published_or_final_version / Real Estate and Construction / Master / Master of Science in Construction Project Management

published_or_final_version / abstract / Real Estate and Construction / Doctoral / Doctor of Philosophy

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Call number: LD2668 .T4 1986 R67 / Master of Landscape Architecture

A thesis submitted to the Faculty of Engineering and the Built Environment University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the degree of Doctor of Philosophy Johannesburg 2015 / Transformation in South Africa encompasses sociopolitical change towards racial equity and national unity, supported by sustainable growth. True social justice would require that the physical access to higher education of previously disadvantaged students also be undergirded by epistemological access. Regrettably, performance‐driven and outcomes‐based pedagogies often support students inadequately, resulting in attrition and slow transformation in the architectural profession. Architectural design involves complex problem‐solving skills, learned through individual mentoring in studio contexts, and demands intensive, critical engagement. Motivated students with good spatial aptitude from either previously marginalised communities or authoritarian backgrounds often possess lower dominant language skills. Students arriving with lower social capital are underprepared for the personal, cultural and academic demands of the course. This combination creates a larger zone of proximal development (Vygotskiĭ et al., 1994), resulting in underperformance and higher failure rates. In South Africa poor results are increasingly exacerbated by disparities between school and university education (Scott et al., 2013) and potentially affected by unrecognised internalised oppression. As a lecturer at the School of Architecture and Planning at the University of the Witwatersrand, Johannesburg, I confronted the challenge of opening up opportunities for successful outcomes to all students by embedding additional teaching and support into the first year design course. Instructional core theory (City et al., 2009) postulates that learning is centred in the instructional task and is effectively improved only by simultaneous attention to teacher knowledge and skills, responsive course content and improving student engagement. iii Transformational teaching requires applying this triumvirate on social, academic and professional planes. In this study architectural instructional tasks were designed to simultaneously teach academic skills, broaden the cultural discourse and facilitate social cohesion. This promoted support and peer learning to facilitate academic success in a diverse studio, while promoting fundamental transformation. These dynamics are inseparable. This thesis describes the strategies employed in my first year design studio from 2009 to 2011, using various interventions. Over three action research cycles, design studio engagement, social cohesion and student learning outcomes improved. These theorised strategies are summarised as a model for similarly situated professional learning classes in diverse settings.

O objetivo desta pesquisa é construir um quadro abrangente sobre a biografia e a produção arquitetônica do arquiteto francês Henri Paul Pierre Sajous (1897-1975), que projetou e foi responsável pela construção de inúmeras obras, no Brasil e na França. Para o desenvolvimento deste trabalho, foi delimitado como recorte analítico o período entre 1930 e 1959, intervalo em que o arquiteto teve o Brasil como palco das suas atividades. Dentro deste período, diversos projetos foram executados pelo profissional, porém foram selecionados para análise individual apenas os edifícios de grande porte existentes até hoje. Com o intuito de estudar o panorama arquitetônico e os agentes envolvidos na produção de cada uma destas obras, foi elaborada uma pesquisa específica sobre cada edificação eleita, baseada nas visitas in-loco, nas pesquisas bibliográficas e em documentos pertencentes à família Sajous. O elenco destes registros selecionados permite compreender as diretrizes arquitetônicas que o arquiteto valorizava, que aplicou no Brasil, sempre vinculado aos aspectos da sua formação acadêmica francesa, visto que era formado na École Superieure des Beaux Arts de Paris e também diplomado pelo governo francês (DPLG). Através da reunião das informações, pretende-se abordar academicamente, a vida e a obra do arquiteto que, embora não tenha aderido à moderna temática Corbusiana, foi um profissional conceituado em seu tempo. Deixou, em pontos centrais do Rio de Janeiro e de São Paulo, edifícios importantes que constituem uma relevante contribuição para o quadro arquitetônico no país. / The purpose of this research is to construct a comprehensive picture of the French architect Henri Paul Pierre Sajous (1897-1975), both biographical and architectural production, who designed and was responsible for building several works in Brazil and France. To deploy this work, the period between 1930 and 1959 was defined as an analytical approach, time which the architect had Brazil as the scene of their activities, and included only large buildings implemented and remaning. With the aim of studing the architectural panorama and the actors involved in the production of each of these works we present a specific research on each building, based on on-site visits, bibliographical research and the documents belonging to Sajous family. These registers allow us to understand the applied projectual method used by the architect in Brazil, always linked to aspects of his academic French graduation, as he got his degree at the École Superieure des Beaux Arts in Paris and was also licensee by the French government (DPLG). It is intended to reveal, between academic rules and gathering information, the life and work of the architect, who has not adhered to modern Corbusians precepts, he was a respected professional at his time. He planned significant buildings in some central points of Rio de Janeiro and Sao Paulo, deserving special attention in the architectural production in Brazil.

