The idea of home, the ownership of property, and the impact of the home on the moral character and identity of its inhabitants were important concepts in the late nineteenth century. These views were perpetuated by a wide range of supporters including writers, religious leaders, social reformers, politicians. Architects and developers became aware of these ideas and capitalized on the hopes and dreams of middle-class North America by designing, marketing and building the right kind of houses, but perhaps more importantly, by building them in the right location which most often meant the suburban areas around major cities. Architect and writer Franklin Townsend Lent (1855-1919) is but one of many architects practicing in North America who appreciated the contemporary consumers’ sensibilities, and their attachment to their homes. Not only did Lent understand the importance of the concept of home, he was able to develop a design vocabulary that drew on the contemporary fascination with the American colonial period. In addition, he appreciated the consumer’s desire for a beautiful home in the suburbs, and took advantage of this in his work in New Jersey notably on the development of a suburban neighbourhood called Roosevelt Manor. Lent contributed to the built environment by designing and building many suburban houses, island and seaside cottages, and other structures. He also wrote three books and several pamphlets that provide an understanding of his personal contribution to architecture in suburban American, and to the early development of resort architecture in the Thousand Island region of Upstate New York and Ontario, an area that has received very little scholarly attention. This paper will focus on the domestic architecture of Lent in an attempt to construct an understanding of this unique contribution in the context of late nineteenth century and early twentieth century society by examining his published architectural writings, his advertisements, and some representative houses that he designed and built in the United States and Canada. / Thesis (Master, Art History) -- Queen's University, 2012-10-12 14:16:06.91

The purpose of this research is to define the architectural development of laird’s houses. The term ‘laird’s house’ can imply, simply, ‘the house of a laird’. Architecturally, it is used to describe a category of dwelling first defined in broad terms by John G. Dunbar in 1966 (The Historic Architecture of Scotland). This thesis seeks to detail, firstly, what is meant by a ‘laird’ in the context of one who is responsible for the building of ‘laird’s houses’ and, secondly, the physical attributes of a ‘laird’s house’. A national overview of the development of laird’s houses is then provided, principally based on the findings of a regionally-based approach. In-depth studies on the Scottish Borders, Shetland, and Skye, the Western Isles, and the Small Isles form Part II. The final part is a gazetteer of the laird’s houses in these three areas together with a suggested format for a national gazetteer. The earliest surviving examples of laird’s houses date to the 1570s and ’80s. However, there is evidence to suggest that they may have first appeared around the mid-16th century. Through the compilation and analysis of samples, and the detailed investigation of key examples through fieldwork, documentary and comparative research, two types of laird’s house are discernible and are defined in this thesis as ‘Type I’ and ‘Type II’. Dunbar’s hypotheses that: 1) the laird’s house developed from the tower-house; and 2) a new type of laird’s house was introduced in the 1680s or ’90s, are tested and developed. It is proposed here that the two-storey Type I laird’s house could equally have developed up from single-storey dwellings as down from the tower-house. Also, rather than ‘hybrid’ examples representing a transition from tower-house to laird’s house, a similar Renaissance vocabulary could have been applied to houses of different scales. The Type II seems to have derived both from its direct predecessor and, from the 1670s, was influenced by new classical ideas and, later, the widespread availability of pattern books. The most important conclusion developed from the regional studies is that many buildings which have been identified by others as ‘bastle houses’ are, rather, better described as ‘laird’s houses’. In addition to defining the Type I and Type II laird’s house therefore, this thesis seeks to provide: 1) the first detailed national overview of laird’s houses; 2) a greater understanding of them through regional studies focused on their emergence (1560– 1645), the development of the Type I (1589–1730), and the development of the Type II (1670–1770); and 3) a framework for a Scotland-wide gazetteer of this building type.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

1 Abstract This diploma thesis describes domestic architecture in the western Black Sea area in the time range between two half of the 6th century and the first half of the third century BC. Geographically, the studied settlement is located mainly in today's Bulgaria and on the coast Romania and Ukraine. Locations in the northwestern Black Sea area (e.g. Olbia, Berezan) have (in the Greek colonies in their neighborhood) much better preserved domestic architec- ture than sites in the western Black Sea area. The work is historical and culturally divided into Greek and Thracian settlement. Based on a comparison is made interpretation of the above mentioned settlements. The aim was to characterize individual sites, interpret and compared with each other, or finds analogous parallels especially in the Greek world. The work should refer to the func- tioning of domestic architecture (or the whole domestic urban), as in Greek cities in defined areas of the western and northwestern Black Sea area, and in places that were inhabited by the original (Thracian) population. Interpretative result of the work needed to improve under- standing of cultural relations between Greeks and Thracians which determined urban devel- opment mainly in the inner Thrace. Keywords: domestic architecture, settlement, Thracians, Greeks,...

