CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Sublime Modularity

Total Page:16

File Type:pdf, Size:1020Kb

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Sublime Modularity CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Sublime Modularity A graduate project submitted in partial fulfillment of requirements For the degree of Master of Fine Arts in Art, Visual Arts By Curtis Taylor May 2017 i A graduate project of Curtis Taylor is approved: __________________________________________ ____________ Christian Tedeschi, M.F.A. Date __________________________________________ ____________ Lesley Krane, M.F.A. Date __________________________________________ ____________ Michelle Rozic, M.F.A., Chair Date California State University, Northridge ii Acknowledgements To Genevieve, All I have earned I owe to you. I could not have done this without your support. You have guided me through this process and kept me sane along the way. Thank you, my love. Evan, Sophie and Inès, Thank you for all your patience throughout this program. I can’t express how much your understanding has helped me complete this program. Thank you. Mom and Dad, You have always been there for me with encouragement and inspiration. The genetic material to keep me moving and creating is especially appreciated! Monica and Jerry, You have always supported me, even before I knew I wanted to go on this adventure! Michelle Rozic, Thank you for all your support, encouragement. Your expectations have raised the expectations I now hold for myself and made me a better artist. Lesley Krane, You have always been so welcoming and gracious with your support; especially that one time in review when you commented about the absence of my, then secret, abstract prints. Christian Tedeschi, Thank you for introducing me to Googie architecture; an important puzzle piece which opened a new understanding of myself and my art. Samantha Fields, You were instrumental in helping me realize the cyclical nature of my practice, and how all the pieces of my life have informed my work. Tim Forcum, Your encouragement and knowledge of the abstract world helped me become comfortable in my own skin. iii Table of Contents Signature Page ii Acknowledgments iii Abstract v Introduction: Preluded Modularity 1 Section One: Informed Modularity 2 Section Two: Procedural Modularity 6 Printmaking 12 Printmaking: Case Study 15 Painting 16 Painting: Case Study 18 Sculpture 21 Sculpture: Case Study 25 Section Three: Philosophical Modularity 28 Conclusion: Culminating Modularity 31 References/Bibliography 32 iv Abstract Sublime Modularity By Curtis Taylor Master of Fine Arts in Art, Visual Arts Formally, my work draws from Modernism and Minimalism by utilizing prefabricated industrial materials such as plywood, MDF, and spray paint. Informed by Mid-Century modern architecture and design, it also contrasts the austere formalism of hard-edge abstraction with the expressive, luminescent color fields of abstract expressionism. Overlapping stencils cut from prefabricated materials facilitates a modular, mark making process and allows me to establish a visual vocabulary that connects individual prints or paintings in a series. This method of creating enables me to freely react to previous marks, producing fluid, interconnected layers, and quickly compose without overthinking. v This technique exposes intriguing shape interactions that inspire hard-edge, abstract, wall hanging sculptures. These sculptures are integral components of the series as they echo line, shape, and color patterns contained within the prints and paintings. When included as part of the series and installed with the prints or paintings, they expand the conversation through repetition of color and shape. Because these wall sculptures are reproductions of the original collage pieces generated at the beginning of my creative process, they bring the system full circle. vi Introduction: Preluded Modularity “…the Beautiful in nature is connected with the form of the object, which consists in having boundaries, the Sublime is to be found in a formless object, so far as in it, or by occasion of it, boundlessness is represented” (I, Book 2 S23,)(Kant I. , 1790) I cannot describe the larger historical or philosophical influences on my practice without discussing the process. Additionally, I cannot describe the influences or the process without discussing the product. As such, it can only be expected that this abstract will serpentine throughout my philosophical and historical influences to create a more cohesive description of my work. Built around the concept of modularity, or the degree to which something can be separated and recombined, my practice is both constructive and deconstructive. Depending on the intended concept or content, I am comfortable starting with either method or even employing both methods at the same time. The intuitive deconstruction process is important because it produces compelling, non-referential shapes. I find these shapes compelling for their curvilinear and rectilinear properties that often meet at acute angles causing the viewer to follow the lines and focus on that point of intersection. These shapes, and the visual vocabulary they create, define my prints and paintings. Through the constructive phase, I rearrange these shapes to create a sublime tension between awkward compositions and soothing luminescent color palettes. 