No description available.

No description available.

No description available.

Includes bibliographical references (p. 109-125).

No description available.

University of Technology, Sydney. Faculty of Design, Architecture and Building. / Documentation within architecture refers to working drawings that are produced to envisage an imagined building. These drawings are a tangible representation of an object that has no tangible existence. Conventional documentation regards the act of drawing as that process upon which the object is wholly dependent for its coming into existence: they assist in ‘getting to’ the building. However, the definition of the word ‘document’ refers to a record of events, that is, post factum evidence. Within architecture, drawing as a record is not the dominant practice. Instead, representation that is a visualisation of the non-existent dominates. Hence, the realm of post factum documentation is under-examined. Due to the predominance of drawing within architecture, models are seen as an adjunct to drawings and so their role and potential has been examined in far less depth than that of architectural drawings. This thesis explores the notion of the model as three-dimensional post factum documentation of architecture. Through the theory of drawing, case studies of models of various scales are examined. These case studies are the Panorama model of New York City, the reconstruction of Mies van der Rohe’s German Pavilion, and the exhibition of architecture as post factum model, in particular the work of Peter Eisenman, Herzog and de Meuron, El Lissitzky, Allan Wexler and Diller and Scofidio. This examination repositions models within an expanded notion of the design process, which displaces the built object as the endpoint of this process, and investigates the critical facility of models.

University of Technology, Sydney. Faculty of Design, Architecture and Building. / Documentation within architecture refers to working drawings that are produced to envisage an imagined building. These drawings are a tangible representation of an object that has no tangible existence. Conventional documentation regards the act of drawing as that process upon which the object is wholly dependent for its coming into existence: they assist in ‘getting to’ the building. However, the definition of the word ‘document’ refers to a record of events, that is, post factum evidence. Within architecture, drawing as a record is not the dominant practice. Instead, representation that is a visualisation of the non-existent dominates. Hence, the realm of post factum documentation is under-examined. Due to the predominance of drawing within architecture, models are seen as an adjunct to drawings and so their role and potential has been examined in far less depth than that of architectural drawings. This thesis explores the notion of the model as three-dimensional post factum documentation of architecture. Through the theory of drawing, case studies of models of various scales are examined. These case studies are the Panorama model of New York City, the reconstruction of Mies van der Rohe’s German Pavilion, and the exhibition of architecture as post factum model, in particular the work of Peter Eisenman, Herzog and de Meuron, El Lissitzky, Allan Wexler and Diller and Scofidio. This examination repositions models within an expanded notion of the design process, which displaces the built object as the endpoint of this process, and investigates the critical facility of models.

Thesis (M. Arch.)--Carleton University, 2008. / Includes bibliographical references (p. 91-92). Also available in electronic format on the Internet.

