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During Track Work And/Or Rail Shutdown Events, This Bus Stop Will Also Be Served by Metro Shuttle Buses. NOTE
– Bus Service from Union Station Silver Spring Eastern Ave BUS BOARDING MAP BUS SERVICE AND BOARDING LOCATIONS schematic map The table shows approximate minutes between buses; check schedules for full details LEGEND not to scale 16th St BOARD AT MONDAY TO FRIDAY SATURDAY SUNDAY Rail Lines Metrobus Routes t t S ROUTE DESTINATION BUS STOP AM RUSH MIDDAY PM RUSH EVENING DAY EVENING DAY EVENING t S L G d t S n s l Metrobus Major Route 2 80 1 o ARLINGTON-UNION STATION LINE t Frequent, seven-day service on the core i Metrorail H St p H St route. On branches, service levels vary. a 13Y Ronald Reagan Washington Nat’l Airport m -- -- -- -- 30* -- 30* -- Station and Line C B h D6 Metrobus Local Route Alaska Ave t M r F Less frequent service, with some evening o NORTH CAPITOL ST LINE and weekend service available. N G Pl Union Station 80 Fort Totten m 8-15 15 10 30 30 30 30 30 X1 Metrobus Commuter Route Takoma Government EF Printing Office H Parking Peak-hour service linking residential areas Garage 80 Kennedy Center 14-20 30 20-30 30 30 30 30 30 Commuter to rail stations and employment centers. Georgia Ave GN G St G St Railroad Western Ave Bethesda X9 MetroExtra Route 80 McPherson Sq m 14-20 30 20-30 -- -- -- -- -- Transfer National Bureau of GN Limited stops for a faster ride. Days, times Guard Labor Statistics t Q Points S and service levels vary by route. EAST CAPITOL ST LINE Memorial t N s M 1 as E sa 96 Tenleytown-AU m 20 24 21 33 25-30 30-35 30-35 30-35 Map Symbols Routes Operated by ch J us National ett City/County Systems s A Postal 96 -
Remembering Robert Venturi, a Modern Mannerist
The Plan Journal 4 (1): 253-259, 2019 doi: 10.15274/tpj.2019.04.01.1 Remembering Robert Venturi, a Modern Mannerist In Memoriam / THEORY Maurizio Sabini After the generation of the “founders” of the Modern Movement, very few architects had the same impact that Robert Venturi had on architecture and the way we understand it in our post-modern era. Aptly so and with a virtually universal consensus, Vincent Scully called Complexity and Contradiction in Architecture (1966) “probably the most important writing on the making of architecture since Le Corbusier’s Vers une architecture, of 1923.” 1 And I would submit that no other book has had an equally consequential impact ever since, even though Learning from Las Vegas (published by Venturi with Denise Scott Brown and Steven Izenour in 1972) has come quite close. As Aaron Betsky has observed: Like the Modernism that Venturi sought to nuance and enrich, many of the elements for which he argued were present in even the most reduced forms of high Modernism. Venturi was trying to save Modernism from its own pronouncements more than from its practices. To a large extent, he won, to the point now that we cannot think of architecture since 1966 without reference to Robert Venturi.2 253 The Plan Journal 4 (1): 253-259, 2019 - doi: 10.15274/tpj.2019.04.01.1 www.theplanjournal.com Figure 1. Robert Venturi, Complexity and Contradiction in Architecture (London: The Architectural Press, with the Museum of Modern Art, New York, 1977; or. ed., New York: The Museum of Art, 1966). -
Ford's Theatre National Historic Site Scope of Collection Statement
DEPARTMENT OFTHE INTERIOR NATIONAL PARK SERVICE FORD'S THEATRE NATIONAL HISTORIC SITE Scope of Collection Statement Recommended by: _________________________________________________________________________ Bob Sonderman, Regional Curator, National Capital Region Catherine Dewey, Chief of Resource Management, National Mall and Memorial Parks Prepared by:_______________________________________________________________________________ Mark Nelson, CESU Project Staff, Museum Resource Center Elena Popchock, CESU Project Staff, Museum Resource Center Reviewed by:______________________________________________________________________________ Laura Anderson, Museum Curator, National Mall and Memorial Parks Renny Bergeron, Supervisory Museum Curator, National Capital Region Approved by:______________________________________________________________________________ Gay Vietzke, Superintendent, National Mall and Memorial Parks TABLE OF CONTENTS I. INTRODUCTION ................................................................................................................................ 1 A. Executive Summary .....................................................................................................................1 B. Purpose of the Scope of Collection Statement ............................................................................2 C. Legislation Related to the National Park Service Museum Collections .....................................2 D. Site History, Significance, Purpose, Themes and Goals .......................................................... -
2019 NCBJ Annual Meeting in Washington, D.C. - Early Ideas Regarding Extracurricular Activities for Attendees and Guests to Consider
