Thesis (M.Arch.) - Carleton University, 2008. / Includes bibliographical references (p. 98-99). Also available in electronic format on the Internet.

prepared by Lie Ning Gung. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report." / Includes bibliographical references. / Introduction / Chapter Book I --- Hypothesis / Chapter ---- --- Genesis of Hanzi / Chapter ---- --- Esthetics of Hanzi / Chapter ---- --- A Living Being / Chapter ---- --- On Architecture / Chapter Book II --- Concepts / Chapter ---- --- Dynamics / Chapter ---- --- Action / Chapter ---- --- Experience / Chapter ---- --- Program / Chapter ---- --- Site / Chapter Book III --- Trials / Chapter ---- --- Conceptual Model / Chapter ---- --- Site / Chapter ---- --- Study Model / Chapter ---- --- Program / Chapter ---- --- The Project / Chapter ---- --- Epilogue / Appendices / Chapter I- --- Project Background / Chapter ---- --- Social & Political Context --- p.1-4 / Chapter ---- --- Historical & Cultural Context --- p.5-7 / Chapter ---- --- The Issue --- p.8-9 / Chapter ---- --- The Proposal --- p.10 / Chapter ---- --- Client Profile --- p.11 / Chapter ---- --- Mission --- p.12-13 / Chapter II- --- Site / Chapter ---- --- History --- p.1-2 / Chapter ---- --- Land Use --- p.3 / Chapter ---- --- Circulation Studies --- p.4-8 / Chapter ---- --- Site Features --- p.9 / Chapter ---- --- Topology --- p.10 / Chapter ---- --- Site Constrains --- p.11 / Chapter ---- --- Potential & Cost --- p.12 / Chapter ---- --- Goals & PR --- p.13-18 / Chapter III- --- Precedents studies / Chapter IV- --- Interviews / Acknowledgements / Bibliography

Law Ying Kin. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report." / Synopsis --- p.BOOK0:3 / Chapter BOOK 1 : --- "FORM, MUSIC & ARCHITECTURE" / Introduction --- p.BOOK1:5 / Formal Exploration --- p.BOOK1:6 / PROJECT 1 : Music Academy --- p.BOOK1:7 / Chapter BOOK 2 : --- "EVENT, MUSIC & ARCHITECTURE" / Site Studies --- p.BOOK2:13 / Art in EveryDay's Life --- p.BOOK2:14 / Bun Festival --- p.BOOK2:15 / Tourism Invasion --- p.BOOK2:18 / Tourist Behaviour --- p.BOOK2:21 / Urban Design Strategy --- p.BOOK2:23 / PROJECT 2 : Music School / Programme --- p.BOOK2:27 / Drawings & Renderings / Chapter 1 --- PLANS --- p.BOOK2:29 / Chapter 2 --- ELEVATIONS --- p.BOOK2:34 / Chapter 3 --- SECTIONS --- p.BOOK2:36 / Chapter 4 --- PERSPECTIVES --- p.BOOK2:41 / Chapter BOOK 3 : --- APPENDIX / Chapter 1 --- Study Report on Form. Music and Architecture --- p.BOOK3:45 / Chapter 2 --- Basic Informaion of Cheung Chau --- p.BOOK3:50

The meaning of the architectural surface was thoroughly reconsidered by architects and historians in England and Europe between early and mid-nineteenth century. There were two major trends. The first one was historicist. Ornament and colour was considered important because it represented the origins of architecture. The second approach was rational and tectonic. It suggested that an honest surface had to be created by emphasizing the structure and by truthfully expressing materials. An unusual response to these debates was John Ruskin??s history of medieval and Renaissance architecture. This was published as The seven lamps of architecture (1849), and the three volume study, The stones of Venice (1851-1853). Ruskin??s writings were difficult to grasp. On the one hand, they were fragmented, historically inaccurate, and lacking in explanatory power. On the other hand, they emphasized surface ornament, without ever indicating its architectural ??use??. As a result, nineteenth and twentieth century historians and architects declared Ruskin??s writings as being irrelevant to architectural theory and practice. By examining Ruskin??s writings on architecture through the theoretical lens of dress, body, and gender, the thesis demonstrates that he proposed the theory of the adorned ??wall veil??.This was a two-part theory. Firstly, architecture was defined by the presence of planar walls. The masonry structure of these walls was masked and decorated by a seamless dress-like surface, consisting of relief and polychromatic ornaments. Secondly, Ruskin distinguished between the ideal and the corrupt dress. The ideal dress celebrated the spiritual aspects of the body (surface, skin, and colour). The corrupt dress represented the scientific image of the body (depth, bones and muscles, and form). The ideal dress was reflected by the surfaces of medieval buildings, and the corrupt dress was mirrored by the Renaissance architectural surface. Through these arguments, the thesis makes two major contributions. Firstly, it shows that Ruskin??s views were consistent with the architectural modernism of the twentieth century, in which the free fa??ade and the atectonic surface were key concerns. Secondly, it establishes that Gottfried Semper??s writings were not the sole origin of the debates on dress and architecture. It shows that Ruskin developed a critical theory of dress by synthesizing debates on gender, science, and spirituality. He used this theory to suggest a new approach towards architecture.

