Thesis (B.Sc)--University of Hong Kong, 2004. / Includes bibliographical references (p. 97-99)

Thesis (M. Hous. M.)--University of Hong Kong, 2008. / Includes bibliographical references (leaf 48-50)

published_or_final_version / Housing Management / Master / Master of Housing Management

No description available.

The following thesis project is a proposed redesign of a public clubhouse for the University of British Columbia Golf Course, located in the University Endowment Lands. The intention of the thesis was to pursue a relationship between architecture and the designed or constructed landscape of the golf course. Such a connection was made through a series of landscape readings to formulate a conceptual beginning and framework for design. The investigation dissected the recreational landscape as an artificial fact, exposing the nature of the landscape into two categories: surface and object. Furthermore, movement through the recreational landscape was defined by an irregular linear trajectory. These landscape features where then explored for their inherent potential for an architecture that makes a connection to the landscape while simultaneously meeting the demands of a highly scripted program. The resulting architecture is composed of both objects and surfaces all of which have a specific programmatic function and connection to the landscape. In essence, the building can be divided into five architectural elements or strategies: path/armature, planar roof surface, pavilion object, spatial ordering device and finally earth work.

The following thesis project is a proposed redesign of a public clubhouse for the University of British Columbia Golf Course, located in the University Endowment Lands. The intention of the thesis was to pursue a relationship between architecture and the designed or constructed landscape of the golf course. Such a connection was made through a series of landscape readings to formulate a conceptual beginning and framework for design. The investigation dissected the recreational landscape as an artificial fact, exposing the nature of the landscape into two categories: surface and object. Furthermore, movement through the recreational landscape was defined by an irregular linear trajectory. These landscape features where then explored for their inherent potential for an architecture that makes a connection to the landscape while simultaneously meeting the demands of a highly scripted program. The resulting architecture is composed of both objects and surfaces all of which have a specific programmatic function and connection to the landscape. In essence, the building can be divided into five architectural elements or strategies: path/armature, planar roof surface, pavilion object, spatial ordering device and finally earth work. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000. / Includes bibliographical references (p. 183-225). / This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture. / by Michelle Leah Hoeffler. / S.M.