CUHK Architecture Programme

2001 – 20022001 – 20022001 – 2002

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This is a working note book of the archi-tecture programme The programme consists of two main parts: courses and studios. The courses consist of a minimum number – nec-essary and suffi cient – of mandatory courses dealing with principles followed by a core of electives applying the principles to deeper study of selected topics and leading to a large number of electives in research studies.

The studios begin with a foundation of basics and principles followed by four studios com-bining students from years 2, 3, 4, and 5. The students work together with assistants, teach-ers, visitors and practising architects at differ-ent levels of complexity on essentially similar projects of design and research. It is hoped that these notes can make the programme more accessible and make it possible for it to develop in both form and content to achieve higher synthesis, balance, and quality in its evolution.

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Table of Contents

Foreword: Essy Baniassad 7

Statement: The House and The City 9

Programme 10

Studios 12 Year 1: Foundation Studio 13 Studio I: Habitation 14 Studio II: Technics 14 Studio III: Tectonics 15 Studio IV: Urbanization 15 School Projects: Places for Life 17 Courses 21

Core Courses 22

Communication 22 Humanities 23 Technologies 24 Professional Practice 25

Research Studies 26

Study Schemes 27

School Plan: A Place for Learning 28

Dates 30

Programme Contents

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“Everything man does that’s worth doing is some kind of construction, and the imagination is the constructive

power of mind set free to work on pure construction, construction for its own sake. The units don’t have

to be words; they can be numbers or votes or colours or bricks or pieces of marble. It’s hardly possible

to understand what the imagination is doing with words without seeing how it operates with some of these

other units.”

Northrop Frye, The Educated Imagination

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DesignEducation

The process of education is one of formation, of becoming who one is. It is ultimately individual and private irrespective of its public manifesta-tions or institutions.

The aim of education is to cultivate a critical, aesthetic, and ethical appre-ciation of existence – of life – in all its aspects. In this respect educa-tion in one subject is no different from another, professional or liberal. Formal organization of the process and the content into subjects is nec-essary. But these should not obscure the nature of knowledge in its unity or the motivation for gaining knowl-edge as an innate human intuition.

Your studies at the university level clearly seem different from earlier studies in their focus and depth. They are much more specifi callly related to one subject: ARCHITECTURE. Although it draws upon numerous subjects in humanities, art, science and engineering, the core of archi-tectural education is the knowledge of human habitation and its creation in all its aspects and scales: DESIGN.

Essy Baniassad

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ArchitectureThe House and the City

By nature architecture is not a linear subject. It is a domain defi nable in terms of a simplest constituent form – the house – and the most complex form – the city. This domain in turn is the context of study for any work of architecture, its relationship to other forms, and its signifi cance. The important point is to see that every part is studied consciously within the context of the entire domain. Distinctions, similarities, and dissimilarites between forms are implicitly defi ned within this domain.

Here dichotomies are unifi ed. Form and function, idea and reality, the immediate and the eternal, are defi ned within one another. The infi -nite diversity of parts gain signifi cance within the overreaching unity of the whole. The acquisition and the crea-tion of knowledge are often unifi ed in the process of conception and construction of the work. Active engagement through the process of design sets the focus and the orienta-tion of the entire programme of edu-cation. More than any other factor it emphasizes the fi rst premise in edu-cation: It is a process of observation and discovery driven by fascination for life.

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The ProgrammmeStudios and CoursesProgramme FormA school of architecture is not a building, but a school of thought, a community of students. Its true place of study is not the classroom, but the world at large. Its effective mode of study is not instruction, but observation. Its ultimate medium is not information, but experience. Its aim is to cultivate a critical and aesthetic appreciation of human culture as embodied and expressed in architecture.

The programme is a strategy for study for each individual student as well as a basis for discourse for the whole department. It is an instrument of education. Just like an instru-ment of music. The music – and the educa-tion – is in you. It comes from you, not from the instrument. But the instrument is neces-sary, and the quality of music depends on how you master it.

The most important point in mastering the programme is to understand its internal design and its scope. It is designed as a form in which the parts and the whole complement and defi ne each other. Every part is understand-able in the context of the whole programme, and in a way is complete in itself. So each part could be an introduction to other parts and a culmination of them.

