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^M'-^Ki'm-r- --' •« >i^'?fi O^t LQG The Design for a School of Art 'mi The Depot District Lubbock, Texas Robyn Giuiro^a '^^mX'> m KfiB^i?»5!^ppii|M^|(!f|?s Fall 1999 I^^^S-"* • . .M by Robyn Qulroqa A Thesis Architecture Submitted to the Architecture faculty of the College of Architecture of Texas Tech University in Partial Fulfillment for The Degree of MASTERS OF ARCHITECTURE Jarfcesl White, Dean. College of Architecture December 1999 ii 5 2 a037cQ.L'J> /9 <^ r- •] ^r.^^ wt\' ~^Kitlft ii^ A^^m oj ii N (iW/!>«n#»ij%) 11 J IAB »? s; of IINSSI^ ' 04 THEORY 05 THEORY GOALS AND OBJECTIVES oe BACI^GROUND INFORMATION ON COLLAGE 24 THEORY ISSUES 25 THEORY ISSUE NUMBER ONE 26 THEORY ISSUE NUMBER TWO 27 THEORY ISSUE NUMBER THREE 26 THEORY CASE STUDIES 29 THEORY CASE STUDY NUMBER ONE: THE ANTHENEUM BY RICHARD MEIER THEORY CASE STUDY NUMBER TWO: ADDISON CONFERENCE AND THEATRE CENTRE 33 FACILITY TYPE 34 MISSION STATEMENT 35 ACTIVITY ANALYSIS 37 FACILITY PERFORMANCE REQUIREMENTS 40 SPATIAL ANALYSIS 56 SPATIAL SUMMARY 60 FACILITY TYPE CASE STUDIES 61 FACILITY TYPE CASE STUDY NUMBER ONE: CENTRE FOR THE VISUAL ARTS BY FRANK GEHRY 67) FAr:il ITY TYPE CASE STUDY NUMBER TWO: ART SCHOOL BY KUOVO & PARTANEN ARCHITECTS 111 OS i|Nii9D^ DESIGN PROCESS SCHEMATIC REVIEW DESIGN DEVELOPMENT COHCEFTONE CONCEPT TWO COHCEFTTHREE DESIGN RESPONSE RESPONSE TO THEORY ISSUES RESPONSE TO FACILITY TYPE PERFORMANCE REQUIREMENTS RESPONSE TO CONTEXT ISSUES IV -"" IABIH OJ ilNiSSiip 102 DOCUMENTATION 103 Overall Presentation Layout 104 Courtyard Level Plan if: 105 First Floor Plan 106 East and North Elevations 107 West and South Elevations 106 Transverse and Longitudinal Sections 109 Structural Axon 110 Site Plan and Mechanical Flans 111 Interior Perspective 112 Exterior Perspective 113 Mode! Photos 114 Conclusion 115 LIST OF ILLUTRATIONS 125 BIBLIOGRAPHY l£s iHaAgT 'AK I£s fiQABT The theory of artistic collage as an architectural design tool will be used in the design process. -
The Art of Architecture
LEARNING TO LOOK AT ARCHITECTURE LOOK: Allow yourself to take the time to slow down and look carefully. OBSERVE: Observation is an active process, requiring both time and attention. It is here that the viewer begins to build up a mental catalogue of the building’s You spend time in buildings every day. But how often visual elements. do you really look at or think about their design, their details, and the spaces they create? What did the SEE: Looking is a physical act; seeing is a mental process of perception. Seeing involves recognizing or connecting the information the eyes take in architect want you to feel or think once inside the with your previous knowledge and experiences in order to create meaning. structure? Following the steps in TMA’s Art of Seeing Art™* process can help you explore architecture on DESCRIBE: Describing can help you to identify and organize your thoughts about what you have seen. It may be helpful to think of describing as taking a deeper level through close looking. a careful inventory. ANALYZE: Analysis uses the details you identified in your descriptions and LOOK INTERPRET applies reason to make meaning. Once details have been absorbed, you’re ready to analyze what you’re seeing through these four lenses: OBSERVE ANALYZE FORM SYMBOLS IDEAS MEANING SEE DESCRIBE INTERPRET: Interpretation, the final step in the Art of Seeing Art™ process, combines our descriptions and analysis with our previous knowledge and any information we have about the artist and the work—or in this case, * For more information on the Art of Seeing Art and visual literacy, the architect and the building. -
2015 West Coast Championships June 16-20 2015 by 19Turkeys
