PART 2: Retrieving Nature's Outline
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An Analysis of the 50-Year Rule, 1966-2010
Copyright by Emily Jeanne Koller 2011 The Report Committee for Emily Jeanne Koller Certifies that this is the approved version of the following report: Listed, Obliterated or Status Unknown: An Analysis of the 50-Year Rule, 1966-2010 APPROVED BY SUPERVISING COMMITTEE: Supervisor: Michael Holleran Monica Penick Listed, Obliterated or Status Unknown: An Analysis of the 50-Year Rule, 1966-2010 by Emily Jeanne Koller, B.A.; MA Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Science in Community and Regional Planning The University of Texas at Austin May 2011 Abstract Listed, Obliterated or Status Unknown: An Analysis of the 50-Year Rule, 1966-2010 Emily Jeanne Koller, MSCRP The University of Texas at Austin, 2011 Supervisor: Michael Holleran The report evolves from previous work in the field that questions the efficacy of the 50-year rule, or criterion consideration G, of the National Register of Historic Places program to register and protect modern and recent past resources. Proponents of the recent past argue that by restricting evaluation of historic architecture to only that which is 50-years or older is leading to widespread endangerment and demolition of buildings and sites with periods of significance from the postwar era. This report studies the use of criterion G in-depth since the inception of the National Register program and attempts to identify and quantify the resources lost through continued adherence to the 50-year rule. The analysis is done in two parts. -
National Register of Historic Places Registration Form NPS Form 10-900 OMB No
United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018 (Expires 5/31/2012) Washington State Library Thurston County, WA Name of Property County and State United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter “N/A” for “not applicable.” For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional certification comments, entries, and narrative items on continuation sheets if needed (NPS Form 10-900a). 1. Name of Property historic name Washington State Library other names/site number Joel M. Pritchard Building 2. Location th street and 415 15 Avenue Southeast not for publication number city or town Olympia vicinity state Washington code WA county Thurston code 067 zip code 98501 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this nomination 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. In my opinion, the property _ meets _ does not meet the National Register Criteria. I recommend that this property be considered significant at the following level(s) of significance: local Applicable National Register Criteria A C Signature of certifying official/Title Date WASHINGTON SHPO State or Federal agency/bureau or Tribal Government In my opinion, the property meets does not meet the National Register criteria. -
Seattle City Map 1 Preview
sseattle-cm-set1.indd 1 Q e A B CDE F G H J K L M N O P a t N N t N N l E e N e Legend N 0500mN S E - N e t c N# 00.25miles N 43rd St University of e e e v m Av N 43rd St N 43rd St y NE v U DISTRICT E l N Seattle Ave M NE e ve A NE NE 43rd St Washington E NE d N - t t Av n Av NE Top Sight Short List i s A N e n s d N o n e dN y l Wa e n 5 ay VU ve NE W e N e s o o va o i e vd NE R t o t L v N Motor Pl Park Ave N a 1 Routes t c ve Nve w n e s y l e . NE 42nd St m y h Av h n e lyn Ave Ave lyn N n B n n i a l i E n l Stone Way Tollway a e a r e i a A a 8thAve 7t r d 9th A y r W elt e N e D v ke Bl ord Ave k r v d F F ide Ave Freeway l r Ph W Winslow P Salmon E 99 N 42nd St N 42nd St e äb e Av 15th O Memoria s 1 P NE11th Ave 1 G A Quad 12th Ave N a r d y stern Ave N sev Primary Rd Bay N Brook n 1 y NE 42nd St Burke Ave a e A N 42nd St N P Corliss A NW 42nd N NW 42nd St n St Ea v nn Secondary Rd e W e Woodland AshworthA ve Montla Woodlawn Ave N Roo d NE Tertiary Rd Wallingf Su N NE A Henry Art a e W s NE 41st St Gallery Lane a ra ra N 41st St N 41st University of Washington 513 o St P `ß Path NW 41st St AveNE r A N 41st St AVisitor Center Pedestrian St/Steps 4th Ave NE 1st Ave NE Au W nsmore Ave N 5th 5th 2nd Ave N A e N Central Plaza N 41st St NE Campus Pkwy e D Latona Av e NE 4 A Transport AveN 0th St (Red Square) Suzzall o NW 40th St v Av cific St n n a A P Airport N 40th St N Library n NE 40th St d e Bus r NE 40th St Rainier St e') A NW 40th d N 40th St tma 3 N -
