Chan Kwan Sin, Kelly. / Subtitle on added t.p.: An alternate shopping centre for creativity. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2009-2010, design report." / "May 2010." / Includes bibliographical references (p. 83). / Chiefly in English, some text in Chinese. / preface --- p.1 / reaseach / introduction --- p.3 / what is wrong in the city? --- p.4 / spiritual satisfaction --- p.7 / consumerism --- p.11 / cultural capital --- p.18 / alternative avocations --- p.20 / summery --- p.30 / design / concept --- p.32 / case study --- p.33 / spatial interpretation --- p.40 / scheme 1 --- p.43 / scheme 2 --- p.54 / design development --- p.60 / appendix --- p.82

Entre 1939 et 1973, le cinéma chilien a tenté au moins deux modèles de développement : dans les années quarante, on a essayé d’industrialiser l’activité cinématographique avec la création de studios, entre autres, tandis que dans les années soixante et soixante-dix, on a tenté de produire un cinéma artistique et révolutionnaire. Le passage d’un cinéma à un autre a eu lieu grâce à une transition de quinze ans lors de laquelle les cinéastes et individus liés au cinéma ont réinventé les concepts et les pratiques cinématographiques. La trajectoire que le cinéma chilien a tracé pendant ces années-là est le sujet de cette thèse, qui tente de comprendre et de considérer toute la complexité de ce parcours particulier, tendu entre plusieurs pôles, qu’il s’agissent de demandes, de besoins, de problèmes et de désirs, tant économiques, que politiques, artistiques, techniques et culturels. / Between 1939 and 1973 Chilean cinema attempted at least two models of development: during the 1940s it tried to industrialize cinematographic activity through, amongst other things, the creation of studios, while in the 1960s and 1970s the efforts were placed on the production of artistic and revolutionary cinema. The advancement from one cinema to the other took place thanks to a 15-year transition during which film-makers and people tied to cinema reinvented the cinematographic concepts and practices. The trajectory traced by Chilean cinema during those years is the theme of this thesis, whose focus seeks to understand and consider all the complexity of this particular process, tensioned by various poles, demands, necessities, problems and desires, as much economic as political, artistic, technical and cultural.

Lam Kwok Wing Terence. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report." / Includes bibliographical references (leaves 50-51). / Chapter 1.00 --- INTRODUCTION / Chapter 1.10 --- Synopsis / Chapter 1.20 --- Definitions / Chapter 1.30 --- Vision / Chapter 1.40 --- Existing Situation / Chapter 1.50 --- Hypothesis / Chapter 2.00 --- BACKGROUND / Chapter 2.10 --- Process of Design / Chapter 2.20 --- Schedule of Work / Chapter 2.30 --- Client Profile / Chapter 2.40 --- Site / Chapter 2.50 --- Site Selection / Chapter 2.60 --- The Proposal / Chapter 3.00 --- PROJECT BRIEF / Chapter 3.10 --- Problems and Opportunities / Chapter 3.20 --- Constraints / Chapter 3.30 --- Space Diagram / Chapter 3.40 --- Design Guidelines / Chapter 4.00 --- DESIGN / Chapter 4.10 --- Development of Design / Chapter 4.20 --- Final Drawing / Chapter 4.30 --- Details / Chapter 4.40 --- Code Compliance / Chapter 5.00 --- BIBLIOGRAPHY / Chapter 6.00 --- APPENDICES / Chapter 6.10 --- Case Study / Chapter 6.20 --- Interviews / Chapter 6.30 --- Schedule of Accommodations / Chapter 6.40 --- Cost Estimation

Choi Suet Han. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2005-2006, design report." / Includes bibliographical references. / Chapter I . --- Synopsis / Chapter II . --- Art and Architecture: From Art Space to Space of Art / Chapter III . --- From Spirituality to Physicality / Chapter IV . --- From Human to Nature / Chapter V . --- From Private to Public / Chapter VI . --- Dialogue with Artists / Chapter a) --- Water...and lines / Chapter i... --- Spiritual and Physical Engagement / Chapter ii... --- Between Consciousness and Unconsciousness / Chapter iii... --- Wandering in Geometric Abstraction / Chapter iv... --- Essence of Chinese Landscape / Chapter b) --- Shadow...and layers / Chapter i... --- Nature of painting / Chapter ii... --- Emptiness / Chapter iii... --- Shadow / Chapter c) --- Human and Memory / Chapter d) --- Light and Contrast / Chapter e) --- Wind and Wood / Chapter i... --- Solid and Void / Chapter VII. --- Space and Architectural syntax / Chapter VIII. --- Site anlysis and Site plan