Your participation in the programme is ulti-mately essential in its effective place in your education. Your interpretation of it should let

Architecture is the result of human habitation in search of shelter and immortality. The study of architec-ture is ultimately the study of works of architecture just as the study of literature is the study of works of literature.

“Don’t let the school stand in the way of your education”Mark Twain

In architecture there is much to learn and little to teach. The pro-gramme refl ects this in both its form and its content. It is like a path through a fi eld. It should reveal the fi eld, not cover it. Its form should offer a dynamic balance of learning, discourse, discovery, and synthesis. Its content should refl ect the integ-rity of the subject. It can do so by refl ecting the unity in architecture of past, present, and future and the continuity between study, research, and practice.

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it defi ne, not confi ne, the scope of study. You should bring it to life by your natural passion for understanding, not reduce it to drill and duty. Architecture is a legacy of all cultures and times. Your passion for learning, not informa-tion in the text books, is what can reveal the beauty of this legacy in its infi nite diversity and its overarching unity.

Programme ContentThe programme consists of two main parts: studios and courses. The subject of both is essentially one: ARCHITECTURE. In general stu-dios focus on DESIGN; the courses deal with THEORETICAL MATERIAL.

The point of the design studio is to help the student to see, to understand, and to design. In theoretical courses the point is the content and the form of knowledge and exercise of critical thinking.

Architecture as a specialised fi eld is ultimately an extension of the common human impera-tive for habitation. Understanding of architec-ture requires seeing works of architecture and understanding their place in common life and culture. This poses an important question to the study and the students of architecture.

“A shed is a building; a cathedral is a work of architecture” (Nikolaus Pevsner). What is the relationship between them? There’s a shed in

every cathedral; a cathedral in every shed.

Architecture as a formal subject is nested within the vast body of human habitation from pre-history to our time which is neither primi-tive nor outside of architecture. This work of cultural tradition and intuition is important as the fertile ground of formal architecture. It underlies formal architecture just as the natu-ral world underlies science. It is an essential part of the scope of study of architecture.

Is there a distinction between a work of archi-tecture and a building built with no reference to architecture? Is there a distinction between the everyday language we use and the use of the same words applied to architecture? If not, then there is no such subject. If yes, then its works, its theories, its principal concepts and their syntax should be distinct and understand-able as a unifi ed body – a subject – within the world of other subjects and the world of common life and culture. It is here that one has to understand that a formal subject is a creation of imagination rooted in the real world, but not merely a description of the real world. It is a creation, a world of its own, with an intricate relation to the real world of sense perceptions, intentions, and actions in the past, the present, and the future.

Programme Architecture

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Architecture Design

StudiosAn Approach from a Position

The design studios consist of a FOUNDATION STUDIO followed by four THEMATIC STUDIOS.

Two points are important in the organization of the design studios:

1. The POSITION of an architect is a world view expressed architecturally in terms of aesthetics, etc. A house designed by an architect – for example, Mies Van der Rohe – is more similar to a gallery designed by Mies than it is similar to a house designed by another architect, say, Aalto. The point is that how we design is based on our position as designers and does not depend on the building type. The particular position is the subject of exercises and exploration in projects within each studio.

2. The daily functions such as school, library, church, factory, etc., are specifi c instances and combinations of a more funda-mental and more limited number of types of places/functions, such as place of gathering, working, or solitude. In design an ARCHITECTURAL programme underlies any visible FUNCTIONAL

programme. The architectural programmes are the subject of design projects at the school level. Each studio approaches these projects from its own position.

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Architecture can be studied as a fi eld, a world, defi ned within two fundamental forms: the the house and the city. The fi rst year intro-duces the fi eld, its content, concepts, struc-ture, and methods as preparation for the rest of the programme.

The house is the seminal form in architecture. It is the signifi cant form in terms of whose transformations and evolution all other forms can be understood. Historically it has been to architecture as the family to society.

The city is the ultimate and most complex form in the evolution of architecture. It con-tains all elements, infl uences and forms within the scope of architecture. Thus the city can be regarded as a work of architecture itself as well as an embodiment of architecture as a whole: its history, technology, and building types. It can offer a tangible context for the study and the practice of architecture. The question of how to study architecture can effectively be replaced with the more tangible question of how to study the city. (EB)

Year 1Foundation Studio

Design Foundation

The challenge in the foundation studio is to introduce architecture as a formal subject in terms of the stu-dents’ prior experience.