1 Section One: Informed Modularity I have always found great joy in creating. I believe that joy stems from bearing witness to the people I love most, embracing process every day and rejoicing in the completed product. Informed Modularity explores the genesis of my interest in process and materials. I spent a great deal of my childhood watching my father, a carpenter, move from the planning stages of many construction projects, through the framing stages to finished projects. Because of this, I have gleaned a certain amount of construction understanding from him, which has helped me ideate project designs. More importantly to my graduate project artwork, my interest in raw construction-grade materials and their inherent beauty is rooted in these experiences. While my father was busy building houses, my mother wrote craft columns, reviews and project instructions for magazines such as McCall’s and Crafts ‘n Things. Similarly, I watched her progress from start to finish on many projects. While attention to construction detail is incredibly important to my father, the nature of my mother’s work focuses on the aesthetic, finish details of any project. My interest in the “finish” was certainly developed during this time. My brother and I were surrounded by industrial and craft materials and tools from an early age. From time to time we would receive explicit, direct instruction for our projects, but my parents’ justifiable concern about two young boys using their tools limited their enthusiasm for such encouragement. Leftover construction grade materials usually inspired our creative process, and most of our projects were self-guided and 2 produced using relatively benign tools such as scissors, hammers, and drills. My comfort with these tools and materials from a young age is a major reason why my work resides on paper, wood panels or construction grade products. I view my works as a dichotomy between historically, gender exclusive activities; industrial craftwork is traditionally the domain of men, while domestic materials fall within that of women. Even though my parents practiced a post-war, traditional division of labor, their individual work was viewed as equal, and as such I place equal importance on both forms of work. I do not view them as mutually exclusive gender domains, and I am comfortable using each as needed throughout my practice. The paper craft (prints, bookbinding, etc.) are produced using domestic tools such as scissors, needles, thread, and cloth while my prints and sculptures are fabricated using industrial tools such as printing presses, table saws, wood planers, and miter saws. Time and place have also had a meaningful impact on my practice. The 1970s and 1980s were an awkward time in northeast South Dakota where I was born and raised. Caught between renovation eras, many small towns in this region were still influenced by Mid-Century Modern design and architecture. Drive-in restaurants with cantilever carports, drive-in theaters, and “outdated” Mid-Century Modern interior designs were part of my everyday life. The influence of these designs, ubiquitous with Mid-Century Modern shapes and color palettes, is evident in my two-dimensional and three- dimensional pieces. Travel is another major influence in my work. As a child, one of my favorite family vacation destinations was the Space Needle and Science Center in Seattle, Washington. Built for the 1962 Seattle World’s Fair and Expo, the exhibits and 3 architecture reflected the technological optimism and design aesthetics of the 1950s (University of Washington, n.d.). The clean, swooping, “futuristic” lines — a descendent of Googie Architecture (Friedlander, 2008) — intrigued me as did the trapezoidal and ovoid shapes that would blend together through open frame constructions. Family vacations in the Pacific Northwest also introduced me to Tlingit art. My fascination with the ovoid shape, one of the foundational design elements used throughout Tlingit iconography, was sparked during these visits. Saturday morning programming such as The Jetsons and Lost in Space have also had a large influence on my color palette and aesthetic choices. I was fascinated by these futuristic worlds, with their swooping architecture and ovoid shaped space vehicles. The influence of these vibrant color palettes and seemingly endless backgrounds
Recommended publications
  • Guide for Ascaad2010 Conference Authors
    CRITICAL ATTITUDE TOWARD THE FOOTSTEP OF GOOGIE ARCHITECTURE ON PARAMETRIC ARCHITECTURE ATA CHOKHACHIAN AND ABOLFAZL DEHGHANMONGABADI Eastern Mediterranean University Architecture Department, Gazimagusa, North Cyprus Email address: [email protected] Email address: [email protected] Abstract. Advent of machinery age, altering in human needs and lifestyle has changed the pattern of architecture. This pattern is in close relation with different environmental, contextual, behavioral and theoretical aspects of dwellers. With a glance to the history of design, in 1940s the new style of architecture came up which was called Googie architecture. It was a movement of modern architecture, a subdivision of futurist architecture influenced by car culture and the Space Age. This style was alive up to mid- 1960s but in its short life, it put a big impact on the appearance of the cities and buildings. Furthermore, in recent years the new style of architecture named Parametricism has started to take shape and accordingly the formal appearance is very close to Googie architecture. Also parametric architecture is out birth of technology and the idea of communication and futurism. The research is questioning the characteristics of parametric and Googie architecture with scrutinizing the origins and main gestures of these styles in society and culture of the period that they exist in. the research tries to figure out failures of Googie style in its own period and parallel to this, it give suggestions to implement and transform qualitative parameters in the design process by means of adapting pattern language in design process, applying parametric design thinking and simplexity in design systems.
