DOCSLIB.ORG

The Ware Course: Architecture As a Useful, Liberal, and Fine Art By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Ware Course: Architecture As a Useful, Liberal, and Fine Art By The Ware Course: Architecture as a Useful, Liberal, and Fine Art By Kevin P. Block A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Pheng Cheah, Co-Chair Professor Andrew Shanken, Co-Chair Professor David Henkin Associate Professor Winnie Wong Fall 2019 Copyright Page Abstract The Ware Course: Architecture as a Useful, Liberal, and Fine Art by Kevin P. Block Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Pheng Cheah, Co-Chair Professor Andrew Shanken, Co-Chair This dissertation examines the academic career of William Robert Ware (1832-1915), an American architect who became the leading architectural educator in the late nineteenth century. Previous accounts of Ware have focused either on his work as a practicing architect or his role as a department builder at the Massachusetts Institute of Technology and Columbia University, where he imported the Beaux-Arts system of design instruction to the United States. This dissertation, in contrast, interprets archival documents and nineteenth-century architectural theory to situate Ware in relation to a number of core questions and concepts in the broader history of architectural expertise, including the construction of professional authority, the meaning of culture, the use of judgment, and the tension between creative expression and information processing. In addressing these core questions and concepts as a pedagogue, Ware helped to embed architectural education within the institutional setting of the modern research university and—for a brief historicist moment near the turn of the century—transform the discipline from a useful art into a liberal art. Part I covers the first half of Ware’s career at the Massachusetts Institute of Technology (M.I.T.) and the relationship of architectural education to drawing reform in the 1860s and 1870s. In the Introduction to Part I, I explain how Ware’s involvement with the 1870 Drawing Act helped to expand the relevancy of architectural expertise from its traditional concerns with the construction and design of buildings to the general problem of producing and coordinating skillful labor. The public supported M.I.T. and M.I.T. supported Ware’s architecture department because they recognized in architectural education a source of technical rather than artisanal or aesthetic competency. Architectural education received institutional support in New England not because of professional lobbying, but because the discipline became associated with economic development and the useful arts tradition. In Chapter One, I consider why the legislators of the 1870 Drawing Act would have sought out Ware’s involvement, or what constituted Ware’s professional persona given his limited experience as an architect. I argue that Ware’s credibility derived from his institutional affiliation with M.I.T. and from his travels in Europe, where he studied 1 different methods of drawing instruction in art academies and polytechnics. In Chapter Two, I argue that art and education reformers like Walter Smith, Charles Eliot, and John Runkle set the groundwork for the incorporation of architecture within the university. This chapter proceeds over four sections. First, I briefly review literature in economic history on the collapse of the American apprenticeship system. In the next section, I describe how skill emerged as an abstract category of economic thought as work shifted from artisanal to industrial production and how abstraction changed the meaning of skill. These two sections constitute what one might call the social problematic that drawing education attempted to address. Then in the third section, I describe the desire for managers and workers with technical drawing skills as part of a system of industrial remote control. Most advocates of the 1870 Drawing Act supported drawing education for this reason, as part of a technological system that was dependent on precise interactions between workers and machines. In the fourth section, I describe drawing education as the subject of a broad institutional critique, one that was supported by new theories of mind that made the university more receptive to visual disciplines like architecture. Part II covers Ware’s move to Columbia and the architecture program that he created there between 1881 and 1902. In the Introduction to Part II, I argue that Ware’s move to Columbia was motivated by his objective to make the discipline of architecture a liberal art and I suggest what “liberality” meant to him in relation to how he understood terms like culture and judgment. Chapter Three focuses on the disciplinary legitimation of architecture within the modern research university. I argue that Ware’s liberal course in architectural education, with its heavy emphasis on the study of architectural history, was meant to demonstrate to administrators and colleagues in other academic disciplines that architecture conformed both