No description available.

This thesis suggests the concept of layering as a &ldquo / generative&rdquo / operation in architectural design process. To understand generation of architectural forms and trace their transformations in this process, this study proposes layering as an integrative and intellectual operation embracing analysis, design and representation phases of architecture. In order to do that, the operation of layering is discussed under three titles: Layering as an analytical tool, as a design tool and as a representational tool. This means that, &ldquo / layering&rdquo / can operate to understand complex forms (to analyze), to generate space (to design), and to communicate in design process (to represent). In this context, for a deeper inquiry into the operation of layering, House II designed by Peter Eisenman is analyzed. The complex and layered form of House II addresses an extensive formal analysis that attempts to reveal the formations and transformations of layers constituting the building. Considering the building as a formal system, &ldquo / layers&rdquo / are defined as the fragments of the whole, and &ldquo / layering&rdquo / is conceptualized as the main operation that organizes relationships between these fragments. These analyses reveal the multi-layered formation of House II. Creating an architectural system, the operation of layering has the capacity to organize varied architectural elements by defining relationships in-between them.

No description available.

No description available.

This thesis makes a survey on conception of &ldquo / surface&rdquo / in the works of Peter Eisenman. In doing so, the concept of &ldquo / surface&rdquo / is discussed under three titles: &ldquo / Surface&rdquo / as an element of architectural vocabulary (as a formal element), as an analytical tool (as a grammar), and as a diagrammatic tool. Correspondingly, the thesis is intended to examine how &ldquo / surface&rdquo / is conceptualized and handled through the critical readings of Eisenman&rsquo / s writings, and projects are referred in order to support and visualize the discussions. In this context, Eisenman&rsquo / s dissertation, The Formal Basis of Modern Architecture (1963), reveals the definition of architectural surface in relation to the architectural language that is proposed by him. Through the formal analysis of Giuseppe Terragni&rsquo / s building, Casa Guiliani Frigerio, he utilizes surface as an analytical tool. Considering design processes of his projects, as discussed in the book Diagram Diaries (1999), surface becomes a dominant tool for generating architectural form. As a result, in this thesis, surface is evaluated in various aspects (as a formal, analytical and diagrammatic tool) that are essential for understanding of architectural form. In the case of Eisenman, its significance dominates the way of developing his architecture.

This thesis explores an alternative method of making Architecture based on ideas presented by Bruno Latour in “Give me a gun and I will make all buildings move” and concepts discussed by Peter Eisenman within “Diagram: An Original Scene of Writing.” The static nature of representation within Euclidian Space requires a re-evaluation of the generative qualities inherent within diagrams. Managed through an identified mechanism, the thesis investigates the excavation of potential within Pretoria Central’s lost spaces by generating programme, response and resolution from elements inherent in the diachronic context. / Dissertation MArch(Prof)--University of Pretoria, 2013. / Architecture / MArch(Prof) / Unrestricted

[pt] Esta pesquisa se propõe a investigar as possibilidades de renovação dos processos de significação e produção de sentido na arquitetura, no contexto da complexa condição contemporânea. Da dinâmica capitalista de consumo que rege a construção das cidades contemporâneas emerge uma produção arquitetônica espetacular, criada para simbolizar prosperidade políticoeconômica em que, com frequência, arte e arquitetura são associadas num processo de mercantilização da cultura. Esse processo, somado à crise do paradigma moderno, dificulta a compreensão do papel do arquiteto e das possibilidades para a arquitetura numa abordagem crítica e determina um empobrecimento da disciplina, ainda condicionada aos tradicionais códigos e regras formais do funcionalismo. Nesse contexto, é enfatizada a importância do deslocamento do objeto arquitetônico e seus aspectos estético-formais para os aspectos conceituais da arquitetura, abordados no âmbito do campo ampliado da cultura contemporânea. Desde a incorporação de paradigmas teóricos da linguística e da filosofia pelas práticas artística e arquitetônica, nos anos 60, tornou-se imprescindível a abordagem interdisciplinar no entendimento dos processos de produção de matéria e sentido que compõem o ambiente cultural construído. Ao longo do trabalho, essas questões foram problematizadas a partir da obra do arquiteto norte americano Peter Eisenman e seus interlocutores, através de um intenso diálogo entre arquitetura, arte e filosofia, que enfatiza a importância da resistência e da crítica aos padrões que limitam nossa presença, experiência e relação com espaço, matéria e tempo, através da arquitetura. / [en] This research aims to investigate the possibilities of the renewal of signification processes and sense production in architecture, in the context of the complex contemporary condition. From the capitalistic dynamics of consumerism that govern the construction of contemporary cities emerges a spectacular architectonic production created to symbolize political-economical prosperity in which, frequently, art and architecture are associated in a process of cultural commodification. This process added to the crises of the modern paradigm, complicates the comprehension of the architect’s role and the possibilities for architecture today through a critical approach determining an impoverishment of the theoretical and architectural design activity, still conditioned to the traditional codes and rules of functionalism. In this context, an emphasis is placed on the importance of the displacement from the architectonic object and it s aestheticalformal aspects to the conceptual aspects of architecture, to be approached in the scope of the contemporary expanded field of culture. Since the incorporation of theoretical paradigms from linguistics and philosophy by artistic and architectural practices, in the 60 s, to approach the processes of matter and sense production that composes the cultural built environment, interdisciplinarity has become indispensable. These issues were approached in this study by analyzing the work of the North American architect Peter Eisenman and his interlocutors, in an intense dialog involving architecture, art and philosophy, with emphasis on the importance of resistance and criticism of the standards that limit our presence, experience and relationship with space, matter and time, through architecture.

