This thesis considers the use of a little-known building technique: short wall anchor construction. Ignored by its users and misunderstood by many of those who observed it subsequently, the short wall anchor construction technique has proved a useful window into the perception and behaviour of early modern people and subsequent communities.

This research examines the zone between environment and interior, the architectural façade, for the potential to develop a new form of composition based on kinetic pattern. Within contemporary architecture there is a growing interest in kinetics. Intelligent façades for example, manifest kinetics in the form of a responsive skin that adapts to changing environment conditions and user occupancy, continuing the trajectory of functionalism. Media façades by contrast, are driven by an interest in the recasting of architectural surface as a zone of interactivity, with the potential to engage users with public art works or embed socio-cultural information. Regardless of the design intent, the emerging field of kinetic façades offers the challenge of developing a sophisticated approach to the design of motion. As evidenced by a review of theory and practice, there is a lack of fundamental knowledge about the possibilities offered by kinetics. / Through the lens of morphology, this thesis explores the possibilities of kinetic composition afforded by façades in motion. The emphasis is on the underlying structure of kinetic form, independent of physical scale or materiality. Kinetics is defined in spatial terms: actual movement through geometric transformation in space (translation, rotation, scaling); or through controlling material properties of elasticity and mass to produce movement. Composition is analyzed in terms of pattern, defined as the relative movement of individual kinetic parts in time and space - the way in which multiple singular kinetic events cluster, or propagate, across a facade over time. A morphology of pattern is developed by three interrelated questions. What design variables influence kinetics, what is the theoretical range, and what nomenclature may robustly describe a morphology of pattern? / An original framework for conceiving design variables is proposed. The framework revolves around diverse approaches to data sampling and control systems, alongside the typical architectural emphasis on the design of the physical components. These three interrelated design activities are conceived in terms of ‘decision planes’. Specification of variables on each plane and in relation to time, determine the spatio-temporal limits, or what is termed as the ‘variable space’, from which patterns will emerge. / This conceptual framework has been used to structure a methodical series of computer animations, which explore range of pattern. In a similar vein to the tradition of façade study drawings, a diagrammatic approach to animation has been developed. The adoption of a non-realistic mode of representation is intended to focus attention on ‘movement itself’, independent of physical scale, materiality or figurative associations. Through analysis and discussion of the animations, it is proposed that morphology of kinetic pattern is robustly described through a nomenclature based on state change. It is proposed that three recognizable states reoccur-waves, folds and fields. State change is based on the principle of internal variance within these three simple states, and intermediate states that allow transition by degree and kind. Similar to the nomenclature for describing clouds, this provides a robust and extendable approach, allowing multiple intermediate states to be conceived in relation to the wave, fold and field definitions. / The framework for conceiving variables that influence pattern and the state change morphology provide the means to improve understanding in the particular realm of kinetic façade composition. The framework is presented in generic form and a particular instance is developed based on an analysis of key references. This provides a model to conceive the multiple variables that influence kinetic composition, while the morphology provides a low resolution map for designers, identifying the most distinctive forms and providing a scaffold for research by design. Further work on extending these contributions to knowledge is outlined, including the description of a simulation environment calibrated to the physical constraints of materials and technology.

This research examines the zone between environment and interior, the architectural façade, for the potential to develop a new form of composition based on kinetic pattern. Within contemporary architecture there is a growing interest in kinetics. Intelligent façades for example, manifest kinetics in the form of a responsive skin that adapts to changing environment conditions and user occupancy, continuing the trajectory of functionalism. Media façades by contrast, are driven by an interest in the recasting of architectural surface as a zone of interactivity, with the potential to engage users with public art works or embed socio-cultural information. Regardless of the design intent, the emerging field of kinetic façades offers the challenge of developing a sophisticated approach to the design of motion. As evidenced by a review of theory and practice, there is a lack of fundamental knowledge about the possibilities offered by kinetics. / Through the lens of morphology, this thesis explores the possibilities of kinetic composition afforded by façades in motion. The emphasis is on the underlying structure of kinetic form, independent of physical scale or materiality. Kinetics is defined in spatial terms: actual movement through geometric transformation in space (translation, rotation, scaling); or through controlling material properties of elasticity and mass to produce movement. Composition is analyzed in terms of pattern, defined as the relative movement of individual kinetic parts in time and space - the way in which multiple singular kinetic events cluster, or propagate, across a facade over time. A morphology of pattern is developed by three interrelated questions. What design variables influence kinetics, what is the theoretical range, and what nomenclature may robustly describe a morphology of pattern? / An original framework for conceiving design variables is proposed. The framework revolves around diverse approaches to data sampling and control systems, alongside the typical architectural emphasis on the design of the physical components. These three interrelated design activities are conceived in terms of ‘decision planes’. Specification of variables on each plane and in relation to time, determine the spatio-temporal limits, or what is termed as the ‘variable space’, from which patterns will emerge. / This conceptual framework has been used to structure a methodical series of computer animations, which explore range of pattern. In a similar vein to the tradition of façade study drawings, a diagrammatic approach to animation has been developed. The adoption of a non-realistic mode of representation is intended to focus attention on ‘movement itself’, independent of physical scale, materiality or figurative associations. Through analysis and discussion of the animations, it is proposed that morphology of kinetic pattern is robustly described through a nomenclature based on state change. It is proposed that three recognizable states reoccur-waves, folds and fields. State change is based on the principle of internal variance within these three simple states, and intermediate states that allow transition by degree and kind. Similar to the nomenclature for describing clouds, this provides a robust and extendable approach, allowing multiple intermediate states to be conceived in relation to the wave, fold and field definitions. / The framework for conceiving variables that influence pattern and the state change morphology provide the means to improve understanding in the particular realm of kinetic façade composition. The framework is presented in generic form and a particular instance is developed based on an analysis of key references. This provides a model to conceive the multiple variables that influence kinetic composition, while the morphology provides a low resolution map for designers, identifying the most distinctive forms and providing a scaffold for research by design. Further work on extending these contributions to knowledge is outlined, including the description of a simulation environment calibrated to the physical constraints of materials and technology.

