Call number: LD2668 .T4 1961 P37

Roman round temples are usually discussed either in the context of round buildings like baths and mausolea or on a case-by-case basis. Both approaches fail to reveal what makes round temples a distinct architectural type and moreover, what reasons can account for their use throughout the Roman world. By examining round temples from the Republic, when they are first attested, to the early fourth century AD, this thesis aims to explain why the round form had such a lasting appeal. It follows a chronological approach, discussing the evidence for individual temples and situating them within their historical, social, topographical, and architectural contexts. In a comparative analysis, the building components, materials, techniques, decorative details, and proportions employed by round temples are outlined to reveal influences on their design. The round temples discussed in this study are concentrated in Italy, Greece, and Asia Minor. While the earliest examples in Rome draw on Italic traditions, from the late Republic, round temples begin to reflect Greek trends. Greek tholoi and the Greek decorative repertory, balanced by Roman developments in design, have a lasting influence on round temples. Based on tholoi, scholars have assumed that Roman round temples honored Vesta and divinized heroes. While they were celebrated with a few examples, the majority were dedicated to other gods and goddesses. As a result, religious, social, topographical and aesthetic reasons are proposed to explain the enduring appeal of round temples. Like the motivations behind their foundations, the plans, dimensions, and proportional relationships employed by round temples are noted for their diversity. For their individuality and inventive spirit, round temples make a significant contribution to the Roman architectural repertory.

No description available.

This thesie is the first biography of Samuel Wyatt to be written. It attempts to establish the range and importance of his activity as an architect and engineer by using contemporary documentary sources and the evidence of his surviving buildings. In the past, Samuel Wyatt's reputation has been overshadowed by that of his more prolific and famous younger brother James. A whole chapter, therefore, is devoted to their relationship in order to establish the differences in their architectural interests and style. James and Samuel Wyatt were closely associated at the beginning of their careers up to 1774. After that date they were almost entirely independent of each other. Samuel Wyatt's work has been seen by many as a pale reflection of his brother's, and his achievement has thus been undervalued. Samuel was however an important architect in his own right. He was an interesting neo-classical designer with a refined decorative style. He was also an original planner. Many of his contemporaries thought highly of him. They were struck by two aspects of his architecture, its 'elegant simplicity' and its 'ingeniousness'. These are indeed the two dominant characteristics of his work. The ' ingeniousness' is expressed in his use of new materials and constructional techniques, and in his engineering projects. 'Elegant simplicity' perfectly sums up hie austerely refined decorative style. The way in which his work combines engineering and the most elegant neo-classicism is typical of the period. Wyatt's architecture is the exact equivalent of Wedgwood's pottery and Boulton's metal-ware. Several of Samel Wyatt's buildings have previously been attributed mistakenly to James Wyatt. It was essential, therefore, to establish which works were definitely Samuel's. The resulting list, with the sources for each attribution, is included as an appendix. Although hi a architectural output did not rival that of James Wyatt or Robert Adam, it was nonetheless substantial, surpassing that of such contemporaries as Henry Holland and equalling that of the younger George Dance. In addition to the catalogue, many photographs have been assembled to illustrate the range and quality of his work as fully as possible. Various chapters deal with his more important types of buildings. The longest of these describes his country houses, which formed the largest part of his architectural practice. They differ considerably from those of James Wyatt, being more restrained and consistent in scale and style. The majority are Greco-Roman, of moderate size. There are no fully-fledged gothick mansions by him. He only used the style when he had no option as, for instance, at Panshanger and Penrhyn. His few gothick works are vapid and of no interest. On the other hand, his classical country houses are of high quality and some originality. He evolved two personal types of house. One of these was his own version of the Anglo-Palladian villa with a main facade composed of a central domed bow flanked by overarched tripartite windows. The other, which can be called his 'belvedere house', has a main facade flanked by two domed bows. It was designed to take advantage of the prospect as is particularly obvious at Belmont (Kent) where each bow has a little glazed gazebo on top of the dome. Domed bows are the most distinctive single feature of Wyatt's houses. He was obsessed by then and used them on all possible occasions. The interiors of his houses are distinguished for their refined decoration and their novel plans. His decoration was amongst the most elegant of the period. It was