Chan Sze Chung. / On double leaves. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 00-02, design report." / by-productsample --- p.07 / sample analysis --- p.47 / pre-design conclusion --- p.61 / 2 conditions 1 goal 3 strategies --- p.75 / beauty reference --- p.89 / design manifesto design statement --- p.113 / beauty factory --- p.127 / site observation --- p.137 / pre-design imagination --- p.145 / measure drawing --- p.155 / design strategy --- p.169 / architectural expression --- p.187 / architectural result --- p.207

published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / abstract / Geography / Doctoral / Doctor of Philosophy

No description available.

Thesis is submitted in partial fulfilment for the degree of Master of Architecture (Professional) to the Faculty of Engineering and the Built Environment, School of Architecture and Planning at the University of the Witwatersrand, Johannesburg, 2017 / Informal communities seem to thrive due to their ability to invent and adapt resilient organic systems. Although programmes are often conceptualized to intervene in social, economic or institutional settings, very few are able to address what I believe to be the problem underlying in many instances; money. The ability to attract, develop and maintain commerce in a closed system will determine the efficiency and dependency a community will have on external forces. The quest for a self-sustaining economic system suggests a move towards creating complex commercial urban centres which can operate outside the parameters of a formal economy. History has provided such models, where out of necessity, informal industries have taken structure and found ways to attach to the mainstream economy. My line of questioning stems from these principles and seeks to explore modes of community empowerment initiatives. The goal is to identify the necessary framework that will allow capitalist constructs to prevail within informal systems. At the crux of economic emancipation for informal communities in South Africa must exist an environment that compels a shift in attitude for the mobilisation change. The state in its incumbency to deliver radical social transformation is in the best position to act, but history has shown that movements which were born from the society, despite financial, political & social hardships, have the propensity to dramatically advance and flourish along a greater trajectory. / XL2018

This thesis is intended to disrupt society's social cruise control. The goal is to make people stop and think, even if only for a brief moment, about the social conventions that guide and control their daily lives. People become disconnected from one another and their environments through repetition, apathy, and a general obliviousness toward shared moments. Making people more attuned to these moments - essentially creating an opportunity to take a brief pause - as a step toward reconnection. Social conventions are unique in that they can exist without the consent of the involved parties; the existence of the convention is enough to demand conformity. While it is possible to find graphic design projects that offer some degree of interactivity to draw people into a relationship with a space, projects that encourage social relationships through acknowledgment between people are rare. This thesis will explore ways in which design acts as a catalyst for disruption, while also encouraging interaction and dialogue. / by Adriana Joyce de Alejo. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1976. / Includes bibliographical references (leaves 139-141). / by Andrew Miao. / M.Arch.

Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1976. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 261-276. / M.C.P.

Lau Man Kuen Ephes. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2005-2006, design report."

Finding equilibrium in forms, colour-form combinations and images has long been a concern of mine. I recognise a persistent manner of working within my art practice that utilises geometry, mathematics and colour to arrive at compositions that have a sense of beauty and equilibrium. Abstraction has been of significant interest to me and the three collections of work that I developed during my Master of Fine Arts studies - 'Colour:Form:Ratio', 'Photography-Free Zone' and 'Construction-Abstraction' - illustrate the different ways I have applied my interests in abstraction. Until the completion of the 'Colour:Form:Ratio' painting series my approach to abstraction was cerebral and self-reliant. While I was satisfied with results of my initial investigations and experimentation with abstract forms in painting I felt that the work lacked a social connection. I thus became interested in addressing what I perceived as this shortfall in my abstract painting. A new body of photographic work that had been evolving in parallel to my painting practice seemed to offer a solution. I realised that the photographs could be used to construct a new version of abstract composition. The images shared a similar colour and geometrical configuration to that illustrated in the 'Colour:Form:Ratio' Series. With this breakthrough, I began 'painting by eye', replacing my brush and palette with the camera and using it to capture and frame colours and geometric forms from my surrounding environment. In order to test my new methodology of arriving at abstract compositions extracted from the world around me, I selected two communally shared spaces - the gallery/museum and the construction site - as the sourcing ground for my photographs. The result of my experimentation has been two collections of work: 'Photography-Free Zone' and 'Construction-Abstraction'. Both series reflect my experience of the gallery/museum space and the construction site while illustrating the transferral of my painting process to the photographic medium. The most favourable realisation I made in the process of making these works was that the subject matter I captured with the camera possessed aesthetic and theoretical qualities in keeping with my former painted artistic vocabulary, despite being removed from the physical act of painting.