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This thesis is an infiltration into the world of craft, woodworking and joinery. The destruction of presupposed form and tectonics, and a rebuilding through the mind's eye and an obscured lens. / Master of Architecture

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We dispose of things when they fall out of style, when taste changes, when they break or when we can no longer find a use for them. Sometimes, we sell things when we see value in them. Sometimes we recycle. Sometimes we feed the landfill — the meeting point for materials that have lost their utility. Many of them have the potential to serve their use much longer than having just one life as one object. My degree project investigates what role disassembly plays in the lifespan of a material. Can it support the recovery and subsequent use of matter? Whose responsibility is to take care of an object’s afterlife? By researching the possibilities of exchanging fixed pieces of joinery for detachable ones, my project reinvents the way we attach materials based on forces such as tension, pressure and gravity. Can joinery invite us to disassemble?

Sustainable design has recently become a hot topic in the field of architecture. With advancements in technology, sustainability has become more accessible to designers. However, instead of relying solely on various high-precision sustainable technologies, nature can be the best teacher. Learning from the cyclical patterns of life can help us better understand nature, become a part of nature, and even design projects that are renewable. This thesis aims to explore the process of decay and regeneration, utilizing the Neo-Zoomorphic concept and drawing inspiration from the phenomenon of a whale fall. It borrows from the external form of whales and their internal life cycle patterns to design a pavilion at the boundary of Pandapas Pond wetland and forest. The whale's skeleton becomes the main wooden structure, and the decaying flesh is represented by a woven bamboo fabric. The skin is simulated by a transparent wood shelter. All the connection points use traditional wood Joinery. Only natural biodegradable materials are used throughout while concrete or metal are avoided. As time passes, this project will gradually decay and eventually will return to nature without requiring any intervention. / Master of Architecture / Sustainable design has recently become a hot topic in the field of architecture. With advancements in technology, sustainability has become more accessible to designers. However, instead of relying solely on various high-precision sustainable technologies, nature can be the best teacher. Learning from the cyclical patterns of life can help us better understand nature, become a part of nature, and even design projects that are renewable. This thesis aims to explore the process of decay and regeneration, utilizing the Neo-Zoomorphic concept and drawing inspiration from the phenomenon of a whale fall. It borrows from the external form of whales and their internal life cycle patterns to design a pavilion at the boundary of Pandapas Pond wetland and forest. The whale's skeleton becomes the main wooden structure, and the decaying flesh is represented by a woven bamboo fabric. The skin is simulated by a transparent wood shelter. All the connection points use traditional wood Joinery. Only natural biodegradable materials are used throughout while concrete or metal are avoided. As time passes, this project will gradually decay and eventually will return to nature without requiring any intervention.

Filosofin bakom Mora Kulturhus är att det ska vara en plats som ska bjuda in dess besökare för att samlas och uppleva kreation och rekreation. Det ska vara  en plats som får människor att koppla av för att koppla ihop. Genom de mest primitiva komponenter som förenar oss som dans, sång, konst, eld och stjärnhimmeln.  Den valda platsen för projektet är en öppning i skogen mellan Kallfors och Järna. Denna plats är i dagsläget tom och outnyttjad. Det finns goda  kommunikationer till platsen såsom bilvägen (Tvetavägen), välkänt gångstråk (Sörmlandsleden) och en busshållsplats (Pärlängsvägen). Nära till tomten finner man även Logsjön samt Moraån som slingrar sig längs tomten. Genom att aktivera denna plats skapas ett naturligt kommunikationsflöde mellan Kallfors- och Järnabor som i dagsläget upplever en separation sinsemellan.  Programmet innefattar teater, galleri, bibliotek, restaurang/café/bar, foajé, workshoplokal, möteslokal och kontorsrum. Mora Kulturhus är uppdelad i tre byggnader i olika höjder som kopplas samman genom utskjutna tak som överlappar och skapar korridorer utomhus. Byggnadernas placering skapar en innergård. Byggnaden lyfts upp av limträ och betong pelare som möter ett kasett-tak i tjäramålad limträ som binds samman genom en metod som kallas “japanese wood joinery” - där varje element sätts fast i infasningar. Golvet är en betongplatta på mark. Fasaden är glasad - för att ge transparens i byggnaden och lyfta fram den spektakulära naturen som omfamnar den. / The philosophy behind Mora Cultural Center is that it should be a place that invites its visitors to gather and experience creation and recreation. It should be a place that makes people disconnect to reconnect. Through the most primitive components that unite us such as dance, song, art, fire and the starry sky.  The chosen location for the project is an opening in the forest between Kallfors and Järna. This place is currently empty and unused. There are good communications to the site, such as the motor way (Tvetavägen), well-known hiking trail (Sörmlandsleden) and a bus station (Pärlängsvägen). Close to the site you will also find Logsjön and Moraån. By activating this place, a natural communication flow is created between Kallfors- and Järna residents who currently experience a separation between each other. The program includes a theatre, art gallery, library, restaurant / café / bar, foyer, workshop space, conference room and office space. Mora Cultural Center is divided into three buildings with different heights that are connected by suspended roofs that overlap and create outdoor corridors. The position of the buildings creates a courtyard. The building is lifted by glulam and concrete pillars that meet a coffer ceiling in tar-painted glulam which are bound together through a method called "Japanese wood joinery" - where each piece of wood is cut in such a way that they fit together as tightly as if they’d grown that way in the first place. The floor is a concrete slab on the ground. The facade is glazed - to provide transparency in the building and highlight the spectacular nature that embraces it.

