In the Gilded Age and Progressive Era, evolving scientific ideas about the body and its vulnerabilities, about women’s education, and about appropriate gendered behavior each contributed to the emergence of physical culture and healthy living environments for women and girls. Decrying the physical state of American mothers, health reformers and educators promoted new habits and routines meant to establish bodily health, and ushered physical culture programs into educational institutions and private homes. Bound together by their unwavering faith in the ability of the material world to produce healthy bodies, reformers evoked the language of efficiency, of maternal fitness, and of a fallible body that could be bolstered through material objects and spaces. This dissertation provides at once a cultural history of the female body, a study of architecture and material culture, and a critical examination of the ways in which race has been historically constructed. While scholars have begun to take up the diverse threads of this story, an architectural and material analysis of spaces and objects for exercise has thus far been overlooked. Drawing on prescriptive literature, building manuals, advertisements, and images, this dissertation argues that in the decades between 1865 and 1930, scientific ideas about racial reproduction tangibly effected the design of women’s spaces. Chapter One locates the roots of women’s physical culture in the aftermath of the Civil War and elucidates its relationship to the dress reform movement. Chapter Two considers architectural space for women’s exercise from 1881 to 1912. These three decades mark a crucial moment as the typology of the American gymnasium solidified, and women’s physical culture slowly moved out-of-doors. Chapter Three examines the middle-class house through the lens of health, and the ways in which reformers and medical experts projected scientific beliefs about gendered and racialized fitness onto the home, its contents, and the moments of performance required to maintain household and personal health. It concludes with a discussion of performative health in each of these three instances, and the specialized knowledge required of women to maintain their own health and the health of their households.

No

Chu Hon San, Calvin. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2010-2011, design report." / Includes bibliographical references (p. 99). / Statement --- p.2 / Context --- p.3 / Chapter 1.0 --- Background --- p.4 / Chapter 1.1 --- Ageing Population in Hong Kong / Chapter 1.1.1 --- Proportion of order person in each district / Chapter 1.1.2 --- Living arrangement of Elderly --- p.5 / Chapter 1.1.3 --- Housing Type of Elderly Living / Chapter 2.0 --- ARGUMENT --- p.6 / Chapter 2.1 --- Definition of the social space / Chapter 2.2 --- Tower-podium type housing development in HK --- p.8 / Chapter 2.3 --- Ate there enough social spaces in private housing especially for elderly? --- p.9 / Chapter 3.0 --- CASE STUDY --- p.10 / Chapter 3.1 --- Case Study: List of Comparison / Chapter 3.2 --- Case Study 1: Jolly Place L&O Architects --- p.12 / Chapter 3.2.1 --- Form / Chapter 3.2.2 --- Circulation --- p.13 / Chapter 3.2.3 --- Transparency of living unit --- p.14 / Chapter 3.2.4 --- Programmatic study --- p.15 / Chapter 3.2.5 --- Elderly need --- p.16 / Chapter 3.3 --- Case Study 2: Spittelhof Housing Peter Zumthor --- p.18 / Chapter 3.3.1 --- Form / Chapter 3.3.2 --- Circulation --- p.20 / Chapter 3.3.3 --- Transparency --- p.21 / Chapter 3.3.4 --- Elderly need --- p.22 / Chapter 3.4 --- Case Study 2: Residential Home for the Elderly Peter Zumthor --- p.24 / Chapter 3.4.1 --- Form / Chapter 3.4.2 --- Circulation --- p.25 / Chapter 3.4.3 --- Transparency --- p.26 / Chapter 3.4.4 --- Materiality --- p.28 / Chapter 3.5 --- Case Study 3: Stadtcarre ASIRarchitekten --- p.29 / Chapter 3.5.1 --- Form / Chapter 3.5.2 --- Transparency --- p.31 / Chapter 3.5.3 --- Circulation --- p.32 / Chapter 3.5.4 --- Elderly need --- p.33 / Chapter 4.0 --- SITE SELECTION --- p.34 / Chapter 4.1 --- Site Sslection: Diamond Hill in Wong Tai Sin / Chapter 4.1.1 --- Characteristics of the site / Chapter 4.1.2 --- Site study: History of Tai Horn Village --- p.37 / Chapter 4.1.3 --- Site study: Zoning --- p.38 / Chapter 4.1.4 --- Site study: Circulation --- p.39 / Chapter 4.2 --- Study on sewage treatment facilities --- p.40 / Chapter 5.0 --- DESIGN PROCESS --- p.42 / Chapter 5.1 --- Define the developer and the user / Chapter 5.2 --- Concept of'Infinity' --- p.43 / Chapter 5.3 --- Urban concept: Integrate with the surrounding --- p.44 / Chapter 5.4 --- Socially integrated housing - Defining the family --- p.47 / Chapter 5.4.1 --- Elderly only and Elderly in a family / Chapter 5.4.2 --- Non-elderly / Chapter 5.5 --- An appropriate proportion in a socially integrated housing - Living with elderly --- p.52 / Chapter 5.6 --- Socially integrated housing - Step down concept --- p.53 / Chapter 5.7 --- Socially integrated housing - Social space in the housing --- p.54 / Chapter 5.8 --- Socially integrated housing - Orientation --- p.67 / Chapter 5.9 --- Socially integrated housing - Natural Ventilation --- p.70 / Chapter 5.10 --- Plans & Section --- p.71 / Chapter 5.11 --- Model Photos --- p.90 / Reference --- p.99

In this thesis I explore how physical and socio-cultural factors interact to shape domestic architecture by analysing the form, layout, and construction of houses from Sicily dating from the Neolithic to the end of the Hellenistic period. This time range encompasses two primary domestic building traditions: single-spaced round houses that dominate from the Neolithic through to the end of the Late Bronze Age, and large, multiple-spaced rectilinear structures that characterise the Archaic period onwards. As such the domestic architecture of Sicily provides the opportunity to study not only two distinct ways of building, but also the dynamics within them and the changes that occurred as one evolved into the other during the Early Iron Age: a period of transition that is often studied in isolation or only in relation to the earlier or later context, rather than as an integral part of this island’s history. A critical analysis of building techniques and materials in the context of available resources and their material properties alongside local environmental conditions reveals correlations between the choice of materials, construction techniques, and topographical and climatic conditions, as well as the form taken by the building as a whole. Comparative analyses were also carried out of house size, form, and degree of subdivision within and between the building traditions. The picture presented shows an increase in total size and subdivision (despite the relatively stable size range of individual spaces within the houses) from the Neolithic to the Hellenistic period and implies a developing desire for options to separate people and activities. Finally, close diagrammatic studies of the layout and spatial organisation of the houses bring to light the structuring of these domestic spaces: the use of architectural features and artefacts to provide a sense of division in single-spaced buildings; greater layers of access and control of movement incorporated into the larger, rectilinear houses with their multiple spaces; and the arrangement of these to allow for the lighting of interior rooms. Combined with the results above, these reveal patterns in the development of building traditions on Sicily and how they relate to, encompass, and entangle the dynamic socio-cultural and physical parameters that make up the wider landscapes they are a part of: notions of identity and its formation and transmission, social structure and stratification, topography and climate, and material structural properties. Altogether this allows for the development of a deeper and more holistic understanding of the relationship between building and living, of how physical and socio-cultural parameters integrate and influence the construction of houses, and how these all come together in the building traditions that are both shaped by us and shape us.

