PRIMARY RECORD Trinomial NRHP Status Code 3CS Other Listings Review Code Reviewer Date
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Architectural Style of Bay Pines VAMC
The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques. -
Artistic Geography and the Northern Jesuit Missions of New Spain
Artistic Geography and the Northern Jesuit Missions of New Spain By Clara Bargellini Universidad Nacional Autónoma de México [email protected] (working paper, not be reproduced without the author’s permission) George Kubler´s seminal thoughts on artistic geography came out of his involvement with the art and architecture of the Hispanic New World. This paper examines a group of 17th and 18th century Jesuit missions in northern Mexico in order to expand our understanding of New World artistic geography, and also to explore the history of some geographic notions and their place in art historical discussions. Whereas Kubler was concerned with the transmission of styles, my interest here will be the movement of specific objects and individuals within a particular historical configuration. This will involve, of course, considerations about patronage and institutions, with some references to iconography, all of which ultimately has implications for the transmission of styles, as Kubler would no doubt have recognized. The missions in question were established in the first half of the 17th century by the Jesuits in the northern Tepehuan and Southeastern Tarahumara region, and were held by the Society until its 1767 expulsion from New Spain. From their arrival in 1572 the Jesuits focused on ministry among the native population of New Spain. Almost at once they began missionary activity among the indigenous populations in places near Mexico City. By 1580 they were established at Tepotzotlán learning native languages. In 1589 the Jesuits were among the legendary chichimecas at San Luis de la Paz, and two years later they were in Sinaloa, where they established an extraordinary system of missions about which we now have only documents and very sparse remains. -
Y\5$ in History
THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 A thesis submitted to the faculty of San Francisco State University A5 In partial fulfillment of The Requirements for The Degree Mi ST Master of Arts . Y\5$ In History by James Harvey Mitchell, Jr. San Francisco, California May, 2016 Copyright by James Harvey Mitchell, Jr. 2016 CERTIFICATION OF APPROVAL I certify that I have read The Gargoyles of San Francisco: Medievalist Architecture in Northern California 1900-1940 by James Harvey Mitchell, Jr., and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirements for the degree Master of Arts in History at San Francisco State University. <2 . d. rbel Rodriguez, lessor of History Philip Dreyfus Professor of History THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 James Harvey Mitchell, Jr. San Francisco, California 2016 After the fire and earthquake of 1906, the reconstruction of San Francisco initiated a profusion of neo-Gothic churches, public buildings and residential architecture. This thesis examines the development from the novel perspective of medievalism—the study of the Middle Ages as an imaginative construct in western society after their actual demise. It offers a selection of the best known neo-Gothic artifacts in the city, describes the technological innovations which distinguish them from the medievalist architecture of the nineteenth century, and shows the motivation for their creation. The significance of the California Arts and Crafts movement is explained, and profiles are offered of the two leading medievalist architects of the period, Bernard Maybeck and Julia Morgan. -
Presidio of San Francisco an Outline of Its Evolution As a U.S
Special History Study Presidio of San Francisco An Outline of Its Evolution as a U.S. Army Post, 1847-1990 Presidio of San Francisco GOLDEN GATE National Recreation Area California NOV 1CM992 . Special History Study Presidio of San Francisco An Outline of Its Evolution as a U.S. Army Post, 1847-1990 August 1992 Erwin N. Thompson Sally B. Woodbridge Presidio of San Francisco GOLDEN GATE National Recreation Area California United States Department of the Interior National Park Service Denver Service Center "Significance, like beauty, is in the eye of the beholder" Brian W. Dippie Printed on Recycled Paper CONTENTS PREFACE vii ABBREVIATIONS viii ACKNOWLEDGEMENTS ix INTRODUCTION 1 CHAPTER 1: THE BEGINNINGS, 1846-1861 5 A. Takeover 5 B. The Indians 8 C. The Boundaries 9 D. Adobes, Forts, and Other Matters 10 CHAPTER 2: CIVIL WAR, 1861-1865 21 A. Organizing 21 B. Keeping the Peace 22 C. Building the Post 23 CHAPTER 3: THE PRESIDIO COMES OF AGE, 1866-1890 31 A. Peacetime 31 B. The Division Comes to the Presidio 36 C. Officers' Club, 20 46 D. Other Buildings 47 E. Troop Duty 49 F. Fort Winfield Scott 51 CHAPTER 4: BEAUTIFICATION, GROWTH, CAMPS, EARTHQUAKE, FORT WINFIELD SCOTT, 1883-1907 53 A. Beautification 53 B. Growth 64 C. Camps and Cantonments 70 D. Earthquake 75 E. Fort Winfield Scott, Again 78 CHAPTER 5: THE PRESIDIO AND THE FORT, 1906-1930 81 A. A Headquarters for the Division 81 B. Housing and Other Structures, 1907-1910 81 C. Infantry Terrace 84 D. Fires and Firemen 86 E. Barracks 35 and Cavalry Stables 90 F. -
