I den här rapporten undersöker jag jalusins möjligheter och frågar mig hur stavarnas färg och form och det sammanhållande tyget påverkar jalusins estetiska uttryck.  Först lyfter jag blicken och tittar på hur jalusidörrar använts i möbler tidigare i historien och hur man tillverkar dem rent prak-tiskt. Därefter listar jag ett antal förslag på hur stavarna i en jalusis skulle kunna utformas för att skapa en yta som är taktil och intressant att titta på. Av dessa väljer jag ut sju som jag undersöker när-mare genom egna tester. För att kunna jämföra jalusierna bygger jag även fyra skåpstommar som jag kan montera jalusierna i. Efter denna inledande undersökning går jag vidare och tillverkar två produkter: ett glasögonfodral och en pall. Syftet med detta är att laborera med skalan på stavarna och titta på hur jalusier kan användas i olika sammanhang.  Resultatet visar att stavarnas färg och form påverkar det estetiska uttrycket i allra högsta grad och därför kan en jalusi användas för att förstärka en möbels karaktär eller ge den en personlighet. Undersökningen visar också att det är möjligt att låta tyget ta mer plats och att det går att avvika en del från det gängse sättet att tillverka en jalusi för att uppnå detta. / In this report, I examine the possibilities of the tambour and ask how the colour and shape of the rods and the connecting fabric affect the aesthetic expression. First, I lift my gaze and look at how tambour doors have been used in furniture earlier in history and how you proceede to make tambour cabinets. Next, I list a number of suggestions for how the rods in a tambour could be designed to create a surface that is tactile and interesting to look at. Then I select seven of these that I will examine more closely through my own tests. To be able to compare the tambour doors, I also build four cabinets that I can mount the tambours in. After this initial investigation, I continue and make two products: an eyeglass case and a stool. The purpose of this is to experiment with the scale of the rods and to see how tambours can be used in different contexts. The result shows that the colour and shape of the rods influence the aesthetic expression very much and therefore a tambour can be used to enhance the character of a piece of furniture, or to give it a personality. The investigation also shows that it is possible to let the fabric be more visible and that it is possible to deviate somewhat from the usual way of making a tambour door to achieve this.

This thesis explores form and flow of space through the program of a theatre and gallery. It studies the relation between a building and its surrounding landscape, in order to create public gathering spaces. It also deals with the question of scale and its reflection on how you feel the space. In this project, the building is an extension to the landscape where the ground becomes the roof, and where the boundaries of a space are blurred. The project is also a memorial for the 2011 and 2013 revolutions in Egypt. It is a place of memory but also a space to inspire future generations. In studying the relationship between two elements, model making and sketching were the primary means of generating the form. Then the design was advanced through a series of digital models and hand sketches. My drawings in general are a rational representation of the spaces. It deals with the sense, rather than the material aspect, of the space. / Master of Architecture

This thesis explores the idea of two autonomous spatial systems and their interaction: a syntactic grid and a pure formal volume. The juxtaposition of these two elements allows for insight into and exploration of their autonomous ordering potentialities, as well as the potential relationships or the presence of both systems. The syntactic grid articulates structure and strength for the architectural project , while the pure volume translates the programmatic function and their distinction from the grid. / Master of Architecture

This project is imagined as a community art gallery located in the city of Asheville, North Carolina. The primary rooms within the building are demonstrated through perspective drawings, models and photographs. The character of each room was established through the spatial composition of pattern, color and form in light. Continuous and discontinuous surfaces are shown as floors, ceilings and walls. Windows, doors, and stairs were discovered rather than added. The plan of the building was found rather than predetermined. / Master of Architecture

The building is a family chapel comprised of three separate yet interdependent spaces: a sanctuary, a stair tower, and a spire. The design developed from the inside out, specifically from the interior of the sanctuary to the building as a cohesive whole. The building's form was found through sketching and making a model. The design is represented through sketches, drawings, and photographs. / Master of Architecture

Architectural form offers an expression and an observer receives an impression. This interaction exists at both intellectual (mind) and physical (body) levels. Through designing a sculpture pavilion in a forest, this thesis explores different means of empathetic expression in modern architectural form. / Master of Architecture

