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Michigan's Historic Preservation Plan
Michigan’s state historic Preservation Plan 2014–2019 Michigan’s state historic Preservation Plan 2014–2019 Governor Rick Snyder Kevin Elsenheimer, Executive Director, Michigan State Housing Development Authority Brian D. Conway, State Historic Preservation Officer Written by Amy L. Arnold, Preservation Planner, Michigan State Historic Preservation Office with assistance from Alan Levy and Kristine Kidorf Goaltrac, Inc. For more information on Michigan’s historic preservation programs visit michigan.gov/SHPo. The National Park Service (NPS), U. S. Department of the Interior, requires each State Historic Preservation Office to develop and publish a statewide historic preservation plan every five years. (Historic Preservation Fund Grants Manual, Chapter 6, Section G) As required by NPS, Michigan’s Five-Year Historic Preservation Plan was developed with public input. The contents do not necessarily reflect the opinions of the Michigan State Housing Development Authority. The activity that is the subject of this project has been financed in part with Federal funds from the National Park Service, U.S. Department of the Interior, through the Michigan State Housing Development Authority. However, the contents and opinions herein do not necessarily reflect the views or policies of the Department of the Interior or the Michigan State Housing Development Authority, nor does the mention of trade names or commercial products herein constitute endorsement or recommendation by the Department of the Interior or the Michigan State Housing Development Authority. This program receives Federal financial assistance for identification and protection of historic properties. Under Title VI of the Civil Rights Acts of 1964, Section 504 of the Rehabilita- tion Act of 1973 and the Age Discrimination Act of 1975, as amended, the U.S. -
Broadway the BROAD Way”
MEDIA CONTACT: Fred Tracey Marketing/PR Director 760.643.5217 [email protected] Bets Malone Makes Cabaret Debut at ClubM at the Moonlight Amphitheatre on Jan. 13 with One-Woman Show “Broadway the BROAD Way” Download Art Here Vista, CA (January 4, 2018) – Moonlight Amphitheatre’s ClubM opens its 2018 series of cabaret concerts at its intimate indoor venue on Sat., Jan. 13 at 7:30 p.m. with Bets Malone: Broadway the BROAD Way. Making her cabaret debut, Malone will salute 14 of her favorite Broadway actresses who have been an influence on her during her musical theatre career. The audience will hear selections made famous by Fanny Brice, Carol Burnett, Betty Buckley, Carol Channing, Judy Holliday, Angela Lansbury, Patti LuPone, Mary Martin, Ethel Merman, Liza Minnelli, Bernadette Peters, Barbra Streisand, Elaine Stritch, and Nancy Walker. On making her cabaret debut: “The idea of putting together an original cabaret act where you’re standing on stage for ninety minutes straight has always sounded daunting to me,” Malone said. “I’ve had the idea for this particular cabaret format for a few years. I felt the time was right to challenge myself, and I couldn’t be more proud to debut this cabaret on the very stage that offered me my first musical theatre experience as a nine-year-old in the Moonlight’s very first musical Oliver! directed by Kathy Brombacher.” Malone can relate to the fact that the leading ladies she has chosen to celebrate are all attached to iconic comedic roles. “I learned at a very young age that getting laughs is golden,” she said. -
Challenges and Achievements
The Pennsylvania State University The Graduate School College of Arts and Architecture NISEI ARCHITECTS: CHALLENGES AND ACHIEVEMENTS A Thesis in Architecture by Katrin Freude © 2017 Katrin Freude Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Architecture May 2017 The Thesis of Katrin Freude was reviewed and approved* by the following: Alexandra Staub Associate Professor of Architecture Thesis Advisor Denise Costanzo Associate Professor of Architecture Thesis Co-Advisor Katsuhiko Muramoto Associate Professor of Architecture Craig Zabel Associate Professor of Art History Head of the Department of Art History Ute Poerschke Associate Professor of