This thesis explores the state apartment in the Jacobean country house – its status, function, use, planning, decoration and furnishing. It does so against various different backgrounds. Firstly, that of the royal progress, during which Tudor and early Stuart monarchs – in particular, James I – would visit private residences around the country. The nature of such visits are explored, using a large amount of primary evidence and drawing upon a full itinerary of James I's reign, compiled for the first time as part of this thesis. A different context, that of royal palaces, is then considered, particular focus being given to the use and accessibility of state apartments. This subject is further explored within the context of the noble household. The use of state rooms beyond and during royal visits is investigated, again using much primary evidence that has been largely neglected before now. It is shown that state apartments in country houses were the focus for elaborate ceremonial, and that they were used for the reception and accommodation of various honoured guests, not just members of the royal family. In the last two chapters of the thesis, the planning, decoration and furnishing of the country house state apartment is considered. It is argued that arrangements developed significantly between the Henrician and Jacobean periods, the state suite evolving from a comparatively simple (and sometimes haphazard) collection of spaces to a cohesively planned and integrated suite – a true apartment. This argument is based on the detailed analysis of 29 sixteenth-century houses (including Thornbury Castle, Theobalds and Hardwick Hall) and 9 houses of the Jacobean period (including Audley End, Hatfield House and Bramshill). Such a study clearly demonstrates that state apartments were undoubtedly the best rooms in a country house, and were used to reflect and further an owner's status and prestige.

Thomas Sackville was a courtier and a politician during the reigns of Queen Elizabeth I and King James I. Shortly prior to his death in April 1608, Sackville began work on his largest architectural project, the transformation of the archbishops' greathouse at Knole, near Sevenoaks in Kent. The house holds a seminal position in the landscape of country houses of the period, and as Sackville's only surviving house, is an important monument to his ambitions as patron. However, Sackville's significance as a patron has often been underplayed, in the same way that his position as a leading politician and a minister of state has often been seen as only a brief interlude between the hegemony of William and Robert Cecil – Sackville's predecessor and successor as Lord Treasurer respectively. The research of this thesis focuses on Sackville's transformation of his house at Knole, highlighting the fact that during his political apogee, Sackville was a leading patron of his day, who employed the finest artisans, craftsmen and artificers available to him. In the historiography of English architectural history, Knole is often sidelined, and seen as the last moment of Elizabethan building practice before the innovations of the Jacobean period. This not only underplays the complexity of the building's development, but also detracts from what Thomas Sackville aimed to achieve during his campaign of building at Knole between 1605 and 1608. New evidence has afforded a fuller insight into Thomas Sackville's role as patron and also the extent to which his numerous intellectual and cultural interests were brought to bear on the transformation of the house. This evidence suggests that what Sackville achieved at Knole was a remarkable synthesis of what was inherited from the existing fabric and what was newly built, and the product of this synthesis was a house that reflected both Sackville's intellectual and political ambitions.

This thesis analyses new evidence for both the architectural and social histories of the late-medieval Archbishops of Canterburys‘ house at Knole in Sevenoaks, Kent. Built and occupied by a succession of archbishops between 1456 and 1538, Knole is today regarded as one of the most significant medieval houses in Great Britain. Using newly discovered summary building accounts the thesis suggests a new interpretation of the building phases of the house. This has reattributed most of the major phases to Archbishop Bourchier (c.1411 – 1486) and suggests that by the time of his death much of the extant fabric had been completed. Significantly it also suggests, for the first time, that Bourchier may have been responsible for building the ranges surrounding Green Court; a part of the house that has previously been attributed to later owners of Knole. The thesis also suggests that of Bourchier‘s successors at Knole only Archbishop Warham (c.1450 – 1532) made any significant alterations to the building and attributes to him the timber-framed ranges around Pheasant Court and the east front, including the Brown Gallery. In addition to its architecture, the thesis also considers how a house like Knole was used by the archbishops and discusses the evidence for its differing functions. It compares Knole to other late-medieval houses and palaces, most significantly to the nearby house at Otford; another property built by the Archbishops of Canterbury. The thesis concludes that, alongside some ritual and business functions, Knole‘s primary role was as a country retreat away from the demands of Court and politics.

This thesis is a study of the social and cultural significance of Standen from the perspective of the Beale family's lived experience of the property from 1890 to 1914. The Beales commissioned architect Philip Webb to design Standen in 1891, they were sole owners of the property until it was bequeathed to the National Trust in the early 1970s. Although Standen is recognised by architectural historians as a fine and complete example of Art and Crafts architecture of the period and is celebrated for its William Morris wallpapers, little is known about how the family experienced the house. Drawing on Henri Lefebvre's theory which understands a user's space as lived and not represented, this thesis moves away from traditional architectural accounts to focus on the family's lived experience and the role they played in the creation of Standen. It analyses family and estate archives, the property and its collection of objects and photographs to reveal that Standen's decorative interior, as an ‘eclectic' mix of styles blending Arts and Crafts with Aestheticism, was interwoven with social and cultural meaning. Representing original and innovative research into the history of domestic interiors and living space, this thesis aims to encourage new ways of engaging with and critically understanding the late-nineteenth century Arts and Crafts Movement.

This thesis explores the different methods of gender segregation in both the home and public realm in Kuwait. The main forms of segregation exists both physically, in the form of a wall barrier, and mentally, in the way people are raised in Middle Eastern traditional and cultural norms. The goal of this thesis is to analyze the living patterns in terms of age, clan, and gender and to create a new design method for a home where it incorporates old traditional Middle Eastern home architectural styles. The new design method enhances the living environment, increases access to outdoor spaces, and improves living conditions of the servants living and working in the home.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal