George Howe and Modern Architecture
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Finding Aid for the Mellor, Meigs & Howe Collection in The
George Howe, P.S.F.S. Building, ca. 1926 THE ARCHITECTURAL ARCHIVES OF THE UNIVERSITY OF PENNSYLVANIA MELLOR, MEIGS & HOWE COLLECTION (Collection 117) A Finding Aid for The Mellor, Meigs & Howe Collection in The Architectural Archives, University of Pennsylvania © 2003 The Architectural Archives of the University of Pennsylvania. All rights reserved. The Architectural Archives, University of Pennsylvania Mellor, Meigs & Howe Collection Finding Aid Archival Description Descriptive Summary Title: Mellor, Meigs & Howe Collection, 1915-1975, bulk 1915-1939. Coll. ID: 117 Origin: Mellor, Meigs & Howe, Architects, and successor, predecessor and related firms. Extent: Architectural drawings: 1004 sheets; Photographs: 83 photoprints; Boxed files: 1/2 cubic foot. Repository: The Architectural Archives, University of Pennsylvania 102 Meyerson Hall Philadelphia, Pennsylvania 19104-6311 (215) 898-8323 Abstract: The Mellor, Meigs & Howe Collection comprises architectural records related to the practices of Mellor, Meigs & Howe and its predecessor and successor firms. The bulk of the collection documents architectural projects of the following firms: Mellor, Meigs & Howe; Mellor & Meigs; Howe and Lescaze; and George Howe, Architect. It also contains materials related to projects of the firms William Lescaze, Architect and Louis E. McAllister, Architect. The collection also contains a small amount of personal material related to Walter Mellor and George Howe. Indexes: This collection is included in the Philadelphia Architects and Buildings Project, a searchable database of architectural research materials related to architects and architecture in Philadelphia and surrounding regions: http://www.philadelphiabuildings.org Cataloging: Collection-level records for materials in the Architectural Archives may be found in RLIN Eureka, the union catalogue of members of the Research Libraries Group. -
The Juilliard School
NEW ISSUE — BOOK-ENTRY ONLY Ratings: Moody’s: Aa2 S&P: AA See “RATINGS” herein In the opinion of Orrick, Herrington & Sutcliffe LLP, Bond Counsel, based upon an analysis of existing laws, regulations, rulings and court decisions, and assuming, among other matters, the accuracy of certain representations and compliance with certain covenants, interest on the Series 2018A Bonds (as such term is defined below) is excluded from gross income for federal income tax purposes under Section 103 of the Internal Revenue Code of 1986. In the further opinion of Bond Counsel, interest on the Series 2018A Bonds is not a specific preference item for purposes of the federal alternative minimum tax. Bond Counsel is also of the opinion that interest on the Series 2018A Bonds is exempt from personal income taxes imposed by the State of New York or any political subdivision thereof (including The City of New York). Bond Counsel expresses no opinion regarding any other tax consequences related to the ownership or disposition of, or the amount, accrual or receipt of interest on, the Series 2018A Bonds. See “TAX MATTERS” herein. $42,905,000 THE TRUST FOR CULTURAL RESOURCES OF THE CITY OF NEW YORK Refunding Revenue Bonds, Series 2018A (The Juilliard School) The Refunding Revenue Bonds, Series 2018A (The Juilliard School) (the “Series 2018A Bonds”) will be issued and secured under the Revenue Bond Resolution (The Juilliard School), adopted by The Trust for Cultural Resources of The City of New York (the “Trust”), as of March 18, 2009, as supplemented, including as supplemented by a Series 2018A Resolution Authorizing not in Excess of $50,000,000 Refunding Revenue Bonds, Series 2018A (The Juilliard School), adopted by the Trust on October 11, 2018 (collectively, the “Resolution”). -
Graphicstudio: Uncommon Practice at USF at Tampa Museum of Art
Graphicstudio: Uncommon Practice at USF at Tampa Museum of Art “Graphicstudio: Uncommon Practice at USF” is the most ambitious and comprehensive show to feature works from the workshop since the survey exhibition of the early years of Graphicstudio at the National Gallery of Art in Washington D.C. in 1991. The exhibit features forty-five years of more than 110 original works by an international array of 45 of the 108 artists who have worked in residence at Graphicstudio. On view February 1 through May 18, 2014, this exhibition was co-organized by the Tampa Museum of Art and the USF Contemporary Art Museum and curated by Jade Dellinger. Highlighting both technical and conceptual breakthroughs, the exhibition includes seminal works spanning Graphicstudio’s forty-five year history (by Robert Rauschenberg, Jim Rosenquist, Ed Ruscha, Allan McCollum, Louise Bourgeois, Jim Dine, and others) with some of its most recent collaborative endeavors by (Christian Marclay, Mark