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The aim of this creative project is the search for an alternative path of spatial understanding and the implementation of an complementary way that seeks to communicate new spatial ideas in the real of architecture.By introducing the hypothesis of a consolidated unit that consists of the triptych space, movement and the perceiving human being, one is necessary to create a media that can potentially help the expression of multidimensional structures.For this purpose dance is introduced in the field of architecture. Choreography and movement notation are structured and interpreted in order to inform the field of architecture on a theoretical as well as on a practical level.By analyzing components of dance, useful elements that can help to "render" architectural ideas can be identified.The second part of this thesis project, provides a way of how to implement the unit space, movement and the perceiving human being, into the field of architecture. A synthesis of elements existing both in the field of architecture and dance, constitute the base for an architectonic artefact. The introduction of an artefact as such, "moves" beyond the expected understanding of architectural space, commonly portrayed as something static and absolute, while it offers new possibilities to spatial perception. / Department of Architecture

Japanese have been known to have a special notion toward the aestheticism which deals with human experiences. They are ingenious about finding subtle beauty within every little thing which exists in nature and apply that to their architecture. What are the secrets behind all this? This thesis focuses on the research of Japanese aesthetic principles to find out the way for application in the architecture in the United States. / Department of Architecture

The first part states the reasons for the disappearance of the body: the influence of modern technology, effects on self-perception and on the perception of reality. It questions how to deal with the shift from physical reality as reference of existence toward an infinite spectrum of virtual realities. The second part concerns a way of thinking - a fiction to explain the phenomena of disappearance - in drawing a parallel to recent thinking models in physics formulating the disappearance of matter. This shift of thinking is so fundamental that it literally reverses our notion of body and materiality. The thesis tries to imagine and to explain a reappearance of the body, the birth of the concrete out of the immaterial. The last part images and models necessary, ambiguous spaces in a world where inside and outside, weight and lightness, solid and immaterial are no longer clearly defined positions but zones, uncertainties, overlays. / Department of Architecture

Earthships are buildings which are constructed almost entirely of recycled materials and are built to be almost totally self sufficient through the recycling of rain water, the recycling of solar energy into electrical energy, passive solar techniques and sometimes the recycling of wind through turbines, also into electrical energy. This thesis draws out and demonstrates the logic that Earthship architecture emerges from and generates amongst its inhabitants. This logic, it is argued, can be characterized as containing elements of the baroque and Neo-baroque. It is a logic of following and interfacing the elements (earth, sun, wind, rain) that folds them into itself. In such a space it is impossible to delineate any strict division between the inside and outside of a house. The inside becomes a node, interval, or point of passage of the outside and domestic life emerges from a complex and dynamic rhythmic arrangement with the outside. Such a space emerges from and generates a new sense of nature as cycles, flows, and interconnections which are fundamentally inseparable from architecture, technology or domestic life. This thesis also argues that to properly understand Earthships it is necessary to draw out the sense of historical and natural catastrophe that has impacted their origin and present incarnations.

Bibliography: leaves 381-418. / x, 418 leaves : ill. (some col.) ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Examines the actions of ordinary people within a city landscape with the major focus on the politics of meaning and culture in cities . Case studies are drawn from Adelaide. / Thesis (Ph.D.)--University of Adelaide, Dept. of Anthropology, 2000

Western museums are public institutions, open and accessible to all sectors of the population they serve. Increasingly, they are becoming more accountable to the governments that fund them, and criteria such as visitation figures are being used to assess their viability. In order to ensure their survival in the current climate of economic rationalism, museums need to maintain their audiences and attract an even broader demographic. To do this, they need to ensure that visitors feel comfortable, welcome and secure inside their spaces. They also need to give visitors clear entry points for engaging with and valuing the objects and knowledge on display in exhibitions. This thesis maps a grammar of three-dimensional space with a strong focus on the interpersonal metafunction. Building on the social semiotic tools developed by Halliday (1978, 1985a), Halliday and Hasan (1976), Martin (1992) and Matthiessen (1995), it identifies two interpersonal resources for organising space: Binding and Bonding. Binding is the main focus of the thesis. It theorises the way people�s emotions can be affected by the organisation of three-dimensional space. Essentially, it explores the affectual disposition that exists between a person and the space that person occupies by focussing on how a space can be organised to make an occupant feel secure or insecure. Binding is complemented by Bonding. Bonding is concerned with the way the occupants of a space are positioned interpersonally to create solidarity. In cultural institutions like museums and galleries, Bonding is concerned with making visitors feel welcome and as though they belong, not just to the building and the physical environment, but to a community of like-minded people. Such feelings of belonging are also crucial to the long-term survival of the museum. Finally, in order to present a metafunctionally diversified grammar of space, the thesis moves beyond interpersonal meanings. It concludes by exploring the ways textual and ideational meanings can be organised in three-dimensional space.

Thesis (B. Arch.)--Roger Williams University, 2007. / Typescript. Includes bibliographical references. Also available online via Digital Commons @ RWU.

Thesis (M. Arch.)--University of Adelaide, 1993. / Includes bibliographical references (leaves 243-263).

Thesis (Ph. D.)--Michigan State University. Dept. of English, 2008. / Title from PDF t.p. (viewed on Apr. 16, 2009) Includes bibliographical references (p. 197-206). Also issued in print.