Lai Hing Fun Sandy. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1996-97, design report." / INTRODUCTION / PROLOGUE START / INITIAL APPROACH SITE INFORMATION / Chapter a. --- MACRO-SCALE / location / zoning / existing access / Chapter b. --- MICRO-SCALE / topography / problems on slope / vegetation / STRUGGLING DESIGN PROCESS / Chapter a. --- DESIGN ISSUES / Chapter 1. --- "Criteria and options checklist 1,2 &3" / Chapter 2. --- concerns for circulation / Chapter b. --- PINPOINT BUILDING LOCATION / Chapter 1. --- path / Chapter 2. --- altitude / Chapter 3. --- latitude / Chapter c. --- SLOPE-CUTTING / Chapter 1. --- ways of cutting slope / Chapter 2. --- volume of space gained vs. Volume of earth dig out. / Chapter d. --- POTENTIAL ACCESS / Chapter 1. --- vehicle / Chapter e. --- SETTING OUT / Chapter f. --- GRID / Chapter g. --- TRUSS / Chapter 1. --- design concept / Chapter 2. --- dimensions-1 & 2 / Chapter 3. --- elevated height from slope / Chapter 4. --- Vertical fins of the truss match with the col. / Chapter 5. --- slab related with the truss / Chapter 6. --- bracing of the truss / Chapter h. --- SUPPORTING COLUMN / FINAL CONCEPT DESIGN ANALYSIS / Chapter a. --- SITE ACCESSIBILITY / Chapter 1. --- vehicle / Chapter 2. --- people / Chapter b. --- STRUCTURE / Chapter 1. --- supporting structure / Chapter 2. --- skin and material / Chapter 3. --- environmental consideration / Chapter c. --- ZONING / Chapter 1. --- space 1 & 2 / Chapter 2. --- circulation / building as a whole 9th segment / Chapter 1. --- building as a whole / Chapter 2. --- segment / Chapter d. --- SERVICE / Chapter 1. --- building as a whole / Chapter 2. --- 9th segment / Chapter e. --- SPACE QUALITY / Chapter 1. --- along the cultural path / Chapter 2. --- inside building complex / Chapter 3. --- space details / EVALUATION

Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du système de production et des techniques, qui sont en lien avec les évolutions stylistiques, pour comprendre dans quel système émergent puis s’établissent les films d’animation Pixar. Alors que la manière dont les films sont faits et dont ils sont vus a changé à la fin du XXe siècle, la trilogie Toy Story sera l’objet privilégié d’une étude des mutations du cinéma, et des usages qui en sont faits. Par le statut culturel élevé spécifique à Pixar, par l’ambiguïté textuelle qui les caractérisent et qui sont l’occasion d’interprétation très variées, ou grâce aux nouveaux modèles de féminité et de masculinité qu’ils proposent, les films d’animation tendent à devenir des films "comme les autres", laissant aux spectateurs la possibilité de les appréhender comme ils le veulent. / As the first studio to have created a CGI animated feature film, Toy Story, whose success initiated a new era in animation production, Pixar Animation Studios occupy a significant position in the actual cultural landscape, and present a great opportunity to study the ways in which objects from cultural industries are produced and consumed. By examining the animated cartoon, from historic and aesthetic perspectives, I intend to determine the evolution of the production system and of the technics, which are related to stylistic changes as well. This study will help us understand the studio system in which Pixar’s movies have taken place. While the ways films are made and seen changed at the end of the last century, Toy Story’s films are the privileged object for an analysis of the transformations of cinema and its uses. By Pixar’s high cultural status, by the textual ambiguity that characterized them or the new representations of masculinity and femininity that they share, animated feature films tend to become "ordinary films", letting viewers grasp them as they want.