    [Show full text]
  • HISTORICAL NOMINATION of the Mission Hills Branch Public Library 925 West Washington Street ~ Mission Hills Neighborhood San Diego, California
    HISTORICAL NOMINATION of the Mission Hills Branch Public Library 925 West Washington Street ~ Mission Hills Neighborhood San Diego, California Ronald V. May, RPA Kiley Wallace Legacy 106, Inc. P.O. Box 15967 San Diego, CA 92175 (858) 459-0326 (760) 704-7373 www.legacy106.com June 2019 Ronald V. May, RPA Kiley Wallace Legacy 106, Inc. P.O. Box 15967 San Diego, CA 92175 (858) 459-0326 (760) 704-7373 www.legacy106.com August 2019 1 HISTORIC HOUSE RESEARCH Ronald V. May, RPA, President and Principal Investigator Kiley Wallace, Vice President and Architectural Historian P.O. Box 15967 • San Diego, CA 92175 Phone (858) 459-0326 • (760) 704-7373 http://www.legacy106.com 2 3 State of California – The Resources Agency Primary # ___________________________________ DEPARTMENT OF PARKS AND RECREATION HRI # ______________________________________ PRIMARY RECORD Trinomial __________________________________ NRHP Status Code 3S Other Listings ___________________________________________________________ Review Code _____ Reviewer ____________________________ Date __________ Page 3 of 24 *Resource Name or #: The Mission Hills Branch Public Library P1. Other Identifier: 925 West Washington St., San Diego, CA 92103 *P2. Location: Not for Publication Unrestricted *a. County: San Diego and (P2b and P2c or P2d. Attach a Location Map as necessary.) *b. USGS 7.5' Quad: Point Loma Date: 2015 T ; R ; ¼ of ¼ of Sec ; M.D. B.M. c. Address: 925 West Washington St. City: San Diego Zip: 92103 d. UTM: Zone: 11 ; mE/ mN (G.P.S.) e. Other Locational Data: (e.g., parcel #, directions to resource, elevation, etc.) Elevation: 380 feet Legal Description: It is Tax Assessor’s Parcel (APN) # 444-611-03-00.
    [Show full text]
  • Preserving Los Angeles Architecture from Art Deco to 'Googie'
    Tneme-News PRESERVING LOS ANGELES ARCHITECTURE FROM ART DECO TO ‘GOOGIE’ On the sixth floor of Los Angeles City Hall is the Office of rail stations.” Construction of the station in the 1930s Historic Resources (OHR) which coordinates the city’s historic resulted in the relocation of Los Angeles’ Chinatown and preservation activities, including the first comprehensive the development of Central Plaza, which was one of the program to identify significant historic resources throughout first pedestrian malls in the U.S. Spanning the entrance to the city. Designated SurveyLA, the citywide project will begin Chinatown is the city-declared monument known as the this spring and span three years. During the project, historic Twin Dragon Towers Gateway, which is 25 feet high and resources dating from 1865 to 1980 will be identified by designed to symbolize luck, prosperity and longevity. Last survey consultant teams that meet professional qualification year, the gateway was recoated with a tie-coat of Tnemec’s standards as historians and architectural historians. The Series L69 Hi-Build Epoxoline II, a low volatile organic survey is partially funded by a $2.5 million grant from the J. compound (VOC) epoxy, and a finish coat of Series 1070V Paul Getty Trust and coordinated by the OHR. Low VOC Fluoronar, a high-solids fluoropolymer coating in Chilean Red. The recoat was required after the existing The OHR definition of historic resources includes “buildings, acrylic polyurethane coating system on the gateway started sites, structures, objects, cultural landscapes and natural to fade. features, as well as areas and historic districts (groupings of resources).
