RESTORING a NATIONAL HISTORIC LANDMARK St
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February 1920
ii^^ir^?!'**i r*sjv^c ^5^! J^^M?^J' 'ir ^M/*^j?r' ?'ij?^'''*vv'' *'"'**'''' '!'<' v!' '*' *w> r ''iw*i'' g;:g5:&s^ ' >i XA. -*" **' r7 i* " ^ , n it A*.., XE ETT XX " " tr ft ff. j 3ty -yj ri; ^JMilMMIIIIilllilllllMliii^llllll'rimECIIIimilffl^ ra THE lot ARC HIT EC FLE is iiiiiBiicraiiiEyiiKii! Vol. XLVII. No. 2 FEBRUARY, 1920 Serial No. 257 Editor: MICHAEL A. MIKKELSEN Contributing Editor: HERBERT CROLY Business Manager: ]. A. OAKLEY COVER Design for Stained Glass Window FAGS By Burton Keeler ' NOTABLE DECORATIVE SCULPTURES OF NEW YOKK BUILDINGS _/*' 99 .fiy Frank Owen Payne WAK MEMORIALS. Part III. Monumental Memorials . 119 By Charles Over Cornelius SOME PRINCIPLES OF SMALL HOUSE DESIGN. Part IV. Planning (Continued) .... .133 By John Taylor Boyd, Jr. ENGLISH ARCHITECTURAL DECORATION. Part XIII. 155 By Albert E. Bullock PORTFOLIO OF CURRENT ARCHITECTURE . .169 ST. PHILIP'S CHURCH, Brunswick County, N. C. Text and Meas^ ured Drawings . .181 By N. C. Curtis NOTES AND COMMENTS . .188 Yearly Subscription United States $3.00 Foreign $4.00 Single copies 35 cents. Entered May 22, 1902, as Second Class Matter, at New York, N. Y. Member Audit Bureau of Circulation. PUBLISHED MONTHLY BY THE ARCHITECTURAL RECORD COMPANY 115-119 FOFvIlt I i I IStt I, NEWINCW YORKTUKN WEST FORTIETHM STREET, H v>^ E. S. M tlli . T. MILLER, Pres. W. D. HADSELL, Vice-Pres. J. W. FRANK, Sec'y-Treas. DODGE. Vice-Pre* ' "ri ti i~f n : ..YY '...:.. ri ..rr.. m. JT i:c..."fl ; TY tn _.puc_. ,;? ,v^ Trrr.^yjL...^ff. S**^ f rf < ; ?SIV5?'Mr ^7"jC^ te :';T:ii!5ft^'^"*TiS t ; J%WlSjl^*o'*<JWii*^'J"-i!*^-^^**-*''*''^^ *,iiMi.^i;*'*iA4> i.*-Mt^*i; \**2*?STO I ASTOR DOORS OF TRINITY CHURCH. -
Casa Del Prado in Balboa Park
Chapter 19 HISTORY OF THE CASA DEL PRADO IN BALBOA PARK Of buildings remaining from the 1915 Panama-California Exposition, exhibit buildings north of El Prado in the agricultural section survived for many years. They were eventually absorbed by the San Diego Zoo. Buildings south of El Prado were gone by 1933, except for the New Mexico and Kansas Buildings. These survive today as the Balboa Park Club and the House of Italy. This left intact the Spanish-Colonial complex along El Prado, the main east-west avenue that separated north from south sections The Sacramento Valley Building, at the head of the Plaza de Panama in the approximate center of El Prado, was demolished in 1923 to make way for the Fine Arts Gallery. The Southern California Counties Building burned down in 1925. The San Joaquin Valley and the Kern-Tulare Counties Building, on the promenade south of the Plaza de Panama, were torn down in 1933. When the Science and Education and Home Economy buildings were razed in 1962, the only 1915 Exposition buildings on El Prado were the California Building and its annexes, the House of Charm, the House of Hospitality, the Botanical Building, the Electric Building, and the Food and Beverage Building. This paper will describe the ups and downs of the 1915 Varied Industries and Food Products Building (1935 Food and Beverage Building), today the Casa del Prado. When first conceived the Varied Industries and Food Products Building was called the Agriculture and Horticulture Building. The name was changed to conform to exhibits inside the building. -
St. Bartholomew's Church and Community House: Draft Nomination
NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 ST. BARTHOLOMEW’S CHURCH AND COMMUNITY HOUSE Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: St. Bartholomew’s Church and Community House Other Name/Site Number: 2. LOCATION Street & Number: 325 Park Avenue (previous mailing address: 109 East 50th Street) Not for publication: City/Town: New York Vicinity: State: New York County: New York Code: 061 Zip Code: 10022 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): _X_ Public-Local: District: Public-State: Site: Public-Federal: Structure: Object: Number of Resources within Property Contributing Noncontributing 1 buildings sites structures objects 1 Total Number of Contributing Resources Previously Listed in the National Register: 2 Name of Related Multiple Property Listing: DRAFT NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 ST. BARTHOLOMEW’S CHURCH AND COMMUNITY HOUSE Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ____ nomination ____ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ____ meets ____ does not meet the National Register Criteria. -
