Domestic Architecture at Letchworth (8JE337) and Other Woodland Period Ceremonial Centers in the Gulf Coastal Plain

Architectural remains, especially domestic architecture, are essential for understanding the ways in which households organized themselves socially and economically in the past. Unfortunately, these remains are infrequently identified from Woodland period (1000 BC–AD 1000) archaeological sites along the Gulf Coast, an area home to well-known ceramic and mortuary traditions during this time. As a result, our knowledge of Woodland period households in the region is scant. In this article I present a newly discovered house from Letchworth (8JE337), a large Woodland period ceremonial center in northwest Florida, and compare it to the few published examples of houses from this region. I show that domestic architecture along the Gulf Coast during the Woodland period is diverse, suggesting differences in the organization of households and the historical development of ceremonial centers.

Acculturating Architectural Sublimity: Experimenting with themes of Japanese experientiality within New Zealand housing

<p>It has been argued that domestic architecture within New Zealand is increasingly dominated by international styles since the rise of modernism. According to Bill Wilson (the Group’s leader), there is a lack of understanding of foreign design principle within New Zealand modernist architecture, denying any psychological or spiritual connection within the home. This has caused a shift from what was considered a vernacular architecture to a hybrid of adopted building styles, imitated largely for their aesthetic value rather than any theoretical grounding. In New Zealand, a lack of national identity or sense of belonging within a home is said to be problematic. This thesis aims to help redefine a national vernacular and the experience of domestic space through the implementation of experientiality. The design reconsiders domestic spaces through design-research methodologies derived from two early modernist architectural groups: the Bunriha (co-founded in 1920) with the locality of Auckland’s the Group (established in 1946). These were chosen as both groups provided manifestos for reviving each respective nation’s architecture (Japan and New Zealand) post war. The Group’s work is based purely on functionalism and economically viable solutions. It will provide the basis of architectural thought for the exploration of multiple design strategies within this thesis. While the Bunriha’s ideas are utilised for their experiential approach to modernist architecture. As The Groups’ Japanese equivalent, the Bunriha provides a successful precedent for mediating between new technology, experientiality and a vernacular style. The Bunriha’s design methodologies are extracted and appropriated to the Group’s vision for New Zealand modernism through multiple case study houses. The aim here is to introduce a new dimension of domestic architecture within specific sites chosen within Auckland. This intends to strengthen the relationships between inhabitant, home and landscape through several explorations. The research led design results from a series of architectural strategies that respond to six design theories of shadow, reflection, permeability, materiality, interior/exterior relationship and construction. The first three are derived from the intangible considerations of Japan’s Bunriha, while the remaining respond to the tangible considerations of the Group. This is intended to transcend the preconceptions of a contemporary home through the reconsideration of intangible qualities and their value. It is proposed that this strategy will result in a heightened sense of self through the foreign concept of experientialism. The split between the different members of the Group meant a discontinuation of their early explorations of intangible qualities of space within a vernacular architecture. A continuation of their work will be intended through this thesis work.</p>

Acculturating Architectural Sublimity: Experimenting with themes of Japanese experientiality within New Zealand housing

<p>It has been argued that domestic architecture within New Zealand is increasingly dominated by international styles since the rise of modernism. According to Bill Wilson (the Group’s leader), there is a lack of understanding of foreign design principle within New Zealand modernist architecture, denying any psychological or spiritual connection within the home. This has caused a shift from what was considered a vernacular architecture to a hybrid of adopted building styles, imitated largely for their aesthetic value rather than any theoretical grounding. In New Zealand, a lack of national identity or sense of belonging within a home is said to be problematic. This thesis aims to help redefine a national vernacular and the experience of domestic space through the implementation of experientiality. The design reconsiders domestic spaces through design-research methodologies derived from two early modernist architectural groups: the Bunriha (co-founded in 1920) with the locality of Auckland’s the Group (established in 1946). These were chosen as both groups provided manifestos for reviving each respective nation’s architecture (Japan and New Zealand) post war. The Group’s work is based purely on functionalism and economically viable solutions. It will provide the basis of architectural thought for the exploration of multiple design strategies within this thesis. While the Bunriha’s ideas are utilised for their experiential approach to modernist architecture. As The Groups’ Japanese equivalent, the Bunriha provides a successful precedent for mediating between new technology, experientiality and a vernacular style. The Bunriha’s design methodologies are extracted and appropriated to the Group’s vision for New Zealand modernism through multiple case study houses. The aim here is to introduce a new dimension of domestic architecture within specific sites chosen within Auckland. This intends to strengthen the relationships between inhabitant, home and landscape through several explorations. The research led design results from a series of architectural strategies that respond to six design theories of shadow, reflection, permeability, materiality, interior/exterior relationship and construction. The first three are derived from the intangible considerations of Japan’s Bunriha, while the remaining respond to the tangible considerations of the Group. This is intended to transcend the preconceptions of a contemporary home through the reconsideration of intangible qualities and their value. It is proposed that this strategy will result in a heightened sense of self through the foreign concept of experientialism. The split between the different members of the Group meant a discontinuation of their early explorations of intangible qualities of space within a vernacular architecture. A continuation of their work will be intended through this thesis work.</p>

