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The Arch and Colonnade of the Manhattan Bridge Approach and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission November 25, 1975, Number 3 LP-0899 THE ARCH AND COLONNAD E OF THE MANHATTAN BRIDGE APPROACH, Manhattan Bridge Plaza at Canal Street, Borough of Manhattan. Built 1912-15; architects Carr~re & Hastings. Landmark Site: Borough o£Manhattan Tax Map Block 290, Lot 1 in part consisting of the land on which the described improvement is situated. On September 23, 1975, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Arch and Colonnade of the Manhattan Bridge Approach and the proposed designation of the related Landmark Site (Item No . 3). The hearing had been duly ad vertised in accordance with . the provisions of law. Two witnesses spoke in favor of designation. There were no speakers in opposition to designation. DESCRIPTION AND ANALYSIS The Manhattan Bridge Approach, a monumental gateway to the bridge, occupies a gently sloping elliptical plaza bounded by Canal, Forsyth and Bayard Streets and the Bowery. Originally designed to accommodate the flow of traffic, it employed traditional forms of arch and colonnade in a monument al Beaux-Arts style gateway. The triumphal arch was modeled after the 17th-century Porte St. Denis in Paris and the colonnade was inspired by Bernini's monumental colonnade enframing St. Peter's Square in Rome. Carr~re &Hastings, whose designs for monumental civic architecture include the New York Public Library and Grand Army Plaza, in Manhattan, were the architects of the approaches to the Manhattan Bridge and designed both its Brooklyn and Manhattan approaches. The design of the Manhattan Bridge , the the third bridge to cross the East River, aroused a good deal of controversy. -
Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
Federal Building United States Courthouse in Youngstown, Ohio, Was Designed and Constructed Under the U
FEDERAL BUILDING UNITED STATES COURTHOUSE FEDERAL BUILDING UNITED STATES COURTHOUSE Youngstown, Ohio Youngstown, Ohio The Federal Building United States Courthouse in Youngstown, Ohio, was designed and constructed under the U.S. General Services Administration’s Design Excellence Program, an initiative to create and preserve a legacy of outstanding public buildings that will be used and enjoyed now and by future generations of Americans. Special thanks to the Honorable William T. Bodoh, Chief Bankruptcy Judge, U.S. District Court for the Northern District of Ohio, for his commitment and dedication to a building of outstanding quality that is a tribute to the role of the judiciary in our democratic society and worthy U.S. General Services Administration U.S. General Services Administration of the American people. Public Buildings Service Office of the Chief Architect Center for Design Excellence and the Arts October 2002 1800 F Street, NW Washington, DC 20405 2025011888 FEDERAL BUILDING UNITED STATES COURTHOUSE FEDERAL BUILDING UNITED STATES COURTHOUSE Youngstown, Ohio Youngstown, Ohio The Federal Building United States Courthouse in Youngstown, Ohio, was designed and constructed under the U.S. General Services Administration’s Design Excellence Program, an initiative to create and preserve a legacy of outstanding public buildings that will be used and enjoyed now and by future generations of Americans. Special thanks to the Honorable William T. Bodoh, Chief Bankruptcy Judge, U.S. District Court for the Northern District of Ohio, for his commitment and dedication to a building of outstanding quality that is a tribute to the role of the judiciary in our democratic society and worthy U.S. -
COLONNADE RENOVATION Washington and Lee University, Lexington, Virginia
CSI Richmond – April Project Spotlight - Glavé & Holmes Architecture COLONNADE RENOVATION Washington and Lee University, Lexington, Virginia Washington and Lee University’s front campus was designated a National Historic District in 1973, described by the Interior as “one of the most dignified and beautiful college campuses in the nation”. In the center stands the Colonnade, comprised of the five most iconic buildings in the historic district: Washington, Payne, Robinson, Newcomb, and Tucker Halls. The phased rehabilitation of the building spanned eight years. The Colonnade is deeply revered, making any change sensitive. However, restoring its vitality was paramount to the University: code deficiencies, inefficient infrastructure, and worn interiors reflected decades of use. Offices were inadequate, spaces for interaction were sparse, technology was an afterthought, and there weren’t even bathrooms on the third floors. Understanding the beloved nature of the buildings, the University established lofty goals for this undertaking. G&HA followed the guidelines from the Secretary of the Interior’s Standards for Rehabilitation to preserve the major character and defining features in each building while upgrading all the MEP and life safety systems throughout. Because of space constraints, a new utility structure was designed and located across Stemmons Plaza to sit below grade. The structure’s green roof and seating areas integrate it into the site and enhance the landscape. The project achieved LEED Silver and historic tax credits. — COLONNADE -
Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors. -
Preserving Historic Ornamental Plaster David Flaharty
