MICHAEL GRAVES and the PORTLAND PARADOX Jeffrey
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State of the River 2006-07
State of the River 2006–07 iver Renaissance is the City of Portland’s initiative to reclaim the Willamette River as a community centerpiece, and sustain our connection with the Columbia River. The Willamette is the heart of Portland’s landscape, history, and culture. The Columbia is our economic and ecologic lifeline to the Pacific. River Renaissance Rpromotes and celebrates these waters as living emblems of Portland’s identity. Portland lives its river values every day in ways big and small. Together these actions are reconnecting citizens and businesses with a healthier river. The State of the River Report profiles yearly accomplishments and identifi es future actions needed to assure a clean and healthy river, a prosperous harbor, and vibrant riverfronts. Just a few of the actions detailed in this report are illustrated on this page to give some idea of how deeply Portland believes in caring for—and being cared for by—our rivers. 2006–07 State of the River Report Contents River Renaissance is a Leadership . 2 community-wide initiative to Message from the River Renaissance Directors . 3 reclaim the Willamette River Introduction . 4 as Portland’s centerpiece, and sustain our connection with the How the City that Works Works on the River . 5 Columbia River. The initiative Accomplishments and Key Actions . 7 promotes and celebrates Portland’s Progress Measures . 23 waters as our chief environmental, 2007–2008 Action Agenda . 35 economic and urban asset. Up and Down the Willamette . 55 Partners . 61 Recommended Readings . 63 The 2006–07 State of the River Report summarizes the achievements made by the City of Portland and a network of community partners to revitalize our rivers and identifies next steps needed to continue progress. -
31295018689751.Pdf (8.512Mb)
^M'-^Ki'm-r- --' •« >i^'?fi O^t LQG The Design for a School of Art 'mi The Depot District Lubbock, Texas Robyn Giuiro^a '^^mX'> m KfiB^i?»5!^ppii|M^|(!f|?s Fall 1999 I^^^S-"* • . .M by Robyn Qulroqa A Thesis Architecture Submitted to the Architecture faculty of the College of Architecture of Texas Tech University in Partial Fulfillment for The Degree of MASTERS OF ARCHITECTURE Jarfcesl White, Dean. College of Architecture December 1999 ii 5 2 a037cQ.L'J> /9 <^ r- •] ^r.^^ wt\' ~^Kitlft ii^ A^^m oj ii N (iW/!>«n#»ij%) 11 J IAB »? s; of IINSSI^ ' 04 THEORY 05 THEORY GOALS AND OBJECTIVES oe BACI^GROUND INFORMATION ON COLLAGE 24 THEORY ISSUES 25 THEORY ISSUE NUMBER ONE 26 THEORY ISSUE NUMBER TWO 27 THEORY ISSUE NUMBER THREE 26 THEORY CASE STUDIES 29 THEORY CASE STUDY NUMBER ONE: THE ANTHENEUM BY RICHARD MEIER THEORY CASE STUDY NUMBER TWO: ADDISON CONFERENCE AND THEATRE CENTRE 33 FACILITY TYPE 34 MISSION STATEMENT 35 ACTIVITY ANALYSIS 37 FACILITY PERFORMANCE REQUIREMENTS 40 SPATIAL ANALYSIS 56 SPATIAL SUMMARY 60 FACILITY TYPE CASE STUDIES 61 FACILITY TYPE CASE STUDY NUMBER ONE: CENTRE FOR THE VISUAL ARTS BY FRANK GEHRY 67) FAr:il ITY TYPE CASE STUDY NUMBER TWO: ART SCHOOL BY KUOVO & PARTANEN ARCHITECTS 111 OS i|Nii9D^ DESIGN PROCESS SCHEMATIC REVIEW DESIGN DEVELOPMENT COHCEFTONE CONCEPT TWO COHCEFTTHREE DESIGN RESPONSE RESPONSE TO THEORY ISSUES RESPONSE TO FACILITY TYPE PERFORMANCE REQUIREMENTS RESPONSE TO CONTEXT ISSUES IV -"" IABIH OJ ilNiSSiip 102 DOCUMENTATION 103 Overall Presentation Layout 104 Courtyard Level Plan if: 105 First Floor Plan 106 East and North Elevations 107 West and South Elevations 106 Transverse and Longitudinal Sections 109 Structural Axon 110 Site Plan and Mechanical Flans 111 Interior Perspective 112 Exterior Perspective 113 Mode! Photos 114 Conclusion 115 LIST OF ILLUTRATIONS 125 BIBLIOGRAPHY l£s iHaAgT 'AK I£s fiQABT The theory of artistic collage as an architectural design tool will be used in the design process. -
Major Events in Portland Planning History: Pioneer Courthouse Square
