Thesis (Ph. D.)--University of Pennsylvania, 1994. / Typescript. Also issued in print.

Thesis (Ph. D.)--University of Pennsylvania, 1994. / Typescript. eContent provider-neutral record in process. Description based on print version record.

Note: pages 126, 183, and 209a are missing from the original. / Designed in 1870 and opened in 1876, the Museum of Fine Arts, Boston was encrusted with ornamental terracotta, a material essentially unknown in America at that time. Across the Atlantic the South Kensington Museums in London (now the Victoria and Albert Museum) had grown up following the Great Exhibition of 1851. By 1869 they were housed in buildings which are among the best known examples of terracotta architecture in the world. In both philosophy and structure, the South Kensington Museums were the model for the Boston enterprise, the first great public art museum in America. The mid-nineteenth century re-emergence of terracotta has been an accepted fact for some time. Heretofore most scholarly attention has arisen in connection with its application as cladding to steel frame structures like skyscrapers in the last quarter of the century. Consequently, research on the origins and use of the material is fragmented and inconclusive. This dissertation addresses questions of its technological development, early applications in England at mid-century, and its long-range aesthetic implications which have not been generally recognized by architectural historians. Because of its specific and documented transatlantic connections, the Museum of Fine Arts, Boston, assumes a central role in the matter of the terracotta revival and stylistic influences from England to America. It would appear that Sturgis and Brigham (1866-1886), architects of the museum, were in a unique position to design and execute a terracotta building in America in 1870 because of the English education and affiliations of John Sturgis (1834-1888), who was able to research and contract the production of the terracotta ornament in Stamford, Lincolnshire from John Marriott Blashfield. With his able young partner, Charles Brigham (1841-1925) running the Boston office during his long absences abroad, the complexities of the construction were carried forward on a transatlantic basis by Sturgis, the prime designer. Much new source material concerning those personalities involved with the early nineteenth century production and use of terra cotta in England is contained in the letters and papers of John Sturgis, the foundation of this work. This study attempts to establish the nineteenth century chronology of the terracotta revival in England prior to 1870. The technological development of the material and its role within the South Kensington Museums is explored in detail. Major terracotta installations in England prior to 1870 are identified and the relationship of the material to museum architecture, a newly emerging form, is discussed. The Boston museum is then assessed in terms of its origins. On a larger, aesthetic base the role of terracotta is reviewed within the framework of the Gothic and Queen Anne Revivals of the third quarter of the nineteenth century.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: Architecture is a complex concept, and as such many factors contribute to its creation. These factors include geographical, economical and climatological aspects, but above all architecture is formed by the specific times, circumstances and lifestyle of the creator. The human being, with his background, ideas and values, shapes and influences the architecture surrounding him, and is also shaped and influenced by it. Therefore, when the lives and opinions of people are radically changed, it follows inevitably that their way of architectural expression will also change. There are marked differences between domestic buildings erected during the Victorian period in England and South Africa. English domestic buildings consist of long uniform terraced rows of two or more storeys, while freestanding single-storeyed houses are the norm in South Africa. A large percentage of English buildings are built with unfinished bricks (sometimes stone), while the bulk of South African buildings are finished in plaster. The general roofing material for Victorian houses in South Africa, namely corrugated iron, are not used on English houses at all. English roofs are most often covered in slate tiles. The very elaborate wood and/or cast-iron decorative elements so typical of the Victorian style in South Africa are largely absent in England, and most English buildings also do not have an architectural element comparable to the South African veranda. All styles which occurred in England during the Victorian period are termed Victorian, but in all cases it refers to the period, not the style. Although in South Africa other styles from the Victorian period are sometimes also referred to as Victorian, a clearly distinguishable style with unique characteristics developed at the end of the nineteenth century in South Africa. This style came to be known as Victorian. This study investigates the underlying reasons for the differences which exist between the Victorian architecture of England and South Africa. / AFRIKAANSE OPSOMMING: Argitektuur berus op 'n komplekse basis, en as sodanig is daar talle faktore wat tot die skepping daarvan aanleiding gee. Hierdie faktore sluit onder meer in geografiese, ekonomiese en klimatologiese aspekte, maar bowenal word die argitektuur geskep deur die spesifieke tydsgees, agtergrond en leefstyl van die skepper daarvan. Die mens, met inbegrip van sy agtergrond, idees en waardes, vorm en beïnvloed die argitektuur wat hom omring, en word self ook daardeur gevorm en beïnvloed. Wanneer die lewens en sienings van mense dus verander, volg dit vanselfsprekend dat hulle argitektoniese uitdrukkingsvorme ook sal verander. Woonhuise wat tydens die Victoriaanse periode in Suid-Afrika opgerig is, verskil opvallend van dié in Engeland. Engeland se woonhuise bestaan uit lang aaneengeskakelde rye huise (terraces), wat oor twee of meer verdiepings strek, terwyl enkelverdieping alleenstaande geboue die norm in Suid-Afrika is. Geboue in Engeland vertoon ook 'n opvallende uniformiteit wat in Suid-Afrika ontbreek. 'n Groot persentasie Engelse geboue is van ongepleisterde baksteen (soms klip) gebou, terwyl Suid-Afrikaanse geboue oorwegend afgepleister is. Die algemene dakmateriaal vir Victoriaanse huise in Suid-Afrika, naamlik sinkplaat, word glad nie op Engelse huise gebruik nie. Die oordadige versieringselemente uit gietyster en/of hout wat so tipies van die Victoriaanse styl in Suid-Afrika is, is grootliks afwesig in Engeland, en die meeste Engelse geboue het ook nie 'n bou-element wat vergelykbaar is met 'n Suid-Afrikaanse stoep nie. Alle style wat in Engeland tydens die Victoriaanse periode voorgekom het, word Victoriaans genoem, maar in alle gevalle word die tydperk bedoel, en nie die styl nie. Hoewel daar in Suid-Afrika ook soms na ander style van die Victoriaanse periode as Victoriaans verwys word, het daar teen die einde van die negentiende eeu 'n eiesoortige styl met unieke kenmerke in Suid-Afrika ontwikkel wat as Victoriaans bekend staan. Hierdie studie ondersoek die dieperliggende redes vir die verskille wat tussen die Victoriaanse argitektuur van Engeland en Suid-Afrika bestaan.

