This masters project is a media center (radio and television station) for the Radio e Televisiun Rumantscha, located in Chur, Switzerland. Developed while studing at the Accademia d' Architettura under the direction of Peter Zumthor, the new media acts as a new headpiece to the historic district of Chur. Though contextual with its surroundings, the media center remains unique through its flowing interior spaces, positioning of techinical rooms and large window fields. / Master of Architecture

The following thesis is comprised of a pair of projects focused on the making of architecture through the concept of framing. The work was conducted at the Academia d'Architettura in Mendrisio, Switzerland, under the direction of Peter Zumthor, Miguel Kreisler and Myriam Sterling, emphasizing the relationship between ordered structures and contextual propriety. The making of architecture is inherently most pure when approached as the subtraction of unnecessary elements and a distillation of what is required for a specific program on a particular site. Life is given to structure through habitation; therefore the senses of the inhabitant must be engaged through interaction with the philosophical and tectonic elements of a place. In this didactic, the structure is made complete by its inhabitation and it completes the sensory framing of place by establishing the vantage point of the inhabitant. The confluence of inhabiting space and marking place together result in an architecture of experience. / Master of Architecture

No description available.

In my encounter of Peter Zumthor’s Seniors’ Home and Kolumba Museum, I found architecture to affect well-being within the daily course of life. I saw the Seniors' Home contribute to the dwelling of the entire being of the elderly residents within the challenging yet hopeful season of life they face in aging, while at Kolumba Museum I encountered an experience of aesthetic embodying meaningful knowledge that addressed not only my mind but also my heart. Centered on the inherent operative dimensions of aesthetic at these two buildings—as an intervention, as a material reality, as an image, and as something we are positioned in and move in—and deepened by aesthetic philosophy and spiritual readings, I seek for an awareness of the way architectural decisions influence the human journey through space and time, and for principles and considerations that supplied and realized this architecture to be vitally contributive. The thesis is a meditation on the vitality of the medium, searching for a relevance that can justify architecture not as mere shelter that barely satisfies nor as inessential excess, but as an efficacious act that can satisfy the human being who encounters it and truly improve well-being in its existing. The thesis posits that architecture is fundamentally a craft and an act of giving a gift to the other. Its created existence in space and time is capable of producing lasting good in the world, if the design of architecture, through love, is primarily concerned about its affect on the other and the world rather than its object.

[EN] "Luxury" has always been a cause for debate throughout history. It was criticized by Plato and Aristotle and limited during the times of the old Roman Empire. However, luxury has now become a natural part of our lives. The change in the meaning of luxury represents the step from the ancient world to the modern world, and the step from feudalism to capitalism, becoming associated to new values: 01_ The value of the private sphere and the individual. The step from the ancient world to the modern world also entails the step from public luxury to private luxury. 02_ The emotional value of luxury. Our desires and imagination lead us towards new desires. As the value of something which is intangible. 03_ The value of the superfluous. This would be a luxury which does not provide any added value. 04_ The material value. The material value is closely linked to the emotional value of luxury, as it isn't so much about the cost of the material, but about the shapes and sensations which are obtained with it. 05_ The value of refinement. The qualitative value of luxury, which leads towards the evolution of societies. 06_ The value of innovation. Throughout history luxury has been the promoter of innovations. Technique has played a vital role in architecture, giving rise to new spatial possibilities. The thesis looks into the values associated to luxury, identifying them in the architecture of Adolf Loos aiming to represent a modern vision of luxury. The similarities in the biographies of Adolf Loos and Peter Zumthor (central European architects, both sons of artisan fathers, influences by their time spent in the United States,...) justify the choice the latter as a modern reference in the research, which establishes a link between said vision from the early 20th century and the architecture of the early 21st century. This proves how these values remain current even today, although logically their transfer to architecture is different. Lastly comparing this modern vision of luxury with contemporary visions of luxury by means of different conversation. The aim is to move away from the prejudice associated to luxury to prove how architecture can go beyond what is necessary with the aim of improving the living conditions of the inhabitant. / [ES] El "lujo" ha sido siempre motivo de debate a largo de la historia. Ya fue criticado por Platón y Aristóteles y limitado en la antigua Roma. En el presente, el lujo se ha integrado de forma natural en nuestras vidas. El cambio del significado del lujo representa el paso del mundo clásico al mundo moderno, y el paso del feudalismo al capitalismo1, asociándole nuevos valores: 01_ El valor de la esfera privada y el individuo. El paso del mundo clásico al mundo moderno implica también el paso del lujo público al lujo privado. 02_ El valor emocional del lujo. Los deseos e imaginaciones llevan a nuevos deseos. Se trata del valor de lo intangible. 03_ El valor de lo superfluo. Se trata de aquel lujo que no aporta ningún valor añadido. 04_ El valor material. El valor material está íntimamente ligado al valor emocional del lujo, pues no se trata tanto del coste del material, sino en las formas y sensaciones que con él se consiguen. 05_ El valor del refinamiento. Se trata del valor cualitativo del lujo, que lleva a evolucionar a las sociedades. 06_ El valor de la innovación. El lujo ha sido a lo largo de la historia impulsor de innovaciones. La técnica ha jugado un papel vital, dando lugar a nuevas posibilidades espaciales. La Tesis investiga los valores asociados al lujo, identificándolos en la arquitectura de Adolf Loos para mostrar una visión moderna del lujo. Las similitudes en las biografías de Adolf Loos y Peter Zumthor (arquitectos de Europa Central, ambos hijos de padres artesanos, influenciados por sus vivencias en Estados Unidos,¿) justifican la elección de este último como un referente contemporáneo en la investigación, que establece un nexo entre dicha visión de principios del siglo XX y la arquitectura de principios del siglo XXI. Así se demuestra como dichos valores permanecen vigentes hoy en día, aunque lógicamente su traslación a la arquitectura sea diferente. Finalmente se contrasta esta visión moderna del lujo con las visiones contemporáneas del lujo mediante diferentes conversaciones. Se trata de alejarse de los prejuicios sobre el lujo para demostrar como la arquitectura puede ir más allá de lo necesario con el fin de mejorar las condiciones de vida del habitante. / [CA] El "luxe" ha estat sempre motiu de debat al llarg de la història. Ja fou criticat per Plató i per Aristòtil i limitat a l'antiga Roma. En el present, el luxe s'ha integrat de forma natural en les nostres vides. El canvi de significat del luxe representa el pas del món clàssic al món modern, i el pas del feudalisme al capitalisme , associant-li nou valors: 01_ El valor de l'esfera privada i l'individu. El pas del món clàssic al món modern implica també el pas del luxe públic al luxe privat. 02_ El valor emocional del luxe. Els desitjos i imaginacions porten a nous desitjos. Es tracta del valor de l'intangible. 03_ El valor del superflu. Es tracta d'aquell luxe que no aporta cap valor afegit. 04_ El valor material. El valor material està íntimament lligat al valor emocional del luxe, doncs, no es tracta tant del cost del material, sinó en les formes i sensacions que amb ell s'aconsegueixen. 05_ El valor del refinament. Es tracta del valor qualitatiu del luxe, que porta a evolucionar a les societats. 06_ El valor de la innovació. El luxe ha estat al llarg de la història impulsor d'innovacions. La tècnica ha jugat un paper vital, donant lloc a noves possibilitats espacials. La Tesi investiga els valors associats al luxe, identificant-los en l'arquitectura d'Adolf Loos per a mostrar una visió moderna del luxe. Les similituds en les biografies d'Adolf Loos i Peter Zumthor (arquitectes d'Europa Central, tots dos fills de pares artesans, influenciats per les seves vivències als Estats Units, ...) justifiquen l'elecció d'aquest últim com un referent contemporani en la recerca, que estableix un nexe entre aquesta visió de principis del segle XX i l'arquitectura del segle XXI. Així es demostra com aquests valors romanen vigents avui en dia, encara que lògicament la seva translació a l'arquitectura sigui diferent. Finalment es contrasta aquesta visió moderna del luxe amb diferents versions contemporànies del luxe mitjançant diferents converses. Es tracta d'allunyar-se dels prejudicis sobre el luxe per a demostrar com l'arquitectura pot anar més enllà del necessari amb la finalitat de millorar les condicions de vida de l'habitant. / Bruns Banegas, S. (2015). Adolf Loos.Visiones del lujo en la arquitectura [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/55503 / Premios Extraordinarios de tesis doctorales

Attefall-house: Greater than the sum of its parts? I am exploring how to create a small scale space which is more than just a functional space, a space that also provides an architectural experience. I am using the Swedish Attefall-house as a case study. This small, permit-free construction comes with a frame and it has clearly defined rules and limitations. The smallness of it allows for experimentation and in the normally hard-regulated Swedish building climate, it provides an opportunity to try out ideas without having to be too serious. I am trying to create this sensory experience by fusing function and context together with selected architects’ and artists’ ideas. What happens when these seemingly disparate ingredients combine? Will the whole be greater than the sum of its parts? / Attefallshus: Större än summan av delarna? Jag utforskar hur man kan skapa ett rum i liten skala som är mer än bara ett funktionellt rum, ett rum som också är en arkitektonisk upplevelse. Jag använder mig av Attefallshuset som fallstudie. Denna lilla, bygglovsbefriade, konstruktion kommer med en ram, den har tydligt definierade regler och begränsningar. Dess storlek tillåter experimenterande och, i det normalt hårt reglerade svenska bygglovsklimatet, erbjuder en möjlighet att testa idéer utan att behöva vara för allvarlig. Jag försöker skapa denna sensoriska upplevelse genom en fusion av funktion och kontext tillsammans med ett urval av arkitekters och konstnärers idéer. Vad händer när dessa till synes disparata ingredienser kombineras? Blir helheten större än summan av delarna?

Confronted with issues, whose (socioeconomic) causes cannot be resolved through the modification of the built environment, architectural interventions may often inadvertently aid the reproduction of the problems they seek to resolve. In eliminating symptoms of social inequality, alienation and marginalization, architecture can legitimize the social order out of which they arise. In such situations, architects’ attempts to concern themselves with narrowly practical concerns are insufficient even to their own aims, and in order to properly address the issues facing it, architecture must simultaneously operate as a vehicle for social critique and political emancipation. In the work of philosopher Slavoj Žižek, a critical-emancipatory intervention corresponds to an emphasis of a constitutive tension and discord (“the gap”) within what is commonly perceived as a stable, neutral background. Critique strives not to explicitly reveal existing problems. Instead, it reveals an inherent inconsistency within an implicit, ideological fantasy of order and harmony that allows us to naturalize these problems. Consequently, the critical-emancipatory potential of architecture resides not in its programmatic content nor in its representational image, but in its capacity to disrupt the reassuring affective texture of ideology. Critique resides in a formally subtle (concerning architecture in its narrowest definition as an affective structure), yet politically radical shift in how problems of everyday life are interpreted and processed; re-introducing a minimal sense of disquietude that is both critical and emancipatory. The disquietude, that marks an absence of a fantasy of order and harmony, can, paradoxically, only be sustained as a product of a formally (representationally) ordered and harmonious appearance. The critical-emancipatory disquietude is not a compromise of the order and harmony, but rather a reflection of its uncompromisingly egalitarian nature.

No description available.

No description available.

Made available in DSpace on 2016-04-26T18:16:04Z (GMT). No. of bitstreams: 1 Ricardo Nash.pdf: 1690915 bytes, checksum: bfb10abe06787448339a20808dab6a85 (MD5) Previous issue date: 2006-10-16 / Sounds and scene have always been connected to each other. Throughout history, several ways of connecting them were developed. Regarding the understanding of the principles which motivated the development of this relationship between sound and scenic compounds, this dissertation intends to research this relation to such a hybrid process of creation, lately amplified into several media. The goal is to understand the means of connecting sound to drama elements: the spoken or sung text, or even the soundtrack, the body (gesture, light, space and other methods of capture and register). With such a goal, the work presents a detailed history of ways to relate both languages to each other (text and sound) as well as other elements which can concur to the scene. The concept basis employed to such reading was taken from Gilles Deleuze and Paul Zumthor. From these authors some concepts are fundamental. From Deleuze, the concept of ritornello and becoming; from Zumthor, the orality studies and the relation between sung voice, spoken voice and body presence into the performatic happening. The dissertation is presented in two parts, each one with two chapters, in which the first part has a map of the relation between the two languages since its beginning to the most recent results brought by the media. The second part accounts for two study cases on the relation between sound creation and scenic creation in which it focuses, above all, in the process of creation by different media, which presents the body as the element to join both sound and visual layers. Along with the theoretical and analytical text, there are also two records in digital media of both works analyzed and enabled in complete format on the site: htpp://ricardonash.spaces.live.com / Música e cena sempre se correlacionaram. Ao longo da história, foram desenvolvidas diversas formas de relacioná-los. Com o intuito de entender os princípios que motivaram o desenvolvimento entre os componentes musicais e cênicos, essa dissertação de mestrado tem por objetivo pesquisar essa forma de relação como um processo híbrido de criação atualmente implicado nas mais diversas mídias. O que se pretende com isso é entender os modos de relação do som com os elementos dramáticos: o texto falado ou cantado, ou mesmo a trilha sonora, e o corpo (gesto, iluminação, espaço e outros mecanismos de captação e registro). O trabalho apresenta um histórico detalhado das formas de relação entre as duas linguagens (o texto e o som) bem como outros elementos que possam concorrer à cena. As bases conceituais empregadas para tal leitura foram tomadas de Gilles Deleuze, Paul Zumthor e Haroldo de Campos. Desses autores, alguns conceitos são fundamentais: de Deleuze os conceitos de ritornelo e devir, de Zumthor, os estudos de oralidade e as relações entre voz cantada, voz falada e a presença do corpo no acontecimento performático; de Campos, o conceito de tradução. A dissertação apresenta-se em duas partes, com dois capítulos cada uma. A primeira traz um mapeamento da relação entre as duas linguagens, desde seus primórdios até as decorrências mais recentes trazidas pelas novas mídias. A segunda parte estuda dois casos de relação entre a criação sonora e a criação cênica, focalizando, sobretudo, o processo de criação em mídias distintas que apresenta o corpo como o elemento de acoplamento das camadas visuais e sonoras. Junto ao texto teórico e analítico, há dois registros em mídia digital, dos dois trabalhos analisados disponibilizados em formato completo no site: htpp://ricardonash.spaces.live.com