Newsletter the Society of Architectural Historians
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Samuel Clemens Carriage House) 351 Farmington Avenue WABS Hartford Hartford County- Connecticut
MARK TWAIN CARRIAGE HOUSE HABS No. CT-359-A (Samuel Clemens Carriage House) 351 Farmington Avenue WABS Hartford Hartford County- Connecticut WRITTEN HISTORICAL AND DESCRIPTIVE DATA REDUCED COPIES OF THE MEASURED DRAWINGS PHOTOGRAPHS Historic American Buildings Survey National Park Service U.S. Department of the Interior Washington, D.C. 20013-7127 m HISTORIC AMERICAN BUILDINGS SURVEY MARK TWAIN CARRIAGE HOUSE HABS NO. CT-359-A Location: Rear of 351 Farmington Avenue, Hartford, Hartford County, Connecticut. USGS Hartford North Quadrangle, Universal Transverse Mercator Coordinates; 18.691050.4626060. Present Owner. Occupant. Use: Mark Twain Memorial, the former residence of Samuel Langhorne Clemens (better known as Mark Twain), now a house museum. The carriage house is a mixed-use structure and contains museum offices, conference space, a staff kitchen, a staff library, and storage space. Significance: Completed in 1874, the Mark Twain Carriage House is a multi-purpose barn with a coachman's apartment designed by architects Edward Tuckerman Potter and Alfred H, Thorp as a companion structure to the residence for noted American author and humorist Samuel Clemens and his family. Its massive size and its generous accommodations for the coachman mark this structure as an unusual carriage house among those intended for a single family's use. The building has the wide overhanging eaves and half-timbering typical of the Chalet style popular in the late 19th century for cottages, carriage houses, and gatehouses. The carriage house apartment was -
31295018689751.Pdf (8.512Mb)
^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. -
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. -
Accounting for the Survival of the Berkshire Athenaeum
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses August 2014 Against The Odds: Accounting For The Survival Of The Berkshire Athenaeum JOHN DICKSON University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Historic Preservation and Conservation Commons, and the United States History Commons Recommended Citation DICKSON, JOHN, "Against The Odds: Accounting For The Survival Of The Berkshire Athenaeum" (2014). Masters Theses. 12. https://doi.org/10.7275/5562347 https://scholarworks.umass.edu/masters_theses_2/12 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Against the Odds: Accounting for the Survival of the Berkshire Athenaeum A Thesis Presented by JOHN S. DICKSON Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Department of History © Copyright by John S. Dickson 2014 All Rights Reserved Against the Odds: Accounting for the Survival of the Berkshire Athenaeum A Thesis Presented by JOHN S. DICKSON Approved as to style and content by: _________________________________________ Mark T. Hamin, Chair _________________________________________ Marla R. Miller, Member _________________________________________ David H. Glassberg, Member ______________________________________ Joye L. Bowman, Department Head History DEDICATION To Mary, my partner in all. ACKNOWLEDGMENTS As with much in life, the idea for this study of the old Berkshire Athenaeum came about rather haphazardly, and fortuitously. -
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. -
Download File
CANON: ENGLISH ANTECEDENTS OF THE QUEEN ANNE IN AMERICA 1 ACKNOWLEDGEMENTS First I would like to thank my thesis advisor Janet W. Foster, adjunct assistant professor, Columbia University, for her endless positivity and guidance throughout the process. We share an appreciation for late nineteenth century American architecture and I feel very grateful to have worked with an advisor who is an expert on the period of time explored in this work. I would also like to thank my readers Jeffrey Karl Ochsner, professor, University of Washington, and Andrew Saint, author, for their time and assistance. Professor Ochsner thank you for your genuine interest in the topic and for contributing your expertise on nineteenth century American architecture, Henry Hobson Richardson and the Sherman house. Andrew thank you for providing an English perspective and for your true appreciation for the “Old English.” You are the expert on Richard Norman Shaw and your insight was invaluable in understanding Shaw’s works. This work would not have come to fruition without the insight and interest of a number of individuals in the topic. Thank you Sarah Bradford Landau for donating many of the books used in this thesis and whose article “Richard Morris Hunt, the Continental Picturesque and the ‘Stick Style’” was part of the inspiration for writing this thesis, and as this work follows where your article concluded. Furthermore, I would like to thank Andrew Dolkart, professor, Columbia University, for your recommendations on books to read and places to see in England, which guided the initial ideas for the thesis. There were many individuals who offered their time, assistance and expertise, thank you to: Paul Bentel, adjunct professor, Columbia University Chip Bohl, architect, Annapolis, Maryland Françoise Bollack, adjunct professor, Columbia University David W. -
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. -
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. -
Plans for the Williamsport Academy?
Plans for the Williamsport Academy? Rev. William James Clark served Williamsport’s Christ Episcopal Church from October 11, 1846, to March 15, 1851. Located at Fourth and Mulberry Streets, the church was within a block of the Williamsport Academy, which was in severe financial difficulty and looking for a buyer. It appears from the fol- lowing August 1847 letter that Rev. Clark may have been considering purchasing this school that just a few months later became Methodism’s Williamsport Dickinson Seminary. Had Clark been successful, and if the property in question was indeed the failing Williamsport Academy, today’s Lycoming College might be an Episcopal institution. Early educational institutions in Williamsport developed as they did across the state – before there were mandated public schools, and when the local minister was usually the most educated person in town. The original Williamsport Academy building was erected in 1812 on the northeast corner of Third and West Streets. The state appropriated $2000 on the condition that poor children (not to exceed 5) be taught free of charge, and the remaining funds were raised by public subscription. It was managed by a board of trustees and the first principal was Rev. Samuel Henderson, pastor of the Lycoming [Newberry] Presbyterian Church. It functioned until Pennsylvania’s public school act of 1834 appeared to render it unnecessary. Beginning in 1835 the trustees rented old Williamsport Academy to the new public school system for $15 a year. But the city’s first venture into public education was a struggle, and in 1840 the Academy trustees decided to sell the property to John B. -
Ian Volner Michael Graves: Design for Life
Author Q & A Ian Volner, author of Michael Graves: Design for Life A conversation with Ian Volner author of Michael Graves: Design for Life ISBN: 978-1-61689-563-1 6.5 X 9.5 IN / 304 PP / 100 COLOR AND B+W PHOTOGRAPHS $30.00 / HARDCOVER PUBLICATION DATE: OCTOBER 24, 2017 You open your book with Michael’s illness. What was behind that decision? Partially that’s plain old reader-bait: the account of Michael’s illness is so gripping that it helps draw non-architecture people into what’s otherwise a Ian Volner, New York, New York very architecture-y book, and it adds some personal stakes for everything that follows by putting front and center a person undergoing a tremendous ordeal. But from the architectural perspective, it’s also the key inflection point in my whole thesis, which is the most basic question a biography of a designer can ask: “What kind of a designer was this person really, and why was he important?” My case is that Michael was a different kind of architect than a lot of people thought, and his response to his illness revealed that. That’s the moment that alters the way he practiced thereafter, as well as the way his earlier career can be read, and it recasts him as a critical foil to what’s been going on in the built environment in our time. So I wanted it right there in the first chapter. How did Michael, despite having few creative outlets as a child, and little or no encouragement, gravitate toward architecture? He really wasn’t good at much of anything (or at any rate felt himself not to be good at anything) except drawing, which he could do so much better than anyone else.