to the university’s culture of professionalism, which was based on the study of precedent, and to its culture of classicism, which was defined by the interpretive methods of philology. In conforming the discipline to these two cultures, Ware’s program secured an institutional order that would help American architects avoid the perils of eclecticism. Chapter Four describes the key instrument that Ware and his successor, A.D.F. Hamlin, used to institutionalize his historicist model of architectural education at Columbia: the Avery Architecture Library. In the early 1890s, architecture students in New York could study the history of architecture in museums like the Metropolitan Museum of Art, with its extensive collections of plaster casts, and in universities like Columbia, with its collection of casts and architectural books. By the turn of the century, however, it was clear that the future of architectural education would be in the university and textual, not in the object-oriented environment of the museum. This chapter therefore considers the growth of the Avery Library and its impact on the architecture curriculum at Columbia. I conclude the dissertation with a discussion of Ware’s dismissal from Columbia in 1902 and the growing division of architectural labor around the turn of the century. While celebrated architects like Charles McKim after the turn of the century tried to enclose the collegiate system of architectural education to produce an elite cadre of fine artists, 2 Ware tried to make this system more accessible by collaborating with the International Correspondence School to create a series of rudimentary architecture courses that could be completed through the postal system. Ware’s dismissal was indicative of a cultural hierarchy in modern America that made a university education a barrier rather than a gateway to the pursuit of architecture as a fine art. As a figure who determined much of what constituted expertise for American architects around the turn of the century, Ware’s legacy was ambiguous. While the university grounded the discipline within an institutional order and provided instruments like the Avery Library that were necessary for producing liberal architectural subjects, access to this institutional order and these resources remained severely constrained. 3 Table of Contents Dedication ii List of Figures iii Acknowledgements x Introduction 1 Part I: Architecture as a Useful Art 13 Introduction to Part I: The 1870 Drawing Act Chapter One: 21 Professional Self-Fashioning: Building Credibility, Becoming Expert Chapter Two: 36 After Apprenticeship: Drawing and the Need for Skill in the 1870s Part II: Architecture as a Liberal Art 59 Introduction to Part II: Ware’s Move to Columbia Chapter Three: 86 Architecture in the Age of University Reform: Professionalism, Classicism, and the Study of Architectural History at Columbia Chapter Four: 123 Schooling Design: The Avery Library and the Bibliographic Order of Collegiate Architecture Part III: Architecture as a Fine Art 161 Conclusion: Captains of Erudition and the Collar Line Bibliography 173 Visual Appendix 204 i Dedication I dedicate this dissertation to my whole family, especially my parents, for their constant love and support. ii List of Figures Introduction Figure 1. William Robert Ware circa 1865. M.I.T. Special Collections. Introduction to Part I Figure 2. Walter Smith. From Green (1966), p. 8. Figure 3. Cover-page to Walter Smith’s American Text Books of Art Education: Geometrical Drawing (James R. Osgood & Co., 1873). Figure 4. Learning to draw models, from Smith’s American Text Books of Art Education (1873). Chapter One Figure 5. Ware’s first large project: Harvard’s Memorial Hall, final exterior perspective. The building would not be completed until the late 1870s. Courtesy of Harvard University Archives (Collection #166). Figure 6 The original seal for the Massachusetts Institute of Technology. Courtesy of MIT Institute Archives and Special Collections. Figure 7. Rogers Building (1866), Massachusetts Institute of Technology. Courtesy of MIT Institute Archives and Special Collections. Figure 8. Freshman drawing room, Rogers Building, Massachusetts Institute of Technology. Courtesy of MIT Institute Archives and Special Collections. Figure 9. Cover-page to Ware’s Outline (1866). Chapter Two Figure 10. The cover-page of Eggleston’s How to Educate Yourself: With or Without Masters (1872). Figure 11. The cover-page of Edward Shaw’s The Modern Architect; or, Every Carpenter His Own Master (1854). Figure 12. Cover-page of J.G. Chapman’s The American Drawing-Book (1847). Figure 13. Walter Smith’s Art Education, Scholastic and Industrial (1873). iii Introduction to Part II Figure 14. William Ware and the architecture faculty at Columbia’s School of Mines. Avery Archives, Columbia University. Figure 15. Sarah Goodridge. Reverend Henry Ware, Jr. Approx. 1828. Watercolor on ivory. 9.2 x 7.3 cm (3 5/8 x 2 7/8 in.). Museum of Fine Arts, Boston. Figure 16. Charles Osgood. Henry Ware Sr. 1835. Oil on canvas. 91.9 x 71.7 cm (36 3/16 x 28 1/4 in.).
