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Food’s implication on culture and agriculture challenges agriculture’s identity in the age of the city. As architect and author Carolyn Steel explained, “we live in a world shaped by food, and if we realize that, we can use food as a powerful tool — a conceptual tool, design tool, to

Food’s implication on culture and agriculture challenges agriculture’s identity in the age of the city. As architect and author Carolyn Steel explained, “we live in a world shaped by food, and if we realize that, we can use food as a powerful tool — a conceptual tool, design tool, to shape the world differently. It triggers a new way of thinking about the problem, recognizing that food is not a commodity; it is life, it is culture, it’s us. It’s how we evolved.” If the passage of food culture is dependent upon the capacity for learning and transmitting knowledge to succeeding generations, the learning environments should reflect this tenability in its systematic and architectural approach.

Through an investigation of agriculture and cuisine and its consequential influence on culture, education, and design, the following project intends to reconceptualize the learning environment in order facilitate place-based practices. Challenging our cognitive dissonant relationship with food, the design proposal establishes a food identity through an imposition of urban agriculture and culinary design onto the school environment. Working in conjunction with the New American University’s mission, the design serves as a didactic medium between food, education, and architecture in designing the way we eat.
ContributorsBone, Nicole (Author) / Rocchi, Elena (Thesis director) / Hejduk, Renata (Committee member) / Robert, Moric (Committee member) / The Design School (Contributor) / School of Geographical Sciences and Urban Planning (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
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Sacred space creates a sacrality of the architecture it resides in. The research paper dissects and answers the thesis question, “what makes a space sacred,” through a research-driven design approach that delivers the thesis prompt, architecture must comprise of intentional design elements that create a physical, perceptual, and spiritual experience

Sacred space creates a sacrality of the architecture it resides in. The research paper dissects and answers the thesis question, “what makes a space sacred,” through a research-driven design approach that delivers the thesis prompt, architecture must comprise of intentional design elements that create a physical, perceptual, and spiritual experience to validate its sacrality. The paper introduces research behind sacred architecture and its design elements, and questions how these design elements contribute to the validity of sacred architecture. The research infers that there must be an intentionality behind these design elements. The research leads to the analysis of three case studies that demonstrate the use of sacred architecture’s design elements and validates their purpose and intention. Peter Zumthor, Swiss architect, and two of his projects, the Bruder Klaus Chapel and the Kolumba Museum, demonstrate the use of intentional design elements through Peter Zumthor’s methodology and intention behind his designs. As well, the personal case study, the Holy Family Shrine, showcases sacred architecture’s design elements through the intentional use of symbolism. The analysis leads to the discussion of two design projects, Tabernacle of Humility and Campo, Sacrality Made Real, exhibit and support the analysis of Peter Zumthor’s methodology and works, along with the intentionality of design elements in sacred architecture. In conclusion, it is understood that with symbolic intentionality behind design elements, the sacrality of architecture is revealed, thus creating a physical, perceptual, and spiritual experience.

ContributorsGagliano, Anthony (Author) / Rocchi, Elena (Thesis director) / Hejduk, Renata (Committee member) / Barrett, The Honors College (Contributor) / Dean, W.P. Carey School of Business (Contributor) / The Design School (Contributor)
Created2022-05
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Before the digital age, architectural representation in drawing resulted from two transformational processes: one happened with the author as they developed the drawing from an idea to material. The second happened with the viewer as they interpreted the drawing. In these processes, a particular medium, the frame, raises the status

Before the digital age, architectural representation in drawing resulted from two transformational processes: one happened with the author as they developed the drawing from an idea to material. The second happened with the viewer as they interpreted the drawing. In these processes, a particular medium, the frame, raises the status of ideas—the frame functions as an organizing principle that unifies the artist’s intentions and practice. Today digital drawing has mostly replaced annotated drawing, and in the exchange, the benefit of the frame is lost.This qualitative study utilizes a conceptual approach to observe the frame and propose a methodology to bring together the analog/physical frame and the digital/immersive frame. The study enters a dialog with the art theorist Rosalind Krauss who writes about the “Institution of the Frame,” and the art historian Svetlana Alpers who classifies two different modes of representing the world—the Albertian and the Keplerian. Following Krauss’ statement, the study argues that a frame is an act of excision. Inspired by Alpers’ classification, the study focuses on creating two modes of frames, the Alberti and the Brunelleschi. The Alberti mode considers the frame a veil—a two-dimensional surface. Brunelleschi mode observes the frame as a fold—a three-dimensional surface. The study utilizes several analytical methods: descriptive writing, graphic diagramming, and the production of drawings that unite the analog and digital as physical spaces and cinematic screens. These methods develop from the work of Luke Winslow in Frame Analysis, which provides a three-step “meaning-making process” to dissect multiple materials as an interdisciplinary framework. The study examines eight cases studies to identify systematic and generalizable principles, distinguish the relationship between analog and digital frames, and illuminate a strategy to build a delay in the process of thinking about architectural design in the digital age. The conclusion offers an approach for interfacing analog and digital frames in architecture while reflecting on the results, the significance of the interdisciplinary research study, and a position statement—the very essence of the research.
ContributorsRocchi, Elena (Author) / Davids Scott, Jason (Thesis advisor) / Hedberg Olenina, Ana (Committee member) / Bernstein, Max (Committee member) / Arizona State University (Publisher)
Created2022