ITEM 3 - Old Business HISTORIC and ENVIRONMENTAL PRESERVATION BOARD STAFF REPORT
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Application of Visualisation
THE APPLICATION OF VISUALISATION TOOLS TO ENABLE ARCHITECTS TO EXPLORE THE DYNAMIC CHARACTERISTICS OF SMART MATERIALS IN A CONTEMPORARY SHANASHIL BUILDING DESIGN ELEMENT FOR HOT ARID CLIMATES Tamarah Alqalami Ph.D. Thesis 2017 THE APPLICATION OF VISUALISATION TOOLS TO ENABLE ARCHITECTS TO EXPLORE THE DYNAMIC CHARACTERISTICS OF SMART MATERIALS IN A CONTEMPORARY SHANASHIL BUILDING DESIGN ELEMENT FOR HOT ARID CLIMATES School of the Built Environment University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, August 2017 Table of Contents TABLE OF CONTENTS ......................................................................................................................... I LIST OF FIGURES ................................................................................................................................ V LIST OF TABLES ................................................................................................................................. IX ACKNOWLEDGEMENT ....................................................................................................................... X DEDICATION ...................................................................................................................................... XI ABBREVIATIONS ............................................................................................................................. XII ABSTRACT ...................................................................................................................................... -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Guggenheim Musem, Ground Level Interior
landmarks Preservation Commission August 14, 1990; Designation List 226 LP-1775 GUGGENHEIM MUSEUM, GROUND LEVEL INTERIOR consisting of the entrance loggia (nCM the bookstore), the entrance vestibule, the main gallery space including the fountain, adrnissionjinfo:rma.tion desk, and telephone alcove, and the coat room foyer; AUDITORIUM LEVEL INTERIOR consisting of the staircase in the triangular stai:rhall leading from the auditorium level to the ground level, the elevator foyer, the auditorium, the auditorium mezzanine, the stairs and areas providing access to the auditorium mezzanine, and the stage/platform; the GROUND 1EVEL 'IHROUGH SIXTH LEVEL INTERIORS, up to and including the glass dome, consisting of the continuous rarrp; the space enclosed by the continuous rarrp; the adjacent gallery spaces, among them the grand gallery at the first and second levels, including the fixed planters at the bottom and top of the first level, at the top of the second level, and at the top of the third level, and the skylights; the elevator foyers; and the elevator cabs; the GROUND LEVEL THROUGH FaJRIH LEVEL INTERIORS consisting of the triangular stairhall and staircases which terminate at the top of the fourth level which is the beginning of the fifth level; the SEa:>ND LEVEL INTERIOR consisting of the Justin K. Thannhauser Wing; the SIXTH LEVEL INTERIOR consisting of the triangular gallery adjacent to the elevator shaft; and the fixtures and interior components of these spaces, included but not limited to, floor surfaces, wall surfaces, ceiling surfaces, doors, wind.CMS, brass railings, triangular light fixtures, trough light fixtures, signs, and metal museum seal, 1071 Fifth Avenue, Manhattan. -
Interpretations of Organic Architecture
Melisa Unvan - Mimarlikta Bilimsel Arastirma Yontemleri Interpretations of Organic Architecture Authors: Martina Zbašnik-Senegaènik, Manja Kitek Kuzman University of Ljubljana Faculty of Architecture Slovenia - 1000 Ljubljana, Zoisova ulica 12 Technical Sciences / Architecture and Urban Planning Article Received / Accepted: 10. 9. 2014. / 8. 12. 2014. Abstract The notion of organic architecture originally sprung from the ideas of Viollet le-Duc and Ruskin, which influenced Wright and Gaudí. The second interpretation of organic architecture is based on mathematic and geometric laws that originate in nature. According to the third interpretation, organic architecture finds inspiration in nature and emulates the shapes of living organisms. Biomimicry computational geometry organic Gaudí, Antoni architecture Wright, Frank Lloyd Introduction The second half of the 19th century saw a new revival of Gothic architecture as well as the classical rules of Greek architecture. The proponents of these new architectural principles, Viollet-le-Duc and John Ruskin, were inspired by natural shapes and processes while simultaneously advocating the continuation of the medieval handcrafted art tradition as opposed to introducing new industrial methods. This article’s purpose is to define each interpretation of organic architecture, to find the respective most influential representatives, as well as to present the key laws that influenced architectural design and planning. https://tr.depositphotos.com/167514124/stock-illustration-organic-architecture-the-concept-of.html ORIGINS OF ORGANIC ARCHITECTURE Viollet-le-Duc John Ruskin Do not imitate nature Honest display of material and but construction emulate its laws Ornamentation https://yzarch.wordpress.com/2017/01/04/rethinking-architectural-vocabulary-2016/ http://www.victorianweb.org/authors/ruskin/7lamps/4.html Interpretations of Organic Architecture Louis Sullivan Louis Sullivan claimed that ”if the work is to be organic, the function of the parts must have the same quality as the function of the whole”. -
