The dialogue between old and new architecture is a conversation brought to the forefront of the conservationist movement and city planning efforts as cities expand to their physical limits and eco-friendly reuse options become mainstream. As designers try and achieve a mutual respect between existing buildings and modern interventions, we are often faced with the dilemma of not only deciding which architectural artifacts should remain but also how to compose the different historic and modern layers in a way that formulates a new and more dynamic whole as a result of the interaction. The following thesis is an adaptive reuse project of a historically and architecturally significant, turn of the century firehouse located in northwest Washington, DC. This architectural endeavor seeks to find a mutually respectful balance between old and new architecture while highlighting the clear differences in building materials, design aesthetic, and construction methods. / Master of Architecture

It moves on the frontiers of the sides it looks from and the media it uses following the vision to assemble miscellaneous knowledge so that a certain truth (or a semblance of a truth) could come to the jigsaw that just has been created. Starting in a context originally coming from another argumentation field (social) and in the subsequent topic (the moment of effect of power), which may not necessarily be explicitly readable, it wants to examine what does it take to activate "the image" to be a (partial) autonomous comment about real spaces, even if translated to fictional or virtual. On the background of this heterotopic matter they want (the images and processes of their creation) also to test themselves, to ask on their own sense, to negate the conceptual difference between static and moving images.

Introduction of new into an existing condition stimulates a dialogue between the two. The new and the existing are juxtaposed. The new structure penetrates into the existing structure. These INSERTIONS are the nexus which connects the new and the existing. The intersections of the new and the existing are the crucial junctions which are explored throughout the process. The insertions are made with a creating a space around it, the VOID which bridges the two eras but retains their distinct characteristics through CONTRASTS. / Master of Architecture

No description available.

This thesis is an investigation into the role of architecture as a tool for connections. It explores this idea in four scales: the urban scale, the immediate context, the scale of the building and the interpersonal scale. Architecturally, it addresses the complexities of an intervention in an urban fabric and embraces the contextual it is an attempt to reanimate the core of Downtown Roanoke, through the adaptive reuse of an inert built mass by opening it up to put it in conversation with its surroundings. Programmatically, it responds to a collaborative transient workspace catering to individual entrepreneurs or small groups of independent start-up enthusiasts or simply mobile workers. The thesis focuses on connections as the language through which these stories find their expression. / Master of Architecture

