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The Architectural Style of Bay Pines VAMC
The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques. -
The Five Orders of Architecture
BY GìAGOMO F5ARe)ZZji OF 2o ^0 THE FIVE ORDERS OF AECHITECTURE BY GIACOMO BAROZZI OF TIGNOLA TRANSLATED BY TOMMASO JUGLARIS and WARREN LOCKE CorYRIGHT, 1889 GEHY CENTER UK^^i Digitized by the Internet Archive in 2013 http://archive.org/details/fiveordersofarchOOvign A SKETCH OF THE LIFE OF GIACOMO BAEOZZI OF TIGNOLA. Giacomo Barozzi was born on the 1st of October, 1507, in Vignola, near Modena, Italy. He was orphaned at an early age. His mother's family, seeing his talents, sent him to an art school in Bologna, where he distinguished himself in drawing and by the invention of a method of perspective. To perfect himself in his art he went to Eome, studying and measuring all the ancient monuments there. For this achievement he received the honors of the Academy of Architecture in Eome, then under the direction of Marcello Cervini, afterward Pope. In 1537 he went to France with Abbé Primaticcio, who was in the service of Francis I. Barozzi was presented to this magnificent monarch and received a commission to build a palace, which, however, on account of war, was not built. At this time he de- signed the plan and perspective of Fontainebleau castle, a room of which was decorated by Primaticcio. He also reproduced in metal, with his own hands, several antique statues. Called back to Bologna by Count Pepoli, president of St. Petronio, he was given charge of the construction of that cathedral until 1550. During this time he designed many GIACOMO BAROZZr OF VIGNOLA. 3 other buildings, among which we name the palace of Count Isolani in Minerbio, the porch and front of the custom house, and the completion of the locks of the canal to Bologna. -
Excavations of Aztec Urban Houses at Yautepec, Mexico
- - EXCAVATIONSOF AZTECURBAN HOUSES AT YAUTEPEC, MEXICO Michael E. Smith, CynthiaHeath-Smith, and Lisa Montiel Our recent excavations at the site of Yautepecin the Mexican state of Morelos have uncovered a large set of residential struc- turesfrom an Aztec city. Weexcavated seven houses with associated middens, as well as several middens without architecture. In this paper, we briefly review the excavations, describe each house, and summarizethe nature of construction materials and methods employed. Wecompare the Yautepechouses with other knownAztec houses and make some preliminary inferences on the relationship between house size and wealth at the site. En nuestras excavaciones recientes en el sitio de Yautepecen el estado mexicano de Morelos, encontramosun grupo grande de casas habitacionales en una ciudad azteca. Excavamos siete casas con sus basureros,tanto como otros basurerossin arquitec- tura. En este artfeulo revisamos las excavaciones, decribimos cada casa y discutimos los patrones de materiales y me'todosde construccion. Hacemos comparaciones entre las casas de Yautepecy otras casas aztecas, y presentamosalgunas conclusiones preliminaressobre la relacion entre el tamanode las casas y la riqueza. Most Aztec urban sites today lie buried Yautepec under modern towns, and, of those that still exist as intact archaeological sites, Socialand Economic Context most have been heavily plowed, causing the Yautepecwas thecapital of a powerfulcity-state, and destruction or heavy disturbance of residential its king ruled over severalsubject city-states in the structures(Smith 1996). Intensive surface collec- YautepecRiver Valley of central Morelos (Smith tions can provide important information about 1994). This area,separated from the Valleyof Mex- social and economic patternsat these plowed sites ico to the northby theAjusco Mountains(Figure 1), (e.g., Brumfiel 1996; Charlton et al. -
Artistic Geography and the Northern Jesuit Missions of New Spain