Portland State University PDXScholar Ernie Bonner Collection Oregon Sustainable Community Digital Library 4-11-2004 Major Events in Portland Planning History: Pioneer Courthouse Square Ernest Bonner Follow this and additional works at: https://pdxscholar.library.pdx.edu/oscdl_bonner Part of the Urban Studies Commons, and the Urban Studies and Planning Commons Let us know how access to this document benefits ou.y Recommended Citation Bonner, Ernest, "Major Events in Portland Planning History: Pioneer Courthouse Square" (2004). Ernie Bonner Collection. 302. https://pdxscholar.library.pdx.edu/oscdl_bonner/302 This Report is brought to you for free and open access. It has been accepted for inclusion in Ernie Bonner Collection by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Major Events in Portland Planning History: Pioneer Courthouse Square personal files] 1980-08-22 PDC Organizational Meeting. Items discussed include: - It will take $100-200,000 for fund raising and events; - Architect will do sketch on painting the square; - Architect to provide outline of items to be donated. PDC has budgeted $50,000 for interim use related items, i.e., painting the square; - Mike Cook wants proposal from Architect on fee and product on the various phases of work, street right of way not in main contract. Will Martin notes to file [in Mark Bevins personal files] 1980-08-25 Meeting with Bob Packard (Zimmer Gunsul Frasca) on Light Rail Transit station planning. First fee breakdown by M. Bevins and J. Matteson. 1980-08-27 Meeting on street improvements. Architect asked to break down improvements into phasing for grant proposal, also must determine street profile at interface with Square. -
The Art of Architecture
LEARNING TO LOOK AT ARCHITECTURE LOOK: Allow yourself to take the time to slow down and look carefully. OBSERVE: Observation is an active process, requiring both time and attention. It is here that the viewer begins to build up a mental catalogue of the building’s You spend time in buildings every day. But how often visual elements. do you really look at or think about their design, their details, and the spaces they create? What did the SEE: Looking is a physical act; seeing is a mental process of perception. Seeing involves recognizing or connecting the information the eyes take in architect want you to feel or think once inside the with your previous knowledge and experiences in order to create meaning. structure? Following the steps in TMA’s Art of Seeing Art™* process can help you explore architecture on DESCRIBE: Describing can help you to identify and organize your thoughts about what you have seen. It may be helpful to think of describing as taking a deeper level through close looking. a careful inventory. ANALYZE: Analysis uses the details you identified in your descriptions and LOOK INTERPRET applies reason to make meaning. Once details have been absorbed, you’re ready to analyze what you’re seeing through these four lenses: OBSERVE ANALYZE FORM SYMBOLS IDEAS MEANING SEE DESCRIBE INTERPRET: Interpretation, the final step in the Art of Seeing Art™ process, combines our descriptions and analysis with our previous knowledge and any information we have about the artist and the work—or in this case, * For more information on the Art of Seeing Art and visual literacy, the architect and the building. -
2015 West Coast Championships June 16-20 2015 by 19Turkeys
Volume 26 ~ Issue 6 ~ July 2015 Steve Parsons T/C: 300 Whisper 36 0 24 ML 2015 West Coast Championships Doug Hockinson T/C: 7 TC/U 23 0 15 June 16-20 2015 A T SO CO Notes Marvin Wahl T/C: 357 Mag. 8 0 5 By 19Turkeys U INT T SO CO Notes Russell Mowles XP-100: 7 BR 60 4 40 First and Foremost, a big thank you goes out to those folks that made this match possible. Bret Stuntebeck Rampro: 6.5 BR 60 3 40 Mike & Tyler Abel and Rick Redd worked diligently on Sunday before the match getting the Joe Cullison XP-100: 7 BR 60 2 40 range ready. Mike (Boomer) Aber was ever faithful every day checking guns, and Paul Tyler Abel Rampro: 6 BR 60 1 40 Hoadley was Super Welder keeping us in targets. And a special thanks goes out to Bret Stun- Dan Hagerty XP-100: 6.5 BR 59 0 39 tebeck for being the consummate brew master and fisherman and to Steve Parsons for cook- Russell Plakke T/C: 7 BR 59 0 39 ing the fish and all the shooters & significant others that contributed side dishes and desserts Mike Abel XP-100: 6.5 BR 59 0 39 for the Wednesday night fish fry. Richard Redd T/C: 6 BR 58 0 38 Jim Kesser T/C: 7 TC/U 58 0 38 Also, thanks to all our travelers from around the US, Canada and Australia because we just Steve Parsons XP-100R: 6 B 56 0 37 could not put this match on without the dedication you make coming and supporting us. -
