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No description available.

This study examines the links between architecture and literature through the work of English author/mathematician/geometrician Lewis Carroll/Charles L. Dodgson. The premise is that throughout Carroll's work, questions concerning the position of the body in relation to its surroundings---the possibility for one to forge a sense of place---are recurrent. Carroll stages a series of bodily movements in space: changes in scale, transformations, alterations, translations from bottom to top, from left to right, from the inside to the outside, and so on. Reading the work, one is constantly reminded that one's perception of space, as well as one's understanding of where one stands, are phenomena that take place in language, through utterances, through words. Approaching Carroll's work with particular attention to the space of bodily movements and to plays on language, one can access a subterranean architectural discourse. This discourse is oblique, suggested rather than explicit, but nonetheless raises pertinent questions concerning the formation of architectural meaning: the relationship of sense to its limits---to nonsense---in architecture. / The following texts are studied: Carroll's two architectural pamphlets; the two Alice stories with their convoluted spaces; a long epic poem dealing with the space of discovery; a drama on geometry and a logical exposition on the paradoxes of movement. Throughout Carroll's multifaceted work, nonsense guides the construction of the texts. Working at the limits of language and literary genres, Carroll's parodies possess strong allegorical powers: sense travels obliquely and the work remains enigmatic. However, the reader somehow understands the work; the experience of the work produces a certain kind of knowledge. / In architecture, meaning is also tied to its outer limits---to the polysemy of nonsense. Through one's experience of space, a stable and orderly building becomes heterogeneous, loaded with qualities and symbols. A sense of place emerges and meaning momentarily appears along the sinuous paths that run between bodily movements, thoughts, dreams, desire and words.

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The content of this thesis is two-fold. The first part takes the form of an essay while the second part presents a theoretical project for an architectural installation. Using these two modes as different ways to address similar issues, the present work proposes to question the instrumentalisation of geometry in today's architectural practice. The work of Lewis Carroll (Charles L. Dodgson) and, more specifically, his masterpiece, Alice's Adventures in Wonderland, will be approached and interpreted in order to observe the participation of geometry---of Euclidean geometry---in our understanding of the notions of space and time, and to reveal their paradoxical aspect. The aim is to explore how geometry, language and nonsense bear intimate connections to our perception of space and time. Once revealed, these connections will enable us to address the following question: can architecture be comprehended and experienced as an event?

This study provides a framework using matrices that address three main issues. First of all, the matrices are used to integrated physical needs that compose human systems in an attempt to reduce the human impact. Secondly, the matrices are used to develop a higher integration of time allowing the user to apply time to a wide variety of needs that contribute to a high quality of life. Lastly the matrices are used to integrate the aspects of space with the aspects of time. This shows that the whole, time and space, is greater than the sum of the parts. I pursued this study in an attempt to further define sustainable design. The application of the matrices was practiced in a design competition for urban sustainability. / Department of Architecture

Finding equilibrium in forms, colour-form combinations and images has long been a concern of mine. I recognise a persistent manner of working within my art practice that utilises geometry, mathematics and colour to arrive at compositions that have a sense of beauty and equilibrium. Abstraction has been of significant interest to me and the three collections of work that I developed during my Master of Fine Arts studies - 'Colour:Form:Ratio', 'Photography-Free Zone' and 'Construction-Abstraction' - illustrate the different ways I have applied my interests in abstraction. Until the completion of the 'Colour:Form:Ratio' painting series my approach to abstraction was cerebral and self-reliant. While I was satisfied with results of my initial investigations and experimentation with abstract forms in painting I felt that the work lacked a social connection. I thus became interested in addressing what I perceived as this shortfall in my abstract painting. A new body of photographic work that had been evolving in parallel to my painting practice seemed to offer a solution. I realised that the photographs could be used to construct a new version of abstract composition. The images shared a similar colour and geometrical configuration to that illustrated in the 'Colour:Form:Ratio' Series. With this breakthrough, I began 'painting by eye', replacing my brush and palette with the camera and using it to capture and frame colours and geometric forms from my surrounding environment. In order to test my new methodology of arriving at abstract compositions extracted from the world around me, I selected two communally shared spaces - the gallery/museum and the construction site - as the sourcing ground for my photographs. The result of my experimentation has been two collections of work: 'Photography-Free Zone' and 'Construction-Abstraction'. Both series reflect my experience of the gallery/museum space and the construction site while illustrating the transferral of my painting process to the photographic medium. The most favourable realisation I made in the process of making these works was that the subject matter I captured with the camera possessed aesthetic and theoretical qualities in keeping with my former painted artistic vocabulary, despite being removed from the physical act of painting.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Art History, 2005. / Includes bibliographical references (leaves 239-266).

Thesis (Ph. D.)--University of Adelaide, Dept. of Architecture and Planning, 1990. / Typescript (Photocopy). Includes bibliographical references (leaves 424-443).

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2007. / Abstract and vita. Includes bibliographical references (leaves 197-202).