A travers une étude générale des infrastructures de production, l’ambition de cette recherche est double. Il s’agit d’une part de mettre en évidence la centralité du studio dans l’organisation de la production cinématographique française des années 1930, mais également de montrer quel a pu être l’impact des évolutions de fonctionnement des studios au cours de la décennie sur les conditions de travail et les modes de sociabilité des ouvriers et techniciens du film. Cette thèse ne se contente pas de rassembler des données factuelles et de dresser un inventaire des structures de production dans la France de l’entre-deux-guerres, elle étudie également les dynamiques d’une branche de l’industrie cinématographique en pleine évolution - les studios – tout en faisant de l’humain – ouvriers et techniciens du film - le pivot de la réflexion. L’analyse des dimensions techniques, économiques et humaines des studios français dans les années 1930, se déploie en trois parties correspondant à trois périodes marquées par des dynamiques différentes.La première partie (1929-1930), aborde la question du passage au parlant en privilégiant une approche descriptive des installations ; elle dresse un tableau de la situation en 1929 et analyse les nouvelles dynamiques économiques et techniques qui modifient en profondeur le paysage des studios français à l’aube de la décennie. La deuxième partie (1931-1933), s’attache à mettre en lumière le fonctionnement quotidien des studios, leur rôle dans la formation et la carrière des professionnels mais également leur impact sur la vie économique et sociale des territoires dans lesquels ils sont implantés. Enfin la troisième partie, (1934-1939), soulève la question du modèle de développement des studios français. Premières victimes de la crise de la production des années 1934-1935, les ouvriers et techniciens du film sont les premiers à réagir, répondant à la dégradation de leurs conditions de travail et de rémunération par un mouvement de revendications et de luttes sociales qui agitent les studios durant toute la seconde moitié de la décennie. / Throughout this general study of the production facilities, the goal of the research is two fold. It aims first at establishing the centrality of the studios in organizing the French movie production in the 1930’s. It equally looks at showing what have been the impacts of the changes which had affected the functioning of the studios during this decade on the working conditions and sociability modes of the working class and technicians of the film industry. Not only this PhD gathers evidences and draws an inventory of the production facilities in the France between the two world wars, but it also studies the dynamics of a fast evolving branch of the film industry, the studios, while making of the human - workers and technicians of the film industry - the centre of the reflection. The analysis of the technical, economic and human dimensions of French movie studios in 1930’s, unfolds in three parts corresponding to three periods marked by different dynamics. The first part (1929-1930), discusses the transition to talking cinema favoring a descriptive approach of the facilities; it paints a picture of the situation in 1929 and analyzes the new economic and technical dynamics that profoundly altered the landscape of French studios at the beginning of the decade. The second part (1931-1933) , aims to highlight the daily operation of the studios, their role in the training and career of professionals but also their impact on economic and social life of the territories in which they are located. Finally, the third part, (1934-1939), raised the question of the development model of French studios. First victims of the crisis of 1934-1935 production year, workers and technicians of the film are the first to react, responding to the deterioration of their working conditions and compensation by a movement of demands and social struggles that stir the studios throughout the second half of the decade.

My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion of both subject and object. As a critical device the subjectile is useful both for discussing art and making it, enabling me to explore my own practice, which seeks to articulate problematic aspects of subjective status and the end limits of the subject. Artaud describes in his writing and depicts in his drawing how his body is in a state of fusion with objects. Or, he adopts a creative process that presents subjective integrity as if it overlaps and is contiguous with objects. The first, rational and empirical direction determines there is no sensation and no animation in objects, so they do not retain in their material mass any attributes of subjectivity. The second direction proposes that objects are hybrid and metamorphic: sensation, and attributes of the subject are contiguous with the material properties of objects. The poetics of corporeality Artaud develops in his works maintains a consistent attitude to extension, proposing that sensation and substantial material qualities of the human body are discovered in objects, especially in art. I argue that the subjectile deploys paranoid devices to understand subjective difficulties. I discuss paranoia and the subjectile in relation to Deleuze and Guattari's understanding of Artaud's 'Body without Organs', and Derrida's essay 'Maddening the Subjectile'. I also draw upon Melanie Klein's object relations theory, which discusses split up parts of the subject that are ambivalent, projected and expelled, enabling discussion of subjectiles as partial attributes of the subject that form part of a broader culture, through the engagement of aesthetic, formal, and historical registers in art.

Previous studies of the design studio have tended to treat learning to design as a matter of learning to think in the right way, despite the recognition that material artifacts and the ability to make and manipulate them in architectural ways is important to the design process. Through the use of empirical data gathered from watching design teachers and students in action, this thesis works to discover how material things and bodies are important to the fabrication of architectural meaning and architectural subjectivity within design studios. In particular the role of gesture is highlighted as doing important work in design studio knowledge practices. / The approach taken in this thesis is to treat design activity in design studios in a ‘post-human’ way. An analytical eye is turned to how things and people perform together and are organised in various ways, using Actor network theory (ANT) as a way to orientate the investigation. The assumption drawn from ANT is that that architectural meaning, knowledge and identity can positioned as network effects, enacted into being as the design studio is ‘done’ by the various actors — including material things, such as architectural representations, and human behaviours, such as gesture. / Gesture has been largely ignored by design studio researchers, perhaps because it tends to operate below the threshold of conscious awareness. Gesture is difficult to study because the meanings of most gestures produced during conversations are spontaneous and provisional. Despite this humans seem to be good interpreters of gesture. When studied in detail, ongoing design studio activity is found to rely on the intelligibility of gesture done in ‘architectural ways’. The main site for the observation of gesture during this study was the ‘desk crit’ where teachers and students confer about work in progress. In the data gathered for this thesis gesture is found to operate with representations in three key ways: explaining and describing architectural composition, ‘sticking’ spoken meanings strategically to representations and conveying the phenomenological experience of occupying architectural space – the passing of time, quality of light, texture and movement. / Despite the fact that most of the work of the thesis centres on human behaviour, the findings about the role of gesture and representation trouble the idea of the human as being at the centre of the action, putting the bodies of teachers and students amongst a crowd of non human others who participate together in design knowledge making practices.

published_or_final_version / Architecture / Master / Master of Architecture