A place to live for a family and guests which structures the landscape and whose form is generated from ideas about small scale informal urban relationships. / Master of Architecture

A pathway to go from the profane to a village of higher aspirations. A House of Visual Arts and an existing school of architecture flank the pathway as the realm of the mundane is received into the world of the sublime. Rows of trees define streams of space flowing into a reservoir of space, gateways marking the points of transition. From the reservoir, these gateways frame the distant mountains giving the urban room a location. The room itself is essentially empty, for it is hardly a statement but, rather, the preparation for one. The room is for the life of the academic village. Giving order where disorder reigned, providing clarity where ambiguity prevailed, bringing unity where discord was the norm, furnishing hierarchy, meaning, moments of movement and pause, MAKING A PLACE. / Master of Architecture

In the school there is meeting. If you thought of the nature of a school, you would never have a corridor in a school. You would have a hall in a school. Where it is a meeting place for people not in any way obligated to each other, have no source of being judged. And it becomes in a way the student's classroom. The corridor can never aspire to be a hall. But the hall can aspire to be of such importance equal to that of the library which is probably the most important part of school. Because the book is an offering...offerings of the mind. / Master of Architecture

The John F. Kennedy Expressway, commonly known as The Central Artery, is an elevated highway running north-south through downtown Boston. It is an immense structure which cuts its way through the urban fabric, is a considerable source of noise and pollution, and visually segregates the city’s downtown from its vital waterfront. Recently a study was undertaken to explore the possibility of removing the elevated Central Artery and replacing it with a tunnel in order to alleviate traffic congestion and noise, curtail pollution and reunite the downtown with the waterfront. If this proposal were carried through, fifteen air-rights parcels (approximately twenty acres) would become available for development in Boston’s inner core. This thesis explores one possible way of using a specific air-rights parcel above the proposed tunnel. / Master of Architecture

This works explores how to work with Event scores as a design method. In the search for what is real or what is reality the already existing things are being explored. The work started with investigating suitable ways to work with the moving body in the design process, with the aim to find a method that gave control but also left some parameters to the undecided and ambiguous. Convinced that this will lead to something new some parts of the process were highlighted and re-formulated. / Program: Modedesignutbildningen

The task of this diploma thesis is to design and test the optimal procedures for taking photos to build a 3D model of a civic building using the programme PHOTOMODELER. Then to determine the specific dimensions of the civic building and compare them with the dimensions received with the help of the basic method of measurement in common building practice, i.e. the method of cross directions (using a tape or a telescopic measuring rod) and the geodetic method of measurement. After that to evaluate these measurements and make the conclusion concerning the accuracy or inaccuracy of measurements received with the help of the 3D model of the compiled programme PHOTOMODELER.

This project has evolved from my own observation of our deteriorating living environments. I am exploring the development of a visual story to represent my contemplation of humankind's consumption, and how it endangers the balance of the natural world. Through drawing and animation, I hope to develop a visual language and an approach to storytelling that will inspire people to think about balancing economic, environmental, and ethical issues in design and development, and to advocate a simple honest life and noninterference with the necessary course of natural events.

À la suite d’une formation artistique à l’École des beaux-arts dans l’atelier de Bosio puis à l’Académie de France à Rome, le sculpteur Francisque Duret (1804-1865) se distingue particulièrement au Salon de 1833 avec un Jeune Pêcheur dansant la Tarentelle, fondu en bronze à la cire perdue par Honoré Gonon, prouesse technique pour l’époque. S’il exploite autant que possible cette veine pittoresque, notamment à travers la statuette d’édition, Duret, devenu membre de l’Institut en 1843 et professeur à l’École des beaux-arts en 1852, accumule les commandes officielles. La concrétisation de ce cursus honorum, qui fait de la carrière de Duret un archétype dans le monde de l’art officiel du XIXe siècle, repose sur une stratégie de carrière lisible notamment dans sa production de portraits, révélatrice de ses réseaux. Elle se décline également à travers des choix formels toujours marqués par l’antique qui lui permettent tant de rassurer ses commanditaires que de rentabiliser ses œuvres. En effet, ces dernières sont sujettes à de multiples variations, à toutes les échelles et dans des matériaux variés. Cette thèse a également pour ambition de mettre en lumière les ressorts intimes de la création de Duret en s’appuyant sur une correspondance très peu exploitée dans les précédentes études ainsi que sur des albums de dessins et des esquisses en terre cuite inédits. L’ensemble de ces sources révèle comment Duret, qui avait d’abord voulu être comédien, s’est constamment nourri des arts de la scène dans sa pratique de sculpteur. L’art du ballet mais aussi la tragédie et l’opéra lui ont permis d’approfondir son travail sur le drapé, le corps en mouvement et la composition du geste. / Following an artistic training at the School of Fine Arts in Bosio's workshop then at the Academy of France in Rome, the sculptor Francisque Duret (1804-1865) distinguishes itself particularly in the Show of 1833 with "Jeune Pêcheur dansant la Tarentelle" (Young fisherman dancing the Tarantella) a molten bronze made with lost wax method by Honoré Gonon, technical exploit for that period. If he exploits as far as possible this picturesque vein, in particular through the statuette of edition, Duret, who became in 1843 a member of the Institute and a professor of the School of Fine Arts in 1852, accumulates official orders. The realization of this Honorum Cursus which makes Duret's career an archetype in the world of the XIXth Century official Arts is based on a career strategy readable particularly in his production of portraits revealing his networks. His career also comes through formal choices always marked by the Classic Art (Antique) which gives him to reassure his sponsors and to make profitable works. Indeed the latter are subject to multiple variations at all level and in varied materials. This thesis has also for ambition to bring to light the intimate skills of Duret's creation by leaning on a correspondence little exploited in previous studies as well as on unpublished workbook of drawings and sketches in terracotta. All of these sources reveal how Duret, who wanted to be a stage actor, nourished constantly on performing arts for his sculptor's art. The Ballet, Tragedy and Opera arts allowed him to deepen his work on drape, body in movement and gesture composition.