Thesis (M.S. and M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / This study is an exploration of the relationship between understanding and transforming an architectural context. The question asked is; What formal lessons can be learned from an existing context? The discussion is limited to issues of form and rule structure, particularly in reference to the zone of exchange between outside/inside and public/private. The Victorian residential form in San Francisco is used as a case study. There are four parts to the study: 1. An observational study of existing residential facade zones which consists of measured drawings in plan and elevation of a four block area in San Francisco. 2. A design projection of a support infill building based on intuitive interpretation of the observed context. 3. A methodological analysis of the context to derive the implicit generating rules and principles. 4. Based on a comparison of the analysis and projection, a discussion of the lessons to be learned from the context. / by R. Thomas Hille. / M.S.and M.Arch.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 274-287). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 274-287). Also available on the Internet.

The father and son architectural firm of T.J. Tolan & Son and later Brentwood S. Tolan designed seven county courthouses in Indiana, more than any other architectural firm but one. The Tolan firm also designed courthouses throughout the Midwest. Little is known about these architects, except that neither was formally trained. However, the Tolans designed high caliber courthouses that are viewed as some of the best in the state. Using primary and secondary sources, this thesis is an assessment of the courthouses constructed in Indiana by the architectural firm T.J. Tolan & Son and by Brentwood S. Tolan in the context of courthouses constructed in Indiana from the same period. / Department of Architecture

Thesis (M.A.)--Baylor University, 2008. / Includes bibliographical references (p. 137-144)

M.A. / Please refer to full text to view abstract