Inspired by Mexico: Architect Bertram Goodhue Introduces Spanish Colonial Revival Into Balboa Park
Inspired by Mexico: Architect Bertram Goodhue Introduces Spanish Colonial Revival into Balboa Park By Iris H.W. Engstrand G. Aubrey Davidson’s laudatory address to an excited crowd attending the opening of the Panama-California Exposition on January 1, 1915, gave no inkling that the Spanish Colonial architectural legacy that is so familiar to San Diegans today was ever in doubt. The buildings of this exposition have not been thrown up with the careless unconcern that characterizes a transient pleasure resort. They are part of the surroundings, with the aspect of permanence and far-seeing design...Here is pictured this happy combination of splendid temples, the story of the friars, the thrilling tale of the pioneers, the orderly conquest of commerce, coupled with the hopes of an El Dorado where life 1 can expand in this fragrant land of opportunity. G Aubrey Davidson, ca. 1915. ©SDHC #UT: 9112.1. As early as 1909, Davidson, then president of the Chamber of Commerce, had suggested that San Diego hold an exposition in 1915 to celebrate the opening of the Panama Canal. When City Park was selected as the site in 1910, it seemed appropriate to rename the park for Spanish explorer Vasco Nuñez de Balboa, who had discovered the Pacific Ocean and claimed the Iris H. W. Engstrand, professor of history at the University of San Diego, is the author of books and articles on local history including San Diego: California’s Cornerstone; Reflections: A History of the San Diego Gas and Electric Company 1881-1991; Harley Knox; San Diego’s Mayor for the People and “The Origins of Balboa Park: A Prelude to the 1915 Exposition,” Journal of San Diego History, Summer 2010. -
The Making of the Panama-California Exposition, 1909-1915 by Richard W
The Journal of San Diego History SAN DIEGO HISTORICAL SOCIETY QUARTERLY Winter 1990, Volume 36, Number 1 Thomas L. Scharf, Editor The Making of the Panama-California Exposition, 1909-1915 by Richard W. Amero Researcher and Writer on the history of Balboa Park Images from this article On July 9, 1901, G. Aubrey Davidson, founder of the Southern Trust and Commerce Bank and Commerce Bank and president of the San Diego Chamber of Commerce, said San Diego should stage an exposition in 1915 to celebrate the completion of the Panama Canal. He told his fellow Chamber of Commerce members that San Diego would be the first American port of call north of the Panama Canal on the Pacific Coast. An exposition would call attention to the city and bolster an economy still shaky from the Wall Street panic of 1907. The Chamber of Commerce authorized Davidson to appoint a committee to look into his idea.1 Because the idea began with him, Davidson is called "the father of the exposition."2 On September 3, 1909, a special Chamber of Commerce committee formed the Panama- California Exposition Company and sent articles of incorporation to the Secretary of State in Sacramento.3 In 1910 San Diego had a population of 39,578, San Diego County 61,665, Los Angeles 319,198 and San Francisco 416,912. San Diego's meager population, the smallest of any city ever to attempt holding an international exposition, testifies to the city's extraordinary pluck and vitality.4 The Board of Directors of the Panama-California Exposition Company, on September 10, 1909, elected Ulysses S. -
CHURCH of ST. VINCENT FERRER, 869 Lexington Avenue, Borough of Manhattan