Artistic Geography and the Northern Jesuit Missions of New Spain By Clara Bargellini Universidad Nacional Autónoma de México [email protected] (working paper, not be reproduced without the author’s permission) George Kubler´s seminal thoughts on artistic geography came out of his involvement with the art and architecture of the Hispanic New World. This paper examines a group of 17th and 18th century Jesuit missions in northern Mexico in order to expand our understanding of New World artistic geography, and also to explore the history of some geographic notions and their place in art historical discussions. Whereas Kubler was concerned with the transmission of styles, my interest here will be the movement of specific objects and individuals within a particular historical configuration. This will involve, of course, considerations about patronage and institutions, with some references to iconography, all of which ultimately has implications for the transmission of styles, as Kubler would no doubt have recognized. The missions in question were established in the first half of the 17th century by the Jesuits in the northern Tepehuan and Southeastern Tarahumara region, and were held by the Society until its 1767 expulsion from New Spain. From their arrival in 1572 the Jesuits focused on ministry among the native population of New Spain. Almost at once they began missionary activity among the indigenous populations in places near Mexico City. By 1580 they were established at Tepotzotlán learning native languages. In 1589 the Jesuits were among the legendary chichimecas at San Luis de la Paz, and two years later they were in Sinaloa, where they established an extraordinary system of missions about which we now have only documents and very sparse remains. -
Y\5$ in History
THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 A thesis submitted to the faculty of San Francisco State University A5 In partial fulfillment of The Requirements for The Degree Mi ST Master of Arts . Y\5$ In History by James Harvey Mitchell, Jr. San Francisco, California May, 2016 Copyright by James Harvey Mitchell, Jr. 2016 CERTIFICATION OF APPROVAL I certify that I have read The Gargoyles of San Francisco: Medievalist Architecture in Northern California 1900-1940 by James Harvey Mitchell, Jr., and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirements for the degree Master of Arts in History at San Francisco State University. <2 . d. rbel Rodriguez, lessor of History Philip Dreyfus Professor of History THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 James Harvey Mitchell, Jr. San Francisco, California 2016 After the fire and earthquake of 1906, the reconstruction of San Francisco initiated a profusion of neo-Gothic churches, public buildings and residential architecture. This thesis examines the development from the novel perspective of medievalism—the study of the Middle Ages as an imaginative construct in western society after their actual demise. It offers a selection of the best known neo-Gothic artifacts in the city, describes the technological innovations which distinguish them from the medievalist architecture of the nineteenth century, and shows the motivation for their creation. The significance of the California Arts and Crafts movement is explained, and profiles are offered of the two leading medievalist architects of the period, Bernard Maybeck and Julia Morgan. -
Presidio of San Francisco an Outline of Its Evolution As a U.S
Special History Study Presidio of San Francisco An Outline of Its Evolution as a U.S. Army Post, 1847-1990 Presidio of San Francisco GOLDEN GATE National Recreation Area California NOV 1CM992 . Special History Study Presidio of San Francisco An Outline of Its Evolution as a U.S. Army Post, 1847-1990 August 1992 Erwin N. Thompson Sally B. Woodbridge Presidio of San Francisco GOLDEN GATE National Recreation Area California United States Department of the Interior National Park Service Denver Service Center "Significance, like beauty, is in the eye of the beholder" Brian W. Dippie Printed on Recycled Paper CONTENTS PREFACE vii ABBREVIATIONS viii ACKNOWLEDGEMENTS ix INTRODUCTION 1 CHAPTER 1: THE BEGINNINGS, 1846-1861 5 A. Takeover 5 B. The Indians 8 C. The Boundaries 9 