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Michigan's Historic Preservation Plan
Michigan’s state historic Preservation Plan 2014–2019 Michigan’s state historic Preservation Plan 2014–2019 Governor Rick Snyder Kevin Elsenheimer, Executive Director, Michigan State Housing Development Authority Brian D. Conway, State Historic Preservation Officer Written by Amy L. Arnold, Preservation Planner, Michigan State Historic Preservation Office with assistance from Alan Levy and Kristine Kidorf Goaltrac, Inc. For more information on Michigan’s historic preservation programs visit michigan.gov/SHPo. The National Park Service (NPS), U. S. Department of the Interior, requires each State Historic Preservation Office to develop and publish a statewide historic preservation plan every five years. (Historic Preservation Fund Grants Manual, Chapter 6, Section G) As required by NPS, Michigan’s Five-Year Historic Preservation Plan was developed with public input. The contents do not necessarily reflect the opinions of the Michigan State Housing Development Authority. The activity that is the subject of this project has been financed in part with Federal funds from the National Park Service, U.S. Department of the Interior, through the Michigan State Housing Development Authority. However, the contents and opinions herein do not necessarily reflect the views or policies of the Department of the Interior or the Michigan State Housing Development Authority, nor does the mention of trade names or commercial products herein constitute endorsement or recommendation by the Department of the Interior or the Michigan State Housing Development Authority. This program receives Federal financial assistance for identification and protection of historic properties. Under Title VI of the Civil Rights Acts of 1964, Section 504 of the Rehabilita- tion Act of 1973 and the Age Discrimination Act of 1975, as amended, the U.S. -
Illt3/F£ ( /*- Deputy State Historic Preservation Officer
NFS Form 10-900 OMB No. 10024-0018 (Oct. 1990) RECEIVED 2280 United States Department of the Interior National Park Service Uhu I I I996 National Register of Historic Places Registration Form NAT. REGISTER OF HISTORIC PLACES NATIONAL PARK SERVICE This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Bullard, Casiville House___________________________________ other names/site number N/A. 2. Location street & number 1282 Folsom Street D not for publication N/A city or town __ St. Paul, _ D vicinity N/A state Minnesota code MN county Ramsey code _ zip code 55117 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this EsD nomination D request for determination of eligibility meets the documentation standards for registering properties in the National Register of Histpric' Places and me(£ts-*he-piocedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property Bmeets C Sdoes notVmeeytfe National Registe , criteria. -
Master Document Template
Copyright by Kathryn Jeanne Sutton 2012 The Report Committee for Kathryn Jeanne Sutton Certifies that this is the approved version of the following report: Rearticulating Historic Fort Snelling: Dakota Memory and Colonial Haunting in the American Midwest APPROVED BY SUPERVISING COMMITTEE: Supervisor: Steven Hoelscher Shirley Thompson Rearticulating Historic Fort Snelling: Dakota Memory and Colonial Haunting in the American Midwest by Kathryn Jeanne Sutton, B.A. Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2012 Acknowledgements A special thanks to participants in the U.S.-Dakota War of 1862 Oral History Project, especially Judy Anywaush, Dean Blue, Clifford Canku, Pamela Halverson, Elden Lawrence, Raymond Owen, Dallas Ross, and Carrie Schommer; to Waziyatawin for speaking to me about her work and activism; to Aimee LaBree, Deborah Locke, Ellen Miller, Kevin Maijala, Rose Sherman, and Kate Roberts with the Minnesota Historical Society; to John Bartholow for sharing his volunteer experience at Historic Fort Snelling; to Steve Hoelscher and Shirley Thompson at The University of Texas at Austin for supervising and guiding this study; to the Department of American Studies for their support over the last two years, especially Carrie Andersen, Janet Davis, Elizabeth Engelhardt, Jen Rafferty, Ella Schwartz, and Jackie Smith; to Evan Sallee for his formatting prowess; and to my mother, who inspired me to write. iv Abstract Rearticulating Historic Fort Snelling: Dakota Memory and Colonial Haunting in the American Midwest Kathryn Jeanne Sutton, M.A. -
Challenges and Achievements
