A room as a symbol of past history of the place, the museum as analogy for passing on knowledge by a book and many questions subjected to a house, but also to architecture and much more to my own person. This is the content of this Thesis book which, by its examples, cannot give definite answers but is to lead to new questions while their response is justified by a subjective individual decision process. / Master of Architecture

This thesis is an exercise in responsibility regarding my actions as an architect. It is based upon the belief that architecture is a product conveying culture. While architecture can convey culture, it also has the potential to shape and facilitate change q in culture. Therefore, one can view the architect as more than a technician, making architecture stand and work properly, or an artist, concerned with the aesthetic/architectonic qualities of architecture, but rather as an active entity who can both convey and change cultural values through the built environment. The struggle in this thesis regarding responsibility has been to make my role more than an active entity in culture, but a consciously active entity in culture. Since I have long viewed culture as a political product and one's existence in culture as a political act, then one’s responsibility as an architect could be to make architecture as the conscious embodiment of a political ideology. For me, feminism is the political ideology, and Liberative Architecture is the conscious embodiment. / Master of Architecture

In designing a National Museum for the Imaging Arts, a dual obligation is created. It is to provide an intimate place for the cherishing of manifestations of the individual, while also creating, at the scale of the nation, a symbol of the civilization. Architecture accepts this obligation through the hierarchical scaling of the referents of order, material, space, and light. / Master of Architecture

The work involves an architectural design for a facility located on The Mall in Washington, District of Columbia. The Museum of American Immigrants is a proposed facility for housing the exhibits regarding immigration sequences and their development that make up the United States of America. The ethnographic nature of the work, its artifacts, their collection, exhibition, preservation, and mutations is seen as a means to nurture our better understanding of the on-going struggle with the experiment called America. With reference to current theories of museum architecture, examples of other similar museum buildings, site constraints, and programming, the work strives towards the integration of architecture and purpose. The building is expected to provide layers of experience in both spatial and ethnic terms. The precise geometry defines the spaces and voids, while the way the exhibits are organized defines the building as a framework of displays. The design method used in developing the building called The Museum of American Immigrants has involved a personal understanding in working with the contemporary design Vocabulary and programmatic concerns to create a learning environment for the Visitors while making every effort to achieve contextual balance and harmony required by the surroundings. / Master of Architecture

The fresh new approach taken by today's children's museums offers great potential for an equally fresh approach to the architecture which houses these special places. Just as the "exhibits" at the children's museums invite a new relationship between the visitor and the museum collection, so too should the architecture encourage a new interaction between the individual and the built structure, between the institution and the urban environment. The new Children's Discovery Museum proposed for Washington, D.C. takes the theme of interaction as its basis. The design aims to promote a new level of participation between the people, the building, and the city. In this way, the attitude which is central in making children's museums so special was adapted to form an architectural framework: that all children -- regardless of age -- might discover a more meaningful connectedness to the built world around them. / Master of Architecture

Many times it is not an answer towards which we struggle but instead the formulation of the question. The answer then becomes the lifelong quest. This thesis I believe to be the formulation of that question and my architectural career the pursuit of the answer. / Master of Architecture

Shum Wai Lap William. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report." / Includes bibliographical references (leave 80). / ACKNOWLEDGEMENT --- p.01 / SYNOPSIS --- p.02 / INTRODUCTION / Chapter 001 --- THESIS STATEMENT --- p.04 / Chapter 002 --- CONCEPTUAL FRAMEWORK --- p.05 / Chapter 01. --- Marriage of Memorial and Entertainment / Chapter 02. --- Journey along Time Corridor: From Retrospect to Prospect / Chapter 03. --- "Community Focus, Tourism and Scholarship" / Chapter 04. --- Investigating Building on Slope / Chapter 003 --- PROBLEMS & OPPORTUNITIES --- p.07 / Chapter 01. --- Monument vs Instrument ´ؤ Memory vs Energy / Chapter 02. --- Significance of War Memorial Places in Hong Kong / Chapter 03. --- Generational Gap & Youth Issues / EXISTING STATE / Chapter 004 --- BACKGROUND --- p.10 / Chapter 01. --- Hong Kong Second World War History / Chapter 02. --- Sino-Japanese Relationship after the Second World War / Chapter 03. --- War Studies in Hong Kong / Chapter 04. --- Background of Military Training / Chapter 05. --- Military Training in Hong Kong / Chapter 005 --- PHYSICAL CONDITIONS --- p.17 / Chapter 01. --- Fortifications as Architectural Interest / Chapter 02. --- Usages of Fortifications at Peace Time / Chapter 03. --- Fortifications in Hong Kong during the Second World War / Chapter 04. --- Rationales of Site Selection / Chapter 05. --- Site Characters / Chapter 06. --- Codes & Future Master Planning / Chapter 006 --- CLIENT PROFILES --- p.31 / Chapter 007 --- PROPOSED USER GROUPS --- p.34 / FUTURE STATE / Chapter 008 --- MISSION & DESIGN APPROACHES --- p.35 / Chapter 009 --- ISSUES & GOALS --- p.36 / Chapter 01. --- Image / Chapter 02. --- View / Chapter 03. --- Urbanistic Concern / Chapter 04. --- Environment / Chapter 05. --- Symbolism / Chapter 06. --- Accessibility / Chapter 07. --- Landscaping / Chapter 08. --- Mood/Ambience / Chapter 010 --- SCHEDULE OF ACCOMMODATION --- p.40 / DESIGN CONCEPTUALIZATION / Chapter 011 --- DESIGN PHILOSOPHY --- p.43 / Chapter 012 --- SITE STRATEGY --- p.45 / Chapter 013 --- DESIGN DEVELOPMENT --- p.47 / Chapter 014 --- FINAL DESIGN --- p.60 / Chapter 01. --- Site Zoning & Setting Out / Chapter 02. --- Building Concept - Mapping of Contradictory Programs / Chapter 03. --- Museum Sequence - Scenario-Telling Adventure / Chapter 04. --- Final Presentation Panels / APPENDICES --- p.77 / Chapter A 01. --- Case Studies - The Hong Kong Museum of Coastal Defence / Chapter A 02. --- Presentation Panels ( 1st & 2nd review ) / Chapter A 03. --- Minute of Interview / Chapter A 04. --- Bibliographies