A atualidade é marcada pela descoberta contínua dos interstícios disciplinares como catalisadores de toda sorte de práticas; expressões como \"Campo ampliado\" e \"Complexo artearquitetura\" são chamadas para refletir como tais arranjos acontecem especialmente na confluência entre a arquitetura e as artes. A pesquisa busca localizar, na passagem dos anos 1960 aos 1980, um debate que solicitou desses campos a reconfiguração de seus instrumentos de análise, de crítica, de abordagem à forma, e mesmo uma nova inscrição de seus significados e abrangências: o cruzamento das trajetórias intelectuais da teórica e crítica de arte Rosalind Krauss e do arquiteto e teórico Peter Eisenman no The Institute for Architecture and Urban Studies - IAUS, sediado em Nova York de 1967 a 1985. O instituto colocou-se como núcleo da pesquisa interdisciplinar de seu tempo ao promover cursos, conferências, mostras, publicações, e ao legar dois periódicos especializados que encaminhariam as agendas da arquitetura e das artes nas décadas seguintes, respectivamente, Oppositions: A Jornal for Ideas and Criticism in Architecture (1973-1984) e October (1976 até o presente). O estudo passa pelas proposições questionadoras da primazia do suporte artístico no minimalismo até a cristalização dessas dinâmicas no ensaio \"A escultura no campo ampliado\", de Krauss; e pela verificação, no início dos anos 1960, da necessidade pela reelaboração das questões de relevância para a arquitetura e para o urbanismo, que levariam ao sentido autocrítico investido na noção de autonomia disciplinar, e ao sentido autorreferencial da autonomia da forma arquitetônica, como engendrado por Eisenman. As experiências que assumiriam o espaço físico como constitutivo do trabalho artístico contrastam em diversos níveis com a modalidade conceitual perscrutada por essa arquitetura. Alguns dos pontos de apoio compartilhados pelos movimentos teóricos em questão são as noções de objeto, ambiente, formalismo, linguagem, modernismo e pós-modernismo. Mantendo entre si relações de complementaridade, de reciprocidade, de contradição, o empréstimo a tais categorias entre disciplinas é compreendido em vista de um segundo plano institucional. / The current situation is marked by the continuous discovery of the disciplinary interstices as Catalysts of all kinds of practices; Expressions such as \"Expanded Field\" and \"Complexo artearquitetura\" Are called to reflect how such arrangements Confluence between architecture and the arts. The research seeks to locate, over the years 1960 to the 1980s, a debate that called for these areas to reconfigure their Instruments of analysis, criticism, approach to form, and even a new inscription of Their meanings and scope: the crossing of the intellectual trajectories of the theoretical and critical Rosalind Krauss and the architect and theorist Peter Eisenman at The Institute for Architecture and Urban Studies - IAUS, headquartered in New York from 1967 to 1985. The Has placed himself as the core of interdisciplinary research of his time while promoting courses, Conferences, exhibitions, publications, and by bequeathing two specialized journals Would move the agendas of architecture and the arts in the following decades, Respectively, Oppositions: The Journal for Ideas and Criticism in Architecture (1973-1984) and October (1976 to present). The study goes through the questioning propositions of primacy Of artistic support in minimalism until the crystallization of these dynamics in the essay \"The sculpture In the extended field \", by Krauss; And the verification, in the early 1960s, of the need By the re-elaboration of issues of relevance to architecture and urbanism, which Would lead to the self-critical sense invested in the notion of disciplinary autonomy, and to the sense Self-referential autonomy of the architectural form, as engendered by Eisenman. At Experiences that would take physical space as constitutive of artistic work contrast In several levels with the conceptual modality examined by this architecture. Some of Points of support shared by the theoretical movements in question are the notions of Object, environment, formalism, language, modernism and postmodernism. Keeping each other Relations of complementarity, of reciprocity, of contradiction, the loan to such Between disciplines is understood in view of a second institutional plan.

