SAH Women in Architecture Bibliography 2021
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National Register of Historic Places
NP8 Form 10400 OVf MO. 101+0019 (Rw. £M) United States Department of the Interior National Park Service National Register of Historic Places rorm NATIONAL HISTORIC LANDMARK NOMINATION Thia form la for uaa In nominating or raquaating datarmlnatlona of allglblllty for Individual propartlaa or diatrlota, 8aa Inatruotlona In Gu/cHaJfnaa for Competing National flag/afar Forma (National Raglatar Bullttin 16). Complata aaoh Itam by marking "x" In tha approprlata box or by antaring tha raquaatad Information. If an Itam doaa not apply to tha proparty balng dooumantad, antar "N/A" for "not applicable" For functions, aty(aa, matariaJa, and araaa of algnlfleanoa, antar only tha catagorlaa and auboatagorlaa llatad In tha Inatruetlona. For additional apaoa uaa oontlnuatlon ahaata (Form 10-OOOa). Typa all antrlaa. 1. Name of Property "" """""" """""" ~ ~"" hlatorlc nama Hill-Stead othar names/site numbar 2. Location Street & number 35 Mnnn-t-ain Road NA not for publication CltY, tOWn F A T~m i n q-H on TSJA vicinity atata CT_ coda coda zip code nsn 79 3. Classification Ownarshlp of Proptrty Category of Property Number of Resources within Property £ prlvatt _x bulldlng(8) Contributing Noncontrlbutlng public-local district i buildings public-State site ____sites public-Federal structure ____ structures L_ object ____objects __1_ Total Name of related multiple property listing: Number of contributing resources previously Included in Fa.nnincrton Historic; District listed in the National Register 1 4. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, i hereby certify that this EH nomination EH request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth In 36 CFR Part 60. -
Farmington Town Clerks and Their Times CT
/-i-?f /{/C/•'{'> \-OtXcx FARMINGTON TOWN CLERKS' AND THEIR TIMES Of this book there have been printed four hundred copies of which this is Number':3.^^-^ ii t:? » — — '* • * ^I ■ * % ^ ^ '\ --^lAniy,-. 'tS Icn^^o-. P.^'^S-.;ivl''/^ ' jCc kii.iAUiM.i::'i.c^ heUoxYj- ike 'rrp^Kf^' 'S> ^" ■ tCboai-e/i loiliem-ion. /AG i-oo- X^tf.r ^(i^e- ^ fee ^ ^' X' fywtne^r //^Y ^^ •pLOjSf^'. xrKa^--YOttS h) ^'''ir ^'ty^^—'y'^^'^'nff/lt-nS'Sv'Z ^•'tmtrrv^^t oi- ine sj?>ft''*''»^'. ^ ^Z' pia6t'>oi/t Je^>^'^kk,p^« •-ptW:•^o^e^on. ff i:^(-{^ '{^(' £ef'j Mtrtidif^'lp ^n. ^AtLe-. p'?rtS-/' »vr ^ - -l-A-CS ^2y»tj Aoen.'. -ini Jriiriinx.^ U aU.C.'ite ■ /('iiij oik-etr- qx'ttu-.Sf^ ax\<^-%KCi(^:/^sff-S it/irAi a Ar- -p£i't-;i'^i^^»o'>^' ^ Ckiiit tuuif. \^tCc '•■- - f r*«f- ( - ~jr ^ ^ fl # • / -j-^ wteriftrx i*iri[£ ^ •■}\n^defm. bctC\f~ ! ^ ''Jo V^l?"'"'".-, bj^ati—. Af" •t;a/ZE ' o-'~" * J^"'";.-' / " •' '. -/a'c £ettde'. tif ■/'***^ AttrL <yf> ■ ♦ '-y /i -i-/.r ytd^n US ^f^J£2r^kc^ .y i i . J/ ♦/ /- ^...•_Z/x /_Z «^«>a h<?v!l ^I "W .£* cf Uifn > ' wtA:;, tti>j Ac A»t'- ^^/'is»«-5' ih'entfj^A hit'T-: Sf/n "-yiCCyi ^ /v/iLtt— i-it- iv'-^' *;.i * '"' :^, . ■ I 'tuLir^h.- (J'ARMINGTON TOWN GLERKR AND THEIR TIMES ■JS M (1645-1940) •UAH - L MH--VV-- • fSiJ-iJAr ,•.. .. .■: RSk''^. V ■ T BY MABEL S. H URLBURT A'y*: ■ . i;.'.-^ :- = ' ^ J-^'^.- V«^- a ^'/ s^apA of record dated 1650, of the agreement of distribution of land to the Tunxis Indians. -
Etrvscan • Demonstrating the 7