Centred on the architecture of the Winnipeg Civic Auditorium, this thesis tangentially investigates the presence of Anglo-Saxon race mindedness in a place civic planners call the metropolitan centre of North America (Watt, 1932). The introduction situates the building tangentially in Manitoba's history. By thinking about the Civic Auditorium in a tangential manner I aim to attack the linear and sequential framework found in Eurocentric historical accounts. Doing this, my thesis criticises western architectural history and welcomes Indigenous reinterpretations of civic planning and urban aesthetics. I aim to philosophically attack the informational rhetoric of the cultural turn (Fabian, 1983). My thesis participates in the production of a material turn discourse, wherein the important philosophical relationship between objects and occidental culture is demonstrated (Otter, 2010; Bennett & Joyce, 2010; Hamilton, 2013). It utilises the Civic Auditorium as a touch stone to demonstrate the important ways that architecture has agency in the production of racism. / February 2016

Avsikten med denna C-uppsats är att undersöka hur samtalet kring svensk konstmuseiarkitektur förts i inhemsk dagspress och fackpress. Detta för att kunna identifiera vilka de rådande diskurserna varit under ett sekel av svensk konstmuseiarkitektur. Två underliggande frågeställningar som också varit relevanta är huruvida dessa diskurser förändrats avseende konstmuseets form, arkitektoniska symbolvärde eller placering i stadsbilden samt huruvida dessa diskurser kan avslöja något om samhällets syn på t.ex. bildning, demokrati och kultur under drygt hundra år. För att kunna göra utföra denna undersökning valdes fyra svenska konstmuseum som objekt för analysen: Göteborgs konstmuseum; Kalmar konstmuseum; Jönköpings läns museum samt Bildmuseet i Umeå. Med hjälp av analysen har jag kunnat identifiera fem tydliga diskurser rörande konstmuseiarkitektur i Sverige. En diskurs som varit rådande under hela seklet är den om modernitet som något positivt; att museet ska framstå som modernt, samtida eller nytt, rent arkitektoniskt sett. Bland de övriga diskurserna finns "stilbrott", där museibyggnadens arkitektoniska kontrast till sin omgivning uppfattas negativt om den är allt för stor, samt en diskurs där "transparens" - med ett fokus på luft, ljus och rymd - ses som en essentiell del av konstmuseiarkitekturen. Denna undersökning pekar att de flesta diskurserna kring arkitektur är allt annat än statiska utan förändras i takt med andra sociala förändringar som påverkar konstmuseets roll i stort. / The purpose of this bachelor thesis is to examine the discourse regarding art museum architecture in Swedish print media, with a focus on trade press magazines and daily newspapers, in order to identify the prevailing discourse(s) over the course of roughly a century. By using Norman Fairclough’s critical discourse analysis several articles in print media have been analysed, regarding the architecture of four museums built over a period of almost one hundred years: Gothenburg Museum of Art; Kalmar konstmuseum (Kalmar Art Museum); Jönköping County Museum and Bildmuseet in Umeå (Museum of Visual Arts). Five main discourses have been identified, with one predominantly present during the entire century: the importance of the museum architecture being ”modern”, ”new” or ”contemporary”. Other discourses include one that appeared after the emergence of modernism where parts of the general public associate obvious contrast between the building and its surroundings as a negative trait, and another one with an emphasis on transparency as a positive trait focusing on light and space. Overall, the discourses concerning domestic art museum architecture has been anything but static and has evolved in conjunction with changes in general architecture discourse, the symbolic value of the art museum, and social structures in the society as a whole.

The place where the sea and the sky meet is a definition unknown on any map. Only the fisherman and his boat experience this unity. The mast as the symbol of the tree was the reminder of the land Just as the soil was the sign of man's position, his distance from land. The enormous material interaction between the flat surface and the column determined the construction of the boat. The creation of a boat is a challenge to the sea, but the dream of an everlasting existance is an act taken against all the elements. Sverre Fehn / M. Arch.