even more attenuated and refined than that of Robert Adam and James Wyatt, although derived from the same sources and executed by the same craftsmen. The most important feature of his houses were their plans. Some of them show a great preoccupation with geometry culminating in that for Sundridge Park (Kent) where rooms of all shapes are packed round a circular staircase hall within a pre-existing shell. His plans also display a trend towards greater freedom and fluidity. This is expressed in asymmetrical office iwings and orangeries and the random siting of bow windows on side elevations. After his country houses the most important of Wyatt's buildings were those he designed for public clients including Trinity House in London and the Commissioner's House in the Royal Dockyard at Portsmouth. Another long chapter is therefore devoted to his public employment and works. The ingenious- ness as well as the elegance of his style is particularly apparent in this field, for it includes several of his engineering works suh as the designs for Ramsgate Harbour and for lighthouses. Lighthouses were one of Wyatt's special interests, and he designed four completely new ones, thoroughily remodelled a fifth, and repaired and altered several others. Wyatt was a reliable and competent civil engineer but not a great original like Smeaton or Rennie, his predecessor and successor at Ramsgate. The description of Wyatt's public career also reinforces the picture of an independence from James Wyatt. The latter was surveyor-general, and it might have been expected that his brother's public employment owed something to his influence. This was not the case. All Samuel Wyatt's important public employments were received before James became surveyor-general. Samuel received only one public carpentry contract directly from James Wyatt. An important and unusual aspect of Samuel Wyatt's architectural activity was the designing of subsidiary estate buildings. The design of late eighteenth century farm-buildings has not been explored hitherto. A whole chapter is devoted therefore to this aspect of Wyatt's career. It may be thought eccentric to deal at length with farm-buildings while ignoring Wyatt's London houses. Although he executed much work in London, most of it was not exceptional by contemporary standards. Wyatt made no novel contribution to town house plans. Most of his work in London consisted of alterations to existing buildings and expensive redecoration. Much of it has been destroyed without record. Mention in the appendix together with photographs of the best surviving decoration at Lichfield House seemed to be adequate treatment. On the other hand, his farm-buildings are of considerable architectural and historic interest. He worked for many of the foremost agricultural improvers of the time, including the celebrated 'Coke of Norfolk'. His farms therefore perfectly reflect the great development in agriculture in late eighteenth century England. Some of them are neo-classical designs of considerable originality. They manifest that preoccupation with geometry that is also found in his country house plans. The rise of the Wyatt family in the late eighteenth century is interesting socially and historically. It is symptomatic of the development of agriculture and industry in the north Midlands following the great improvement in communications with London after 1750, particularly the making of canals and turnpike roads. The emergence of Samuel Wyatt as a fashionable architect is part of the same movement in art and science that produced the Lunar Society, Derby Porcelain, Wedgwood's pottery, Boulton's metal ware, and artists like Paul Sandby of Nottingham, Joseph Wright of Derby or the actor David Garrick of Birmingham. This aspect of Wyatt's career is discussed in the preliminary biographical chapter where it is shown how much the success of the Wyatts was due to the encouragement of local landowners and industrialiste such as Lord Scarsdale of Kedleston, the Bagots of Blithfield and Matthew Boulton. A further chapter is devoted entirely to Wyatt's friendship with Boulton and the works that grew out of it.

Katherine Dreier was an artist, patron, and art collector during the first half of the twentieth century. This thesis explores Dreier's role as a collector of modern art in the Société Anonyme and situates her in context with her fellow collecting contemporaries. First, I will provide a brief history of art collecting in the United States, from the 1870s until the early twentieth century. Next, introduce Dreier as a collector, citing specific biographical events that contributed to her development as a collector. Then I will compare and contrast the collecting practices of Alfred Barr Jr., Hilla Rebay, and John Quinn with that of Dreier to show how each contributed to the cause of modern art. Also included in this discussion will be an exploration of the personal and professional relationships of each collector to Dreier. Finally I will discuss what happened to Dreier's collection after her death and how it has impacted modern art as we know it today. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Art. / Fall Semester, 2005. / June 18, 2005. / 20th-Century America, Modern Art, Art Collecting, Katherine Dreier, John Quinn, Hilla Rebay, Alfred Barr Jr. / Includes bibliographical references. / Karen Bearor, Professor Directing Thesis; Tatiana Flores, Committee Member; Susan Lee, Committee Member.