Landmarks Preservation Commission February 28, 1967, Number 4 LP-0416 CHURCH OF ST. VINCENT FERRER, 869 Lexington Avenue, Borough of Manhattan. Completed 1918; architect Bertram G. Goodhue. Landnark"Site: Borough of Manhattan Tax Map Block 1400, Lot 20 in part, consisting of the land on which the described building is situated. On November 10, 1966 the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Church of st. Vincent Ferrer and the proposed designation of the related Landmark Site. (Item No. 35). The hearing had been duly advertised in accordance with the provisions of law. One witness spoke in favor of designation. There were no speakers in opposition to designation. DESCRIPTION AND ANALYSIS Impressively monumental in scale, this outstanding architectural achievement was considered by Bertram Goodhue, the architect, to be his best work in the ecclesiastical field. st. Vincent Ferrer is designed on a Latin Cross plan in the Gothic Style and built of random ashlar and dressed limestone. Its architectural detail and sculpture, particularly the Crucifixion panel over the entrance portal by sculptor Lee Lawrie, are equal to comparable work found on European cathedrals. The Great Rose window at the west end of the nave is composed of intricate stone tracery, a series of conjoined trefoils. It displays some of the most beautiful stained glass· in this country. Above the great arch of the rose window connecting the two octagonal towers which rise above the massive buttresses flanking the entrance portal, the Apostle Arcade,bere called the Great Galler~ is a handsome crowning feature. -
History of the California Building and the San Diego Museum Of
CHAPTER 9 THE CALIFORNIA BUILDING: A CASE OF THE MISUNDERSTOOD BAROQUE AND THE HISTORY OF THE SAN DIEGO MUSEUM/ MUSEUM OF MAN by Richard W. Amero “My judgment is now clear and unfettered, and that dark cloud of ignorance has disappeared, which the continual reading of these detestable books of knight-errantry has cast over my understanding.” Miguel de Cervantes. Don Quixote, Book 2, Part 16. Very few people appear to have looked at the south facade of the California Building in San Diego's Balboa Park. H. K. Raymenton described it as Plateresque in style.[1] Trent Sanford thought it better than anything in Mexico or Spain.[2] William Templeton Johnson called it the finest Spanish- Renaissance facade in existence,[3] and Thomas E. Tallmadge hailed it as the best example of Churrigueresque architecture in the world.[4] An article in the San Diego Union, January 1, 1915, asserted the California Building was "copied in many essential details from the magnificent cathedral at Oaxaca, Mexico."[5] Christian Brinton repeated this suggestion in June of the same year.[6] After checking with Bertram Goodhue, who designed the California Building, C. Matlack Price referred to the comparison as "palpably absurd."[7] The Late-Renaissance Cathedral of Oaxaca, rebuilt in the early eighteenth century, has a compartmentalized facade with three horizontal tiers and five vertical bays which hold one principal and two lateral doorways, and is flanked by two squat, single-stage towers.[8] None of its details resemble those on the California Building. Carol Mendel declared the California Building facade was taken from the seventeenth to nineteenth-century late-Renaissance, Baroque, Neo- Classical facade of the Cathedral of Mexico in Mexico City.[9] If she had selected the mid-eighteenth century Sagrario Metropolitano, which adjoins the cathedral, she would have been closer to the truth, for this building's facade is an outstanding example of Mexican Ultra-Baroque, or, as it is generally known, Churrigueresque.[10] To George H. -
C:\Users\Asd3.GSAPP\Documents
SOUTH CHURCH/ PARK AVENUE CHRISTIAN CHURCH A History and Analysis of the Church Complex Andrew S. Dolkart 2013 SOUTH CHURCH/ PARK AVENUE CHRISTIAN CHURCH A History and Analysis of the Church Complex Report prepared by Andrew S. Dolkart Report prepared for 1000 Park Avenue 2013 The South Church complex, now the Park Avenue Christian Church complex, designed and built in 1909-11 by the South Dutch Reformed Church, is one of the most significant buildings on Park Avenue dating from the period of major development along that premier New York City boulevard. It is also a major example of Neo-Gothic church architecture and a significant design by Bertram Goodhue, the New