This thesis is a study of perspective. Visual perspective invokes (thus creating) both understandings & misunderstandings of space through the use of depth. Depth in my opinion is perspective's ultimate aspiration; no great illustration or portrait of perspective can exist without an exuberant understanding of depth. Depth in architecture therefore becomes... [1] how the design & comprehension of space creates a volumetric understanding and sense of scale, and [2] how architecture can portray an intellectual understanding of its configuration and construction. . . A sort of architectural reality (to its representation). / Master of Architecture

Estar en contacto con las artes nos trae múltiples beneficios, por lo que el CAV tiene como objetivo principal, la difusión del arte y de la cultura, donde la expresión creativa responde a una finalidad y a un uso. Actualmente los centros de exposición y de educación de arte dentro de Lima Metropolitana, se encuentran centralizados principalmente en los distritos de Cercado de Lima, Miraflores y Barranco, por lo que el proyecto propone ser un punto de encuentro y de integración de la ciudad en Lima Norte, espacio inexistente a pesar del exponencial crecimiento demográfico. El centro busca concebir espacios adecuados, en donde los artistas puedan desarrollar y producir sus creaciones, así como generar una interacción entre los usuarios. Propio de la identidad multicultural de la zona, el arte urbano se convierte en una potente herramienta integradora dentro de la ciudad, por lo que el arte de las calles es llevado a las galerías. De igual manera, el centro concibe una escuela con visión empresarial y enseñanza integral, en donde el estudiante puede insertarse en el mundo laboral dentro de un corto plazo. / Being in contact with the arts brings us many benefits, thats why the center has as its main objective, the difussion of art and culture, where creative expression responds to a purpose and to a use. Currently the art exhibition and education centers within Lima Metropolitana, are centralized mainly in the districts of Cercado de Lima, Miraflores and Barranco, so the project proposes to be a meeting and integration point of the city in Lima Norte, non-existent space despite exponential demographic growth. The center seeks to conceive suitable spaces, where artists can develop and produce their creations, as well as generate an interaction between users. Owing to the multicultural identity of the area, urban art becomes a powerful integrating tool within the city, so that streert art is taken to the galleries. Furthermore, the center conceives a school with a business vision and an integral education, where the student can be inserted into the working world within a short time. / Tesis

This thesis is a narrative case study that examined the studio art practice of Lead Pencil Studio, a Seattle-based artist collaborative that explore our spatial relationships with architecture through site-specific installations. The case study specifically focused on the work of Daniel Mihalyo and Annie Han (Lead Pencil Studio) while they were at the Visual Arts Center in The University of Texas at Austin for a spring 2013 artist-in-residence program. The research focused specifically on the artists’ day-to-day process, examining the thoughts and actions that went into creating their work, Diffuse Reflection Lab, a two-story plywood structure that examined reflection’s effect on architecture through various vignettes. Through concentrated observations of the Lead Pencil Studio’s work and three semi-structured interviews, this thesis examined how traditional research practices are integrated into the studio art process. By examining the art/research relationship the author also situates this work in the field of practice-based research. While this work specifically focused on the research conducted by a pair of professional artists, it also extends to a broader argument about the role of research in art lessons. Since this thesis is based in art education, it connects the themes observed in the artists’ studio practice to interdisciplinary learning and arts integration. The author ultimately argues that Lead Pencil Studio’s art/research practice can be used in the classroom as an example of transdisciplinary learning and that it models a rigorous approach to creativity within other disciplines. / text