An Interview with Gaylord Richardson

Total Page:16

File Type:pdf, Size:1020Kb

An Interview with Gaylord Richardson AN INTERVIEW WITH GAYLORD RICHARDSON Interviewer: Pat Kelly The Oral History Project of the Endacott Society The University of Kansas GAYLORD RICHARDSON EDUCATION 1960, B.A., Architecture Science School of Architecture Washington University St. Louis, Mo. 1960, B. Architecture (first professional degree} School of Architecture Washington University St. Louis, Mo. 1978, Master of Architecture and Urban Design (terminal degree) School of Architecture and Urban Design Washington University St. Louis, Mo. SERVICE AT THE UNIVERSITY OF KANSAS Associate Professor, School of Architecture and Urban Planning 1975 – 2009 . RETIREMENT May 2009 2 TITLES/RANK/AWARDS Associate Professor, Architecture 1975-2009 2009 Jack and Nancy Bradley Award for Excellence in Teaching ADMINISTRATIVE/CHAIRMANSHIP POSITIONS KU Architecture National AIA/NCARB Educator Coordinator Faculty Council Chair of University Faculty Council FRPR Committee KU Architectural Barriers Committee KU AAUP Board Director, Architectural Studies in Italy—Spannocchia 1994-2005 Elected to Alpha Pi chapter of Phi Beta Delta Honor Society for International Education 3 Kelly: “This is November 30, 2009. I am Pat Kelly, a member of the Oral History Project Committee of the Endacott Society. I am going to be talking with Gaylord Richardson this afternoon. He retired in May of 2009 from the Department of Architecture and Urban Planning. Okay. Gaylord has done his homework, or a lot of it, anyway, so we have something that will be interspersed here. We have your birth and where you grew up and all that sort of thing (see attached outline). I think maybe what would be of special interest would be some of your hobbies that you haven’t elaborated on, and just your thoughts about the department that you were in – suggestions that you might have – people that you worked with that were of interest and such. So, why don’t you tell us about… first, tell us about your hobbies since I mentioned that.” Richardson: “In addition to my interests in architecture, landscape design, environmental issues, and energy conservation, I enjoy fly fishing, fly tying, rod building, aquatic entomology, target shooting, reloading, hunting, model building, graphics, painting, poetry, music, especially folk, jazz, and classical. I keep a library of texts and internet research that covers my wide range of interests. I have a large number of hobbies that most probably go back to childhood, where I enjoyed living in Grand Blanc, Michigan. I lived at 376 Perry Road, very near the City public school. We lived on a wooded nursery that belonged to a gentleman who was in the Navy. I feel the Grand Blanc years were very formative ones. I went from Kindergarten to 3rd Grade there during the pre WWII period to the end of the War. I remember December 7th, 1941 and hearing President Roosevelt’s speech on the radio. My family rented that house on the nursery while my father worked for Fisher body, a General Motors plant in Flint and later at the GM Tank plant in Grand Blanc. The nursery was a great place for a young man to grow up because I could play in the trees and there was a little stream where I could catch frogs and fish right next to the house. I did not have many childhood friends living nearby and learned to entertain myself at an early age. An uncle, who had been a stationary salesman, gave me a carload of samples of stationary and drawing paper. Paper was scarce during WWII, but I had a supply that my parents rationed out to me. This led to my doing a lot of drawing at an early age and eventually may have led me to the profession of architecture. 4 Across the road from us was a farmer’s field. I remember being seven or eight years old and I could venture across these fields. Each field had a big tree in the middle for the farmers to rest in the shade after plowing or harvesting; so I could walk to the first tree across the road in front of my house. At the first tree I could then see a second tree. I would walk to the second tree and then see woods and a clear stream that must have held a lot of trout, but I never saw them as a little boy. I would visit the stream and catch bluegills, and my friends and I would eat our sandwiches, play in the water of the stream, and wave to an older gentleman who lived in a cabin on the other side, who was kind of a throwback to earlier times. He was a trapper and a hermit. We never spoke but always just waved at each other. Sometimes I would