2019 NCBJ Annual Meeting in Washington, D.C. - Early Ideas Regarding Extracurricular Activities for Attendees and Guests to Consider There are so many things to do when visiting D.C., many for free, and here are a few you may have not done before. They may make it worthwhile to come to D.C. early or to stay to the end of the weekend. Getting to the Sites: • D.C. Sites and the Pentagon: Metro is a way around town. The hotel is four minutes from the Metro’s Mt. Vernon Square/7th St.-Convention Center Station. Using Metro or walking, or a combination of the two (or a taxi cab) most D.C. sites and the Pentagon are within 30 minutes or less from the hotel.1 Googlemaps can help you find the relevant Metro line to use. Circulator buses, running every 10 minutes, are an inexpensive way to travel to and around popular destinations. Routes include: the Georgetown-Union Station route (with a stop at 9th and New York Avenue, NW, a block from the hotel); and the National Mall route starting at nearby Union Station. • The Mall in particular. Many sites are on or near the Mall, a five-minute cab ride or 17-minute walk from the hotel going straight down 9th Street. See map of Mall. However, the Mall is huge: the Mall museums discussed start at 3d Street and end at 14th Street, and from 3d Street to 14th Street is an 18-minute walk; and the monuments on the Mall are located beyond 14th Street, ending at the Lincoln Memorial at 23d Street. -
From Lasvegas
.c .~ OJ ~ ~ <Il ~ u [) o > --~----- -- r t'11 > ~ ,....z z o "'!j ~ ~ r >C/l <: M Copyright ©1977, 1972 by ~ The Massachusetts Institute of Technology C/l Originally published as Learning from Las Vegas <: All rights reserved. No part of this book may be reproduced in any form or by any means, eke i1> tronic or mechanical, including photocopying, recording, or by any information storage and re ::l LEARNING trieval system, without permission in writing from the publisher. =.2 V! 8 >: b:I Library of Congress Cataloging in Publication Data 3 ,>. Venturi, Robert. ::l FROM Learning from Las Vegas. ,... N i1> Bibliography: p. ::l o 1. Architecture-Nevada-Las Vegas. 2. Symbolism in architecture. I. SCOtt Brown, Denise, C.., 1931- ,joint author. II. Izenour, Steven, joint author. III. Tide. NA735.L3V4 1977 720'.9793'13 77-1917 ISBN 0·262·72006-X (paperback) LAS VEGAS 20 Revised Edition 11111\1. Robert Venturi Denise Scott Brown Steven Izenour OJ , J::"' (l) -l-J 01: ..... u Ql " ~ 4 LEARNING FROM LAS VEGAS THE ARCHITECTURE OF THE STRIP 35 lot required along the Strip because interaction is by car and highway. distances between buildings; because they are far apart, they can be {ou drive from one casino to another even when they are adjacent be comprehended at high speeds. Front footage on the Strip has not yet ause of the distance between them, and an intervening service station reached the value it once had on Main Street, and parking is still an ap ; not disagreeable. propriate filler. Big space between buildings is characteristic of the Strip. -
Jefferson Memorial Accessibility Ramps
THOMAS JEFFERSON MEMORIAL Submission to the National Capital Planning Commission for March 29, 2019 Project Overview Description of Project Area The Thomas Jefferson Memorial is located at 701 E NCPC Plans and Policies Basin Drive SW. The site of the Memorial is located in Comprehensive Plan for the National Capital West Potomac Park on the shore of the Potomac River Tidal Basin. This project is in line with the Comprehensive Plan for the National Capital (2016), specifically the Parks & Based on the McMillan Plan, the famous architect Open Space Element. The project complies with the John Russell Pope designed a monolithic pantheon, following policies: which faces towards the White House. The site for the Memorial was low, swampy land created from fill from • Preserve and maintain cultural landscapes, river dredging. including their natural and constructed elements. The Tidal Basin flanks the north and the west side • Protect or restore viewsheds that contribute to of the Memorial. To the south of the Memorial is the cultural landscapes and the aesthetic quality, busy, heavily traveled East Basin Drive SW. This road is historic significance and visitor experience of the traveled by pedestrians, buses, bicyclists, tour groups, parks and open space system. etc. The main point of access to the Memorial for most • Protect the image of Washington, along with visitors traveling via vehicle is from the south of the the lighting hierarchy established by iconic civil Memorial. The east of the Memorial is a wooded area landmarks including the U.S. Capital, White House, that is filled with paths to the Memorial. -
NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents
NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents 1 Message from the Chair The National Building Museum explores the world and the Executive Director we build for ourselves—from our homes, skyscrapers and public buildings to our parks, bridges and cities. 2 Exhibitions Through exhibitions, education programs and publications, the Museum seeks to educate the 12 Education public about American achievements in architecture, design, engineering, urban planning, and construction. 20 Museum Services The Museum is supported by contributions from 22 Development individuals, corporations, foundations, associations, and public agencies. The federal government oversees and maintains the Museum’s historic building. 24 Contributors 30 Financial Report 34 Volunteers and Staff cover / Looking Skyward in Atrium, Hyatt Regency Atlanta, Georgia, John Portman, 1967. Photograph by Michael Portman. Courtesy John Portman & Associates. From Up, Down, Across. NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 The 2003 Festival of the Building Arts drew the largest crowd for any single event in Museum history, with nearly 6,000 people coming to enjoy the free demonstrations “The National Building Museum is one of the and hands-on activities. (For more information on the festival, see most strikingly designed spaces in the District. page 16.) Photo by Liz Roll But it has a lot more to offer than nice sightlines. The Museum also offers hundreds of educational programs and lectures for all ages.” —Atlanta Business Chronicle, October 4, 2002 MESSAGE FROM THE CHAIR AND THE EXECUTIVE DIRECTOR responsibility they are taking in creating environmentally-friendly places. Other lecture programs, including a panel discus- sion with I.M. Pei and Leslie Robertson, appealed to diverse audiences. -
Defining Architectural Design Excellence Columbus Indiana
Defining Architectural Design Excellence Columbus Indiana 1 Searching for Definitions of Architectural Design Excellence in a Measuring World Defining Architectural Design Excellence 2012 AIA Committee on Design Conference Columbus, Indiana | April 12-15, 2012 “Great architecture is...a triple achievement. It is the solving of a concrete problem. It is the free expression of the architect himself. And it is an inspired and intuitive expression of the client.” J. Irwin Miller “Mediocrity is expensive.” J. Irwin Miller “I won’t try to define architectural design excellence, but I can discuss its value and strategy in Columbus, Indiana.” Will Miller Defining Architectural Design Excellence..............................................Columbus, Indiana 2012 AIA Committee on Design The AIA Committee on Design would like to acknowledge the following sponsors for their generous support of the 2012 AIA COD domestic conference in Columbus, Indiana. DIAMOND PARTNER GOLD PARTNER SILVER PARTNER PATRON DUNLAP & Company, Inc. AIA Indianapolis FORCE DESIGN, Inc. Jim Childress & Ann Thompson FORCE CONSTRUCTION Columbus Indiana Company, Inc. Architectural Archives www.columbusarchives.org REPP & MUNDT, Inc. General Contractors Costello Family Fund to Support the AIAS Chapter at Ball State University TAYLOR BROS. Construction Co., Inc. CSO Architects, Inc. www.csoinc.net Pentzer Printing, Inc. INDIANA UNIVERSITY CENTER for ART + DESIGN 3 Table of Contents Remarks from CONFERENCE SCHEDULE SITE VISITS DOWNTOWN FOOD/DINING Mike Mense, FAIA OPTIONAL TOURS/SITES -
7350 NBM Blueprnts/REV
MESSAGE FROM THE EXECUTIVE DIRECTOR Building in the Aftermath N AUGUST 29, HURRICANE KATRINA dialogue that can inform the processes by made landfall along the Gulf Coast of which professionals of all stripes will work Othe United States, and literally changed in unison to repair, restore, and, where the shape of our country. The change was not necessary, rebuild the communities and just geographical, but also economic, social, landscapes that have suffered unfathomable and emotional. As weeks have passed since destruction. the storm struck, and yet another fearsome I am sure that I speak for my hurricane, Rita, wreaked further damage colleagues in these cooperating agencies and on the same region, Americans have begun organizations when I say that we believe to come to terms with the human tragedy, good design and planning can not only lead and are now contemplating the daunting the affected region down the road to recov- question of what these events mean for the ery, but also help prevent—or at least miti- Chase W. Rynd future of communities both within the gate—similar catastrophes in the future. affected area and elsewhere. We hope to summon that legendary In the wake of the terrorist American ingenuity to overcome the physi- attacks on New York and Washington cal, political, and other hurdles that may in 2001, the National Building Museum stand in the way of meaningful recovery. initiated a series of public education pro- It seems self-evident to us that grams collectively titled Building in the the fundamental culture and urban char- Aftermath, conceived to help building and acter of New Orleans, one of the world’s design professionals, as well as the general great cities, must be preserved, revitalized, public, sort out the implications of those and protected. -
Saarinen Family Papers Ca. 1880-1989 5 Linear Ft