    [Show full text]
  • 6.0 Design Guidelines
    CITY OF VICTORVILLE OLD TOWN VICTORVILLE SPECIFIC PLAN | DESIGN GUIDELINES 6.0 DESIGN GUIDELINES This section provides design direction for private property in Old Town Victorville and will guide new development, improvements, and renovations to be consistent with the vision for the area. These guidelines describe and illustrate designs that are appropriate for transforming Old Town Victorville into an economically vibrant and pedestrian-friendly destination. The guidelines are intended to strengthen the area’s sense of place by promoting urban design that responds to the local climatic conditions and unique character of Victorville. The design guidelines are categorized as follows: 6.1 Architecture 6.1.1 Architectural Style 6.1.2 Building Materials & Color 6.1.3 Storefront Design 6.2 Private Sign Design 6.2.1 General Guidelines 6.2.2 Additional Guidelines for the 7th Street and D Street Corridors 6.3 Mixed Use Development 6.3.1 Site Planning & Building Siting 6.3.2 Form, Massing & Articulation 6.3.3 Building Usage 6.3.4 Landscaping 6.3.5 Circulation & Access 6.3.6 Parking 6.3.7 Plazas & Outdoor Spaces 6.3.8 Lighting 6.3.9 Service & Storage 6.4 Green Development 6.4.1 Green Site Design 6.4.2 Green Building Design FINAL | NOVEMBER 2018 PAGE 6-1 CITY OF VICTORVILLE OLD TOWN VICTORVILLE SPECIFIC PLAN | DESIGN GUIDELINES 6.1 Architecture 6.1.1 Architectural Style The desired architectural style for Old Town development should draw upon the architectural vernacular commonly associated with Route 66 heritage and reflect elements of the below architectural styles that will be further defined in this section: • Mid-Century Modern • American Roadside • Googie New development and remodels of existing buildings should make a strong effort to demonstrate a contemporary take on the architectural elements of these styles, described below.
    [Show full text]
  • Murray Grigor on John Lautner Grigor Traces Lautner’S Journey from 'Taliesin on Steroids' to 'Inimitable' 20Th Centur
    ScottishArchitecture.com SEARCH | SUBSCRIBE Home | News | What's On | ACCESS to Architecture | Education | Venice 2008 | Blogs | Exhibitions | Architecture in Detail | Buildings & Places | Subscribe | AArrcchhiitteeccttuurree iinn DDeettaaiill -- IInntteerrvviieewwss Alex de Rijke Interview The co-founder of dRMM Architects discusses why he believes that timber is the new conc... AArrcchhiitteeccttuurree iinn DDeettaaiill -- IInntteerrvviieewwss Murray Grigor on John Lautner Grigor traces Lautner’s journey from 'Taliesin on steroids' to 'inimitable' 20th centur... Date: 11 March 09 AArrcchhiitteeccttuurree iinn DDeettaaiill Author: Caroline Ednie, Web Editor MiLoft Housing Concept Email this Article | Click to Print RMJM launches a new zero heating housing model with ‘aloftments’ at Murray Grigor on John Lautner MIPIM 2009 ‘Infinite Space: The Architecture of John Lautner' is a new documentary feature film by renowned Scottish film-maker Murray EExxhhiibbiittiioonnss Grigor. The film traces the lifelong quest of visionary architect Between Earth and Heaven: The Lautner to create “architecture that has no beginning and no end” and Architecture of John Lautner features archive recordings of Launter talking about his life and work The Lighthouse to stage only alongside interviews with previous and current owners of Lautner European showing of major Lautner houses; architects and builders he worked with and whom he exhibition inspired, notably Frank Gehry, and Lautner’s two daughters Judith and Karol. In conjunction with the exhibition ‘Between Earth and BBllooggss BBllooggss Heaven: The Architecture of John Lautner', which receives its only Mark Chalmers Claire Bonner European showing at The Lighthouse, ‘Infinite Space’ is due to be Added: 2009-03-25 Added: 2009-03-17 screened at the GFT at the end of this month (see details below).
    [Show full text]
  • Sa Anta a Cru Uz Hi Isto Oric B Buil Ding G Sur Rvey
    SANTA CRUZ HISTORIC BUILDING SURVEY DRAFT VOLUME III – November 2012 DRAFT – November 2012 SANTA CRUZ HISTORIC BUILDING SURVEY ‐ VOLUME III Department of Planning and Community Development CITY OF SANTA CRUZ Prepared by Archives & Architecture, LLC Selections and research by Charlene Duval, Jessica Kusz, and Kara Oosterhous, Public Historians with the Santa Cruz Historic Preservation Commission Technical architectural descriptions by Leslie Dill, Architect Evaluations by Franklin Maggi, Architectural Historian City Planning Staff: Juliana Rebagliati, Eric Marlatt, Don Lauritson & Janice Lum Historic Preservation Commission Subcommittee: Judy Steen and Ian Blackwood November 2012 2 TABLE OF CONTENTS INTRODUCTION .................................................................................................................................................................................... 5 PLANNING BACKGROUND ................................................................................................................................................................ 6 SANTA CRUZ HISTORIC BUILDING SURVEY ......................................................................................................................... 6 METHODOLOGY ................................................................................................................................................................................. 8 PERFORMANCE OF THE SURVEY ..............................................................................................................................................