York City partner in the firm of Cram, Goodhue & Ferguson, one of the preeminent American designers of the early twentieth century. The South Reformed Church complex consists of the impressive Gothic-inspired church on the southwest corner of Park Avenue and East 85th Street, and the adjoining parish house (sometimes referred to as the parsonage). The church building remains almost exactly as designed by Goodhue, while the parish house was partially altered in a surprisingly sensitive manner in 1962. Together, the church and parish house create an important unified architectural ensemble on the corner of Park Avenue and East 85th Street. They share a Gothic-inspired architectural vocabulary and both are faced with locally-quarried Manhattan schist with Indiana limestone trim. In scale and design, the two related structures play off of one another providing an important, low-scale visual anchor to this section of Park Avenue. The significance of the South Church was widely recognized at the time of its design and at the time of its completion. -
Hildreth Meière: Connections to Spain Before and During the Spanish Civil War
REDEN Revista Española de Estudios Norteamericanos / Noviembre 2019. Volumen 1 Hildreth Meière: Connections to Spain Before and During the Spanish Civil War Mónica Orduña Prada Universidad Internacional de La Rioja 75 Mónica Orduña Prada Hildreth Meière: Universidad Connections to Spain Internacional de La Rioja Before and During the Spanish Civil War he prestigious American Art Deco artist Hildreth Meière provided Thumanitarian assistance to the victims of the Spanish Civil War and in the Second World War. Acting as the vice-president of the American Spanish Relief Fund created in 1937 and run by P. Francis X. Talbot, S. J. with the goal of helping people affected by the war in the Franco zone, and to also deliver medicine and medical supplies from the United States ABSTRACT through diplomatic channels. She visited Spain in 1925, 1938 and 1961. On the first trip she came to see the works of Spanish painters and made contact with important aristocratic families of the time (the Duke of Sotomayor, the Marquises of La Romana and Arcos, the Duchess of Vistahermosa, etc.). In 1938 she started humanitarian aid, collecting money and donations from New York society for orphans of the civil war and acted as a propaganda distributor for the Francoist cause in the United States. On this occasion she met with people familiar with the situation in Spain to solve the problems of humanitarian aid: Luis Bolín, Pablo Merry del Val, Cardenal Gomá, Carmen de Icaza, and Mercedes Sanz Bachiller. Meière actively participated in providing humanitarian aid in the Franco zone during the years of the civil war while also acting as a staunch supporter of the Francoist cause. -
Rockefeller Center ® New York City, New York, USA
Rockefeller Center ® New York City, New York, USA Booklet available on: Livret disponible sur: Folleto disponible en: Architecture.LEGO.com 21007_BI.indd 1 01/03/2011 7:25 PM John D. Rockefeller, Jr. John Davison Rockefeller, Jr. (January 29, 1874 – May 11, During the Great Depression he developed and was the 1960) was a major philanthropist and a pivotal member sole fi nancier of a vast 14-building real estate complex in of the prominent Rockefeller family. He was the sole son the geographical center of Manhattan, Rockefeller Center. among the fi ve children of businessman and Standard He probably gave more attention to the development of Oil industrialist John D. Rockefeller and the father of the Rockefeller Center than to any other project. fi ve famous Rockefeller brothers. In biographies, he was John D. Rockefeller, Jr., leased the space from invariably referred to as “Junior” to distinguish him from Columbia University in 1928 and began development in his more celebrated father, known as “Senior”. 1930. The land was cleared of more than 200 browstone After graduation, Rockefeller, Jr. joined his houses and other antiquated buildings. Rockefeller father’s business (October 1, 1897) and set up operations initially planned a syndicate to build an opera house in the newly-formed family offi ce at Standard Oil’s for the Metropolitan Opera on the site, but changed headquarters at 26 Broadway. He became a Standard Oil his mind after the stock market crash of 1929 and the director; he later also became a director in J. P. Morgan’s withdrawal of the Metropolitan from the project. -
