Common good/s : a new agency for architectural ethics
- Authors: Falconer, Dean Matthew
- Date: 2018
- Subjects: Architecture - Moral and ethical aspects
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/293578 , uj:31925
- Description: Abstract: Please refer to full text , M.Tech. (Architecture)
- Full Text:
- Authors: Falconer, Dean Matthew
- Date: 2018
- Subjects: Architecture - Moral and ethical aspects
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/293578 , uj:31925
- Description: Abstract: Please refer to full text , M.Tech. (Architecture)
- Full Text:
Digi-Tech : architecture between the physical and the digital
- Authors: Moore, Steven John
- Date: 2019
- Subjects: Architecture - Technological innovations , Architecture and technology , Architectural design - Technique
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/293987 , uj:31977
- Description: Abstract: Please refer to full text to view abstract. , M.Tech. (Architecture)
- Full Text:
- Authors: Moore, Steven John
- Date: 2019
- Subjects: Architecture - Technological innovations , Architecture and technology , Architectural design - Technique
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/293987 , uj:31977
- Description: Abstract: Please refer to full text to view abstract. , M.Tech. (Architecture)
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High and low territories : portraits of the new vertical
- Authors: Le Bron, Chantelle
- Date: 2018
- Subjects: Architecture
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/293350 , uj:31895
- Description: Abstract: Cities are inseparable from their built form, with skyscrapers acting as a metonym for the urban fabric itself. These vertical figures serve as both the image of the city and the canvas for the application of secondary and tertiary applied identities. Vertical surfaces of cities become a layered canvas for self-expression, opportunism, commercial chance taking, and conscious city branding through the application of advertising billboards, branded building wraps, graffiti and large-scale artworks. The power and influence of these surfaces declares different territories for trade, consumption and social classes, splintering the notion of a specific place through the generic commodification of the urban visual space - a Heineken or Cartier advert is the same in Johannesburg or Durban as it is in Dakar or Tokyo. The consumerist city is now a global condition. This depositing of applied value onto our urban environment disturbs our relationship with an understanding of the built fabric in our cities. In his book The Urbanism of Exception (Murray 2017), Martin Murray states that symbolically, verticality has meant that the developed and developing world is spread out into a fragmented patchwork that severs territories into separate and discontinuous layers. This practice of layering produces landscapes that resemble an extended ‘territorial ecosystem’ of externally alienated, but internally homogenised, enclave spaces located next to, within, above, or below each other (Murray 2017:131). The layering of the building skin and resultant ‘thickening’ of this surface space further emphasises the sealed, isolated nature of the internal environment. Architect and artist Gordon Matta-Clark exposes this condition in his work by sawing and carving sections out of buildings to reveal the interior, things never meant to be seen. The artist Dan Graham (quoted in Bernstein, 2017) states that “Matta-Clark saw his ‘cuts’ as probes . . . opening up socially hidden information beneath the surface”. This approach by Matta-Clark was an attempt to recover lost and neglected parts of the city and open them up for public enjoyment and co-creation. My proposed project employs a similar methodology to Matta-Clark’s ‘anarchitecture’ – a destructive investigation to expose and interrogate the physical and symbolic construction of our consumerist city. This site for the Major Design Project thus becomes the built structure, the applied branded surface and the thickness of the space between and through internal and external velums... , M.Tech. (Architecture)
- Full Text:
- Authors: Le Bron, Chantelle
- Date: 2018
- Subjects: Architecture
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/293350 , uj:31895
- Description: Abstract: Cities are inseparable from their built form, with skyscrapers acting as a metonym for the urban fabric itself. These vertical figures serve as both the image of the city and the canvas for the application of secondary and tertiary applied identities. Vertical surfaces of cities become a layered canvas for self-expression, opportunism, commercial chance taking, and conscious city branding through the application of advertising billboards, branded building wraps, graffiti and large-scale artworks. The power and influence of these surfaces declares different territories for trade, consumption and social classes, splintering the notion of a specific place through the generic commodification of the urban visual space - a Heineken or Cartier advert is the same in Johannesburg or Durban as it is in Dakar or Tokyo. The consumerist city is now a global condition. This depositing of applied value onto our urban environment disturbs our relationship with an understanding of the built fabric in our cities. In his book The Urbanism of Exception (Murray 2017), Martin Murray states that symbolically, verticality has meant that the developed and developing world is spread out into a fragmented patchwork that severs territories into separate and discontinuous layers. This practice of layering produces landscapes that resemble an extended ‘territorial ecosystem’ of externally alienated, but internally homogenised, enclave spaces located next to, within, above, or