02 Pike Place Market
The Market as Organizer of an Urban CommunitY Pike Place Market, Seattle The Pike Place Market, which climbs a steep hillside not far.above the Seattle waterfront (fig. 2-1), is one of America's great urban places. Some people, hearing its name without ever having been there, might think the Pike Place Market won the Rudy Bruner Award for Excellence in the Urban Environment because it is a "festival marketplace." They would be wrong, and it is worth pointing out why. The places that developers call festival markets are shopping centers that offer food and goods in an entertaining urban setting. Festival markets have wonderful aromas, public performers, and lots of small shops. They typically have interesting views. And all these things can be found at Pike Place, which is certainly festive. But the differences between Pike Place and a festival market are profound. Unlike festival markets, the Pike Place Market is a place where people live as well as shop. Some of Pike Place's inhabitants are wealthy, but a gleater number are poor or of moderate income; they occupy new or rehabilitated apartments mainly because an effort was made to obtain government subsidies. The chain merchants that operate in festival mar- kets are not allowed at Pike Place; on the contrary, Pike Place strives to rely on independent enterprises whose owners are on the premises, making their concerns and their personalities felt. Although there are plenty of restaurants and take-out food stands at Pike Place, just as in a festival market, much of the food at Pike Place comes in a basic, less expensive form-raw, forhome consumption. -
Richard Haag Reflections
The Cultural Landscape Foundation Pioneers of American Landscape Design ___________________________________ RICHARD HAAG ORAL HISTORY REFLECTIONS ___________________________________ Charles Anderson Lucia Pirzio-Biroli/ Michele Marquardi Luca Maria Francesco Fabris Falken Forshaw Gary R. Hilderbrand Jeffrey Hou Linda Jewell Grant Jones Douglas Kelbaugh Reuben Rainey Nancy D. Rottle Allan W. Shearer Peter Steinbrueck Michael Van Valkenburgh Thaisa Way © 2014 The Cultural Landscape Foundation, all rights reserved. May not be used or reproduced without permission. Reflections of Richard Haag by Charles Anderson May 2014 I first worked with Rich in the 1990's. I heard a ton of amazing stories during that time and we worked on several great projects but he didn't see the need for me to use a computer. That was the reason I left his office. Years later he invited me to work with him on the 2008 Beijing Olympic competition. In the design charrettes he and I did numerous drawings but I did much of my work on a tablet computer. In consequent years we met for lunch and I showed him my projects on an iPad. For the first time I saw a glint in his eye towards that profane technology. I arranged for an iPad to arrive in his office on Christmas Eve in 2012. Cheryl, his wife, made sure Rich was in the office that day to receive it. His name was engraved on it along with the quote, "The cosmos is an experiment", a phrase he authored while I worked for him. He called © 2014 The Cultural Landscape Foundation, all rights reserved. May not be used or reproduced without permission. -
Tacoma's Sacred Places, Religious Worship Buildings from 1873 Until