No description available.

The initial idea for this thesis involved the design of an addition to Cowgill Hall on the Virginia Tech Campus in Blacksburg, Virginia. This addition, to be constructed with an envelope comprised primarily of glass, would be located on the south side of Cowgill Hall, adjacent to Cowgill Plaza. The all-glass box would add a transparent volume to the existing building, diminishing the barrier between inside and outside. The project would also energize the existing plaza by connecting the activity inside to outside and providing the dynamic reflection of a glass facade. Cowgill Hall would also be given new life by providing a new shared vertical space for dynamic communication and light. Potential problems associated with the all-glass box include high heat loss or gain, glare and noise control. A double envelope system of construction was explored as a means of solving some of these problems and an endeavor on literature review, technical research and design improvement of double glass facade was also made. / Master of Architecture

For my thesis I explored the idea of the mask in relation to architecture. For my project I designed an art gallery located in Georgetown Washington DC which is composed of three layers: a structural layer, an environmental casing, and an outer layer. Theoretical parallels are drawn between the outer layer of the gallery and what is commonly referred to as a mask. Additionally, I explored the interaction between the layers of the gallery. The distinguishing characteristics of the building include the tri-facade mask, the unique spaces in between the gallery's layers, the glass system, the mask's ghost effect, and the floor system. / Master of Architecture

Architects and others choosingfacade colours using colour samples face difficulties whichprevious research has not addressed. This work aims to aid suchcolour design by exploring three main questions: 1. Is itpossible to survey and map out what colours people perceive onfacades observed under different conditions? If so, whatmethods can be used and it is possible to obtain results ofwider application? 2. How does the perceived colour of a facadevary with changing observation conditions? What is the impactof factors such as light conditions, viewing distance andsurrounding colours? 3. How does the perceived colour of thehouse, in different situations, differ from the colourcorresponding to the specification of the sample used forselection? Are there any recurring tendencies that can bepresented in a practically useful way? The work was based onabout 3600 observations of painted timber and rendered facades,made by both experienced colour researchers and "naïve"school students, with various daylighting conditions, viewingdistances and seasons. Colour specifications and discussions oncolour attributes were made within the conceptual framework ofthe Natural Colour System (NCS). Inherent colour was measuredby comparison with colour samples placed directly on the facadesurface. Six methods for determination of perceived colour weredeveloped and evaluated, along with a method for comparison ofperceived and inherent colour. A combination of all gave themost reliable results. Results showed some recurring tendenciesfor perceived colour to vary with viewing conditions, but thevariations were always smaller than the difference betweenperceived and inherent colour. Consistent variation patternsfor the difference between inherent and perceived colour werefound for both hue and nuance. Most obvious was that perceivedcolour always had less blackness than inherent colour. Possibleexplanations included differences between the outdoor viewingsituation and the standard situation where inherent colour isdefined, and the observer’s acquired sense of what colours"belong" outdoors. A fuller explanation would require furtherstudies such as of colour perception in different lightsituations, and of three dimensional context effects. Resultshave immediate applicability however; suitably illustrated andpublished, the variation patterns found could be of directpractical use in exterior colour design.