Park-Above-Parking Downtown: a Spatial-Based Impact Investigation
PARK-ABOVE-PARKING DOWNTOWN: A SPATIAL-BASED IMPACT INVESTIGATION by LANBIN REN A DISSERTATION Presented to the Department of Landscape Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2012 DISSERTATION APPROVAL PAGE Student: Lanbin Ren Title: Park-above-Parking Downtown: A Spatial-Based Impact Investigation This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy in the Department of Landscape Architecture by: Mark Gillem Chairperson Deni Ruggeri Member Robert Ribe Member Yizhao Yang Outside Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2012 ii © 2012 Lanbin Ren iii DISSERTATION ABSTRACT Lanbin Ren Doctor of Philosophy Department of Landscape Architecture December 2012 Title: Park-above-Parking Downtown: A Spatial-Based Impact Investigation Parking and parks are both crucial to downtown economic development. Many studies have shown that downtown parks significantly contribute to increasing surrounding property values and attract residents, businesses and investment. Meanwhile, sufficient available parking promotes accessibility to downtown that also contributes to increasing tax revenue for local government. However, both downtown parks and parking raise problems. Many downtown parks have become places for drug dealing, shooting and vandalism since the decline of downtowns in the 1960s. At the same time, residents and visitors alike oftentimes complain about the lack of parking while in fact parking spaces occupy a large amount of land in downtown. -
40 Anni Di Memphis in Mostra Al Vitra Design Museum
https://living.corriere.it/tendenze/design/40-anni-di-memphis-in-mostra-al-vitra-design-museum/ 40 anni di Memphis in mostra al Vitra Design Museum Il museo tedesco celebra il gruppo fondato da Ettore Sottsass che ha rivoluzionato l'estetica Anni 80. E influenza ancora generazioni di creativi. Dal 6 febbraio 2021 al 23 gennaio 2022 Testo di Luca Trombetta – Foto Studio Azzurro / Memphis Che stagione formidabile quella del gruppo Memphis. In soli sette anni – dal 1980/81 al 1987, circa – rivoluzionò il modo di vedere e di pensare il design dei decenni successivi e ancora oggi il suo influsso si ritrova nelle collezioni di diversi designer in una sorta di revival Anni 80, tra citazioni nostalgiche e coraggiosi omaggi. Collettivo italiano di design e architettura radunatosi a Milano attorno alla figura magnetica di Ettore Sottsass, Memphis fu l’espressione più alta del movimento Postmoderno in Italia e, con la sua forza dirompente, si affrancò dagli stereotipi del funzionalismo che avevano caratterizzato il design nostrano fino agli Anni 70, ricorrendo a colori sgargianti, forme geometriche, pattern optical, nonché una rilettura ironica e intelligente del kitsch. A quarant’anni dalla sua fondazione, il Vitra Design Museum di Weil am Rhein celebra l’anniversario del gruppo con la mostra Memphis: 40 Years of Kitsch and Elegance curata da Mateo Kries e in calendario dal 6 febbraio 2021 al 23 gennaio 2022. Attraverso una selezione di arredi, lampade, oggetti, disegni, fotografie e materiali d’archivio racconta la portata di una rivoluzione estetica che celebrava il Pop, il banale e il quotidiano e rompeva i tabù del buon gusto e del minimalismo. -
Letter Supporting the Designation of Philip Johnson and John Burgee's