It introduces fundamental concepts and principles, and the structure of the programme for the following years.

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Design Habitation Technics Tectonics Urbanization

The house, the book, the idea, the song.These "places" are the habitat of the human heart and the locus of the studio. Here, architecture becomes the art provoking rev-erie from the every day; from the humility of eating, drinking, bathing, and making love; from the humanity of toiling, wandering, suf-fering and celebrating.The students of the habitation studio are pil-grims, wanderers and trackers, involved in the perpetual espionage of cultural productions and projections. Their designs are created at and take root around the place where, traces, shadows and echoes of the past inter-sect ambitions, innovations, and visions for the future.People- The expression of the human spirit revealed through the study of the human body, its surface and its resonance in space. How people activate architecture, from the collective to the private action or event. Place – What is the spirit of the place? Its cultural implication of design within specifi c territories of human habitation.Form and materiality – The resonance of people and the coherence of the place are materialized through the dimensions of colour, skin texture, porosity, permeability, sensuality of materials, the gravity of form; through motions and sequential space. Two urban corridors with polar relations to moun-tain and harbour are selected for the projects. (GM)

Studio IHabitation

Studio IITechnics

Years 2, 3, 4, and 5 (thesis)The thematic studios are organized primarily on the basis of design posi-tion irrespective of academic years or building types.

The choice of “positions” on which the studios are based is itself an important question. The choice is in a sense an initial proposition and should be open to change and refi ne-ment in the course of time.

1. Habitation2. Technics3. Tectonics4. Urbanization

The thesis is an independent/guided study by each student within the stu-dios.

Technics has been defi ned as "The doctrine of arts in general; such branches of learning as respect the arts."; "The method of perform-ance in any art; technical skill; artistic execu-tion."; "Technical terms or objects; things per-taining to the practice of an art or science."; "The theory, principles, or study of an art or a process."; and "The science or study of the mechanical and industrial arts.".

The Technics Studio seeks innovative and practical solutions to real architectural issues. It cherishes the experiential process of thinking, making and forming as well as the rigour of testing and assessing. It explores the syn-ergy of technological innovations, the ergo-nomics, the bionics and the built environ-ment. It experiments with emerging possibili-ties offered by ally disciplines so as to extend the existential meanings of architecture. And, last but not least, it cultivates self-awareness in design.

The vision of the Studio is to infuse a sense of poetry and aesthetics into the technological production and forming of architecture. (EN)

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Studio IIITectonics

The tectonics studio understands architecture as a complex whole but emphasizes a specifi c approach to this whole, the formation of space and mass, how the elements constitut-ing a building relate.

What could be the issues which the tectonics approach would specifi cally imply? In general terms it would be the internal organization of the building, its parts and their relationship and hierarchy, the form and structure of the building, and the spaces of the building and their defi nition, leading to further questions. What is the relationship between space, sur-face, and mass? How is the material arranged in a building? Can we distinguish elements, components and systems? What is the mutual infl uence between structure, material, and space? Can we differentiate structural and spa-tial types, and are they related? How can space be formed, structured, and defi ned? How does the built order express a con-ceived order?

One building that can be used as an example of tectonics is the home for the elderly in Masans by Peter Zumthor. One architect’s approach as an example of tectonics would be Renzo Piano. (VB)

Studio IVUrbanization

“With cities, it is as with dreams: everything imaginable can be dreamed, but even the most unexpected dream is a rebus that con-ceals a desire or, its reverse, a fear.”Italo Calvino, Invisible Cities

Architecture in its history parallels the general history of civilization. Throughout innumer-able advances and reversals it maintains a pre-eminent direction: URBANIZATION. Urbani-zation is the process at work from the earliest attempts at inhabiting the natural landscape to the formation of communities of houses, villages, towns and cities. In a sense the entire history of architecture is a story of urbaniza-tion, from the early adaptation of caves to the modifi cation of land in search of shelter and the creation of entirely artifi cial worlds. The determining infl uence of this process is of course evident at every human community. But it is also present at a more profound level in the culture within which each work of architecture – and architecture as a whole – is created. The physically isolated work in the open landscape is no less affected by a culture of urbanization than the work in the midst of any city. In terms of design, urbanization is manifested most in the instinct, or intention to see design as evolution of land form and fabric and creation of place. Each design is in a sense “implied” by the existent context and implies the future designs. (EB)

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School ProjectsPlaces for Life

Design Studios Studio Projects School Projects

Design StudiosTwo Types of Projects

Studios comprise groups of students, architects, and research-ers working at different levels of similar projects and issues. This includes students from years 2, 3, and 4, as well as thesis students, visiting architects, and teachers.