Load more

Recommended publications
  • Griffintown Golroo Mofarrahi
    Griffintown Golroo Mofarrahi Post-professional graduate program in Cultural Landscapes School of Architecture McGill University August 2009 Report Submitted in Partial Fulfillment of the Requirements of the Degree of Master ofArchitecture Golroo Mofarrahi, 2009 Abstract: This study originates from observation that urban neigh bourhoods are in continuous transition as the economy ebbs and flows. Residential neighbour- hoods will either collapse or redlined for new development as their residents start to move out (The Lure of the Local, 202). At the same time, coun- try towns are being abandoned, working class neighbourhoods are further ghettoized and steel towns are rusting in decay as “deserted downtowns con- trast with exurban building booms” (The Lure of the Local, 202). An example of this type of neighbourhood is Griffintown, which was once a working class neighbourhood squeezed between Saint Gabriel farm and the suburbs of Recollets and Victoria town in Montreal. Griffintown was an industrial and residential district. It was urbanised in the 19th century and gradually decayed through the 20th century. As an industrial district it saw the birth of very first large factories of Canada and was known as the industrial heartland of Canada. The area was of great interest to most developers, and various projects have been proposed for this area. This report addresses the follow­ ing question: How does the extent artefact system in Griffintown represent tangible evidence of the way of life before forced resettlement, and are there any artefacts worth preserving in Griffintown, an area slated for imminent development? I Résumé: Cette étude trouve son origine dans la notion selon laquelle les quartiers ur- bains sont engagés dans un cycle de croissance et de déclin soumis aux aléas de la conjoncture économique.
    [Show full text]
  • Purchase Grant Fund Awards 2010/11
    PURCHASE GRANT FUND AWARDS 2010/11 Aberystwyth University, School of Art Collections • Magdalene Odundo Vessel, 2009 Terracotta; h 49 cm £10,200 • Claire Curneen Mother and Child , 2009 Terracotta with gold lustre; 53 x 18 x 10 cm £500 Acton Scott, Shropshire Museum Service • Pair of chestnut baskets, c.1785-90 £2,291 Caughley porcelain; w 29.5 cm • Radish dish, c.1790-95 Caughley porcelain; w 31 cm £305 • Late Iron Age torc from Telford Gold silver alloy; two fragments l 8.9 cm and 7.4 cm £750 • Hawking vervel from Worfield, 16-17th century Silver; 0.9 cm diameter £250 Ashby de la Zouch Museum • Portrait of a member of the Hastings family, probably Henry Hastings, Baron Loughborough, 1650 Oil on canvas; 73 x 58.3 cm £2,115 Aylesbury, Buckinghamshire County Museum • Pair of Bronze Age torcs from Ellesborough Gold; l 35 and 22 cm £1,000 • Bronze Age penannular lock ring from Edlesborough Gold; 1.9 cm diameter £250 Barnard Castle, The Bowes Museum • Keith Vaughan Design for the tapestry Adam commissioned by the Edinburgh Weavers, 1957 Collage , gouache, crayon and pencil; 108 x 59.6 cm £7,000 • Beaker, c.1730 Meissen porcelain; h 5.9 cm £2,400 • George Hindmarsh Serving plate owned by George Bowes of Gibside, 1742 Silver; 37 cm diameter £1,792 Bath and North East Somerset Heritage Services • Gillian Ayres Sun Up , 1960 Oil on canvas; 122 x 91.5 cm £12,000 Bedford, Cecil Higgins Art Gallery • Manuscript for the book A General Guide to the Royal Botanic Gardens, Kew, Spring and Easter 1923 by Edward Bawden, 1923 £10,000 • Dora Carrington Bedford Market , 1911 Watercolour; 43 x 67 cm £5,544 Birmingham Central Library • Archive of the photographer, John Blakemore, 1960-2010 £35,000 • Francis Bedford Suite of three albums of photographs of a ..Tour of the East.