A atualidade é marcada pela descoberta contínua dos interstícios disciplinares como catalisadores de toda sorte de práticas; expressões como \"Campo ampliado\" e \"Complexo artearquitetura\" são chamadas para refletir como tais arranjos acontecem especialmente na confluência entre a arquitetura e as artes. A pesquisa busca localizar, na passagem dos anos 1960 aos 1980, um debate que solicitou desses campos a reconfiguração de seus instrumentos de análise, de crítica, de abordagem à forma, e mesmo uma nova inscrição de seus significados e abrangências: o cruzamento das trajetórias intelectuais da teórica e crítica de arte Rosalind Krauss e do arquiteto e teórico Peter Eisenman no The Institute for Architecture and Urban Studies - IAUS, sediado em Nova York de 1967 a 1985. O instituto colocou-se como núcleo da pesquisa interdisciplinar de seu tempo ao promover cursos, conferências, mostras, publicações, e ao legar dois periódicos especializados que encaminhariam as agendas da arquitetura e das artes nas décadas seguintes, respectivamente, Oppositions: A Jornal for Ideas and Criticism in Architecture (1973-1984) e October (1976 até o presente). O estudo passa pelas proposições questionadoras da primazia do suporte artístico no minimalismo até a cristalização dessas dinâmicas no ensaio \"A escultura no campo ampliado\", de Krauss; e pela verificação, no início dos anos 1960, da necessidade pela reelaboração das questões de relevância para a arquitetura e para o urbanismo, que levariam ao sentido autocrítico investido na noção de autonomia disciplinar, e ao sentido autorreferencial da autonomia da forma arquitetônica, como engendrado por Eisenman. As experiências que assumiriam o espaço físico como constitutivo do trabalho artístico contrastam em diversos níveis com a modalidade conceitual perscrutada por essa arquitetura. Alguns dos pontos de apoio compartilhados pelos movimentos teóricos em questão são as noções de objeto, ambiente, formalismo, linguagem, modernismo e pós-modernismo. Mantendo entre si relações de complementaridade, de reciprocidade, de contradição, o empréstimo a tais categorias entre disciplinas é compreendido em vista de um segundo plano institucional. / The current situation is marked by the continuous discovery of the disciplinary interstices as Catalysts of all kinds of practices; Expressions such as \"Expanded Field\" and \"Complexo artearquitetura\" Are called to reflect how such arrangements Confluence between architecture and the arts. The research seeks to locate, over the years 1960 to the 1980s, a debate that called for these areas to reconfigure their Instruments of analysis, criticism, approach to form, and even a new inscription of Their meanings and scope: the crossing of the intellectual trajectories of the theoretical and critical Rosalind Krauss and the architect and theorist Peter Eisenman at The Institute for Architecture and Urban Studies - IAUS, headquartered in New York from 1967 to 1985. The Has placed himself as the core of interdisciplinary research of his time while promoting courses, Conferences, exhibitions, publications, and by bequeathing two specialized journals Would move the agendas of architecture and the arts in the following decades, Respectively, Oppositions: The Journal for Ideas and Criticism in Architecture (1973-1984) and October (1976 to present). The study goes through the questioning propositions of primacy Of artistic support in minimalism until the crystallization of these dynamics in the essay \"The sculpture In the extended field \", by Krauss; And the verification, in the early 1960s, of the need By the re-elaboration of issues of relevance to architecture and urbanism, which Would lead to the self-critical sense invested in the notion of disciplinary autonomy, and to the sense Self-referential autonomy of the architectural form, as engendered by Eisenman. At Experiences that would take physical space as constitutive of artistic work contrast In several levels with the conceptual modality examined by this architecture. Some of Points of support shared by the theoretical movements in question are the notions of Object, environment, formalism, language, modernism and postmodernism. Keeping each other Relations of complementarity, of reciprocity, of contradiction, the loan to such Between disciplines is understood in view of a second institutional plan.