D. Adobes, Forts, and Other Matters 10 CHAPTER 2: CIVIL WAR, 1861-1865 21 A. Organizing 21 B. Keeping the Peace 22 C. Building the Post 23 CHAPTER 3: THE PRESIDIO COMES OF AGE, 1866-1890 31 A. Peacetime 31 B. The Division Comes to the Presidio 36 C. Officers' Club, 20 46 D. Other Buildings 47 E. Troop Duty 49 F. Fort Winfield Scott 51 CHAPTER 4: BEAUTIFICATION, GROWTH, CAMPS, EARTHQUAKE, FORT WINFIELD SCOTT, 1883-1907 53 A. Beautification 53 B. Growth 64 C. Camps and Cantonments 70 D. Earthquake 75 E. Fort Winfield Scott, Again 78 CHAPTER 5: THE PRESIDIO AND THE FORT, 1906-1930 81 A. A Headquarters for the Division 81 B. Housing and Other Structures, 1907-1910 81 C. Infantry Terrace 84 D. Fires and Firemen 86 E. Barracks 35 and Cavalry Stables 90 F. -
Jewish Community Center of San Francisco 3200 California Street San Francisco San Francisco County California
HABSNo. CA-2724 Jewish Community Center of San Francisco 3200 California Street San Francisco San Francisco County California PHOTOGRAPHS WRITTEN HISTORICAL AND DESCRIPTIVE DATA Historic American Buildings Survey National Park Service Western Region Department of the Interior San Francisco, California 94107 HABs C.AL :;<o-sA HISTORIC AMERICAN BUILDING SURVEY JEWISH COMMUNITY CENTER OF SAN FRANCISCO HABS No. CA - 2724 Location: 3200 California Street (at Presidio Avenue) . San Francisco, San Francisco County, California 94118 - 1904 UTM Coordinates: 10-548750-4181850 Present Owner: Jewish Community Center of San Francisco Present Occupant: Jewish Community Center of San Francisco Present Use: Vacant Significance The Jewish Community Center of San Francisco QCC SF) was formally incorporated in 1930. However, its roots go back to 1874 with the establishment of the city's first Young Men's Hebrew Association (YMHA). The JCC SF reflects a progressive period in American history that resulted in provision of services and facilities for the underprivileged, and/or for minority ethnic groups. The Jewish Community Center project reflected both national and local efforts to facilitate coordination and effective work among Jewish social, athletic, cultural and charitable organizations by gathering them under one roof. Nationwide the Jewish community was influential in group social work, helping to develop the profession of social workers, and a wide variety of inclusive charitable organizations. In the era spanning 1900 to 1940, Jewish leaders in many American cities promoted the local development of these community centers to serve their communities as a central location for public service organizations, and recreational and social venues. The JCC SF is not closely associated with any specific event in the history of San Francisco or community, nor with any one individual significant to the city, state or nation. -
National Historic Landmark Nomination Old San Juan
NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 OLD SAN JUAN HISTORIC DISTRICT/DISTRITO HISTÓRICO DEL VIEJO SAN JUAN Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Old San Juan Historic District/Distrito Histórico del Viejo San Juan Other Name/Site Number: Ciudad del Puerto Rico; San Juan de Puerto Rico; Viejo San Juan; Old San Juan; Ciudad Capital; Zona Histórica de San Juan; Casco Histórico de San Juan; Antiguo San Juan; San Juan Historic Zone 2. LOCATION Street & Number: Western corner of San Juan Islet. Roughly bounded by Not for publication: Calle de Norzagaray, Avenidas Muñoz Rivera and Ponce de León, Paseo de Covadonga and Calles J. A. Corretejer, Nilita Vientos Gastón, Recinto Sur, Calle de la Tanca and del Comercio. City/Town: San Juan Vicinity: State: Puerto Rico County: San Juan Code: 127 Zip Code: 00901 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): ___ Public-Local: X District: _X_ Public-State: X_ Site: ___ Public-Federal: _X_ Structure: ___ Object: ___ Number of Resources within Property Contributing Noncontributing 699 128 buildings 16 6 sites 39 0 structures 7 19 objects 798 119 Total Number of Contributing Resources Previously Listed in the National Register: 772 Name of Related Multiple Property Listing: NPS Form 10-900 USDI/NPS NRHP Registration Form ((Rev. 8-86) OMB No. 1024-0018 OLD SAN JUAN HISTORIC DISTRICT/DISTRITO HISTÓRICO DEL VIEJO SAN JUAN Page 2 United States Department of the Interior, National Park Service National Register of Historic Plaaces Registration Form 4. -
