This thesis investigates how graphic systems can operate as primary generators of architectural elements. Rather than treating graphics as representational tools that describe a building after it is conceived, the project inverts the conventional sequence where graphic design becomes the origin of spatial, material, and tectonic decisions.
The project is driven by a series of individual studies that test how graphics behave when projected onto volumetric forms: texture‑mapping experiments that create zones of real and fictive materiality, projection studies that distort graphic patterns into three‑dimensional surfaces, and full‑scale material tests that evaluate how color fields, line densities, and pattern overlays can alter or expose material conditions.
By developing a translation that links graphic operations to specific constructional outcomes, the thesis positions the building as an operating artifact that moves between graphic image and material assembly. In doing so, it reframes design authorship as a process of graphic construction. Ultimately, the thesis argues that spatial and tectonic identity can emerge directly from visual systems, producing architecture defined by the coherence of its graphic origins.