Notre thèse retrace l’évolution de l’architecture du jardin et de son décor entre le Haut-Empire et l’Antiquité tardive, dans les maisons de Gaule romaine, en particulier dans les demeures des élites. Elle permet désormais de faciliter les comparaisons entre nord et sud de la Gaule. L’élaboration d’un corpus a permis de répertorier et analyser les formes du jardin. Les plans, colorisés afin de visualiser le jardin au milieu des espaces d’apparat et de circulation et faciliter les comparaisons, permettent de constater dans un premier temps que certains éléments du jardin italique sont repris. Cependant, l’élaboration d’une typologie des formes du jardin indique que cette architecture importée est rapidement adaptée. La Gaule romaine innove par de nouvelles formes architecturales et des créations. Puis, la crise du IIIe siècle marque une importante rupture dans la diffusion de cette forme d’habitat résidentiel. Il reste difficile de dire si le jardin est un espace que l’on abandonne à cause des valeurs païennes qu’il véhicule, dans une spiritualité chrétienne nouvelle. Dans un second temps, l’analyse de l’apparition chronologique des bassins permet d’appréhender l’évolution des formes et des modes au sein d’une province, ainsi que leurs modalités de diffusion. L’élaboration d’une typo-chronologie révèle les formes les plus utilisées et la naissance de modes locales. Nous avons enfin cherché à restituer l’univers et la sensibilité du jardin dans les maisons urbaines de Gaule romaine à travers les choix iconographiques des propriétaires. Malgré une documentation parfois sporadique, des ensembles permettent désormais de reconstituer la scénographie des jardins gallo-romains. / Our thesis relates the evolution of the architecture of the garden and its decoration between Early Empire and Late Antiquity, in Roman Gaul houses, in particular, in high social class residences. It enables easier comparisons in between northern and southern Gaul. The elaboration of a corpus allowed us to list and analyze the forms of the garden. At first, the maps (colorized to visualize the garden among the pleasure and circulation spaces, and to facilitate the comparisons) enable us to notice that certain elements of the italic garden are reused. However, the elaboration of a typology indicates that this imported architecture is quickly adapted. Roman Gaul is breaking new ground with new architectural forms and creations. The 3rd century crisis shows an important break in the spreading of that form of residential habitat. It is still difficult to say if the garden is a space that is being abandoned because of its pagan values, in a new Christian spirituality. Secondly, studying the chronological apparition of basins let us understand the evolution of the forms and modes in each province and how they spread. Thanks to our typo-chronology, we noticed that some forms are more used with local modes. We tried to give a faithful idea of the world and sensibility of the garden in Gallo-Roman urban residences through the iconographical choices of its owners. Despite the sporadic documentation, remnants, while incomplete, enable us to recreate the staging of those Gallo-Roman gardens.

A number of studies of Bali emerging in the last three decades have come to read Balinese culture as a cultural construct that has been invented and reinvented as a means to legitimate power relations on the island (e.g. Schulte Nordholt 1986, 1996, 1999; Vickers 1990; Picard 1996, 1999). Constructions of ‘Balinese culture’ have been explored and identified as central projects within the island’s internal contestation of dominance as well as within the establishment of colonial and postcolonial orders. Despite this scholarly exploration of the discursive nature of ‘authentic Balinese culture’, public obsession with a traditional Balinese architecture, conceived as an apolitical, exotic, and pre-existing architectural other, prevails. Architecture has been and continues to be an arena within which the notion of authentic Bali is convincingly authorised by its diverse proponents: the Dutch colonial government, the orientalist scholars, the travellers, the architects, and the local elites.This thesis explores the role of architectural discourses within the construction of identity in 20th century Bali. It investigates the way writings on Bali’s architecture and contemporary formations of domestic architecture on the island are implicated by the political imagining of an ‘authentic Balinese’ cultural identity. Invoking the architecture of Balinisation, this thesis argues that writings and domestic architectural realms are productive fields in which and by which identity and power relations are continuously formulated by those who observe Bali and by the observed ‘Balinese’ people.

This thesis examines the career of Arthur Baldwinson (1908-1969), a Sydney-based modernist architect. It argues that Baldwinson was a central figure in the development of a modernist domestic architecture in Australia from the late 1930s until the late 1950s through his practice as well as his activist role in the development of the Australian design reform and arts organisations: the Modern Architecture Research Group (MARS); the Designers for Industry Association of Australia (DIAA); and the Contemporary Art Society (CAS). It is further argued that Baldwinson designed and built two of Sydney's first authentically modernist houses before the 1939-45 War and that his subsequent development and refinement of a regional methodology for modernism in Sydney's domestic architecture is at the centre of the later regionalist styles of the late 1950s and early 1960s currently described as the

Dans l'histoire de la peinture murale en Italie, la riche documentation campanienne, antérieure à l'éruption du Vésuve, a longtemps retenu l'attention des chercheurs, au détriment de la période comprise entre la fin du Ier et la fin du IIIe s. Nous avons choisi de nous intéresser à cette dernière, en l'abordant par le prisme du décor domestique. L'objectif principal était de replacer les évolutions stylistiques dans le contexte des maisons. Pour ce faire, nous avons développé une base de données qui a permis de mettre en relation le décor peint, les caractéristiques spatiales d'une pièce et les autres éléments de décor associés. A ainsi été mise en lumière la façon dont la peinture structure l'espace domestique tout au long de la période. Celle-ci montre une cohérence certaine d'un point de vue chronologique, sans bouleversement profond - au moins jusqu'au milieu du IIIe s., date après laquelle la documentation se fait rare. Les différences sont d'une autre nature. Les deux zones géographiques sur lesquelles nous avons centré nos recherches, l'Italie centrale et l'Italie septentrionale, connaissent en effet des évolutions divergentes, non seulement d'un point de vue stylistique, mais également dans la façon dont le décor structure l'habitat. La riche documentation d'Ostie, examinée dans le contexte plus large de l'Italie centrale, a également permis de mettre en lumière les écarts qui existent entre les différents milieux socio-économiques. Ainsi, en replaçant les peintures dans leur contexte, nous espérons leur avoir redonné toutes leurs dimensions, celles d'objets vivants, qui habitaient le quotidien de toute une société. / For a long time, studies on Roman wall paintings in Italy have been focusing their attention on the glorious Vesuvian documents, consequently overlooking evidence from the late 1st to the late 3rd c. AD. This thesis aims at exploring this neglected period and at understanding stylistic evolutions in relation to domestic architecture and decoration. In order to reach this objective, a relational database has been designed, bringing together data on wall painting, other elements of decoration, and architectural and spatial features of the room. This has enables us to bring to light how wall painting structured domestic space throughout the period. From the late 1st up to the mid 3rd c. (after which evidence become scarce), there are strong elements of continuity. But the zone under study can be divided in two main regions, Central Italy and Northern Italy, that experienced divergent evolutions, not only stylistically, but also in the way decoration structured domestic space. Furthermore, a particular focus on the rich evidence from Ostia, considered in the broader context of Central Italy, emphasised how the role assigned to decoration was also dependent on the socioeconomic bakcground of the occupant. By putting wall paintings back in its context, this study thus contributes to a better understanding of its evolution, function and status, at the heart of Roman everyday life.

Traiter de la construction dans le monde romain, et plus particulièrement dans le cas d’une cité ou d’une colonie, constitue un exercice souvent ardu tant les angles d’approches sont nombreux. Pourtant, Lugdunum constitue une exception dans ce domaine, tant par la richesse de sa documentation archéologique et épigraphique, que par son statut de colonie romaine précocement dévolue en Gaule. Ce travail doctoral s’est donné pour objectif de traiter de l’architecture domestique à Lugdunum, à travers le prisme de la construction, en s’appuyant sur une approche globale, tant par les matériaux étudiés que par les méthodologies mises en place. En suivant les différentes étapes de la construction, l’objectif est de définir les différents approvisionnements des chantiers, l’évolution typologique et chronologique des matériaux et des techniques mises en œuvre, ou encore la diversité des formes de l’habitat, afin de dresser une image la plus précise possible de « l’art de bâtir » à Lyon, et des artisans qui y participent. À ces différentes questions, l’analyse des matériaux, des techniques de construction et des plans, ainsi que d’un corpus d’inscription, apporte des réponses très concrètes et ouvre de nouvelles perspectives de recherche.Dans le cadre d’un Master mené entre 2007 et 2009, l’étude des toitures en tuiles de terre cuite, en Gaule du Centre-est, et plus particulièrement à Lyon, a révélé une évolution typologique des tegulae et imbrices qui se prête à l’établissement d’une typo-chronologie détaillée, permettant de les dater au demi-siècle prés. En m’appuyant sur la méthodologie mise en place au cours de ce master, une analyse exhaustive des fragments de brique, de quart de colonne, de tomette d’opus spicatum ou encore de tubuli a été menée afin, de caractériser une éventuelle évolution de leur morphologie, ou de leur utilisation dans la mise en œuvre des