Tacoma’s Sacred Places, Religious Worship Buildings from 1873 until 1965 First Presbyterian, ca. 1926, Tacoma Public Library A1208-0 Reconnaissance Level Survey Prepared by: For: Office of Historic Preservation Caroline T. Swope, M.S.H.P., Ph.D. City of Tacoma Kingstree Studios Economic Development Department 2902 North Cedar St. Culture and Tourism Division Tacoma, WA 98407 747 Market Street, Room 1036 Tacoma, WA 98402 Kingstree Studios 2010 Tacoma’s Sacred Places This Reconnaissance Level Survey of Tacoma’s Sacred Places has been financed in part with Federal funds from the National Park Service, Department of the Interior and administered by the Department of Archaeology and Historic Preservation (DAHP) and the City of Tacoma Historic Preservation Program. However, the contents and opinions do not necessarily reflect the views or policies of the Department of the Interior or DAHP. This program received Federal funds from the National Park Service. Regulations of the U.S. Department of Interior strictly prohibit unlawful discrimination in departmental Federally Assisted Programs on the basis of race, color, national origin, age, or handicap. Any person who believes he or she has been discriminated against in any program, activity, or facility operated by a recipient of Federal assistance should write to: Director, Equal Opportunity Program, U.S. Department of the Interior, National Park Service, 1849 C Street, NW, Washington, D.C. 20240. The City of Tacoma’s Office of Historic Preservation publicly solicited proposals for this project -
Architects: Wohleb & Wohleb Contractor: Strand & Sons Co
Sleek, Olympia’s Post WWII Shiny Architecture and New Capitol Way looking south - 1954 e New Formalism m Brutalism Shed a r Post Modern Solid End Wall F - Neo-Expressionism A l International Style l a W MODERN n i a t r Mansard u MOVEMENT C Northwest Regional Populuxe Contemporary Wrightian Geodesic Deconstruction Dome Solid End Wall Miesian 1 Mies van der Rohe Le Corbusier Walter Gropius Richard Neutra Phillip Johnson Hat Factory Eric Mendolsohn, Bauhaus Brandenberg, Germany, 1921-23 Walter Gropius, Dessau, Germany, 1925 Schroder House Thomas Gerrit Rietveld The Netherlands, 1924 2 Olympia – Mid 1920s to late 1930s Thurston County Courthouse, 1939 Baretich Building, 1936 G.V. Valley Shopping Center, 1938 Capitol Park Building, 1939 3 Mid 1940s – Capitol Way & 7th Ave., looking North Grant Talcott Thorp Motors Fire Station Built: 1945 222 N Built: 1948 Capitol Way Olympia USO Built: 1945 Architect: Joseph Wohleb 1314 4th Ave 221 NW Perry St 4 Clow State Theater Apartments Built: 1949 Built: 1949 Architect: George Ekvall 204 4th Ave Architect: Robert 506 16th Ave H. Wohleb Memorial Clinic Built: 1948 Architects: Wohleb & Wohleb Contractor: Strand & Sons Co. 529 4th Ave W. 5 Governor Rosellini and Family (1957-65) Mayor Amanda Smith (1953-60) First Woman Mayor Capitol Lake Dam Built: c.1951 5th Ave SW 6 WISE Study 1958 Proposed elevated parking structure above streets in heart of downtown INTERNATIONAL STYLE 7 Lovell House Richard Neutra, Lovell Beach House Los Angeles, CA - R.M. Schindler, Newport 1924 Beach, CA - 1925 “Windshield” House Richard Weissenhof House Neutra, California -1938 Le Corbusier, Stuttgart, Germany, 1927 Sy & Mildred Nash House Built: 1941 Architect: Paul Thiry 7608 Cooper Point Rd 8 Capitol Center Apartments Built: 1949 Architect: Fred Rogers 1517 Capitol Way Georgia - Pacific Plywood Company Office Built: 1952 / 60 Architects: NBBJ 600 Capitol Way N Wohleb & Wohleb 9 General Administration Built: 1956 Architect: A. -
Robert George Reichert, Architect Jeffrey Scott Murdock a Thesis