Un livre pour Foucault a valeur d’expérience. À travers un livre, l’auteur et son lecteur se transforment. En ce qui concerne Foucault, chacun de ses ouvrages provoquerait une transformation singulière : on peut percevoir ce phénomène de transformation dans ces trois ouvrages : l’Histoire de la folie, Surveiller et punir, l’Histoire de la sexualité. Toutefois, l’ouvrage Les mots et les choses ne présente pas une expérience spécifique comme celle de la folie, de la prison ou du sexe. Il s’agit plutôt d’un exercice différent dont le but est de rendre visible un mouvement de pensée. Nous voulons montrer qu’il existe un paradoxe dans l’ouvrage Les mots et les choses. Il s’agit de l’existence de la pensée de Foucault. À savoir, ce qui permet la juxtaposition des deux analyses, n’est sans doute pas autre chose que la pensée de Foucault dans laquelle une image comme celle des ménines peut être juxtaposée à l’histoire des sciences humaines. Pourtant, hors de ce livre et de sa disposition pouvons-nous encore retrouver la pensée de Foucault? Cette difficulté nous ramène vers l’ « Introduction » de l’Histoire de la sexualité II. La « modification » dans l’ « Introduction » est implicitement ambiguë. Premièrement, si cette modification marque justement le caractère de la pensée de Foucault, elle est comme un point prévisible dans le déroulement de cette pensée, de telle sorte qu’elle n’en est pas vraiment une. Deuxièmement, si elle est une rupture dans son esprit, elle se révèle alors dans Les mots et les choses. C’est sans doute une modification foucaldienne mais ce n’est pas une vraie modification. Ici, elle est le paradoxe analogue à la phrase « Je mens ». Ce paradoxe est visible également dans l’analyse de l’œuvre Les ménines. Il est même incontournable si l’on s’arrête sur ce seuil où le peintre règne. La difficulté de l’auto-référence nous conduit à une interrogation sur le philosophe. Le développement de ce projet est donc axé sur ce paradoxe de l’auto-référence par la question suivante : Qu’est-ce que la pensée de Foucault ? Cette question ne vise pas à connaître la pensée foucaldienne, notre expérience cherchant seulement à se situer par rapport à elle. C’est déjà une démarche philosophique au sens où Foucault conduit la sienne. Dès lors qu’on pose cette question, on lance un rapport sagittal au livre de Foucault, alors que, en même temps, sa pensée n’existe plus que dans la tête du lecteur. C’est un va-et-vient permanent. / A book for Foucault has its value as an experience. Through a book, the author and his reader are transformed. As regards Foucault, each of his works would cause a typical transformation: we can observe these phenomena of transformation in his three works: the History of madness, Surveillance and punish, the History of sexuality. Nevertheless, the work of The order of things is not an experience as that of madness, prison or sex. It is rather about an exercise than an experience. Hence, the movement of thinking appears. We want to point out here in The order of things where a paradox exists. This paradox is about the existence of Foucault’s thinking. In this work, Foucault’s thinking appears in the juxtaposition between the picture and the archeology of human science. However, out of this book and its disposition, where can we recognize Foucault’s thinking? This difficulty brings us towards the "Introduction" of the History of sexuality II. The "modification" in "Introduction" is implicitly ambiguous. Firstly, if this modification marks precisely the character of Foucault’s thinking, it is like a foreseeable point in the sequence of his thinking, this modification couldn’t consequently be a real modification. Secondly, if this modification points out a break in his thinking, it is undoubtedly a typical modification of Foucault, but it would not be a true break. In other words, if I state that I am no more myself, how do we understand this subject who is speaking. Here, it is similar to the paradox in the sentence « I lie ». It is the same way what we can acknowledge in Velázquez’s picture where the painter stands. The difficulty of auto-reference drives us to question our philosopher. The development of this thesis is therefore based on this paradox of auto-reference by the following question: What is Foucault’s thinking? This question does not aim to identify Foucault’s thinking, but to situate our experience in it. And this is already a philosophical step in the method which Foucault drives himself. Since we ask this question, we are thrown into Foucault’s works; however, his thinking could exist only in the head of the reader. It is a permanent movement between Foucault’s works and the reader’s reading.

Denna uppsats utforskar hur reklamfilmen Just nu (2020) går att tolka med hjälp av klassiska teorier om montage. Med hjälp av välkända och beprövade teorier om montage tolkas materialet i syfte att ge bidrag till visuell kommunikation som vetenskapligt fält och ge verktyg till visuella kommunikatörer att nå ut med ett budskap på ett effektivt sätt som är anpassat till en modern publik. Uppsatsen fastställer att Försvarsmakten använder olika typer av montage i sin kommunikation i reklamfilmen Just nu (2020). Effekten blir en mer engagerande film som kan kommunicera en varierad och stor mängd information. / This essay explores how the commercial Just nu (2020) can be interpreted with the help of classic theories of montage. With the help of well-known and proven theories of montage, the material is interpreted in order to contribute to visual communication as a scientific field and provide tools for visual communicators to reach out with a message in an effective way that is adapted to a modern audience. The thesis states that the Försvarsmakten uses different types of montage in their communication in the commercial Just nu (2020). The effect is a more engaging film that can communicate a varied and large amount of information.

The first aim of this work is to describe the issues of nominal syntagma as well as the absence of determinant that is connected to it. The other goal is to examine one type of this absence in a journalistic corpus L´Est Républicain. The analysis in this corpus will evaluate the frequency, the semantics and the syntactic functions of the chosen phenomenon in journalistic context. The work is divided into two parts: the theoretical and the practical one. In the first part, all the terms connected to the nominal syntagma will be defined. The nominal syntagma along with its nature and its parts will be described. At the same time, the cases of the absence of determinant in present-day French will be explained. The second part contains quantitative and qualitative analysis in the corpus L´Est Républicain. Subject of research are juxtaposed and coordinative enumerations in a different extent and in the different syntactic positions.

No description available.

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