Dion, Teresita Fernández, Los Carpinteros, and Trenton Doyle Hancock). According to Margaret Miller, the Director of Institute for Research in Art – Contemporary Art Museum and Graphicstudio, the exhibition is an opportunity for viewers to see a survey of works that represent leading international artists and affirms that printmaking is a primary medium for many contemporary artists. The exhibition chronicles several aesthetic and technical conversations among artists of different generations. Often times, it is the invention of a new technology that transfixes the artists in residence. As former director, Alan Eaker noted, “It has always been the primary concern of Graphicstudio to make art that was phenomenal and along the way develop the technology to accomplish it.” Founded in 1968 as a non-profit, university-based, collaborative art making facility, Graphicstudio remains unique in its commitment to aesthetic and technical research in the visual arts. -
ARTIFACTS University of Washington / Seattle USA Autumn 2008
ARTIFACTS UNIVERSITY OF WasHINGTON / SEATTLE USA AUTUMN 2008 SCHOOL OF ART DIVISION OF ART / DIVISION OF ART HISTORY / DIVISION OF DESIGN Welcome to the new Artifacts If you are holding this newsletter in your hands, The online version includes the material in the the change of format is obvious. What once was printed newsletter, but it also has all the other ma- tabloid is now letter size. This switch has hap- terial you have come to look forward to: faculty, MORE ONLINE pened for two reasons. One is that we want to staff, and student news; an article about our study by going to the newsletter now make Artifacts available online, and letter abroad programs; alumni notes; photos; and small link at : art.washington.edu size documents fit this format better. The second articles about past and future activities and achieve- reason involves economics and ecology. We must ments. Please let us know what you think of the • Alumni Notes spend less on the newsletter in order to preserve new format, both paper and online, by emailing [email protected]. • Transitions in the SoA funds for other needs, so we are printing both a smaller size and fewer pages. This, of course, also • Study Abroad A link to the online newsletter is at the top of every uses less paper. web page on the SoA website: • Faculty News The printed version of Artifacts will now typically And much more! art.washington.edu contain the notes from the director, the calendar of upcoming events, and our acknowledgement of donors. It will regularly be sent to our donors and SUPPORT the parents of current students. -
Agnes Scott College Bulletin: Catalogue Number 1916-1917
SERIES 14 NUMBER 3 AGNES SCOTT COLLEGE BULLETIN CATALOGUE NUMBER 1916-1917 ENTERED AS SECOND-CLASS MATTER AT THE POST OFFICE. DECATUR, GEORGIA I AGNES SCOTT COLLEGE BULLETIN CATALOGUE NUMBER 1916-1917 BOARD OF TRUSTEES J. K. Orr, Chairman Atlanta F. H. Gaines Decatur C, M. Candler Decatur J. G. Patton Decatur George B. Scott Decatur W. S. Kendrick Atlanta John J. Eagan Atlanta L. C. Mandeville Carrollton, Ga. D. H. Ogden Atlanta K. G. Matheson Atlanta J. T. LuPTON Chattanooga, Tenn. J. P. McCallie Chattanooga, Tenn. W. C. Vereen Moultrie, Ga. L. M. Hooper Selma, Ala. J. S. Lyons Atlanta Frank M, Inman Atlanta EXECUTIVE AND ADVISORY COMMITTEE C. M. Candler John J. Eagan J. K. Orr F. H. Gaines (r. "R. ScOTT FINANCE COMMITTEE Frank M. Inman J. T. Lupton G. B. Scott W. C. Vereen L. C. Mandeville Agnes Scott College CALENDAR 1917—September 18, Dormitories open for reception of Students. September 19, 10 A. M., Session opens. September 18-20, Registration and Classification of Students. September 21, Classes begin. November 39, Tranksgiving Day. December 19, 1:20 P. M., to January 3, 8 A. M., Christmas Eecess. 1918—January 15, Mid-Year Examinations begin. January 26, Second Semester begins. January 28, Classes Resumed. February 22, Colonel George W. Scott's Birthday. March 29, 1:20 P. M., to April 2, 8 A. M., Spring Vacation. April 26, Memorial Day. May 14, Final Examinations begin. May 26, Baccalaureate Sermon. May 28, Alumnae Day, May 29, Commencement Day. Officers and Instructors OFFICERS OF INSTRUCTION AND GOVERNMENT 1916-1917 (arranged in order of appointment) F. -
Evolution of a Modern American Architecture: Adding to Square Shadows
