"Book of architecture, as opposed to books about architecture, develop their own existence and logic, they are not directed at illustrating buildings or cities, but at searching for the ideas that underlie them."Bernard Tschumi (The Manhattan Transcripts)For me, after studying several years, architecture has become religion. The architecture design is no longer a creation but has become a discovery journey. The way to see and think is as important as design. This thesis is not going to show how I design, but how I see, how I think and how I understand the architecture.The aim of this thesis is to find a way to rethink architecture by examining the communication between observers, architecture and architect. By introducing the hypothesis of a communicative model, a structure that consists of the object and subject which involve in the interactive relationship needs to be addressed. For this purpose, structuralism linguistics is introduced to implement the analysis of the architecture. The structuralism linguistics directly deals with the interaction between object and subject. By the study, an ideological conclusion is presented, which I call projection.The second part is Guandong Museum Competition, which is completed when I worked in Eisenman Architects. As an example, this project not only shows the design, but also shows the relationships between several intertwined systems.The third part of this thesis is The Highline competition project which is my first attempt to implement the projection idea in the design. By applying the meaning layer structure derived from linguistics, the design offers a new architectural perception which is based on the understanding of the interactions between objects and subjects. / Department of Architecture

No description available.

No description available.

No description available.

Leslie F. Ayres was an accomplished architect and architectural illustrator. His appreciation for and keen sense of art is apparent in his meticulous and poetic architectural illustrations. Mastering the skill of architectural drawing established Ayres as a designer, but he wasalso a builder. A successful architect, like Ayres, is both an artist and a builder, having the capability to guide a concept from design to construction. Leslie Ayres understood and valued this critical link needed to establish himself as a professional architect.He had a significant influence on the modern movement of architecture in Indiana, and a pioneering role of integrating gardens into his overall architectural designs. His designs utilized the functionalism of the modern movement, uniting the latest in building technologies: steel, concrete, and glass. However in contrast to many modernists, his designs would often reflect architecture based on precedents, incorporating Classical and traditional elements. Moreover, Ayres had a holistic approach to architecture that distinguished him from other modernist architects, in which every detail including light fixtures, interior finishes, and the surrounding landscape, related to the whole design idea. / Department of Architecture

Copies of author's previously published articles, inserted. / Includes bibliographical references. / vi, 392, [111] leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / A feminist poststructuralist thesis about studio-based, architectural critique in architectural education. Undertakes a critical ethnography of a School of Architecture including extensive observations and interviews. The author argues from her location as a feminist researcher, architect and teacher that critique is not equitable for all students discriminating in many ways against some students, particularly women. / Thesis (Ph.D.)--University of Adelaide, Dept. of Architecture, 1996?

Many transformations took place in Maceió in the last 30 years. The decade of 1980 was marked by the growth of the city and by the construction of vertical buildings. Besides this, the tourism was stimulated in Maceió (called by the marketing of Paradise of the Waters ). This period was a very productive and representative time of a generation of active architects in the State of Alagoas. Nevertheless, the Alagoas`s architecture and of his capital - Maceió - was not sufficiently analysed, when a shortage of publications is noted, being opportune and when a reflection necessary on the architecture produced during these years. How to understand the contemporary architecture produced in Maceio?. This dissertation of master's degree aims to analyze critically the contemporary architecture in Maceió during the years 1980 to 2008. The methodology is divided in three stages: (i) literature review (ii) collects of local data - the lifting of local data was obtained through newspapers, specialized magazines, exhibitions of architecture of the Architects' Institute of Brazil Department Alagoas and of the conversations and round tables of two Seminars of Contemporary Architecture in Alagoas and (iii) analysis of data from the perspective of architectural critics. As a result of reflection shows that it is possible to find local examples that go beyond modernism, related to phenomenology and structuralism, and the almost nonexistent post-structuralism. This research contributes to a better account of the teaching and practice, and address the lack of material on the subject. / Fundação de Amparo a Pesquisa do Estado de Alagoas / Muitas transformações ocorreram em Maceió nos últimos 30 anos. A década de 1980 foi marcada pelo crescimento da cidade e pela verticalização. Além disto, estimulou-se o turismo em Maceió (denominada pelo marketing de Paraíso das Águas ). Este período foi uma época muito produtiva e representativa de uma geração de arquitetos atuantes no Estado de Alagoas. Apesar disso, a arquitetura de Alagoas e de sua capital - Maceió - não foram suficientemente analisadas, constatando-se uma escassez de publicações, sendo oportuna e necessária uma reflexão sobre a arquitetura produzida durante esses anos. Como compreender a arquitetura contemporânea produzida em Maceió?. A presente dissertação de mestrado tem como objetivo analisar criticamente a arquitetura contemporânea em Maceió durante os anos de 1980 a 2008. A metodologia divide-se em três etapas: (i) revisão de literatura (ii) coleta de dados locais - o levantamento de dados locais foi obtido através de jornais, revistas especializadas, mostras de arquitetura do Instituto de Arquitetos do Brasil Departamento Alagoas e das palestras e mesas redondas de dois Seminários de Arquitetura Contemporânea em Alagoas e (iii) análise dos dados sob o enfoque da crítica arquitetônica. Como resultado desta reflexão verifica-se que é possível encontrar exemplares locais que vão além do modernismo, relacionados à Fenomenologia e ao Estruturalismo, sendo quase inexistente o Pós-estruturalismo. Esta pesquisa contribui para uma melhor ponderação sobre o ensino e exercício da profissão, além de suprir a falta de material sobre o assunto.

