Documentation is an important aspect in the construction industry since there are many types and number of documents that have to be controlled for the success of a given project. In design/build projects, site technical groups of the contractor upgrade the tender drawings by preparing shop drawings to be sent to the consultant for checking purpose. Especially in large projects a great many shop drawings are produced, causing a need of a system to keep track of and to understand the status of the drawings. These all can be achieved with a proper documentation system to be used within the company. The main aim of this study was to make a proposal for the structure of production drawings of &ldquo / design/build&rdquo / construction projects in computer environment to maintain control of the drawings in the construction sites while documenting them for project completion. This system should base on CADD Standards. In this, first, the architectural production drawings were identified. These were then arranged according to the model file-naming convention of the selected CADD Standard. Following, the main folders of the proposed documentation structure were created and, finally, the working principles of the structure were introduced. The system was applied to a real construction project for a period of two weeks and tested by usability evaluation. The results of the usability evaluations revealed that the system provides advantages in terms of the control of shop drawings and documentation for project completion. Conversely, the system did not maintain ease of communication.

This thesis is a monographic study to examine the transformation of the old industrial district of Ankara, which is yet incomplete. Investigating the significant reasons for its incompleteness, the study will concentrate on the intrinsic dynamics of this process, and particularly on such important contributions of its political actors. The aims of the study are to figure out the roles of political actors in urban transformations, and to evaluate the position of architectural production within such processes. As a consequence of this evaluation, the possible approaches for the similar forthcoming urban transformations will be questioned, with special reference to the political framework and the position of architectural production within the same framework. Maltepe developed as an industrial district since the end of the 19th Century, and served with the same function during the Republican period, until the 1950s when there were necessities and requirements for transformation. The transformation of the district occurred as two distinct processes on industrial production and industrial service areas. The industrial production area remained partially transformed, as a result of resistance mechanisms generated by the unavoidable practical difficulties. The transformation of the industrial service area remained incomplete as a result of varying design decisions at different periods. In general, the incompleteness of the transformation of the old industrial district was reasoned by either the incapability of political actors, or by the confrontations between them. The architectural production in this transformation was defined by the political actors, whose positions were characterized by such circumstances, within which the transformation occurred. Since the circumstances are different in any case, any urban transformation has different intrinsic dynamics and peculiarities in itself. Therefore, rather than approaching the issue of transformation with general policies, the strategies must be developed for each specific case. These strategies would also include the political actors, and the architects who participate in the formation of those political actors.

Le paysage urbain contemporain de la ville de Tunis, caractérisé par une forte hétérogénéité référentielle, interroge quant aux facteurs de son émergence. L'histoire récente du pays, marquée par l'indépendance en 1956, suggère l'existence d'un rapport étroit entre ce moment de prise d'autonomie politique, économique, mais surtout culturelle, et la portée qu'il a eu sur la détermination du langage des architectures à édifier.Cette recherche soulève donc la problématique de l'évolution des références de la production architecturale savante en Tunisie indépendante entre 1956 et 2011. Il s'agit d'explorer comment, dans le cadre de la construction de l'État indépendant, une architecture est fabriquée, et dans quelles mesures elle traduit sa stratégie culturelle pour en devenir l'image même.En partant de l'hypothèse que l'interaction entre la commande officielle et la conception architecturale a induit la pluralité référentielle du paysage urbain actuel, Tunis est ainsi exploré dans une perspective historique interrogeant l'architecture édifiée dans le processus commande-conception-communication. L'hétérogénéité des architectures de la ville découlerait surtout de la disparité des postures officielles, mais aussi savantes, dans la définition d'une tunisianité contemporaine culturelle, et donc architecturale, cloisonnée dans le clivage modernité-tradition.un détour par les différents supports de communication de l'architecture entre 1956 et 2011, a été nécessaire pour mener à bien cette recherche. Un corpus diversifié a ainsi été sélectionné et analysé.La lecture croisée de ce corpus fait ressortir trois types de discours véhiculés: un discours par, de et sur l'architecture. Le premier est perceptible aussi bien dans la revue de presse officielle que dans les représentations architecturales sur les billets de banque, les timbres et quelques cartes postales depuis l'indépendance. Son exploration a permis de dégager les images que l'État fabrique d'une architecture "emblématique" comme