Volume 26 ~ Issue 6 ~ July 2015 Steve Parsons T/C: 300 Whisper 36 0 24 ML 2015 West Coast Championships Doug Hockinson T/C: 7 TC/U 23 0 15 June 16-20 2015 A T SO CO Notes Marvin Wahl T/C: 357 Mag. 8 0 5 By 19Turkeys U INT T SO CO Notes Russell Mowles XP-100: 7 BR 60 4 40 First and Foremost, a big thank you goes out to those folks that made this match possible. Bret Stuntebeck Rampro: 6.5 BR 60 3 40 Mike & Tyler Abel and Rick Redd worked diligently on Sunday before the match getting the Joe Cullison XP-100: 7 BR 60 2 40 range ready. Mike (Boomer) Aber was ever faithful every day checking guns, and Paul Tyler Abel Rampro: 6 BR 60 1 40 Hoadley was Super Welder keeping us in targets. And a special thanks goes out to Bret Stun- Dan Hagerty XP-100: 6.5 BR 59 0 39 tebeck for being the consummate brew master and fisherman and to Steve Parsons for cook- Russell Plakke T/C: 7 BR 59 0 39 ing the fish and all the shooters & significant others that contributed side dishes and desserts Mike Abel XP-100: 6.5 BR 59 0 39 for the Wednesday night fish fry. Richard Redd T/C: 6 BR 58 0 38 Jim Kesser T/C: 7 TC/U 58 0 38 Also, thanks to all our travelers from around the US, Canada and Australia because we just Steve Parsons XP-100R: 6 B 56 0 37 could not put this match on without the dedication you make coming and supporting us. -
The Great American Songbook in the Classical Voice Studio
THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been -
Inventory of American Sheet Music (1844-1949)
University of Dubuque / Charles C. Myers Library INVENTORY OF AMERICAN SHEET MUSIC (1844 – 1949) May 17, 2004 Introduction The Charles C. Myers Library at the University of Dubuque has a collection of 573 pieces of American sheet music (of which 17 are incomplete) housed in Special Collections and stored in acid free folders and boxes. The collection is organized in three categories: African American Music, Military Songs, and Popular Songs. There is also a bound volume of sheet music and a set of The Etude Music Magazine (32 items from 1932-1945). The African American music, consisting of 28 pieces, includes a number of selections from black minstrel shows such as “Richards and Pringle’s Famous Georgia Minstrels Songster and Musical Album” and “Lovin’ Sam (The Sheik of Alabami)”. There are also pieces of Dixieland and plantation music including “The Cotton Field Dance” and “Massa’s in the Cold Ground”. There are a few pieces of Jazz music and one Negro lullaby. The group of Military Songs contains 148 pieces of music, particularly songs from World War I and World War II. Different branches of the military are represented with such pieces as “The Army Air Corps”, “Bell Bottom Trousers”, and “G. I. Jive”. A few of the delightful titles in the Military Songs group include, “Belgium Dry Your Tears”, “Don’t Forget the Salvation Army (My Doughnut Girl)”, “General Pershing Will Cross the Rhine (Just Like Washington Crossed the Delaware)”, and “Hello Central! Give Me No Man’s Land”. There are also well known titles including “I’ll Be Home For Christmas (If Only In my Dreams)”. -
40 Anni Di Memphis in Mostra Al Vitra Design Museum
https://living.corriere.it/tendenze/design/40-anni-di-memphis-in-mostra-al-vitra-design-museum/ 40 anni di Memphis in mostra al Vitra Design Museum Il museo tedesco celebra il gruppo fondato da Ettore Sottsass che ha rivoluzionato l'estetica Anni 80. E influenza ancora generazioni di creativi. Dal 6 febbraio 2021 al 23 gennaio 2022 Testo di Luca Trombetta – Foto Studio Azzurro / Memphis Che stagione formidabile quella del gruppo Memphis. In soli sette anni – dal 1980/81 al 1987, circa – rivoluzionò il modo di vedere e di pensare il design dei decenni successivi e ancora oggi il suo influsso si ritrova nelle collezioni di diversi designer in una sorta di revival Anni 80, tra citazioni nostalgiche e coraggiosi omaggi. Collettivo italiano di design e architettura radunatosi a Milano attorno alla figura magnetica di Ettore Sottsass, Memphis fu l’espressione più alta