Robert George Reichert, Architect Jeffrey Scott Murdock a thesis submitted in partial fulfillment of the requirements for the degree of Master of Science, Architecture University of Washington 2019 Committee: Brian McLaren Jeffrey Ochsner Program Authorized to Offer Degree: Architecture ©2019 Jeffrey Scott Murdock University of Washington ABSTRACT Robert George Reichert, Architect Jeffrey Scott Murdock Supervisory Committee: Brian McLaren and Jeffrey Ochsner Department of Architecture Robert George Reichert, Seattle architect, practiced as a sole proprietor in the city from 1952 until his death in 1996. He learned both to design and to play the organ at a very young age, and developed strong ideas about the meaning of architecture, notions that would guide his practice throughout his career. He studied under Walter Gropius at Harvard during a period of rationalist education and practice. Practicing in a vibrant architectural culture in post-World War II Seattle, Reichert chose a solitary path in which he believed the meaning of his work was romantic and spiritual, and his individual projects could be described in terms of their affective content rather than purely functionalist design. This thesis tells the story of Reichert’s life and career, drawing primarily on original documents in the Reichert Collection at the University of Washington Libraries Special Collections. The thesis places this iconoclastic artist-architect in the context of his time and place and seeks to frame his architecture and thought in a wider context. TOC.1 Robert George Reichert. (Robert Reichert Collection, UW Libraries Special Collections UW39850). Contents Preface 7 1. Introduction 19 2. An Architectural Education 25 3. -
NATIONAL NEWS| Winter 2008
Changes to Halprin’s Landmark Freeway Park in Seattle Originally designed by Lawrence Halprin and Associates, the plantings at Seattle’s Freeway Park are currently being updated by Seattle landscape architect and University of Washington professor Iain Robertson, who aims to “not change the character of the park, but to recharge the design." Executed by Mr. Halprin’s office under the design direction of Angela Danadjieva, Freeway Park is one of the best preserved masterworks of post-war landscape architecture, yet the horticultural requirements of the plants necessitate renewed attention to the origi- nal design intent. However, its fate may also be a bellweather for the future of modernist architecture, landscapes and engineering feats associated with the interstate highway system across the country. After the publication of Halprin’s book Freeways in Aerial view of the park over Interstate 5 in downtown Seattle circa 1999. 1966 and his work with the Freeway Park, Seattle, WA (Photo courtesy of the City of Seattle) Federal Highway Administration’s Urban Advisors group, the Seattle Parks Commission sought his assistance in designing a park along the edge of the new interstate gorge. Rather than confining himself to the proposed plot of land, Halprin pushed the ideas in his book into the cityscape by proposing an extensive landscape that scaled down the impact of the freeway for both driver and pedestrian by building right over it. Rather than balking at this audacious plan, the city bun- dled the proposal into the county-wide open space -
Contemporary Design Philosophy in American Architecture
^O 1 CONTEMPORARY DESIGN PHILOSOPHY IN AMERICAN ARCHITECTURE by KENNETH EDWARD LAY, JR. B. Arch., The Pennsylvania State University, 1956 e\\i A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF ARCHITECTURE College of Architecture and Design KANSAS STATE UNIVERSITY Manhattan, Kansas 1966 Approved by: Ma^or Professor , Lb 2j>^i ii a.o- ACKNOWLEDGEMENTS I gratefully acknowledge the guidance and encouragement given me during the planning and writing of this report by Professor Emil C. Fischer, Dean of the College of Architecture and Design at Kansas State University. My most sincere appreciation goes to my wife, Margaret F. Lay, A.S.L.A. whose professional advice and understanding helped immeasurably in its preparation. Appreciation is further extended to my committee members, Professor Jack C. Durgan, Professor J. Cranston Heintzelman, Professor Cecil H. Miller, and Dr. William C. Tremmel, and to my typist, Mrs. Michael R. Hawkins. , TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION: THE MODERN MOVEMENT 1 Prior to the Chicago School 2 The Chicago School of Architecture 4 L'Art Nouveau and Cubism 6 The Organic Architecture of Frank Lloyd Wright . 8 The International Style 10 Mies van der Rohe 12 LeCorbusier 14 The Present Situation .............. 16 Design Trends in Architectural Education 17 The Rediscovery of History 19 Structural Experimentation 20 II. THE CLASSIC ARTICLE 22 III. STRUCTURAL EXPRESSIONISM 27 IV. THE AESTHETIC REVIVAL 36 V. THE DIRECTION OF AMERICAN ARCHITECTURE 42 VI. CRITICISM OF CONTEMPORARY DESIGN PHILOSOPHY .... 45 VII. THE NEW FREEDOM WITHIN THE MODERN MOVEMENT 57 VIII. THE NEW FREEDOM'S AVANT-GARDE 71 Dr. -