The meaning of the architectural surface was thoroughly reconsidered by architects and historians in England and Europe between early and mid-nineteenth century. There were two major trends. The first one was historicist. Ornament and colour was considered important because it represented the origins of architecture. The second approach was rational and tectonic. It suggested that an honest surface had to be created by emphasizing the structure and by truthfully expressing materials. An unusual response to these debates was John Ruskin??s history of medieval and Renaissance architecture. This was published as The seven lamps of architecture (1849), and the three volume study, The stones of Venice (1851-1853). Ruskin??s writings were difficult to grasp. On the one hand, they were fragmented, historically inaccurate, and lacking in explanatory power. On the other hand, they emphasized surface ornament, without ever indicating its architectural ??use??. As a result, nineteenth and twentieth century historians and architects declared Ruskin??s writings as being irrelevant to architectural theory and practice. By examining Ruskin??s writings on architecture through the theoretical lens of dress, body, and gender, the thesis demonstrates that he proposed the theory of the adorned ??wall veil??.This was a two-part theory. Firstly, architecture was defined by the presence of planar walls. The masonry structure of these walls was masked and decorated by a seamless dress-like surface, consisting of relief and polychromatic ornaments. Secondly, Ruskin distinguished between the ideal and the corrupt dress. The ideal dress celebrated the spiritual aspects of the body (surface, skin, and colour). The corrupt dress represented the scientific image of the body (depth, bones and muscles, and form). The ideal dress was reflected by the surfaces of medieval buildings, and the corrupt dress was mirrored by the Renaissance architectural surface. Through these arguments, the thesis makes two major contributions. Firstly, it shows that Ruskin??s views were consistent with the architectural modernism of the twentieth century, in which the free fa??ade and the atectonic surface were key concerns. Secondly, it establishes that Gottfried Semper??s writings were not the sole origin of the debates on dress and architecture. It shows that Ruskin developed a critical theory of dress by synthesizing debates on gender, science, and spirituality. He used this theory to suggest a new approach towards architecture.

Thesis (M.A.E.T.)--Western Seminary, San Jose, CA, 2005. / Abstract. Includes bibliographical references (leaves 106-112).

Thesis (M.A.E.T.)--Western Seminary, San Jose, CA, 2005. / Abstract. Includes bibliographical references (leaves 106-112).

No description available.

Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: The aim of this study is to investigate man's use of the mollusk within selected art forms, and to use the research results to design a contemporary museum exhibition, relevant within a South African context. Two sections are presented. In section A the selected art forms, fine arts, architecture, furniture design, masks and music and other sound instruments are thoroughly investigated to determine in what way the mollusk/shell is used in or on these art forms. A large number of figures are included to illustrate the available examples, and to aid the reader in the visualization of these applications. In section B a design solution is presented, based on the research results of section A. The compilation of an exhibition team and the whole design process, from the choice of an exhibition theme to the evaluation of the exhibition, is investigated. The exhibition designer plays the important role of interpreting the research results and to compile a design solution. A wide variety of exhibition techniques are recommended for the design solution, including theatre productions, special lighting and sound effects, demonstrations and tours. A number of figures are included, where photos taken during the museum visitations and design sketches provide further insight into the design solution. From the research results it was noted that an educational subject such as the mollusk/shell, can be made timely and attractive for the museum visitor by the use of creative, contemporary and relative exhibition techniques. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om die mens se benutting van die mollusk in geselekteerde kunsvorme te ondersoek en om die navorsingsresultate te gebruik om 'n eietydse en kreatiewe museumuitstalling, relevant binne die Suid-Afrikaanse konteks, te ontwerp. Twee afdelings word aangebied. In afdeling A word die geselekteerde kunsvorme, beeldende kunste, argitektuur, meubeIkuns, maskers en musiek- en ander kIankinstrumente deeglik ondersoek om vas te stel op watter wyse die mollusk/skulp daarin of daarop gebruik word. 'n Groot aantal figure word ingesluit om die beskikbare voorbeelde te illustreer en op so 'n wyse visuaIisasie vir die leser te vergemaklik. In afdeling B word 'n ontwerpoplossing aangebied, gebaseer op die navorsingsresultate van afdeling A Die samestelling van 'n uitstalspan en die hele ontwerpproses, vanaf die keuse van 'n uitstalterna tot die evaluering van die uitstalling, word ondersoek. Die uitstaIontwerper vertolk die belangrike rol om die navorsingsresultate te interpreteer en 'n ontwerpoplossing daaruit saam te stel. 'n Groot verskeidenheid uitstaltegnieke word vir die ontwerpoplossing aanbeveel, wat onder meer teateraanbiedings, spesiale beligting- en klankeffekte, demonstrasies en toere insluit. 'n Verskeidenheid figure word ingesluit waar foto's, geneem tydens die ter plaatse ondersoeke, en ontwerpsketse 'n aanduiding van die ontwerpoplossing gee. Uit die navorsingsresultate kon daar vasgestel word dat 'n opvoedkundige onderwerp soos die mollusk/skulp, deur die gebruik van kreatiewe, eietydse en relevante uitstaltegnieke, vir die museumbesoeker aktueel en aantreklik gemaak kan word.

Keung Chau Yu Alice. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report." / Includes bibliographical references (leaves 102). / Stage 1 --- p.p4-p14 / What is Caligraphy? / The Emergence of Caligraphy? / The Three Traditions of Caligraphy? / Background of the Project: / Facts / Value / Project Goals / Mission / Issues / Caligraphy + Architecture = Calitecture / Proposed Site 1 / "Pak Sha O Village, Sai Kung" / Schedule of Accomodations / Proposed Client / Alpha Beta Club / Precedent / "Wagramerstrasse, Vienna, Eric Owen Moss" / Stage 2 --- p.p15-p26 / The process of caligraphy writing 1 / The process of caligraphy writing 2 / The process of caligraphy writing 3 / Explorations on stroke-writing / Chinese caligraphic Tools / Content of Writing / What am I looking at/have observed / process / A Narrative of Caligraphy Writing / Analysis 1 / Anaiysis 2 / Analysis 3 / Stage 3 --- p.p27-p30 / Introduction / Installation -A Simulation Process / Stage 4 --- p.p31-p40 / Introduction / Special Features / Conservation / Recreation / Fishing / Tidal Change / Getting There / A Narrative of Marine Biology Study / A Narrative of Diving / A Narrative of Hiking / A Narrative of Caligraphy Writing / An Impression of Site from Caligrapher's eyes / Stage 5 --- p.p41-47 / Facts & Issues Development / Caligraphy + Architecture = Calitecture / Stage 6 --- p.P48-59 / Design Proposal / design concept --- p.-p49 / design development --- p.-p50-59 / Final Design / schedule of accommodation --- p.-p60 / site setting out --- p.-p61 / building plans --- p.-p62-63 / movement pattern --- p.-p64-65 / building models --- p.-p66-67 / Stage7 --- p.p68-79 / Construction / general structure --- p.-p69-70 / special structure --- p.-p71-72 / construction sequence --- p.-p73 / Environmental / use of energy --- p.-p74 / waste water treatment system --- p.-p75 / water use strategy --- p.-p76-77 / sun tracking device --- p.-p78 / Life Safety / means of escape --- p.-p78 / feedback --- p.-p79 / Appendix / sketches --- p.-p80-91 / calligraphy exploration --- p.-p92-101 / Bibliography --- p.p102