Architecture has been primarily ocularcentric for the last century. This thesis proposes a more sensible approach to architecture. A multisensory experience that gives the user a deeper response to the building. Architecture can activate and engage multiple senses through the revelation of nature such as: wind, light, and shadow. Architecture has the power to reveal the essence of nature and natural phenomena. It can also become a catalyst to help us understand nature and attain a deeper connection with it and ourselves. Through derived forms and attention to details, architects can capture the essence of nature without direct imitation. Architecture has always had the power to reveal. The architect must choose what is revealed. This thesis is an exploration into the idea of architecture as a revelation of nature in a specific climate, location, and context to allow the user to become more attuned to nature. Architecture can allow the users to explore and discover nature in a way that was previously ignored or overlooked, or perhaps it can reveal a phenomenon for the first time. Architecture can reveal nature through: orientation, material choices, form, function, openings, details, and spacing. Allowing natural phenomena to be a part of the design process creates a building attuned to nature. These revelations can occur with careful consideration to components, conditions, and details such as: wind, light, shadow, and structure. In order to achieve these, special consideration must be give to the tectonic and stereotomic construction. / Master of Architecture

Beginning with the developments in biological sciences since the 1750s, many scientists have been exploring the characteristics of Nature and the living. These developments, not only enabled humans to understand the interrelations among natural beings, but also influenced and shaped an organic tradition of architectural design during modernity. In many contemporary computer-aided projects, organicity is still seen to hold a decisive though different role in formal processes, as well as acting as a guide in the design process. The thesis explores the architectural design processes involved with the natural processes in form-making within the context of the computational paradigm. To this end, organic/genomic architecture examples are researched, proceeding through a historical analysis of the characteristics of the organic tradition in modern architecture, discussed and re-analyzed within the context of instances of contemporary organic projects in computer-aided design. Through the analysis of such projects and their properties, organicism is re-evaluated within the realm of computational design.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (M.Arch.)--University of Detroit Mercy, 2009. / "24 April 2009." Includes bibliographical references (p. 101).

The residential designs of Fay Jones embody the ideals of organic architecture in the highest degree. Working in the tradition of Frank Lloyd Wright, Jones produced a wide range of houses that represent an intensely personal endeavor. Although the chapels and public pavilions designed by Jones are his most famous works, the meticulous construction detailing and elaborate material joints in Jones' houses reward long-term residents, who discover new details and new compositions of light and shadow for years after moving into their homes. The careful working and reworking of details contribute to a unifying generative idea that enforces the part-to-whole relationship of organic building, but it is also an outpouring of Jones' belief that caring is an “imperative moral issue.” It is difficult to occupy a Jones building or study the work without getting swept up in Jones' notion that “[one] must idealize, even romanticize, what [one] is doing.” Through a consideration of clients' relationships with Fay Jones and the spaces they occupy, this study reflects on Jones' hope that “perhaps the inhabitants can be more comfortably and more meaningfully integrated into the natural forces of life.” Jones' thoughts about architecture, recorded in his journals and lecture notes, reinforce the accounts of key, residential clients who benefited from Jones' earnestness about building and living. The carefully arranged joint details of Jones' designs form a physical representation of the close relationships of Jones, his clients, and the craftsmen who built the work. / text

In search of mutable tectonics is a research investigation linking principles found in natural systems, investigated by various fields in biology, physics, and mathematics, in the creation of a design methodology in Architecture. Specifically the report looks into natural system with packing and stacking strategies like bone formation, foam or soap bubbles, and sphere packing. Rules and physical observations of the natural are carried forward in the development of a topological language, through digital investigations, which define relationships between variations in spatial configurations and structural members. What we hope to achieve here is that by studying natural systems already realized in the natural world a more adaptive system of design between form, structure and space is immediately established; resulting in the discovery of emergent spaces which intrinsically conveys an emergent structural system and vise versa. The outcome is the creation of an adaptive networked process in the design formulation in Architecture.

My thesis is concerned with design of architecture form representing the context of existing site and in the appropriate manner integrating animal expositions to present to public in the most natural way. The purpose of this project was reaching the understanding of demands between animals and visitors. The designed organic form comes from these needs and also tries to be integated with surrounding area.

No description available.

Australia in the early 50s followed a decade or so of frenzy activities in the visual arts. This resurgence of Australian art which led to its recognition in the UK and the United States also brought about a renewed recognition in the quality of domestic architecture. New boundaries in the design of the Australian home were being redefined, both in theory as well as in practice. Although the decades between the two Great Wars saw the importation of such influences as the Californian Bungalow and Art Deco styles (shades of Dudok, Mendelsohn etc.), it was during the post-war years that the term organic architecture that was much discussed by a wide range of practitioners of the time. This research aims to trace the journey of organic architecture from its origin to Australia and provide some insight into the workings of those who claimed to have practiced it.

Traditionally, squaring the circle has been about bringing the incommensurable work of the gods within the realm of the commensurate by using infinite cosmic principles to regulate the finite world. The American architect Claude Bragdon (1866-1946) squared the circle using his Theosophic architectural theory that was based on a neo-Pythagorean emphasis on Number, which he believed to have contained the secret of the universe. America at the turn of the 20th century was interested in Eastern spirituality at the beginning of an age of scientific relativity when the world and universe were being questioned due to new scientific discoveries based on higher-dimensional mathematical speculations that challenged relationships between humankind and the cosmos. Paralleling this scientific search was the Western conquest of the world on earth, which brought back speculations about the Near and Far East, including translations of their ancient scriptures and encyclopedias of their architecture. The fourth dimension was an imaginary mathematical (re)creation of great interest to Bragdon and common to scientific relativity and Eastern spirituality; two cultural constructs that altered the perception of time and space to affect the American imagination and architectural production. Within this context, Squaring the Circle investigates the relationship of theory to practice by considering Bragdon's architecture as the material manifestation of his Theosophic architectural theory. / Ph. D.