    [Show full text]
  • H. H. Richardson's House for Reverend Browne, Rediscovered
    H. H. Richardson’s House for Reverend Browne, Rediscovered mark wright Wright & Robinson Architects Glen Ridge, New Jersey n 1882 Henry Hobson Richardson completed a mod- flowering, brief maturity, and dissemination as a new Amer- est shingled cottage in the town of Marion, overlook- ican vernacular. To abbreviate Scully’s formulation, the Iing Sippican Harbor on the southern coast of Shingle Style was a fusion of imported strains of the Eng- Massachusetts (Figure 1). Even though he had only seen it lish Queen Anne and Old English movements with a con- in a sadly diminished, altered state and shrouded in vines, in current revival of interest in the seventeenth-century 1936 historian Henry-Russell Hitchcock would neverthe- colonial building tradition in wood shingles, a tradition that less proclaim, on the walls of the Museum of Modern Art survived at that time in humble construction up and down (MoMA) in New York, that the structure was “perhaps the the New England seaboard. The Queen Anne and Old most successful house ever inspired by the Colonial vernac- English were both characterized by picturesque massing, ular.”1 The alterations made shortly after the death of its the elision of the distinction between roof and wall through first owner in 1901 obscured the exceptional qualities that the use of terra-cotta “Kent tile” shingles on both, the lib- marked the house as one of Richardson’s most thoughtful eral use of glass, and dynamic planning that engaged func- works; they also caused it to be misunderstood—in some tionally complex houses with their landscapes.
    [Show full text]
  • Discovering Montréal's Religious Heritage 1St Edition
    Discovering Discovering Montréal’s Religious Heritage Montréal’s his book is your invitation to discover all the diversity and beauty of the religious heritage of Montréal and its environs, both Heritage Religious Discovering T ancient and modern. Offering 11 inspiring tours and superb photographs, this one-of-a-kind guidebook will reveal the secrets of an exceptionally rich heritage unequalled anywhere else in North America. Montréal’s Whether your exploration is motivated by faith, or an interest in architecture, art or history, Discovering Montréal’s Religious Heritage will guide you to the city’s most remarkable places of worship and Religious Heritage their treasure trove of breathtaking works of art: cathedrals, basilicas, churches, shrines, synagogues, and temples belonging to a wide range of confessions, as well as successfully converted religious buildings that have been given a new lease on life. www.ulyssesguides.com ISBN : 978-2-76581-765-9 (Digital Version) www.ulyssesguides.com Discovering Montréal’s Religious Heritage Research and Writing: Siham Jamaa Photo Credits Cover Page Additional Writing: Pierre Daveluy Detail of a stained-glass window in Église Saint-Philippe Translation and Copy Editing: © Flickr.com/Sandra Cohen-Rose, Colin Rose. The Votive Chapel at Saint Joseph’s Oratory of Mount Royal Elke Love, Matthew McLauchlin © iStockphoto.com/benedek. Maison Saint-Gabriel Additional Translation: Tanya Solari © Maison Saint-Gabriel. Notre-Dame Basilica of Montréal © iStockphoto.com/jasoncowellphoto. Editors: Pierre Ledoux, Claude Morneau Christ Church Cathedral © iStockphoto.com/lyonulka. The Cathedral-Basilica of Mary, Queen of the World Graphic Design Layout: Pascal Biet and Saint James the Great © Dreamstime.com/ Wangkun Jia.
    [Show full text]
  • The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826.
