Too often, space or void, has been considered an a priori condition. Rather than using it and it's relationship to solids to create a harmony and balance of form, void has been unconsciously disregarded as a virtual nonelement in design. This thesis attempts to bring a tangible character to the void; to design the void as if it were a solid form. In doing so, the limiting properties of solid are broken down. Defining characteristics of solid and void are shared and boundaries are blurred. What was once known becomes unknown. / Master of Architecture

The fundamental premise for this project was the desire to explore one of my fascinations with "movement" of space and “movement” of structure. This was somewhat a reaction to “static” boxed structures which have pervaded our eastern cities for the last few decades, and moreover, a want to inspire life into a fixed object. The work presented was a process of discovery, the most enlightening being that of "contrast". It became the key to achieve meaning My original intentions combined with changes experienced over time have resulted in a building, but better, in a transformation and another new place from which to begin. / Master of Architecture

This inquiry attempts to examine different aspects of architecture and an understanding of space by exploring architectural expectations. The process described herein depicts the struggle to find a translation between two languages, one verbal and one visual. The key to my search was a constant set of ideas. The challenge was first to discern, and then to learn to use, the tools that would become my guide to the language of architecture. / Master of Architecture

Beams of light can create volumes of darkness that help define an experience. That is an experience of darkness. Light and darkness in the enclosed space make me respond to myself. It is a canyon empty of everything, yet filled with the total absence of light. And the quality of this darkness is uniquely bewildering, what's more, a thick and viscous mass of black air that seems to brush against your face, limitless and seething. It is darkness visible. Darkness forces me to be isolated from the world. Without any external input, I start to talk to and hear from myself. As well as, I start to feel my body from top to toe with all senses except for the sense of sight. It goes slowly, and the interaction with myself, which is experiencing darkness, puts my mind in calm. In that level of calm, the experience of darkness wanes as we adjust to the environment, gradually becoming aware of people and walls and even faint shadows. This project is an attempt at designing spaces that allows a person to be absorbed in darkness. / Master of Architecture

Leung Yat Wai Carol. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2000-01, design report." / Includes bibliographical references (leaf 88). / Preface --- p.1 / Chapter A. --- Concept / Chapter 1 --- Genesis / Chapter 1.1 --- Synopsis --- p.2 / Chapter 1.2 --- Gender --- p.3-4 / Chapter 1.3 --- "Gender, Architecture Relationship" --- p.5-8 / Chapter 1.4 --- Crossing Gender - Queer Concept --- p.9-13 / Chapter 1.5 --- "Queer, Architecture Relationship" --- p.14-16 / Chapter 2 --- Concept / Chapter 2.1 --- Architectural Intention --- p.17 / Chapter 2.2 --- Of Boundaries --- p.18 / Chapter 2.3 --- Architectural Strategies --- p.19 / Chapter 2.3a --- Tangible - of Form --- p.20 / Chapter 2.3b --- Intangible - of Psychology --- p.21 / Chapter B. --- Program / Chapter 1 --- From Concept to Program --- p.22-23 / Chapter 2 --- Program Studies --- p.24-31 / Chapter 3 --- Program --- p.32-35 / Chapter 4 --- Precedent Studies --- p.36 / Chapter 4.1 --- Youth Detention Centre --- p.37-39 / Chapter 4.2 --- Discotheque --- p.40-41 / Chapter 4.3 --- Stanley Prison Visit --- p.42 / Chapter C. --- Site / Chapter 1 --- Site Studies --- p.43-50 / Chapter 2 --- Site Strategies --- p.51 / Chapter D. --- Design Development / Chapter 1 --- Phase One - the Linear and the Object --- p.52-55 / Chapter 2 --- Phase Two - the Wrapping --- p.56-58 / Chapter 3 --- Phase Three - the Following of Site Boundary --- p.59-61 / Chapter 4 --- Phase Four - the oval --- p.62-64 / Chapter 5 --- Final Design --- p.65-69 / Evaluation --- p.70 / Epilogue --- p.71 / Appendix --- p.72-87 / Bibliography --- p.88