Each term the work in studios consists of two parts: studio projects and school projects. Studio projects are formulated by the studio to explore that studio’s particular issues and approach.

School projects are defi ned on the basis of one of the follow-ing “fundamental” architectural programmes/places for each term: living, working, learning, worshipping, working, playing, and performing. Historically buildings of fundamentally similar programmes evolve from one another. It is therefore possible as an example to see a room, a house, and a village as build-ings nested within a line of development of places for living. These programmes make it possible for students to work on the “same” project but at different levels of complexity.

The collective work in each studio would implicitly address the history, the evolution of the building. It would be an occasion for research into the process of such evolution as well as into the defi ning proposition of the studio. The collective work in the school would further advance the examination of “studio positions” in relation to one another and for comparative examination of the process of design.

Architecture is the fulfi llment of human search for shelter and immor-tality.

“Place is space humanized.”Aldo Van Eyck

Architecture begins with the human sense of shelter and PLACE, the indi-vidual’s primal projection of one’s self in the world. The sense of place at a basic level is perhaps intuitive to the human animal and arises from the instinctive tendency for building culture – creating a human world from the natural world. Three generic types of place arise from this instinctive level, emerge early in his-tory, and remain fundamental to all scales and manners of human habi-tation: PLACE OF GATHERING, PLACE OF WORK, WORK, WORK AND PLACE OF SOLITUDE.

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“In the house of every Greek and Roman was an altar; on this altar there had always to be a small quantity of ashes, and a few lighted coals. It was a sacred obligation for the master of every house to keep the fi re up night and day. … This in turn was connected with an ancient belief. … This altar was called Vesta in Greek and Focus in Latin.”De Coulanges, Fustel, The Ancient CityThe following three projects are three instances of such place of habitation at three different scales: urban house, hostel, housing. The aim of the project is to examine the evo-lution and the architecture of living through these three instances. The evolution of these instances will be the subject of study at all levels of the studio. Following the general study each level of the studio will focus on the design and development of one instance.

ProjectsYear 2: The Village House: A group of six houses of each of fi ve rooms in an urban setting.Year 3: The Hostel: A hostel for 50 persons of various ages and gender.Year 4: Housing: Housing for a community of 200–300 persons in families, single parents, and single persons. This project should include community and public facilities to the scale of service and accommodation in Hong Kong. (EB)

LiveA Place for Living

WorkA Place for Working

LearnA Place for Learning

The desire to learn is one of life’s greatest inspirations. At some level, life is a learning in itself. But here, we are concerned with the formal defi nition of learning. Learning is:the action to learn; education; schooling; knowledge acquired by systematic study; a lesson; information; an acquired skill.A place of learning is an environment of spaces where it is good to learn. “School begins with a man under a tree, who did not know he was a teacher, discussing his realization with a few, who did not know they were students. The students aspired that their sons also listen to such a man. Spaces were erected and the fi rst schools became.”Louis KahnA place of learning accommodates three ele-ments: 1, the student who is in search of knowledge; 2, the knowledge which is embodied in some form: teacher, books; and 3, the way of learning, e.g., listening to the teacher, reading a book.

ProjectsThe aim of the project is to explore the tree of learning in three different instances.Year 2: A Kindergarten: A place for two groups of twenty children to begin a life of learning.Year 3: A Local Library: A library with a col-lection of 60,000–80,000 books for a com-munity to extend their quests for knowledge.Year 4: A School of Architecture: A 5-year architecture school for 200–250 students to pursue a focused study. (LW)

School Projects Living Working Learning

All humans should work for various reasons either for the sake of earning the bread, killing time, or avoiding boredom. When society is advancing from the primitive production mode from the “fi eld” to the tertiary mode from the “market”, our defi nition of “work” is constantly changing. The motive for working shift from a necessity of survival to a luxury of socialization. Also, the proportion of physi-cal effort to mental output is gradually revers-ing. However, one thing in common is the induced stress during the process and the reward for the production in the end.Thus, the architectural issues for “a place to work” are to reduce the working stress and to enhance the productivity by shaping spatial conditions where the working spirit will be celebrated, the effective productions will be optimized, and the working environment will be enhanced.

