Browsing by Author "Chang, Yung-Ho"

Now showing 1 - 8 of 8
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    A reinhabitation: Five walls
    (1995) Hagan, Timothy Fowler; Chang, Yung-Ho
    We, as inhabitors of a built society, are surrounded by spaces which go wholly unnoticed as we pass through them. These are the spaces of transition and passage, but by no means are they spaces without importance. The spaces can be seen as having been misplaced by the changes to the environment around them. By studying the cues left behind in these spaces, and attempting to respond to the conditions presented in them, we can reinstill in the spaces a new life, a new architecture. This reinstallation of architecture should be an accentuation of the existing, rather than the replacement of the space. This thesis attempts to accomplish the task of reinhabiting an existing building by first analyzing the archaeological object through the reordering of found artifacts. The analysis culminates in the reinvention of the building spaces through the addition of five walls.
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    Acting space.....following the line: Architectures of the drawing act
    (1996) Kroeckel, Mark Roderick; Chang, Yung-Ho
    This thesis maps out four lines of thought which propose drawing as the material practice of architecture. The first line follows the clockwork diagram that underlies the whole of time, space, and therefore, drawing systems within Western culture. The second line follows the effect the clockwork had upon developing projective drawing systems, and how these techniques of drawing were essential in producing architecture as an autonomous, remote profession. The third line of the thesis develops a philosophy of the drawing act or the performative diagram, which opposes itself to the rationalized time and space of the clockwork drawing systems by insisting on the real time of the act. The fourth line of thought in the thesis, which encompasses all other lines and is continually constructing itself, involves the various acting spaces or drawing acts produced through operating within the material practice of following the line.
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    Crash motel, perception and process: Machines for people who still walk
    (1995) Satterfield, Blair Harold; Chang, Yung-Ho
    "The Machine has not divorced us from nature. By means of the machine, we have discovered a new, previously unanticipated feature of nature."$\sp1$ Human Beings are divine because they participate in the movements of the world. This was the belief of the medieval person. It was around the time of the industrial revolution that this perception and understanding began to change. The universe was no longer centered on the earth. Humans ceased to be the image of the divine. The machine as an extension of the human being became the machine as an improvement on and subsequently a surrogate for human beings. This thesis investigates the physical machine (vehicle) and its effects on our understanding of space, place, body and relationship. Can the machine foster a new architectural awareness and understanding? An awareness that is lost? What are the ramifications of living in a machine (car) city? What new possibilities are presented? ftn$\sp1$El Lissitzky, Russia: An Architecture for World Revolution (Cambridge, Mass.: MIT Press, 1970), p. 141.
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    Die Schleuse zur Darstellenden kunst
    (1997) Diehm, Stefanie; Chang, Yung-Ho; Guthrie, David; Pope, Albert; Wamble, Mark
    This thesis focuses on the spectator's role in the performing arts and questions methods of deploying the foyer as an element of contemporary theaters. Current definition of the term foyer describes a statically defined architectural space, stiff prelude to the performance spaces itself. This practice of the foyer fails to recognize the importance of the social and experimental in attending the theater, losing the opportunity to prepare and stimulate the spectator for the erformance itself. The interaction of intellectual and spatial realms of theater and to what degrees the public determines this interplay are critical factors in this inquiry. The theater is not limited to the course of events within itself; it esonates outside of its physical boundaries. In this way the pathway of the spectator interwines with the experience of the city. This path to the Performing Arts is a Process, a passage through a sequence of spaces carrying the spectator to another level of perception in order to absorb the performance and to reflect on their lives. This process is defined as "Die Schleuse zur Darstellenden Kunst".
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    Experiencing the threshold: Space and mora
    (1994) Pittman, Julian Ross; Chang, Yung-Ho
    The threshold generally considered as a line of transition, is explored as a distinct space separate from its bounding spaces through a series of interventions and documented in this volume. New relationships and approaches are developed from traditional literature on transgression, the limen, and mora. New volumes of space are created within an ever shrinking wall space.
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    Landscrapes
    (1997) Wilson, Christina Ann; El-Dahdah, Fares; Pope, Albert; Chang, Yung-Ho
    Whether in architecture, exhibition design, furniture or film, each of Charles and Ray Eames' projects attempts to expose a particular view/experience of objects using a series of organizational and graphic techniques. It is a utopian view that seeks to frame a heterogeneous world of things. The Eames' design matrix/framework draws out information that clarifies what is latent and makes it possible for an object to be rendered more evident through a new set of relationships. This approach to design allows one to redesign the world using a structured framework of observation and experience. Environmental Installation/Exhibition: Working from a contemporary perspective, the project redescribes a particular world that is evidently bleak, yet not without aesthetic and political possibilities. The project is an installation to be mounted on a clearcut site. It consists of two enclosed gardens and exhibition area. After ten months, or one full blooming season, concrete elements and plants are left as remnants on the site while the rest of the building is transported to another environmentally devastated location.
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    Mechanization as architectural allegory
    (1996) Song, Tony; Chang, Yung-Ho
    The 18th century French architectural debate led by architects such as Ledoux, Boullee and Lequeu laid the foundation for many of the Modernist doctrines. Yet it remaines very much in the realm of the metaphysical. By re-examine the architecture of this period, Modernism can retrieve much of its lost rhetoric such as meaning, metaphor and symbolism. Through a design approach based on the idea of allegorical interpretations which incorporates geometry and mechanization as man's means of understanding the world, modern architecture could begin to reconcile the dilemma between its conceptual dimension, logos, and its perceptual dimension, mythos.
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    Urban house: The ultrasonic blender confusion of twenty-first century society
    (1995) Radeke, Michael Robert; Chang, Yung-Ho
    We are surrounded by devices that are designed to respond to us. They have been given a language of rhythm, movement, attachment, repetition, and layering. They are both overwhelmingly present and unseen. Mutably flowing together, they lose their distinctness in an anonymous field. They are notations of a system, each a reference, a hazy outline. This dual nature is echoed by our own nature. In this world of stimulation, we have learned simultaneously to seek out this stimulation and to flee from it. Increasingly, our houses have become shelters and retreats from ever-present demands. Instead, the house must allow the inhabitant to dwell cyclically. It must allow us to have stimulation and also allow us to escape from it. It must be a device that reflects one's desires in relation to our mechanized existence.