The present study hypothesized that (1) perception of the built environment is organized around a prototype, the notion extensively studied by Rosch and others, and, (2) judgement of attractiveness of the built environment is influenced by that structure. 37 subjects rated prototypicality of 51 slides of houses and an independent sample of 33 subjects rated attractiveness of the same slide set. Results showed that people perceived some residential houses as more prototypical than others. Also a significant correlation between prototype rating and attractiveness rating was found. People found the high level prototypicality most attractive, as opposed to the low prototypicality stimuli. It was also found that the residential prototype could be identified by physical features.

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Architecture builds the frames for human lives and thereby frames humans and their well being. Thus, the role of the user and their needs are brought into the picture. The American psychologist Abraham Maslow defined human basic needs as physical needs that must be fulfilled. In my thesis I intend to argue that certain psychic needs should also be added to the basic needs of humans; in particular, the need for aesthetics. I intend to define a specific type of aesthetics, namely the everyday aesthetic that has existed as long as the aesthetic debate. The everyday aesthetic can be defined as a symbolic communication expressed by the user in connection with residential architecture.Scholarship on the need for aesthetics in relation to architecture is lacking. This thesis addresses the subject through a case study documentation and by analyzing traces and patterns of the everyday aesthetic in fifteen residential neighborhoods in different cities across the United States (July 2006). The conclusion that can be drawn from this empirical research indicates the desire for everyday aesthetics functions like a basic need and can be understood as a psychic need appropriate for addition to Maslow's pyramid of human's needs. / Department of Architecture

This dissertation explores the paradox of precision in postwar architecture, when dissonant aesthetic desires and concerns regarding environmental regulation forced a reconciliation of material techniques with theoretical accuracy. The modern ideal of exactitude was frequently at odds with the divergent processes of building research, engineering, manufacturing, and environmental management. Suspended within the strata of newly developed curtain walls was a suddenly critical technical and architectural problem: how to achieve the kind of modulated environment implied by the highly regulated lines and taut materiality of the glazed envelope. Unlike outwardly legible structural systems, typically celebrated as modernism’s heroic force, techniques of enclosure defined modern interior atmospheres. Precision was key to demarcating the interior environment, and architects relied upon the burgeoning building products industry for research on the most advanced techniques in glazing, component assembly, solar control, sealants, air-conditioning systems, and weathering protection. The dissertation is structured as four case studies of enclosure details from buildings accommodating diplomacy, industrial production, risk management, and global financial operations: the United Nations Secretariat building (1952), two factory buildings for the Cummins Engine Company (1966 and 1975), the headquarters of insurance broker Willis, Faber & Dumas (1975), and the headquarters of the Hong Kong and Shanghai Banking Corporation (1986). While the research centers on fragments of much larger building projects, the analysis of particular enclosures unfolds to address the spatial reverberations of progressive societal shifts over the period, from internationalized conceptions of architecture and statecraft following the Second World War, through western corporate growth and global expansion during the 1960s and 1970s, to the emergence of a neoliberal economic regime inflecting the formation of corporate space during the 1970s and 1980s. The details scrutinized here delineate interiors that operate as microcosms mirroring global social and economic circumstances.

Lo Yvonne. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2003-2004, design report." / part i / Chapter 01 --- "THE RELATIONSHIP BETWEEN ART, ARCHITECTURE AND CITY " --- p.5-20 / Chapter 02 --- THE RAILWAY SYSTEM --- p.21-43 / Chapter 03 --- THE RAILWAY SYSTEM + ART --- p.44-89 / Chapter 04 --- RESEARCH CONCLUSIONS --- p.90-95 / part ii / Chapter 05 --- SITE SELECTION --- p.96-106 / Chapter 06 --- THE DESIGN PROCESS --- p.107-146 / Chapter 07 --- THE DESIGN --- p.147-172 / Chapter 08 --- THE BEGINNING AND THE FINAL REVIEW --- p.173-183

Includes bibliographies / 2 v. : ill ; 31 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Architecture, 1987

This dissertation assesses the impact of modem art on the so-called heroic period of modem architecture, dated for the purposes ofthis thesis from 1917 to 1933. The study is premised on two principal arguments: firstly, modem art - Cubism, in particular - was the seminal influence on the codification of a modem architectural vocabulary. Secondly, the increasing preoccupation with utilitarian tenets obscured and ultimately undermined the semantic significance ofmodem architecture that was derived from the visual arts. A general introduction to the tumultuous history of 20th century architecture substantiates these presuppositions and contextualizes the current interest in the aesthetic intent of the pioneering Modernists. For the sake of reviewing the genesis of the modem aesthetic, the classical ideal of beauty is briefly reflected upon. This is followed by a review of the alternating depiction of pictorial depth and its extraordinary symbiotic relationship with the expression ofplastic space. The cubist-induced perception and experience of space is preceded by the catalytic role of the mechanization ofvision on the rejection ofthe classical canons of beauty. An in-depth analysis of Cubism, coupled with its derivatives that spawned architectural equivalents, reinforces the volumetric incarnation of modem art, exemplified by Purism, Constructivism and Neo-Plasticism. This study is concluded with an assessment of the adopted prerruses and a reflection on the longer-term objectives of this study. / Thesis (Ph.D.)-University of Natal, Durban, 1999.

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