Wong Wai Kit, Yel. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2010-2011, design report." / Includes bibliographical references. / chapter 1 / Chapter - --- statement / Chapter - --- thesis / chapter 2 / Chapter - --- theoretical issue / chapter 3 / Chapter - --- analysis / chapter 4 / Chapter - --- case studies / Chapter 5 / Chapter - --- Cinemotic experience / chapter 6 / Chapter - --- Site / Chapter 7 / Chapter - --- Design

published_or_final_version / Architecture / Master / Master of Landscape Architecture

published_or_final_version / abstract / Architecture / Doctoral / Doctor of Philosophy

A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the degree of Masters of Arts in Fine Arts (MAFA) Johannesburg, 2017 / This dissertation aims to examine Gerhard Richter and Serge Nitegeka’s artistic practices, in order to understand and identify how artists can potentially use space as a medium and contextualise my own practice within this realm. I position the conventions and principles of space through reference to French theorists’ Henri Lefebvre, Michel de Certeau and Michel Foucault. The thesis begins with a brief overview of the window as a painterly motif and spatially familiar everyday device in the introduction. In the first chapter, I explore the surface and reflection of the medium of glass, the colour gray, the monochrome, as well as the pictorial, in Gerhard Richter’s Eight Gray (2002). The second chapter examines the role of the frame or line in Serge Nitegeka’s Black Lines (2012), as an environment of experience that relies on painted diagrams and the illusion of perspectival space. The third chapter observes a shift in the manner in which Richter and Nitegeka experiment and extend their practices through an engagement with the mirror and the door, respectively, as ways of exploring the threshold. Finally, I discuss my own practice and reflect on the exhibition Through the Extent (2015), which was submitted as the practical component of this research. / XL2018

Thesis is submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Town and Regional Planning) to the Faculty of Engineering and the Built Environment, University of the Witwatersrand, Johannesburg, 2017 / Focusing on Zimbabwean migrants in Johannesburg, this thesis engages the ways in which diverse groups and individuals construct and negotiate spaces in the city. I have looked at how Zimbabwean migrants spatially respond to the regulatory and socio-economic environments within which they lead their everyday lives in Johannesburg. I emphasize the theme of heterogeneity, specifically highlighting the differentiated nature of Zimbabwean immigrants living in South Africa and discuss their movements and spatial identities. Theoretically, I have combined de Certeau's conception of space as represented by the schema of “strategies” of the powerful and the “tactics” of the subordinate with Bourdieu's concept of “habitus”, which operates within a field of social forces that are responsible for, and the result of, its emergence. Following my empirical engagements within the context of Johannesburg, I observe that, the initial decision by Zimbabwean migrants to move to South Africa, be it in search of work opportunities or forced by political circumstances, enable a structure that predisposes them (migrants) to continued mobility. Firstly, as transnational migrants who engage in frequent short term and long term movements between Zimbabwe and South Africa. Secondly, as transient residents of Johannesburg who frequently change residential addresses yet remain largely within the same spaces where they first arrive. Thirdly, as de Certeau's ordinary man who walks the city while engaged in everyday activities such as, shopping, going to places of employment, to places of education, etc. I theorise mobility as a way of making do and an inhabited space that migrants mobilise in contestation with the broader strategic entities such as the City of Johannesburg's regulatory platforms, South African citizens and other migrants. I also argue that, for migrants to engage in different mobility cycles and deploy mobility as a tactical resource, particular dispositions are necessary. I refer to these dispositions as the transnational migrant habitus, which operates within a transnational social field constituted by socio-cultural factors in both South Africa and Zimbabwe. Both, the transnational habitus and the transnational social field are hybrid social formations that are not reducible to either the Zimbabwean or the South African contexts that are responsible for their genesis and ongoing reconstitution. Methodologically, I employed a mixed methods research design, which refers to a procedure by which the researcher mixes two or more methods with different meta-theoretical assumptions in a single study in order to understand a research problem. I used mixed methods because I needed sufficient breadth to explore the diversity of Zimbabwean migrant experiences and spatial decision-making, but also sufficient depth to uncover the reasons for behaviours and decisions. / MT2018