This thesis deals with the creation of holistically healthy environments in an urban context. The Pretoria Central Business District (CBD) is the focus area, as this is where many people spend their working hours in offices. This thesis proposes a vitality centre where healthy environments and healthy lifestyles are made available to these workers. This should become an urban oasis which caters to the vitality of the mind, body and spirit. The hypothesis argues that the problems associated with unhealthy environments in buildings can be alleviated through the connection of people with nature and its forces. The focus is not only on the physical, but also on the metaphysical quality of architecture and its influence on the user. The four elements of nature (light, air, earth and water) are invited into the building. Their associative qualities are exploited to create an awareness of the presence of nature, even in an urban context. On a physical level, this association implies the use of natural light, natural ventilation and contact with nature in the built environment. / Dissertation (MArch(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

Este estudo propõe uma leitura sobre a poética arquitetônica nas obras de Luis Barragán, Alvaro Siza e Tadao Ando, a partir do elo que estabelecem no binômio construção-natureza.Tomando de suas produções projetos emblemáticos dessa relação, encontramos \"lugares arquitetônicos puros\" (HUET, 1979) que restituem o caráter ontológico da disciplina ao evocarem, nessa fronteira última da arquitetura, questões primordiais da existência humana. No diálogo que propõem entre localidade e síntese moderna, essas \"construções do lugar\" nos revelam, mais do que posturas críticas, inquietudes - ou obsessões - de seus criadores, as quais se concretizam na experiência fenomenológica das obras, por meio da \"desmaterialização\" da própria arquitetura.Barragán, em Los Clubes (1964-1968) - Cuadra San Cristóbal e a Fuente de los Amantes -, impõe agudos contrastes à paisagem para então dissolvê-los, numa \"realidade fantástica\" que consuma a improvável comunhão entre fé católica e desejo erótico; na Piscina de Leça da Palmeira Siza narra o retorno do Homem à Natureza, num \"discurso da técnica\" que desfaz, no caminho entre a cidade e a praia, o muro de concreto em areia e pedra; no Templo da Água, Tadao Ando estabelece um percurso do profano ao sagrado - da razão ocidental à espiritualidade oriental -, pela transmutação simbólica da forma geométrica, regida por vazios radicalmente disponíveis (Ma).Cada capítulo circunscreve individualmente um arquiteto e sua obra por meio de três aproximações sequenciais: inicia com as impressões da visita à obra; passa a pela genealogia da imaginação e formação da linguagem; e fecha o ciclo retornando ao projeto, analisado a partir dos desenhos e dos dados coletados ao longo da pesquisa. Pretendemos, assim, criar uma ponte entre o desígnio projetivo e a expressão obra, para identificar, nesse trajeto, os recursos poético-arquitetônicos utilizados. Na conclusão, são gerados cruzamentos horizontais entre as diferentes manifestações desses recursos nas obras - percurso, muro, água, luz etc. - como tentativa de contribuir para o léxico poético da disciplina. / This study proposes a reading of architectural poetics on the works of Luis Barragán, Alvaro Siza and Tadao Ando, departing from the link that each of them establish on the binomal construction-nature. Considering among their productions the emblematic projects of such a relationship, we can find pure architectonic places (HUET, 1979) that restore the ontological character of the discipline, evoking, through this last frontier of architecture, universal issues of the human existence. In the dialogue they propose between place and modern synthesis, those \"site constructions\" thus reveal rather than critic positions, but basic and primordial disquietudes - or obsessions - from their creators. Those disquietudes become concrete in the phenomenological experience of the place, in the very same \"dematerialization\" of architecture.Barragán, in Los Clubes (1964-1968) - Cuadra San Cristóbal and Fuente de los Amantes -, imposes sharp contrasts to the landscape to then dissolve them in a \"fantastic reality\" that consummates the unlikely match between catholic faith and erotic desire; in Leça da Palmeira Swimming Pool, Siza tells, by a \"technical speech\", the return of Man towards Nature, in a liturgic procedure that undoes, between the city and the beach, the concrete wall into sand and stone; on the Water Temple, Tadao Ando establishes a path from the profane towards the sacred - from the occidental reasoning to the oriental spirituality -, through the symbolic transmutation of the form along radically available spaces (Ma). Each chapter individually circumscribes one architect and his work through three sequential proxies: it begins with the impressions obtained in site visits; then goes through a genealogy of the imagination and the formation of the language; and closes the circle returning to the project, aproached through the drawings and data collected during the research. The goal then, is to create a bridge between the project intentions and the expression of the work, to identify, along this path, the poetic architectural resources that were used. In the conclusion, horizontal crossings are created between different expressions of those resources on the constructions - pathway, wall, water, light etc. - as a way to try to contribute to the poetic lexicon of the discipline.

