VIS 128A: Special Topics: American Architecture
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Brief History of Architecture in N.C. Courthouses
MONUMENTS TO DEMOCRACY Architecture Styles in North Carolina Courthouses By Ava Barlow The judicial system, as one of three branches of government, is one of the main foundations of democracy. North Carolina’s earliest courthouses, none of which survived, were simple, small, frame or log structures. Ancillary buildings, such as a jail, clerk’s offi ce, and sheriff’s offi ce were built around them. As our nation developed, however, leaders gave careful consideration to the structures that would house important institutions – how they were to be designed and built, what symbols were to be used, and what building materials were to be used. Over time, fashion and design trends have changed, but ideals have remained. To refl ect those ideals, certain styles, symbols, and motifs have appeared and reappeared in the architecture of our government buildings, especially courthouses. This article attempts to explain the history behind the making of these landmarks in communities around the state. Georgian Federal Greek Revival Victorian Neo-Classical Pre – Independence 1780s – 1820 1820s – 1860s 1870s – 1905 Revival 1880s – 1930 Colonial Revival Art Deco Modernist Eco-Sustainable 1930 - 1950 1920 – 1950 1950s – 2000 2000 – present he development of architectural styles in North Carolina leaders and merchants would seek to have their towns chosen as a courthouses and our nation’s public buildings in general county seat to increase the prosperity, commerce, and recognition, and Trefl ects the development of our culture and history. The trends would sometimes donate money or land to build the courthouse. in architecture refl ect trends in art and the statements those trends make about us as a people. -
A Short History of Georgian Architecture
A SHORT HISTORY OF GEORGIAN ARCHITECTURE Georgia is situated on the isthmus between the Black Sea and the Caspian Sea. In the north it is bounded by the Main Caucasian Range, forming the frontier with Russia, Azerbaijan to the east and in the south by Armenia and Turkey. Geographically Georgia is the meeting place of the European and Asian continents and is located at the crossroads of western and eastern cultures. In classical sources eastern Georgia is called Iberia or Caucasian Iberia, while western Georgia was known to Greeks and Romans as Colchis. Georgia has an elongated form from east to west. Approximately in the centre in the Great Caucasian range extends downwards to the south Surami range, bisecting the country into western and eastern parts. Although this range is not high, it produces different climates on its western and eastern sides. In the western part the climate is milder and on the sea coast sub-tropical with frequent rains, while the eastern part is typically dry. Figure 1 Map of Georgia Georgian vernacular architecture The different climates in western and eastern Georgia, together with distinct local building materials and various cultural differences creates a diverse range of vernacular architectural styles. In western Georgia, because the climate is mild and the region has abundance of timber, vernacular architecture is characterised by timber buildings. Surrounding the timber houses are lawns and decorative trees, which rarely found in the rest of the country. The population and hamlets scattered in the landscape. In eastern Georgia, vernacular architecture is typified by Darbazi, a type of masonry building partially cut into ground and roofed by timber or stone (rarely) constructions known as Darbazi, from which the type derives its name. -
An Introduction to Architectural Theory Is the First Critical History of a Ma Architectural Thought Over the Last Forty Years
a ND M a LLGR G OOD An Introduction to Architectural Theory is the first critical history of a ma architectural thought over the last forty years. Beginning with the VE cataclysmic social and political events of 1968, the authors survey N the criticisms of high modernism and its abiding evolution, the AN INTRODUCT rise of postmodern and poststructural theory, traditionalism, New Urbanism, critical regionalism, deconstruction, parametric design, minimalism, phenomenology, sustainability, and the implications of AN INTRODUCTiON TO new technologies for design. With a sharp and lively text, Mallgrave and Goodman explore issues in depth but not to the extent that they become inaccessible to beginning students. ARCHITECTURaL THEORY i HaRRY FRaNCiS MaLLGRaVE is a professor of architecture at Illinois Institute of ON TO 1968 TO THE PRESENT Technology, and has enjoyed a distinguished career as an award-winning scholar, translator, and editor. His most recent publications include Modern Architectural HaRRY FRaNCiS MaLLGRaVE aND DaViD GOODmaN Theory: A Historical Survey, 1673–1968 (2005), the two volumes of Architectural ARCHITECTUR Theory: An Anthology from Vitruvius to 2005 (Wiley-Blackwell, 2005–8, volume 2 with co-editor Christina Contandriopoulos), and The Architect’s Brain: Neuroscience, Creativity, and Architecture (Wiley-Blackwell, 2010). DaViD GOODmaN is Studio Associate Professor of Architecture at Illinois Institute of Technology and is co-principal of R+D Studio. He has also taught architecture at Harvard University’s Graduate School of Design and at Boston Architectural College. His work has appeared in the journal Log, in the anthology Chicago Architecture: Histories, Revisions, Alternatives, and in the Northwestern University Press publication Walter Netsch: A Critical Appreciation and Sourcebook. -
