“The Mosse Humanities Building: an Unfortunate History & Future
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Brief History of Architecture in N.C. Courthouses
MONUMENTS TO DEMOCRACY Architecture Styles in North Carolina Courthouses By Ava Barlow The judicial system, as one of three branches of government, is one of the main foundations of democracy. North Carolina’s earliest courthouses, none of which survived, were simple, small, frame or log structures. Ancillary buildings, such as a jail, clerk’s offi ce, and sheriff’s offi ce were built around them. As our nation developed, however, leaders gave careful consideration to the structures that would house important institutions – how they were to be designed and built, what symbols were to be used, and what building materials were to be used. Over time, fashion and design trends have changed, but ideals have remained. To refl ect those ideals, certain styles, symbols, and motifs have appeared and reappeared in the architecture of our government buildings, especially courthouses. This article attempts to explain the history behind the making of these landmarks in communities around the state. Georgian Federal Greek Revival Victorian Neo-Classical Pre – Independence 1780s – 1820 1820s – 1860s 1870s – 1905 Revival 1880s – 1930 Colonial Revival Art Deco Modernist Eco-Sustainable 1930 - 1950 1920 – 1950 1950s – 2000 2000 – present he development of architectural styles in North Carolina leaders and merchants would seek to have their towns chosen as a courthouses and our nation’s public buildings in general county seat to increase the prosperity, commerce, and recognition, and Trefl ects the development of our culture and history. The trends would sometimes donate money or land to build the courthouse. in architecture refl ect trends in art and the statements those trends make about us as a people. -
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 -
Brutalism? Some Remarks About a Polemical Name, Its Definition, and Its Use to Designate a Brazilian Architectural Trend
Published at En Blanco n.9/2012 pages 130-2 Avaliable at: http://www.tccuadernos.com/enblanco_numero.php?id=86 Brutalism? Some Remarks About a Polemical Name, its Definition, and its Use to Designate a Brazilian Architectural Trend Ruth Verde Zein [email protected] Mackenzie University São Paulo, Brazil Abstract The term Brutalism is both used and ignored in the architectural literature of the second half of the twentieth century. A thorough analysis of the term shows that it does not have a single, agreed-upon meaning. Although its definition and frequent use have not provided an unequivocal characterization of a Brutalist “essence,” to use Reyner Banham’s words, there seems to be no shortage of architecture identified as Brutalist, even if they are only superficially related. Paradoxically, instead of disregarding the term as inappropriate or vague, we might consider it adequate if we agree that what is common to all the architecture referred to as Brutalist is nothing more than their appearance. By accepting a non-essentialist definition of this movement, one may correctly apply the term to a number of different works, from different places, designed between 1950 and 1970. For the most part, what really connects these buildings is not their essence but their surface, not their inner characteristics but their extrinsic ones. Such a straightforward definition, encompassing the broad variety of Brutalist works, has the merit of providing a working definition of a broadly influential if understudied movement in modern architecture. 1 Fifty years after Brasilia’s inauguration in 1960, Brazilian architecture remains stuck in the same frozen images of a glorious moment in history. -
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. -
TOM FINKELPEARL (TF) Former Deputy Director of P.S
THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: TOM FINKELPEARL (TF) Former Deputy Director of P.S. 1 INTERVIEWER: JEFF WEINSTEIN (JW) Arts & Culture Journalist / Editor LOCATION: THE MUSEUM OF MODERN ART DATE: JUNE 15, 2010 BEGIN AUDIO FILE PART 1 of 2 JW: I‟m Jeff Weinstein and we are sitting in the Architecture and Design conference room at the education and research building of The Museum of Modern Art on Tuesday, 3:30, June 15th, and I‟m talking to… TF: 2010. JW: 2010. Is it Thomas or Tom? TF: Tom. JW: Tom Finkelpearl. And we‟re going to be talking about his relationship to P.S. 1. Hello. Could you tell me a little background: where you were born, when, something about your growing up and your education? TF: Okay. Well, I was born in 1956 in Massachusetts. My mom was an artist and my dad was an academic. So, actually, you know, I had this vision of New York City from when I was a kid, which was, going to New York City and seeing, like, abstract expressionist shows. We had a Kline in our front hall. They had a de Kooning on consignment, but they didn‟t have the three hundred and fifty dollars. And so the trajectory of my early childhood was that I always had this incredible vision of coming to New York City and working in the arts. Then actually, I went undergraduate to Princeton. I was a visual arts and art history major, so I was an artist when I started P.S. -