The Reconstruction of Colonial Monuments in the 1920S and 1930S in Mexico ELSA ARROYO and SANDRA ZETINA
The reconstruction of Colonial monuments in the 1920s and 1930s in Mexico ELSA ARROYO AND SANDRA ZETINA Translation by Valerie Magar Abstract This article presents an overview of the criteria and policies for the reconstruction of historical monuments from the viceregal period in Mexico, through the review of paradigmatic cases which contributed to the establishment of practices and guidelines developed since the 1920s, and that were extended at least until the middle of the last century. It addresses the conformation of the legal framework that gave rise to the guidelines for the protection and safeguard of built heritage, as well as the context of reassessment of the historical legacy through systematic studies of representative examples of Baroque art and its ornamental components, considered in a first moment as emblematic of Mexico’s cultural identity. Based on case studies, issues related to the level of reconstruction of buildings are discussed, as well as the ideas at that time on the historical value of monuments and their function; and finally, it presents the results of the interventions in terms of their ability to maintain monuments as effective devices for the evocation of the past through the preservation of its material remains. Keywords: reconstruction, viceregal heritage, neo-Colonial heritage Background: the first piece of legislation on monuments as property of the Mexican nation While the renovation process of the Museo Nacional was taking place in 1864 during the Second Empire (1863-1867) under the government of the Emperor Maximilian of Habsburg, social awareness grew about the value of objects and monuments of the past, as well as on their function as public elements capable of adding their share in the construction of the identity of the modern nation that the government intended to build in Mexico. -
Theodore Roosevelt Middle School), in Assessor's Parcel Block No. 1061, Lot No
FILE NO. 180003 ORDINANCE NO. 37-19 1 [Planning Code - Landmark Designation - 460 Arguello Boulevard (aka Theodore Roosevelt Middle School)] 2 3 Ordinance amending the Planning Code to designate 460 Arguello Boulevard (aka 4 Theodore Roosevelt Middle School), in Assessor's Parcel Block No. 1061, Lot No. 049, 5 as a Landmark under Article 10 of the Planning Code; affirming the Planning 6 Department's determination under the California Environmental Quality Act; and 7 making public necessity, convenience, and welfare findings under Planning Code, 8 Section 302, and findings of consistency with the General Plan, and the eight priority 9 policies of Planning Code, Section 101.1. 10 NOTE: Unchanged Code text and uncodified text are in plain Ariai font. Additions to Codes are in single-underline italics Times New Roman font. 11 Deletions to Codes are in strikf!through italics Times New Roman font. Board amendment additions are in double-underlined Arial font. 12 Board amendment deletions are in strikethrough Arial font. Asterisks (* * * *) indicate the omission of unchanged Code 13 subsections or parts of tables. 14 15 Be it ordained by the People of the City and County of San Francisco: 16 Section 1. Findings. 17 (a) CEQA and Land Use Findings. 18 (1) The Planning Department has determined that the proposed Planning Code 19 amendment is subject to a Categorical Exemption from the California Environmental Quality 20 Act (California Public Resources Code section 21000 et seq., "CEQA") pursuant to Section 21 15308 of the Guidelines for implementation of the statute for actions by regulatory agencies 22 for protection of the environment (in this case, landmark designation). -
