Abstract The research aims to investigate the spatiality of the sequential Japanese tea (roji) and stroll garden (kaiyûshiki), whose appearance reached its peak during the Feudal period in Japan (1573–1868), in relation to the perceiver's locomotion. The desire of that era to go beyond sensual beauty and to make a philosophical statement, led to the development of a garden where the moving participant perceives a series of successive fragmentary views. Such a concept of space, with the principle of successive observation, is a distinct feature of Japan, and can also be observed in urban design, architecture, painting and literature. This research is about the necessity of incorporating movement in the design of gardens, as a prerequisite for fully perceiving space. It thereby shows how through analysing those two distinct types of sequential spaces, the Japanese tea and stroll gardens, one arrives at patterns of spatial configurations that encourage active participation on the subject's part. Emphasising the environment-person transaction, the research aims to study the structure and features of the Japanese tea and stroll gardens as sequential spaces, with reference to the affordance possibilities they provide for an individual, as developed by the late James J. Gibson. Although not confined solely to it, the analysis used at the core of this research, is based on Gibson's ecological approach and on Harry Heft's contribution to ecological psychology. The empirical part of the research uses a variety of gardens as examples, as well as the case studies of a model teagarden and the garden of Shisendô (situated in the city of Kyoto). The research aims to acquire accounts of knowledge of techniques and spatial formations that do not ignore or minimise the central importance of the subject's movement, but on the contrary, fortify and take advantage of it. This body of knowledge can be an initial approach to designing sequential spaces in domains that lack the specific socio-cultural practices by showing some opportunities and potential affordances that every perceiver can pick up using his own background and cultural context.

<p>Tema disertacije, Kineski vrt &ndash; arhitektura i kultura vrta u kineeskoj<br />tradiciji i njena naučna pripadnost određeni su i uslovljeni<br />konceptualnom razlikom između evropskog i kineskog vrta. Ova razlika<br />ukratko glasi: evropski vrt se pretežno sadi, dok se kineski vrt<br />konsekventno gradi. Glavni predmet umetnosti građenja kineskog vrta<br />je jedinstvena artikulacija prostora koja podrazumeva izražajna<br />sredstva arhitekture ali i učešće gotovo svih elemenata koji su se<br />ikada razvili u kineskoj kulturi. Istraživanje obuhvata analizu<br />istorijskog razvoja, filozofsko &ndash; teorijske osnove estetike vrta,<br />morfologiju i tipologiju arhitektonskog prostora kao i analizu većeg<br />broja sačuvanih vrtova Ming i Ćing perioda.</p> / <p>This thesis aims to provide deeper insight into the art of landscaping as the<br />set of ideas and practices that governs Chinese traditional architecture. It is<br />based on multidisciplinary research on historical, cultural, philosophical and<br />artistic aspects of garden design. Examination is directed toward broadening<br />of domain knowledge as to create the base for different approach to what is<br />generally perceived as modern architecture. Theoretically and empirically it<br />suggests the importance of the articulation of site over the building design.<br />Each chapter explores different facts of the relationship between site and<br />architectural object.</p>

The problem discusses the influence that tea trade between England and China may have had on eighteenth-century English garden architecture and aesthetics. Five chapters include an historical overview of non-Oriental influences on the garden, the relationship between Britain and China, the evolution of the tea trade, the motifs and decoration of tea wares, and a summary with conclusions. Conclusions reached were that tea was responsible for importation of porcelains in Britain, architectural structures in the garden were inspired by scenes on tea wares, predilection for Chinese motifs in the minds of the English may have resulted from their drinking tea, and it seems probable that affected garden aesthetics but there is no conclusive evidence.

This thesis explores the extent to which elite women of the eighteenth century commissioned architectural works and the extent to which the type and scale of their projects was dictated by their marital status. Traditionally, architectural historians have advocated that eighteenth-century architecture was purely the pursuit of men. Women, of course, were not absent during this period, but their involvement with architecture has been largely obscured and largely overlooked. This doctoral research has redressed this oversight through the scrutinising of known sources and the unearthing of new archival material. This thesis begins with an exploration of the legal and financial statuses of elite women, as encapsulated by the eighteenth-century marriage settlement. This encompasses brides’ portions or dowries, wives’ annuities or ‘pin-money’, widows’ dower or jointure, and provisions made for daughters and younger children. Following this, the thesis is divided into three main sections which each look at the ways in which women, depending upon their marital status, could engage in architecture. The first of these sections discusses unmarried women, where the patronage of the following patroness is examined: Anne Robinson; Lady Isabella Finch; Lady Elizabeth Hastings; Sophia Baddeley; George Anne Bellamy and Teresa Cornelys. The second section explores the patronage of married women, namely Jemima Yorke, Marchioness Grey; Amabel Hume-Campbell, Lady Polwarth; Mary Robinson, Baroness Grantham; Sarah Churchill, Duchess of Marlborough; Frances Boscawen; Elizabeth Herbert, Countess of Pembroke and Montgomery; Henrietta Knight, Baroness Luxborough and Lady Sarah Bunbury. The third and final section discusses the architectural patronage of widowed women, including Susanna Montgomery, Countess of Eglinton; Georgianna Spencer, Countess Spencer; Elizabeth Somerset, Duchess of Beaufort; Elizabeth Home, Countess of Home; Elizabeth Montagu; Mary Hervey, Lady Hervey; Henrietta Fermor, Countess of Pomfret; the Hon. Charlotte Digby; the Hon. Charlotte Boyle Walsingham; the Hon. Agneta Yorke and Albinia Brodrick, Viscountess Midleton. Collectively, all three sections advocate that elite women were at the heart of the architectural patronage system and exerted more influence and agency over architecture than has previously been recognised by architectural historians.