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1-1-2007 Evolution of A Modern American Architecture: Adding to Square Shadows Fon Shion Wang University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Wang, Fon Shion, "Evolution of A Modern American Architecture: Adding to Square Shadows" (2007). Theses (Historic Preservation). 93. https://repository.upenn.edu/hp_theses/93 A Thesis in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Master of Science in Historic Preservation 2007. Advisor: David G. De Long This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/93 For more information, please contact [email protected]. Evolution of A Modern American Architecture: Adding to Square Shadows Disciplines Historic Preservation and Conservation Comments A Thesis in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Master of Science in Historic Preservation 2007. Advisor: David G. De Long This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hp_theses/93 EVOLUTION OF A MODERN AMERICAN ARCHITECTURE: ADDING TO SQUARE SHADOWS Fon Shion Wang A THESIS In Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE IN HISTORIC PRESERVATION 2007 ________________________ ______________________________ Advisor Reader David G. De Long John Milner Professor Emeritus of Architecture Adjunct Professor of Architecture _______________________________ Program Chair Frank G. -
The Architecture of the Bryn Mawr Campus George E
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Architecture, Grounds, and History Facilities 1978 The Architecture of the Bryn Mawr Campus George E. Thomas Published in Bryn Mawr Now. The ad te is not visible on the document and is based on a reference to the lecture being given during the Centennial year of Joseph Taylor's will. Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/facilities_history Part of the Architecture Commons, and the Educational Administration and Supervision Commons Citation Thomas, George E., "The Architecture of the Bryn Mawr Campus" (1978). Architecture, Grounds, and History. Paper 5. http://repository.brynmawr.edu/facilities_history/5 This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/facilities_history/5 For more information, please contact [email protected]. THE ARCHITECTURE OF THE BRYN MAWR CAMPUS "AI the en d of the cenlury, Rockefeller Hall. ,closing the campus off to the west, directing the attention inwards, back to the Co ll ege center." The Rockefeller Hall archway and towers under construc tion. by GEORGE THOMAS Visiting Lecturer In Growth and Structure of CIties Excerpts from a memorial lecture for the late John Forsythe, Trflasurer of Bryn Mawr Col/ege for 24 years, given by the noted architectural historian George Thomas, who this year Is teaching several courses In the College's interdepartmental cities program, including one this semester on PhI/adel phia architecture from the 19'th century Greek , Revival period to today's nationally recognized "PhI/ adelphia School." . -
THE Ambrkian Arciiitectcrat' Fotjndatlon
THE AMBRKiAN ARCIIITECTCRAt' FOtJNDATlON "That Exceptional One: Women in American Architecture, 1888-1988" is organized and circulated by the American Architectural j Foundation and the AIA Women in Architecture Committee. The exhibition will premiere on • May 15,1988, at die AIA National Convention | and Design Exposition in New York City before traveling nationwide during its three-year tour. The American Institute of Architects, founded in 1857, is a voluntary not-for-profit member- i ship organization representing more than 54,000 architects and architectural profession- i als in nearly 300 state societies and local chapters stretching from Maine to Guam. The mission of the American Architectural ] Foundation, the publicly oriented arm of the ( AIA, is to advance the quality of American j architecture by stimulating the public's aware- ness and understanding of architecture and its related arts. "I cannot, in whole conscience, recommend architecture as a profession for girls. I know some women who have done well at it, but the obstacles are so great that it takes an exceptional girl to make a go of it. If she insisted on becoming an architect, I would try to dissuade her. If then, she was still determined, I would give her my blessing—she could be that exceptional one." Pietro Belluschi, EilA, 1972AIA Gold Medalist, from the 1955New York Life Insurance Company brochure, "Should You Be an Architect?" Contents 5 A Message from the President of The American Institute of Architects 6 A Message from the Chair of the AIA Women in Architecture Committee 7 Preface 9 "That Exceptional One: Women in American Architecture, 1888-1988" 27 AIA Archive of Women in Architecture 41 Selected Bibliography WHHW A Message from the President of The American Institute of Architects The American Institute of Architects is priv- past decade alone, reflecting the priority placed ileged to sponsor this major national exhibi- by the AIA to breaking down once and for all tion on the history of women in architecture. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
Pietro Belluschi Collection, 1927-1983