Architecture Director of Graduate Studies *Signatures are on file in the Graduate School ii Abstract Japanese-Americans and their culture have been perceived very ambivalently in the United States in the middle of the twentieth century; while they mostly faced discrimination for their ethnicity by the white majority in the United States, there has also been a consistent group of admirers of the Japanese art and architecture. Nisei (Japanese-Americans of the second generation) architects inherited the racial stigma of the Japanese minority but increasingly benefited from the new aesthetic light that was cast, in both pre- and post-war years, on Japanese art and architecture. This thesis aims to clarify how Nisei architects dealt with this ambivalence and how it was mirrored in their professional lives and their built designs. How did architects, operating in the United States, perceive Japanese architecture? How did these perceptions affect their designs? I aim to clarify these influences through case studies that will include such general issues as (1) Japanese-Americans’ general cultural evolution, (2) architects operating in the United States and their relation to Japanese architecture, and (3) biographies of three Nisei architects: George Nakashima, Minoru Yamasaki, and George Matsumoto. -
To Read Sample Pages
“ Any detailed account of the architectural history of the World Trade Center must rely on the work of Anthony W. Robins.” — Angus Gillespie, author of Twin Towers: Th e Life of New York City’s World Trade Center THE WORLD TRADE CENTER CLASSICS OF AMERICAN ARCHITECTURE ANTHONY W. ROBINS Originally published in 1987 while the Twin Towers still stood — brash and controversial, a new symbol of the city and the country — this book off ered the fi rst serious con- sideration of the planning and design of the World Trade Center. It benefi ted from interviews with fi gures still on the scene, and archival documents still available for study. Many of those interviewed, and many of the documents, are gone. But even if they remained available today, it would be impossible now to write this book from the same perspective. Too much has happened here. In this, the tenth anniversary year of the disaster, a new World Trade Center is rising on the site. We can fi nally begin to imagine life returning, with thousands of people streaming into the new build- ings to work or conduct business, and thousands more, from all over the world, coming to visit the new memorial. It is only natural, then, that we will fi nd ourselves thinking about what life was like in the original Center. Th is new edition of the book — expanded to include copies of some of the documents upon which the text was based — is off ered as a memory of the World Trade Center as it once was. -
Topics in Modern Architecture in Southern California
TOPICS IN MODERN ARCHITECTURE IN SOUTHERN CALIFORNIA ARCH 404: 3 units, Spring 2019 Watt 212: Tuesdays 3 to 5:50 Instructor: Ken Breisch: [email protected] Office Hours: Watt 326, Tuesdays: 1:30-2:30; or to be arranged There are few regions in the world where it is more exciting to explore the scope of twentieth-century architecture than in Southern California. It is here that European and Asian influences combined with the local environment, culture, politics and vernacular traditions to create an entirely new vocabulary of regional architecture and urban form. Lecture topics range from the stylistic influences of the Arts and Crafts Movement and European Modernism to the impact on architecture and planning of the automobile, World War II, or the USC School of Architecture during the 1950s. REQUIRED READING: Thomas S., Hines, Architecture of the Sun: Los Angeles Modernism, 1900-1970, Rizzoli: New York, 2010. You can buy this on-line at a considerable discount. Readings in Blackboard and online. Weekly reading assignments are listed in the lecture schedule in this syllabus. These readings should be completed before the lecture under which they are listed. RECOMMENDED OPTIONAL READING: Reyner Banham, Los Angeles: The Architecture of Four Ecologies, 1971, reprint ed., Berkeley; University of California Press, 2001. Barbara Goldstein, ed., Arts and Architecture: The Entenza Years, with an essay by Esther McCoy, 1990, reprint ed., Santa Monica, Hennessey and Ingalls, 1998. Esther McCoy, Five California Architects, 1960, reprint ed., New York: -