2012 Lwresume
Louis Wasserman & Associates AIA Architecture Landscape Architecture Architecture P.O.Box 11138 Telephone 414 271-6474 Planning Shorewood WI 53211 email: [email protected] Landscape Architecture web: www.louiswassermanandassociates.com Louis Wasserman Member of the American Institute of Architects and NCARB certified. Registration Licensed in Wisconsin and Illinois. Previously KY, MA, MO, MI, MN, OH, and IN.. Organizations AIA, Wisconsin AIA Director at Large for two years Education Master of Architecture, Graduate School of Design, Harvard University, Cambridge, MA Bachelor of Architecture, University of Illinois, Urbana, Illinois. Summa Cum Laude. Ecole des Beaux Artes, Unite Pedagogique d’Architecture 3, Versailles, France. Professional Experience Louis Wasserman & Associates. Milwaukee, Wisconsin. Master Planning, Recreational Planning, Research, Commercial, LL Buildout, Historic Renovation, Institutional, Residential Projects. Historic Preservation. Benjamin Thompson Architects. Cambridge, Massachusetts. Design Architect for commercial revitalization, Embassy, Educational, Historic Preservation, Adaptive Reuse and Recreational projects. Cambridge Seven Associates. Cambridge, Massachusetts. Architect for Miami Transit Station, Designer for Educational and Recreational Facilities. Add Inc. Cambridge, Massachusetts. Architect for Lowell Boathouse, Designer for Institutional and Commercial Facilities. Jerome Butler, City Architect of Chicago, Chicago, Illinois. Design Architect for adaptive reuse and revitalization -
ORAL HISTORY of CYNTHIA WEESE Interviewed by Judith K. De
ORAL HISTORY OF CYNTHIA WEESE Interviewed by Judith K. De Jong Complied under the auspices of the Chicago Architects Oral History Project Ernest R. Graham Study Center for Architectural Drawings Department of Architecture and Design The Art Institute of Chicago Copyright © 2007 The Art Institute of Chicago This manuscript is hereby made available for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of this manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Outline of Topics vi Oral History 1 Selected References 47 Appendix: Curriculum Vitae 49 Index of Names and Buildings 52 iii PREFACE Cynthia Weese’s decision to become an architect was deeply influenced by the landscape of her childhood in Iowa, a few key buildings, and the strong support of her family. One of only a handful of women students, she excelled at Washington University in St. Louis, where she met mentors Joe Passoneau, Fumihiko Maki, Roger Montgomery, and Ben Weese. Upon moving to Chicago, Cynthia opened a small practice that focused on urban pioneers in North Side neighborhoods; later she worked for both landscape architect Joe Karr and architect Harry Weese. In 1977 she—along with Ben Weese—was a founding principal of what is now Weese Langley Weese, where she won multiple design awards and was widely published and exhibited. Her participation in the Chicago Eleven, her contributions as a founding member of Chicago Women in Architecture and the Chicago Architectural Club, and her leadership of the Chicago chapter of the American Institute of Architects exemplify both her commitment to dialogue within the profession as well as outreach by architects to the broader community. -
REDISCOVERED Creating a Better Community
COLUMBUS, INDIANA REDISCOVERED Creating a better Community Steven R. Risting, AIA CSO Architects Columbus Area Visitors Center Columbus,Tour Guide training Indiana REDISCOVERED29 January 2013 Creating a better Community “First we shape our buildings, therefore, they shape us.” Winston Churchill Creating a better COMMUNITY with architectural design excellence LIVE WORK PLAY LEARN WORSHIP Columbus, Indiana REDISCOVERED Creating a better Community LIVE WORK PLAY LEARN WORSHIP St. Bartholomew Roman Catholic Church Steven R. Risting (Ratio Architects) 1999-2002 Columbus, Indiana REDISCOVERED Creating a better Community A daunng task to design in the shadows of recognized great architecture… Saarinen, Weese Columbus, Indiana REDISCOVERED Creating a better Community LIVE WORK PLAY LEARN WORSHIP About the people, COMMUNITY Columbus, Indiana REDISCOVERED Creating a better Community LIVE WORK PLAY LEARN WORSHIP AIA: a place of memory and inspiraon… integraon of city and architecture Integraon of architecture and landscape First Christian Church, Eliel Saarinen, 1942 North Christian Church, Eero Saarinen, 1964 (National Historic Landmark, 2000) (National Historic Landmark, 2000) Columbus, Indiana REDISCOVERED Creating a better Community LIVE WORK PLAY LEARN WORSHIP AIA: a place of “majestas” (majesty) and “mysterium” (mystery) First Baptist Church, 1965 (National Historic Landmark, 2000) St. Paul’s Episcopal Church renovation, Thomas Beeby, 2002 Columbus, Indiana REDISCOVERED Creating a better Community LIVE WORK PLAY LEARN WORSHIP Commons Office -
Building America - Week 3
