eine Wandlung des Menschen. / Taking the Bauhaus signet, designed by Oskar Schlemmer in 1923, as a starting point, the present thesis examines the relationship between man and space – the two consistently named poles of Schlemmer’s work – within the œuvre of the Bauhaus master. It analyzes, questions and expands the assumption, at first glance suggested by the signet, that space and man are mutually dependent: The first chapter deals with man as the measure of all things. The type pursued by Schlemmer results, on the one hand, from his analysis of man via proportion and geometric studies by Leonardo da Vinci, Albrecht Dürer and Adolf Zeising that lead to a certain calculability. On the other hand, Schlemmer uses physiognomic ideas of Richarda Huch and Carl Gustav Carus to depict a certain de-individualization. Based on the results of the first chapter, the second chapter deals with questions of space. It shows that Schlemmer’s considerations of theoretical space and architecture stem from Albert Einstein’s theory of relativity and are fed by Bauhaus debates on that same topic: Schlemmer regards space and architecture as subject to change and dependent on man; this theory is also strengthened by his writings and his only surviving architectural design. To examine the reverse influence of space on the human body, the third chapter adds the Kunstfigur (art figure) as another category to the established two poles of Schlemmer’s œuvre discussed in the literature: man and space. The chapter proves that the Kunstfigur generates its own corporeality through the influence of space, which is modifiable by movement. Besides that, said corporeality is also determined by an abstraction, in turn caused by costumes and masks. These items also influence the outer appearance of man.