bâtiments. Une attention particulière a également été portée à la nature des moellons (granite, gneiss, calcaire...), aux pierres d’importation (marbres et calcaire), ainsi qu’aux mortiers mis en œuvre dans l’architecture des maisons lyonnaises. Ces études, couplées à une analyse géomorphologique du territoire colonial, permettent de livrer une image complète de l’approvisionnement en matériaux de construction de Lugdunum. Le second axe de recherche concerne les techniques de construction employées pour édifier les domus de la colonie de Lyon. Les maçonneries (fondation et élévation) ont donc été analysées selon des critères techniques et typologiques, en parallèle de l’étude des matériaux (moellons, mortier, TCA). L’architecture en terre crue nous offre un autre angle d’approche. Cette technique de construction est omniprésente à Lyon pour l’architecture domestique et reste cependant peu étudiée. Nous aborderons donc les modalités de sa mise en œuvre, ainsi que sur les différentes formes d’architecture dans laquelle elle intervient (adobe, pans de bois, torchis…), au travers des vestiges découverts en place, ou des restes carbonisés qui nous sont parvenus. Enfin, nous aborderons la question du plan des maisons lyonnaises en reprenant la classification proposée par E. Delaval en 1995. L’apport de l’archéologie préventive et programmée à Lyon a en effet permis de renouveler le corpus des bâtiments à vocation domestique et/ou artisanale, mettant en lumière de nouveaux types d’édifice. Nous élargirons cette réflexion grâce aux comparaisons possibles avec les autres cités et colonies de Gaule et du monde romain. Pour conclure, ce travail doctoral focalisé sur l’évolution des techniques et des matériaux de construction, mais également des plans des édifices domestiques de Lyon, révèle la richesse d’une analyse menée à partir d’une grande variété de matériaux, souvent peu considérés par une partie de la communauté scientifique – à savoir les briques, les tuiles, les moellons, le mortier.... / Deal with the topic of construction in the Roman world, mostly for a civitates or a colonia, become a difficult exercise because of the many perspectives for this subject. However, Lugdunum is an exception in this field, both its rich archeological or epigraphic documentations and its status of early roman colony in Gaul. This doctoral research has set itself the objective of dealing of domestic architecture in Lugdunum. This work is built on a global approach, based on the studies of construction techniques and building materials as well as new methodology. Following the step of a construction site, the purpose of this work is to characterize the different chains of supply, the typological and chronological evolution of building materials or the diversity of the domestic architecture. The analysis of building materials, construction techniques, typology of the domus, as well as group of funeral inscriptions bring very concrete answers and opens new research opportunities.As part of a Master conducted between 2007 and 2009, studying the terracotta tiled roofs in Gaul, particularly in Lyon, allowed the establishment of a typology of tegulae and imbrices, permitting to date this type of artifact to nearly half a century. Based on the methodology developed in this master, a comprehensive analysis of fragments of brick, column quarter, bricks of opus spicatum or tubuli was conducted in order to characterize any changes in their morphology, or for use in the construction of buildings. Particular attention was also paid to the nature of rubble stone (granite, gneiss, limestone…), as well as the mortar used in the roman houses of Lyon. These studies, coupled with geomorphologic analysis of the colonial territory, allow delivering a complete picture of the supply of Lugdunum in building materials.The second research axis concerns the construction techniques used to build the domus of the colony. Masonry (foundation and elevation) were therefore analyzed using technical and typological criteria, in parallel to the study of materials (rubble stone, mortar, terracotta materials). The mud brick architecture and earth structures offering another angle of approach. This construction technique is ubiquitous in Lyon for domestic architecture and remains poorly studied. We will discuss the modalities of its implementation, as well as the various forms of architecture in which it operates (adobe, wood-framed, mud ...), through the remains found in place, or the carbonized artifacts discovered in the colony.Finally, we will discuss the issue of Roman houses plan in Lyon, incorporating the classification proposed by E. Delaval in 1995. The contribution of preventive archeology these past years in Lyon has allowed to renew the corpus of domestic buildings, highlighting new types of building. We will extend this thinking through the possible comparisons with other cities and colonies of Gaul and in the Roman world.In conclusion, this doctoral work focused on the evolution of techniques and building materials, but also plans of domestic buildings in Lyon, reveals the richness of an analysis from a variety of materials, often not considered by a part of the scientific community. At the scale of a colony, these various lines of research provide a better understanding for the concepts of manufacturing and material supply, but also to improve our knowledge of construction techniques. These different aspects, treated in a comprehensive manner and diachronic way, open to historical and sociological reflection concerning the organization of workshops (role of corporations, degree of independence) or evolving status of craftsmen of the Lugdunum colony working in construction site. These conclusions are based on an original corpus of funerary inscriptions of Lyon craftsmen.