ARCHIVES Saarinen Family Papers ca. 1880-1989 5 linear ft. Acquisition Number: 1990-08 Acquisition: Gift of Robert S. and Ronald S. Swanson, 1989-1990. In 1988, Matthew Ginal donated copies of materials on Kleinhans to the Archives and these were incorporated into this collection. Access: Access to the collection is unrestricted Copyright: Copyright to this collection is held by the Cranbrook Educational Community, except for some of the Kleinhans materials (see specific folders). Preferred Citation: Saarinen Family Papers, Cranbrook Archives, Bloomfield Hills, Michigan. Photographs: In Photograph Special File and Scrapbooks (Series VI) Audio/Video: 16 mm films are in Series VI, Box 10 Index: The correspondence series is indexed (see end of finding aid) Processing: Betsy Wagner; James Luzenski, 1991; Ryan Wieber, 1998 PROVENANCE Between December 1989 and September 1990, Ronald Saarinen Swanson and Robert Saarinen Swanson donated five lots of Saarinen and Swanson family papers to the Cranbrook Archives. The brothers’ gift included a core grouping of archival materials relating to Eliel, Loja, and Eero Saarinen that had been held by Loja Saarinen until her death and later by Pipsan Saarinen Swanson. This grouping of material constitutes the majority of the Saarinen Family papers. Materials relating to Pipsan Saarinen Swanson and her husband, J. Robert S. Swanson, were organized into the Swanson Family papers (1990-1). Other non-aligned Archives holdings pertaining to the Saarinens and Swansons were subsequently added to both collections. The inventories of the Swansons’ gift have been kept and can be consulted. Not all of the Saarinen Family papers were donated to Cranbrook. After Eliel’s death, Loja Saarinen donated a cache of his honorary degrees and awards, drawings, and photographs to the Museum of Finnish Architecture in Helsinki. -
The Concept of the Architectural Corporation
1914 MICHAEL KUBO The Concept of the Architectural Corporation Despite the increasing presence of large, team-based offices within US architectural practice over the last century, a history of how architects and critics have understood these offices has yet to be written. The nature of group practice has changed from the big businesses and large organiza- tions that accompanied the merger movement at the turn of the twentieth century to the factory producers of the industrial expansion in the 1910s and 1920s, the bureaucratic firms of the postwar boom, and the multina- tional conglomerates of the neoliberal present. Only after World War II did the term “corporate” come to constitute a topos of architectural discourse, one that refers at once to a specific mode of production, the mentality of its producers, and the perceived qualities of the work produced. Through- out these changes in the scope of architectural organization, architects and historians have speculated on the implications of the large-scale office for the status of architecture as a business, a profession, and a field of cultural production. A convenient place to enter this history of critical reception is in midstream, in the years immediately after the World War II, when numerous authors looked to the largest firms of the early twentieth century to comprehend the implications of team-based practices for postwar architectural production. Among the earliest attempts was Henry-Russell Hitchcock’s 1947 article, “The Architecture of Bureaucracy and the Architecture of Genius,” in which he predicted that the major categories of 1983 postwar architecture would be distinguished not by style, but by economy of production.1 Hitchcock noted that the prewar terms of debate, centered Q on avant-garde themes of advance or regression, had given way to a Henry-Russell Hitchcock, “The Architecture of “clarification of the architectural picture” in which “it came about that there Bureaucracy and the was at last only one contemporary way of building,” namely modernism. -
Oz Contributors
Oz Volume 12 Article 24 1-1-1990 Contributors Follow this and additional works at: https://newprairiepress.org/oz This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation (1990) "Contributors," Oz: Vol. 12. https://doi.org/10.4148/2378-5853.1212 This Back Matter is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Oz by an authorized administrator of New Prairie Press. For more information, please contact cads@k- state.edu. Contributors Paul Armstrong holds a BFA degree Charles Moore, of Body, Memory and Norman Crowe teaches in the School of professional organizations. Mr. Hardy has with a Graphics and Art History em Architecture, published in 1977. He has Architecture at the University of Notre served as Chairman of the Design Arts phasis and aM. Arch. degree from the written many articles on the subject of or Dame and is Director of the School's pro Advisory Panel of the National Endow University of Wisconsin Milwaukee. Prior nament and has lectured on ornament gram of Graduate Studies in Architecture. ment for the Arts, and currently serves as to coming to the University of Illinois, throughout the United States, Canada, He is co-author with Paul Laseau of Visual Vice President for Architecture of the Ar Professor Armstrong practiced architec Mexico, and England. His practice is Notes, a book published in 1984 by Van chitectural League of New York and Vice ture in Oak Park, Illinois. For the past devoted exclusively to the design of ar Nostrand-Reinhold and he authored President of the Municipal Art Society.