The following dissertation examines the history of general hospitals in modern, central and western Canada. It follows extensive case studies of the Toronto, Winnipeg, Calgary, and Vancouver general hospitals. The last few decades have seen an expanded interest in hospitals by Canadian medical historians, but the overall literature is thin. Further, many of the extant histories focus on a particular constituent: the medical profession, administrators, or architects. In this dissertation I argue that these general hospitals were contested spaces, and that their organization and layout reflected negotiation between several parties. A further important vector is the role hospitals played in the social life of their communities. As these general hospitals grew, and began treating middle-class patients, they also required large sums of money from the public purse. Administrators had to account for the shape and use of medical space to the general public that helped finance it, as they did to the doctors who worked there. During the period 1880-1945 general hospitals moved from the periphery of medical care to the centre, but not without substantial growing pains. These institutions routinely lacked funds and space, and remained in operation as much through the efforts of medical professionals as by concerned citizens. After the Second World War the Federal Government shifted from a standoffish institution to one ready to release funds and administrative energies towards new ideals of social welfare. Funding increased dramatically for the building of new hospitals, and legislative developments such as Medicare transformed the social and political relationship between hospitals and patients. / Thesis / Doctor of Philosophy (PhD) / This dissertation began with the question: why do our general hospitals look the way that they do? It goes on to examine the ways in which multiple actors, including many non-medical ones such as local citizens, city councils, architects, and patients, interfaced with administrators and doctors to establish and build general hospitals in four Canadian cities. The core argument is that these were contested spaces, which reflected the communities in which they existed.

The establishment of a comprehensive world-view enables a person to orient himself both physically and metaphysically within his context. Since, the time of Plato, the development of these world-views has been increasingly determined by the physical sciences and their accompanying modes of thought. What have some of the major tenents of these world-views been and how have they been developed? How have they influenced the concept of being and how is that concept of being expressed in Architecture? / Master of Architecture

Esta tese aborda o panorama da construção civil em Campinas, São Paulo, entre fins do século XIX e as três primeiras décadas do século XX, trazendo à tona a produção material de construtores não diplomados, então enquadrados pela legislação como arquitetos licenciados. Apesar de sua intensa atividade, da permanência material de suas obras e da existência de referências documentais do conjunto edificado, tais obras chegaram aos dias de hoje sem autoria conhecida, atribuídas, assim, a construtores anônimos. Uma das vias propostas para discussão baseia-se na análise da extensa documentação reunida no Arquivo Municipal de Campinas, visto que os processos tramitados para obtenção de licenças para construir ou reformar, com respectivos desenhos técnicos, revelam-se exemplares não só da grande atuação que os licenciados tiveram no período mas também da qualidade técnica e formal de suas obras. Por outro lado, propõe-se averiguar como tais licenciados se inseriram, à época, no mercado campineiro da construção civil, revelando os primeiros embates pela regulamentação da profissão e as decorrentes tentativas de desqualificação desses profissionais por parte dos diplomados. Por fim, partindo da cidade real, expressa tanto materialmente quanto na documentação arquivística e aproximando a discussão a problemas contemporâneos, a tese propõe-se a mapear o movimento das ideias e a atuação das personagens envolvidas com a questão da história, da arquitetura e do patrimônio cultural. Pretende-se, com isso, verificar a repercussão do esquecimento desses construtores na historiografia, nas pesquisas acadêmicas e práticas preservacionistas do município e averiguar quais foram os processos e/ou motivos que levaram à reiteração desse esquecimento, dessa vez por meio da consolidação de uma visão monumental e alegórica do patrimônio cultural de Campinas. / This dissertation discusses the building scenery in Campinas City, São Paulo State, Brazil, between the late 19th century and the first three decades of the 20th century. It reveals the production of builders who were not graduated, known by that time as licensed architects. Despite their intense activity, the permanence of their works through time and the existence of archives that document their projects, the licensed architects works are nowadays taken as undetermined authorship. Thus, they are assigned to anonymous builders. This study proposes, on the one hand, a discussion based on the analysis of the extensive documentation located at the Municipal Archive of Campinas. This documentation is composed by building and renovating permit applications, with technical drawings, that reveal not only the extensive production of the licensed architects, but also their works technical and formal qualities. On the other hand, the study investigates licensed architects insertion the construction field. It reveals the first battles towards professional regulation and the consequent disqualification of the licensed by the graduated architects. Finally, from the perspective of the built city, expressed both by its material dimension and by archival documentation, and bringing the discussion to contemporary issues, this work aims to map the movement of the ideas and the actions of the involved actors, relating them to the issues of history, architecture and cultural heritage. Thereby, it intends to verify the echoes of those constructors oblivion within historiography, academic researches and municipal preservation policies. It also intends to investigate the processes and/or reasons that led to the reiteration of this oblivion through the consolidation of a monumental and allegoric perspective of Campinas cultural heritage.

