Virginia City once exemplified the cutting edge of culture and taste in the Rocky Mountain mining frontier. Weathering economic downturns, mining booms and busts, and the loss of the territorial capital to Helena, Virginia City survives today as a heritage tourism site with a substantial building stock from its period of significance, 1863-1875. However, the poor physical condition and interpretation of the town offers tourists an inauthentic experience. Without paint analysis, the Montana Heritage Commission, state-appointed caretakers of Virginia City cannot engage in rehabilitation. As of 2017, no published architectural finishes research exists that provides comparative case studies for the Anglo-American settlement of the American West between 1840-1880, for American industrial landscapes, or for vernacular architecture in Montana. This thesis offers a case study of five buildings to add to the body of scholarly architectural finishes research, provide rehabilitation recommendations, and provide a published, baseline study for future research.

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This study has been an attempt to examine the design, restoration and furnishings of the Beehive House to determine the degree to which the home was accurately restored, and to learn more about the key furnishings within the home.The answers to four questions have formed the body of the thesis:1. What was the historical background of the Beehive House to the times of its restoration?2. To what extent is the structural restoration authentic to the time of Brigham Young?3. What items were originally found in the Beehive House?4. To what extenet are the furnishings appropriate to the Beehive House?

Because African American architecture has not been recognized as culturally significant within academia, this thesis is an attempt to expand the architectural discourse. I will do this by answering the question: what is black architecture? To answer this question, we will examine the history of six houses specific to African American architecture: the barrack, the slave cabin, the shotgun house, public housing, the black suburban house, and the gentrified house. I will discuss the repercussions of each style, societal goals in establishing each style, and the policies or laws passed that instigated their creations. Importantly, I will explore how these styles are connected and how each style changed overtime. This historical narrative is not written to produce a survey report on the history of black architecture, but to be a basis to propose a design solution that could be implemented on Wells Avenue in Memphis, TN.

Due to the culture revolution, inflation of economy and globalization, China has been suffering from mass unqualified products of architecture, loss of culture and traditions, also unaffordable real estate; causing the instability of the society, in which emptiness, anxiety, uncertainty of people are occupied. Burdons must be released. And culture need to be revitalized. By studying I-Ching and Taoism, the origins of Chinese civilization, finding the philosophy of Tao which can be carried into architecture, the equilibrium between culture and globalization is established. The nation-wide uniformed apartments built under the welfare oriented housing distribution system in the 1980’s, are now either torn down or hidden behind the high rises and forgotten. The ones which are survived from the development of real estate, could be reconstructed to be a nice and affordable community where social interaction is encouraged, virtue of individual is cultivated and culture is renovated. In the philosophy of Tao, when one side is compelling and overwhelming, the counterpart could be perked up by yielding and returning. Therefore, in the design of the reconstruction, deduction is the motion of Tao. Introducing light scoops into the building to created horizontal and vertical courtyard, sunlight, rainwater and wind is able to come into the building. people is able to perceive the nature inside where balance of artificial and the nature is built. Also the light scoop divides the spaces into layers so that people have a private space to think as well as a semi-public space where social interactions are forced to happen. The space of light scoop is functionally blank, though. It is spiritually abondant.

This dissertation explores in the ways in which decorum, or the appropriateness of form and behavior, served as an underlying principle in the patronage, design, and construction of monumental architecture, sculpture, and inscriptions by the aristocratic elite of late antique urban environments. Throughout the dissertation, I deliberately turn my attention away from imperial buildings like Emperor Justinian's (r. 527-565) Hagia Sophia and towards those projects financed by aristocrats and elites, with a focus placed upon those associated with the gens Anicii and their sphere. It is through the discussions of the built environments of Rome, Constantinople, and Ravenna in the fourth through sixth centuries CE, that my dissertation reveals the ways in which aristocrats and elites, like members of the gens Anicii and wealthy bankers like Julianus Argentarius, were able to concretize their power in periods of political change. Their employment of a decorum of architecture, based upon Vitruvian and Ciceronian ideals, demonstrates the central role these individuals played in the shaping of the visual culture of the late antique Mediterranean. It was through the patronage of statues and buildings that were thoughtfully dedicated, strategically located, and purposefully decorated that these wealthy patrons were able to galvanize their non-imperial authority. In historical moments wracked by war, plague, and political instability, the finance and construction of large-scale statuary on prominently inscribed plinths, as well as solid, immovable buildings afforded these elites with a sense of permanence and stability that, they hoped, would last in perpetuity. / Art History