H 20 November 2017 Ms. Meenakshi Srinivasan, Chair New York City Landmarks Preservation Commission Municipal Building 1 Centre Street, 9th Floor, North New York, NY 10007 [email protected] Re: Support for designation of Philip Johnson and John Burgee’s AT&T Building, 550 Madison, Avenue, New York, as an individual landmark Dear Ms. Srinivasan, The Society of Architectural Historians (SAH) expresses strong support for the prompt calendaring and designation of the AT&T Building as an individual and interior landmark by the New York City Landmarks Preservation Commission. The AT&T Building, designed by Philip Johnson and John Burgee, was constructed between 1978 and 1984 and is rightly recognized as a landmark of postmodern American architecture. When completed, it joined Michael Graves’ Portland Municipal Services Building in Portland Oregon (1980-82) as the most visible expressions of postmodern architecture in the United States. The building is significant not only for its iconic Chippendale-inspired pediment, but for the soaring seven- story lobby entered through a distinctive Palladian arch and arcade, which lobby is the subject of the proposed inappropriate alteration. This lobby is of particular significance; of 119 interior landmarks in New York, only eight were completed after 1950. Few publically accessible postmodern interiors survive, and this is undoubtedly one of the finest. We strongly urge the New York City Landmarks Preservation Commission to move expeditiously towards Landmarks Commission listing of the AT&T Building, including designation as both an individual and an interior landmark. We believe that Johnson and Burge’s design is of international significance, and the listing of both would insure the preservation of one of the most noteworthy postmodern buildings and interiors produced in the United States. -
Postmodernism and the Theme Park James Marston Fitch
Preservation vs. Historicism: Postmodernism and the Theme Park James Marston Fitch In Selected Writings on Architecture, Preservation and the Built Environment […] It is a romantic proposition to insist that the historic building, once having been saved from the bulldozer, must be preserved in exactly the state in which it was received. It is quite true that any old building, like old artifacts generally, shows signs of all the blows of outrageous fortune to which it has been subjected. And this patina of use may be helpful in reconstructing the actual life-history of the artifact. But they have not necessarily enhanced its artistic integrity. Quite the contrary is too often the case, so that the intentions of the original artist and the client who commissioned the artifact are quite obscured by subsequent interventions in the corpus. This is clearer in a painting than in a building, since our relationship to the one is much simpler and more linear than to the second. In fact, one might say that anything that has happened to a painting since it was first made has altered its artistic integrity. Almost certainly, it will also have been diminished by environmental agents: the chemical action of sunlight, moisture, dust, candle smoke, polluted air; the soaps of cleaners and the waxes of restorers-not to mention well intentioned in-painting by subsequent artists to "improve" it. Thus the modem conservator of painting takes as his task the return of the historic painting as nearly as possible to its original condition. Using the best of modern science and technology, the art conservator undertakes that 1) nothing of the original fabric is to be removed; 2) nothing new is to be added which cannot be justified by rigorous archival and laboratory research which 3) cannot be subsequently removed without damage to the original fabric. -
Michael Graves Architect Info
Michael Graves Architect info Michael Graves was born on July 9 1934 in Indianapolis, Indiana. He received his architectural training at the University of Cincinnati doing a program that let him work with Carl A. Strauss (another architect) while getting his education. He entered Harvard University after getting his Bachelor of Science in Architecture in 1958. Architect info (continued) In 1960 he received the Prix de Rome fellowship of the American Academy in Rome. In 1962 he accepted a teaching job at Princeton University. Michael Graves designed the Portland Building in Portland, Ohio, which was an early example of postmodern architecture. How he uses the principles and elements of design in his work: Line because the shapes