O presente trabalho tem como objetivo demonstrar de que forma um catálogo comentado de manuscritos musicais é importante ferramenta de pesquisa, que pode apoiar a musicologia na tarefa de análise de documentos, levando à compreensão dos diversos aspectos que envolvem o binômio compositor/composição. Aliando conceitos da teoria arquivística e do estudo do processo de criação, e levando-se em conta, principalmente, que o conteúdo musical deveria ser o elemento norteador na feitura do trabalho, pudemos observar a importância da informação presente na documentação musical estudada. Como fio condutor, temos a oportunidade de apresentar os principais aspectos de um conjunto de documentos inéditos, objeto privilegiado de análise, manuscritos na juventude pelo compositor Camargo Guarnieri. A Obra de Difusão Interdita, título dado pelo autor para nomear o conjunto de anotações musicais escritas entre os anos de 1920 a 1928, abarca uma variedade grande de registros musicais que, pela sua natureza de obra imatura, em fase redacional de elaboração idéias, nos permite desvendar a fixação de conceitos e caracterização da personalidade do artista em formação. / The goal of the present work is to demonstrate in which way a special list of musical manuscripts is an important tool of research, able to support the musicology in the task of analyzing documents and to lead to the comprehension of the different aspects involved in the binomial composer/composition. By bringing together the concepts of the archival science theory and the study of the artistic process and by considering mainly that the musical content should be the guiding element in the making of the work, we have been able to observe the importance of the information present in the musical documentation studied. As a guideline, we have the opportunity to present the main aspects of an unpublished collection of documents, privileged object of analysis, handwritten during the youth of the composer Camargo Guarnieri. The Interdicted Work of Diffusion (Obra de Difusão Interdita), title given by the author in order to denominate the collection of musical notations written between 1920 and 1928, embraces a big variety of music registration that, by their nature of immature work, in the redactional phase of the elaboration of ideas, allows one to disclose both the establishment of the concepts and the distinctness of the personality of the artist in development.

Esta Tese está dividida em três volumes: I - Croqui: representação e simulação II - O desenho e o processo de projeto III - O ensino do desenho para arquitetos Os três volumes tratam do mesmo objeto de estudo: o desenho do arquiteto e para a arquitetura, mas sob um enfoque diverso. No Volume I, além de uma abordagem teórica sobre as premissas metodológicas, o desenho é visto sob três outros enfoques: enquanto conceito relativo à problemática inerente à arquitetura, ou seja, representação e simulação do espaço; enquanto instrumento de projeto adaptado a cada momento da arquitetura; e também enquanto objeto artístico. No Volume II, estreita-se a relação entre desenho e projeto de arquitetura, tentando estabelecer relações entre um e outro método. São apresentados os resultados do acompanhamento e análise do trabalho de vários arquitetos, bem como entrevistas, na íntegra, com os arquitetos Paulo Mendes da Rocha, Joaquim Guedes e Abrahão Sanovicz. No Volume III, o ensino do desenho tem destaque com base nas teorias da escola ativa, os métodos de ensino-aprendizagem e sua adaptação ao universo da arquitetura. Nos três volumes, a intenção principal é sempre verificar os pressupostos básicos para o ensino de desenho para futuros arquitetos. Os três volumes são permeados por conclusões inerentes ao enfoque sobre o qual se referem. No final do terceiro volume, apresenta-se uma conclusão sobre o enfoque geral, tratado nos três volumes, relacionando imagem, desenho e projeto para fins didáticos. / This Thesis is divided in three volumes: I - Croquis: representation and simulation II - Design and process of the project III - Teaching of the design to architects The three volumes deal with the same object to study: the design of architect and to architecture, but under a different focus. In the first volume, besides a theoretical aproach about the metodological premisses, the design is seen under three other focuses: as a concept conected to the problematic inherente to the architecture, I mean, representation and simulation of the space; whereas instrument of the project adapted to each moment of the architecture; and even as artistic object. In the volume II, narrows the conection between design and project of architecture, trying to stablish conexions between one and other method. Here are presented the results of the attendance and analyse of the work of various architects, as well as briefinga, as a whole, with the architects Paulo Mendes da Rocha, Joaquim Guedes and Abrahão Sanovicz. In the volume III, the teaching of the design has a prominence based in the theories of the active school, the methods of teaching-apprenticeship and its adaptation to the architecture universe. In the three volumes, the main target is always verify the basic pressuposed to the teaching to the future architects. The three volumes are interposed by conclusions inherents to the focus on which they refer. At the end of the third volume, we present a conclusion about the general focused, treated in the three volumes, linking image, drawing and project to didacts aims.