Este estudo propõe uma leitura sobre a poética arquitetônica nas obras de Luis Barragán, Alvaro Siza e Tadao Ando, a partir do elo que estabelecem no binômio construção-natureza.Tomando de suas produções projetos emblemáticos dessa relação, encontramos \"lugares arquitetônicos puros\" (HUET, 1979) que restituem o caráter ontológico da disciplina ao evocarem, nessa fronteira última da arquitetura, questões primordiais da existência humana. No diálogo que propõem entre localidade e síntese moderna, essas \"construções do lugar\" nos revelam, mais do que posturas críticas, inquietudes - ou obsessões - de seus criadores, as quais se concretizam na experiência fenomenológica das obras, por meio da \"desmaterialização\" da própria arquitetura.Barragán, em Los Clubes (1964-1968) - Cuadra San Cristóbal e a Fuente de los Amantes -, impõe agudos contrastes à paisagem para então dissolvê-los, numa \"realidade fantástica\" que consuma a improvável comunhão entre fé católica e desejo erótico; na Piscina de Leça da Palmeira Siza narra o retorno do Homem à Natureza, num \"discurso da técnica\" que desfaz, no caminho entre a cidade e a praia, o muro de concreto em areia e pedra; no Templo da Água, Tadao Ando estabelece um percurso do profano ao sagrado - da razão ocidental à espiritualidade oriental -, pela transmutação simbólica da forma geométrica, regida por vazios radicalmente disponíveis (Ma).Cada capítulo circunscreve individualmente um arquiteto e sua obra por meio de três aproximações sequenciais: inicia com as impressões da visita à obra; passa a pela genealogia da imaginação e formação da linguagem; e fecha o ciclo retornando ao projeto, analisado a partir dos desenhos e dos dados coletados ao longo da pesquisa. Pretendemos, assim, criar uma ponte entre o desígnio projetivo e a expressão obra, para identificar, nesse trajeto, os recursos poético-arquitetônicos utilizados. Na conclusão, são gerados cruzamentos horizontais entre as diferentes manifestações desses recursos nas obras - percurso, muro, água, luz etc. - como tentativa de contribuir para o léxico poético da disciplina. / This study proposes a reading of architectural poetics on the works of Luis Barragán, Alvaro Siza and Tadao Ando, departing from the link that each of them establish on the binomal construction-nature. Considering among their productions the emblematic projects of such a relationship, we can find pure architectonic places (HUET, 1979) that restore the ontological character of the discipline, evoking, through this last frontier of architecture, universal issues of the human existence. In the dialogue they propose between place and modern synthesis, those \"site constructions\" thus reveal rather than critic positions, but basic and primordial disquietudes - or obsessions - from their creators. Those disquietudes become concrete in the phenomenological experience of the place, in the very same \"dematerialization\" of architecture.Barragán, in Los Clubes (1964-1968) - Cuadra San Cristóbal and Fuente de los Amantes -, imposes sharp contrasts to the landscape to then dissolve them in a \"fantastic reality\" that consummates the unlikely match between catholic faith and erotic desire; in Leça da Palmeira Swimming Pool, Siza tells, by a \"technical speech\", the return of Man towards Nature, in a liturgic procedure that undoes, between the city and the beach, the concrete wall into sand and stone; on the Water Temple, Tadao Ando establishes a path from the profane towards the sacred - from the occidental reasoning to the oriental spirituality -, through the symbolic transmutation of the form along radically available spaces (Ma). Each chapter individually circumscribes one architect and his work through three sequential proxies: it begins with the impressions obtained in site visits; then goes through a genealogy of the imagination and the formation of the language; and closes the circle returning to the project, aproached through the drawings and data collected during the research. The goal then, is to create a bridge between the project intentions and the expression of the work, to identify, along this path, the poetic architectural resources that were used. In the conclusion, horizontal crossings are created between different expressions of those resources on the constructions - pathway, wall, water, light etc. - as a way to try to contribute to the poetic lexicon of the discipline.