<p>Architects and others choosingfacade colours using colour samples face difficulties whichprevious research has not addressed. This work aims to aid suchcolour design by exploring three main questions: 1. Is itpossible to survey and map out what colours people perceive onfacades observed under different conditions? If so, whatmethods can be used and it is possible to obtain results ofwider application? 2. How does the perceived colour of a facadevary with changing observation conditions? What is the impactof factors such as light conditions, viewing distance andsurrounding colours? 3. How does the perceived colour of thehouse, in different situations, differ from the colourcorresponding to the specification of the sample used forselection? Are there any recurring tendencies that can bepresented in a practically useful way? The work was based onabout 3600 observations of painted timber and rendered facades,made by both experienced colour researchers and "naïve"school students, with various daylighting conditions, viewingdistances and seasons. Colour specifications and discussions oncolour attributes were made within the conceptual framework ofthe Natural Colour System (NCS). Inherent colour was measuredby comparison with colour samples placed directly on the facadesurface. Six methods for determination of perceived colour weredeveloped and evaluated, along with a method for comparison ofperceived and inherent colour. A combination of all gave themost reliable results. Results showed some recurring tendenciesfor perceived colour to vary with viewing conditions, but thevariations were always smaller than the difference betweenperceived and inherent colour. Consistent variation patternsfor the difference between inherent and perceived colour werefound for both hue and nuance. Most obvious was that perceivedcolour always had less blackness than inherent colour. Possibleexplanations included differences between the outdoor viewingsituation and the standard situation where inherent colour isdefined, and the observer’s acquired sense of what colours"belong" outdoors. A fuller explanation would require furtherstudies such as of colour perception in different lightsituations, and of three dimensional context effects. Resultshave immediate applicability however; suitably illustrated andpublished, the variation patterns found could be of directpractical use in exterior colour design.</p>

Abstract <br /> This thesis deals with the numerical investigation of the upper section of a building-integrated photovoltaic/thermal double-fa??ade. The upper section consists of an airflow window with a between-the-panes roller blind. The purpose of this thesis is to develop and validate a numerical model in order to optimize the design of the system. The lower section, which consists of building-integrated photovoltaics, has already been modelled at Concordia University. The results from the lower section will be used as inputs to the upper section. <br /><br /> The validation of the model was carried out in three stages. In the first stage, the model was validated for forced convection between parallel plates using analytical data as benchmarks. In the second stage, a radiation analysis was performed for single, double and triple-glazed closed system with natural convection only. In the third and final validation stage, experimental data gathered from the Solar Lab at Concordia University was compared to the numerical model. The model included the effects of radiation for an open system with forced convection and a between-the-panes roller blind. For all three stages of validation, the results from the model were in excellent agreement with the benchmarking data. <br /><br /> Once the model was validated, a parametric analysis was used to determine the effects of varying key model parameters. The outlet temperature, the useful energy gain, and the net energy gain of the system were plotted as a function of inlet velocity. It was concluded that as the flow rate through the cavity was increased, the air temperature at the outlet approached that of the outdoor ambient air. By computing the heat generated from advection as well as the total losses from the system, including the heat lost from the indoor environment as well as the power consumed by the fan, the net useful heat gain of the system was calculated as a function of insolation level. Operating points (of the fan) for the upper section were therefore determined as functions of insolation level. A second order polynomial equation provided an excellent fit to the data and could therefore be used to determine the ideal operating point of the upper section for any insolation level.

Cette thèse pour but de développer des méthodes de segmentation pour des scènes fortement structurées (ex. bâtiments et environnements urbains) ou faiblement structurées (ex. paysages ou objets naturels). En particulier, les images de bâtiments peuvent être décrites en termes d'une grammaire de formes, et une dérivation de cette grammaire peut être inférée pour obtenir une segmentation d'une image. Cependant, il est difficile et long d'écrire de telles grammaires. Pour répondre à ce problème, nous avons développé une nouvelle méthode qui permet d'apprendre automatiquement une grammaire à partir d'un ensemble d'images et de leur segmentation associée. Des expériences montrent que des grammaires ainsi apprises permettent une inférence plus rapide et produisent de meilleures segmentations. Nous avons également étudié une méthode basée sur les auto-contextes pour segmenter des scènes fortement structurées et notamment des images de bâtiments. De manière surprenante, même sans connaissance spécifique sur le type de scène particulier observé, nous obtenons des gains significatifs en qualité de segmentation sur plusieurs jeux de données. Enfin, nous avons développé une technique basée sur les réseaux de neurones convolutifs (CNN) pour segmenter des images de scènes faiblement structurées. Un filtrage adaptatif est effectué à l'intérieur même du réseau pour permettre des dépendances entre zones d'images distantes. Des expériences sur plusieurs jeux de données à grande échelle montrent là aussi un gain important sur la qualité de segmentation / The aim of this thesis is to develop techniques for segmenting strongly-structuredscenes (e.g. building images) and weakly-structured scenes (e.g. natural images). Buildingimages can naturally be expressed in terms of grammars and inference is performed usinggrammars to obtain the optimal segmentation. However, it is difficult and time consum-ing to write such grammars. To alleviate this problem, a novel method to automaticallylearn grammars from a given training set of image and ground-truth segmentation pairs isdeveloped. Experiments suggested that such learned grammars help in better and fasterinference. Next, the effect of using grammars for strongly structured scenes is explored.To this end, a very simple technique based on Auto-Context is used to segment buildingimages. Surprisingly, even with out using any domain specific knowledge, we observedsignificant improvements in terms of performance on several benchmark datasets. Lastly,a novel technique based on convolutional neural networks is developed to segment imageswithout any high-level structure. Image-adaptive filtering is performed within a CNN ar-chitecture to facilitate long-range connections. Experiments on different large scale bench-marks show significant improvements in terms of performance