Este trabalho tem como objeto de estudo os planos diretores para Goiânia, elaborados na década de 60 pelo arquiteto Luís Saia, e pelo arquiteto Jorge Wilheim consorciado à empresa de engenharia Serete. Analisamos, além do conteúdo de cada plano, a trajetória profissional dos seus autores, a sua contratação e o processo de trabalho que desenvolveram. Para situar estes planos no contexto urbanístico local (Goiânia) e nacional, mostramos como a cidade-nova-planejada construída na década de 30 chegou à década de 60 e qual era o debate urbanístico no Brasil nos anos 50 e 60, destacando a inserção dos arquitetos. Na década de 60 a criação do SERFHAU dá continuidade ao processo de institucionalização do planejamento urbano no Brasil e traz uma mudança muito importante na inserção dos arquitetos neste campo: enquanto na década de 50 estes profissionais começavam a elaborar planos diretores como autônomos, com o SERFHAU os arquitetos passam a compor equipes multidisciplinares de planejamento associadas a empresas de consultoria. Luís Saia e Jorge Wilheim representam estas formas completamente distintas de inserção dos arquitetos no planejamento urbano nos períodos pré-SERFHAU e pós-SERFHAU. / This work has the study object the urban master plans to Goiânia, elaborated of the sixties by the architect Luís Saia and by the architect Jorge Wilheim combined with Serete engineer company. We analyses, besides the content at the each plan, the professional career of both authors, their engagement and the work process that they developed. To situation these plans at the local urban context (Goiânia) and national, we show how the town, planned and built of the thirties, arrives of the sixties and which was the urban debate in Brasil of the fifties and sixties, showing up the architects insertion. Of the sixties, the SERFHAU creation gives continuity to the institutionatization process of the town planning in Brasil and brings a very important change at the architects insertion in this camp: while of the fifties these professionals starts elaborate directors plans like autonomous, with the SERFHAU, the architecs begin to compose a multidisciplinary planning teams in association with consultancy companies. Luis Saia and Jorge Wilheim represents theses completely differents kinds of architects insertion at the town planning in preSERFHAU and postSERFHAU periods.

Esta tese aborda o panorama da construção civil em Campinas, São Paulo, entre fins do século XIX e as três primeiras décadas do século XX, trazendo à tona a produção material de construtores não diplomados, então enquadrados pela legislação como arquitetos licenciados. Apesar de sua intensa atividade, da permanência material de suas obras e da existência de referências documentais do conjunto edificado, tais obras chegaram aos dias de hoje sem autoria conhecida, atribuídas, assim, a construtores anônimos. Uma das vias propostas para discussão baseia-se na análise da extensa documentação reunida no Arquivo Municipal de Campinas, visto que os processos tramitados para obtenção de licenças para construir ou reformar, com respectivos desenhos técnicos, revelam-se exemplares não só da grande atuação que os licenciados tiveram no período mas também da qualidade técnica e formal de suas obras. Por outro lado, propõe-se averiguar como tais licenciados se inseriram, à época, no mercado campineiro da construção civil, revelando os primeiros embates pela regulamentação da profissão e as decorrentes tentativas de desqualificação desses profissionais por parte dos diplomados. Por fim, partindo da cidade real, expressa tanto materialmente quanto na documentação arquivística e aproximando a discussão a problemas contemporâneos, a tese propõe-se a mapear o movimento das ideias e a atuação das personagens envolvidas com a questão da história, da arquitetura e do patrimônio cultural. Pretende-se, com isso, verificar a repercussão do esquecimento desses construtores na historiografia, nas pesquisas acadêmicas e práticas preservacionistas do município e averiguar quais foram os processos e/ou motivos que levaram à reiteração desse esquecimento, dessa vez por meio da consolidação de uma visão monumental e alegórica do patrimônio cultural de Campinas. / This dissertation discusses the building scenery in Campinas City, São Paulo State, Brazil, between the late 19th century and the first three decades of the 20th century. It reveals the production of builders who were not graduated, known by that time as licensed architects. Despite their intense activity, the permanence of their works through time and the existence of archives that document their projects, the licensed architects works are nowadays taken as undetermined authorship. Thus, they are assigned to anonymous builders. This study proposes, on the one hand, a discussion based on the analysis of the extensive documentation located at the Municipal Archive of Campinas. This documentation is composed by building and renovating permit applications, with technical drawings, that reveal not only the extensive production of the licensed architects, but also their works technical and formal qualities. On the other hand, the study investigates licensed architects insertion the construction field. It reveals the first battles towards professional regulation and the consequent disqualification of the licensed by the graduated architects. Finally, from the perspective of the built city, expressed both by its material dimension and by archival documentation, and bringing the discussion to contemporary issues, this work aims to map the movement of the ideas and the actions of the involved actors, relating them to the issues of history, architecture and cultural heritage. Thereby, it intends to verify the echoes of those constructors oblivion within historiography, academic researches and municipal preservation policies. It also intends to investigate the processes and/or reasons that led to the reiteration of this oblivion through the consolidation of a monumental and allegoric perspective of Campinas cultural heritage.