ProjectsYear 2: Loft studio. Three individual young creative-work artists sharing an old tenement house (70 m2 x3) with common facilities and individual studios.Year 3: SOHO under the “enterprise incu-bation scheme” to create opportunities and saving resources, new building type combining living and working spaces for over 100 young couples (50-150 m2).Year 4: Vertical farm in new “environmental town” to compensate “built-over” land (15,000 m2). (WC)

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“The thing about performance, even if it’s only an illusion, is that it is a celebration of the fact that we do contain within ourselves infi nite possibilities.”Daniel Day Lewis“Actors should be overheard, not listened to, and the audience is 50 percent of the per-formance.”Shirley Booth“The basic difference between classical music and jazz is that in the former the music is always greater than its performance – Beethoven’s Violin Concerto, for instance, is always greater than its performance – whereas the way jazz is performed is always more important than what is being per-formed.”André Previn“Will the people in the cheaper seats clap your hands? All the rest of you, if you’ll just rattle your jewelry.”John Lennon

ProjectsYear 2: A music teaching studio for up to fi ve musicians, a coach, and a few listeners.Year 3: A recital hall for up to ten musicians and an audience of 500. Should have neces-sary support spaces.Year 4: An opera house for a metropolitan opera company. Should have necessary sup-port spaces and appropriate civic presence. (AIL)

School Projects Worship Performance Play

PerformA Place for Performing

WorshipA Place for Worshipping

PlayA Place for Playing

The act of playing is a basic instinct of human beings. When we were children, we learnt things through games; we enjoyed ourselves by playing; we socialized with others through involvement; we disciplined our behavior under the rules of the games. The central issue is participation, i.e. “in the game.” How-ever, there are distinctive conditions relating to different age groups in shaping the “play-ground”.“A place to play” will involve two major issues, one being the concept of FIELD on which activi-ties are performed according to the rules of the game, and the other being that of interac-tive space in which our bodies and minds are in responsive mode of movements.The derivatives of these two concepts are spaces for performers and spectators, and their communicative relationship. Thus, it is possible to explore this architectural discourse via the lenses of behavioral patterns, urban settings, space-form relationships and techno-logical performance.

ProjectsYear 2: Kindergarten for 240 children (12 groups), play within safe fi elds, activity-ori-ented, indoor and outdoor environments.Year 3: Gymnasium for 300 young players and spectators within a structure spanning 30 meters.Year 4: Games Park. An arena of activities from sports hall to leisure park for 500–1000 participants ranging from children to elderly people. (WC)

Faith is a driving force of human endeavours. The act of worship is fundamentally based on the humane acknowledgement that there is a greater existence beyond ones humble self. Although the act of worship could take place anywhere, human civilisation has cre-ated places in our physical environment of iconic and symbolic signifi cance.Beginning with oneself and the need to wor-ship in solitude, the trinity of the place, the self and the worshipped draws on deep contem-plation of ones experiential relationship with the others. These are places with a natural and personal dimension to it. Beyond the self, there is a social dimension to an act of worship. In many respect, the sociocultural ritual, process and ceremony of worship reveals the beliefs and the shared values of a group of worshippers.For some, the act of worship could take on symbolic and iconic attributes, so much so that it could assume civic and urban signifi -cance. A Place for it must therefore involve a carefully orchestrated mix of buildings and spaces as they provide a key identity to the city as well as a source of civic and religious pride.

ProjectsYear 2: A Chapel and a garden in a remote island.Year 3: A church building in a University.Year 4: A religious establishment for a con-gregation of 500 next to a major urban square. (EN)

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School Projects Movement

Life fi lls individual rooms and urban spaces with movement alternating with rest. There is a nested range of movements from that of a hand through that of a person and persons, a group and groups to that of a mass or masses. In its character, movemens can range from ritualised movements in dances and sports to everyday movements like operating a machine or walking down a corridor.The emergence of means of transport added mediated movement through space to the direct movement through space that led to the development of specialised spaces of departure, transition, arrival, and interchange.The aim of the project is to study places of movement in three instances of increasing scope.

