Lo Ka Yu. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2001-2002, design report." / Includes bibliographical references (leaves [62]-[63]). / Chapter 1.0 --- initiation / Chapter 1.1 --- statment of intent / Chapter 1.2 --- exploration / Chapter 1.3 --- initial thinking / Chapter 1.4 --- photography . tools / Chapter 1.5 --- my images / Chapter 1.6 --- Henri cartier-Bresson / Chapter 1.7 --- my moment / Chapter 2.0 --- study / Chapter 2.1 --- "ex.1, images making process" / Chapter 2.2 --- ex.2. ./. photo & arch / Chapter 2.3 --- "ex.3, abstract my images" / Chapter 2.4 --- ex.4. images of old hong kong / Chapter 2.5 --- human sense / Chapter 2.6 --- impossible triangle / Chapter 2.7 --- Chinese garden / Chapter 2.8 --- daylight / Chapter 2.9 --- shadows / Chapter 3.0 --- design / Chapter 3.1 --- site / Chapter 3.2 --- daylight study / Chapter 3.3 --- design strategy / Chapter 3.4 --- plans and sections / Chapter 3.5 --- visual sequence / Chapter 3.6 --- models / Chapter 3.7 --- special study / Chapter 4.0 --- others / Chapter 4.1 --- bibliography / Chapter 4.2 --- thanks / Chapter 5.0 --- appendix / Chapter 5.1 --- plans / Chapter 5.2 --- sections

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographies. / The photography of architecture is more than a simple tool to record facts about specific buildings. Photography can be used to communicate insights and perceptions about the role of architecture in society and our personal relationship to the architectural environment. This is a study of certain artists, and photographers who have broadened the concept of documentation of architecture. Photographic documents provide factual information as well as personal attitudes and expressive statements. The personal observations of artist/photographers are vital to a wider understanding of the built environment. A wider understanding is a necessary prerequisite to improving that environment. / by Robert H. ALter. / M.S.V.S.

Thesis (M. Arch)--Unitec New Zealand, 2007. / Includes bibliographical references (leaves 33-34).

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaves 48-49).

Thesis (Ph.D.)--University of Delaware, 2007. / Principal faculty advisor: Christopher Rasmussen, Dept. of Computer & Information Sciences. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 38).

This dissertation focuses on the acclaimed Japanese photographer Miyamoto Ryūji (b. 1947), whose work deals with a range of structures and spaces that I describe as ruinous: demolition sites that document the incessant development of Tokyo in the 1980s; man-made shelters of the urban homeless; the ungoverned Kowloon Walled City in Hong Kong; Kobe after the 1995 Hanshin-Awaji Earthquake; pinhole photographs of the late-modern Japanese urbanscape; and, most recently, the Tōhoku region after the 2011 earthquake, tsunami and nuclear disaster. This project intersects an architectural and urban history of postwar Japan with the close visual analysis of Miyamoto’s photographs to show how images of ruins have served as a visual trope to challenge modernist narratives of progress and late-capitalist development. Second, I argue that these images connect multiple layers of trauma in the contemporary Japanese experience, illuminating the relationship between memory and image essential for an understanding of the role of photography in narrations of history. By examining this relationship, I clarify the ways in which postwar history has been narrated in Japan and how certain images (and the memories they spark) complicate the official narrative. Miyamoto Ryūji’s work is a compelling example of the ruin as a key theme in postwar and contemporary Japanese photography because of the diverse social and historical issues that converge in his work: urban planning, the commodification of architecture, historical preservation, natural and man-made disasters, homelessness, and, uniting all of these concerns, memory and its relationship to history. Outside of Hiroshima and Nagasaki, images of ruins are an underexplored way of understanding and documenting memory in Japan. Throughout the dissertation, I unearth the ruin as a central motif of postwar and contemporary Japanese photography in spite of widespread claims that Japan is a country without ruins. In doing so, I propose new ways of understanding the ruin that are specific to modern Japanese history and culture.

This thesis aims at providing a pragmatic and conceptual basis essential for the establishment of an architectural photography archive for METU. The goal is to propose a methodology regarding the formation of an archive, which is physically and intellectually &ldquo / accessible,&rdquo / and to inquire future possibilities for its extension. The conceptual framework will be established by focusing on two main topics: theories of art, specifically focusing on photograph as a visual document, and architectural history writing, focusing on the term &ldquo / archive.&rdquo / Photograph as a visual document will be investigated by giving emphasis to its role as a historical evidence. The definition of the term &ldquo / archive&rdquo / given by Michel Foucault will be located in a key position for the construction of a discourse on documentation and historiography. The pragmatic framework will be established by taking as a reference the methodology used by the archives of the Royal Institute of British Architects (RIBA). The content and the scope subsumed under the RIBA archives show similarity to those of a possible proposal for an archive for METU. Current GISAM archives, which consist of METU campus photographs, will be taken as the primary source.

Thesis (M. Arch.)--Carleton University, 1999. / Also available in electronic format on the Internet.

Inspired by Buddhist philosophy, the photographic series Architectural Zen attempts to beautify banal and pragmatic architecture through limiting and preexisting artificial light conditions. The selective illumination of artificial light eliminates the non-essential details and enhances the pure forms and saturated color presented by the camera lens. This encourages the photographer and the viewer to enter a state of meditation. The resulting process is similar to a Zen approach to image making. The ancient Zen artist's compositions are strengthened by a meditation on form and subsequent elimination of the non-essential elements of the subject. Through embracing this Zen mentality and mindfulness,aspects of Eastern aesthetic and balance also appear through the work. The warm glow of artificial lights, long recessed shadows, and surreal colors contribute to the feeling of rest, contemplation, isolation, and solitude. Although the work in Architectural Zen is not directly about Buddhist doctrines, the process of creating the art parallels the ideas and practices of Zen Buddhism and meditation, finding the Buddha nature of typically unappealing architectural forms during a different time of day.