The Pennsylvania State University The Graduate School College of Arts and Architecture NISEI ARCHITECTS: CHALLENGES AND ACHIEVEMENTS A Thesis in Architecture by Katrin Freude © 2017 Katrin Freude Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Architecture May 2017 The Thesis of Katrin Freude was reviewed and approved* by the following: Alexandra Staub Associate Professor of Architecture Thesis Advisor Denise Costanzo Associate Professor of Architecture Thesis Co-Advisor Katsuhiko Muramoto Associate Professor of Architecture Craig Zabel Associate Professor of Art History Head of the Department of Art History Ute Poerschke Associate Professor of Architecture Director of Graduate Studies *Signatures are on file in the Graduate School ii Abstract Japanese-Americans and their culture have been perceived very ambivalently in the United States in the middle of the twentieth century; while they mostly faced discrimination for their ethnicity by the white majority in the United States, there has also been a consistent group of admirers of the Japanese art and architecture. Nisei (Japanese-Americans of the second generation) architects inherited the racial stigma of the Japanese minority but increasingly benefited from the new aesthetic light that was cast, in both pre- and post-war years, on Japanese art and architecture. This thesis aims to clarify how Nisei architects dealt with this ambivalence and how it was mirrored in their professional lives and their built designs. How did architects, operating in the United States, perceive Japanese architecture? How did these perceptions affect their designs? I aim to clarify these influences through case studies that will include such general issues as (1) Japanese-Americans’ general cultural evolution, (2) architects operating in the United States and their relation to Japanese architecture, and (3) biographies of three Nisei architects: George Nakashima, Minoru Yamasaki, and George Matsumoto. -
Minnesota Statutes 2020, Section 138.662
1 MINNESOTA STATUTES 2020 138.662 138.662 HISTORIC SITES. Subdivision 1. Named. Historic sites established and confirmed as historic sites together with the counties in which they are situated are listed in this section and shall be named as indicated in this section. Subd. 2. Alexander Ramsey House. Alexander Ramsey House; Ramsey County. History: 1965 c 779 s 3; 1967 c 54 s 4; 1971 c 362 s 1; 1973 c 316 s 4; 1993 c 181 s 2,13 Subd. 3. Birch Coulee Battlefield. Birch Coulee Battlefield; Renville County. History: 1965 c 779 s 5; 1973 c 316 s 9; 1976 c 106 s 2,4; 1984 c 654 art 2 s 112; 1993 c 181 s 2,13 Subd. 4. [Repealed, 2014 c 174 s 8] Subd. 5. [Repealed, 1996 c 452 s 40] Subd. 6. Camp Coldwater. Camp Coldwater; Hennepin County. History: 1965 c 779 s 7; 1973 c 225 s 1,2; 1993 c 181 s 2,13 Subd. 7. Charles A. Lindbergh House. Charles A. Lindbergh House; Morrison County. History: 1965 c 779 s 5; 1969 c 956 s 1; 1971 c 688 s 2; 1993 c 181 s 2,13 Subd. 8. Folsom House. Folsom House; Chisago County. History: 1969 c 894 s 5; 1993 c 181 s 2,13 Subd. 9. Forest History Center. Forest History Center; Itasca County. History: 1993 c 181 s 2,13 Subd. 10. Fort Renville. Fort Renville; Chippewa County. History: 1969 c 894 s 5; 1973 c 225 s 3; 1993 c 181 s 2,13 Subd. -
To Read Sample Pages
“ Any detailed account of the architectural history of the World Trade Center must rely on the work of Anthony W. Robins.” — Angus Gillespie, author of Twin Towers: Th e Life of New York City’s World Trade Center THE WORLD TRADE CENTER CLASSICS OF AMERICAN ARCHITECTURE ANTHONY W. ROBINS Originally published in 1987 while the Twin Towers still stood — brash and controversial, a new symbol of the city and the country — this book off ered the fi rst serious con- sideration of the planning and design of the World Trade Center. It benefi ted from interviews with fi gures still on the scene, and archival documents still available for study. Many of those interviewed, and many of the documents, are gone. But even if they remained available today, it would be impossible now to write this book from the same perspective. Too much has happened here. In this, the tenth anniversary year of the disaster, a new World Trade Center is rising on the site. We can fi nally begin to imagine life returning, with thousands of people streaming into the new build- ings to work or conduct business, and thousands more, from all over the world, coming to visit the new memorial. It is only natural, then, that we will fi nd ourselves thinking about what life was like in the original Center. Th is new edition of the book — expanded to include copies of some of the documents upon which the text was based — is off ered as a memory of the World Trade Center as it once was. -
Modelsurvivor