ProjectsYear 2: A dance studio: A place for practising dance in three groups of ten persons.Year 3: A boat pier: An arrival and departure place for two boats seating 100 persons.Year 4: A neighbourhood square: A public space with the facilities to make it the centre of an urban neighbourhood. (VB)

MoveA Place for Movement

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Courses

Architecture Theory

The courses are studied at three levels in each of the follow-ing four areas: COMMUNICATIONS, HUMANITIES, TECHNOLOGIES, andPROFESSIONAL PRACTICE.

The three levels are:

1. Mandatory courses. The minimum number of courses possible dealing with fundamentals, principles, and premises underlying the area of that course. These apply to humanities as well as technology.2. Elective courses. A selective core of courses as further development of the mandatory courses. There is no linear or chronological order between the mandatories and the elec-tives.3. Research studies. A series of research based electives offered by every member of faculty.

The studies draw continuity from the fi rst level – fundamen-tals – depth from second level, and vitality from the third level. All three levels inform one another and evolve within the balanced form of the programme.

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Mandatory CoursesGraphics and Visual StudiesARC 1210 · Gu Daqing

Computer-Aided Architectural DesignARC 2210 · Jeff Kan

Communication

“The concept is general and com-municable; the image is singular and egocentric”Piaget

Communication in architecture concerns the study and mastery of language as a medium of obser-vation, discourse, and design. It involves dealing with general con-cepts in verbal terms as well as singular images in graphic or three-dimensional terms. It extends from the timeless medium of direct observation and repre-sentation – drawing – to the most recent of media – information technology.

Communication Number Word Image

Elective CourseDigital Design MediaARC 4201 · Tsou Jin-Yeu

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Mandatory CoursesIntroduction to ArchitectureARC 1311 · Essy Baniassad

Architectural History and Theory IARC 1321 · Jeffrey Cody

Architectural History and Theory IIARC 2310 · Ho Puay Peng

Architectural History and Theory IIIARC 2320 · Jeffrey CodyARC 3311 · Jeffrey Cody

Urban Design and PlanningARC 5310 · Alex Lui Chun Wan

Architectural Theory and CriticismARC 6310 · Essy Baniassad

“All history is modern history” Wallace Stevens

The courses in humanities concern human intentions and ideas, their history and theory, and their appli-cation to the critical knowledge of architecture. History, theory, and criticism are closely inter-linked through their common ground of reference: the work of architec-ture. They deal in various ways with the evolution, the process of design, the quality and the signifi -cance of individual and collective body of works of architecture.

In a sense each work presents the entire history as process and product. It is a product of two processes: the process of historical evolution and the process of individual design/construction. In another sense it is a new synthesis of all the factors that affect archi-tecture. As such it is a new archi-tectural fact.

Humanities

Humanities History Theory Criticism

Elective CoursesIssues in Architectural Theory and Design: Giuseppe Terragni’s Tectonic Experi-menta-tionsARC 4301A · Nancy SandersA · Nancy SandersA

Issues in Architectural Theory and Design: Introduction to Shape GrammarARC 4301B · Andrew I-kang Li

Studies of Selected Periods or Works of Archi-tecture: Enveloped SpaceARC 4302 · Vito Bertin

Aspects of Asian ArchitectureARC 4303 · Ho Puay-peng

History of Cities: Form and FabricARC 4304 · Woo Pui Leng

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Mandatory CoursesIntroduction to Building TechnologyARC 1411 · Andrew I-kang Li

Building Technology I: Materials and ConstructionARC 1420 · Bernard V. Lim

Building Technology II: Building StructureARC 2411 · Bruce Lonnman

Building Technology III: Environmental TechnologyARC 2420 · Leung Man Kit

Building Systems IntegrationARC 3411 · Edward Ng

Advanced ConstructionARC 5410 · Wallace Chang

Advanced Building ServicesARC 5420 · Daniel Chan Ping Cheung

Technologies Structures Construction Environment Services

Technology is the medium, an extension of the human hand and mind. It is the medium for the study of a building as physical fact. Courses in technology address fac-tors affecting the design and per-formance of a work of architecture and methods and materials for its construction. It is the aim of these courses to impart an understand-ing of the principles as well as their combined effect in the design of buildings. While humanities are implicitly historical by being related to growth of human cul-ture, courses in technology draw empirical facts, scientifi c theories, and engineering practices. As such, they go beyond dealing with technology. They provide an essential basis for understanding a rich body of works which have been traditionally regarded beyond architecture.