see him in town quietly buying supplies. I think that living on Perry Road in Grand Blanc made me very sensitive to the outdoors and to nature. I experienced the contrast of urban and rural living. These adventures taught me to enjoy my independence and the freedom of the countryside. I also believe that these experiences developed my powers of observation, stimulated my curiosity, and fed my vivid imagination. These lessons later served me artistically, scholastically, and in my architectural work. There was a lot of obvious insecurity for children during this era. The atrocities of the enemy and the threat to our nation did not go unnoticed by the young. We participated in scrap drives for salvageable materials, helped with the Victory Garden, and tended the raising of rabbits and chickens for the table. I especially was aware of the sudden rarity of metal toys and the appearance of wood and cardboard substitutes. We resolved these tensions by playing at war, by reenacting battles and digging foxholes in the yard. My father, after work at the tank plant, would take me with him when he would do a little pheasant hunting with bird dogs behind our house. I remember being a child and sitting in the sun on the south side of the house one spring day admiring the tulips, thinking how wonderful it was to be in nature and how much I liked being there, and that I never… I felt very secure outside, and kind of had an epiphany that day, realizing that as long as I was able to be in nature at lengths of time, I felt very secure and very healthy. I’ve re-visited Grand Blanc recently and, of course, it’s changed. The area around the house and nursery is now replaced by Kwik-Shops, offices and with 5 subdivisions. The farmland I crossed is now ‘developed’. There are no pheasants in the countryside and the stream is polluted. There’s very little left of what I enjoyed so very thoroughly. I think it impressed upon me the need to be conservative with land and try to extend the boon of nature as long as we can. We needn’t gobble up the empty space...I hope the value of the natural landscape and the lessons of Issak Walton, John Muir, and Ian McHarg are heeded. We must learn to avoid consuming the earth.” Kelly: “…and cover everything with cement.” Richardson: “That (my need for nature’s balm) proved to be the case even years later when I was living in New York City. New York City may be the ultimate in American urban experience. It offered the best and the worst of urbanity. We were there during the period of political unrest generated by the Viet Nam War and the Civil Rights Movement. This time contained the brief triumph of Modernism as an architectural style followed by the denial of the authority of the architect by the Anti-Establishment forces. This was a troubled time bringing many changes. The American architectural profession has yet to recover its lost prestige. My wife found I was unusually stressed and grouchy if I didn’t get out of the city about every two or three weeks for restorative vacations. I needed a return to nature....and less cement!” Kelly: “...too much cement!” Richardson: “Yes, yes. So by the time the war ended, my father had an opportunity to move to St. Louis where he worked at the GM Fisher Body plant. We lived in Ferguson, Missouri. I didn’t like that very much because the weather was hot and the house was in a suburban neighborhood. It was a shock for me to find my new home was really dense suburban living, even though Ferguson was a nice place to live. I went from the 3rd grade through high school there. While I was in public school, I made many friends with people who shared my enthusiasms, including model airplane building. I actually went through school with a friend who is now a very famous architect, Antoine Predock. We knew each other quite well, and he flew model airplanes in the same park where I flew 6 mine. I also made a friend of Bob Laval who shared a love of the outdoors. His father, Vernon Laval, was my high school English teacher. Mr. Laval, a war veteran, was an excellent teacher and role model. He encouraged us to shoot target competition with .22 rifles for the school team. I did that, becoming a Junior Distinguished Rifleman. That became something that I kept doing. Not only did we shoot well at Ferguson High, but I was also on the Air Force ROTC Rifle Team at the University of Michigan. Even after I was at the University of Kansas, I shot in national matches with high powered rifles at Camp Perry, Ohio, and still do target shooting as sort of as a recreational pursuit.