Architectural Findings
Architectural Findings Summary of Architectural Trends 1940‐70 National architectural trends are evident within the survey area. The breakdown of mid‐20th‐ century styles and building types in the Architectural Findings section gives more detail about the Dayton metropolitan area’s built environment and its place within national architectural developments. In American Architecture: An Illustrated Encyclopedia, Cyril Harris defines Modern architecture as “A loosely applied term, used since the late 19th century, for buildings, in any of number of styles, in which emphasis in design is placed on functionalism, rationalism, and up‐to‐date methods of construction; in contrast with architectural styles based on historical precedents and traditional ways of building. Often includes Art Deco, Art Moderne, Bauhaus, Contemporary style, International Style, Organic architecture, and Streamline Moderne.” (Harris 217) The debate over traditional styles versus those without historic precedent had been occurring within the architectural community since the late 19th century when Louis Sullivan declared that form should follow function and Frank Lloyd Wright argued for a purely American expression of design that eschewed European influence. In 1940, as America was about to enter the middle decades of the 20th century, architects battled over the merits of traditional versus modern design. Both the traditional Period Revival, or conservative styles, and the early 20th‐century Modern styles lingered into the 1940s. Period revival styles, popular for decades, could still be found on commercial, governmental, institutional, and residential buildings. Among these styles were the Colonial Revival and its multiple variations, the Tudor Revival, and the Neo‐Classical Revival. As the century progressed, the Colonial Revival in particular would remain popular, used as ornament for Cape Cod and Ranch houses, apartment buildings, and commercial buildings. -
EXPLORING the SYMBIOTIC RELATIONSHIP BETWEEN ARCHITECTURE and NATURE: a NORDIC TRAINING CENTER by DIANA V. DIETERICH, B.A. A
EXPLORING THE SYMBIOTIC RELATIONSHIP BETWEEN ARCHITECTURE AND NATURE: A NORDIC TRAINING CENTER by DIANA V. DIETERICH, B.A. A THESIS IN ARCHITECTURE Submitted to the Graduate Faculty of Texas Tech University in Partial FulfiUment of the Requirements for the Degree of MASTER OF ARCHITECTURE ^ _Appryoi>^^d /^ Accepted December, 1996 1)05 » 5 AKNOWLEDGEMENTS .•x n^ I would sincerely like to thank Professor James White, Dr. Michael Jones and Professor Michael Peters for their guidance, support and enduring patience. I would also like to thank my family, Dirk, Cody and Mica for your love and understanding. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii LIST OF TABLES iv LIST OF FIGURES v CHAPTER I. INTRODUCTION 1 Purpose and Intention of the Study 1 n. PHILOSOPHICAL BASIS 3 III. ORIGINS OF ORGANIC MOVEMENT 25 European Expressionism and Organic Architecture 48 Contemporary Organic Architecture 52 Chaos and the Future of Nature-Oriented Architecture 64 IV. PROJECT: NORDIC SPORTS CENTER 70 The Development and Organization of Nordic Skiing 71 Physical Context 78 Societal Context 86 Activity Analysis 99 Space Analysis 111 BIBLIOGRAPHY 121 APPENDIX A: LAND USE PERMIT SYSTEM 126 APPENDIX B: PROJECT DRAWINGS 132 111 LIST OF TABLES 4.1 Average Monthly Temperatures Recorded at Lemon Dam 82 4.2 Natural Hazards of the Uinta Soil Group 85 4.3 EconomicIndicatorsoftheDurango Area, 1995 94 4.4 Employess, Payroll and Establishments by Industry 95 4.5 Recreational Facilities in Durango 98 4.6 Space Synopsis 118 IV LIST OF FIGURES Figure 4.1 Space Inventory - Indoor Facilities 110 Figure B.l Axonometric of Nordic Training Center 133 Figure B.2 Site Plan (C.I.= 10') 134 Figure B.3 Floor Plan 135 Figure B.4 North and South Elevations 136 Figure B.5 East and West Elevations 137 Figure B .6 Sections A-A' and B-B' 138 Figure B.7 Sections C-C and D-D' 139 Figure B.8 Typical Building Section 140 Figure B.9 Exterior Perspective of Entry 141 Figure B. -
Design,Architecture, and Decorative Arts the Library of David A. Hanks