The insertion of the bathroom into the floor plan of the traditional gentry house at the end of the seventeenth century disrupted the established sequence of rooms and the social order embodied in it. The gradual and uncoordinated trend towards bathroom ownership partook of the evolution of ideas about privacy, comfort and the specialisation of rooms in the grand house, and culminated in the compact bathroom. The revival of bathing took place against the backdrop of the Scientific Revolution, and was initiated by physicians. At first, the benefits of different methods of bathing were hotly contested. However, by the end of the century, physicians were beginning to believe that cleanliness, rather than cold water, was the key to good health. Although the rich often continued to build large plunge baths, this shift paved the way for the eventual dominance of the compact bathroom. At the beginning of the eighteenth century, a specialised bathing room within the house was out of reach for people of ordinary means. Changes to the plumbing trade were intertwined with developments that were to bring bathroom ownership within reach. In eighteenth-century Scotland, increasing numbers of bathroom projects might have been expected to expand the work of plumbers, but technological, commercial and legislative change—in particular the separation of design from construction—undermined their monopoly on their craft. Goods that had been manufactured on site and with local materials at the beginning of the eighteenth century were, by the beginning of the nineteenth, designed by a new breed of entrepreneur–inventor, manufactured by less skilled workers, and could be purchased in a shop and installed by a handyman with no particular trade identity. However, knowledge about the health benefits of bathing and technical advances are, in themselves, inadequate to account for the growing importance of bathrooms. The explanation lies in social, not technological or scientific change. Visiting public bathhouses exposed bathers to physical, moral and social pollution, at a time when failure to comply with the dictates of bodily cleanliness could provoke the disgust of one’s peers. Disgust constructed and policed the boundaries between social groups. Private bathing facilities met the requirements of bodily propriety without the risk of contamination. Moreover, a privately owned bathhouse in the grounds provided a focus for tourists or a site for intimate sociability. Bathhouses were a means of displaying wealth, taste and the fruits of the Grand Tour. Visitors could identify themselves with owners through the consumption of culture, improve their aesthetic skills through writing and drawing, and make claims to gentility through their appreciation of what they saw. As owners began to withdraw from the ever-increasing numbers of tourists, and from the formal sociability of the country seat, their bathhouses became a place for sociability in retirement which offered all kinds of entertainments, from boating and fishing, to cards and music.

Arthur Ingram and Lionel Cranfield were part of the early modern phenomenon of social mobility, rising from humble merchants to titled gentlemen in one generation. Cranfield, especially, reached significant heights in a matter of years. Despite the fact both men have merited biographies which chart their commercial and political careers, little attention has been paid to their lives outside of the political sphere leaving room for an analysis of their family and personal estates and the extent to which they utilised their houses in their self-projection. The originality of this thesis lies in its comparison of the two men which not only highlights their dependency on each other and mutual advertisement of each other’s image, but also opens up the question of regional disparity in house building as Ingram’s country estates were situated in Yorkshire whereas Cranfield’s were mainly close to London. The first chapter introduces the issues of social mobility, self-fashioning, and regionality, provides a literature review and explains the methodology employed. Chapter 2 looks at the careers and families of Ingram and Cranfield before examining the ways in which they furthered their ascent through the fashioning of their attire, education and learning, and social networks. The thesis then focuses on the houses of both men, with Chapters 3 and 4 considering how they built and styled their houses. Chapter 5 examines the craftsmen and materials employed by Ingram and Cranfield on their building programmes and in particular the geographical location of their houses. Chapter 6 discusses the way Ingram and Cranfield furnished their residences and how their households were related to the local community, particularly in terms of hospitality. The gardens and grounds that surrounded their houses are the subject of Chapter 7. The thesis concludes with an evaluation of the significance of Ingram’s and Cranfield’s houses in the self-projection of their image and how far the geographical location of their residences affected how successful this was.

This dissertation examines six major points: 1) it argues that Jefferson is an architect of the United States Capitol, having direct and final say over its design; 2) it asserts that Jefferson set two nationally influential models of architectural taste as part of his movement to reform American architecture, first in Richmond as the Virginia State Capitol and second in Washington as the United States Capitol; 3) it explores those models to define what Jefferson called “cubic” and “spherical” architecture; 4) it suggests that Jefferson used his political appointments to maximize his influence over the design of the United States Capitol in order to ground the building in classical sources; 5) it surveys the sources Jefferson looked to for inspiration, both printed texts and images as well as extant buildings in Europe and America; and 6) it proposes that Jefferson and B. Henry Latrobe worked hand in hand to execute a design for the United States Capitol that subdued and at times even replaced the official plan adopted from William Thornton’s winning design. This dissertation starts with the idea that Jefferson’s architectural reform consisted of conjoining vernacular building custom with architecture of the classical tradition. Most of what Jefferson knew about classical architecture came from books. Chief among them are Claude Perrault’s 1684 French translation of Vitruvius’ Ten Books on Architecture and the three London editions of Giacomo Leoni’s versions of Andrea Palladio’s Four Books of Architecture in English translation. Using these print sources, Jefferson reinterpreted many of the standard public buildings of Virginia into temple forms. In addition, Jefferson’s plan to reform public architecture rested on two overriding principles: erecting buildings with masonry and organizing those buildings using the classical orders. Furthermore, this dissertation proves that, like the ancients, Jefferson wanted to build on a monumental scale. Jefferson’s own plan for a national capitol shaped like the Roman Pantheon, long misunderstood, clearly reinforces this interpretation. Finally, this dissertation demonstrates that Jefferson and B. Henry Latrobe worked in concert to execute a design for the United States Capitol that subdued the official plan adopted from William Thornton’s winning design.