Recommended publications
  • Grace La Is Professor of Architecture at the Harvard University Graduate School of Design and Principal of LA DALLMAN Architects
    Grace La is Professor of Architecture at the Harvard University Graduate School of Design and Principal of LA DALLMAN Architects. La’s work is internationally recognized for the integration of architecture, engineering and landscape. Cofounded with James Dallman, LA DALLMAN is engaged in catalytic projects of diverse scale and type. Noted for works that expand the architect's agency in the civic recalibration of infrastructure, public space and challenging sites, LA DALLMAN was named as an Emerging Voice by the Architectural League of New York in 2010 and received the Rudy Bruner Award for Urban Excellence Silver Medal in 2007. In 2011, LA DALLMAN was the first practice in the United States to receive the Rice Design Alliance Prize, an international award recognizing exceptionally gifted architects in the early phase of their career. LA DALLMAN has also been awarded numerous professional honors, including architecture and engineering awards, as well as prizes in international design competitions. LA DALLMAN’s built work includes the Kilbourn Tower, the Miller Brewing Meeting Center (original building by Ulrich Franzen), the University of Wisconsin‐Milwaukee (UWM) Hillel Student Center, the Ravine House, the Gradient House and the Great Lakes Future and City of Freshwater permanent science exhibits at Discovery World. The Crossroads Project transforms infrastructure for public use, including a 700‐foot‐long Marsupial Bridge, a bus shelter and a media garden. LA DALLMAN is currently commissioned to design additions to the Marcus Center for the Performing Arts (original building by Harry Weese and landscape by Dan Kiley), the 2013 Master Plan for the Menomonee Valley and the Harmony Project, a 100,000‐square‐foot hybrid arts building for professional dance, which includes a ballet school, a university dance program and a medical clinic.
    [Show full text]
  • 14PL120 Alley Theatre FINAL.Pdf
    CITY OF HOUSTON Archaeological & Historical Commission Planning and Development Department PROTECTED LANDMARK DESIGNATION REPORT LANDMARK NAME: Alley Theatre AGENDA ITEM: C OWNER: Alley Theatre HPO FILE NO.: 14PL120 APPLICANT: Scott J. Atlas DATE ACCEPTED: Aug-21-2014 LOCATION: 615 Texas Avenue HAHC HEARING DATE: Sep-25-2014 SITE INFORMATION Lots 1, 2, 3, 6, 7, 8 & 12 & Tract 11, Block 60, SSBB, City of Houston, Harris County, Texas. TYPE OF APPROVAL REQUESTED: Protected Landmark Designation HISTORY AND SIGNIFICANCE SUMMARY The Alley Theatre was founded in 1947 by Nina Vance (1914-1980), one of the most outstanding theatrical directors in the U.S. and Texas in the mid twentieth century. The Alley is now one of the oldest non-profit, professional, resident theater companies in continuous operation in the United States. From its inception, the Alley Theatre staged productions in an “arena” or “in the round” spatial format, a practice associated with cutting-edge theatrical companies in the mid-twentieth-century period. In the Alley’s first season (1947-48), performances were held in a dance studio on Main Street. Audience members had to walk along a narrow outdoor passage to get to the performance space; this passage was the origin of the Alley’s name. In 1962, the Alley Theatre was given a half-block site in the 600 block of Texas Avenue by Houston Endowment and a $2 million grant from the Ford Foundation for a new building and operating expenses. The theater was to be part of a downtown performance and convention complex including Jones Hall, the home of the Houston Symphony, Houston Grand Opera, and Society for the Performing Arts.