DEVELOPMENT OF SERIF-LESS TYPE — TIMELINE SSTUVVW XYWUZa aSWbV ZSa cVUdcW ecYX IUfgh, RYiVcU MSgWV, f jcYXSaSWk Image rights and references: fcbZSUVbUlVWkSWVVc, cVbVSmVa f gVUUVc nfUVn: Røùú, Nøû. 11, 1760. ecYX ZSa Italy Fig: XVWUYc fWn ecSVWn GSYmfWWS BfUUSaUf PScfWVaS. TZV IUfgSfW fcbZSUVbUoa 1. (Left) Leonardo Agostini (1686) Le Gemme Antiche Fiurate. Engraving of a ‘Magic Gem’ of serif-less cVjdUfUSYW Zfn bYXV SWbcVfaSWkgh dWnVc fUUfbpVn ecYX FcVWbZ fcbZSUVbUa letterforms. Tav. Fig.52 [83] CARAERI MAGICI in lapis lazuli. © GIA Library Additional Collections (Gemological Institute of America), in the public domain. fWn gSUVcfch bcSUSba Ye UZV fcUa UZcYdkZYdU UZV 1750a. CgfaaSbfg RYXfW Emf. XX 1. (Right) Leonardo Agostini (1593-1669). Portrait aged 63, frontispiece from Le Gemme Antiche Fiurate, 1686. © GIA fcbZSUVbUdcV fa fW SnVfg qfa iVSWk bZfggVWkVn SW efmYdc Ye rUZV GcVVpo Library Additional Collections (Gemological Institute of America), in the public domain. 2. Dempster, Thomas (1579-1625). Coke, Thomas, Earl of qSUZSW qZfU iVbfXV pWYqW fa UZV GcfVbYlRYXfW nVifUV. Leicester, and Bounarroti, Filippo (1723). De Etruria Regali, III Libri VII, nunc primum editi curante Thomas Coke. Opus postumum. Florentiæ: Cajetanus Tartinius. Written in With some disdain he writes: “My Work ‘On the Magnificence of 1616-19. Liber Tertius, Tabulæ Eugubinæ. (viewer pp.693-702). Tabular I of V. © Österreichische Nationalbibliothek, digital.onb.ac.at in the public domain. Architecture of the Romans’ has been finished some time since... it consists 3. (Left) Forlivesi, Padre Giovanni Nicola (Giannicola). From the Convent of San Marco in Corneto. The Augustinian of 100 sheets of letterpress in Italian and Latin and of 50 plates, the IN DCCLVI GIAMBAISTA PIRANESI RELEASED monk’s 14 written bulletins to Anton Francesco Gori with observational drawings and decipherment of Etruscan inscriptions at Tarquinia near Corneto, from 11th May to 4th whole on Atlas paper. -
Masterworks Architecture at the Masterworks: Royal Academy of Arts Neil Bingham
Masterworks Architecture at the Masterworks: Royal Academy of Arts Neil Bingham Royal Academy of Arts 2 Contents President’s Foreword 000 Edward Middleton Barry ra (1869) 000 Sir Howard Robertson ra (1958) 000 Paul Koralek ra (1991) 000 Preface 000 George Edmund Street ra (1871) 000 Sir Basil Spence ra (1960) 000 Sir Colin St John Wilson ra (1991) 000 Acknowledgements 000 R. Norman Shaw ra (1877) 000 Donald McMorran ra (1962) 000 Sir James Stirling ra (1991) 000 John Loughborough Pearson ra (1880) 000 Marshall Sisson ra (1963) 000 Sir Michael Hopkins ra (1992) 000 Architecture at the Royal Academy of Arts 000 Alfred Waterhouse ra (1885) 000 Raymond Erith ra (1964) 000 Sir Richard MacCormac ra (1993) 000 Sir Thomas Graham Jackson Bt ra (1896) 000 William Holford ra, Baron Holford Sir Nicholas Grimshaw pra (1994) 000 The Architect Royal Academicians and George Aitchison ra (1898) 000 of Kemp Town (1968) 000 Michael Manser ra (1994) 000 Their Diploma Works 000 George Frederick Bodley ra (1902) 000 Sir Frederick Gibberd ra (1969) 000 Eva M. Jiricna ra (1997) 000 Sir William Chambers ra (1768, Foundation Sir Aston Webb ra (1903) 000 Sir Hugh Casson pra (1970) 000 Ian Ritchie ra (1998) 000 Member, artist’s presentation) 000 John Belcher ra (1909) 000 E. Maxwell Fry ra (1972) 000 Will Alsop ra (2000) 000 George Dance ra (1768, Foundation Member, Sir Richard Sheppard ra (1972) 000 Gordon Benson ra (2000) 000 no Diploma Work) 000 Sir Reginald Blomfield ra (1914) 000 H. T. Cadbury-Brown ra (1975) 000 Piers Gough ra (2001) 000 John Gwynn ra (1768, Foundation Member, Sir Ernest George ra (1917) 000 no Diploma Work) 000 Ernest Newton ra (1919) 000 Ernö Goldfinger ra (1975) 000 Sir Peter Cook ra (2003) 000 Thomas Sandby ra (1768, Foundation Member, Sir Edwin Lutyens pra (1920) 000 Sir Philip Powell ra (1977) 000 Zaha Hadid ra (2005) 000 bequest from great-grandson) 000 Sir Giles Gilbert Scott ra (1922) 000 Peter Chamberlin ra (1978) 000 Eric Parry ra (2006) 000 William Tyler ra (1768, Foundation Member, Sir John J. -