Forms of Building, Forms of Living: Viollet-Le-Duc’s Entretiens sur l’architecture and Zola’s Pot-Bouille

This article examines the historical and theoretical connections between architect Eugène Viollet-Le-Duc (1815-1879) and Émile Zola (1840-1902). By analyzing the ways in which Viollet-Le-Duc’s theory on domestic architecture in his Entretiens sur l’architecture (1863-1872) resonates in Zola’s Pot-Bouille (1882), this study illustrates how Zola’s text depicts the correlation between architectural form and ways of living. In light of the work of Viollet-Le-Duc, the particular characteristics of domestic architecture in Pot-Bouille are imagined to mould the personalities of the inhabitants, thereby shaping their domestic values. First, the ways in which Viollet-Le-Duc’s theory overlaps with naturalism are introduced. Then Zola’s own interest in architecture and his knowledge of Viollet-Le-Duc are documented. Finally, the article argues that, in Pot-Bouille, domestic architecture has an influence on the characters’ domestic lives and that a study of Entretiens provides a better cultural understanding of Pot-Bouille and the ways in which architecture was imagined to impact on people’s personalities.

Chapter One: Ancient Eleon in Boeotia: An Overview of the Greek–Canadian Excavations

The first phase of Greek–Canadian excavations at the site of ancient Eleon in eastern Boeotia was conducted from 2011 to 2015. Fieldwork on the elevated plateau located between Thebes and the Euboean Gulf provided new evidence for occupation of Bronze Age and historical periods. Tombs of the early Mycenaean period have been found within and around a funerary structure known as the Blue Stone Structure. By the later Mycenaean period, settlement deposits dating to the Late Helladic IIIA and IIIB periods include evidence for participation in regional economic and crafting networks. Substantial Postpalatial settlement remains allow a better understanding of domestic architecture through several phases of reconstruction in the Late Helladic IIIC period, as well as industrial and ceremonial practices. Excavations have yet to locate evidence for domestic activity on the acropolis during the Iron Age, but the site is renewed in the Archaic period by the construction of the a major polygonal wall and associated entryway on the east side. Deposits here of fineware ceramics and figurines suggest that a cult focused on female divinity was active throughout the fifth century bc.

Correlation between military and domestic architecture: A tribune's house in Aquincum and its place in Roman architecture

The House of the Tribunus Laticlavius, a large building in the legionary fortress of Aquincum, has only been partially excavated, and this was in the 1970s. This short paper makes an attempt to understand its function and find its place in Roman architecture through a reconstruction of its floor plan and comparison with other prominent residential buildings of the period which share similar features. It appears very likely that the house is based on a loose adaptation of a Hellenistic model, tailored to the needs of high-ranking officers of the Roman army.

Facilitating Policy: Redefining Terraced Housing in Malaysia

<p>The multi-ethnic tension among the three main ethnics in Malaysia has a great impact on tolerance and political unity. The Bumiputera Policy gives privileges to the Malay ethnicity, which further strains this issue, dividing the nation. Recognising this, the government introduced the 1Malaysia Policy as a possible solution to mitigate this issue to promote equality and attaining unity in diversity. This ultimate purpose is to integrate Malaysians to cooperate in a mutually respectful manner, towards the development of Malaysia. The inevitable consequences of short sighted government policy, development and westernisation in Malaysia have negatively affected the cultural uniqueness of the three main ethnic communities. In domestic architecture, terraced houses have been a direct translation of western terraced housing. The influences from the West have diverted Malaysia’s sense of Asian culture. The objective of this study is to support the aims of this current 1Malaysia Policy, by finding a solution to terraced housing, through the design of the 1Malaysia Home. This thesis looks at an adaptable home for multi-cultural families to live and practise their unique cultures in a multi-ethnic community. The implementation of this design, is through research on case studies of the respective traditional houses of Malaysia’s three main ethnic groups. The main design consideration of this flexible home is through a negotiated spatial organisation, in regards to the aims of the theories that informed the traditional houses. This study further explores the cluster design of terraced housing in a multi-ethnic neighbourhood community. The traditional programmes of shop house and other multi-cultural activities in Malaysia are reinstated for a common sense of belonging in the neighbourhood, which ultimately preserves Malaysia’s unique Asian culture and supports its international branding as ‘Malaysia Truly Asia’.</p>