Toronto Arch.CDR
The Architectural Fashion of Toronto Residential Neighbourhoods Compiled By: RASEK ARCHITECTS LTD RASE K a r c h i t e c t s www.rasekarchitects.com f in 02 | The Architectural Fashion of Toronto Residential Neighbourhoods RASEK ARCHITECTS LTD Introduction Toronto Architectural Styles The majority of styled houses in the United States and Canada are The architecture of residential houses in Toronto is mainly influenced by its history and its culture. modeled on one of four principal architectural traditions: Ancient Classical, Renaissance Classical, Medieval or Modern. The majority of Toronto's older buildings are loosely modeled on architectural traditions of the British Empire, such as Georgian, Victorian, and Edwardian architecture. Toronto was traditionally a peripheral city in the The earliest, the Ancient Classical Tradition, is based upon the monuments architectural world, embracing styles and ideas developed in Europe and the United States with only limited of early Greece and Rome. local variation. A few unique styles of architecture have emerged in Toronto, such as the bay and gable style house and the Annex style house. The closely related Renaissance Classical Tradition stems from a revival of interest in classicism during the Renaissance, which began in Italy in the The late nineteenth century Torontonians embraced Victorian architecture and all of its diverse revival styles. 15th century. The two classical traditions, Ancient and Renaissance, share Victorian refers to the reign of Queen Victoria (1837-1901), called the Victorian era, during which period the many of the same architectural details. styles known as Victorian were used in construction. The styles often included interpretations and eclectic revivals of historic styles mixed with the introduction of Middle Eastern and Asian influences. -
OLMSTED TRACT; Torrance, California 2011 – 2013 SURVEY of HISTORIC RESOURCES
OLMSTED TRACT; Torrance, California 2011 – 2013 SURVEY OF HISTORIC RESOURCES II. HISTORIC CONTEXT STATEMENT A. Torrance and Garden City Movement: The plan for the original City of Torrance, known as the Olmsted Tract, owes its origins to a movement that begin in England in the late 19th Century. Sir Ebenezer Howard published his manifesto “Garden Cities of To-morrow" in 1898 where he describes a utopian city in which man lives harmoniously together with the rest of nature. The London suburbs of Letchworth Garden City and Welwyn Garden City were the first built examples of garden city planning and became a model for urban planners in America. In 1899 Ebenezer founded the Garden City Association to promote his idea for the Garden City ‘in which all the advantages of the most energetic town life would be secured in perfect combination with all the beauty and delight of the country.” His notions about the integration of nature with town planning had profound influence on the design of cities and the modern suburb in the 20th Century. Examples of Garden City Plans in America include: Forest Hills Gardens, New York (by Fredrick Law Olmsted Jr.); Radburn, New Jersey; Shaker Heights, Ohio; Baldwin Hills Village, in Los Angeles, California and Greenbelt, Maryland. Fredrick Law Olmsted is considered to be the father of the landscape architecture profession in America. He had two sons that inherited his legacy and firm. They practiced as the Olmsted Brothers of Brookline Massachusetts. Fredrick Law Olmsted Junior was a founding member of The National Planning Institute of America and was its President from 1910 to 1919. -
1 Dataset Illustration
1 Dataset Illustration The images are crawled from Wikimedia. Here we summary the names, index- ing pages and typical images for the 66-class architectural style dataset. Table 1: Summarization of the architectural style dataset. Url stands for the indexing page on Wikimedia. Name Typical images Achaemenid architecture American Foursquare architecture American craftsman style Ancient Egyptian architecture Art Deco architecture Art Nouveau architecture Baroque architecture Bauhaus architecture 1 Name Typical images Beaux-Arts architecture Byzantine architecture Chicago school architecture Colonial architecture Deconstructivism Edwardian architecture Georgian architecture Gothic architecture Greek Revival architecture International style Novelty 2 architecture Name Typical images Palladian architecture Postmodern architecture Queen Anne architecture Romanesque architecture Russian Revival architecture Tudor Revival architecture 2 Task Description 1. 10-class dataset. The ten datasets used in the classification tasks are American craftsman style, Baroque architecture, Chicago school architecture, Colonial architecture, Georgian architecture, Gothic architecture, Greek Revival architecture, Queen Anne architecture, Romanesque architecture and Russian Revival architecture. These styles have lower intra-class vari- ance and the images are mainly captured in frontal view. 2. 25-class dataset. Except for the ten datasets listed above, the other fifteen styles are Achaemenid architecture, American Foursquare architecture, Ancient Egyptian architecture, -