History of the California Building and the San Diego Museum Of
CHAPTER 9 THE CALIFORNIA BUILDING: A CASE OF THE MISUNDERSTOOD BAROQUE AND THE HISTORY OF THE SAN DIEGO MUSEUM/ MUSEUM OF MAN by Richard W. Amero “My judgment is now clear and unfettered, and that dark cloud of ignorance has disappeared, which the continual reading of these detestable books of knight-errantry has cast over my understanding.” Miguel de Cervantes. Don Quixote, Book 2, Part 16. Very few people appear to have looked at the south facade of the California Building in San Diego's Balboa Park. H. K. Raymenton described it as Plateresque in style.[1] Trent Sanford thought it better than anything in Mexico or Spain.[2] William Templeton Johnson called it the finest Spanish- Renaissance facade in existence,[3] and Thomas E. Tallmadge hailed it as the best example of Churrigueresque architecture in the world.[4] An article in the San Diego Union, January 1, 1915, asserted the California Building was "copied in many essential details from the magnificent cathedral at Oaxaca, Mexico."[5] Christian Brinton repeated this suggestion in June of the same year.[6] After checking with Bertram Goodhue, who designed the California Building, C. Matlack Price referred to the comparison as "palpably absurd."[7] The Late-Renaissance Cathedral of Oaxaca, rebuilt in the early eighteenth century, has a compartmentalized facade with three horizontal tiers and five vertical bays which hold one principal and two lateral doorways, and is flanked by two squat, single-stage towers.[8] None of its details resemble those on the California Building. Carol Mendel declared the California Building facade was taken from the seventeenth to nineteenth-century late-Renaissance, Baroque, Neo- Classical facade of the Cathedral of Mexico in Mexico City.[9] If she had selected the mid-eighteenth century Sagrario Metropolitano, which adjoins the cathedral, she would have been closer to the truth, for this building's facade is an outstanding example of Mexican Ultra-Baroque, or, as it is generally known, Churrigueresque.[10] To George H. -
AZTEC ARCHITECTURE -Part 1 by MANUEL AGUILAR-MORENO, Ph.D
AZTEC ARCHITECTURE -Part 1 by MANUEL AGUILAR-MORENO, Ph.D. PHOTOGRAPHY: FERNANDO GONZLEZ Y GONZLEZ AND MANUEL AGUILAR-MORENO, Ph.D. DRAWINGS: LLUVIA ARRAS, FONDA PORTALES, ANNELYS PÉREZ, RICHARD PERRY AND MARIA RAMOS. TABLE OF CONTENTS INTRODUCTION Symb lism TYPES OF ARCHITECTURE General C nstructi n f Pyramid-Temples Temples Types f pyramids R und Pyramids T,in Stair Pyramids Shrines -Ad rat ri s) Early Capital Cities City-State Capitals Ballc urts A.ueducts and Dams Mar/ets Gardens BUILDING MATERIALS AND TECHNI0UES THE PRECINCT OF TENOCHTITLAN Intr ducti n Urbanism Cerem nial Pla1a -Interi r f the Sacred Precinct2 The Great Temple Myths Symb li1ed in the Great Temple C nstructi n Stages F und in the Archae l gical E4cavati ns f the Great Temple C nstructi n Phase I C nstructi n Phase II C nstructi n Phase III C nstructi n Phase I6 C nstructi n Phase 6 C nstructi n Phase 6I C nstructi n Phase 6II Emper r7s Palaces H mes f the Inhabitants Chinampas Ballc urts Temple utside the Sacred Precinct OTHER CITIES Tenayuca The Pyramid 8all f Serpents T mb-Altar Sta. Cecilia Acatitlan The Pyramid Te pan1 lc Tlatel lc The Temple f the Calendar Temple f Ehecatl-0uet1alc atl Sacred 8ell Priests7 Residency The Mar/etplace Tet1c t1inc Civic M numents Shrines Hue4 tla The 8all La C munidad -The C mmunity2 La Estancia -The Hacienda2 Santa Maria Gr up San Marc s Santiag The Ehecatl- 0uet1alc atl Building Tep 1tlan The Pyramid-Temple f Tep 1tlan Cali4tlahuaca Temple f Ehecatl-0uet1alc atl The Tlal c Cluster The Calmecac Gr up Ballc urt C atetelc Malinalc Temple I -Cuauhcalli2 9 Temple f the Eagle and :aguar Knights Temple II Temple III Temple I6 Temple 6 Temple 6I Figures Bibli graphy INTRODUCTION Az ec archi ec ure reflec s he values and civiliza ion of an e.pire, and s ud0in1 Az ec archi ec ure is ins ru.en al in unders andin1 he his or0 of he Az ecs, includin1 heir .i1ra ion across Me2ico and heir re-enac .en of reli1ious ri uals.