Jewish Community Center of San Francisco 3200 California Street San Francisco San Francisco County California
HABSNo. CA-2724 Jewish Community Center of San Francisco 3200 California Street San Francisco San Francisco County California PHOTOGRAPHS WRITTEN HISTORICAL AND DESCRIPTIVE DATA Historic American Buildings Survey National Park Service Western Region Department of the Interior San Francisco, California 94107 HABs C.AL :;<o-sA HISTORIC AMERICAN BUILDING SURVEY JEWISH COMMUNITY CENTER OF SAN FRANCISCO HABS No. CA - 2724 Location: 3200 California Street (at Presidio Avenue) . San Francisco, San Francisco County, California 94118 - 1904 UTM Coordinates: 10-548750-4181850 Present Owner: Jewish Community Center of San Francisco Present Occupant: Jewish Community Center of San Francisco Present Use: Vacant Significance The Jewish Community Center of San Francisco QCC SF) was formally incorporated in 1930. However, its roots go back to 1874 with the establishment of the city's first Young Men's Hebrew Association (YMHA). The JCC SF reflects a progressive period in American history that resulted in provision of services and facilities for the underprivileged, and/or for minority ethnic groups. The Jewish Community Center project reflected both national and local efforts to facilitate coordination and effective work among Jewish social, athletic, cultural and charitable organizations by gathering them under one roof. Nationwide the Jewish community was influential in group social work, helping to develop the profession of social workers, and a wide variety of inclusive charitable organizations. In the era spanning 1900 to 1940, Jewish leaders in many American cities promoted the local development of these community centers to serve their communities as a central location for public service organizations, and recreational and social venues. The JCC SF is not closely associated with any specific event in the history of San Francisco or community, nor with any one individual significant to the city, state or nation. -
National Historic Landmark Nomination Old San Juan
NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 OLD SAN JUAN HISTORIC DISTRICT/DISTRITO HISTÓRICO DEL VIEJO SAN JUAN Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Old San Juan Historic District/Distrito Histórico del Viejo San Juan Other Name/Site Number: Ciudad del Puerto Rico; San Juan de Puerto Rico; Viejo San Juan; Old San Juan; Ciudad Capital; Zona Histórica de San Juan; Casco Histórico de San Juan; Antiguo San Juan; San Juan Historic Zone 2. LOCATION Street & Number: Western corner of San Juan Islet. Roughly bounded by Not for publication: Calle de Norzagaray, Avenidas Muñoz Rivera and Ponce de León, Paseo de Covadonga and Calles J. A. Corretejer, Nilita Vientos Gastón, Recinto Sur, Calle de la Tanca and del Comercio. City/Town: San Juan Vicinity: State: Puerto Rico County: San Juan Code: 127 Zip Code: 00901 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): ___ Public-Local: X District: _X_ Public-State: X_ Site: ___ Public-Federal: _X_ Structure: ___ Object: ___ Number of Resources within Property Contributing Noncontributing 699 128 buildings 16 6 sites 39 0 structures 7 19 objects 798 119 Total Number of Contributing Resources Previously Listed in the National Register: 772 Name of Related Multiple Property Listing: NPS Form 10-900 USDI/NPS NRHP Registration Form ((Rev. 8-86) OMB No. 1024-0018 OLD SAN JUAN HISTORIC DISTRICT/DISTRITO HISTÓRICO DEL VIEJO SAN JUAN Page 2 United States Department of the Interior, National Park Service National Register of Historic Plaaces Registration Form 4. -
San Diego's Architectural Timeline 1542 Juan Rodriquez Cabrillo Sails
San Diego’s Architectural Timeline 1542 Juan Rodriquez Cabrillo sails into San Diego Bay & names it San Miquel. 1602 Don Sebastian Viscaino enters harbor and names it San Diego de Alcala. 