No poet, no artist of any art, has his complete meaning alone. The progress of an artist is a continual self-sacrifice a continual extinction of personality. We shall often find that not only the best. But the most individual part of an artist's work may be those in which his ancestors assert their immortality most vigorously. Tradition is a matter of great significance. It cannot be inherited, and if you want it you must obtain it by great labor. It involves in the first place the historical sense. A sense of the timeless as well as of the temporal and of the timeless and the temporal together. This is what makes the artist most acutely conscious of his place in time, of his own contemporaneity. The difference between the present and the past is that the conscious present is an awareness of the past in a way and to an extent which the past's awareness of itself cannot show. Fragments from 'Tradition and the Individual Talent' by T.S. Eliot. / Master of Architecture

The basis of F.A.CE project.lon was the competition for an future Academy within the spirit of the former Bauhaus Dessau. The competition provided the opportunity to introduce my thoughts for an educational establishment in art, architecture and design. The Essence of F.A.CE project.Ion was to extend the myth of the former Bauhaus utopians. Several artists were active either together or in succession and made valueable contributions to the Bauhaus through their own work. Their names and faces are form together the multifaced image that refers silently as a memory to a former Bauhaus idea. The Identity of the Bauhaus seemed to live as much in the hidden cracks on the facades of a celebrated architecture as in the portraits of the former Bauhaus faces. Through juxtaposing the faces with the Bauhaus Idea I created an dialogue that moved toward a 'corporate identity - Mies v. d. Rohe' and found its ownF.A.CE - F.uture A.rts CE.ntre .Finally, F.A.CE project.Ion led toward a specific spirit ofplastic elements embodying facial aswell as spatial forces with an important contribution to a visual re-education. / Department of Architecture

Lai Hing Fun Sandy. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1996-97, design report." / INTRODUCTION / PROLOGUE START / INITIAL APPROACH SITE INFORMATION / Chapter a. --- MACRO-SCALE / location / zoning / existing access / Chapter b. --- MICRO-SCALE / topography / problems on slope / vegetation / STRUGGLING DESIGN PROCESS / Chapter a. --- DESIGN ISSUES / Chapter 1. --- "Criteria and options checklist 1,2 &3" / Chapter 2. --- concerns for circulation / Chapter b. --- PINPOINT BUILDING LOCATION / Chapter 1. --- path / Chapter 2. --- altitude / Chapter 3. --- latitude / Chapter c. --- SLOPE-CUTTING / Chapter 1. --- ways of cutting slope / Chapter 2. --- volume of space gained vs. Volume of earth dig out. / Chapter d. --- POTENTIAL ACCESS / Chapter 1. --- vehicle / Chapter e. --- SETTING OUT / Chapter f. --- GRID / Chapter g. --- TRUSS / Chapter 1. --- design concept / Chapter 2. --- dimensions-1 & 2 / Chapter 3. --- elevated height from slope / Chapter 4. --- Vertical fins of the truss match with the col. / Chapter 5. --- slab related with the truss / Chapter 6. --- bracing of the truss / Chapter h. --- SUPPORTING COLUMN / FINAL CONCEPT DESIGN ANALYSIS / Chapter a. --- SITE ACCESSIBILITY / Chapter 1. --- vehicle / Chapter 2. --- people / Chapter b. --- STRUCTURE / Chapter 1. --- supporting structure / Chapter 2. --- skin and material / Chapter 3. --- environmental consideration / Chapter c. --- ZONING / Chapter 1. --- space 1 & 2 / Chapter 2. --- circulation / building as a whole 9th segment / Chapter 1. --- building as a whole / Chapter 2. --- segment / Chapter d. --- SERVICE / Chapter 1. --- building as a whole / Chapter 2. --- 9th segment / Chapter e. --- SPACE QUALITY / Chapter 1. --- along the cultural path / Chapter 2. --- inside building complex / Chapter 3. --- space details / EVALUATION