réalisation officielle. Le discours de l'architecture reflète, quant à lui, la représentation que le concepteur propose pour définir l'architecture tunisienne. La recherche dans les fonds d'archives des documents graphiques rend compte de l'évolution du langage architectural proposé. L'analyse des profils des architectes relève l'importance de leur culture architecturale dans le modelage du paysage urbain actuel. Enfin, le discours sur l'architecture, matérialisé par l'examen des articles des périodiques d'architecture et de la revue de presse indépendante, dépeint la réception des œuvres. Il permet de voir la production architecturale au delà du discours officiel du maître d'ouvrage et de celui du maître d'oeuvre. Les représentations caricaturales d'un paysage urbain hétéroclite, ainsi que d'une architecture "moderniste" rhabillée par une enveloppe ornementale "historiciste" caractérisent essentiellement ce dernier discours.La référence architecturale des édifices paraît évoluer à l'image de la fondation de l'État et de la définition de ce qui est désormais "tunisien". L'analyse des discours relevés dans l'étude du corpus nous a permis de dégager trois imaginaires différents. Un imaginaire de développement caractérise les premières décennies de l'État indépendant. Il opère par une esthétique allusive qui s'aligne sur les tendances architecturales des grandes métropoles occidentales. Un imaginaire historique émerge par la suite. Il se construit, entre autres, à travers un héritage dont on cultive l'image et qu'on promeut au rang de patrimoine. Ainsi, la vénération du modèle "médinal" et plus récemment la revendication de l'héritage "protectorial", procurent à certains édifices un statut référentiel quant aux conceptions à venir. Enfin, un imaginaire syncrétique, oscille entre la modernisation du traditionnel et la traditionalisation du moderne en vue d'un idéal de fusion d'influences qui définirait l'architecture tunisienne contemporaine. / The high heterogeneity of the Tunisian cityscape raises important questions about the context of its emergence. A historical analysis of the country's last decades seems to be necessary towards understanding its origins. Since the State independence in 1956, several political, economical, and especially cultural evolutions have occurred. These have seemingly a great impact on the language of the contemporary architectural production.The present research focuses on the evolution of the references behind the Tunisian architecture from the independence until 2011. It mainly explores how an architecture was produced during the independent State establishment, and to what extent this architecture reflects the State's cultural policy.The main explored hypothesis concerns the impact of the interaction between the constructions initiated by the State and the architectural design on the current country's cityscape. Most of the project initiated by the independent State were built in the capital. Thus, Tunis is studied from a historical standpoint and buildings are analyzed in the triple process of architectural order, design, and communication, in order to understand the emergence circumstances of the current referential heterogeneity. A cross-reading of architecture publications highlights the different speeches that shape several imaginaries so to define contemporary Tunisian specificities, between modernity and tradition.Answering such a question implies a deep knowledge of the main State's projects during this period, but also the profiles of the different architects behind these projects design. A diverse corpus including graphical representations of the considered projects, general and specialized press publications, bank notes, stamps, and postcards, were selected for analysis. Besides its historical dimension, such a corpus enables observing the Architecture as a mean of communication from a cultural perspective.The cross-reading of this corpus brings out three types of speeches: a speech by, of, and on Architecture. The former, is observable on the official press, on the architectural representations of bank notes, on stamps and some postcards. Its analysis helped to determine the image that the State gives about its architectural realizations. The second type of speeches reflects the perception of the architect, as a designer of the Tunisian architecture. Research on graphical representations in public archives show the evolution of the architectural language. Moreover, the analysis of the diverse background of the architects, practicing during the period under study, shows the great impact of their architectural culture on the Tunisian cityscape. Finally, the last type of speech observed in specialized architectural magazines and private press, enables to extract receptions about the realized projects.References behind architectural realizations in Tunis seems to evolve together with the State evolution and the different definition of what is «Tunisian» at each moment. The study of the identified speeches led to three different imaginaries. The first is a progress imaginary, which characterizes the first decades of the independent State. It operates through an esthetic allusion following architectural inclination of great occidental metropolis. The second is a historical imaginary that emerges later and which mainly refers to a legacy architecture transformed into a protected heritage. Hence, the worship of the « medinal » architecture and recently the french protectorat legacy provide to some artefacts a status of reference for upcoming constructions. Finally, the third imaginary is syncretic and fluctuates between modernizing tradition and traditionalizing modernity towards a perfect fusion that eventually defines contemporary Tunisian architecture.