Technologies

Elective CoursesTopical Studies in Structural Design and Build-ing Structures: Structural ModelingARC 4401A · Bruce LonnmanA · Bruce LonnmanA

Topical Studies in Structural Design and Build-ing Structures: The Architecture of BridgesARC 4401B · Bruce Lonnman

Topical Studies in Materials and Methods of Construction: The Making of Hong Kong Museum of Coastal DefenseARC 4402A · Ken TamA · Ken TamA

Topical Studies in Materials and Methods of Construction: The Making of Dragonair / CNAC Headquarters and Verbena HeightsARC 4402B · David Clark and K S Wong

Topical Studies in Environmental Systems and Design - Multidisciplinary Building DesignARC 4403A · Gabrielle TsuiA · Gabrielle TsuiA

Topical Studies in Environmental Systems and Design: The Integer ProjectARC 4403B · Gabrielle Tsui

Topical Studies in Computer-Aided Building Performance Simulation in DesignARC 5401 · Tsou Jin-Yeu

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The professional practice of archi-tecture is a social act and entails many factors which in a pure sense seem to have little direct infl uence on design and study of architecture. In fact the ethical, economic, and sociological issues that relate to this profession have profound infl uence on the entire fi eld. They are a part of the cul-ture within which architecture is formed, and a working apprecia-tion of them is a necessary part of a comprehensive understanding of architecture.

Professional Practice

Mandatory CoursesProfessional PracticeARC 3510 · Freeman Chan

Professional Practice and ManagementARC 5510 · Alex Lui Chun Wan

Professional Practice Administration Management Building Law

Elective CourseAdvanced Professional Practice IssuesARC 5501 · Alex Lui Chun Wan

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Western District Neighborhood Develop-ment PlanARC 5000A · Alex Lui Chun WanARC 5000A · Alex Lui Chun WanARC 5000A

A Computational Study of the Yingzao FashiARC 5000B · Andrew I-kang Li

From an Appraisal of Existing Elderly-care Environments to Developing Master Planning and Universal Design Parameters for the Eld-erly in Hong KongARC 5000C · Bernard V. Lim

Serving the Poor through ArchitectureARC 5000D · Freeman Chan

Micro 3D DesignARC 5000E · Gladys Masey-Martinez

Inside/Out: Hong Kong Architects as Catalysts of Change in ChinaARC 5000F · Jeffrey Cody

Looking at StreetsARC 5000G · Woo Pui Leng

Urban Conservation: Community DesignARC 5000H · Wallace Chang

Urban Parks in Hong KongARC 5000I · Essy Baniassad

DaylightingARC 5000J · Edward Ng

Case Studies on the Strategies of Space OrganizationARC 5000K · Gu DaqingK · Gu DaqingK

Advanced Topics in Building Performance Simulation and Scientifi c VisualizationARC 5000L · Tsou Jin Yeu

Chinese Architectural HistoryARC 5000M · Ho Puay-peng

Container Buildings in Hong Kong ARC 5000N · Vito Bertin

Research StudiesARC 5000P · Nancy Sanders

Research Studies Observation Discovery Communication

Research Studies

Research studies are based on current research work of each fac-ulty member. They are occasions for focused collaboration between students and faculty. They offer the students an opportunity to apply and extend their knowledge and develop skills in research through design or analytical meth-ods.

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Study Schemes

Study Schemes BSSc(AS) MArch

Studying is a process of recon-struction of a subject. In the proc-ess of such reconstruction the process touches on the the princi-ples, the content, and the struc-ture of a subject. The different courses in the programme each deal with the same points while focusing on different contents. The way to study them is to try and understand their internal structure as well as the structure that uni-fi es them within the programme. Take each course apart and put it back together in other possible ways. Take apart the entire pro-gramme and search for alternative orders between the courses. The internal structure of the courses and the order in which they are offered are only a beginning and a most elementary and general one. The only effective study scheme is to approach it with a searching mind and to reconstruct it in your particular way.