對建築方向觀念的關注并將其與日常的營造活動緊密聯繫起來是中國傳統建築的重要特徵之一。建築方向觀念對於建築造型、功能佈局乃至空間使用都有深遠的影響。這些影響甚至轉化成為匠人門所恪守的一系列與之相關的建築營造原則。一般而言，特定地域、特定時期對於建築方向觀念在建築營造中的應用會產生一種較為流行的空間格局，而隨著建築方向觀念的轉變，流行的空間格局則又會隨之而變。對建築方向觀念轉變的忽視往往造成對建築空間模式的誤解，尤其是西漢早期的相關轉變，對建築空間模式的當代認識產生了巨大的障礙。劉敦楨先生甚至對這一時期皇居的空間模式稱之為“開數千年未有之例（劉敦楨《大壯室筆記》）。因此，本研究試圖探尋這種因建築方向觀念轉變而形成的空間模式，并進一步探討建築方向觀念對於傳統建築營造的影響機理和表現。 / 本論文選擇位於帝國都城以及諸侯國都城的皇家建設作為切入點，從地下世界的建構與現實生活世界的建設兩個大方面來探討建築方向觀念，即關注皇家陰宅與陽宅的建築方向觀念。對於地下世界的建構而言，論文又進一步分成皇帝陵寢以及諸侯王陵寢兩章來敘述。本論文整體上通過標示功能空間單元所形成的核心圖式以及其間一條從朝至寢的路徑作為建築方向觀念的信號，來繪製各種空間的建築方向圖式，并由此對三種不同尺度的空間進行比較分析。最后發現，從時間上和地域空間上存在一種普遍的建築方向觀念同步轉變的現象和潮流。 / 論文結論部份，進一步探討了影響西漢早期建築方向觀念轉變的相關因素和動機，并從方法論角度總結了建築方向觀念研究作為建築空間觀念研究的一個重要部份的兩個方面，即作為建築實體存在的意義表述方面以及作為空間認識的人的意圖方面來探討空間觀念研究的兩個方面。論文選擇建築方向觀念作為視角，通過對這一分析和設計工具的揭示，以期助益於中國建築空間的更深入的理解、使用、設計和營造，從而回應了凱文林奇城市意象的五要素表達以及諾伯格舒爾茨建築意義闡述在中國語境下的結合點。 / The emphasis on architectural direction conception in daily construction practices in ancient china was one of the most critical features of Chinese traditional architecture. It had almost penetrated into all aspects of the space constructions such as the constructions of architectural forms, the functional spaces and the using of the spaces. It gradually transformed to architectural principles followed by craftsmen. Generally speaking, the application of such architectural direction conception into constructions led to a prevalent space pattern by emphasizing particular direction and position in different periods and regions and the changing of such architectural direction conception also lead to the transition of the space pattern. Particularly, in the early periods of Western Han dynasty there was a drastic process of change which blurred the understanding of the space patterns. Such space patterns caused by the architectural direction conception transition were even classified as “special cases out of thousands years’ tradition (Liu Dunzhen, 1982, p.146). Therefore, this study attempts to explore the transition of space patterns by examining the transition of the architectural direction conception and further discuss the mechanism how architectural direction conception impacted on spatial constructions. / This thesis selects the royal constructions in the capital city of both empire and kingdoms as breakpoint and divides the examination of the architectural direction conception as two parts: the underground world and the living world. The underground world is further divided into two chapters: the emperor’s mausoleums and the kings’ mausoleums. With the help of the signals of architectural direction conception by marking the functional units and the path from the court to residential area, the comparison of these different scales of the spaces show a phenomenon of synchronized and relatively transition process of architectural direction conception. / In conclusion, this research further discusses the factors and motivations that impacted on the transition of the architectural direction conceptions and the methods adopted in this research as both analytical and design tool to understanding, constructing and using Chinese architectural space. This method responses to the theory of the image of a city through five elements by Kenvin Lynch and the interpretation of the meanings of western architecture by Norberg-Schulz in Chinese context. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Jiang, Zhidan. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 324-345). / Abstracts also in Chinese. / Abstract --- p.i / Acknowledgments --- p.iv / Contents --- p.v / List of illustrations --- p.viii / List of tables --- p.xviii / Chapter Part I: --- Introduction --- p.1 / Chapter Chapter 1 --- The Architectural Direction Conception --- p.1 / Chapter 1.1 --- Problem statement --- p.2 / Chapter 1.2 --- Framework of the study --- p.9 / Chapter 1.2.1 --- Objectives: architectural direction conception --- p.10 / Chapter 1.2.1.1 --- Definition --- p.10 / Chapter 1.2.1.2 --- Signals of the architectural direction concept --- p.11 / Chapter 1.2.1.3 --- Systematic architectural space --- p.12 / Chapter 1.2.2 --- Time-space Framework --- p.12 / Chapter 1.2.2.1 --- Time span --- p.13 / Chapter 1.2.2.2 --- Scope of the geographic areas --- p.15 / Chapter 1.3 --- Literature review --- p.15 / Chapter 1.3.1 --- Chinese architectural direction concept --- p.16 / Chapter 1.3.2 --- Western architectural theory and architectural direction concept --- p.18 / Chapter 1.3.2.1 --- Wind rose and architectural direction concept --- p.19 / Chapter 1.3.2.2 --- Form principles and direction neglecting --- p.19 / Chapter 1.3.2.3 --- Space internal and architectural dimensions --- p.20 / Chapter 1.3.2.4 --- Place and direction concept --- p.21 / Chapter 1.4 --- Methodology --- p.21 / Chapter 1.4.1 --- Sources and their limitations --- p.22 / Chapter 1.4.1.1 --- Literary materials --- p.22 / Chapter 1.4.1.2 --- Archaeological materials --- p.24 / Chapter 1.4.2 --- The study of the architecture under the rules of propriety --- p.25 / Chapter 1.4.3 --- Narrative strategies --- p.26 / Chapter 1.4.3.1 --- yin-yang dualities and asymmetry --- p.27 / Chapter 1.4.3.2 --- Background, analysis and summery --- p.27 / Chapter 1.4.3.3 --- Position, path, and architectural direction concept --- p.27 / Chapter Part II: --- The Transition of Architectural Direction Conception in Burial Constructions --- p.29 / Chapter Chapter 2 --- The Transition of Architectural Direction Conception in Emperors’ Mausoleums --- p.29 / Chapter 2.1 --- Background --- p.30 / Chapter 2.1.1 --- Mausoleums --- p.30 / Chapter 2.1.2 --- Location --- p.37 / Chapter 2.1.2.1 --- Wannianling 萬年陵 on Beiyuan 北原 (northern loss platform) to the north of the city Yueyang 櫟陽 --- p.37 / Chapter 2.1.2.2 --- Wuling 五陵 (five mausoleums) on Xianyang Yuan 咸陽塬 (Xianyang tableland) to the north of the Chang’an walled city 長安城 in early periods --- p.42 / Chapter 2.1.2.3 --- Three mausoleums to the southeast of Chang’an City 長安城 --- p.54 / Chapter 2.2 --- The Architectural direction conception transition analysis --- p.57 / Chapter 2.2.1. --- The Mausoleum County 陵縣 --- p.58 / Chapter 2.2.2. --- Mausoleum Town 陵邑 --- p.67 / Chapter 2.2.3 --- Mausoleum Complex 陵區 --- p.73 / Chapter 2.2.3.1 --- Mounds above the ground and passages underground --- p.78 / Chapter 2.2.3.2 --- Architectural sites --- p.89 / Chapter 2.2.3.3 --- Burial objects Underground --- p.99 / Chapter 2.3 --- Summery --- p.110 / Chapter Chapter 3 --- The Transition of Architectural Direction Conception in Tomb Complexes of Kings with Princely Titles --- p.112 / Chapter 3.1 --- Background --- p.113 / Chapter 3.1.1 --- Manifested forms as physical substance --- p.114 / Chapter 3.1.1.1 --- Location and the distribution map of the excavated tombs --- p.114 / Chapter 3.1.1.2 --- Occupants --- p.146 / Chapter 3.1.1.3 --- Institutions with officials for design, construction and maintain of the tomb complexes --- p.157 / Chapter 3.1.1.4 --- Archaeological typology --- p.163 / Chapter 3.1.2 --- Conceptualized space of tomb complexes --- p.164 / Chapter 3.1.2.1 --- The divisions of archaeological