del movimento Postmoderno in Italia e, con la sua forza dirompente, si affrancò dagli stereotipi del funzionalismo che avevano caratterizzato il design nostrano fino agli Anni 70, ricorrendo a colori sgargianti, forme geometriche, pattern optical, nonché una rilettura ironica e intelligente del kitsch. A quarant’anni dalla sua fondazione, il Vitra Design Museum di Weil am Rhein celebra l’anniversario del gruppo con la mostra Memphis: 40 Years of Kitsch and Elegance curata da Mateo Kries e in calendario dal 6 febbraio 2021 al 23 gennaio 2022. Attraverso una selezione di arredi, lampade, oggetti, disegni, fotografie e materiali d’archivio racconta la portata di una rivoluzione estetica che celebrava il Pop, il banale e il quotidiano e rompeva i tabù del buon gusto e del minimalismo. -
[email protected] a BROADWAY ROMANCE
FOR IMMEDIATE RELEASE December 18, 2014 Contact: Katherine E. Johnson (212) 875-5718; [email protected] A BROADWAY ROMANCE One-Night-Only Valentine’s Day Concert Featuring Vocalists Laura Osnes and Santino Fontana Conducted by Ted Sperling February 14, 2015 Ted Sperling will conduct the New York Philharmonic and vocalists Laura Osnes and Santino Fontana in A Broadway Romance, a one-night-only Valentine’s Day concert, Saturday, February 14, 2015, at 8:00 p.m. The program will feature songs from popular musicals ranging from Bernstein’s West Side Story and Gershwin’s Girl Crazy to Rodgers & Hammerstein’s Carousel and Stephen Sondheim’s Company, woven together to tell a unified narrative of a romance from beginning to end, from meeting to first date to falling in love to marriage. Ted Sperling led the Philharmonic in a similar program, Broadway Night with the Philharmonic, during its July 2013 Bravo! Vail residency, with vocalists Betsey Wolfe and Andrew Samonsky. During the following summer’s residency, Mr. Sperling led the Philharmonic with Laura Osnes and Santino Fontana — who starred together on Broadway in Rodgers + Hammerstein’s Cinderella — as well as Christine Ebersole in Broadway Night with the Philharmonic: The Music of Frank Loesser. Ted Sperling most recently appeared with the Philharmonic conducting and directing its semi-staged production of Kern & Hammerstein’s Show Boat, in November 2014. Artists Ted Sperling’s recent collaborations with the New York Philharmonic include Show Boat in November 2014; Broadway Night with the Philharmonic at Bravo! Vail in July 2013; An Enchanted Evening with Paulo Szot, the 2013 Spring Gala; and Anywhere I Wander: The Frank Loesser Songbook, the 2012 Spring Gala. -
Letter Supporting the Designation of Philip Johnson and John Burgee's
H 20 November 2017 Ms. Meenakshi Srinivasan, Chair New York City Landmarks Preservation Commission Municipal Building 1 Centre Street, 9th Floor, North New York, NY 10007 [email protected] Re: Support for designation of Philip Johnson and John Burgee’s AT&T Building, 550 Madison, Avenue, New York, as an individual landmark Dear Ms. Srinivasan, The Society of Architectural Historians (SAH) expresses strong support for the prompt calendaring and designation of the AT&T Building as an individual and interior landmark by the New York City Landmarks Preservation Commission. The AT&T Building, designed by Philip Johnson and John Burgee, was constructed between 1978 and 1984 and is rightly recognized as a landmark of postmodern American architecture. When completed, it joined Michael Graves’ Portland Municipal Services Building in Portland Oregon (1980-82) as the most visible expressions of postmodern architecture in the United States. The building is significant not only for its iconic Chippendale-inspired pediment, but for the soaring seven- story lobby entered through a distinctive Palladian arch and arcade, which lobby is the subject of the proposed inappropriate alteration. This lobby is of particular significance; of 119 