Pratt Institute School of Architecture, Undergraduate Architecture
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Connecticut College Alumni Magazine, Fall 1974 Connecticut College
Connecticut College Digital Commons @ Connecticut College Linda Lear Center for Special Collections & Alumni News Archives Fall 1974 Connecticut College Alumni Magazine, Fall 1974 Connecticut College Follow this and additional works at: http://digitalcommons.conncoll.edu/alumnews Recommended Citation Connecticut College, "Connecticut College Alumni Magazine, Fall 1974" (1974). Alumni News. Paper 188. http://digitalcommons.conncoll.edu/alumnews/188 This Magazine is brought to you for free and open access by the Linda Lear Center for Special Collections & Archives at Digital Commons @ Connecticut College. It has been accepted for inclusion in Alumni News by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. .. .,..... ... ' ... .,-..... '"' .. .~. ' . ..... .' " ~.. - .,- ~il -,'; .. .- - • , -; " ... Connecticut College Alumni Magazine VOLUME 51, NUMBER 4, FALL 1974 The Ames Way: Introducing Our New President by Allen Carroll '73 2 At Home With Power Helen F. Mulvey 7 Home: Love Is All You Need David Case II History in Your Own Backyard: A Study of Homes Carol Broggini Catlin '60 12 The House You Call Home Sarah W. Wing '53 14 Homes For Sale-Real Estate, Everyone's Career Lotta Hess Ackerman '28 17 Sharing the Experience Katherine Meili Anderton '40 18 ROUND&ABOUT 22 In the Mailbox 25 What Do the Following Occupations Have in Common? 25 Class Notes Marion Vibert Clark '24 28 List of Class Correspondents 44 COVER: Rita Daly M.A. '71 PHOTOGRAPHS AND ILLUSTRATIONS: pp. 1,2 Constance Avery-Clark '75: pp. 3, 4, 5, 6 the Oakes Ames family: pp. [4, 15 Rita Daly '71: p. -
History of Indian Architecture Pdf
History of indian architecture pdf Continue Ancient Indian architecture In the Great Chaitya Buddhist Karla Caves in Maharashtra, India, c. 120 CEKailasa Temple, Ellora, largest rock-cut Hindu temple[1] Ancient Indian architecture is the architecture of the Indian sub-continent from the Indian Bronze Age to around 800 CE. At its endpoint, Buddhism in India was greatly diminished, and Hinduism was predominant, and religious and secular building styles had taken forms, a great regional variation, which they largely survived until and after the major changes that result from the arrival of the first Islam, and then the Europeans. Much of the early Indian architecture was wood, which is almost always dilapidated or burned, or brick, which is often taken away for reuse. The large number of Indian stone cutting architecture, which begins essentially around 250 BC, is therefore particularly important, as much of it clearly adapts the forms of modern built-up buildings, examples of which do not have. There are also several important sites where the floor plan has survived being excavated, but the upper part of the structures have disappeared. In the Bronze Age, the first cities emerged from the civilization of the Indus Valley. Archaeology has unearthed the urbanization phase at the beginning of the Tharappan kalibangan late Harappan phase, when urbanization declined, but was preserved in some pockets. Urbanization on the Gangetic plains began as early as 1200 BC, emerging as fortified cities and the appearance of northern black polished products. [2] [a] Europe [4] The Mahajanapada period was characterised by Indian coins and the use of stone in Indian architecture. -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
2008 Romanesque in the Sousa Valley.Pdf
ROMANESQUE IN THE SOUSA VALLEY ATLANTIC OCEAN Porto Sousa Valley PORTUGAL Lisbon S PA I N AFRICA FRANCE I TA LY MEDITERRANEAN SEA Index 13 Prefaces 31 Abbreviations 33 Chapter I – The Romanesque Architecture and the Scenery 35 Romanesque Architecture 39 The Romanesque in Portugal 45 The Romanesque in the Sousa Valley 53 Dynamics of the Artistic Heritage in the Modern Period 62 Territory and Landscape in the Sousa Valley in the 19th and 20th centuries 69 Chapter II – The Monuments of the Route of the Romanesque of the Sousa Valley 71 Church of Saint Peter of Abragão 73 1. The church in the Middle Ages 77 2. The church in the Modern Period 77 2.1. Architecture and space distribution 79 2.2. Gilding and painting 81 3. Restoration and conservation 83 Chronology 85 Church of Saint Mary of Airães 87 1. The church in the Middle Ages 91 2. The church in the Modern Period 95 3. Conservation and requalification 95 Chronology 97 Castle Tower of Aguiar de Sousa 103 Chronology 105 Church of the Savior of Aveleda 107 1. The church in the Middle Ages 111 2. The church in the Modern Period 112 2.1. Renovation in the 17th-18th centuries 115 2.2. Ceiling painting and the iconographic program 119 3. Restoration and conservation 119 Chronology 121 Vilela Bridge and Espindo Bridge 127 Church of Saint Genes of Boelhe 129 1. The church in the Middle Ages 134 2. The church in the Modern Period 138 3. Restoration and conservation 139 Chronology 141 Church of the Savior of Cabeça Santa 143 1. -
The Mayas a Transplanted Indian Civilization
