School of Architecture

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Now showing 1 - 20 of 2117
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    Ornament in relation to modern architecture
    (1934) Talley, Robert William
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    The architectural development of the motion picture theatre
    (1940) Alexander, Woodrow Wilson
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    A memorial to the colonial South
    (1941) Bland, John Dietrich
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    A study of super markets
    (1947) Maurice, Robert Weldon
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    A community theatre
    (1949) Stousland, Charles Eugene
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    Shopping centers
    (1950) Sites, Donald H
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    Museums: a study of past thought and modern trends
    (1950) Brenneman, John Henry
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    Enlightened architecture; a study of light-weight materials
    (1951) Fine, Raymond Kasef; Morehead, James C., Jr.
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    A community fine arts center
    (1951) Jones, Euine Fay, 1921-2004
    In recent decades the arts have been neglected. We are only now beginning to re-instate them, and give them the importance they deserve, the importance they have had in some of the past great ages of mankind. In the last 100 years especially, we have been so dazzled by the spectacular achievements of science, so absorbed in its complexity and ramifications, that we have slighted the arts, leaving them to the few people who had some special drive or talent. In education they have been treated too often as minor frills. Education has concentrated on the sciences, and on the practical-sounding subjects requiring only verbal literacy. Literacy in music and in the visual arts has been allowed to decay, to our very great loss. Too many of us don't know how to hear, how to see. Indeed, too many of us hardly know how to feel. We have over-emphasized the more abstract, rational processes of the mind, at the expense of the creative imagination, the insights and perceptions which the arts provide. We have developed the head and starved the heart. We see and admire all around us the achievements of science. But we are uneasily aware that science is a neutral force - it can destroy as well as build. Its vast potentialities depend upon the wisdom with which it is used; and wisdom is not the product of a mathematical formula. The arts provide both discipline and spontaneity: the discipline of hand and eye, the discipline of the emotions, the feeling for form and order; and the spontaneity of the imagination, of sensitive perception. No matter what the medium employed, whether it be paint, clay, the notes of music or a dramatic representation, the subject of the arts is man: his relationship to himself, to his fellows, to his times: in short, his meaning and purpose. These are the basic issues which concern all of us; and all of Us, however devoid of special talents, can learn from the great art of the past, and from the struggles of contemporary artists as they try to express their feelings about the human situation. Art employs a universal language. Through it, we can bridge the centuries, the oceans, the continents. The great ages of history are great, not because of the wealth or pomp or power they displayed, but because of the art and literature they behind, a rich heritage shared fy all the civilized world... A work of art speaks to us immediately, whether it was fashioned by an unknown African, a Greek of the time of Pericles, or a contemporary Russian composer. We recognize in it the expression of the universal human spirit, whose aspirations we share. Our own age is one of crisis, when the individual feels himself threatened by uncontrollable social forces. In large areas, the individual has been politically crushed and subordinated to an all-powerful state. He has become only a statistical unit, a pawn in power politics. It is significant that the totalitarian states cannot allow any freedom for the arts. Dictators are rightly afraid of artists, because they insist on dealing, not with a statistical unit, but with a whole man; not with pawns, but with human souls. The arts are a bastion of individual freedom; and a society which encourages the arts, and which exposes itself to the discipline, insight, and spontaneity they provide, is making an affirmative statement about the continuing value of the free human spirit. A flourishing community should become aware of, and contemporary with its art. The bright lights of literature, painting, sculpture, music and dance should be reflected to the community. The creative artist should have the opportunity of making known his work and helping to promote its value. To closely relate all of the arts is not a new proposal, but the ideas and ideals of a community fine arts center are worthy of consideration by the truly progressive community which is planning For its growth. Housing the arts in a carefully planned group of buildings would not only bring the various artists together, where they could not help but learn from one another, but it could become the heart-center and emotional inspiration of a community. The architect for such a project should strive to give the community a group of beautiful, distinctive, and efficient workshops where the arts could live and grow, and from which their civilizing influence would spread into the daily lives of the individual members of the community.
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    Economy in hospital planning
    (1951) Heidbreder, George Allen
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    A school of architecture and allied arts
    (1952) Butt, Arnold Frederick
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    A neighborhood unit
    (1952) Miller, Alvin E
    When World War II broke out in 1941 many housing projects were erected to provide living accommodations for war workers. In most cases these developments were constructed under an accelerated program that could accommodate very little pre-planning. After the war this accelerated program of construction was continued in an effort to offset the housing shortage of the nation as a whole. Here again, we find that too many projects were and are being built with little regard for the future. Under this speed-up program planning was lost in the shuffle, when actually there was more of a need for conscientious forethought than ever before. It is hoped that this treatise will establish the value and need of a planned approach to the design of our neighborhoods.
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    The department store
    (1953) Bartlett, Kenneth Lindsay; Lent, Robert F.
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    Structure in architectural design
    (1953) Danos, Harry John; Morehead, James C., Jr.
    It is the opinion of the author, that architecture today is schismatic in its expression and in the manner in which to view it. The predominating opposing factions are "structure" in the engineers' sense of the term and "esthentics and design" in the artists' and architects' applications of the terms. The thesis maintained herein is, that "structure" and "design" being part of the same thing, architecture, are necessarily related, and as such, their simultaneous consideration should be reflected in the final product. The following dissertation attempts, primarily through the use of examples and the extraction of principles, to illustrate how the consideration of "structure and design" is or can be so reflected as an integrated entity in architecture.
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    City planning theories of Le Corbusier
    (1956) Darden, William Dunlap; De Zurko, Edward R.
    The city planning theories of Le Corbusier have been well attended and his realizations widely published, but his style of presentation coupled with a general lack of systematic study on the part of his audience has resulted in some misunderstanding of his work. This thesis is an attempt to clarify the basic principles of planning as expressed by Le Corbusier and to evaluate them in reference to the conceptual development of planning. He has been an eminent theorist and creative artist for over four decades, and the fact that he is still active makes a definitive study impossible. This thesis in no way purports to be that. The thesis is organized into three parts: an introduction including a biographical sketch of his early years; a clarification of principles as shown in his writings and manifested in his projects; and a commentary on the significance of his ideas in the field of planning. Chronological order is generally followed to help emphasize the evolution of his thought. It is outside the scope of this thesis to analyze historical precedents of Le Corbusier's thinking, and it has already been done in a general way in the histories by. Gideon, Whittick and others, although there is still a great need for the scientific historian to apply his methods to the field of planning.
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    The nursing unit of the general hospital
    (1956) Kerr, Kenneth Edmund Robert; De Zurko, Edward R.
    The subject of this thesis is a presentation of research into the basic factors influencing the design of the nursing unit of the general hospital, and a study of the various components of the nursing unit. Conclusions have been set forth in general terms in the text and as diagramatic proposals and thus are adaptable to any particular design problem. The material is based on library reference, interviews, and field studies in the Hermann Hospital, Methodist Hospital, and St, Luke's Episcopal Hospital, the three general hospitals of the Texas Medical Centre, Houston, Texas. It is to be hoped that this thesis can be used as a methodological guide as to how all sections of the general hospital should be studied in order to understand and solve their special problems. I have tried to avoid the illustration of nursing unit plans throughout the thesis because I feel that widespread publication of hospital plans and stock plans, although having illustrational value, have too often served as a tracing plate to the architect. This eclecticism has hindered progressive work in hospital design by the transplanting of hospital plans from one region to another without regard to orientation, topography, amenities, or actual needs. Stock plates retard hospital architecture,