interior landmarks in New York, only eight were completed after 1950. Few publically accessible postmodern interiors survive, and this is undoubtedly one of the finest. We strongly urge the New York City Landmarks Preservation Commission to move expeditiously towards Landmarks Commission listing of the AT&T Building, including designation as both an individual and an interior landmark. We believe that Johnson and Burge’s design is of international significance, and the listing of both would insure the preservation of one of the most noteworthy postmodern buildings and interiors produced in the United States. -
Jimmy Mchugh Collection of Sheet Music Title
Cal State LA Special Collections & Archives Jimmy McHugh Collection of Sheet Music Title: Jimmy McHugh Collection of Sheet Music Collection Number: 1989.001 Creator: Jimmy McHugh Music Inc Dates: 1894 - 1969 Extent: 8 linear ft. Repository: California State University, Los Angeles, John F. Kennedy Memorial Library, Special Collections and Archives Location: Special Collections & Archives, Palmer, 4th floor Room 4048 - A Provenance: Donated by Lucille Meyers. Processing Information: Processed by Jennifer McCrackan 2017 Arrangement: The collection is organized into three series: I. Musical and Movie Scores; II. Other Scores; III. Doucments; IV: LP Record. Copyright: Jimmy McHugh Musical Scores Collection is the physical property of California State University, Los Angeles, John F. Kennedy Memorial Library, Special Collections and Archives. Preferred Citation: Folder title, Series, Box number, Collection title, followed by Special Collections and Archives, John F. Kennedy Memorial Library, California State University, Los Angeles Historical/Biographical Note Jimmy Francis McHugh was born in Boston, Massachusetts on July 10th, 1893 and is hailed as one of the most popular Irish-American songwriters since Victor Herbert. His father was a plumber and his mother was an accomplished pianist. His career began when he was promoted from a office boy to a rehearsal pianist at the Boston Opera House. As his desire was to write and perform “popular” music, he left the job in 1917 to become a pianist and song plugger in Boston with the Irving Berlin publishing company. In 1921, he moved to New York after getting married and started working for Jack Mills Inc. where he published his first song, Emaline. -
Postmodernism and the Theme Park James Marston Fitch
Preservation vs. Historicism: Postmodernism and the Theme Park James Marston Fitch In Selected Writings on Architecture, Preservation and the Built Environment […] It is a romantic proposition to insist that the historic building, once having been saved from the bulldozer, must be preserved in exactly the state in which it was received. It is quite true that any old building, like old artifacts generally, shows signs of all the blows of outrageous fortune to which it has been subjected. And this patina of use may be helpful in reconstructing the actual life-history of the artifact. But they have not necessarily enhanced its artistic integrity. Quite the contrary is too often the case, so that the intentions of the original artist and the client who commissioned the artifact are quite obscured by subsequent interventions in the corpus. This is clearer in a painting than in a building, since our relationship to the one is much simpler and more linear than to the second. In fact, one might say that anything that has happened to a painting since it was first made has altered its artistic integrity. Almost certainly, it will also have been diminished by environmental agents: the chemical action of sunlight, moisture, dust, candle smoke, polluted air; the soaps of cleaners and the waxes of restorers-not to mention well intentioned in-painting by subsequent artists to "improve" it. Thus the modem conservator of painting takes as his task the return of the historic painting as nearly as possible to its original condition. Using the best of modern science and technology, the art conservator undertakes that 1) nothing of the original fabric is to be removed; 2) nothing new is to be added which cannot be justified by rigorous archival and laboratory research which 3) cannot be subsequently removed without damage to the original fabric. -