    [Show full text]
  • Modern Domestic Architcture in and Around Ithaca, Ny: the “Fallingwaters” of Raymond Viner Hall
    MODERN DOMESTIC ARCHITCTURE IN AND AROUND ITHACA, NY: THE “FALLINGWATERS” OF RAYMOND VINER HALL A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Mahyar Hadighi January 2014 © 2014 Mahyar Hadighi ABSTRACT This research examines the role of Modern architecture in shaping the American dream through the work of a particular architect, Raymond Viner Hall, a Frank Lloyd Wright follower, in Ithaca, NY. Modernists’ ideas and Modern architecture played significant roles in the twentieth century post-depression urban history. Although the historic part of historic preservation does not commonly refer to twentieth century architecture, mid-century Modern architecture is an important part of the history and its preservation is important. Many of these mid-century Modern examples have already been destroyed, mainly because of lack of documentation, lack of general public knowledge, and lack of activity of advocacy groups and preservationists. Attention to the recent past history of Ithaca, New York, which is home of Cornell University and the region this research survey focuses on, is similarly not at the level it should be. Thus, in an attempt to begin to remedy this oversight, and in the capacity of a historic preservation-planning student at Cornell (with a background in architecture), a survey documenting the Modern architecture of the area was conducted. In the process of studying the significant recent history of Ithaca, a very interesting local adaptation of Wrightian architecture was discovered: the projects of Raymond Viner Hall (1908-1981), a semi-local Pennsylvanian architect, who was a Frank Lloyd Wright follower and son of the chief builder of Fallingwater.
    [Show full text]
  • Mid 20Th Century Architecture in NH: 1945-1975
    Mid 20th Century Architecture in NH: 1945-1975 Prepared by Lisa Mausolf, Preservation Consultant for NH Employment Security December 2012 Table of Contents Page I. Introduction 3 II. Methodology 4 III. Historic Context, Architecture in NH, 1945‐1975 5 IV. Design Trends in New Hampshire, 1945‐1975 43 Changes in the Post‐World War II Building Industry 44 Architectural Trends, 1945‐1975 61 Styles 63 V. Recommendations for Future Study 85 VI. Bibliography 86 Appendix A Examples of Resource Types 90 Appendix B Lists of NH Architects 1956, 1962, 1970 111 Appendix C Brief Biographies of Architects 118 2 I. Introduction The Mid 20th Century Architecture in New Hampshire Context: 1945‐1975 was prepared by Lisa Mausolf, Preservation Consultant, under contract for the New Hampshire Department of Employment Security. The context was prepared as mitigation for the sale of the Employment Security building at 32 South Main Street in Concord. The modern curtain wall structure was designed by Manchester architects Koehler & Isaak in 1958. A colorful landmark on South Main Street, discussion of the architectural significance of the building draws commentary ranging from praise “as an excellent example of mid‐ century Modern architecture and ideals of space, form, and function”1 to derision, calling it one of the ugliest buildings in Concord. NH Department of Employment Security, 32 South Main Street, Concord (1958) The Mid 20th Century Architecture in New Hampshire Context was prepared in order to begin work on a framework to better understand the state’s modern architectural resources. The report focuses primarily on high‐style buildings, designed by architects, and excludes residential structures.
    [Show full text]
  • Theater District Master Plan 2025
    ISSUED FEBRUARY 2015 HOUSTON THEATER DISTRICT MASTER PLAN The Houston Theater District Master Plan has been sponsored by Supported by • Alley Theatre • City of Houston • Da Camera of Houston • Hobby Center for the Performing Arts • Houston Ballet • Houston Downtown Management District • Houston Grand Opera • Houston Symphony • Society for the Performing Arts • Theatre Under The Stars (TUTS) Consultant team lead by With support from • Clack Condon Associates • The Principle Partnering Group •2 RPH Houston Consulting Theater Group District Master Plan • Smith & Company Architects • Tranquillity Park design by White Oak Studio CONTENTS Executive Summary Page 4 01 - THE VISION Page 6 Vision Statement 02 - BACKGROUND AND PRINCIPLES Page 12 Site Context Placemaking: Technology, Lighting, and Public Art Access and Movement Street Life and Walkability Built Form 03 - MASTER PLAN FOR 2025 Page 24 The Illustrative Master Plan Center Stage Bagby Boulevard Livable Streets 04 - TAKING ACTION NOW Page 60 Programming and Festivals Parking and Underground Branded Wayfinding 05 - PHASING AND COSTS Page 76 Phasing, Strategy, and Cost Estimates 3 EXECUTIVE SUMMARY EXECUTIVE SUMMARY The Houston Theater District plays Introduction an important role as the focus of arts, The 2025 Theater District Master Plan, entertainment and cultural life and Chapter 1 describes the vision for initiated by Houston First Corporation, local identity for the City of Houston. the Theater District and outlines its establishes a vision for the future of new identity - an urban and edgy arts Houston is a city of discovery, as much the performing arts experience in district where everyone is on stage, of what makes Houston interesting downtown Houston.