THE MAYAS A TRANSPLANTED INDIAN CIVILIZATION by Alain Verdier In several speeches given between 1979 and 1988, indian philosopher and historian P.R. Sarkar made startling revelaons concerning the Mayan civilizaBon. According to him, the Mayan civilizaBon was a « transplanted Indian civilizaBon. It went From South India to Central America during the Chola, Pandya and Pallava dynasBes oF the Indian Middle Ages. » He specifically indicated that it first migrated to Central America during the rule oF the Pallavas. This period corresponds to the Classic Period oF the Mayan civilizaBon (4th to 10th century) which also sees a peak in large-scale construcBons and urbanism. Due to the contacts between India and America, many centuries beFore the discovery oF that conBnent by Christopher Colombus, the Indian and the transplanted Mayan civilizaBon existed side by side. Sarkar actually explained that ‘Mayadviipa’ (Mayan island), the Sanskrit name For America, came From the name oF the Mayan civilizaBon. However, while the Indians had invented the wheel several millenia beFore, the Mayas lagged behind due to the Fact that they never knew its use. Sarkar once pointed out that a true civilizaBon must have Four signs oF progress : agriculture, wheel, dress and script. According to him, many old civilizaBons disapeared From the annals oF history because they simply could not invent the wheel and could not make carts and chariots. It was For that very reason that the Mayan civilizaBon had its downFall and was Forced in subsequent Bmes to concede deFeat at the hands oF other civilizaBons. This was, he said « due to some slight deFect. -
Palladio's Influence in America
Palladio’s Influence In America Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources 2008 marks the 500th anniversary of Palladio’s birth. We might ask why Americans should consider this to be a cause for celebration. Why should we be concerned about an Italian architect who lived so long ago and far away? As we shall see, however, this architect, whom the average American has never heard of, has had a profound impact on the architectural image of our country, even the city of Baltimore. But before we investigate his influence we should briefly explain what Palladio’s career involved. Palladio, of course, designed many outstanding buildings, but until the twentieth century few Americans ever saw any of Palladio’s works firsthand. From our standpoint, Palladio’s most important achievement was writing about architecture. His seminal publication, I Quattro Libri dell’ Architettura or The Four Books on Architecture, was perhaps the most influential treatise on architecture ever written. Much of the material in that work was the result of Palladio’s extensive study of the ruins of ancient Roman buildings. This effort was part of the Italian Renaissance movement: the rediscovery of the civilization of ancient Rome—its arts, literature, science, and architecture. Palladio was by no means the only architect of his time to undertake such a study and produce a publication about it. Nevertheless, Palladio’s drawings and text were far more engaging, comprehendible, informative, and useful than similar efforts by contemporaries. As with most Renaissance-period architectural treatises, Palladio illustrated and described how to delineate and construct the five orders—the five principal types of ancient columns and their entablatures. -
AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours. -
Architectural Terms
Architectural terms adobe A word of Arabic origin mean dentil One of a band of square, small mansard A roof ing earth from which unburnt bricks toothlike blocks. having a double slope H are made. dormer window A vertical window on all four sides, ashlar hewn or squared stone. which projects from a sloping roof. (See the lower slope being much steeper. balustrade An entire railing system ~Gable " sketch) (as along the edge of a balcony) double-hung sash window A mullion A vertical member separating including a top rail and its upright window having two vertically sliding (and often supporting) window panes or supports, or balusters. sashes, each closing a different part of door panels. batter To incline from the vertical. A the window. oriel A bay window projecting out from wall is said to batter when it recedes as it eave That part of a roof which projects the wall of an upper story. rises . out beyond the wall of the building . palladian window A large window bracket Any overhanging member engaged column A column partially divided by columns or projecting from a wall or other body to built into a wall, not freestanding. piers, resembling support a weight (such as a cornice) pilasters, into three acting outside the wall. entablature In Classical architecture, the elaborated beam member carried by lights, the middle canale A roof drainspout projecting one of which through a parapet wall. the columns, horizontally divided into architrave below, frieze and cornice is usually widest chamfe r An oblique surfa ce produced above. a similar feature as the crown of and arched. -
Romanesque Architecture and Arts
