Historic interiors are an integral component to the historic fabric of our communities, yet the protection of interiors is fodder for debate among preservationists as to whether interiors are afforded equal protection as exteriors. This debate arises because interiors present unique challenges, namely, issues of public access, designation of publicly versus privately owned interiors,and infringement on Fifth Amendment rights. This thesis will examine federal, state, and local government policies, organizations, and laws, and discuss their impact on the protection of historic interiors. Five seminal court cases that examine legal precedents for designating interiors will also be addressed. Finally, case studies provide examples of how two communities have used local preservation laws to preserve and protect significant interiors in their cities. This thesis will show that historic interiors are subject to controls that ensure their preservation and designation. / Historic preservation in the United States -- Legal precedents -- Case analyses. / Department of Architecture

This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.

Richmond, Virginia is defined by our connection to the James River. The James River Park system stretches over 550 acres of natural beauty. The park is broken into 14 different sections from the Huguenot Bridge in the west to a half mile beyond the I-95 Bridge in the east. The James River includes water features that appeal to the young and curious to the most experienced river-adventurer. The James River Park System boasts idyllic shorelines, peaceful meadows, and miles of challenging hiking and biking trails that appeal to the community and guests alike. Every year thousands of people come to Richmond for activities and events like the XTerra Races, Dominion RiverRock, the Folk Festival and many more. Amazingly, at this time, there are no convenient downtown or riverfront facilities to allow locals and guests of Richmond to interact with the James River Park system. With use of the Pattern Building at Tredegar Iron Works, this project will combine the ideas of biophilia, and eco-tourism to design a boutique hotel that will cater to outdoor enthusiasts. In addition to guest suites, this boutique hotel will offer an outdoor recreation rental, retail and repair facility that will offer bikes, kayaks, tubes, paddle-boards, climbing equipment and other essentials for outdoor exploration. A small cafe will offer healthy, locally sourced, farm to table snack and drink options. Both indoor and outdoor seating areas and/or lounges will be available for relaxation. The outdoor patio will feature an interactive garden and give guests a place to enjoy scenic views, practice yoga, meditate and relax. In addition this space could be rented to host special events. The term Biophilia was first used by a German-born American psychoanalyst Erich Fromm in The Anatomy of Human Destructiveness (1973), which described the term as “the passionate love of life and of all that is alive”. Later the term was used by American biologist Edward O. Wilson in his work Biophilia (1984), that proposed that humans tendency to focus and affiliate with nature and other life-forms has a genetic basis. Humans biologically gravitate toward the rich and diverse shapes, colors and life that exists in the natural world. As we are drawn to the natural world, we also benefit from it. Nature nurtures us and has a positive effect on our health, well-being and happiness. Research led by Yoshifumi Miyazaki at Chiba University sent 84 subjects to stroll in seven different forests, while the same number of people walked city centers. Overall, those who spent time in the forest, showed a 16% decrease in the stress hormone cortisol, a 2% drop in blood pressure, and a 4% drop in heart rate. Although we spend nearly 90% of our lives indoors, those interior environments often do not reflect the characteristics of nature, trigger a positive emotional response, and are not often designed in a sustainable manner. Too often, our surroundings are designed in a way that deteriorate the environment and separate us from the natural world. The built environment of this project will emphasize the human need for contact with nature that is good for physical, emotional and physiological benefit and satisfaction. While Eco-Tourism is not a new concept the popularity of Eco-tourism increased in the 1980’s when large scale educational efforts by the government touted the benefits of conserving and protecting the environment and planet. Eco-Tourism is a piece of the “Green Movement” (scientific, social and political movement addressing environmental issues) but since there has been an increase in information about how people are negatively impacting the planet. The travel industry has been considered a strong influence and a demand for green hotels, restaurants and transportation is on the rise. Eco-Tourism is defined as “responsible travel to natural areas that conserves the environment, sustains the well-being of the local people, and involves interpretation and education”. Tourism often comes with its footprint on the environment. Tourism and hospitality must be sustainable. How can we still enjoy the natural wonders of the world yet minimize our impact? By exploring the concepts of Eco-tourism this project will reflect a positive environment and educate visitors on how to make their own changes. Guests will be encouraged to interact with the natural wonders of Richmond in a low impact manner, so that it may remain for others to enjoy. Research begins by understanding terms like sustainability, Eco-tourism and biophilic design and continues by researching and experiencing examples of them. By studying cases like Frank Lloyd Wrights project “Falling Water” and Mies van der Rohe’s project “Farnworth House,” understanding of a unique connection to the organic environment can occur. By studying Swedish architects Martin Videgard and Bolle Thams project “Tree Hotel” ways to incorporate travel with nature will be discovered. Finally by studying Agence Ter’s project the “Pudong Left Bank” in Shanghai inspiration on how to encourage a city to interact with its natural environment will occur. The goal of this project is to understand the relationship between human and nature and how it can be controlled and how we can benefit from an Interior Environment.