Orientador: Maria Gabriela Caffarena Celani / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-10T23:07:07Z (GMT). No. of bitstreams: 1 Vieira_EricaPinheiro_M.pdf: 5079109 bytes, checksum: ed92461f98d5f0d28c0fb6e2b52c30df (MD5) Previous issue date: 2007 / Resumo: Este trabalho consiste em um estudo exploratório sobre a produção digital de maquetes arquitetônicas. Inicialmente, foi realizada uma revisão bibliográfica com a finalidade de conhecer os novos métodos de produção digital de maquetes, incluindo software de modelagem e equipamentos de prototipagem rápida. Nesse estudo inicial, além de explorar os principais equipamentos, processos, aplicações e materiais, identificou-se dois arquitetos renomados que fazem uso dessa tecnologia nos seus processos de projeto: Frank Gehry e Norman Foster. Deste estudo verificou-se processos distintos de projeto e diferentes abordagens sobre a utilização dessas ferramentas, o que motivou a realização de experimentos para exemplificar como produzir digitalmente maquetes arquitetônicas. O Museu Guggenheim de Bilbao, de Frank Gehry, foi escolhido como variável fixa para realização dos experimentos de produção digital de maquetes, por ser um modelo de grande complexidade, permitindo testar os limites dos equipamentos de prototipagem rápida disponíveis no Laboratório de Prototipagem para Arquitetura e Construção (LAPAC) da FEC ¿ Unicamp e no Centro de Pesquisas Renato Archer (CenPRA). Além disso, foram testadas diferentes técnicas e materiais, inclusive materiais alternativos, com o objetivo de viabilização econômica. Os resultados comprovaram que o processo de produção digital de maquetes arquitetônicas é viável em termos de procedimentos, de custo, de materiais disponíveis no mercado, qualidade das maquetes produzidas e rapidez na execução. A partir das conclusões obtidas nos experimentos realizados foi elaborado um caderno de recomendações para a confecção de maquetes que será utilizado pelos usuários do LAPAC e que servirá como importante ferramenta de auxílio para os iniciantes na produção digital de maquetes arquitetônicas. Espera-se que os resultados desta pesquisa possam auxiliar a estabelecer diretrizes para a incorporação dessas técnicas e equipamentos em disciplinas de projeto e na prática de arquitetura / Abstract: The present work is an exploratory study about the digital fabrication of architectural models. It started with a literature review, with the aim of getting in contact with the new digital methods for making models and prototypes, from modeling software to rapid prototyping equipment, processes, materials and applications. Still in this initial study the work of two well-known architects, Frank Gehry and Norman Foster, who use rapid prototyping techniques in their design process, was analyzed. From this part of the research it was possible to conclude that the different approaches that architects have to the design process is reflected in the way they use digital techniques for making their models. The second part of the research consisted of a series of experiments with the objective of illustrating the digital production of architectural models. For these experiments, Frank Gehry's Guggenheim Museum in Bilbao was chosen as a fixed variable for the production of models, due to its geometric complexity, which allowed to push the use of the available rapid prototyping equipment to their limits. Only the equipment available at FEC-UNICAMP's (Laboratório de Prototipagem para Arquitetura e Construção - LAPAC) and CENPRA's (Laboratório de Prototipagem Rápida do Centro de Pesquisas Renato Archer) laboratories were used. They consisted of a 3d printer, a fusion deposition modeller (FDM) machine, and a laser cutter. Different techniques and materials were tested in these machines, with the objective of evaluating the quality and economic viability of the resulting models. The results showed that the digital production of architectural models is viable for use in Brazilian architecture schools, in terms of procedures, cost, availability of materials, time spent and quality of the models. Finally, a manual with recommendations and tips was produced, with the aim of helping students build their own models using rapid prototyping equipment. We hope that the results of this research will help guiding the incorporation of these techniques in architecture education and practice in Brazil / Mestrado / Arquitetura e Construção / Mestre em Engenharia Civil

Este estudo se propõe a falar sobre as maquetes de apresentação, que são executadas por profissionais especializados, para o Mercado Imobiliário. Foi feito um levantamento sobre como este mercado trabalha atualmente no Brasil, estudando metodologias, materiais e maquinários utilizados. Para tanto, foram feitas visitas técnicas a três das principais empresas especializadas no setor, documentando fotograficamente as formas de trabalho, os materiais mais utilizados e quais máquinas podem ser encontradas. Foi analisada, também, uma das inovações mais recentes e revolucionárias nesta área que é a Fabricação Digital (FD), que, além de influenciar diretamente o setor de construção de maquetes, está alterando a metodologia de trabalho dos arquitetos e designers, pois torna muito mais tênue a linha entre o desenho digital e a execução do modelo físico. Para tanto, foi feita uma visita técnica em um dos doze FabLabs Livres SP, abertos a todos os interessados na cidade de São Paulo, onde foi avaliado omaquinário disponível e suas possibilidades de uso, bem como o acesso aesta nova tecnologia disponibilizada pela Prefeitura Municipal de São Paulo. Estes Laboratórios são abertos ao público e oferecem, além do acesso direto às máquinas, cursos que ensinam a projetar e utilizar esta nova tecnologia. / This study intends to talk about the models of presentation, which are carried out by specialized professionals, for the Real Estate Market. A survey was made on how this market currently works in Brazil, studying methodologies, materials and machinery used. For that, technical visits were made to three of the main companies specialized in this sector, photographically documenting the forms of work, the most used materials and which machines were found there. It was also analyzed one of the most recent and revolutionary innovations in this area that is Digital Fabrication (FD), which, in addition to directly influencing the model construction sector, is changing the architects\' and designers\' working methodology since it makes thinner the line between the digital drawing and the completion of the physical model. A technical visit was made to one of the twelve FabLabs Livres SP, open to all interested in the city of São Paulo, where the available machinery and their possibilities of use were evaluated, as well as the access to this new technology provided by the City Hall Municipality of São Paulo. These laboratories are open to the public and offer courses on how to design and use this new technology. In addition, they offer direct access to the machines.