1600-1820 mission architecture which was reinterp in CA by untrained priests who mixed elements of neo-classical orders with Churrigueresque style and vernacular architectural traditions of native homes in Spain 1600-1840 Spanish Colonial Architecture influenced by terrain/materials; homes were long, low one-story, constructed of thick stone/adobe; low pitch gabled roof became popular option 1769 Spanish build Presidio; Father Serra arrives 1769-1848 Mission Colonial Period 1800 1st American ship arrives 1822 Mexico becomes an empire; San Diego becomes Mexican. Old Town begins as scattered houses at base of Presidio Hill. 1830’s Mexico secularized mission lands; earnest settlement begins, Spanish Colonial architecture flurishes 1850’s Spanish Colonial traditions exposed/combined with anglo architectural traditions, soon fusion of Spanish Colonial with New England Colonial Revival called “Monterey” which popularized a second story; elements such as wood for siding, balustrades, colonial columns paired windows for shutters, paneled doors, and décor treatments, Americans attracted to CA 1850 Charles P. Noell builds the 1st all wood house using pre-fab pieces brought around the horn. Andrew B. Gray and William Heath Davis start New Town. Middletown is started by Oliver S. Witherby, Cave Couts, etc. 1851 Davis puts up his pre-fab house in New Town 1853 People leave New Town for Old Town, name becomes Davis’ Folly. 1867 Alonzo E. Horton arrives/decides to move to town; buys Horton’s Addition 10 days later/establishment of New Town 1868 Matthew Sherman buys Sherman’s Addition; 1400 acres put aside for city park; Nash opens 1st store in Horton’s New Town; New San Diego Hotel opens 1869 3000 people in New Town; stage office moves to New Town; Henry J. -
Travel-Guide-Oaxaca.Pdf
IHOW TO USE THIS BROCHURE Tap this to move to any topic in the Guide. Tap this to go to the Table of Contents or the related map. Índex Map Tap any logo or ad space for immediate access to Make a reservation by clicking here. more information. RESERVATION Déjanos mostrarte los colores y la magia de Oaxaca Con una ubicación estratégica que te permitirá disfrutar los puntos de interés más importantes de Oaxaca y con un servicio que te hará vivir todo el arte de la hospitalidad, el Hotel Misión Oaxaca es el lugar ideal para el viaje de placer y los eventos sociales. hotelesmision.com Tap any number on the maps and go to the website Subscribe to DESTINATIONS MEXICO PROGRAM of the hotel, travel agent. and enjoy all its benefits. 1 SUBSCRIPTION FORM Weather conditions and weather forecast Walk along the site with Street View Enjoy the best vídeos and potos. Come and join us on social media! Find out about our news, special offers, and more. Plan a trip using in-depth tourist attraction information, find the best places to visit, and ideas for an unforgettable travel experience. Be sure to follow us Index 1. Oaxaca. Art & Color. 24. Route to Mitla. 2. Discovering Oaxaca. Tour 1. 25. Route to Mitla. 3. Discovering Oaxaca. Tour 1. Hotel Oaxaca Real. 26. Route to Mitla. Map of Mitla. AMEVH. 4. Discovering Oaxaca. Tour 1. 27. Route to Monte Albán - Zaachila. Oro de Monte Albán (Jewelry). 28. Route to Monte Albán - Zaachila. 5. Discovering Oaxaca. Tour 1. Map of Monte Albán. -
The Reconstruction of Colonial Monuments in the 1920S and 1930S in Mexico ELSA ARROYO and SANDRA ZETINA
The reconstruction of Colonial monuments in the 1920s and 1930s in Mexico ELSA ARROYO AND SANDRA ZETINA Translation by Valerie Magar Abstract This article presents an overview of the criteria and policies for the reconstruction of historical monuments from the viceregal period in Mexico, through the review of paradigmatic cases which contributed to the establishment of practices and guidelines developed since the 1920s, and that were extended at least until the middle of the last century. It addresses the conformation of the legal framework that gave rise to the guidelines for the protection and safeguard of built heritage, as well as the context of reassessment of the historical legacy through systematic studies of representative examples of Baroque art and its ornamental components, considered in a first moment as emblematic of Mexico’s cultural identity. Based on case studies, issues related to the level of reconstruction of buildings are discussed, as well as the ideas at that time on the historical value of monuments and their function; and finally, it presents the results of the interventions in terms of their ability to maintain monuments as effective devices for the evocation of the past through the preservation of its material remains. Keywords: reconstruction, viceregal heritage, neo-Colonial heritage Background: the first piece of legislation on monuments as property of the Mexican nation While the renovation process of the Museo Nacional was taking place in 1864 during the Second Empire (1863-1867) under the government of the Emperor Maximilian of Habsburg, social awareness grew about the value of objects and monuments of the past, as well as on their function as public elements capable of adding their share in the construction of the identity of the modern nation that the government intended to build in Mexico. -
Historic Landmarks Commission Landmark Designation Staff Report