CG Spring 04Fn5.cc 2/24/04 11:59 AM Page 10 GRANT SPOTLIGHT MODEL SURVIVOR Restoring an Architect’s Miniature Masterwork Though a prominent part of New York’s skyline—and a symbol of the city itself—the THE RESTORATION Twin Towers were originally viewed with skepticism. To win over the skeptics, architect WAS LED BY A MODEL Minoru Yamasaki expressed his vision with an elaborately detailed model, today the only MAKER WITH surviving three-dimensional representation of the World Trade Center. CONSERVATION The events of September 11, 2001, have imbued the model with significance that its creators could EXPERTISE AND THE never have imagined. Now part of the American Architectural Foundation’s prints and drawings col- FORMER CHIEF OF lection, the model has undergone a complete restoration thanks to the congressionally funded Save YAMASAKI’S MODEL America’s Treasures grant program of the National Park Service. SHOP, WHOSE The model was donated to the foundation’s collection in 1992, but little is known about its travels KNOWLEDGE OF THE over the past 30 years. What was immediately evident was the urgent need to arrest its worsening con- FIRM’S TECHNIQUES dition. The model is seven feet tall and eight by ten feet at its base; its size, weight, and difficult assem- bly (three hours minimum) did not work in its favor. FOR MODEL-BUILDING “An intriguing and complex period piece in very fragile condition,” is how the foundation described AT THE TIME WAS it. Delicate by nature, architectural models are easily damaged. Often kept in less-than-ideal condi- INVALUABLE. -
Research Journal 2016 / VOL 08.02 Crafting Architectural Experiences
ResearcH JournaL 2016 / VOL 08.02 www.perkinswill.com Crafting Architectural Experiences 03. CRAFTING ARCHITECTURAL EXPERIENCES: Exploring Memory Places Damineh Pegah Dehnadfar, LEED Green Associate, [email protected] ABSTRACT This article discusses the importance of perception of spaces, and involvement with spaces during the design process. Over the last decade, mapping the relationship of architectural spaces to human experience has become popular as a successful design methodology. The beginning phase of the design process is characterized by perceptual integrity; unfortunately, this integrity often fades away or is even eliminated once the spaces become real and occupied. The availability of advanced visual representation techniques has created a realistic clarity of visual experience in space. However, emphasis on the visual has resulted in the possibility that other sensory modalities will be ig- nored. The goal of the craft of architecture as a profession is to create experiential qualities. If well designed, an architectural space can effectively shape experiences and evoke feelings. This paper focuses on design processes and outlines a series of phenomenological arguments that arise in contemporary architecture. These arguments are presented through literature reviews, theoretical interpretation, and the building case studies that support findings. The purpose of this paper is to clarify the importance of imaginative perception in architecture, and to demonstrate how ideas are developed for the creation of impressive architectural spaces. KEYWORDS: experience, memory, imagination, perception, design process, interstitial 1.0 INTRODUCTION: complete satisfaction in users’ experiences of spaces. The power of architecture as a practice lies in the im- In order to design with a specific effect in mind, ar- pressiveness of the experiences that it shapes. -
Museum of Fine Arts, Houston Breaks Ground for Nancy and Rich Kinder Building
MUSEUM OF FINE ARTS, HOUSTON BREAKS GROUND FOR NANCY AND RICH KINDER BUILDING Houston, TX: June 1, 2017 - The Museum of Fine Arts, Houston has broken ground on the Nancy and Rich Kinder building for modern and contemporary art, designed by Steven Holl Architects. The new 164,000-square-foot museum building is shaped by gardens of horizontal porosity and is open on all sides. Seven gardens slice the perimeter, marking points of entry and punctuating the elevations. The largest garden court, at the corner of Bissonnet and Main Street, marks a central entry point on the new Museum of Fine Arts, Houston campus. “This is indeed an exciting day! It's my first groundbreaking in 40 years of practice with the first third of the campus design already built up to the second floor - instead of a parking garage, it's a new Glassell School of the Arts beautifully crafted by a great team. They will build the Kinder Pavilion breaking ground today!” - Steven Holl The Texas sky opens 180°overhead above a luminous canopy covering the new building. Concave curves, imagined from cloud circles, push down on the roof geometry, allowing natural light to slip in with precise measure and quality, perfect for top-lit galleries. The undersides of the curved ceiling become light reflectors, catching and sliding the light across each unique gallery experience. These curved slices of light shape the gallery spaces organically in a unique way related to the organic qualities of the lush vegetation and water characterizing the new campus. Rather than mechanical and repetitive, the light is organic and flowing, like the movement of the galleries. -
Past the Parapets of Patriarchy? Women, the Star System, and the Built Environment