    [Show full text]
  • City of Long Beach Historic Context Statement
    City of Long Beach Historic Context Statement Prepared for: City of Long Beach Department of Development Services Office of Historic Preservation 333 West Ocean Boulevard Long Beach, California 90802 Prepared by: Sapphos Environmental, Inc. 430 North Halstead Street Pasadena, California 91107 July 10, 2009 TABLE OF CONTENTS SECTIONS PAGE 1.0 INTRODUCTION .............................................................................................................. 5 1.1 Objectives and Scope............................................................................................. 5 1.2 Working Definitions............................................................................................... 6 1.3 Report Preparation ................................................................................................. 8 1.4 Historic Context Statement Organization................................................................ 8 2.0 LOCATION...................................................................................................................... 10 3.0 STUDY METHODS.......................................................................................................... 14 3.1 Historical Research............................................................................................... 14 3.2 Previous Surveys................................................................................................... 15 3.3 Field Reconnaissance...........................................................................................
    [Show full text]
  • A Century of Futurist Architecture: from Theory to Reality
    Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 27 December 2018 doi:10.20944/preprints201812.0322.v1 A century of Futurist Architecture: From Theory to Reality Farhan Asim Venu Shree M.Arch Student (Sustainable Architecture) Assistant Professor NIT Hamirpur, India NIT Hamirpur, India +91-8948318668 +91-7018620827 [email protected] [email protected] Abstract— The Italian Architect Antonio Sant’Elia is considered the father of Futurist Architecture, the one who envisioned the future II. FUTURISTIC ARCHITECTURE: IDEAS, ORIGIN & FATE of cities on the basis of the native population’s work culture and habitual traits. It has been a century since his ideas were introduced The new generation of futurists hypothesized about in his ‘L-Architettura Futurista - Manifesto’ and later circulated by the vision for new metropolises and megalopolis with F.T. Marinetti, today they are making a prodigious impact on the flexible and more useful urban environments. The Avant- architecture style of the entire world. His revolutionary ideas Garde ideas of futurists stayed as an inherent part of modern percolated through the murky aftermath of 19th & 20th century art movements. His out-worldly pre-modernist principles gave rise to the architectural edification. The futurist idea of development notion of exclusive habitats for generations and started the post-war was to disregard history and come up with new ideologies trend of housing typologies as an industrialized and fast track and structure that could formulate the future cities and medium
    [Show full text]
  • VSBA Bibliography - Writings About Venturi, Scott Brown and Associates (2000S)
    VSBA Bibliography - Writings About Venturi, Scott Brown and Associates (2000s) 2000 “3 days in Boston,” Interiors, April 2000, pp.75-76. (Mentions VSBA designed Loker Commons and has a photo of Memorial Hall) 44 Celebrity Eyes in a Museum Storeroom, The University of Pennsylvania Museum of Archaeology and Anthropology, April 15, 2000, pp 30-31. (Photo of DSB & RV and short text, in their words, describing the object they selected) “2000 Gala Honors Chuck Close,” SOF News, fall 2000, pp.14-15. (Photo of RV talking to Agnes Gund at the event) Ábalos, Iñaki, La buena vida, Barcelona: Editorial Gustavo Gili, S.A., 2000, pp. 57-59. (In Spanish, images of Mothers House) Adams, Jen, “Princeton Hits Puberty,” The Daily Princetonian, September 13, 2000, p. 13. (Editorial/Opinion column on Frist) “Addition to H.H. Richardson’s Ames Library wins approval after delays,” Architectural Record, September 2000, p. 30. (VSBA’s ’96 proposed addition proved too controversial and resigned - Schwartz/Silver Architects have proposed a new plan) Albrecht, Donald, Ellen Lupton and Steven Skov Holt, Design Culture Now: National Design Triennial, New York: Princeton Architectural Press, March 2000, p. 183. (LLV) Alessi 2000, Crusinallo, Italy: F.A.O. s.p.a., 2000, p.139. (Catalog- “The Campidoglio” RV design, oval tray.) “Alumni News,” Penn in Ink, September 2000, p. 8. (Photo of Toulouse) “Ambiance « toulousaine » à la 10e Fête du Printemps,” Le Courrier des Etats-Unis, April 15, 2000. (Short summary of celebration) American Institute of Architects, Philadelphia Architecture 2000 Catalogue/Directory, May 4-6, 2000, p. 160. (Listing of AIA participants) Anderson, Carla, “Ruling on razing Dilworth house delayed,” Philadelphia Inquirer, August 13, 2005.