In most parts of the country, swimming pools are objects of recreation and entertainment - symbols of luxury, affluence. In Texas, they hold a similar position, but the water is viewed with a great amount of subconscious reverence. Its cooling properties make it more than a toy for "Marco Polo." Even people who cannot or do not want to swim will exert great effort just to dip their hands or wade their bare feet in a cool swimming pool. The act of cooling is relegated to concerns of comfort, survival, and mechanical possibilities. It plays such an important role in the daily life of a Texan, especially in the summer, yet we treat our swimming pools, air conditioners, and ceiling fans just as any other American. Should such a vital aspect of a Texan's daily life be realized so mundanely? So crucial a factor in our lives must be uplifted to some form more poetic than the noisy A/C unit under the kitchen window. In the Hill Country of Central Texas lies the village of Willow City, 1-1/2 hours southwest of the capital, Austin. A sinuous road, known as the Willow City Loop, winds north from the forgettable village through an untouched, untamed, semi-arid wilderness. The area is a stretch of vast expanses of granite and limestone often exposed with little or no topsoil. For a brief period during the springtime, the road becomes a traffic-congested line of families hoping to see flourishes of the in-bloom state flower, the bluebonnet. At all other times, the road is completely deserted. A field of alternating pink, orange, and rust-white stretches for miles with frequent interruptions of various shades of green from mesquite trees, live oaks, cedars, cacti, and lichens. The topography constantly changes. Boulder-sized shards of granite seem to just explode out of escarpments. In other places, horizontal bands of granite cantilever from the tops of hills, displaying the years and time of its formulation. Two hills in particular, the Twin Knobs, comprise a striking composition of great architectural quality. The architecture of the kidney-bean pool and the air-conditioner is inappropriate and inadequate when considering the significance of water in Texas. What is the architecture for the adoration of water in Texas? Where does one immerse oneself in water as a retreat from the sun and an act of tribute to that water? Furthermore, what is the form this architecture? How does such an architecture meld into a dynamic and varied topography? How does geometry generate or dictate such a form? Where do the geometry and formal expressions end and the architecture begin? Or, are they one? What is the nature of a human in such a place? This book presents a retreat whose architectural focal point is a pool nestled in an excavated basin between the Twin Knobs. It is shielded by a great cone that forces the heat of the sun to yield to the repose of the pool and its water. / Master of Architecture

Urban Interventions are too often regarded by long-time inhabitants of city neighborhoods as a means to displace them from their homes to make room for expensive chain stores and exclusive residential buildings - gentrification. This view is unfortunately correct more often than not. An intervention should instead aim to improve the physical environment, public space. It will allow equal access to all residents. The street will shift from automobile centered to people-centered. The introduction of vegetation to the urban environment in an intervention not only improves air and water quality and reduces urban heat, but offers long lasting positive effects on the general well-being of residents by providing psychological relief. The forms that shape this urban intervention will take the above mentioned items into consideration, and in addition possess qualities that spur interactions that shape memory of the place. Undulations, extrusions that provide shade and shelter, bridging features - allow an urban scene to unfold. Careful placement of vertical planes will provide a sense of enclosure and a place for respite from the hectic activity beyond. / Master of Architecture

There is a difference between making in a material manner, as opposed to a formal one. Any selected material has certain physical properties; in the case of wood, one could posit that a certain species has a particular strength, hardness, and appearance. These properties influence our decision to work with a given species of wood. Material carries with it reference. In seeing a certain material - red clay brick, for example - our memory might refer to a prior experience with it. Formal considerations bracket out the material and the referential. Form de-materializes material and is self-referential. Form is the aspect of a thing or set of things. It is the basis for the recognition of commonality and judgement. The act of making inculcates a two-fold relationship between the material and the formal. / Master of Architecture

This thesis is a series of projects that attempt to create a fully imagined and described world for a woodworker. Each project, titled A House and A Workshop, focuses on different ideas as the imagined world becomes clearer. A House and A Workshop 1.1 explores my own images of the two buildings and how that influences the world that I describe. It also focuses on how the building type can inform the physical shape of each. A House and A Workshop 1.2 begins to investigate the daily rituals and routines of the imagined inhabitant. The question is raised of how those things can and should influence the architecture. A House and A Workshop 1.3 explores the physical relationship of the two buildings and the movement that the relationship implies. The idea of a room within a room emerges as the imagined world of the woodworker comes into focus. A House and A Workshop 1.4 seeks to clarify the ideas that I had been working with during the year by describing a more idealized world than the other versions. The value of making things and choosing to live that kind of life is an important aspect of this project. Finally, there is a project titled, A Chair, that lies outside the series of houses and workshops. Itâ s a demonstration rather than a description of the ideas that were explored during the thesis year. / Master of Architecture