    [Show full text]
  • San Antonio River Walk Designated to Receive an AJA Award; Rice Design Alliance Sponsors High-Powered Panel on Architecture Criticism
    • A winning combination. When classic styling and continuous durability are ... ~~ • brought to- gether the re­ sult is excellence. This quality of excellence is obvious in all the materials at D'Hanis Clay Products. The care taken at every stage of the manufacturing process be­ comes evident in the end product. All of which brings us to another winning com­ bination: construction and D'Hanis Clay Products. [)'lIJ\Nl6 ClJL\Y PQODUCT~ GONTINLJOUS PRODUCTION SINCE 1905 11( >X 1fi', O'I !ANIS, Tf XAS 78850 AN ANH NI l t I ) I 4 0 ltANll1 (5n) 363-7221 CLEIS European Style Whirlpool Bathing Systems &ka½ 4 HESSCO FEATURING • 18 MODELS, 28 SIZES • COMPETITIVE PRICING • MATCH ANY COLOR • PROMPT DELIVERY • INDIVIDUAL JET CONTROLS • COMPLETELY PREPLUMBED CONTENTS IN THE NEWS 22 Dallas Museum ofArt opens to rave reviews; San Antonio River Walk designated to receive an AJA award; Rice Design Alliance sponsors high-powered panel on architecture criticism. ABOUT THIS ISSUE 41 42 SMALL BUILDINGS 42 Articles on eight recent Texas projects that represent a broad range ofproblems and solutions while falling into the same general category-small buildings. INTERVIEW WITH CHARLES MOORE 70 11 NEW TEXAS FELLOWS 84 Profiles of I I Texas architects elected to the American lnstitute's College of Fellows for outstanding contributions to architecture. BOOKS 76 48 INDEX TO ADVERTISERS 98 DA VE BRADEN/MUSINGS 98 COMING UP: Next issue, Texas Architect looks at architecture and transportation. ON THE COVER: William T. Cannady' s Fayeue Savings 58 Association in LaGrange. Photo by Paul Hester. 70 I , , llrchurrt .\furth·April 198-1 5 RENNER PIAl.A - o.11.b Nth,tnr ANPtl, ltK C,,,,,.,,•I Contr,1<fo, I h'1,y &•kl•nM & l"lll"'""'nR 0.wnM Contr,1<l<>r M.-1ro,t(J/,1.1n GI.tu, 'i<,11,J,.,lk•, r,,..., (,l,M /,y - rl'fflP(f/J<S fio,/cl,ipp/•,J no/It_,,,.
    [Show full text]
  • Bible Matters: the Scriptural Origins of American Unitarianism
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Vanderbilt Electronic Thesis and Dissertation Archive BIBLE MATTERS: THE SCRIPTURAL ORIGINS OF AMERICAN UNITARIANISM By LYDIA WILLSKY Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In Religion May, 2013 Nashville, Tennessee Approved: Professor James P. Byrd Professor James Hudnut-Beumler Professor Kathleen Flake Professor Paul Lim Professor Paul Conkin TABLE OF CONTENTS INTRODUCTION……………………………………………………………………………3 CHAPTER 1: WILLIAM ELLERY CHANNING AND THE PASTORAL ROOTS OF UNITARIAN BIBLICISM………………………………………………………………………………..29 CHAPTER 2: WHAT’S “GOSPEL” IN THE BIBLE? ANDREWS NORTON AND THE LANGUAGE OF BIBLICAL TRUTH………………………………………...................................................77 CHAPTER 3: A PRACTICAL SPIRIT: FREDERIC HENRY HEDGE, THE BIBLE AND THE UNIVERSAL CHURCH…………………………………………………………………...124 CHAPTER 4: THE OPENING OF THE CANON: THEODORE PARKER AND THE TRANSFORMATION OF BIBLICAL AUTHORITY…………………………………………..168 CONCLUSION…………………………………………………………...........................205 BIBLIOGRAPHY…………………………………………………………………………213 INTRODUCTION The New England Unitarians were a biblical people. They were not biblical in the way of their Puritan ancestors, who emulated the early apostolic Church and treated the Bible as a model for right living. They were a biblical people in the way almost every Protestant denomination of the nineteenth century
    [Show full text]
  • Images of New England: Documenting the Built Environment
    474 American Archivist / Vol. 50 / Fall 1987 Downloaded from http://meridian.allenpress.com/american-archivist/article-pdf/50/4/474/2747585/aarc_50_4_k61r617u31jx5704.pdf by guest on 23 September 2021 Images of New England: Documenting the Built Environment NANCY CARLSON SCHROCK Abstract: The 1980s find the New England states in a period of economic expansion and development that has an impact upon its landscape and built environment. Older structures are being renovated or destroyed, while extensive new building is simultaneously under way. Documenting these changes involves identifying and preserving the records of build- ings that are disappearing as well as those of new construction. The author reviews briefly the history of architecture in New England, focusing on its relationship to the evolution of types of documentation in the nineteenth and twentieth centuries: original design records, publications and stock plans, and visual records of completed buildings and their changes over time. The differing approaches of the six states to preserving these records are profiled, and their efforts linked with the growth of an active historic preservation movement. Aspects of the built environment remain less well documented: current development, commercial architecture, landscape design, builders' records, and owner-initiated projects. The author concludes by proposing regional efforts to deal with these issues, capitalizing upon the expertise and experience of the curators, archivists, and conservators of New England's architectural collections. About the author: Nancy Carlson Schrock is self-employed as a book conservator and consultant on library preservation in Winchester, Massachusetts. During 1979-82, she served as project di- rector for NHPRC- and NEH-sponsored surveys of architectural records, which culminated in publication of Mass COPAR's Architectural Records in Boston.