How might interior environments play a role in promoting life long well being? According to Passarino, et al., genetic variety only accounts for about 25% of the variation of human longevity. A combination of diet, environment and exercise comprise the greatest factors. The amount of time Americans spend indoors presents a challenge to increasing physical activity: the Environmental Protection Agency (EPA) states that Americans spend 93% of their lives indoors (Roberts, 2016). Therefore, if physical activity is crucial to living longer, the design of interior environments could logically be a critical factor in promoting natural movement and sustaining lifelong well-being. National Geographic fellow Dan Buettner identified five “Blue Zones” throughout the world where people naturally live longer: Ikaria, Greece; Okinawa, Japan; Oligastra Region, Sardinia; Loma Linda, California; and Nicoya Peninsula, Costa Rica. These regions have unusually high concentrations of centenarians who had grown old without noticeable signs of heart disease, obesity, cancer or diabetes (Buettner, 2015). Buettner identified nine common principles that universally characterize well-being in the Blue Zones. The first, and most crucial to design in the built environment, is to “move naturally.” Healthy centenarians, Buettner says, “live in environments that constantly nudge them into moving” (Buettner, 2015). This research will seek to translate Blue Zone principles aimed at promoting continued well-being through natural movement that can inform principles for the creation of interior environments. RESEARCH METHODOLOGIES Further analysis of Blue Zones principles will address specific conditions and behaviors that encourage natural movement. A literature review and case studies will be presented that show a correlation between natural movement within the built environment and measurable increases in healthy outcomes. The example projects include La Maison de Verre, Paris, France; L’Unité d’Habitation à Marseille, France; and Tea House, Bethesda, Maryland. Interior design that encourages regular natural movement occurs primarily in the design of a building’s major circulation systems and its program (Center for Active Design, 2010). Corridors, elevators and lobbies that connect other spaces in the program encourage walking. Elements like stairs, bicycle storage and furniture that produces micro-movement promote activity when they are visible, safe and attractive. Programmed spaces that encourage physical activity like dance/movement studios and those that promote healthy diets also lead to increases in healthy behaviors, which ultimately lead to increased longevity. Using these guides, a building in Richmond, Virginia will be redesigned as a micro-Blue Zone that could be used as a model for promoting increased life long well being. This two-level adaptive reuse, mixed use commercial project will address vertical transitions, social spaces and outdoor relationships that encourage residents and visitors to move throughout the day.

In my thesis work I choose to define textile as a way of constructing, before seeing it as a material. I have explored the possibilities of building with the tension that is formed between the threads in weaving and knitting. By mixing the two techniques in the same fabric, I can benefit from their different qualities as the material produced creates the shape of the space.   As a textile designer studying spatial design, I have carried out this investigation to raise the importance and impact of textile in interior, and as an interior. By challenging the hierarchy of building construction materials and giving textile more value, I can acquire more sensual, tactile and maybe even unexpected qualities in the interiors I create.

This project explores the juxtaposition of classical and contemporary architectural forms as they coexist within Richmond City’s urban fabric. It is an assessment and understanding of how the built environment can reinforce transitions between old and new in ways that both integrate architectural differences and embrace historical identity. Richmond, and a large part of Virginia in general, has been shaped by the historical events of its existence. The sights of the city reveal a clash of the old and new. It is a city where newer developments and traditional elements have been trying to co-mingle. The design incorporates a contemporary architectural language that joins with the building’s historical surroundings without breaking the balance of the composition.

Drawing from ongoing revitalization initiatives in Richmond, Virginia, this adaptive reuse project creates a structured dialogue between public and private expression to create a more immersive gallery experience for viewer and practitioner. The gallery experience is twofold; traditional object-based display and nontraditional process-based display. Preservation of the historic fabric of the existing Handcraft building at 1501 Roseneath is integrated with the transformative potential of introducing voyeuristic opportunities in creating a community arts center. Notions of voyeurism will center around ideas of visual connection and physical separation. This project questions if tactics of voyeurism, which inherently create physical barriers, can facilitate interaction and encourage co-creation in a creative setting. Structured moments of intimacy and control are accomplished through presented and found views of movement, object, and process. These moments of intimacy and control create a conceptual reciprocity which guides the design of this project. Ultimately, the redesign creates a dialogue between the process of making and the final product/object by facilitating interaction between the viewer and practitioner through different points of the creative process. The project moves away from exploiting the site’s formal, historical, and contextual components and encourages the audience member to engage with the maker through a corporeal, experiential encounter. The environment becomes a catalyst for cross-disciplinary creativity on an individual, group, and community level. The development of spaces that engage the creative mind and foster collaborative growth will serve the Richmond arts community and can act as an icon for successful urban transformation.