Seventh Avenue Walking Tour
Nestled into Balboa Park’s northwest corner, the 3500 block of Seventh Avenue is one of San Diego’s best-kept secrets. This lush tract looked very different – vacant, dusty and studded with chaparral – in 1886, when it became Thomas T. Crittenden’s Addition. In 1903, George White Marston, a successful merchant and visionary civic leader, bought ten acres on the east side of Crittenden’s Addition for his extended family’s estates. Today, five of those acres belong to the George Marston House & Gardens. Within two decades, this subdivision was transformed into a fine collection of thoughtfully landscaped Arts & Crafts houses created for the Marstons and other prominent San Diegans who were eager to live indoors and out and to blend their hidden street into the evolving City Park. Being leading citizens of the day, they helped produce major civic projects, including the two international expositions. The block represents an important slice of San Diego’s architectural history, with the strong imprint of architect Irving J. Gill. We can see Gill’s buildings change from variations on the English Arts & Crafts style in brick to the horizontal Prairie Style with wide, sheltering eaves to geometric Early Modernism devoid of surface ornament. Gill designed two residences alone (one, the Thomas and Margaret Hamilton House, was demolished for a residential tower) and six others in partnership with another influential architect, William S. Hebbard. Nationally acclaimed planners and landscape architects such as John Nolen, Samuel Parsons, Jr., and Thomas D. Church worked on this block, usually hired by George Marston. Also heavily involved was Marston’s friend, horticulturist Kate Sessions, who is considered the “Mother of Balboa Park.” Original plantings, many still extant, came primarily from Ernest Benard, a prominent nurseryman, whose business was located in Mission Valley, though the California pepper trees that originally lined the street (as seen in the cover photo) were later changed to jacarandas. -
![Lee Lawrie Papers [Finding Aid]. Library of Congress](https://docslib.b-cdn.net/cover/7488/lee-lawrie-papers-finding-aid-library-of-congress-2637488.webp)
Lee Lawrie Papers [Finding Aid]. Library of Congress
Lee Lawrie Papers A Finding Aid to the Collection in the Library of Congress Manuscript Division, Library of Congress Washington, D.C. 2012 Contact information: http://hdl.loc.gov/loc.mss/mss.contact Additional search options available at: http://hdl.loc.gov/loc.mss/eadmss.ms014023 LC Online Catalog record: http://lccn.loc.gov/mm78029629 Prepared by Grover Batts, Beverly Brannan, and David Mathisen Revised and expanded by Nan Thompson Ernst Collection Summary Title: Lee Lawrie Papers Span Dates: 1908-1990 Bulk Dates: (bulk 1920-1963) ID No.: MSS29629 Creator: Lawrie, Lee, 1877-1963 Extent: 15,500 items ; 65 containers plus 2 oversize ; 26 linear feet Language: Collection material in English Location: Manuscript Division, Library of Congress, Washington, D.C. Summary: Sculptor. General and family correspondence, sculpture commission files, biographical file, and other papers documenting Lawrie's career as a sculptor whose works were an integral part of public buildings, monuments, and churches throughout the United States. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Goodhue, Bertram Grosvenor, 1869-1924--Correspondence. Goodhue, Bertram Grosvenor, 1869-1924--Tomb. Lawrie, Lee, 1877-1963. Washington, George, 1732-1799--Statues. Organizations American Battle Monuments Commission. Cathedral of St. John the Divine (New York, N.Y.) Chapel of the Intercession (New York, N.Y.) Church of the Heavenly Rest (New York, N.Y.) Los Angeles Public Library. Louisiana State Capitol (Baton Rouge, La.) National Academy of Sciences (U.S.)--Buildings.