Charles Masson (1894-1971) est un des principaux architectes de l’entre-deux-guerres à Nancy. Cette période de l’histoire de l’architecture à Nancy et en Lorraine est encore en cours d’étude. Adoptant la forme classique d’une monographie d’architecte, cette thèse y apporte sa contribution mais en tentant d’élargir l’étude par la connaissance des commanditaires. Elle s’attache d’abord à établir la biographie de cet architecte né en Moselle annexée et dont la formation en Allemagne lui donne un profil singulier. Le corpus des édifices bâtis par Masson au nombre de 57 a été défini, étudié et réuni dans un catalogue qui constitue le troisième volume de la thèse. Géographiquement, ils se trouvent principalement à Nancy et, pour presque la moitié d’entre eux, dans le fameux Parc de Saurupt, haut lieu de l’architecture Art nouveau et où Masson s’est fortement investi, mais du point de vue de leur statut, ils ne comptent que des villas ou des maisons et des immeubles, mais aucun bâtiment public. Masson présente la particularité rare de n’avoir travaillé à Nancy que pour l’architecture domestique. Les 41 commanditaires identifiés sont donc tous des particuliers, à l’origine et au profil social variés, appartenant généralement à la bourgeoisie fortunée. La synthèse se penche non seulement sur la vie et les constructions de Masson, mais tente aussi de saisir les relations entre l’architecte et ses clients, question qui jusqu’ici, pour ce qui concerne l’architecture de l’entre-deux-guerres, n’a pas été traitée sérieusement ni systématiquement. C’est un des intérêts de cette thèse de tenter d’aborder de front la question de la clientèle de l’architecte Masson. Pour cela, l’apport des archives s’avère essentiel mais, si la très grande majorité des plans dressés par Masson a été conservée, aucune correspondance n’a été retrouvée. On y a suppléé en étudiant finement le profil social de chaque commanditaire et en examinant les plans et l’architecture de chaque édifice pour en identifier les partis pris et deviner les souhaits des clients : leur rêve de villa ou leur désir de profiter des bonnes affaires dans l’immobilier. Cette étude révèle donc un architecte nancéien méconnu malgré l’importance de son œuvre et se veut une contribution à la connaissance de l’architecture domestique et de la clientèle des architectes de l’entre-deux-guerres / Charles Masson (1894-1971) was one of the leading architects of the interwar period in Nancy. People are still studying the effects of this historical and architectural period in Nancy and Lorraine. Adopting the classic form of an architectural monograph, this thesis both contributes to these studies and tries to broaden the study by mentioning the patrons. First of all, it focuses on the life of this architect, born in Moselle when Moselle was a part of Germany and whose German upbringing gives his work a unique character. Masson's oeuvre consists of 57 buildings, which have all been defined, studied, and collected together in a catalog, which constitutes the third volume of this thesis. Geographically, they are primarily located in Nancy and almost half of them are located in the famous Parc de Saurupt, the Mecca of Art Nouveau architecture and where Masson invested a lot of his time and effort, but when it comes to the types of buildings, he only designed villas, houses, and apartments. There are no public buildings in his work. Masson is unique in having only worked on residential architecture in Nancy. The 41 identified patrons are therefore all individuals, who all come from a variety of backgrounds and social classes, generally belonging to the wealthy bourgeoisie. This thesis not only looks at the life and work of Masson, but also attempts to understand the relationship between the architect and his clients, an issue which up to now, as far as the architecture of the interwar period is concerned, has not been treated seriously or systematically. It is one of the primary goals of this thesis to try to address the nature of Masson's clientele head-on. For this, the archives have proven essential, but no correspondence has yet been found despite the vast majority of the plans drawn up by Masson having been preserved. We supplemented this by carefully studying the social profile of each patron and by examining the plans and architecture of each building. We were able to identify their biases and estimate the client’s wishes, whether they dreamed of owning a luxury villa or were looking for a bargain property. This study has revealed an unknown architect from Nancy, who despite the importance of his work, has helped contribute to the knowledge of the domestic architecture and the clientele of the architects of the interwar period