Introduction | The building for this thesis project is one with a long history. Originally built as the First Baptist Church, it was converted over the years to fulfill a role completely different from its original intent; a student center! During this process and after a series of renovations, the Broad Street main grand entrance lost its place and the arrival into the building became much less choreographed. Essentially, over time one could say that this building had been flipped around, it has lost its original intent, grandeur and purpose. Hypothesis | I challenge the idea of flipping the building back to its original state to return its historical glory, significance and grand emotional experience. I hypothesize that a reorganization of spatial sequence (i.e. bringing the outside in and extending the inside out) can help flip this building around. Materials and Methods | I introduce an internal three sided staircase that mimics what exits exteriorly in an attempt to bring the outside in. This staircase becomes the center’s focal point as it rises to the third mezzanine level. The staircase is based on the “Golden Section” idea of proportional geometries which has been found inherent in the building. I extend the inside out by turning the “monumental” exterior grand steps into a place people can utilize. Results | Placing such a large structure by the building’s entry points had great impact on drawing people into the building and up the steps into the main lounge consequently re-choreographing the arrival experience. The design solution breathes new life into this building while still respecting and acknowledging all of its crucial and historic elements. Just as the altar was a main focal point when this building served as a church, the new transparent elevator shaft that is tucked in between the spiraling stairs becomes the center’s new focal point. The contemporary facade that was inserted asymmetrically on the west side of the building emphasizes the symmetry and contrasts the existing structure causing tension between the old and new but proving that they can coexist.

Reason for writing. The space of confusion and possibility where the practices of art and design collide seems to be in a constant amoebic state. This place of shared influence and growth seems to pervade not only the intersection of these two disciplines, but within interior design, the intersection of people and space. How can the boundaries between an interior space and it’s inhabitants be as richly embedded with tension and opportunity as the edges where art and design meet? Like art and design, how can a space and it’s visitors interact to affect one another? Problem + Methodology: This project explores these questions in a context mindful of their origin: The Virginia Museum of Fine Arts. The design proposal of inserting a fashion wing into the VMFA’s existing context evolves from research and process work across art, design, and architecture, from the scale of the building to the scale of a seat. Results + Implications: The challenge of creating public space that can be just as responsive to and influential over it’s inhabitants as private space seems resolved through the navigation of movement and moment. Finding value in an unscripted discovery of a space and the ownership of private experiences, offers a way to feel engaged with and connected to a space that doesn’t rely on object ownership or territorial comfort. This solution does rely, however, on inhabitants capable of being present and responsive to their environment, allowing other visitor’s interactions with the space and their individual path through the exhibits to affect their perceptions of and connectedness with the design.

Making up one quarter of the current United States population, some 80 million Generation Y-ers are changing the ways in which we live, work and play. Dubbed “Millennials” this population is comprised of those individuals born between 1980 and 2000. This generation is the first to have been raised with cell phones, the internet, and reality television. The “Selfie” or “Me Generation” is snubbed for narcissism and an instant gratification attitude. Yet on the whole Millennials have progressive values, are well educated, are conscious of their health and are optimistic about the future despite coming of age during the Great Recession. Millennials are also the most diverse, most informed and most well connected generation the United States has ever seen.They are supporters of the locavore movement and conscious of the environment. Their habits and tastes - constant Facebook status updates and Instagram posts - are much more communal in nature than narcissistic, the highest value of which is not “self-promotion, but it’s opposite, empathy -- an open-minded and hearted connection to others.” In this way Millennials are using social media and technology to build community in a new way - virtually. Before there was Facebook or Instagram, people found community in “third places” - social places independent of work or home in which to fraternize and build relationships. In his book, The Great Good Place, Ray Oldenburg examines the difference between the sociological functions of first place (the home), second place (the workplace) and third place. Third place can be described as the social place, a place independent of the home and workplace in which to fraternize and build community. Oldenburg argued that these places are in general decline, and more recent articles have noted that those brick and mortar third places are now being “hollowed out” by “cyber nomads”, those people in coffee shops and bookstores listening to headphones, typing away on a computer or talking on the phone. James Katz of Rutgers argues that these “physically inhabited by psychologically evacuated” places leave people feeling “more isolated than they would if the cafe were empty.” How do designers create spaces that support Millennials empathetic desire connection, that encourage interaction and that overcome the obstacle of becoming "psychologically evacuated" places?