Broadway Close up Dorothy Fields Sean Hartley, Host Featuring Gabrielle Stravelli 2020-21
KAUFMAN MUSIC CENTER PRESENTS Broadway Close Up Dorothy Fields Sean Hartley, host Featuring Gabrielle Stravelli 2020-21 MERKIN HALL Online Performance Filmed at Merkin Hall at Kaufman Music Center Streamed Monday, November 16, 2020 at 7 pm ET Kaufman Music Center presents Broadway Close Up Dorothy Fields Sean Hartley, host Gabrielle Stravelli, guest star Greg Jarrett, musical director Music Examples: Discussion and Demonstration All Lyrics by Dorothy Fields “I Can’t Give You Anything But Love” from Blackbirds Music by Jimmy McHugh ©1928 “The Way You Look Tonight” from Swing Time Music by Jerome Kern ©1936 “He Had Refinement” from A Tree Grows In Brooklyn Music by Arthur Schwartz ©1951 “I’m Way Ahead” from Seesaw Music by Cy Coleman ©1973 Ask host Sean Hartley anything at a live post-concert Q&A! All 2020-21 Kaufman Music Center performances are online, filmed in safe, socially distanced locations observing health and safety protocols, and streamed to the safety of your home. Steinway is the official piano of Merkin Hall KaufmanMusicCenter.org/MH | 212 501 3330 Dorothy Fields Dorothy Fields was one of the first and most successful female songwriters from the Golden Era of Broadway and Hollywood musicals. As a lyricist, she is primarily known for her collaborations with composers Jimmy McHugh, Jerome Kern, Arthur Schwartz and Cy Coleman. With Mc Hugh, she wrote several reviews including Blackbirds of 1928; with Kern, she wrote songs for the films Roberta and Swing Time; with Schwartz she wrote the Broadway musicals Stars In Your Eyes and A Tree Grows In Brooklyn; and with Coleman, she wrote the Broadway shows Sweet Charity and Seesaw. -
Michael Graves Architect Info
Michael Graves Architect info Michael Graves was born on July 9 1934 in Indianapolis, Indiana. He received his architectural training at the University of Cincinnati doing a program that let him work with Carl A. Strauss (another architect) while getting his education. He entered Harvard University after getting his Bachelor of Science in Architecture in 1958. Architect info (continued) In 1960 he received the Prix de Rome fellowship of the American Academy in Rome. In 1962 he accepted a teaching job at Princeton University. Michael Graves designed the Portland Building in Portland, Ohio, which was an early example of postmodern architecture. How he uses the principles and elements of design in his work: Line because the shapes are made of line. Colour because the buildings are colourful. Contrast because some parts of the building contrast from others. Building style Michael Graves uses many geometric shapes in his work. 5 words I would use to sum up his style are: Postmodern, simple, unique, colorful and playful How he uses shape and dimension to influence the aesthetics of his buildings: Michael Graves uses shape to make his buildings look interesting. Denver Public Library • Michael graves designed a large addition to the Denver public library in 1990. Celebration, Florida Post Office Michael Graves designed the Celebration, Florida Post Office How Michael Graves uses mathematical concepts in his designs He uses a variety of geometric shapes to make up the structure of his buildings. The geometric shapes he uses are symmetrical and most of the finished buildings are as well. There are repeating patterns of 2-D geometric shapes on many of his buildings.