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

Durability, Utility and Beauty are the three Vitruvian principles of architecture. They are also my belief of what constitutes architecture. In order to pursue the essence of architecture, I hope to find at least in part an answer through the study of classical buildings that adhere to those principles. Classical architecture is often organized through basic geometric elements such as square, circle and triangle. These geometric elements have endured the history of architecture and suggest being applicable to any contemporary building. Since ancient time, humans had intimate relationships with animals, including horses. Even today, where the utility of the horse is no longer important, people still love to engage with horses on many levels. From this perspective, a horse is in a way a symbol that syncretize ancient and modern times. A horse stable offers itself as a great example to study the relationship between man and horse. As a site, Blacksburg, a small town with a significant animal research branch of the university has rich pasture resources. The proposed architecture seeks to recognize the long-standing horse culture in classical terms, a very usable and beautiful ensemble, based on strong principal geometric elements. / Master of Architecture

"Drawing as a Way of Knowing: Architectural Survey in the Late Renaissance" explores a group of sixteenth- and seventeenth-century architectural manuscripts that are each part of a network of copies. Made by French and Italian draftsmen studying ancient and modern Roman monuments from the 1560s to the 1640s, the drawings contain information about the buildings--which include the Pantheon and Saint Peter's--that is not known from any other sources. Yet the information that the drawings preserve is only part of their value: the drawings also show how that information was recorded, transferred, and valued by other draftsmen. With a special focus on chronological complications, "Drawing as a Way of Knowing" examines the singularities that are produced when draftsmen try to repeat pictorial statements exactly. These chronological complications include the representation of elements that no longer exist, that never existed, or that collapse several distinct chronological moments into a single image. All these complications can be found in the network of drawings now found in the Goldschmidt and Scholz Scrapbooks in the Metropolitan Museum of Art, Ms XII. D. 74 in the Biblioteca Nazionale di Napoli, the Cronstedt Collection of the Stockholm Nationalmuseum, the album known as Architectura Civile in the Paper Museum of Cassiano dal Pozzo at Windsor Castle, codex Destailleur D at the Berlin Kunstbibliothek, the Album François Derand at the Louvre, and Ms B 2. 3 at the Worcester College Library at Oxford. This dissertation examines this web of manuscripts to consider how drawing was used as a way of knowing after the invention of print.

The aim of this study is to establish the existence of a distinct regional architecture on the Cycladic islands during the Classical and Hellenistic periods. It presents a record of materials and of certain constructional techniques, proportions and forms of Cycladic monumental architecture, from which it is possible to establish and explain the differences and similarities of Cycladic practice with other Greek architectural traditions. It is based on a close examination of all the known major buildings and many fortifications on the Cyclades and Thasos, a colony of Pares with certain similar architectural traits. The first section of the thesis (Chapters 2-4) treats the principal constructional techniques, with separate detailed examinations of the various materials employed, the types and nature of foundation, euthynteria and wall construction. The materials available to the builders played a major part in the nature of these parts, all of which display a pronounced conservatism in technique despite strong influences from outside the archipelago. The second section (Chapters 5-6) looks at a number of significant proportions within Doric colonnades and entablatures, principally outlining the Cycladic tendency for slender columns and a less well established tendency for relatively low architraves throughout the Archaic, Classical and Hellenistic periods; accompanying tables and graphs detail and illustrate the proportions discussed. The final section (Chapters 7-8) studies two particular architectural forms - the tops of triglyphs and Ionic capitals; in the former, particular regional preferences of form are noted, while in the latter there are both conservative and innovative tendencies, as well as strong outside influences. There emerges from this study a local architecture that is conservative in many aspects of its architecture while being receptive to outside influences and even having a certain notable originality of its own. Appendix 1 lists many of the typical traits of essentially Archaic Cycladic architecture, some of which continue into the Classical period. Appendix 2 includes graphs detailing the effect of lower column diameter and column height upon column slenderness. A Catalogue of the Classical and Hellenistic Cycladic and Thasian monuments, together with their bibliography, is included at the end of Volume I.

Although the work of Edwin Lutyens has received much careful scholarly study since the 1980s his important projects in Spain remain very little known. Presently, only a brief article by Gavin Stamp and Margaret Richardson is devoted solely to Lutyens' work, and they are merely touched on in his published biographies, especially that by Christopher Hussey. Unfortunately, Lutyens was unable to complete his Spanish commissions, mostly because of the deterioration of Spain’s economy and social order in the 1930s, and this has played a major role in keeping these projects in the dark. Furthermore, the devastation caused by the Civil War obliterated most of the evidence once held in Spanish archives. Some of the projects of Edwin Lutyens in Spain are remarkable and unique for their use of what may loosely be termed a ‘Spanish style’. The identification of this characteristic can be understood as demonstrating a growing knowledge of and appreciation for Spanish architectural heritage on the part of British architects and architectural historians by the end of the nineteenth century. At the same time, the fact that the design of important private residences in Spain were commissioned to an English architect shows the growing anglophilia of Spanish economic and political elites under Alfonso XIII's reign. During these years, the economic and political ties between Britain and Spain became closer than ever before, which also had an impact on the architecture of the time. Ultimately, this dissertation is predicated on the assumption that it is important to study further, and understand better, the Spanish projects of Edwin Lutyens in order to gain fuller and further insight into his methods as a designer. The first three of them (the first project of the Palace of El Guadalperal, the Palace of La Ventosilla and the Palace for the Count de la Cimera) cast light on Lutyens´s work during the Great War years, a relatively obscure period of his career which was, however, extraordinarily fruitful. The second project for the Palace of El Guadalperal is even larger than his previous Spanish projects, approaching the grandeur and magnificence of the Viceroy’s House in Delhi. In this respect there may be seen to be a correspondence between these otherwise discrete and apparently un-related projects, running from Britain, through Spain, all the way to India. Moreover, given their scale, along with the design input required to make them successful and coherent buildings, they must be appreciated as pivotal moments in the design development, if not built oeuvre, of Edwin Lutyens as an architect. Finally, the Reconstruction of Liria Palace, is not only his last commission in Spain but it can also be considered as the last building he designed. Only when these projects are brought to the fore and analysed properly can a full understanding of Lutyens as an architect be reached.

The thesis is aimed at the subject of classicism in a broader sense of this term and is based on the classicism period architecture in the Czech Republic. The introductory chapter intends to briefly and independently define and clarify the terms classical, classicism and neoclassicism, deal with the shaping of the classical canon in Europe and outline the evolution of classical features in the history of the Czech architecture in the European context. In separate chapters the thesis systematically follows the matters of classicism in the first half of the 19th century, in the periods of pure and late historicism and early and paramount modernism. Special attention has been paid to the matters of classicism in the Czech thoughts on art in the interwar period and during the German occupation. Having analysed the classicism-style tendencies in the socialist realism architecture the thesis identifies basic classicism-style aspirations in the 2nd half of the 20th century and in the beginning of the 21st century. The final chapter is dedicated to the identification of the main overall specifics of classicism in the Czech architecture based on a list of examples.