Facilitating Policy: Redefining Terraced Housing in Malaysia

<p>The multi-ethnic tension among the three main ethnics in Malaysia has a great impact on tolerance and political unity. The Bumiputera Policy gives privileges to the Malay ethnicity, which further strains this issue, dividing the nation. Recognising this, the government introduced the 1Malaysia Policy as a possible solution to mitigate this issue to promote equality and attaining unity in diversity. This ultimate purpose is to integrate Malaysians to cooperate in a mutually respectful manner, towards the development of Malaysia. The inevitable consequences of short sighted government policy, development and westernisation in Malaysia have negatively affected the cultural uniqueness of the three main ethnic communities. In domestic architecture, terraced houses have been a direct translation of western terraced housing. The influences from the West have diverted Malaysia’s sense of Asian culture. The objective of this study is to support the aims of this current 1Malaysia Policy, by finding a solution to terraced housing, through the design of the 1Malaysia Home. This thesis looks at an adaptable home for multi-cultural families to live and practise their unique cultures in a multi-ethnic community. The implementation of this design, is through research on case studies of the respective traditional houses of Malaysia’s three main ethnic groups. The main design consideration of this flexible home is through a negotiated spatial organisation, in regards to the aims of the theories that informed the traditional houses. This study further explores the cluster design of terraced housing in a multi-ethnic neighbourhood community. The traditional programmes of shop house and other multi-cultural activities in Malaysia are reinstated for a common sense of belonging in the neighbourhood, which ultimately preserves Malaysia’s unique Asian culture and supports its international branding as ‘Malaysia Truly Asia’.</p>

The House of Marie Shannon

<p>This thesis creatively explores the architectural implications present in the photographs by New Zealand photographer Marie Shannon. The result of this exploration is a house for Shannon. The focus is seven of Shannon's interior panoramas from 1985-1987 in which architectural space is presented as a domestic stage. In these photograph's furniture and objects are the props and Shannon is an actress. This performance, with Shannon both behind and in front of her camera, creates a double insight into her world; architecture as a stage to domestic life, and a photographers view of domestic architecture. Shannon's view on the world enables a greater understanding to our ordinary, domestic lives. Photography is a revealing process that teaches us to see more richly in terms of detail, shading, texture, light and shadow. Through an engagement with photographs and understanding architectural space through a photographer's eye, the hidden, secret or unnoticed aspects to Shannon's reality will be revealed. This insight into another's reality may in turn enable a deeper understanding of our own. The methodology was a revealing process that involved experimenting with Shannon's panoramic photographs. Models and drawing, through photographic techniques, lead to insights both formally in three dimensions and at surface level in two dimensions. These techniques and insights were applied to the site through the framework of a camera obscura. Shannon's new home is created by looking at her photographs with an architect's 'eye'. Externally the home acts as a closed vessel, a camera obscura. But internally rich and intriguing forms, surfaces, textures and shadings are created. Just as the camera obscura projects an exterior scene onto the interior, so does the home. Shannon will inhabit this projection of the shadows which oppose 30 O'Neill Street, Ponsonby, Auckland; her past home and site of her photographs. Photographers, and in particular Shannon, look at the architectural world with fresh eyes, free from an architectural tradition. Photography and the camera enable an improved power of sight. More is revealed to the camera. Beauty is seen in the ordinary, with detail, tone, texture, light and dark fully revealed. As a suspended moment, a deeper understanding and opportunity is created to observe and appreciate this beauty. Through designing with a photographer's eye greater insight is gained into Shannon's 'reality'. This 'revealing' process acts as a means of teaching us how to see pictorial beauty that is inherent in our ordinary lives. This is the beauty that is often hidden in secret, due to our unseeing eyes. This project converts the photographs beauty back into three dimensional architecture.</p>

The House of Marie Shannon

<p>This thesis creatively explores the architectural implications present in the photographs by New Zealand photographer Marie Shannon. The result of this exploration is a house for Shannon. The focus is seven of Shannon's interior panoramas from 1985-1987 in which architectural space is presented as a domestic stage. In these photograph's furniture and objects are the props and Shannon is an actress. This performance, with Shannon both behind and in front of her camera, creates a double insight into her world; architecture as a stage to domestic life, and a photographers view of domestic architecture. Shannon's view on the world enables a greater understanding to our ordinary, domestic lives. Photography is a revealing process that teaches us to see more richly in terms of detail, shading, texture, light and shadow. Through an engagement with photographs and understanding architectural space through a photographer's eye, the hidden, secret or unnoticed aspects to Shannon's reality will be revealed. This insight into another's reality may in turn enable a deeper understanding of our own. The methodology was a revealing process that involved experimenting with Shannon's panoramic photographs. Models and drawing, through photographic techniques, lead to insights both formally in three dimensions and at surface level in two dimensions. These techniques and insights were applied to the site through the framework of a camera obscura. Shannon's new home is created by looking at her photographs with an architect's 'eye'. Externally the home acts as a closed vessel, a camera obscura. But internally rich and intriguing forms, surfaces, textures and shadings are created. Just as the camera obscura projects an exterior scene onto the interior, so does the home. Shannon will inhabit this projection of the shadows which oppose 30 O'Neill Street, Ponsonby, Auckland; her past home and site of her photographs. Photographers, and in particular Shannon, look at the architectural world with fresh eyes, free from an architectural tradition. Photography and the camera enable an improved power of sight. More is revealed to the camera. Beauty is seen in the ordinary, with detail, tone, texture, light and dark fully revealed. As a suspended moment, a deeper understanding and opportunity is created to observe and appreciate this beauty. Through designing with a photographer's eye greater insight is gained into Shannon's 'reality'. This 'revealing' process acts as a means of teaching us how to see pictorial beauty that is inherent in our ordinary lives. This is the beauty that is often hidden in secret, due to our unseeing eyes. This project converts the photographs beauty back into three dimensional architecture.</p>