PRESERVATION BRIEFS Preserving Historic Ornamental Plaster David Flaharty U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services From the time America struggled for a new identity as the 1930s. During this two hundred year period, as the a constitutional republic-and well into the 20th Georgian and Federal styles yielded to the revivals century-its architecture and its decorative detailing Greek, Rococo, Gothic, Renaissance, and Spanish remained firmly rooted in the European classicism of decorative plaster reflected each style, resulting in the Palladio, Wren, and Mansart. wide variety of ornamentation that survives. The tradi tional methods of producing and installing interior Together with skilled masons and carpenters, orna decorative plaster were brought from Europe to this mental plasterers saw their inherited trade flourish country intact and its practice remains virtually un from the mid-18th century until the Depression years of changed to this day. Fig. 1. Ornamental plaster studios employed the following personnel: Draftsmen to interpret architectural details in shop drawings; sculptors who modelled in clay; model makers who assembled sculpted, plain-run and pre-cast elements into an ornamental unit; moldmakers who made rigid or flexible negative tooling; casters who made production units; finishers (often the caster's wives) who cleaned the casts; and laborers who assisted skilled personnel in operating efficiently. This studio was in Philadelphia, c. 1915. Photo: Courtesy, M. Earle Felber. Styles of Decorative Plaster in America, 18th-20th Centuries d e (a) Kenmore, Fredericksburg, Virginia. c. 1752. Georgian in style with orna mental ceilings based on Batty Langley's 1739 English style book, the plaster work was executed by a Frenchman in the mid-1770s. -
Designing Style: a Guide
DESIGNING STYLE A Guide to Designing with Today’s Vinyl Siding CONTENTS Architectural Styles Cape Cod Italianate French Colonial Queen Anne Georgian Folk Victorian Federal/Adam Craftsman Greek Revival Product Overview Traditional Profiles Color and Texture Specialty Profiles The Vinyl Siding Institute developed Designing Style: A Guide to Designing with Today’s Architectural Trim and Other Accessories Vinyl Siding as a resource for designing with and/or specifying vinyl and other polymeric Soffit siding, architectural trim, and accessories. We believe the most effective way to communicate the breadth and depth of products available today — and the creative, limitless possibilities Photo Gallery for design – is by example. Throughout this guide, we’ve included many photographs and illustrations plus information to help create each specific architectural style. Appendix Contents Architectural Styles Product Overview Photo Gallery Architectural Styles This guide showcases nine house designs, each featuring a different architectural style used as precedent. The specific design examples are not intended to represent strict architectural principles, but rather demonstrate design variations inspired by each style. Styles used as precedent were selected from the Colonial, Romantic, Victorian, and Eclectic periods of architecture. They include: Cape Cod Federal/Adam Queen Anne French Colonial Greek Revival Folk Victorian Georgian Italianate Craftsman Each featured style offers an explanation of its distinguishing characteristics and an overview of suggested vinyl siding profiles, colors, architectural trim, and accessories available to help achieve its look, with all of its rich detail. A variety of photographs are included to demonstrate how each style has been interpreted through designs using vinyl siding. The possibilities for residential design are as limitless as your imagination. -
Corinth, 1987: South of Temple E and East of the Theater
CORINTH, 1987: SOUTH OF TEMPLE E AND EAST OF THE THEATER (PLATES 33-44) ARCHAEOLOGICAL INVESTIGATIONS by the American School of Classical Studies at Athens were conductedin 1987 at Ancient Corinth south of Temple E and east of the Theater (Fig. 1). In both areas work was a continuationof the activitiesof 1986.1 AREA OF THE DECUMANUS SOUTH OF TEMPLE E ROMAN LEVELS (Fig. 1; Pls. 33-37:a) The area that now lies excavated south of Temple E is, at a maximum, 25 m. north-south by 13.25 m. east-west. The earliest architecturalfeature exposed in this set of trenches is a paved east-west road, identified in the 1986 excavation report as the Roman decumanus south of Temple E (P1. 33). This year more of that street has been uncovered, with a length of 13.25 m. of paving now cleared, along with a sidewalk on either side. The street is badly damaged in two areas, the result of Late Roman activity conducted in I The Greek Government,especially the Greek ArchaeologicalService, has again in 1987 made it possible for the American School to continue its work at Corinth. Without the cooperationof I. Tzedakis, the Director of the Greek ArchaeologicalService, Mrs. P. Pachyianni, Ephor of Antiquities of the Argolid and Corinthia, and Mrs. Z. Aslamantzidou, epimeletria for the Corinthia, the 1987 season would have been impossible. Thanks are also due to the Director of the American School of Classical Studies, ProfessorS. G. Miller. The field staff of the regular excavationseason includedMisses A. A. Ajootian,G. L. Hoffman, and J. -
Test Trench in the Street of the Great Colonnade