Esta dissertação consiste em um estudo sobre os museus infantis, buscando identificar e analisar um conjunto de questões contemporâneas que hoje participam do ambiente museal. Para a exploração das implicações arquitetônicas desta proposta museológica, foram selecionados três edifícios projetados para abrigar museus infantis: Kodomo no Yakata, de Tadao Ando, no Japão, Lied Discovery Children’s Museum, de Antoine Predock, nos Estados Unidos; e Papalote Museo del Niño, de Ricardo Legorreta, no México.

Esta dissertação consiste em um estudo sobre os museus infantis, buscando identificar e analisar um conjunto de questões contemporâneas que hoje participam do ambiente museal. Para a exploração das implicações arquitetônicas desta proposta museológica, foram selecionados três edifícios projetados para abrigar museus infantis: Kodomo no Yakata, de Tadao Ando, no Japão, Lied Discovery Children’s Museum, de Antoine Predock, nos Estados Unidos; e Papalote Museo del Niño, de Ricardo Legorreta, no México.

Esta dissertação consiste em um estudo sobre os museus infantis, buscando identificar e analisar um conjunto de questões contemporâneas que hoje participam do ambiente museal. Para a exploração das implicações arquitetônicas desta proposta museológica, foram selecionados três edifícios projetados para abrigar museus infantis: Kodomo no Yakata, de Tadao Ando, no Japão, Lied Discovery Children’s Museum, de Antoine Predock, nos Estados Unidos; e Papalote Museo del Niño, de Ricardo Legorreta, no México.

No description available.

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.