Past the Parapets of Patriarchy? Women, the Star System, and the Built Environment Cynthia Hammond, Concordia University, has On June 10, 2009, the Beverly Willis received awards for her writing on the roles Architecture Foundation (BWAF) premiered a played by such women as Florence Nightingale short documentary at the Guggenheim Museum and Catherine Bauer Wurster in the in New York as part of the events related to the development of institutional and modern upcoming retrospective on the American architecture, showing how their production was architect, Frank Lloyd W right (1867-1959). This embedded within larger questions of nation, film, entitled A Girl Is a Fellow Here: 100 colonialism, and gender. She holds a Women Architects in the Studio of Frank Lloyd three-year, Emerging Scholar award (FQRSC) Wright, presents for the first time an account of for the study of Montreal's public, modernist 6 of the more than 100 women who, as buildings and spaces. architects, helped to build Wright's reputation as the greatest American architect of the Abstract twentieth century. The launch was followed by Twenty years after architect Denise Scott a panel discussion about how such an Brown challenged the patriarchal exclusion of important omission has endured. The film is a women from the "star system," what is the brief but potent counterthesis to the myth of status of women in architecture today? Drawing Wright's solitary and unique genius, a narrative examples from architectural history, recent that has many echoes in a recent spate of films statistics and current initiatives, the author devoted to individual, male architects. -
The Olana Partnership Announces Summer Exhibition “Follies
PO Box 199 Hudson, NY 12534-0199 518-828-1872 www.olana.org FOR IMMEDIATE RELEASE JUNE 20, 2016 The Olana Partnership Announces Summer Exhibition “Follies, Function & Form: Imagining Olana’s Summer House” An exhibition showcasing original concept sketches by 21 architects and landscape architects, inspired by Frederic Church’s OLANA June 20th, 2016, New York, NY: The Olana Partnership, in collaboration with the New York chapters of the American Institute of Architects (AIANY) and the American Society of Landscape Architects (ASLA-NY), is pleased to announce a design exhibition at Olana State Historic Site in Hudson, New York. Titled Follies, Function & Form: Imagining Olana’s Summer House, the exhibition unites noted architects and landscape architects and is curated by The Olana Partnership with guest co-curator Jane Smith, AIA, of Spacesmith. The exhibition addresses one of the great mysteries at Olana -- the Summer House – and it runs from August 14th through November 13th, 2016 in Olana’s Coachman’s House Gallery. Olana is the 250-acre creation of American landscape artist Frederic Church and exists in the birthplace of America’s first native art movement, the Hudson River School. Considered Frederic Church’s great masterpiece, Olana combines art, architecture, design and conservation ideals. In the 1886 “Plan of Olana,” a detailed blueprint of Church’s vision for his large-scale designed landscape, the plan’s details are largely accurate, yet it contains a structure labeled “Summer House”, which doesn’t exist today. Lacking documentary evidence to demonstrate the design and style of this structure, 21 architects and landscape architects were invited to participate in public interpretation at Olana. -
Music and Architecture: a Cross Between Inspiration and Method Fig
Alessandra Capanna Research Via della Bufalotta 67 Music and Architecture: A Cross 00139 Roma ITALY [email protected] between Inspiration and Method Keywords: music, architecture, Abstract. This paper is one of a set of lessons prepared for the Daniel Libeskind, Bela Bartòk, course of “Theory of Architecture” (Faculty of Architecture – Steven Holl, Peter Cook, Ernest “La Sapienza” University of Rome). The didactic aim was to Bloch, golden section present – to students attending the first year of courses – some methods for the beginning stages of design and their applicability to any kind creative work. The brief multimedia hypertext quoted at the end of this paper was carried out in collaboration with the “LaMA” (Laboratorio Multimediale di Architettura) as a test for new educational tools applied to first our “e-learning” experiences. Introduction The analogies, coincidences, affinities and bonds existing between architectural and musical compositions have been the object of research since ancient times. Traveling through the history of this theme is very interesting, especially when it is possible to identify the social and cultural aspects that are interpreted in the different forms of composition: pictorial, poetic, musical and architectural. In this regard, for those who are interested in the study of the ways in which the contemporary architect works, one question appears central: How do projects (often very well known and in some way part of the collective cultural memory) that are explicitly declared to derive from musical pieces, pursue that intent? The academic approach seems to fluctuate between scientific operative methods and an aesthetic method, where a subdivision between the practical and theoretic spheres is still acceptable.