BUILDING AMERICA - WEEK 3 AMERICAN ARCHITECTS FROM THE 20TH CENTURY FRANK LLOYD WRIGHT, 1867-1959 • Falling Water, Bear Run, Pennsylvania - 1936 • Personal Residence, Oak Park - 1889-1909/1951 • Robie House, Chicago, IL - 1909 • Unity Temple, Oak Park, Chicago, IL - 1906 • Unitarian Meeting House, Shorewood Hills, WI - 1947 • Larkin Building, Buffalo, NY - 1903 • Aline Barnsdall - Holly Hock House, Los Angeles, CA - 1920 • Johnson Wax Head Quarters, Racine, WI - 1939/1944/1951 • Taliesin West, Scottsdale, AZ - 1938 • Price Company Tower, Bartlesville, OK - 1952 • Solomon R. Guggenheim Museum, New York City, NY - 1959 JULIA MORGAN, 1872 -1957 • Hearst Castle at San Simeon - 1910-1919 • YWCA’s in California - 1900-1940 HENRY BACON, 1866 -1924 • Lincoln Memorial - 1922 JOHN RUSSELL POPE, 1874 -1937 • Jefferson Memorial - 1939-1943 • The National Gallery of Art (West Wing) CASS GILBERT, 1859- 1934 • Woolworth Building - 1913 - 792 feet high neo-gothic skyscraper, • U.S. Supreme Court Building, Washington D.C. - 1935 THE BAUHAUS SCHOOL IN GERMANY International Style WALTER GROPIUS*, 1883- 1969 • TAC -The Architect’s Collaborative, Cambridge, MA - 1946-1995 • Director of Bauhaus in Germany - 1930-1933 • Gropius House, Cambridge, MA - 1938 • Pan Am Building, New York City, NY - 1958-1963 • Park Side Elementary School, Columbus, IN - 1962 • AIA Headquarters, Washington D.C. - 1973 LUDWIG MIES VAN DER ROHE, 1886-1969 • German (Barcelona) Pavilion, Spain - 1929 • Bauhaus, Germany - 1923 • Farnsworth House, Chicago, IL - 1946-1951 • Director - Illinois -
The Visual Language of Brutalist Web Design El Lenguaje Visual Del Diseño Web Brutalista
The visual language of brutalist web design El lenguaje visual del diseño web brutalista Fernando Suárez-Carballo obtained a PhD from the Pontifical University of Salamanca in 2005 and is a perma- nent lecturer in Art Direction in the Faculty of Communication Studies at this university, where he has taught a range of subjects related to visual communication since the year 2000. He is a member of the research group Business Innovation and Creativity and the author of several articles and chapters of books on graphic design, the field that is his main line of research. His management responsibilities have included coordinating the degree course Advertising and Public Relations and his appointment as Associate Dean for students at the Faculty of Communication. He currently heads the Office for the Transfer of Research Results (Oficina de Transferencia de Resultados de Investigación, OTRI). Pontifical University of Salamanca, Spain [email protected] ORCID: 0000-0001-7498-6595 Received: 15/11/2018 - Accepted: 19/03/2019 Recibido: 15/11/2018 - Aceptado: 19/03/2019 Abstract: Resumen: Many authors agree on the current relevance of brutalist web Un gran número de autores coincide en señalar el protagonismo design, a trend inspired by the popular architectural style which, actual del diseño web brutalista, una corriente inspirada en el pop- ISSN: 1696-019X / e-ISSN: 2386-3978 in turn, is distinguished by the rawness of its materials, the ular estilo arquitectónico que, a su vez, se distingue por la desnudez geometric shapes or the absence of decoration. This study uses de sus materiales, las formas geométricas o la ausencia de orna- Content Analysis to discover whether it is possible to interpret mento. -
Holden Block 1027 West Madison Street
LANDMARK DESIGNATION REPORT Holden Block 1027 West Madison Street Preliminary and Final Landmark Recommendation Adopted by the Commission on Chicago Landmarks, March 3, 2011 CITY OF CHICAGO Richard M. Daley, Mayor Department of Housing and Economic Development Andrew J. Mooney, Commissioner Bureau of Planning and Zoning Historic Preservation Division Cover: The Holden Block at 1027 W. Madison St. is a four-story commercial loft building built in 1872. It is designed in the Italianate architectural style, faced with Buena Vista sandstone, and ornamented with a plethora of finely-crafted stone ornament concentrated around upper-floor windows. The Commission on Chicago Landmarks, whose nine members are appointed by the Mayor and City Council, was established in 1968 by city ordinance. The Commission is responsible for recommending to the City Council which individual buildings, sites, objects, or districts should be designated as Chicago Landmarks, which protects them by law. The landmark designation process begins with a staff study and a preliminary summary of information related to the potential designation criteria. The next step is a preliminary vote by the Landmarks Commission as to whether the proposed landmark is worthy of consideration. This vote not only initiates the formal designation process, but it places the review of city permits for the property under the jurisdiction of the Commission until a final landmark recommendation is acted on by the City Council. This Landmark Designation Report is subject to possible revision and amendment during the designation process. Only language contained within a designation ordinance adopted by the City Council should be regarded as final. HOLDEN BLOCK 1027 West Madison Street Built: 1872 Architect: Stephen Vaughn Shipman The Holden Block, a four-story building located on Chicago’s Near West Side, is an unusual- surviving Italianate “commercial block” from the 1870s.