This thesis deals with the straight-line surfaces, their division, and properties. Because these surfaces are spatial formations, in their view it is necessary to select the appropriate type of screening. For this purpose is selected rectangular axonometric, which also deals with the work. In conclusion, the findings of these two parts are connected together and selected straight-line surfaces are shown using rectangular axonometric. Because today is more comfort use for the purposes of mathematics, especially geometry, different software, is for creating images in this thesis used programs GeoGebra and AutoCAD.

This thesis project has been an investigation of the summer house phenomena, both from an historical point of view - the background and history of summer houses - looking at the emergence of the culture, their architectural programmatic experience, how they’ve change over time, as well as looking into specific reference projects, both for inspiration and clarity - some older houses, and others that are more modern. In addition to the research, and as the main part of the thesis project I have aimed to design a new small summer house of my own, to be placed on the small island in Mälaren where my family's current house is situated and where I have grown up, by using the knowledge I’ve gathered and the inspiration I have come across in order to create a project different from the one that is there today.

This project is the search for a room. The search included that which is sensible through tone, and that which is intelligible through line. Tone and color were used to paint the sensible, geometric constructions were used to understand the intelligible. The constructed axonometric drawings became both sensible and intelligible in the way that their very construction is an active reconstitution of the charred contours of a dream. This project began with a glass of Scotch, which is a container of a world; dreamlike, smoky, and ethereal. It ended with drawings of a room; a reconstitution of a dream. / Master of Architecture

This dissertation is a study of a remarkable change that came about in the kind of drawings that architects used to present their work between the decades of 1960 and 1990. Drawings in this period, visually rich and compositionally complex, seemed to mark an entirely new sensibility towards their function; their goal seemed to be not so much to clearly depict the forms of a proposed building, but to instead focus on its conceptual aspects. In fact, in several cases, drawings seemed to be treated as graphic projects in their own right, over and above the work they presented. This trend was accompanied by two other developments. Around the same time, there was a sudden increase in theoretical interest in drawings within the architectural community leading to a flurry of published articles, essays and books on the topic. And all this happened to coincide with the time that the Postmodern movement came to dominate architecture. The study aims to understand the relationship between these trends, and to develop a better understanding of the reasons for these changes to have occurred. It does so by, first, developing a theoretical framework to help understand the nature and impact of the changes in drawings. Next, it presents a detailed historical account of these changes. This is followed by an in-depth study of a single architect, James Stirling, to show how the new types of drawings were not simply a means to present ideas, but played a formative role in design as well. Apart from developing a contextualized historical account of an important development in contemporary architectural history, the study also finds that the change in the drawing practice and the theoretical interests were not simply an outcome of Postmodern cultural theory of the period, but were instigated by concerns that arose from within architecture itself. It thus offers a useful case-study on how changes in disciplinary practice are brought about.

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.