Bloomsbury Conservation Area Appraisal and Management Strategy
Bloomsbury Conservation Area Appraisal and Management Strategy Adopted 18 April 2011 i) CONTENTS PART 1: CONSERVATION AREA APPRAISAL 1.0 INTRODUCTION ........................................................................................................................ 0 Purpose of the Appraisal ............................................................................................................ 2 Designation................................................................................................................................. 3 2.0 PLANNING POLICY CONTEXT ................................................................................................ 4 3.0 SUMMARY OF SPECIAL INTEREST........................................................................................ 5 Context and Evolution................................................................................................................ 5 Spatial Character and Views ...................................................................................................... 6 Building Typology and Form....................................................................................................... 8 Prevalent and Traditional Building Materials ............................................................................ 10 Characteristic Details................................................................................................................ 10 Landscape and Public Realm.................................................................................................. -
Untitled (Forever), 2017
PUBLISHERS DISTRIBUTED BY D.A.P. SP21 CATALOG CAPTIONS PAGE 6: Georgia O’Keeffe, Series I—No. 3, 1918. Oil on Actes Sud | Archive of Modern Conflict | Arquine | Art / Books | Art Gallery of York board, 20 × 16”. Milwaukee Art Museum. Gift of Jane University | Art Insights | Art Issues Press | Artspace Books | Aspen Art Museum | Atelier Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. PAGE 7: Georgia O’Keeffe, Black Mesa Éditions | Atlas Press | August Editions | Badlands Unlimited | Berkeley Art Museum | Landscape, New Mexico / Out Back of Marie’s II, 1930. Oil on canvas. 24.5 x 36”. Georgia O’Keeffe Museum, Gift Blank Forms | Bokförlaget Stolpe | Bywater Bros. Editions | Cabinet | Cahiers d’Art of the Burnett Foundation. PAGE 8: (Upper) Emil Bisttram, | Canada | Candela Books | Carnegie Museum Of Art | Carpenter Center | Center For Creative Forces, 1936. Oil on canvas, 36 x 27”. Private collection, Courtesy Aaron Payne Fine Art, Santa Fe. Art, Design and Visual Culture, UMBC | Chris Boot | Circle Books | Contemporary Art (Lower) Raymond Jonson, Casein Tempera No. 1, 1939. Casein on canvas, 22 x 35”. Albuquerque Museum, gift Museum, Houston | Contemporary Art Museum, St Louis | Cooper-Hewitt | Corraini of Rose Silva and Evelyn Gutierrez. PAGE 9: (Upper) The Editions | DABA Press | Damiani | Dancing Foxes Press | Deitch Projects Archive | Sun, c. 1955. Oil on board, 6.2 × 5.5”. Private collection. © Estate of Leonora Carrington. PAGE 10: (Upper left) DelMonico Books | Design Museum | Deste Foundation for Contemporary Art | Dia Hayao Miyazaki, [Woman] imageboard, Nausicaä of the Valley of the Wind (1984). © Studio Ghibli. (Upper right) Center For The Arts | Dis Voir, Editions | Drawing Center | Dumont | Dung Beetle | Hayao Miyazaki, [Castle in the Sky] imageboard, Castle Dust to Digital | Eakins Press | Ediciones Poligrafa | Edition Patrick Frey | Editions in the Sky (1986). -