1945年8月15日二次大戰結束至10月25日台灣「光復」之間，台灣究竟屬於何種狀態？過去戰後初期研究往往直接探討國民政府與台灣人之間的族群對立，以及二二八事件發生之社會因素等課題，並未探討日本戰敗對台灣帶來的涵義及此71日的「真空時期」。因此本論文將以戰爭結束前後至國民政府來台接收前為觀察範圍，探索當時的台灣社會與台灣人之動向。 戰爭結束前，在台灣總督府嚴密統制下，大部分台灣人無法獲知「開羅宣言」之存在，也對戰局趨勢並未持有正確的預見。因此台灣島內的台灣人於戰爭結束前並未有面對日本戰敗，以及台灣歸還中華民國之心理準備，直至1945年8月15日戰爭結束，台灣人依舊與日本的帝國主義政策聯繫著。戰爭結束當天，因為收聽廣播之環境相當有限，透過「玉音放送」獲知戰爭結束及日本戰敗的人並不多，甚至有部分人士將之誤解為天皇激勵繼續作戰之宣傳。 　　然而透過台灣總督府之公告、媒體報導以及人人口耳相傳，日本戰敗之消息終究得以傳達至台灣島內。戰爭結束後，一方面日本統治最高機關的台灣總督府以及約15-17萬的日本軍仍然留駐台灣，掌控台灣社會；但另一方面，隨著中國來台之消息遍及台灣，日本當局逐漸失去威信，在治安、經濟方面皆出現惡化趨勢。在如此狀況下，台灣知識份子憑藉各自思想與做法，為台灣未來四處奔走。如林獻堂，採取較為慎重態度，一方面與日本當局保持良好關係，一方面致力維持治安。吳新榮則對新時代懷有莫大期待，著手於三青團之組織，積極地展開迎接「祖國」之事宜。然而當時台灣人對中國懷有的「祖國認同」，並非具有現實經驗，也是未經理性思考的觀念。當他們實際與中國接觸時，難免顯露陌生與失望之感。儘管如此，強烈的「祖國認同」仍舊支撐著台灣人擁護中國的熱情。 　　以辜振甫、許丙為首的所謂「八‧一五獨立事件」，過去大部分研究皆認為其主因為日本軍煽動，少數研究則否定日本軍之參與。本論文使用私人日記、回憶錄、新聞報導等的資料，再次探討此事件之相關人物的言行及背後因素，並認為此事件實為日本軍與台灣人共謀的一場歷史事件。 　　台灣與日本、中國兩者之間的關係，無論於日治時期或戰爭結束後，皆對台灣命運具有相當深刻之影響。發生於時代轉換之際的「八‧一五獨立事件」，恰好表現其一端。透過本論文，筆者希望再度仔細探討台灣近代史的複雜性，以及對今日台灣境遇之影響。 / Between August 15, 1945-- the official end of World War II-- and October 25-- the date Taiwan underwent “retrocession” into China-- what was the political situation in Taiwan? Past post-war studies often discuss the ethical conflict between the Nationalist Government and native Taiwanese as well as the social reasons surrounding the the 2-28 Incident, but often fail to mention the meaning of Japan’s defeat for Taiwan and the 71-day “vacuum period” following the Japanese surrender. Therefore, the research period of this thesis is set between the end of World War II and the Nationalist Government takeover of Taiwan. It discusses Taiwanese society and the Taiwanese movement of this period. By the war’s end, most Taiwanese neither knew about the “Cairo Declarations,” due to the strict censorship of the Governor-General of Taiwan, nor could they foresee the results of the war. Consequently, most Taiwanese were completely unprepared for Japan’s defeat and Taiwan’s retrocession. Until the war was over on August 15, Taiwanese were completely subject to Japanese imperialist edicts. The day the war was over, because the broadcast system was so limited, few people heard news of Japan’s defeat through the “Jewel Voice Broadcast,” otherwise known as the “Gyokuon-hōsō.” Some people even mistook the broadcast as the emperor’s call to continue fighting. But finally, news of Japan’s defeat spread throughout the island via the Governor-General’s notice, news media reports, and word of mouth. And while the Governor-General and between 150,000 and 170,000 Japanese troops stayed in Taiwan to control Taiwanese society, as news of approaching Chinese troops spread, the Japanese authority gradually lost prestige. Public order and the economy began to deteriorate. Under such circumstances, the Taiwanese elite looked to their own ideas and methods for the future running of Taiwan. For example, Lin Xiantang (林獻堂) conservatively maintained good relations with the Japanese authority on one hand, but on the other hand, devoted himself to protecting social order. Wu Xinrong (吳新榮), eagerly anticipating the coming new era, started to organize the Youth League of the Three People’s Principals, aggressively preparing for the welcome of the “Motherland.” Nevertheless, the “ancestral identity” that Taiwanese felt toward China was, at the time, an idea lacking both experiential and rational bases. Therefore, those Taiwanese coming into contact with Chinese found it hard to avoid feelings of unfamiliarity and disappointment. However that may be, a strong idea of “ancestral identity” continued to prop up Taiwanese support and enthusiasm for China. Regarding the “8-15 Taiwanese Independence Incident,” which Gu Zhenfu (辜振甫) and Xu Bing (許丙) allegedly masterminded, most past studies consider this an intrigue stirred up by Japanese troops, while a smaller number of studies completely deny Japanese involvement. This dissertation uses private diaries, memoirs and news reports to examine the words and deeds of the players, and the background reasons for the incident, finding it to be an historical event in which Japanese troops and the Taiwanese elite conspired together. Whether during the period of Japanese rule or during the post-war period, the relationships between Taiwan and Japan, and Taiwan and China both have significant meanings for Taiwan’s fate. Occurring at the juncture of two political rules, the “8-15 Taiwanese Independence Incident” neatly reveals this point. Through this dissertation, the author hopes to examine in greater detail the complexity of Taiwan’s recent history and the effect this history has had on Taiwan’s current political situation.