space in the tomb complexes --- p.166 / Chapter 3.1.2.2 --- The architectural functional divisions in the tomb complexes --- p.169 / Chapter 3.2 --- The transition analysis of architectural direction conception --- p.175 / Chapter 3.2.1 --- Prince-titled kings --- p.180 / Chapter 3.2.1.1 --- Divisions and Units --- p.183 / Chapter 3.2.1.2 --- Architectural direction concept --- p.213 / Chapter 3.2.2 --- Zongzheng-titled kings --- p.224 / Chapter 3.2.3 --- Kingdom of Chu 楚 --- p.229 / Chapter 3.3 --- Summery --- p.235 / Chapter Part III: --- The Transition of Architectural Direction Conception in Non-Burial Constructions --- p.237 / Chapter Chapter 4 --- The Transition of Architectural Direction Conception in Capital city and palaces --- p.237 / Chapter 4.1 --- Background --- p.238 / Chapter 4.1.1 --- The brief construction history of Xianyang 咸陽 in Qin dynasty --- p.239 / Chapter 4.1.1.1 --- King Zhaoxiangwang 昭襄王 --- p.240 / Chapter 4.1.1.2 --- Emperor Shi Huangdi --- p.243 / Chapter 4.1.1.3 --- The space structure of thirty palaces in Xianyang 咸陽 in the reign of Emperor Shi Huangdi --- p.248 / Chapter 4.1.2 --- The brief construction history of Chang’an 長安 before Emperor Xuandi --- p.250 / Chapter 4.1.2.1 --- The constructions in the reign of Emperor Gaodi --- p.250 / Chapter 4.1.2.2 --- The constructions in the reign of Emperor Huidi, Emperor Wendi, and Emperor Jingdi --- p.251 / Chapter 4.1.2.3 --- The constructions in the reign of Emperor Wudi and Emperor Zhaodi --- p.251 / Chapter 4.2 --- The transition analysis of architectural direction conception --- p.252 / Chapter 4.2.1 --- The transition of the space structure of the capital city --- p.246 / Chapter 4.2.1.1 --- The space structure of Xianyang 咸陽 --- p.253 / Chapter 4.2.1.2 --- The space structure of Chang’an 長安 --- p.271 / Chapter 4.2.2 --- The transition of the architectural direction concept of the capital city --- p.285 / Chapter 4.2.2.1 --- The transition analysis in the scale of city --- p.286 / Chapter 4.2.2.2 --- The transition analysis in the scale of palace --- p.299 / Chapter 4.2.2.3 --- The transition analysis in the scale of building --- p.305 / Chapter 4.3 --- Summery --- p.308 / Chapter Part IV: --- Conclusion --- p.310 / Chapter Chapter 5 --- The Transition of Architectural Direction Conception --- p.310 / Chapter 5.1 --- The meaning, intention and conception of the space identity --- p.313 / Chapter 5.1.1 --- The change of the architectural technology --- p.314 / Chapter 5.1.1.1 --- Orientation by stars and the calendar reform --- p.314 / Chapter 5.1.1.2 --- Materials and cultural differentiation --- p.316 / Chapter 5.1.2 --- The change of architectural structure form --- p.318 / Chapter 5.1.2.1 --- Storied building 樓閣建築 and high-terrace building 高臺建築 --- p.318 / Chapter 5.1.2.2 --- chao 朝 (court) and qin 寢 (residential ground) --- p.319 / Chapter 5.1.3 --- The change of functional space --- p.319 / Chapter 5.1.3.1 --- Taoist and Confucius thoughts on space order --- p.320 / Chapter 5.1.3.2 --- The military and the civil resources’ distribution --- p.321 / Chapter 5.2 --- Summery: The synchronization and spread of the conception transition and the research in the future --- p.322 / Bibliography --- p.323 / Chapter A --- Abbreviations --- p.323 / Chapter B --- Bibliography --- p.328

Thesis. 1976. M.ArchAS--Massachusetts Institute of Technology. Dept. of Architecture. / Microfiche copy available in Archives and Rotch. / Includes bibliographical references. / by William Q. Hubbard, Jr. / M.ArchAS