    [Show full text]
  • Table of Contents
    Table of Contents About the Author .......................................................................................................ix Acknowledgments ..................................................................................................... x Foreword.....................................................................................................................xi Preface ...................................................................................................................... xiii Overview of American Residential Architectural Styles ................................... xv Chapter 1 Why Architecture? ................................................................................. 1 Form and Function .................................................................................. 1 Value Influences ...................................................................................... 2 Influential Figures in American Architecture ....................................... 3 Chapter 2 Increasing Your Building IQ .............................................................. 15 Lexicon of Building Elements .............................................................. 15 Chapter 3 Postmedieval English Style, 1600-1760 ............................................. 39 Interesting Facts About Postmedieval English Architecture ............... 40 Defining Characteristics of Postmedieval English Architecture ........ 41 Anatomy of an Eighteenth-Century Home .......................................... 50 The Pelatiah
    [Show full text]
  • The New Hampshire, Vol. 59, No. 12 (Oct. 25, 1968)
    THE NEW HAMPSHIRE Vol. 59 No. 12 Friday, October 25,1968 Durham, N. H. Vocation may be changed Peters blasts Scheduling Committee The University Scheduling Committee uled from December 18 to December 13, tary be named. of a secretary is different than mine.” announced Monday that if student demand Peters said. The petition will be avail­ He said Committee members dis­ Turner added that his aide would re­ is substantial, Christmas vacation would able to all students at the main desk of cussed the idea of naming a secretary cord all “ important” facts. be scheduled earlier this year, reported the Memorial Union Building. until Registrar Leslie Turner agreed “ There should be a secretary so we junior Doug Peters, student representa­ “ The longer we wait, the harder it to provide one. can present official minutes to students,” tive on the Committee. will be to change the dates,’ ’ said Peters. However, at the Oct. 21 meeting, Peters said. “ If we can prove to the Scheduling In an interview Wednesday, the student no secretary was present, and Peters He added that he also proposed the Committee that there’ s student demand representative also criticized the Com­ asked Turner why he had not supplied adoption of formal voting procedure. for an earlier vacation, the Scheduling mittee for its “ inefficiency.” the secretary he had promised. “ It was as if I’ d spoken to a wall,” Committee will give it to us,” said Peters explained that the Committee Peters said Turner indicated that he said. Peters. “ At least that’ s what they observes no formal voting procedure and his aide, who had been attending com­ He noted that instead of a vote, a promised us.’’ has no secretary to record minutes.