Hw Biography 2021
HUGH WOOLDRIDGE Director and Lighting Designer; Visiting Professor Hugh Wooldridge has produced, directed and devised theatre and television productions all over the world. He has taught and given master-classes in the UK, Europe, the US, South Africa and Australia. He trained at the London Academy of Music and Dramatic Art (LAMDA) and made his West End debut as an actor in The Dame of Sark with Dame Celia Johnson. Subsequently he performed with the London Festival Ballet / English National Ballet in the world premiere production of Romeo and Juliet choreographed by Rudolph Nureyev. At the age of 22, he directed The World of Giselle for Dame Ninette de Valois and the Royal Ballet. Since this time, he has designed lighting for new choreography with dance companies around the world including The Royal Ballet, Dance Theatre London, Rambert Dance Company, the National Youth Ballet and the English National Ballet Company. He directed the world premieres of the Graham Collier / Malcolm Lowry Jazz Suite Under A Volcano and The Undisput’d Monarch of the English Stage with Gary Bond portraying David Garrick; the Charles Strouse opera, Nightingale with Sarah Brightman at the Buxton Opera Festival; Francis Wyndham’s Abel and Cain (Haymarket, Leicester) with Peter Eyre and Sean Baker. He directed and lit the original award-winning Jeeves Takes Charge at the Lyric Hammersmith; the first productions of the Andrew Lloyd Webber and T. S. Eliot Cats (Sydmonton Festival), and the Andrew Lloyd Webber / Don Black song-cycle Tell Me 0n a Sunday with Marti Webb at the Royalty (now Peacock) Theatre; also Lloyd Webber’s Variations at the Royal Festival Hall (later combined together to become Song and Dance) and Liz Robertson’s one-woman show Just Liz compiled by Alan Jay Lerner at the Duke of York’s Theatre, London. -
CATALOG NO. 1 Artists’ Ephemera, Exhibition Documents and Rare and Out-Of-Print Books on Art, Architecture, Counter-Culture and Design 1
CATALOG NO. 1 Artists’ Ephemera, Exhibition Documents and Rare and Out-of-Print Books on Art, Architecture, Counter-Culture and Design 1. IMAGE BANK PENCILS Vancouver Canada Circa 1970. Embossed Pencils, one red and one blue. 7.5 x .25” diameter (19 x 6.4 cm). Fine, unused and unsharpened. $200 Influenced by their correspondence with Ray Johnson, Michael Morris and Vincent Trasov co- founded Image Bank in 1969 in Vancouver, Canada. Paralleling the rise of mail art, Image Bank was a collaborative, postal-based exchange system between artists; activities included requests lists that were published in FILE Magazine, along with publications and documents which directed the exchange of images, information, and ideas. The aim of Image Bank was an inherently anti- capitalistic collective for creative conscious. 2. AUGUSTO DE CAMPOS: CIDADE=CITY=CITÉ Edinburgh Scotland 1963/1964. Concrete Poem, letterpressed. 20 x 8” (50.8 x 20.3 cm) when unfolded. Very Good, folded as issued, some toning at edges, very slight soft creasing at folds and edges. $225. An early concrete poetry work by Augusto de Campos and published by Ian Hamilton Finlay’s Wild Hawthorn Press. Campos is credited as a co-founder (along with his brother Haroldo) of the concrete poetry movement in Brazil. His work with the poem Cidade=City=Cité spanned many years, and included various manifestations: in print (1960s), plurivocal readings and performances (1980s-1990s), and sculpture (1987, São Paulo Biennial). The poem contains only prefixes in the languages of Portuguese, English and French which are each added to the suxes of cidade, city and cité to form trios of words with the same meaning in each language. -
Patron Services Representatives Are the Official Face of the Theatre Development Fund on the TKTS Lines at Times Square, South Street Seaport and Downtown Brooklyn