    [Show full text]
  • Registration Requirements for Postwar Historic Resources (1945-1970)
    Registration Requirements for Postwar Historic Resources (1945-1970) 1 Table of Contents Theme: Residential Development .......................................................................................................................... 3 Registration Requirements....................................................................................................................................... 5 Theme: Business and Commerce ......................................................................................................................... 10 Subtheme: Retail and Entertainment ..................................................................................................................... 10 Subtheme: Office Buildings ..................................................................................................................................... 11 Subtheme: Auto-Related ........................................................................................................................................ 12 Registration Requirements ..................................................................................................................................... 13 Theme: Industry .................................................................................................................................................. 16 Registration Requirements..................................................................................................................................... 17 Theme: Institutional Development
    [Show full text]
  • Sensory Objects Are for Learning” and Answer Questions 1–4
    Unit 1 Pre-Assessment Read “Sensory Objects Are for Learning” and answer questions 1–4. Sensory Objects Are for Learning Sensory objects, such as stress balls and playdough, have recently been banned at our school. However, I believe there are compelling reasons why students should be permitted to use sensory objects in our classrooms. Sensory objects allow students to relieve stress and anxiety. School can be an intimidating place for many students. Reading aloud, answering questions, and participating in groups are daunting tasks for some students. Allowing these students to use sensory objects can help reduce stressful feelings. Sensory objects help students focus on their school activities. Students who struggle to pay attention to the teacher or to assignments benefit from manipulating sensory objects. They help to minimize distractions and to increase concentration. Most importantly, sensory objects increase brain function. The repetitive actions used with these sensory objects actually increase connections in the brain. Greater connections lead to deeper learning. Sensory objects serve many purposes because they help students relieve stress, support students as they focus, and promote productive brain function. Because these sensory objects can produce positive effects in our classrooms, teachers and administrators should endorse rather than oppose their use. Legal to Copy 1 1. Read the paragraph from the passage. Sensory objects allow students to relieve stress and anxiety. School can be an intimidating place for many students. Reading aloud, answering questions, and participating in groups are daunting tasks for some students. Allowing these students to use sensory objects can help reduce stressful feelings. Which word in the paragraph BEST helps the reader determine the meaning of the word daunting? A.
    [Show full text]
  • Historic Property Report
    Historic Property Report Historic Name: Jenny's Diner Property ID: 155020 Location Address: 1412 W 2ND AVE, SPOKANE, WA 99201 Tax No/Parcel No: 25241.1305 Plat/Block/Lot: BROWNES ADD PTNS OF LOTS 9-10-11 & 12 B15 DAF< BEG GeographicAreas: Spokane County,SPOKANE NW Quadrangle,T25R42E24 Information Construction Dates: Construction Type Year Circa Built Date 1965 Number of stories: N/A Historic Use: Category Subcategory Commerce/Trade Commerce/Trade - Restaurant Historic Context: Architecture Monday, January 16, 2017 Page 1 of 10 Historic Property Report Architect/Engineer: Category Name or Company Architect Armet & Davis Builder KOP Construction Project History Project Number, Organization, Resource Inventory SHPO Determination SHPO Determined By, Project Name Determined Date 2011-06-00088, , Assessors Data 6/1/2011 Not Determined Project: Spokane Commercial 2016-12-08751, , Spokane Mid- 1/15/2017 20th Century Modern Survey 2016 Monday, January 16, 2017 Page 2 of 10 Historic Property Report Photos South and east facades, looking northwest Tiki Lodge to north of Jenny's Diner Jenny's diner sign Interior detail Material detail below window sills East facade, looking northwest Monday, January 16, 2017 Page 3 of 10 Historic Property Report East and north facades, looking south North (rear) facade, looking south North and west facades, looking northwest West facade, detail of roof, looking east West and south facades, looking northeast Entry on south facade, looking west Monday, January 16, 2017 Page 4 of 10 Historic Property Report Inventory
    [Show full text]