Yale University B0082
U.S. Department of Education Washington, D.C. 20202-5335 APPLICATION FOR GRANTS UNDER THE National Resource Centers and Foreign Language and Area Studies Fellowships CFDA # 84.015A PR/Award # P015A180082 Gramts.gov Tracking#: GRANT12659441 OMB No. , Expiration Date: Closing Date: Jun 25, 2018 PR/Award # P015A180082 **Table of Contents** Form Page 1. Application for Federal Assistance SF-424 e3 2. Standard Budget Sheet (ED 524) e6 3. Assurances Non-Construction Programs (SF 424B) e8 4. Disclosure Of Lobbying Activities (SF-LLL) e10 5. ED GEPA427 Form e11 Attachment - 1 (1244-GEPA Statement2018) e12 6. Grants.gov Lobbying Form e13 7. Dept of Education Supplemental Information for SF-424 e14 8. ED Abstract Narrative Form e15 Attachment - 1 (1246-CES FLAS Abstract) e16 9. Project Narrative Form e18 Attachment - 1 (1245-CES FLAS Budget Narrative) e19 10. Other Narrative Form e67 Attachment - 1 (1234-InformationToMeetStatutoryRequirements (9)) e68 Attachment - 2 (1235-FLAS Applicant Profile) e71 Attachment - 3 (1236-Acronyms ESC) e72 Attachment - 4 (1237-Bojanowska CV 2018) e74 Attachment - 5 (1238-BIOS ForAPPwithTOC_YaleESC) e85 Attachment - 6 (1239-LetterOfReferenceMinjinHashbat) e244 Attachment - 7 (1240-LetterOfReferenceNellekeVanDeusen-Scholl) e246 Attachment - 8 (1241-LetterOfReferenceConstantineMuravnik) e248 Attachment - 9 (1242-CouncilMemberList) e250 Attachment - 10 (1243-CourseListForAPP_ALLYaleESC) e253 11. Budget Narrative Form e317 Attachment - 1 (1247-Section C Budget Narrative) e318 This application was generated using the PDF functionality. The PDF functionality automatically numbers the pages in this application. Some pages/sections of this application may contain 2 sets of page numbers, one set created by the applicant and the other set created by e-Application's PDF functionality. -
YALE in LONDON – SUMMER 2013 British Studies 189 Churches: Christopher Wren to Basil Spence
YALE IN LONDON – SUMMER 2013 British Studies 189 Churches: Christopher Wren to Basil Spence THE CHURCHES OF LONDON: ARCHITECTURAL IMAGINATION AND ECCLESIASTICAL FORM Karla Britton Yale School of Architecture Email: [email protected] Class Time: Tuesday, Thursday 10-12:15 or as scheduled, Paul Mellon Center, or in situ Office Hours: By Appointment Yale-in-London Program, June 10-July 19, 2013 Course Description The historical trajectories of British architecture may be seen as inseparable from the evolution of London’s churches. From the grand visions of Wren through the surprising forms of Hawksmoor, Gibbs, Soane, Lutyens, Scott, Nash, and others, the ingenuity of these buildings, combined with their responsiveness to their urban environment, continue to intrigue architects today. Examining the ecclesiastical architecture of London beginning with Christopher Wren, this course critically addresses how prominent British architects sought to communicate the mythical and transcendent through structure and material, while also taking into account the nature of the site, a vision of the concept of the city, the church building’s relationship to social reform, ethics, and aesthetics. The