He Tiarral= Wheeler House SMITHSONIAN STUDIES in HISTORY and TECHNOLOGY J NUMBER 18
BRIDGEPORT'S GOTHIC ORNAMENT / he tiarral= Wheeler House SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY J NUMBER 18 BRIDGEPORT'S GOTHIC ORNAMENT / he Harral= Wheeler Hiouse Anne Castrodale Golovin SMITHSONIAN INSTITUTION PRESS { CITY OF WASHINGTON \ 1972 Figure i. An 1850 map of Bridgeport, Connecticut, illustrating in vignettes at the top right and left corners the Harral House and P. T. Barnum's "Oranistan." Arrow in center shows location of Harral House. (Courtesy of the Library of Congress.) Ems^m^wmy^' B m 13 ^»MMaM««^fc mwrtkimmM LMPOSING DWELLINGS in the Gothic Revival style were among the most dramatic symbols of affluence in mid-nineteenth-century America. With the rise of industrialization in this periods an increasing number of men from humble beginnings attained wealth and prominence. It was impor tant to them as well as to gentlemen of established means that their dwell ings reflect an elevated social standing. The Harral-Wheeler residence in Bridgeport, Connecticut, was an eloquent proclamation of the success of its owners and the excellence of the architect Alexander Jackson Davis. Al though the house no longer stands, one room, a selection of furniture, orig inal architectural designs, architectural fragments, and other supporting drawings and photographs are now in the collections of the Smithsonian Institution. These remnants of Bridgeport's Gothic "ornament" serve as the basis for this study. AUTHOR.—Anne Castrodale Golovin is an associ ate curator in the Department of Cultural History in the Smithsonian Institution's National Museum of History and Technology. B>RIDGEPORT, , CONNECTICUT, was fast be speak of the Eastern glories of Iranistan, we have coming a center of industry by the middle of the and are to have in this vicinity, many dwelling- nineteenth century; carriages, leather goods, and houses worthy of particular notice as specimens of metal wares were among the products for which it architecture. -
Course Description
American Studies 308, Section 1 American Studies Program, Penn State Harrisburg Fall Semester 2015 Days/Times: MWF 10:10-11 am Location: TBD Instructor: Caitlin Black Primary Email: [email protected] Primary Phone: (717) 948-6020 Office Location and Hours: TBD Course Description This course examines the styles, structures, and concepts of American architecture from Native American roots to modern “green” buildings. Through readings, images, and film, students will learn to identify major architectural styles and will become familiar with important buildings, communities, and movements in American architectural history and material culture. Students will consider the social and political connection of architecture to American experience and ideas. When possible, this course focuses on local examples to illuminate national trends over time. Course Objectives 1. Students will be able to identify key buildings, movements, and figures in American architecture. 2. Students will be able to interpret primary sources (such as maps, photographs, and drawings) used to understand American architecture. 3. Students will learn to understand and use architecture as form of evidence when analyzing themes and events. 4. Students will develop the tools to analyze aspects of American architecture in their social and political contexts and interpret changes over time. Required Texts The following texts are available at the Campus Bookstore. Mark Gelernter, A History of American Architecture (Hanover, NH: University Press of New England, 1999). ISBN: 978-1584651369. Erik Larson, The Devil in the White City: Murder, Magic, and Madness at the Fair that Changed America (New York: Crown Publishers, 2003). ISBN: 978-0375725609. (Ebook also available) Daisy M. Myers, Sticks’n Stones: The Myers Family in Levittown (New York: New York Heritage Trust, 2005). -
The Historic Subdivision of South Park
The Historic 8ubdivision of oouth Park J! :l .~~ ,..., ,, ...,,,.,., -:'/ / · ~ ,_•·s=D:.......__ _....:::::~~~;;;;;_~-'// ., illi .\ ; fl \.-~-·.t ?,·(~;.....•~;::-•. :~'~t;~" ··... =-··· . ~ . ~u~c~·r:s~l,!'..,,. \~ ~< -~-~ :~)--~r-~~tJ!Ff.~~-=-/ . ~\'·i?., ~-~~/,,: P.O. Box 3571 ~-.:..- . ~;:ch~+",;, ~> -, ' ' ,,-~~~1~r~_ ;&~ ~i1 · l'.: San Diego , California 92163 ·4· ·;4, l! f'7 '/ ; "i . t:. ..; ' -~-:t.. (619) 297-9327 -"--h ,.:l.: l .J ·, • ·. ~ ' ~~~L~~:~ --~~i¥';".:·~r~f!":-·-~ 1 :; ......J. -._.- ...-... .,... .lp- ~-~-~~.2.i.. - - . ---· :.. '~~~~ - ~ ~~} ~ave Our tteril88e Or(janisalion &OliO presents The llisloric8ubdivision of 8outh Park A selected lislin8 of Iiislorically and Archileclurally &i8niftcanl liomes in cooperalion with ooulh Park Maintenance and E>eautificalionCommillee a commillee of the Grealer Golden !iii! Community Developmenl Corporation with support of a 8ranl from the Cily of &n Die8o Commissionof Arls 0 Cullure Table of Contents Foreword .................... ....................... ................................. ............ 1 South Park, San Diego, California .............................. ................ .. 2 Builders and Architects .................... .................... .......................... 3 The Historic Subdivision of South Park ........................... .......... .. 6 Our cover is reproduced from an article on South Park homes printed in the San Diego Union, January 1, 1912. ii iii foreword by Suzanne Lawrence President of SOHO For over twenty-three years Save Our Heritage Organisation -