    [Show full text]
  • Allaback National Historic Landmark Final Report
    ESSAYS ON MODERN ARCHITECTURE For the National Historic Landmark Program Introduction Chronology Essays 1. The Skyscraper 2. The Modern House 3. Modern Religious Architecture 4. The Modern College Campus and Modern Buildings on Campus 5. Modern Art Museums Architect Lists Sarah Allaback, Ph.D. Amherst, Massachusetts April 2, 2003 INTRODUCTION The following essays and lists of architects are intended to further the study of modern buildings that may qualify as National Historic Landmarks. The buildings are organized by type and evaluated in terms of architectural significance. American architects began to experiment with styles beyond the traditional neoclassical in the early nineteenth century. Styles were chosen for their historical associations and the buildings were considered architecturally pure versions of the past. By the end of the century, architects felt free to combine styles in an “eclectic” manner, without such concern for stylistic origins. New technologies and building materials encouraged this emerging experimentation. If this was all modern, however, it was certainly not “modernism.” When European modernism arrived in the United States in the 1920s no one could mistake it for anything that went before. Historians quickly labeled this early phase of modern architecture the International Style. It was short-lived. The white, geometric forms were too bleak for Americans, especially since they came without the social meaning of their European counterparts. The International Style was imported to the United States, but its early development was not without American influence. As European architects began experimenting in wild new forms of architecture, materials and forms, they studied the designs of Frank Lloyd Wright, whose work had been published in portfolios by 1910.
    [Show full text]
  • The Origins of the Interpretive Design Center, with Comments on the Progress of Interpretation, 1964-1970 William C
    / HARPERS FERRY CENTER Harpers Ferry Center was established to consolidato the interpretive facilities of the National Park Service. It is responsible for producing all of the museum exhibits, audiovisual programs, graphics nd interpretive publications used throughout the National Park System. From the beginnings of the national park movement, interpretation has been considered one of the primary functions in the administra­ tion of the parks. Congress. in establishing Yellowstone National Park in 1872, specified that it w.as being set aside, "for the benefit and enjoyment of the people." And the Park Service has con­ tinued to believe that both the preservation of the parks, and enjoyment of all parks, comes through a better knowledge and under­ standing of pork resources. Interpretive activities are carried out in the parks by rangers, naturalists, and historiana; but with more than 200,000,000 visitors to the national parks this year, much of the interpretive work must be done through publications, indoor and outdoor museums, slide shows ond films. Either through its own staff and production facilities, or through contracts with private firms, the Harpers Ferry Center provides these needed program materials for oll of the porks. The annual production schedule is sizeable: some 2s,000.000 information foldars are produced for the 300 p~rks; there are nearly 100 museum and audiovisual programs produced each year. Additionally, the Center provides for the curstm:iol and preservation work of the Service and is responsible for the care of some 4,000,000 historic artifacts. Harpers Perry Center also administers the Harpers Ferry National ~~~ Historical Park as a "demonstration park" in which new interpretive r 4/11:.
    [Show full text]
  • Art Lending Service Special Exhibition of 54 Paintings, Prints, Drawings
    TIGHT BINDING THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. No, k For Release: TELEPHONE: CIRCLE 5-8900 Wednesday , Januai>v27, I960 Press Preview: Tuesday, January 26, i960 11 am - h pm The Art Lending Service of the Museum of Modern Art will celebrate its 9th season with a special exhibition of 5k paintings, prints, drawings and sculptures on view from January 27 through March 20 in the Auditorium Gallery. These works were cho­ sen from almost 1,000 sold through the rental service at prices ranging from under a $10O*io a top of 4790» The exhibition is presented as a limited sampling of works available for rent or sale which are loaned to the Art Lending Service by about 70 New York galleries. Included in the show are paintings by Albers, Baziotes, Cicero, Giacometti and pollock, sculptures by Armitage, Calder and Hare, watercolors by Burchfield, leininger, ©raves and Parker, collages by Burri and Schwitters, prints by peterdi, rce, Picasso and Miro. The Art Lending Service, which has been increasingly popular since its estab­ lishment in the fall of 1931 offers rentals of original works of art with an option to buy. It has been used by almost 2,000 people. Works can be rented for one's jone or office for a two or three month period at fees ranging from $5 to $52; if the borrower decides he wants to purchase the work after having had this opportuni­ ty to live with it, the rental fee is deducted from the purchase price.