REPRESENTATIVE JOB DESCRIPTION Patron Services Representatives are the official face of the Theatre Development Fund on the TKTS lines at Times Square, South Street Seaport and Downtown Brooklyn. They assist patrons at the booths with all of their questions and are primarily charged with discussing the current theatrical offerings with potential ticket buyers. The goal of a Patron Services Representative is not to “push” or “sell” certain shows or seats, but rather to help our patrons to make informed decisions for themselves and get all the information they need about any given show or shows. In a nutshell, Patron Services Representatives are well informed, kind, and passionate theatre professionals working for TDF/TKTS, in order to help our patrons’ understanding of the booths, and improve the overall TKTS experience. Like all TDF’s programming, they are trying to make theatre accessible to as many people as possible by improving the experience of the booths and simplify the sometimes overwhelming world of New York City Theatre. Representatives are expected to: -Work year round at the TKTS Booths, for the most part out-of doors. -Have an excellent working knowledge of New York City in order to best help patrons (especially of the Theatres and their areas) -Be able to discuss with patrons of TKTS the various shows we have on offer. -Offer help to anyone looking for informational assistance at our Booths. -Keep up to date with information on the current season of Broadway and Off-Broadway productions. This may include attending various shows which offer invitations to the team. -Assist in Patron’s understanding of the TKTS Booth’s operations, rules, and function. -
Modelsurvivor
CG Spring 04Fn5.cc 2/24/04 11:59 AM Page 10 GRANT SPOTLIGHT MODEL SURVIVOR Restoring an Architect’s Miniature Masterwork Though a prominent part of New York’s skyline—and a symbol of the city itself—the THE RESTORATION Twin Towers were originally viewed with skepticism. To win over the skeptics, architect WAS LED BY A MODEL Minoru Yamasaki expressed his vision with an elaborately detailed model, today the only MAKER WITH surviving three-dimensional representation of the World Trade Center. CONSERVATION The events of September 11, 2001, have imbued the model with significance that its creators could EXPERTISE AND THE never have imagined. Now part of the American Architectural Foundation’s prints and drawings col- FORMER CHIEF OF lection, the model has undergone a complete restoration thanks to the congressionally funded Save YAMASAKI’S MODEL America’s Treasures grant program of the National Park Service. SHOP, WHOSE The model was donated to the foundation’s collection in 1992, but little is known about its travels KNOWLEDGE OF THE over the past 30 years. What was immediately evident was the urgent need to arrest its worsening con- FIRM’S TECHNIQUES dition. The model is seven feet tall and eight by ten feet at its base; its size, weight, and difficult assem- bly (three hours minimum) did not work in its favor. FOR MODEL-BUILDING “An intriguing and complex period piece in very fragile condition,” is how the foundation described AT THE TIME WAS it. Delicate by nature, architectural models are easily damaged. Often kept in less-than-ideal condi- INVALUABLE. -
Read This Issue
VIEW 2019 VIEW from the Director’s Office Dear Friends of LALH, This year’s VIEW reflects our recent sharpening focus on California, from the Bay Area to San Diego. We open with an article by JC Miller about Robert Royston’s final project, the Harris garden in Palm Springs, which he worked on personally and continues to develop with the owners. A forthcoming LALH book on Royston by Miller and Reuben M. Rainey, the fourth volume in our Masters of Modern Landscape Design series, will be released early next year at Modernism Week in Palm Springs. Both article and book feature new photographs by the stellar landscape photographer Millicent Harvey. Next up, Kenneth I. Helphand explores Lawrence Halprin’s extraordinary drawings and their role in his de- sign process. “I find that I think most effectively graphically,” Halprin explained, and Helphand’s look at Halprin’s prolific notebook sketches and drawings vividly illuminates the creative symbiosis that led to the built works. The California theme continues with an introduction to Paul Thiene, the German-born landscape architect who super- vised the landscape development of the 1915 Panama-California Exposition in San Diego and went on to establish a thriving practice in the Southland. Next, the renowned architect Marc Appleton writes about his own Santa Barbara garden, Villa Corbeau, inspired—as were so many of Thiene’s designs—by Italy. The influence of Italy was also major in the career of Lockwood de Forest Jr. Here, Ann de Forest remembers her grandparents and their Santa Barbara home as the family archives, recently donated by LALH, are moved to the Architecture & Design Collections at UC Santa Barbara. -
