Wong Kam Ming, Michael. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1997-98, design report." / Includes bibliographical references. / Acknowledgements / Introduction / Chapter 1.0 --- Existing state / Chapter 1.1 --- Project background / Chapter 1.2 --- Project objectives / Chapter 1.3 --- Client / Chapter 1.4 --- Project finance / Chapter 1.5 --- Users / Chapter 1.7 --- Content / Chapter 1.8 --- Site constraints / Chapter 1.9 --- Schedule of accommodation / Chapter 2.0 --- Design process / Chapter 2.1 --- Site selection / Chapter 2.2 --- Facts & issues / Chapter 2.3 --- Design responses / Chapter 3.0 --- Final project / Chapter 3.1 --- Introduction / Chapter 3.2 --- Design strategy / Chapter 3.3 --- Site aspect / Chapter 4.0 --- Specific design concern / Chapter 4.1 --- The road for art / Chapter 4.2 --- Art exhibition areas / Chapter 4.3 --- Independent activity area / Chapter 4.4 --- Open studio at roof / Chapter 4.5 --- Administration block / Chapter 4.6 --- Supporting facilities area / Chapter 4.7 --- Building services / Chapter 5.0 --- Appendix / Chapter 5.1 --- Interviews / Chapter 5.2 --- Precedents studies / Chapter 5.3 --- Technology requirements / Chapter 5.4 --- Bibliography

Tse Hoi Yan. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report." / Includes bibliographical references (p. 27). / INTRODUCTION --- p.01-03 / RESEARCH --- p.04-21 / SITE-MONGKOK --- p.22-33 / DESIGN PROCESS --- p.34-49 / FINAL DESIGN --- p.50-73 / BIBLIOGRAPHY --- p.74

Thesis (M. Arch.)--Carleton University, 2004. / Includes bibliographical references (p. 78-81). Also available in electronic format on the Internet.

Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.

My paintings emerge from within a context best explained by reference to Nietzsche's perspectivism. That is an intellectual attitude that deprivileges rationalism and accommodates scepticism or unknowing as an acceptable starting point From this standpoint art/language can be seen as being in a state of becoming rather than as representing a state of being. This thesis aims to demonstrate, not only by a philosophical encounter with Giorgio de Chirico's work: ie. his use of myth, his Nietzschean perspectivism and his enigmatic interpretation of figuration, that the most helpful context and understanding of my work can be realied. De Chirico's art, like Nietzsche's philosophy seeks in its processes to explore the possible unity of Dionysian aesthetic force with the Apollonian. Neither Nietzsche nor de Chirico considered within a post-Socratic world that this unity was realizable. Nevertheless they both share in their respective art forms a need to represent the relentless struggle to enact the disjunction of the two aesthetic forces in a secular world. The artist’s enigmatic imagery is characterized by a consideration of appearance and reality and it is for this reason that the work was selected as a model for investigating the nature of enigma. His use of seemingly straightforward, ordinary images suggests a sense of accessibility, yet at the same time they are irreducible to knowing and my own image-making was greatly expanded by investigating these concerns. I am not arguing that de Chirico was influenced by Nietzsche but instead that Nietzsche's philosophical point of view and his use of poetic language to express these views lay in discovering the qualities and substance of the Dionysian spirit As well as working within a Nietzschean world-view set out in The Birth of Tragedy, de Chirico has also drawn on the Italian unification, specifically the Risorgimento and the lineage of these political and mythical figures were endemic to his art and they interface the with his use of the Apollonian-Dionysian disunity first explored by Nietzsche. The focus of the exegesis will be to present the poetic and philosophical use made of the latter in de Chirico’s art It is anticipated that this philosophical encounter with the aesthetic, social and political world of de Chirico will, not only assist in interpreting his life's work anew, but will also provide a context in which my paintings of enigma might be interpreted.

Visually, Baldessari’s art mirrors the schoolroom chart, the cinematic storyboard, the Surrealist collage, the sensationalist graphics of the tabloid, and the grid format of the textbook. Black and white photography, performance, collage, bright prints, film, drawing, and painting: Baldessari has done it all. The artist has consistently demonstrated an inventiveness and sense of play in his work, and it is unlikely that he would stick to any one mode of artmaking for an extended period of time. It is probable that the explicit critique of contemporary Conceptualists of the text paintings mellowed because Baldessari had moved on to new questions. While he continues to examine the trope of the artistic outsider despite his commercial success, it is always with a wink. As Baldessari’s use of his own image in Portrait (Self) demonstrates, he has encouraged his audience to interrogate any artistic self-representation as a purposeful construct. Unlike the majority of his fellow Conceptualists, Baldessari’s serious goals are couched in a selfmocking attitude and in the colorful, playful style he has made his own.

Thesis (M.A.)--Washington State University. / Includes bibliographical references.

<p> The grouping of public buildings into civic centers and cultural centers became an obsession of American city planners at the turn of the twentieth century. Following European and ancient models, and inspired by the World&rsquo;s Columbian Exposition in Chicago in 1893 and the McMillan Commission plan for the National Mall in Washington, D.C. in 1901, architects sought to create impressive horizontal ensembles of monumental buildings in urban open spaces such as downtown plazas and quasi-suburban parks in direct opposition to the vertical thrust of commercial skyscrapers. Hitherto viewed largely through the narrow stylistic prism of the City Beautiful vs. the city practical movements, the monumental center (as Jane Jacobs termed it) continued to persist beyond the passing of neoclassicism and the rise of high modernism, thriving as an indispensable motif of futurist aspiration in the era of comprehensive and regional planning, as municipalities sought to counteract the decentralizing pull of the automobile, freeway, air travel and suburban sprawl in postwar America. The administrative civic center and arts and educational cultural center (bolstered by that icon of late urban modernity, the medical center) in turn spawned a new hybrid, the center for the performing arts, exemplified by Lincoln Center and the National Cultural Center (the Kennedy Center for the Performing Arts), as cities sought to integrate convention, sports, and live performance venues into inner-city urban renewal projects. Through the key case studies of Pittsburgh, Cleveland, and Detroit, one-time juggernauts of heavy industry and twenty-first century regions of rust-belt collapse, this study examines the emergence of the ideology of grouping public buildings in urban planning as well as the nineteenth century philology of the keywords civic center and cultural center, terms once actively employed in discourses as diverse as Swiss geography, American anthropology, Social Christianity, the schoolhouse social center movement, and cultural Zionism. It also positions these developments in relation to modern anxieties about the center and its loss, charted by such thinkers as Hans Sedlmayr, Jacques Derrida, and Henri Lefevbre, and considers the contested utopian aspirations of the monumental center as New Jerusalem, Celestial City, and Shining City on a Hill. </p>

Thesis (M.Arch.) - Carleton University, 2005. / Includes bibliographical references (p. 77-78). Also available in electronic format on the Internet.

Thesis (M.Arch.)--University of Detroit Mercy, 2008. / "22 October 2007". Includes bibliographical references (p. 17-18).