PALMYRA SYRIA TEST TRENCH IN THE STREET OF THE GREAT COLONNADE Marta ¯uchowska In connection with work in the western The tracing of the street was un- sector of the ruins of ancient Palmyra, a test doubtedly an important urban project. trench was dug in the 2001 and 2002 Not only were preexisting structures seasons in the street of the Great Colon- removed, but also an extensive water nade.1) The trench, which was 3.50 m wide supply and sewage system was put into and 14 m long, cut through the street in one place. Under level I of the street two fresh- of the intercolumnia. A small section of the water pipes were laid (cf. Fig. 2: pipes 2, 6) south portico was cleaned down to the beside a sewer made of small stones with Roman level. The chief objective was to a carved stone trough and a large lime- study the stratigraphy and to verify earlier stone-slab covering (cf. Fig. 2: sewer). ideas about the dating of successive phases The first street surface (level I) was of the main street of the town. In the course made of heterogeneous stone gravel and of two seasons of excavations, a number of clay. It did not survive long as two more layers corresponding to the phases of street water pipes had to be laid soon afterwards development came to light along with (cf. Fig. 2: pipes 3, 4). The new surface of substantial evidence of hydraulic instal- the street corresponded to a time of growth lations constituting part of the ancient and prosperity in this part of the town. -
First Impression : the Study of Entry in Architecture
Copyright Warning & Restrictions The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than private study, scholarship, or research.” If a, user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of “fair use” that user may be liable for copyright infringement, This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. Please Note: The author retains the copyright while the New Jersey Institute of Technology reserves the right to distribute this thesis or dissertation Printing note: If you do not wish to print this page, then select “Pages from: first page # to: last page #” on the print dialog screen The Van Houten library has removed some of the personal information and all signatures from the approval page and biographical sketches of theses and dissertations in order to protect the identity of NJIT graduates and faculty. FIRST IMPRESSION: THE STUDY OF ENTRY IN ARCHITECTURE by Siriwan Polpuech Thesis submitted to the Faculty of the Graduate School of the New Jersey Institute of Technology in partial fulfilment of the requirement for the degree of Master of Science in Architectural Studies 1989 APPROVAL SHEET Title of Thesis: First Impression: The Study of Entry in Architecture Name of Candidate: Siriwan Polpuech Master of Science in Architectural Studies, 1989 Thesis and Abstract Approved: Prof. -
The Internal Colonnade of the Hephaisteion
THE INTERNAL COLONNADE OF THE HEPHAISTEION (PLATE 56) T HE unexpected discovery, in 1939, of the foundations of an internal colonnade within the Hephaisteion,' contrasting with the general practice of its designer, the " Theseum architect," and the accumulatilonof evidence that both the foundations and the colonnade were, in fact, not parts of the original scheme but were inserted (undoubtedly by the original architect himself) as an afterthought and the entire cella building redesigned in emulation of the new contemporary design for the Par- thenon may now be accepted as a definite acquisition.2 Far otherwise is it with regard to the details of the restoration, for which, apart from the very incomplete grave-riddled foundations themselves, there are only two items of internal evidence, a single marble block from the epistyle over the upper tier of columns (with a very peculiar jogged joint suggesting that it came from an end or a corner), together with a single vertical scratch line at the floor level on the north flank wall. One more extant block, or even one more scratch line, might have eliminated all the speculation to which we are condemned. On the basis of this slender evidence two main types of restoration, A with two by five column intervals and B with three by seven intervals, with minor differ- ences yielding five sub-varieties, as well as two others that have been mentioned only to be immediately discarded, have been successively published: Al, the extant epistyle placed at the southeast corner (Dinsmoor, 1941); 3 A2, again at the southeast corner 'This article was written in 1953, and immediately submitted to Bert Hodge Hill for criticism. -
Stylistic Analysis of the Architectural
計画系 684 号 【カテゴリーⅡ】 日本建築学会計画系論文集 第78巻 第684号，497-507，2013年 2 月 J. Archit. Plann., AIJ, Vol. 78 No. 684, 497-507, Feb., 2013 ������������������������������������������������������ STYLISTIC�������������������������������������������������������������������������������������������������������� ANALYSIS OF THE ARCHITECTURAL ORNAMENTATION �������������������������������������������������� 古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析OF THE STOAS OF THE ASKLEPIEION AT ANCIENT MESSENE 古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析 古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析 �� �� * �� �� * ＊ RyuichiRyuichi�� YOSHITAKE YOSHITAKE �� * Ryuichi吉 武YOSHITAKE 隆 一 The Hellenistic sanctuary of the Asklepios at Messene has a square courtyard surrounded by the Stoas from its four sides. It has been The Hellenistic sanctuary of the Asklepios at Messene has a square courtyard surrounded by the Stoas from its four sides. It has been Theconsidered Hellenistic by that sanctuary the Asklepieion of the Asklepios was built at between Messene the has end a squareof the 3courtyardrd century surroundedand the 2nd����������������������������������������������� by the Stoas from its four sides. It has been considered by that the Asklepieion was built between the end of the 3rd century and the 2nd����������������������������������������������� ���������������������������������������������������������������considered by that the Asklepieion was built between the end of the������������������������������������������������������� 3rd century and the 2nd�����������������������������������������������nd��������������