Thesis (Ph.D.) -- University of Adelaide, Dept. of Architecture, 2000?

One hundred documents of one hundred performances. / Department of Architecture

The first part states the reasons for the disappearance of the body: the influence of modern technology, effects on self-perception and on the perception of reality. It questions how to deal with the shift from physical reality as reference of existence toward an infinite spectrum of virtual realities. The second part concerns a way of thinking - a fiction to explain the phenomena of disappearance - in drawing a parallel to recent thinking models in physics formulating the disappearance of matter. This shift of thinking is so fundamental that it literally reverses our notion of body and materiality. The thesis tries to imagine and to explain a reappearance of the body, the birth of the concrete out of the immaterial. The last part images and models necessary, ambiguous spaces in a world where inside and outside, weight and lightness, solid and immaterial are no longer clearly defined positions but zones, uncertainties, overlays. / Department of Architecture

2 v. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This thesis examines deconstructive writings, employing those strategies as a basis for re-forming approaches to architecture. A theory is posited that a distinction must be made between architecture as idiom and architecture as medium, expressed as a separation between architecture as a built form, Architecture the Idea and A(a)rchitecture as a new direction for framing an approach to its discourse. / Thesis (Ph.D.)--University of Adelaide, Dept. of Architecture, 2000?

Thesis (M.Arch.) - Carleton University, 2007. / Includes bibliographical references (p. 93-97). Also available in electronic format on the Internet.

Includes bibliography. This thesis examines deconstructive writings, employing those strategies as a basis for re-forming approaches to architecture. A theory is posited that a distinction must be made between architecture as idiom and architecture as medium, expressed as a separation between architecture as a built form, Architecture the Idea and A(a)rchitecture as a new direction for framing an approach to its discourse.

The possibilities for a rigorous deconstruction in landscape architecture are explored, based largely upon the theoretical work of Jacques Derrida, and the architectural work of Bernard Tschumi. Deconstruction is described in its philosophical context and as a form of literary criticism. This deconstruction is compared with recent architectural projects influenced by Derrida’s ideas, with particular attention to Parc de la Villette by Tschumi. Deconstruction as a design tool is compared to traditional design synthesis, and various methods of applying deconstruction to landscape architecture are described. / Master of Landscape Architecture

On the following pages are images of an architecture which pushes the limits of design. Conceived as an amalgamation of semiautonomous fragments, the thesis project strives to decompose into complete disarray. At the verge of structural (compositional) collapse, the building asks the question 'where does structure break down, and chaos begin?'. A table I have designed and built is an experiment in spontaneity, and questions the validity of traditional ways of building furniture. Building analysis drawings I have included at the end of the book are compositional exercises and have, from a graphic perspective, some of the density and formal complexity of the images of the thesis. While I have relied upon Deconstructionist terminology to describe the building represented, I must admit that the building is not truly Deconstructed. It is fragmented. Some visual continuity between design elements remains. If I were to produce a deconstructed building, I would have to go beyond playing formal games and question what forms signify. Then, perhaps, I could find alternative significations; I might also be able to make a new link between the signifier and the signified. I think I would be searching for a new conception of form, one free of convention, of precondition. / Master of Architecture