below each other (Murray 2017:131). The layering of the building skin and resultant ‘thickening’ of this surface space further emphasises the sealed, isolated nature of the internal environment. Architect and artist Gordon Matta-Clark exposes this condition in his work by sawing and carving sections out of buildings to reveal the interior, things never meant to be seen. The artist Dan Graham (quoted in Bernstein, 2017) states that “Matta-Clark saw his ‘cuts’ as probes . . . opening up socially hidden information beneath the surface”. This approach by Matta-Clark was an attempt to recover lost and neglected parts of the city and open them up for public enjoyment and co-creation. My proposed project employs a similar methodology to Matta-Clark’s ‘anarchitecture’ – a destructive investigation to expose and interrogate the physical and symbolic construction of our consumerist city. This site for the Major Design Project thus becomes the built structure, the applied branded surface and the thickness of the space between and through internal and external velums... , M.Tech. (Architecture)
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The scar : coalescing spaces of production and consumption
- Authors: Tatham, Paul Ross
- Date: 2018
- Subjects: Architecture
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/293497 , uj:31913
- Description: Abstract: The Scar: Coalescing Spaces of Production and Consumption is the culmination of an exploration into architectural language (how we see, draw and build architecture). Through performative drawing, digital projection and tectonic prototyping the project speculates on new forms of consumer convenience in our city. The resulting proposition, a new form of Convenience Store, is not simply a fixed building, but rather a conceptual fabric and transactional space of production and consumption. The project is sited in three public sites in Johannesburg. Each ‘store’ is proposed as an environment for producers and consumers to practice rituals of consumption at a heightened state of convenience – an instantly individualised and immediately accessible state of convenience. Additionally, the work also explores how information produced through the act of consumption can be captured and exchanged, inventing new forms of value and currency. The intention of the proposition is to produce a space where the processes of production and the act of consumption are compressed into one surface (skin, material, fabric). The resulting ‘scar’, the line between produce and consume, manifests as a compressed supply chain; an intelligent surface, a compact manufacturing unit and an observed space. Beyond the functionality of 20th century inventions such as the vending machine and the automated teller machine, the convenience store houses contemporary forms of small-scale production such as 3D printers (where objects can be manufactured) and computers (where information can be exchanged). The project emphasises ‘process’ as a medium for research and discovery, this process is made of two parts: observe and translate. The field trip, films, architectural precedents, collaborative dialogues and other references are seen as inputs for the process, along with my own interests in sensory experience. These are translated into work through active performances (drawings) where the human body is seen as the central device in unpacking and creating architecture. , M.Tech. (Architecture)
- Full Text:
- Authors: Tatham, Paul Ross
- Date: 2018
- Subjects: Architecture
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/293497 , uj:31913
- Description: Abstract: The Scar: Coalescing Spaces of Production and Consumption is the culmination of an exploration into architectural language (how we see, draw and build architecture). Through performative drawing, digital projection and tectonic prototyping the project speculates on new forms of consumer convenience in our city. The resulting proposition, a new form of Convenience Store, is not simply a fixed building, but rather a conceptual fabric and transactional space of production and consumption. The project is sited in three public sites in Johannesburg. Each ‘store’ is proposed as an environment for producers and consumers to practice rituals of consumption at a heightened state of convenience – an instantly individualised and immediately accessible state of convenience. Additionally, the work also explores how information produced through the act of consumption can be captured and exchanged, inventing new forms of value and currency. The intention of the proposition is to produce a space where the processes of production and the act of consumption are compressed into one surface (skin, material, fabric). The resulting ‘scar’, the line between produce and consume, manifests as a compressed supply chain; an intelligent surface, a compact manufacturing unit and an observed space. Beyond the functionality of 20th century inventions such as the vending machine and the automated teller machine, the convenience store houses contemporary forms of small-scale production such as 3D printers (where objects can be manufactured) and computers (where information can be exchanged). The project emphasises ‘process’ as a medium for research and discovery, this process is made of two parts: observe and translate. The field trip, films, architectural precedents, collaborative dialogues and other references are seen as inputs for the process, along with my own interests in sensory experience. These are translated into work through active performances (drawings) where the human body is seen as the central device in unpacking and creating architecture. , M.Tech. (Architecture)
- Full Text:
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