Curran House Historic Structure Report This Report Commissioned by the Friends of the Curran House Committee
CURRAN HOUSE HISTORIC STRUCTURE REPORT This report commissioned by the Friends of the Curran House Committee. Published May, 2010 Cover art 2009 photograph of the Curran House, taken by Susan Johnson, Artifacts Consulting, Inc. Contributors The authors of this report wish to express our gratitude for the contribution of the following persons and entities: the Western Washington Chapter of Documentation and Conservation of the Modern Movement; Washington Department of Archaeol- ogy and Historic Preservation, particularly Michael Houser for sharing artwork and his knowledge of Robert Billsbrough Price’s work; Tacoma Public Library, Northwest Room staff; and the Friends of the Curran House, including Cindy Bonaro, Karen Benveniste, Biz Lund and Linda Tanz. 3 4 Administrative Data Name(s) Charles and Mary Louise Curran Residence (Also currently part of the Curran Apple Orchard Park, which belongs to the City of University Place) Location 4009 Curran Lane University Place, WA Pierce County parcel 0220163014 Proposed Treatment Rehabilitation Cultural Resource Data 1955, date of construction (per Pierce County Assessor) and period of significance Robert Billsbrough Price, architect Modern Style Individually eligible at the local level under criterion C for being a fine example of modernist residential design on the West Coast during the 1950’s and for exhibiting advances in building materials in the post-war era. Furthermore, the house is a unique hybrid of speculative model houses and custom design elements by Robert Billsbrough Price, Ta- coma’s leading architect of the 20th century. The house and associated apple orchard are also significant under criterion A, representing the development of University Place with semi-urban lifeways. -
Andy Truschinski Jessie Mueller
Sara Bareilles, Pam MacKinnon, Toshiko Mori, Jessie Nelson, and Diane Paulus Honorary Co-Chairs and The Gala Committee and Jefrey R. Gural, Chairman & Susan Bernfield, President and the A.R.T./New York Board of Directors Welcome You to the honoring Jessie Mueller & Andy Truschinski Joe Solway & Arup Director / Choreographer Terry Berliner Associate Director / Choreographer T.J. Newton Lyricists Music Director & Pianist Timothy Huang & Sara Wordsworth Arri Lawton Simon Lighting Designer Production Stage Manager Kirk Fitzgerald Jeromy Hunt Drums Bass Jacob Colin Cohen Andrew Franklin O'Connor Award Presenters Pam MacKinnon / Elaine Molinar / Diane Paulus Host Julie Halston April 11, 2016 / Tribeca Rooftop (2 Desbrosses Street) 6:00 PM Cocktails 7:00 PM Dinner & Program Dear Friends: in Brooklyn and Manhattan. Earlier in the month, we held a cash flow loan closing ACT ONE On behalf of the Board of Directors, the at the ofce and gave testimony at a City Scene 1: Welcome Back Gala Committee, and our Honorary Co- Council hearing urging a $40 million Scene 2: Opening Remarks Chairs, Sara Bareilles, Pam MacKinnon, increase to the Department of Cultural Scene 3: Our Donors: A Love Song Toshiko Mori, Jessie Nelson, and Diane Afairs’ budget. Our honorees Jessie Scene 4: Ain’t Mishearin’: A Musical Paulus, I am thrilled to welcome you to the Mueller and Andy Truschinski have helped A.R.T./New York 2016 Spring Gala! We are us in our quest to advocate for increased Tribute to Joe Solway & Arup delighted to present gifted actors Jessie cultural funding, and their public service Scene 5: Presentation of The Kathy and Mueller and Andy Truschinski with The and dedication to ensuring that the next Howard J.