are made of line. Colour because the buildings are colourful. Contrast because some parts of the building contrast from others. Building style Michael Graves uses many geometric shapes in his work. 5 words I would use to sum up his style are: Postmodern, simple, unique, colorful and playful How he uses shape and dimension to influence the aesthetics of his buildings: Michael Graves uses shape to make his buildings look interesting. Denver Public Library • Michael graves designed a large addition to the Denver public library in 1990. Celebration, Florida Post Office Michael Graves designed the Celebration, Florida Post Office How Michael Graves uses mathematical concepts in his designs He uses a variety of geometric shapes to make up the structure of his buildings. The geometric shapes he uses are symmetrical and most of the finished buildings are as well. There are repeating patterns of 2-D geometric shapes on many of his buildings. -
Ian Volner Michael Graves: Design for Life
Author Q & A Ian Volner, author of Michael Graves: Design for Life A conversation with Ian Volner author of Michael Graves: Design for Life ISBN: 978-1-61689-563-1 6.5 X 9.5 IN / 304 PP / 100 COLOR AND B+W PHOTOGRAPHS $30.00 / HARDCOVER PUBLICATION DATE: OCTOBER 24, 2017 You open your book with Michael’s illness. What was behind that decision? Partially that’s plain old reader-bait: the account of Michael’s illness is so gripping that it helps draw non-architecture people into what’s otherwise a Ian Volner, New York, New York very architecture-y book, and it adds some personal stakes for everything that follows by putting front and center a person undergoing a tremendous ordeal. But from the architectural perspective, it’s also the key inflection point in my whole thesis, which is the most basic question a biography of a designer can ask: “What kind of a designer was this person really, and why was he important?” My case is that Michael was a different kind of architect than a lot of people thought, and his response to his illness revealed that. That’s the moment that alters the way he practiced thereafter, as well as the way his earlier career can be read, and it recasts him as a critical foil to what’s been going on in the built environment in our time. So I wanted it right there in the first chapter. How did Michael, despite having few creative outlets as a child, and little or no encouragement, gravitate toward architecture? He really wasn’t good at much of anything (or at any rate felt himself not to be good at anything) except drawing, which he could do so much better than anyone else. -
Pioneer Courthouse Square Market Research Results
Portland State University PDXScholar Portland City Archives Oregon Sustainable Community Digital Library 1-1-1984 Pioneer Courthouse Square Market Research Results Keith L. Crawford Follow this and additional works at: https://pdxscholar.library.pdx.edu/oscdl_cityarchives Part of the Urban Studies Commons, and the Urban Studies and Planning Commons Let us know how access to this document benefits ou.y Recommended Citation Crawford, Keith L., "Pioneer Courthouse Square Market Research Results" (1984). Portland City Archives. 97. https://pdxscholar.library.pdx.edu/oscdl_cityarchives/97 This Report is brought to you for free and open access. It has been accepted for inclusion in Portland City Archives by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. PIONEER COURTHOUSE SQUARE MARKET RESEARCH SURVEY RESULTS Conducted in cooperation with Portland State University Under the auspices of Pioneer Courthouse Square of Portland, Inc By Keith L. Crawford Copyright 1984, all rights reserved. PIONEER COURTHOUSE SQUARE MARKET RESEARCH SURVEY TABLE OF CONTENTS PAGE Acknowledgements i Introduction ii The reason and the method • iii SURVEY RESULTS: All about the Brickowners Where they live 1 Their relatives before 1900 2 Their ancestors who attended Central School 3 The Portland Hotel Their stories about the Portland Hotel 4 The Meier & Frank parking lot - 5 When they visit downtown When they got involved with the Square How they heard about the fundraising 6 Most effective