course also examines how church architecture shaped British architectural thought in the work of historians such as Pevsner, Summerson, Rykwert, and Banham. The class will include numerous visits in situ in London, as well as trips to Canterbury, Liverpool, and Coventry. Taking full advantage of the sites of London, this seminar will address the significance of London churches for recent architects, urbanists, and scholars. ______________________________________________________________________________________ CLASS REQUIREMENTS Deliverables: Weekly reflection papers on the material covered in class and site visits. Full participation and discussion is required in classroom and on field trips. -
Dossier 2021Award.Pdf
Contents Fundació Mies van der Rohe The Pavilion The Prize Organisation Role of the Nominators Criteria for the Proposal of Works General Information Proposal Procedure For more information, please contact Ivan Blasi, EUMiesAward Coordinator Jordi García, EUMiesAward Secretary Fundació Mies van der Rohe Provença 318, pral. 2 08037 Barcelona e-mail: [email protected] phone: +34 932 151 011 www.eumiesaward.com Fundació Mies van der Rohe Fundació Mies van der Rohe is a platform whose core mission is to inspire through architecture. It encourages and sponsors activities related to good architecture on the basis of the values represented by Ludwig Mies van der Rohe, advocating its role as a strategic thrust for the improvement of our cities – the quality of life of our people and their cultural enrichment. The Pavilion The Foundation has also been a driving force behind the Pavilion, originally built by Mies van der Rohe himself in Barcelona for the 1929 International Exposition, a veritable living icon of global significance, regarded as one of the four canonical works of modern architecture. This symbol has become an obligatory destination for architects from around the world and all those who appreciate rigour and quality. The programme of interventions in the Pavilion has created a highly valuable space for cultural exchanges, research, opportunities and international visibility for emerging architectural and artistic talents. The Prize The Foundation has organised the prestigious “European Union Prize for Contemporary Architecture – Mies van der Rohe Award” with the support of the European Commission since 1988. It allows a unique insight into the evolution of architecture in Europe over the past 32 years. -
An Introduction to Regency Chitectu
’ Desi ns f THE N M N L M L W O RKER S D IR EC TO RY Cottin ham 1 824 g rom O R A E TA ETA by L . N . g , AN INTR O D U CTIO N TO R E GE N CY C H I TE C TU PA U L R EI LLY P E L L E G R I N I C U D A H Y N EW Y O R K Pr inted in Great Br itain by S H E N VA L PR E SS LTD and p ublis hed in the U S A . by I N I A Y I N C PE LL E G R C U D H , PREFACE THIS SHORT ES SAY does not pretend to be more than an elementary survey of Regency architecture . Its purpose is to draw attention , by of l way generalization rather than close examination , to the high ights of a brief but beautiful period of English building . I hope that the lay reader will learn enough from the text and the plates to value this fast-vanishin g beauty and to protest energetically when he sees an example of Regency architecture threatened with destruction . of c t I must , course , a knowledge my deb to Mr John Summerson for his Geor ian London his of John Nash g (Pleiades Books) and life , Ar chitec t to Kin Geor e I V U g g (George Allen and nwin Ltd) , both of i re- wh ch I read before starting this present essay . -