In the second and third years of the BSSc(AS) programme students join a different studio each term. In the fi rst year of the MArch programme students join two studios for a second time. For the thesis students can join any of the four studios again.

The study schemes for both BSSc(AS) major and MArch full-time programmes defi ne the minimum units of courses required for gradu-ation. The composition of the course groups and the number of units vary according to the entry year. The respective handbooks give the full details.

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School PlanA Place for Learning

A school of architecture is not a building; it is a school of thought. The school building is like a village of rooms and routes, all leading to a central public place: the market place, the agora, the exhibition room. It provides places for gather-ing, work and play, public display and solitary refl ection. It is a collection of rooms and places with different qualities but all with the same purpose: supporting study, discourse, and learning. These rooms are equipped differently, but no room has a limited function. The limitations in how we use a room are related less to the room and more to the limitations of our imagination.

Design Technology Lab

Architecture Library

Studio

Studio

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School Plan Library Laboratories Studios Exhibition

Information Technology Lab

Exhibitions

General Offi ce

7

6

5

4

6

5

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Dates Fall Term

Week DayWeek Day 1 Studio selection 03.09.2001 Start studio project 05.09.2001 06.09.2001 2 10.09.2001 12.09.2001 13.09.2001 3 17.09.2001 19.09.2001 20.09.2001 4 24.09.2001 26.09.2001 27.09.2001 5 Public holiday 01.10.2001 03.10.2001 04.10.2001 6 08.10.2001 10.10.2001 11.10.2001 7 Start school project 15.10.2001 17.10.2001 18.10.2001 8 22.10.2001 24.10.2001 Public holiday 25.10.2001 Public holiday 25.10.2001

Week DayWeek Day 9 29.10.2001 31.10.2001 01.11.2001 10 05.11.2001 07.11.2001 08.11.2001 11 12.11.2001 14.11.2001 15.11.2001 12 19.11.2001 21.11.2001 22.11.2001 13 26.11.2001 Last studio day BSSc(AS) 28.11.2001 No classes 29.11.2001 14 03.12.2001 05.12.2001 Last studio day MArch 06.12.2001 Last studio day MArch 06.12.2001 15 10.12.2001 12.12.2001 13.12.2001 16 17.12.2001 19.12.2001 20.12.2001

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Week DayWeek Day 1 Studio selection 07.01.2002 Start studio project 09.01.2002 10.01.2002 2 14.01.2002 16.01.2002 17.01.2002 3 21.01.2002 23.01.2002 24.01.2002 4 28.01.2002 30.01.2002 31.01.2002 5 04.02.2002 06.02.2002 07.02.2002 6 No classes 11.02.2002 Public holiday 13.02.2002 Public holiday 14.02.2002 Public holiday 14.02.2002 7 18.02.2002 20.02.2002 21.02.2002 8 Start school project 25.02.2002 27.02.2002 28.02.2002

Week DayWeek Day 9 04.03.2002 06.03.2002 07.03.2002 10 11.03.2002 13.03.2002 14.03.2002 11 18.03.2002 20.03.2002 21.03.2002 12 25.03.2002 27.03.2002 28.03.2002 13 Public holiday 01.04.2002 03.04.2002 04.04.2002 14 08.04.2002 10.04.2002 11.04.2002 15 15.04.2002 17.04.2002 Last studio day 18.04.2002 Last studio day 18.04.2002 16 22.04.2002 24.04.2002 25.04.2002

Dates Spring Term

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Essy BaniassadVito BertinFreeman ChanWallace ChangJeffrey CodyGu DaqingHo Puay-pengJeff KanAndrew I-kang LiBernard LimBruce LonnmanAlex Lui Chun WanGladys Masey-MartinezEdward NgNancy SandersJin-Yeu TsouWoo Pui Leng

Main text and images: Essy BaniassadContributions: EB, VB, WC, AIL, GM, EN, LWDesign: Vito Bertin

Department of ArchitectureThe Chinese University of Hong KongAugust 2001

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