The project begins with the elaboration of a single wooden joinery detail for a temple pavilion. A singular joint study became the basis for an interrelated series of elaborated joints forming a structural whole. A detailed model of a single structural bay was produced. The purpose of this model was to investigate the subtleties of its overall formal expression. Attention was given to both the hidden internal complexity of individual parts and the interconnections between parts. Knowledge of stereotomy was an important consideration ensuring precision in the marking and cutting of the poplar wood. Photographs, sketches and drawings accompany the making of the model as way to further its realization. / Master of Architecture

The problem was to design and construct the necessary equipment to cut and fasten short stock end to end using finger-joints. The study was divided into five chapters: I contained the introduction to the problem; II was concerned with the design and construction of the equipment; III detailed the operation of the equipment; IV contained the presentation of the data; and V covered the summary and findings. The study concluded that the equipment could be constructed inexpensively, and would perform a useful service. Also, a student using waste wood salvaged through use of this equipment could expect a smaller bill for materials than if he purchased new wood.

Orientador: Agueda Bernardete Bittencourt / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-17T02:15:41Z (GMT). No. of bitstreams: 1 Kochem_IvanJaques_M.pdf: 5874509 bytes, checksum: 2c5c832f2fce11e27ae46e7560b43715 (MD5) Previous issue date: 2010 / Resumo: Desenrolamos a trama de um espaço de educação profissional, criado para ensinar e produzir objetos utilitários e estéticos, e que ainda subsiste como espaço de filantropia na Escola Salesiana São José. Esta escola privada, do município de Campinas, desde sua origem sustenta uma história conjunta com uma marcenaria situada dentro de seus portões. Para contar esta história, como em uma oficina, fomos preparando cada peça: as vozes dos mestres de ofício, de alunos internos e outros que encontrávamos pelo caminho; a bibliografia levantada; os artigos de jornais; as imagens e os arquivos fotográficos; e os documentos institucionais, como os livros de crônicas, boletins salesianos, material instrucional, entre outros. Com estas peças em mãos fomos recuperando cada encaixe e montado as relações, as representações e os valores estabelecidos ao longo da segunda metade do século XX. Sustentando a marcenaria como ponto de fuga deste desenho, descobriu-se que, nas contingências do tempo, um saber artesanal foi importado, se estabeleceu no espaço central da escola e foi, juntamente com outros ofícios na sociedade brasileira, deslocada para um lugar marginal na ordem institucional e na formação técnico-profissional. / Abstract: This text unfold the weft threads of an area of training and production of aesthetic and utilitarian objects, which existed and still exists as an area of philanthropy in San Jose Salesian School. A private school for middle class in Campinas, which maintains within its gates a school of carpentry. From the voices of the masters of this craft, the bibliography reviewed, institutional documents, photographs and newspaper articles, the research dealt with the relationship, the representations and the values established in the educational institution during the second half of the twentieth century. In this educational workshop, a carpentry shop, a craft knowledge was imported, was established as a central place in school and was, along with the offices of the Brazilian society, moved to a marginal place in the technical-vocational education. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação