Architecture, Building and Planning - Theses
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ItemBeyond Mac world and 'umbrella' architecture: an alternative design framework for urban public buildings in Sri Lanka( 2009)The obsession to become modern while maintaining a link to a glorified history is a prevalent practice in most postcolonial nations. Combined with layers of developmental politics, geo-political agendas, ethnic insecurities and globalization, there emerges an increasingly complex picture which is generally absent from developed post-industrial nations. Post-independent Sri Lanka is not immune to this canvas of complexity. As a result, professional input into non-residential building production has been caught up in the ostensibly irreconcilable position of, "how to revive an old, dormant civilization and take part in universal civilization." With the patronage of political and cultural elites of post-independent Sri Lanka, the production process of social space has created a paradoxical architectural paradigm of modernity and tradition. The enthusiasm of transnational tourism for commodified local culture has further crystallized this predicament. The resultant physical landscape has thus created a specific reference system through which architecture is understood, taught, perceived and appreciated. Symbolic and representative politics have marginalized the functional and social inclusiveness of the civic built fabric. Set against this background, this thesis intends to firstly, examine the historical background involved in constructing this dichotomous paradigm and the social costs involved. Secondly, the thesis aims to examine alternative mechanisms by which to expand the existing architectural debate, enabling the production of a more socially inclusive, context-generated civic architecture.
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ItemConstructing bodies: gesture, speech and representation at work in architectural design studios( 2009)Previous studies of the design studio have tended to treat learning to design as a matter of learning to think in the right way, despite the recognition that material artifacts and the ability to make and manipulate them in architectural ways is important to the design process. Through the use of empirical data gathered from watching design teachers and students in action, this thesis works to discover how material things and bodies are important to the fabrication of architectural meaning and architectural subjectivity within design studios. In particular the role of gesture is highlighted as doing important work in design studio knowledge practices. The approach taken in this thesis is to treat design activity in design studios in a ‘post-human’ way. An analytical eye is turned to how things and people perform together and are organised in various ways, using Actor network theory (ANT) as a way to orientate the investigation. The assumption drawn from ANT is that that architectural meaning, knowledge and identity can positioned as network effects, enacted into being as the design studio is ‘done’ by the various actors — including material things, such as architectural representations, and human behaviours, such as gesture. Gesture has been largely ignored by design studio researchers, perhaps because it tends to operate below the threshold of conscious awareness. Gesture is difficult to study because the meanings of most gestures produced during conversations are spontaneous and provisional. Despite this humans seem to be good interpreters of gesture. When studied in detail, ongoing design studio activity is found to rely on the intelligibility of gesture done in ‘architectural ways’. The main site for the observation of gesture during this study was the ‘desk crit’ where teachers and students confer about work in progress. In the data gathered for this thesis gesture is found to operate with representations in three key ways: explaining and describing architectural composition, ‘sticking’ spoken meanings strategically to representations and conveying the phenomenological experience of occupying architectural space – the passing of time, quality of light, texture and movement. Despite the fact that most of the work of the thesis centres on human behaviour, the findings about the role of gesture and representation trouble the idea of the human as being at the centre of the action, putting the bodies of teachers and students amongst a crowd of non human others who participate together in design knowledge making practices.
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ItemA morphology of pattern for kinetic facades( 2009)This research examines the zone between environment and interior, the architectural façade, for the potential to develop a new form of composition based on kinetic pattern. Within contemporary architecture there is a growing interest in kinetics. Intelligent façades for example, manifest kinetics in the form of a responsive skin that adapts to changing environment conditions and user occupancy, continuing the trajectory of functionalism. Media façades by contrast, are driven by an interest in the recasting of architectural surface as a zone of interactivity, with the potential to engage users with public art works or embed socio-cultural information. Regardless of the design intent, the emerging field of kinetic façades offers the challenge of developing a sophisticated approach to the design of motion. As evidenced by a review of theory and practice, there is a lack of fundamental knowledge about the possibilities offered by kinetics. Through the lens of morphology, this thesis explores the possibilities of kinetic composition afforded by façades in motion. The emphasis is on the underlying structure of kinetic form, independent of physical scale or materiality. Kinetics is defined in spatial terms: actual movement through geometric transformation in space (translation, rotation, scaling); or through controlling material properties of elasticity and mass to produce movement. Composition is analyzed in terms of pattern, defined as the relative movement of individual kinetic parts in time and space - the way in which multiple singular kinetic events cluster, or propagate, across a facade over time. A morphology of pattern is developed by three interrelated questions. What design variables influence kinetics, what is the theoretical range, and what nomenclature may robustly describe a morphology of pattern? An original framework for conceiving design variables is proposed. The framework revolves around diverse approaches to data sampling and control systems, alongside the typical architectural emphasis on the design of the physical components. These three interrelated design activities are conceived in terms of ‘decision planes’. Specification of variables on each plane and in relation to time, determine the spatio-temporal limits, or what is termed as the ‘variable space’, from which patterns will emerge. This conceptual framework has been used to structure a methodical series of computer animations, which explore range of pattern. In a similar vein to the tradition of façade study drawings, a diagrammatic approach to animation has been developed. The adoption of a non-realistic mode of representation is intended to focus attention on ‘movement itself’, independent of physical scale, materiality or figurative associations. Through analysis and discussion of the animations, it is proposed that morphology of kinetic pattern is robustly described through a nomenclature based on state change. It is proposed that three recognizable states reoccur-waves, folds and fields. State change is based on the principle of internal variance within these three simple states, and intermediate states that allow transition by degree and kind. Similar to the nomenclature for describing clouds, this provides a robust and extendable approach, allowing multiple intermediate states to be conceived in relation to the wave, fold and field definitions. The framework for conceiving variables that influence pattern and the state change morphology provide the means to improve understanding in the particular realm of kinetic façade composition. The framework is presented in generic form and a particular instance is developed based on an analysis of key references. This provides a model to conceive the multiple variables that influence kinetic composition, while the morphology provides a low resolution map for designers, identifying the most distinctive forms and providing a scaffold for research by design. Further work on extending these contributions to knowledge is outlined, including the description of a simulation environment calibrated to the physical constraints of materials and technology.