Este estudo se propõe a identificar dentre os diversos exemplos de modelos arquitetônicos da Antigüidade atualmente conhecidos pela arqueologia e descritos na literatura aqueles que podem ser caracterizados como as primeiras maquetes de arquiteto, isto é, objetos diretamente relacionados ao conhecimento, planejamento e comunicação de conteúdos arquitetônicos. O recuo à Antigüidade se faz necessário na medida em que essa dissertação se propõe a estudar as origens da relação entre modelos tridimensionais e a atividade de arquitetos na cultura ocidental. Em termos cronológicos, este estudo inicia-se cerca de 6.000 anos antes de Cristo e encerra-se no Mundo Romano (séc. V d.C.). Em termos geográficos, este estudo aborda objetos produzidos por culturas do sudeste da Europa neolítica, conjuntos de objetos de culturas do Oriente-Próximo, objetos egípcios, egeanos (cretenses e cicládicos), cipriotas, gregos, villanovianos e romanos. Essa pesquisa conclui que as evidências materiais da existência de maquetes de arquiteto na Antigüidade Clássica são raras e pouco precisas. Alguns objetos no entanto se aproximam dessa caracterização e merecem estudos futuros mais aprofundados, são eles: o conjunto de tijolos miniatura de Tepe Gawra (c. 3500 a.C.); o modelo egípcio de Dashour (1990-1730 a.C.); o modelo minóico de Arkhanes (1.700-1.630 a.C.); os modelos romanos de Óstia (séc. I a.C.), o modelo de templo de Niha (séc. II d.C.), o modelo de teatro de Baalbek (séc. II d.C.), e o modelo de stadium de Villa Adriana (séc. II d.C.). / This study intends to identify the first architects models among the several architectural models already known and presented in literature. Architects models are third-dimensional objects directly related to knowledge, planning and communication of architectural matters. Recession to Antiquity seems necessary in order to study the origins of the relation between three-dimensional model and architects work in the western world. Chronologically this study begins at 6.000 b.C. and ends at the Roman world (c. 200 a.D.). In geographical terms this study focuses objects produced by Neolithic Southeastern European cultures, Near Eastern cultures, Egyptian culture, Aegean cultures (Cretan and Cycladic), Cypriot, Greek, Villanovian and Roman cultures. Material evidences for architects models are rare and inaccurate all over Antiquity. Nevertheless some few objects are very close to architects work deserving deeper future studies: the miniature brick ensemble from Tepe Gawra (c. 3.500 a.C.); the Egyptian Dahshours model (1.990-1.730 a.C.); the minoan model of Arkhanes (1.700-1.630 a.C.) and the Roman models of Ostia (I a.C.), Niha, Baalbek and Villa Adriana (II d.C.).

Après le séisme qui frappa la région de la République de Raguse en 1667, Dubrovnik (ancienne Raguse), sa ville capitale, connut une forte immigration architecturale d’origine romaine et, dans un seul cas, vénitienne, principalement composée d’ingénieurs et d’architectes. Après avoir tenté de retracer l’histoire des relations artistiques et diplomatiques entre la République de Raguse et les Etats de la péninsule apennine, qui remontent au XIIIe siècle mais qui connurent leur apogée après le grand séisme de 1667, cette étude se penche sur le rôle des architectes étrangers dans le cadre de l'administration publique de la République de Raguse et sur l’impact qu'ils eurent sur l'architecture de la ville. Malgré le fait qu'un bureau officiel des architectes n'existait pas au sein des institutions publiques, nous pouvons retracer les comportements habituels du commanditaire, le Sénat de la République, dans le processus du recrutement des architectes étrangers. Ainsi, les mêmes modèles de coopération entre les architectes et le commanditaire, répétés au cours des siècles, témoignent d'un système stable, traditionnel, qui resta inchangé jusqu'à la fin de la République en 1808. Dans cette recherche, l’accent a été mis sur l'architecture représentative de la ville de Raguse ainsi que sur tous les chantiers qui étaient sous le contrôle de la République. Enfin, les migrations artistiques entre Rome et Raguse durant la deuxième moitié du seicento et pendant le settecento furent mises en parallèle en suivant le même phénomène qui eut lieu dans la ville de La Valette en Malte et dans la région Val di Noto en Sicile. / After the earthquake that struck the region of the Republic of Ragusa in 1667, Dubrovnik (formerly Ragusa), its main city, experienced a strong architectural immigration of Roman origins (and in only one case, Venetian). After attempting to trace the history of artistic and diplomatic relations between the Republic of Ragusa and the authorities of different states of the Apennine peninsula which reached their peak after the great earthquake of 1667, this study examines the role of foreign architects in the context of public administration of the Republic of Ragusa and the influence they had on the architecture of the city. Although the architects did not have their formal office within public institutions, the usual behavior of the Senate of the Republic in the process of recruitment of foreign architects shows us that same patterns of cooperation between architects and sponsor were repeated over the centuries. Therefore, we use them as strong evidences that show a stable and traditional system, which remained unchanged until the end of the Republic in 1808. In this research, the focus was on the representative architecture of the city of Ragusa and on all building sites which were under the control of the Republic. Finally, artistic migrations between Rome and Ragusa in the second half of seicento and during settecento were compared with the same phenomenon that took place between the city of Valletta in Malta and Rome and between the region Val di Noto in Sicily and Rome.