Pietro Belluschi Collection, 1927-1983 Overview of the Collection Creator Belluschi, Pietro, 1899- Title Pietro Belluschi Collection Dates 1927-1983 (inclusive) 19271983 Quantity Approximately 23,300 architectural drawings, ((186.5 linear ft.)) 360 photographic prints, ((25.5 linear ft.)) : b&w and col. 1 negative : col. 14 works of art , ((5 linear ft.)) 14 boxes of records , ((5.5 linear ft.)) Collection Number Coll 2 (collection) Summary The collection is a comprehensive representation of the work of Pietro Belluschi (1899-1994), an important twentieth century American regionalist and modernist architect. The collection consists of architectural drawings (1931-1983) including details, elevations, perspectives, plans, sections, sketches, tracings, blueprints, and photostats, as well as photographs, works of art , and records (1927-1983). Repository Oregon Historical Society, Davies Family Research Library Davies Family Research Library Oregon Historical Society 1200 SW Park Avenue Portland, OR 97205 Telephone: 503-306-5240 Fax: 503-219-2040 [email protected] Access Restrictions The collection is open to the public. Special arrangements must be made in advance to view this collection (except photographs) because the materials other than photographs are stored off site. Biographical Note Pietro Bellsuchi (1899-1994) was an internationally famous and prolific American architect whose career spanned more than 65 years. Categorized as a regionalist and modernist architect, Belluschi claimed to have designed more than 1,000 buildings during his lifetime. He was born in Ancona, Italy, to a middle-class family, served in the Italian Army and was decorated for bravery during World War I, attended the University of Rome, and in 1923 immigrated to the United States. -
2001 Media Guide
Digital Commons @ George Fox University Men's Basketball George Fox University Athletics 2001 2001 Media Guide George Fox University Archives Follow this and additional works at: https://digitalcommons.georgefox.edu/athletics_menbasketball Recommended Citation George Fox University Archives, "2001 Media Guide" (2001). Men's Basketball. 79. https://digitalcommons.georgefox.edu/athletics_menbasketball/79 This Media Guide is brought to you for free and open access by the George Fox University Athletics at Digital Commons @ George Fox University. It has been accepted for inclusion in Men's Basketball by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. GEORGE FOX UNIVERSITY T HE UNIVERSITY T HE AR E N A THE UNIVERSITY schools in the West with "Pacific" in their title, plex is the University's largest building. It con George Fox University, an evangelical the name was changed to George Fox College, tains the James and Lila Miller Gymnasium, the Christian liberal arts college, is expanding, honoring the founder of the Friends (Quaker) Bruins' home court. The center features a 116- both in size and in reputation. Enrollment has Church. by 174-foot gymnasium with three full-length more than quadrupled in the last 15 years, In 1996, with the addition of Western basketball courts, three volleyball courts, and increasing from 549 in 1986 to 2,648 in the fall Evangelical Seminary, George Fox became a 10 badminton courts. The ceilings are 32 feet of 2001. university, offering students a Christ-centered over the hardwood maple floor. The total seat Sincel986, George Fox has been named education and the choice of 35 undergraduate ing capacity is 2,750. -
Portland Architecture Blog by Brian Libby - February 2016
Portland Architecture blog by Brian Libby - February 2016 The Unedited Version The Architect’s Questionnaire: Michelle LaFoe Questions by Brian Libby and Jennifer Wright, Answers by Michelle LaFoe Photo of Michelle LaFoe by Dina Avila. Next in our continuing series is architect Michelle LaFoe, principal at OFFICE52 Architecture. Along with firm partner Isaac Campbell, their collaboration has established itself as one of the city’s most creative and innovative. Whether its local urban infill projects such as House C and its sculpturally designed Light Space or their national competition-winning design for Scott Hall, the soon to be completed Nano-Bio-Energy Technologies Institute building at Carnegie Mellon University, OFFICE 52 exhibits an exceptional ability to create transformational spaces with light, color and materials. In this interview, Michelle shares the remarkable trajectory of her global experiences and the events that have given shape to her process driven design. Portland Architecture: Where did you study architecture and how would you rate the experience? I studied in five places that had different approaches due to my focus at each one, and I learned important things from each of them. They include Rice University, The School of the Art Institute of Chicago, an 18 month Fulbright Grant, The University of Illinois Urbana-Champaign, and Yale University. I started my undergraduate studies at Rice University in the School of Architecture in 1985 and completed my professional architecture degree in 1991. One of the reasons that I chose Rice is that they were a globally-oriented university that encouraged a strong liberal arts education in conjunction with the focused B.