INDEX 9 PREFACES 17 1ST CHAPTER 19 Romanesque architecture and arts 24 Romanesque style and territory: the Douro and Tâmega basins 31 Devotions 33 The manorial nobility of Tâmega and Douro 36 Romanesque legacies in Tâmega and Douro 36 Chronologies 40 Religious architecture 54 Funerary elements 56 Civil architecture 57 Territory and landscape in the Tâmega and Douro between the 19th and the 21st centuries 57 The administrative evolution of the territory 61 Contemporary interventions (19th-21st centuries) 69 2ND CHAPTER 71 Bridge of Fundo de Rua, Aboadela, Amarante 83 Memorial of Alpendorada, Alpendorada e Matos, Marco de Canaveses ROMANESQUE ARCHITECTURE AND ARTS omanesque architecture was developed between the late 10th century and the first two decades of the 11th century. During this period, there is a striking dynamism in the defi- Rnition of original plans, new building solutions and in the first architectural sculpture ex- periments, especially in the regions of Burgundy, Poitou, Auvergne (France) and Catalonia (Spain). However, it is between 1060 and 1080 that Romanesque architecture consolidates its main techni- cal and formal innovations. According to Barral i Altet, the plans of the Romanesque churches, despite their diversity, are well defined around 1100; simultaneously, sculpture invades the building, covering the capitals and decorating façades and cloisters. The Romanesque has been regarded as the first European style. While it is certain that Romanesque architecture and arts are a common phenomenon to the European kingdoms of that period, the truth is that one of its main stylistic characteristics is exactly its regional diversity. It is from this standpoint that we should understand Portuguese Romanesque architecture, which developed in Portugal from the late 11th century on- wards. -
Name: ______History Channel
Hi. I’m Peter Weller for the Name: _____________________ History Channel. Join me while we explore Engineering An Empire: Ancient Greece. Greece Introduction ~ Themistocles 1. What is the greatest empire the world has ever known that lies just outside of Greece? 2. Who is the one Greek poised and ready for battle against Persia? 3. What is a self-contained, self-reliant mini country within Greece? 4. What is the offensive weapon of the Trireme? How fast could it go (knots)? 5. Some historical sources claim that the Persians lost as many as _______ ships to the Greeks _______. Mycenaean Civilization 6. According to myth, Agamemnon’s epic struggles were written down by ____________, in two of history’s most famous tales, The Iliad & the Odyssey. 7. What was the fate of Agamemnon when he returned home from the Trojan War? 8. For all the inspiring visuals, nothing comes closer than what colossal main entrance to the citadel? 9. What is the little trick that allows for the corbel arch? 10. What was the corbel dome used for? The Tyrant Polycrates 11. Around 540 BC a tyrant named Polycates came to rule what island? 12. What problem did Polycrates set about to solve the that plagued many cities in the arid climate? 13. The floors of each tunnel connected with only __________ difference between them; a discrepancy of only _______ of a percent. 14. What did the Persians do to Polycrates when they thought he was getting too much autonomy? Pericles and the Golden Age 15. What everlasting monument is Pericles everlasting legacy? 16. -
Henry Ives Cobb: Forgotten Innovator of the Chica~O School
Henry Ives Cobb: Forgotten Innovator of the Chica~o School Kari11 M.£. Alexis The Street in Cairo at the \\orld ·s Columbian Exposi the Water Tower associated Potter Palmer with the spirit of tion of 1893 and the Chicago Opera House , 1884- 5 (Figures Chicago. Cobb masterfully exploited the symbolic potential 1- 3), may seem to have linle in common, for the fonner is of architectural fonn. and he would continue 10 do this an American's vision of a far.off and exotic land while the throughout his career. The immediate success of the Potter lancr is a stripped-down commercial building. Yet. both Palmer Mansion made this residence a Chicago landmark were erected in Chicago during the tum-of-the-century and helped establish Cobb as an important local archi1ec1. 10 period and both were designed by Henry Ives Cobb . The During the 1880s he worked with one partner. and his finn fact that both were destroyed I partially explains why one of became well known for its many mansions and domestic the most successful architects of the Chicago School and the commissions. American Renaissance has nearly been forgoncn. Admired Soon after the completion of the Potter Palmer Man by the great critic Montgomery Schuyler and acknowledged sion, Cobb received another important commission-this as an innovator in the use of metal skeletal systems.' Cobb one for a tall, commercial building, the Chicago Opera. has rarely been the subject of recent hislorians.J To further 1884-5 (Figure 3). Erected only a few months after William complicate the issue, virn,ally no records or correspondence Le Baron Jenney·s Homes Insurance Building, the Chicago from his office remain because most, if not all, of Cobb's Opera was a ten-story.