Building in Dutchess: Reading the Landscape
Cover Photo: Old photograph of bleachery in the village of Wappingers Falls Building in Dutchess: Reading the Landscape PUBLISHED BY THE DUTCHESS COUNTY DEPARTMENT OF HISTORY Poughkeepsie, New York Joyce C. Ghee, Historian All maps are from the collection of the Dutchess County Historical Society and appear in this publication with the society's kind permission. The originals are available for research purposes. Call the society for further details at 914-471 -1630. Publication made possible in part by a grant from the New York State Council on the Arts. First Edition, Copyright 1989, Dutchess County Department of History, Lucille P. Pattison, County Executive, Harry B. Schroeder, Chairman of the Legislature. All Rights Reserved. Credits Conference Materials Editor: David J. Greenwood Cover Design: Sherley LaDue Layout: Brian Schill and Sherley LaDue Exhibit/Catalog Design: Brian Schill Project Director: Joyce C. Ghee Principle Photography: Claudia Archimede, Alexander Casler, Dutchess County Landmarks Association Collection Archival Maps: Dutchess County Historical Society Collection Original Drawings: David J. Greenwood Tab le of Contents Part I Introduction: Joyce Ghee ..................................... ................... 5 "Building in Dutchess: Transforming the Landscape" Photo Essay : Exhibit Catalog .................. ......................... ...... 7 Part II Conference Papers ............................................................... 25 Where to Begin: David J. Greenwood .................................. 27 Building -
Colonial Revival Architecture
FYS 100 HE: Landmarks and Legends: Learning Local History Shannon Clarke Professor Benowitz 1 December 2017 Colonial Revival Architecture Most Colonial Revival style houses have a rectangular shape and are normally one to two stories tall.1 They tend to have a medium pitch side-gable roof with narrow eaves, but in some cases a hipped roof and dormers are present.2 The buildings are symmetrical with a large door in the center of the house and have multi-pane windows, which are double hung.3 The centered door is accented with columns, pilasters, pediment, and/or maybe hooded to create a covered porch.4 The door may also have a fanlight, sidelight, or maybe paneled.5 Brick or wood is most commonly used as siding and some other design elements include two-story pilasters, a portico or dentil trim under the eaves.6 The Colonial Revival style is one of the most classic building styles. It is stately and distinguished, which show the owners are people with solid center and traditional values.7 The common Colonial Revival style building is symmetric and each side is a mirror image of the other. Typically decorative elements are restrained and drawn from Greek and Roman architecture.8 In the 1890s, when the Colonial Revival period of architecture was started, it could be found everywhere. One of the big influences that helped the style spread was the World’s Columbian Exposition in Chicago, which influenced architects everywhere to have an appreciation for classical architecture when they left.9 The Georgian style of the Colonial Revival period was one version of the design. -
Ancient with Modern Course Handbook Urban Design: Ancient with Modern Urban Design: Ancient with Modern
Urban Design: Ancient with Modern Course Handbook Urban Design: Ancient with Modern Urban Design: Ancient with Modern Teaching Institution: Chelsea College of Arts Credits: 3 Class Hours: 5 hours/week for 10 weeks Tutor: George Rome Innes Course Outline Assessment This module will take place outside college, in the city. You Final project (100%) will see great buildings, important interiors and unique treasures. Each session’s visit will be recorded in your diary, Project as photographs,sketches and notes. Consider how the Critical Commentary buildings we see were constructed with the technology of their time, consider the use of materials. Look at the Choose two buildings where new uses have been processes used in making furniture and smaller artefacts. implemented or new additions built within the past twenty years. Think of who used the buildings, who uses them now and why? Choose one you consider to be successful design and one you consider to be unsuccessful. How do you feel modern and ancient work together in each case? They should be buildings that you yourself have seen, but the choice of buildings and the opinions are entirely Aims yours. This course will provide you with: Where appropriate look at planning, circulation, lighting and ambience. • To introduce the students to the History of Western Art, Architecture and Design Concentrate on details, junctions where one material meets another. Look at the suitability of materials. • To engender a critical understanding of how old and new design can work together This is to be presented on A4 sheets (one sided) as a visual commentary with annotated illustrations.