In the history of building, the word "concrete" has been used to describe a myriad of concoctions, some of which are hardly related, very few of which resemble the particular agglomeration of materials we know today as "concrete." As is the case now, concrete has always been an experimental material: hailed as a panacea, only to be disowned as the ill-begotten child of madness or ignorance. Aside from sporadic periods of popularity and experimentation, concrete has been the choice of necessity for many centuries, particularly in utilitarian structures, for its advocates have always espoused its economy, durability and flexibility. A "choice of necessity" cannot be separated from what Iwould call a "choice of opportunity," for in each instance, the manifestation of concrete as an important building material cannot be separated from the natural resources and the skill of the labor at hand to give the material form. What has emerged from the series of apparent abberations and mutations is instead relatively continuous technological evolution, one form of which has perhaps ended with the concrete era of Sequin; Texas in the mid-nineteenth century. / text

Informed by the methodology utilized in Peter Williams's Houses of God: Region, Religion, and Architecture in the United States (1997), the thesis examines Mark Lemmon's Gothic Revival design for the Highland Park Presbyterian Church (1941) with special attention to the denomination and social class of the congregation and the architectural style of the church. Beginning with the notion that Lemmon's church is more complex than an expression of the Southern cultural region defined by Williams, the thesis presents the opportunity to examine the church in the context of the unique cultural region of the city of Dallas. Church archival material supports the argument that the congregation deliberately sought to identify with both the forms and ideology of the late nineteenth-century Gothic Revival in the northeastern United States, a result of the influence of Dallas's cultural region.

The purpose of this study is to examine I. M. Pei and his partner Harry Cobb's downtown Dallas architecture within the context of their overall stylistic development. This paper explores the structure of five buildings within the framework of the city, and addresses their possible influence on the city's future architectural direction. The thesis is divided into six chapters. Chapter I introduces and states the problem as it discusses the fabric of Dallas architecture. Chapter II outlines a brief biography of I. M. Pei, looking to those who have influenced him, while discussing the key public buildings of his stylistic development. Chapter III is devoted to Pei's first structure in the city, the Dallas Municipal Administration Center. Chapter IV explores the concepts of his planned Morton H. Meyerson Symphony Center. Chapter V outlines a brief biography and focuses on the work of Harry N. Cobb: One Dallas Centre, ARCO Tower, and the Allied Bank Tower. Chapter VI summarizes the contributions of Pei and Cobb by placing them within the context of twentieth century architecture, and pointing out their specific achievements with their additions to the fabric of Dallas architecture.

Sanguinet was one of the most important early architects in Texas. His partnership with Arthur and Howard Messer was responsible for the development of Arlington Heights, a prominent resort community. With partner Carl Staats and later partner Wyatt Hedrick, Marshall Robert Sanguinet designed most of the early towers of the Fort Worth central business district. In addition, the firm also designed residences, churches, educational facilities, courthouses, and club buildings in Fort Worth as well as in Dallas, Houston, San Antonio, and Wichita Falls, where branch offices are located.

This study is a report of the results of an investigation into the extent to which native materials were used in the antebellum buildings of Harrison County, Texas; the way in which they were used; and the aesthetic implications of their use. It was hoped that this research might fill a gap in the art and architectural history of Texas, since nothing has been written on this specific subject except a few articles and unpublished papers dealing with certain houses individually or with log construction in general.

In this limited survey, nineteenth-century cast-iron facades in Texas were recorded and compared to iron-fronted buildings in New York City. It was found that generally, the still existing buildings in Texas cities and towns were similar to those in New York in style but differed to the extent to which the cast-iron elements were used. It appears that nineteenth-century builders in Texas knew of New York trends in cast-iron but had definite regional preferences.

Currently, the public has a strong sense of the need for environment protection and the use of sustainable, or “green,” design in buildings and other civil structures. Since green design elements and technologies are different from traditional design, they probably have impacts on the building environment, such as vibration, lighting, noise, temperature, relative humidity, and overall comfort. Determining these impacts of green design on building environments is the primary objective of this study. The Zero Energy Research (ZOE) laboratory, located at the University of North Texas Discovery Park, is analyzed as a case study. Because the ZOE lab is a building that combines various green design elements and energy efficient technologies, such as solar panels, a geothermal heating system, and wind turbines, it provides an ideal case to study. Through field measurements and a questionnaire survey of regular occupants of the ZOE lab, this thesis analyzed and reported: 1) whether green design elements changed the building’s ability to meet common building environmental standards, 2) whether green design elements assisted in Leadership in Energy and Environmental Design (LEED) scoring, and 3) whether green design elements decreased the subjective comfort level of the occupants.

This thesis is a study of a home beautification project developed by the Art Club of the Travis Elementary School in Mineral Wells, Texas.

In this study sixteen early stone buildings at Fredericksburg, Texas, are described and evaluated as examples of indigenous architecture. Chapter II presents a brief history of the founding of Fredericksburg. Chapter III presents a description of the town site and a discussion of the native materials as used by the pioneer immigrants in the construction of residences and other buildings. Chapter IV is devoted to a detailed description of fourteen buildings as specific examples of the indigenous architecture. Representative photographs of the buildings as they now appear, as well as floor plans, illustrate the text. Two early churches of the indigenous type, accompanied by photographs and floor plans, are discussed in Chapter V. In Chapter VI a summary of the study is given and conclusions are presented.

For three years the writer has worked with children from a section in Mineral Wells, Texas, in which home environments were unnecessarily bad. They offered none of the wholesome stimuli for growth and development that homes should give. The houses were drab and cheerless, and the grounds were neglected, often grown up in weeds or cluttered with trash. Through its members, made up of sixth and seventh grade children of Travis Elementary School and including children from the affected homes, plans and procedures were formulated for improving homes, and the interest and cooperation of the parents were secured in extending the improvements over the area. By this plan the writer hoped that life might be made more satisfying for these people as a result of improved surroundings.