    [Show full text]
  • A Week at the Fair; Exhibits and Wonders of the World's Columbian
    ; V "S. T 67>0 CORNELL UNIVERSITY LIBRARY ""'""'"^ T 500.A2R18" '""''''^ "^"fliiiiWi'lLi£S;;S,A,.week..at the fair 3 1924 021 896 307 'RAND, McNALLY & GO'S A WEEK AT THE FAIR ILLUSTRATING THE EXHIBITS AND WONDERS World's Columbian Exposition WITH SPECIAL DESCRIPTIVE ARTICLES Mrs. Potter Palmer, The C6untess of Aberdeen, Mrs. Schuyler Van Rensselaer, Mr. D. H. Burnh^m (Director of Works), Hon. W. E. Curtis, Messrs. Adler & Sullivan, S. S. Beman, W. W. Boyington, Henry Ives Cobb, W, J. Edbrooke, Frank W. Grogan, Miss Sophia G. Havden, Jarvis Hunt, W. L. B. Jenney, Henry Van Brunt, Francis Whitehouse, and other Architects OF State and Foreign Buildings MAPS, PLANS, AND ILLUSTRATIONS CHICAGO Rand, McNally & Company, Publishers 1893 T . sod- EXPLANATION OF REFERENCE MARKS. In the following pages all the buildings and noticeable features of the grounds are indexed in the following manner: The letters and figures following the names of buildings in heavy black type (like this) are placed there to ascertain their exact location on the map which appears in this guide. Take for example Administration Building (N i8): 18 N- -N 18 On each side of the map are the letters of the alphabet reading downward; and along the margin, top and bottom, are figures reading and increasing from i, on the left, to 27, on the right; N 18, therefore, implies that the Administration Building will be found at that point on the map where lines, if drawn from N to N east and west and from 18 to 18 north and south, would cross each other at right angles.
    [Show full text]
  • Frank Furness Printed by Official Offset Corp
    Nineteenth Ce ntury The Magazine of the Victorian Society in America Volume 37 Number 1 Nineteenth Century hhh THE MAGAZINE OF THE VICTORIAN SOCIETY IN AMERICA VOLuMe 37 • NuMBer 1 SPRING 2017 Editor Contents Warren Ashworth Consulting Editor Sara Chapman Bull’s Teakwood Rooms William Ayres A LOST LETTER REVEALS A CURIOUS COMMISSION Book Review Editor FOR LOCkwOOD DE FOREST 2 Karen Zukowski Roberta A. Mayer and Susan Condrick Managing Editor / Graphic Designer Wendy Midgett Frank Furness Printed by Official Offset Corp. PERPETUAL MOTION AND “THE CAPTAIN’S TROUSERS” 10 Amityville, New York Michael J. Lewis Committee on Publications Chair Warren Ashworth Hart’s Parish Churches William Ayres NOTES ON AN OVERLOOkED AUTHOR & ARCHITECT Anne-Taylor Cahill OF THE GOTHIC REVIVAL ERA 16 Christopher Forbes Sally Buchanan Kinsey John H. Carnahan and James F. O’Gorman Michael J. Lewis Barbara J. Mitnick Jaclyn Spainhour William Noland Karen Zukowski THE MAkING OF A VIRGINIA ARCHITECT 24 Christopher V. Novelli For information on The Victorian Society in America, contact the national office: 1636 Sansom Street Philadelphia, PA 19103 (215) 636-9872 Fax (215) 636-9873 [email protected] Departments www.victoriansociety.org 38 Preservation Diary THE REGILDING OF SAINT-GAUDENS’ DIANA Cynthia Haveson Veloric 42 The Bibliophilist 46 Editorial 49 Contributors Jo Anne Warren Richard Guy Wilson 47 Milestones Karen Zukowski A PENNY FOR YOUR THOUGHTS Anne-Taylor Cahill Cover: Interior of richmond City Hall, richmond, Virginia. Library of Congress. Lockwood de Forest’s showroom at 9 East Seventeenth Street, New York, c. 1885. (Photo is reversed to show correct signature and date on painting seen in the overmantel).
