Lau Ka Yan, Jessie. / Subtitle on added t.p.: Movement in city, city in movement. / At head of title on added t.p.: Film museum at Yau Ma Tei Fruit Laan. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2009-2010, design report." / "May 2010." / Includes bibliographical references. / Text in English with some Chinese. / Chapter 00 --- Research --- p.10 / Abstract / Research Framework / Introduction / Chapter 01 --- Physical Reality --- p.19 / Film List of HK Space Study / Archetypal Space / Archetypal Space in HK Film / Chapter 02 --- Mental Reality --- p.56 / Screen / Eye of Camera / Cinematography / Techiques of illusion / Chapter 03 --- Site Analysis --- p.70 / Chapter 04 --- Case Study --- p.84 / Berlin Jewish Museum / Temple Bar / Pallazza Del Cinema / Comparison / Chapter 05 --- Film Facility in HK --- p.102 / Chapter 06 --- Design Idea --- p.112 / Chapter 07 --- Research and Design --- p.124 / Chapter 08 --- Physical Reality vs Mental Reality --- p.124 / Chapter 09 --- Space and Activities --- p.124 / Chapter 10 --- Presentation --- p.124 / Chapter 11 --- Bibliography --- p.124

Lun, Lee Chu Chloe. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2008-2009, design report."

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The usage of the paired terms of denotation and connotation are one means by which language provides for the declarative knowing of all things; denotation is a naming by means of indication, whereas connotation is that which incites the specificity of meaning to a particular thing. Where the denotative assumes a recessive posturing of a formal ambiguity, the connotative proceeds towards a greater clarity with the intention of potential certainty and separateness in meaning. In the same manner as with language, the denotative in architecture responds to the elemental analogue operatively as a background within a field of signification, whereas the connotative responds to the elemental analogue exemplifying an objectification through categorical distinction. The use of the term denotation as the title of this exploration is to instate the accompanying text within the resonance of the denotative background in an attempt to circumvent a connotative, architectural objectification, at times operating under the guise of evidential justification. This circumvention, by means of the denotative positioning, is not meant as a vindication of the architectural object; rather, it is meant as a critique of the autonomy of the object and the foreground that it inhabits. This use of denotative background (not as a dialectical or teleological response to the connotative object) is to provide for an ungrounding in the work to the primacy of object as architectural edification. / Master of Architecture

τὸ γὰρ αὐτὸ νοεῖν ἐστίν τε καὶ εἶναι ...for it is the same, to think as it is to be. Parmenides, fragment 3 These pages are a presentation of an architectural activity. It is the activity of the architectural sketch. By architectural sketch, I mean free hand drawing. Primarily, this is a presentation of the sketch as a generator of form and idea. With intent to clarify this activity, this way of thinking and working, there are also several short essays on the sketch. These essays will discuss certain aspects of the sketch which are intellectually intriguing (food for thought) and relevant to the fundamental question: what is it to sketch? A few supplementary questions posited at this point will help direct the viewing (IΔ) of the sketches and also serve as a background for the subsequent discussion. 1) Of what importance is the sketch? 2) What is the activity of the sketch? 3) How does the sketch differ from other ways of drawing? 4) What is the relationship between drawing and seeing? And thinking? 5) What is revealed (unconcealed) in the sketch? 6) Is there an aesthetics of the sketch? Secondly, this is an architectural project, a masters thesis. It is a library project for an academic environment. Inherent in the sketches is a movement of form and idea (εἶδoς). This movement in the sketches lead to the architectural pieces which become the library. The question then becomes how to order the pieces, how to situate them with respect to one another. Through a study of geometry, proportion, and regulating lines the pieces are brought together into a rational order, that is, made intelligible to the mind. This ordering elevates the pieces which have been formed by the sketch to another level. A series of studies on regulating lines will be presented as well as some hard-line drawings of the pieces and the library. / Master of Architecture