No description available.

The contradiction between architecture&rsquo / s &ldquo / autonomy&rdquo / , its existence as an entity with its own &ldquo / disciplinary specificity&rdquo / - and its social &ldquo / engagement&rdquo / , its involvement in culture, ideology and economy, has been the subject of numerous discussions in architectural discourse, initially in Europe and later in North America. It is argued in this thesis that although &ldquo / autonomy&rdquo / and &ldquo / engagement&rdquo / seem contradictory to each other, architecture&rsquo / s &ldquo / critical status&rdquo / is rooted in this contradiction. Autonomy is regarded as one of the essential sides of architecture&rsquo / s dual position. This suggests that the in-between, or in Stanford Anderson&rsquo / s terms, &ldquo / quasi-autonomous&rdquo / status of architecture can only be sustained through its existence as an entity that has a certain degree of autonomy. Autonomy is an agent for architectural discourse to isolate architecture from its involvement in the external reality and increase awareness within the discipline by concentrating on its specific knowledge. Autonomy aids architecture to pretend to be &ldquo / detached&rdquo / while in reality it is &ldquo / engaged&rdquo / . To focus on the autonomous dimension of architecture, to search for architecture&rsquo / s own intrinsic qualities, helps to produce knowledge within the discipline and provides a &ldquo / critical distance&rdquo / for architecture to resist any &ldquo / external authority&rdquo / . Thus this thesis intends to explore the potentials of the conceptualization and problematization of &ldquo / autonomy&rdquo / in architecture and its employment as a critical tool by architectural discourse to re-assess architectural practice. The private house projects designed by Boran Ekinci in Turkey are exemplified and utilized for the re-conceptualization of the term and enable the transfer of the discourse related with autonomy to the local context where the issue hardly gained a popularity. By doing so, both the appreciation of autonomy in general and reappreciation of architecture in Turkey are aimed.

L’émergence, dès la seconde moitié des années 1950, de deux milieux de la critique architecturale à Berlin-est et à Berlin-ouest, révèle, malgré les contraintes politiques qui pèsent sur ses acteurs, une volonté partagée de réflexion sur l’identité urbaine de la ville divisée. En effet, la Reconstruction des villes allemandes après la Seconde Guerre mondiale désigne un vaste projet de remise en service des infrastructures matérielles, mais aussi, de redéfinition d’un champ culturel et intellectuel profondément marqué par le nazisme. Adoptant une perspective d’histoire culturelle et des intellectuels, cette thèse explore les carrières, écrits et réseaux d’Ulrich Conrads, Günther Kühne, Julius Posener, Wolf Jobst Siedler, Klaus Duntze, Dieter Hoffmann-Axthelm et Nikolaus Kuhnert à Berlin-ouest, et de Kurt Liebknecht, Richard Paulick, Hermann Henselmann, Kurt Junghanns, Bruno Flierl et Wolfgang Kil à Berlin-est. Architectes ou historiens de l’art de formation, auteurs dans la presse spécialisée, et journalistes dans la presse généraliste écrite et radiophonique, mais aussi, parfois, éditeurs et professeurs dans les universités et écoles d’art, ces critiques d’architecture et de la ville s’engagèrent, entre les années 1950 et 1980, pour la reconnaissance d’une culture architecturale [Baukultur] berlinoise au XX ͤ siècle. Ils furent aussi, à bien des égards, les initiateurs d’une redéfinition des enjeux de la critique architecturale et urbaine dans l’Allemagne d’après 1945. / Both in East and West Berlin, as soon as the mid-fifties, architecture critics have come to the fore and shown that in spite of political pressures imposed on them, they shared a will to reflect upon the urban identity of the divided city. Indeed, the Reconstruction of German towns after WWII refers to a vast project of restoration of the material infrastructures but also the redefinition of a cultural and intellectual landscape bearing the heavy mark of Nazi ideology. Choosing a perspective of cultural and intellectual history, this thesis explores the careers, writings and networks of Ulrich Conrads, Günther Kühne, Julius Posener, Wolf Jobst Siedler, Klaus Duntze, Dieter Hoffmann-Axthelm and Nikolaus Kunhert in West-Berlin and of Kurt Liebknecht, Richard Paulick, Hermann Henselmann, Kurt Junghanns, Bruno Flierl and Wolfgang Kil in East-Berlin. Whether architects or history of art specialists, writers in the specialist press, journalists in the general press but also sometimes publishers and teachers in universities and art schools, those critics committed themselves to making the Berlin architectural culture [Baukultur] known in the XXth century. To a large extent they initiated a redefining of the stakes of architectural and urban criticism in post 1945 Germany.