Design,Architecture, and Decorative Arts The Library of David A. Hanks (1298 titles in circa 1320 volumes) Partial catalogue – projected to be 1500 volumes ARS LIBRI THE LIBRARY OF DAVID A. HANKS General works p. 1 -- 61 Monographs on Architects p. 62 -- 81 GENERAL WORKS 1 ABBOTT, LYMAN, ET AL. The House and Home: A Practical Book. By Lyman Abbott, L.W. Betts, Elizabeth Bisland, H.C. Candee, John M. Gerard, Constance Cary Harrison, P.G. Hubert, Jr., Thomas Wentworth Higginson, M.G. Humphreys, M.C. Jones, E.W. McGlasson, Samuel Parsons, Jr., J. West Roosevelt, W.O. Stoddard, Kate Douglas Wiggin. 2 vols. xii, (4), 400pp., 5 color plates; xii, 397, (1)pp., 6 color plates. 400 illus. 4to. Orig. publisher’s cloth (slightly rubbed). New York (Charles Scribner’s Sons), 1894-1896. 2 (ABSOLUT COMPANY) LEWIS, RICHARD W. Absolut Book: The Absolut Vodka Advertising Story. xiii, (1), 274pp. Prof. illus. in color. Lrg. 4to. Wraps. Boston/Tokyo (Journey Editions), 1996. 3 ACKERMANN, RUDOLPH. Ackermann’s Regency Furniture & Interiors. Text by Pauline Agius. Introduction by Stephen Jones. 200pp. 188 illus. (partly color). Lrg. sq. 4to. Cloth. d.j. Published to mark the centenary of H. Blairman & Sons. Marlborough, Wiltshire (The Crowood Press), 1984. 4 ADAMSON, JEREMY. American Wicker: Woven Furniture from 1850 to 1930. Woven furniture from 1850 to 1930. 175, (1)pp. Prof. illus. (partly color). 4to. Wraps. Published on the occasion of the exhibition at The Renwick Gallery of the National Museum of American Art, Smithsonian Institution, Washington, D.C. New York (Rizzoli), 1993. 5 ADLIN, JANE. -
Frank Lloyd Wright - Wikipedia, the Free Encyclopedia
Frank Lloyd Wright - Wikipedia, the free encyclopedia http://en.wikipedia.org/w/index.php?title=Frank_... Frank Lloyd Wright From Wikipedia, the free encyclopedia Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, Frank Lloyd Wright 1959) was an American architect, interior designer, writer and educator, who designed more than 1000 structures and completed 532 works. Wright believed in designing structures which were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by his design for Fallingwater (1935), which has been called "the best all-time work of American architecture".[1] Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home, his unique vision for urban planning in the United States. His work includes original and innovative examples of many different building types, including offices, churches, schools, Born Frank Lincoln Wright skyscrapers, hotels, and museums. Wright June 8, 1867 also designed many of the interior Richland Center, Wisconsin elements of his buildings, such as the furniture and stained glass. Wright Died April 9, 1959 (aged 91) authored 20 books and many articles and Phoenix, Arizona was a popular lecturer in the United Nationality American States and in Europe. His colorful Alma mater University of Wisconsin- personal life often made headlines, most Madison notably for the 1914 fire and murders at his Taliesin studio. Already well known Buildings Fallingwater during his lifetime, Wright was recognized Solomon R. Guggenheim in 1991 by the American Institute of Museum Architects as "the greatest American Johnson Wax Headquarters [1] architect of all time." Taliesin Taliesin West Robie House Contents Imperial Hotel, Tokyo Darwin D. -
Frank Lloyd Wright's
Frank Lloyd Wright’s The Studiowith Organic Architecture ART HIST RY KIDS LET’S MEET THE ARCHITECT Frank Lloyd Wright June 8, 1867 – April 9, 1959 Frank Lloyd Wright was an American archi- tect who continually reinvented his style during his 70 year career designing forward thinking buildings– big and small. He was born in Wisconsin and he spent most of his childhood surrounded by nature. His family moved around when he was young, but they ended up back in Wisconsin when he was 11. Wright studied at The University of Wiscon- sin-Madison for 2 semesters (and later received an honorary degree from the University), but was eager to get to work designing, so he never finished college. Frank moved to Chicago when he was 20 to pursue his dream of becoming an archi- tect, and he started working with the best people in the business almost immediately. Frank Lloyd Wright explored many different styles, but everything he designed had an element of his love for nature. He believed that above all else, great architecture should work in harmony with its surround- ings, and the structures he created express that desire. In addition to designing buildings, he also took great care in designing beautiful interior windows and in furnishings like dinnerware, chairs, and rugs. He’s been called an architectural visionary, and he‘s one of the most famous architects in history. Wright was honored by the American Institute of Architects’ as the “Greatest American Architect of All Time.” April 2020 11 Frank Lloyd Wright’s The Studiowith Organic Architecture ART HIST RY KIDS ART MOVEMENTS What is Organic Architecture? Frank Lloyd Wright called his designs Organic Architecture. -
National Register of Historic Places Multiple Property Documentation Form