SCULPTURE Title: North Totem Pole, 1984 Artist
SCULPTURE Title: North Totem Pole, 1984 Artist: James Bender Location: Victor Steinbrueck Park, corner of Western & Virginia Description: Western red cedar carved in Haida-inspired style. M. Oliver initial design. J. Bender final design and carver. Metaphorical figures of the Raven, Human, Little Human, Orca, Little Raven and Bear holding a hawk. Commissioned 1983 by architect Victor Steinbrueck. www.nwart- jpbender.com. Title: Farmer’s Pole, 1984 Artist: James Bender Location: Victor Steinbrueck Park, corner of Western & Virginia Description: Western red cedar tribute pole carved to celebrate the Market farmers. Man and a woman wear “Honored Farmer – 1984” badges . Commissioned 1983 by architect Victor Steinbrueck. Concept and design was a collaboration between Bender and Steinbrueck. www.nwart- jpbender.com. Title: Sasquatch, circa 1970’s Artist: Richard W. Beyer (1925-2012) Location: North Wall, Economy Building Atrium Description: Seven foot Sasquatch wood carving. Mythical forest creature brought well-being to local tribes. Reflects dependence on generosity and terrifying power of thick forests. Artist sold smaller versions from a market stall he had during his early career. Between 1968 and 2006, he created over 90 different sculptures for public spaces in cities throughout the country that reflect local values and lore. www.richbeyersculpture.com Title: Rachel the Piggy Bank, 1986 Artist: Georgia Gerber Location: Corner of Pike Street and Pike Place Description: Bronze mascot of Pike Place Market Foundation. Model was an old sow living near the artist’s Whidbey Island home. Each year she collects thousands of coins and bills in multiple currencies which supports the Market’s food bank, child care center, medical clinic and senior center. -
J&J History Book.Indd
Like Darwin’s F inches The Story of Jones & Jones By Anne Elizabeth Powell A PROPOSAL About the Book ike Darwin’s Finches: The Story of Jones & Jones extinct had they lived on the same island. What we is the fi rst comprehensive examination of the have always done is handicap ourselves at the outset by L singular practice of Seattle-based Jones & Jones, saying, ‘Let’s go where it’s harder—where the answers the fi rm established in 1969 by Grant Jones and haven’t been found yet.’ ” Ilze Grinbergs Jones to practice landscape architecture, architecture, environmental planning, and urban design But just as signifi cant as the Jones & Jones approach is as a fully integrated collaborative. What defi nes this the Jones & Jones perspective. Through the lenses of practice as “singular?” In the words of Grant Jones, these practitioners the earth is held in sharp focus as “I think what sets us apart is not the projects—not the a living organism—alive, the product of natural forms work—but the idea that you can grow and evolve and and processes at work. The earth is their client, and their survive by tackling the diffi cult and the impossible. designs place nature fi rst, seek to discern the heart and You don’t look for the commonplace; you don’t look for soul of the land—to fi nd the signature in each landscape— the safe place to ply your craft. Jones & Jones is sort of like and to celebrate this intrinsic beauty. Darwin’s fi nches in that we’ve always been looking for ways to crack a nut that no one else has been able to crack.