HISTORIC LANDMARKS COMMISSION LANDMARK DESIGNATION STAFF REPORT THE SAN MARCOS BUILDING 1129 STATE STREET SANTA BARBARA, CALIFORNIA APN 039-231-037 JULY 15, 2015 Above: San Marcos Building after 1926 reconstruction. Robert Easton Collection, Santa Barbara Public Library Above: San Marcos Building, December 2012. 1 Background: The San Marcos building is composed of three phases of construction. The 1913 commercial building, whose storefronts are on the north side of State Street was added to in 1923 with storefronts on the west side of the Anapamu Street façade to form an L- shaped building. The section of the building at the corner of State Street and Anapamu Street was destroyed in the earthquake of 1925. In 1926, the corner of the building was reconstructed using the elaborate Spanish Churrigueresque style that was designed by noted architects Myron Hunt and Harold C. Chambers whose design efforts significantly influenced the heritage of the City. The 1926 building exemplifies the best example of Spanish Churrigueresque architecture on a commercial building within the downtown core while incorporating the character-defining fenestration patterns of the simpler 1913 and 1923 portions of the building. The building includes the storefront addresses of 1119-1137 State Street and 9-15 West Anapamu Street. The Santa Barbara San Marcos Building, located within the El Pueblo Viejo Landmark District, has been on the California Inventory of Historic Resources and the City of Santa Barbara Potential Historic Resources List since 1978 because of the significance of both its history and its architecture. Since 1990, the Historic Landmarks Commission (HLC) has worked with the property owner on rehabilitating the property. -
Mission San Gabriel Arcangel Ssion Boulevard Gabriel, Los Angeles, California
,, No. ~37-8 H Mission San Gabriel Arcangel ssion Boulevard Gabriel, Los Angeles, California PH'.JTOGHAPI-L3 WRITTEN HL3TORICAL AND DESCHIPTIVI<~ DATA District of California #3 Historic American Buildings durvey Henry F. Withey, District Officer 407 So. Western Avenue Los Angeles, California. MISSION SAN GABRIEL ARCANGEL HABS. No. 37-8 Mission Boulevard' San Gabriel, Los Angeles County California.. SHOP RUINS HABS. No. 37-SA HA,B5 t.A L. Owner: Roman Catholio Arohbishop, Diocese of Los Angeles, 1114'"1!/est Olympia Blvd., Los Angeles, California Date of ereotion Present ohuroh started 1794 - oompleted 1806. Arohi tect: Padre Antonio Curzad o. Builder: Indian labor under direction of Padres Cil.rzado. and Sanohez . l?Jisent Conditions: Of the buildtngs that composed the original group, there remain, the Church, i'he Padres' Living Quarters, an adjoining Kitchen, and foundations of a Tannery, Soap Factory and Smithy. The ohuroh is in fair oondition, and still serves the oommunity as a Catholic Church. The Padres' Quarters is also in :fair condition, and is used aa a Museum for the display of Mission relios, the sale of cards, pictures and· souvenirs of the Mission, and for storage purposes. The shop foundations aee in a ruined condition. Number of stories: The ohurch is a high one-story structure with a choir balcony at the east end. :Materials of construotion1 Foundations of all remaining buildings are of fieldstonea, laid in lime mortar. Walls of the church are part stone, part burned brick, laid in lime mortar and thinly plast ered both sides.· Floors are of wood; roof over Baptist;ry and Saortatfy are of stone laid in lime mortar. -
Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture
Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture by Maxine Compean A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master in Art History Carleton University Ottawa, Ontario ©2015 Maxine Compean ABSTRACT My research aims to challenge existing notions of cross-cultural histories during the early modern era. This thesis will speak to an alternative analysis of the cultural consequences of colonialism and how Indigenous and Mestizo styles that emerged in Mexico had a global cultural impact. During the 17th and 18th centuries, Mestizo and Indigenous architects and sculptors succeeded in creating a different artistic product from the Spanish Baroque that enabled them to represent Christian symbols in their own way. In turn, while the Spanish conqueror was physically and intellectually removed from current European artistic developments, he was visually drawn by Tequitqui architecture because it was not only a new style but it also exuded a different identity. Through the analysis of written testimonies by Spanish friars, historians and architects it is evident that the result of cultural hybridity made an impression on the European's visual culture. After close observation it became evident that the discussion of Tequitqui art, especially regarding Indigenous and Mestizo artist's recognition, is often neglected in art history books. Most literature covers the usual discourse of Spain shaping Mexican culture due to colonialism, but the opposite discussion is nonexistent. Therefore this study aims to challenge the Western discourse and 2 propose that the cosmopolitanism of Tequitqui art and the artists who created it deserve acknowledgment in the literature of Baroque art history.