    [Show full text]
  • Cuid26341.Pdf
    William Robert Ware | William° ° Robert Ware Privately Printed for the Alumni Association of the School of Architecture Columbia University 1915 William Robert Ware A.B., Harvard, 1852; B.S., 1856; LL.D., 1896 Died, June 9th, 1915, at Milton, Mass. WiLLiaM ROBERT WARE was born in Cambridge, Mass., in 1832. He was graduated at Harvard in 1852, and in 1859 entered the office of the late Richard M. Hunt. Five years later he formed a partnership with the late Henry Van Brunt. This partnership lasted fifteen years, during which the firm designed the first Unitarian Church in Boston, Memorial Hall at Harvard University, the former Union Station at Worcester, and the Universalist Church at North Cambridge. After spending thirteen months in Europe, 1866-67, he established and for fourteen years directed the course in architecture at the Massachusetts Institute of Technology. In 1881 the Trustees of Columbia University voted to establish a department of architecture and called Prof. Ware to the task of its organization and direction. His services in this position continued until 1903, when, owing to failing health, he was retired as Emeritus Professor of Architecture. His literary labors included works on architectural shades and shadows, modern perspective and the American Vignola, all of which are in wide use as text-books. During the closing years of his life, spent at his home in Milton, Mass., he was universally recognized as the Dean of architectural educators in this country. The members of the Alumni Association of the School of Architecture, Columbia University, . herebv record their reverence for the achievements Resolution whichpid have caused his name to be honored here Entered upon the Minutes of the Alumni Association and abroad; their gratitude for all his years of of the .
    [Show full text]
  • A Model for Reading Architectural Narrative in Different
    AURUM MÜHENDİSLİK SİSTEMLERİ VE MİMARLIK DERGİSİ AURUM JOURNAL OF ENGINEERING SYSTEMS AND ARCHITECTURE Cilt 1, Sayı 2 | Kış 2017 Volume 1, No. 2 | Winter 2017, 49-58 A MODEL FOR READING ARCHITECTURAL NARRATIVE IN DIFFERENT Türkan Nihan HACIÖMEROĞLU1 1 Eskisehir Osmangazi University, Faculty of Engineering and Architecture, Department of Architecture. [email protected] , [email protected] Abstract When Daniel Libeskind proposed the possibility of different dimensions of architecture other than length, height and width, he offered reading, writing and memory. Reading architecture as he explains is not about reading text but about trying to understand a not “clearly explicit language” of architecture. (Libeskind, 2004) The aim of this paper is to propose a model for reading architectural narrative in different media by using architectural criticism as a base. Initially, the study is based on discussions on architectural criticism, narrative and representation, in architecture, literature and cinema, in order to understand the similarities and differences between the concepts of time, movement and space. Using these concepts, a comparative analysis table is created and the outcomes of these comparisons are inserted as data for different, yet inter-linked, comparisons and analysis tables. A num- ber of keywords are utilized to set a model for reading architectural narrative. Such alternative readings estab- lish a ground to understand the narrative and cultural based conceptualization of space. The main discussion is executed through a case study. L’ecumé des Jours by Boris Vian (Foam of the Daze, 1947), and consequently, its 49 2013 adaptation Mood Indigo by Michel Gondry, are selected as the case.
    [Show full text]