Chapter 12 Oxford Circus
DRAFT Chapter 12 Oxford Circus The Nash circus Circuses were introduced into English urban planning by John Wood the younger at Bath and to London by George Dance the younger at the Minories. Both were domestic in intent. But John Nash had different ends in mind for the circuses he designed along his great processional route from Carlton House to Marylebone Park, first planned for the Commissioners of Woods and Forests on behalf of the Crown in 1811. At two major intersections this route crossed Piccadilly and Oxford Street, both major traffic and shopping arteries. Extra space was needed for vehicles to manoeuvre around one another at these junctions. The concave frontages thus created were meant also to entice shoppers and shopkeepers, and so enhance the value of Crown property – the ultimate purpose of the whole ‘New Street’ scheme. As the development of Regent Street (as the New Street became known) unfolded, the circuses changed too. In Nash’s original project of 1811, both Piccadilly and Oxford Circuses (to use their modern names) were to be colonnaded, and the former was to be the smaller of the two. When this plan was put before Parliament as part of the New Street Bill, the colonnades were deprecated, one MP remarking that the Oxford Street circus ‘would be a nuisance by day, and something worse by night’.1 So they vanished from the whole street, except in the so-called Quadrant – the curving section north and west of Piccadilly Circus. The alignments of the two circuses also altered. Piccadilly Circus retained its original position, on the axis of Carlton House, but its relationship with the central section of Regent Street changed. -
The Sociocultural Context of Cleveland's Miss
THE SOCIOCULTURAL CONTEXT OF CLEVELAND’S MISS MITTLEBERGER SCHOOL FOR GIRLS, 1875-1908 SHARON MORRISON PINZONE Bachelor of Science in Journalism Ohio University June, 1969 Master of Arts in Secondary Education University of Akron May, 1980 Submitted in partial fulfillment of requirements for the degree DOCTOR OF PHILOSOPHY IN URBAN EDUCATION at the CLEVELAND STATE UNIVERSITY May, 2009 This dissertation has been approved for the Office of Doctoral Studies, College of Education and the College of Graduate Studies by James C. Carl, Chairperson 05/11/2009 Curriculum and Foundations Dwayne Wright, Member 05/11/2009 Curriculum and Foundations David Adams, Member 05/11/2009 Curriculum and Foundations Rosemary Sutton, Member 05/11/2009 Curriculum and Foundations Constance Hollinger, Member 05/11/2009 Psychology ©Copyright by Sharon Anne Morrison Pinzone 2009 DEDICATION This dissertation is dedicated To my parents, William and Regina Morrison and the long line of Irish family from which I come; To my children and my grandchildren; To my “Veronicas” Christine, Marnie, Betsy, Carrie Dale, and Marlene; And to the Crones for all their friendship ACKNOWLEDGEMENTS I would like to thank especially Dr. James C. Carl for serving as both chair and methodologist; and Dr. David Adams, Dr. Rosemary Sutton, Dr. Connie Hollinger, and Dr. Dwayne Wright for serving on my dissertation committee, all of whom served me so well as doctoral program teachers. I would also like to thank the librarians at the Western Historical Society in Cleveland, the Kelvin Smith Library at Case Western Reserve University, the Cleveland Public Library, especially the Archives Department, and the Cleveland State University Archives/Special Collections Department.