NPS Form 10-900-b OMB No. 1024-0018 United States Department of the Interior National Park Service National Register of Historic Places Multiple Property Documentation Form This form is used for documenting property groups relating to one or several historic contexts. See instructions in National Register Bulletin How to Complete the Multiple Property Documentation Form (formerly 16B). Complete each item by entering the requested information. X New Submission ________ Amended Submission A. Name of Multiple Property Listing Mid-Century Modern Residential Architecture in Norwich, Vermont B. Associated Historic Contexts (Name each associated historic context, identifying theme, geographical area, and chronological period for each.) I. Residential Architecture in Norwich, Vermont, 1945-1975 II. Architects Working in Norwich, Vermont, 1945-1975 C. Form Prepared by: name/title Lyssa Papazian & Brian Knight, Historic Preservation Consultants organization Lyssa Papazian Historic Preservation Consultant street & number 13 Dusty Ridge Road city or town Putney state Vermont zip code 05346 e-mail [email protected] telephone (802) 579-3698 date 6/20/19 D. Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this documentation form meets the National Register documentation standards and sets forth requirements for the listing of related properties consistent with the National Register criteria. This submission meets the procedural and professional requirements set forth in 36 CFR 60 and the Secretary of the Interior’s Standards and Guidelines for Archeology and Historic Preservation. _______________________________ ______________________ _________________________ Signature of certifying official Title Date _____________________________________ State or Federal Agency or Tribal government I hereby certify that this multiple property documentation form has been approved by the National Register as a basis for evaluating related properties for listing in the National Register. -
Organic Architecture Means for Sustainability Goals
1 ORGANIC ARCHITECTURE MEANS FOR SUSTAINABILITY GOALS R. Mirzaei Department of Architecture, Birjand Branch, Islamic Azad University, Birjand, Iran Abstract Organic Architecture is not a style of imitation, but rather, a reinterpretation of Nature's principles to build forms more natural than nature itself. Engineers, designers and architects often look to nature for inspiration. The research on “natural constructions” is aiming at innovation and the improvement of architectural quality. The introduction of life sciences terminology in the context of architecture delivers new perspectives towards innovation in architecture and design. The investigation is focused on the analogies between nature and architecture. From the time immemorial, human beings have been accompanied with the nature and natural organisms. These interactions sometimes lead to different and contradictory paradigms but the natural organisms have always been the inspiring sources for humans. Mother Nature has devotes its countless gifts and resources generously to human beings to be able to develop their civilizations all over the world. Each with its own culture, beliefs, values, traditions, attitudes and ethics is the element of people differentiation in different societies. In the other hand, we are nature. So, we should respect and learning from nature. However, they necessarily not always successful as degree of their success depended upon their perception and understanding of the nature of organisms. Later, some biological comparisons were introduced focusing on formal and structural aspects to have wider perspective about the nature of the organisms and new rules and regulations. These gave rise to critical faults and disadvantages. Like human beings themselves, their architectures possess integral, united and harmonic system that is demonstrated in the best possible form in the natural organisms. -
Frank Lloyd Wright and the Use of Non-Rectilinear Geometry in His Later Works
Frank Lloyd Wright and the Use of Non-Rectilinear Geometry in His Later Works "I believe in God, only I spell it Nature.” “Organic architecture is an architecture from within outward, in which entity is an ideal… Organic means intrinsic – in the philosophic sense, entity – wherever the whole is to the part as the part is to the whole and where the nature of the materials, the nature of the purpose, the nature of the entire performance, becomes clear as a necessity.” Shea Gibson 10121372 Dr. Graham Livesey ARCH 457.02: History of Architecture and Human Settlements II - 1750 to Present April 2, 2015 Introduction Frank Lloyd Wright once said, "the maple wood blocks… are in my fingers to this day."1 Wright acknowledged that his early exposure to the Froebel blocks (called "Gifts" and “Occupations”), had a considerable lasting influence on his work.2 These wooden blocks were designed to help children learn about different geometric forms, mathematics, and creative design. A Young Frank Lloyd Wright was fascinated by them and credited that much of his architectural designs were influenced by the geometric shapes he experimented with as a child, which consisted of a series of geometric forms, including spheres, cubes, triangles and cylinders.3 As an architect, Wright developed a system of rotating series of geometric forms that became one of his principal methods of design. He believed that geometry had a deep cosmic meaning and can be the means of ordering design to connect man to the cosmos.4 In this idealistic and romantic view, architecture could provide a means of harmony between the individual, society, and the universe.5 As time progressed, Wright began to expand and differentiate the geometry of his architecture to better represent nature and organic architecture in his buildings by moving away from rectilinear to non-rectilinear geometry.