    [Show full text]
  • The New Hampshire, Vol. 57, No. 3 (Sep. 22, 1967)
    THE NEW HAMPSHIRE VOL. 57 NO. 3 FRIDAY, SEPTEMBER 22, 1967 DURHAM. N.H. Area Greatly Affected Deficit Kills Deaf Program The University’s master degree pro­ In the fall of 1965, Dr. Mason Wak- portant factor.” will reconsider its obligation in this gram in training teachers for the deaf stein, Associate Professor of Speech Last year there were four full-time matter and re-instate the program,” no longer exists. and Drama at UNH, submitted a grant students in the program. AH four had the girls concluded. According to Roland Kimball, chair­ proposal to the U. S. Office of Educa­ fellowships of $2,000 each from the U. Dr. Frank Withrow, Director of the man of the Education Department, final tion for fellowships. S. Office of Education, Bureau for the Research Division of the Bureau for the action to cancel the program came late The program resumed last year with Education of the Handicapped. In ad­ Education of the Handicapped in Wash­ last May. Dr. Wakstein teaching. dition, the University received $2,500 ington, came to the University last May “ During the period oftim elwashere Academic Vice President Robert for each student in its program toward to meet with Dr. Kimball and Dean Sack­ we were never able to engage a faculty Barlow pointed out the major reason for overhead expenses, a total of $10,000 ett to express the federal government’ s member. At the best I would describe dropping the program. “ There were to the University. support. it as a marginal program because of no new students available, and a prob­ One of the students wrote a letter to “ At that time I talked about the need lack of faculty,” Kimball said.
    [Show full text]
  • Notable Modern Architecture in Virginia, Ca. 1940-1990
    Notable Modern Architecture in Virginia, ca. 1940-1990 DHR # Resource Name Street Address City/County Const. Date Architect NR NR Listing Citation Listed? Date Observatory Hill Dining Albemarle County 1984 Robert A.M. Stern RPPN/Higgins files Hall Addition, University of Virginia School of Law, University Emmet St Albemarle County 1968 Hugh Stubbins & RPPN/Higgins files of Virginia Associates with Stainback and Scribner University Hall, University Emmet St Albemarle County 1965 Baskervill and Son with Architecture in of Virginia Anderson, Beckwith and Virginia, p. 163 Haible Agudas Achim 2908 Valley Dr Alexandria 1958, 1966 Architecture in Congregation Center Virginia, p. 133 Alcoa Care-Free All 7801 Elba Rd Alexandria 1957 Charles M. Goodman RPPN/Higgins files Aluminum Home 100-5265 Charles M. Goodman 514 N. Quaker Lane Alexandria 1954 Charles M. Goodman Y 2013 Architecture in House Virginia, p. 137; NR nomination form 100-0165 Gerald R. Ford Jr. House 514 Crown View Drive Alexandria 1955 Viktors Purins NHL and 12/17/1985; NHL nomination VLR 3/19/97 form 029-5471 Hollin Hills Historic District Fort Hunt Rd. Alexandria 1949-1962 Charles M. Goodman; , Y 2013 Architecture in Landscape Architects Virginia, p. 137; Lou Bernard Voight, Dan Making of VA Kiley, and Eric Robert Architecture, p. Davenport 396; Buildings of VA, p. 37, 70-71; NR nomination form Notable Modern Architecture in Virginia, ca. 1940-1990 DHR # Resource Name Street Address City/County Const. Date Architect NR NR Listing Citation Listed? Date 100-0151 Parkfairfax Historic bounded on the west Alexandria 1941-1943 Y 2/22/1999 NR nomination District by Quaker Lane and form the Shirley Memorial Highway (Interstate 395), on the south by Beverley Drive, on the east by Wellington Road, Gunston Road, and Valley Drive, and on the north by Glebe Road and Four-Mile Run 000-3424 Unitarian Universalist 4444 Arlington Blvd Alexandria/ 1964 Charles M.
    [Show full text]