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24 Cards in this Set
- Front
- Back
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gilded age
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reconstruction to 1890's
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progressive era
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1890's to WWI
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inner war decades
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WWI to WWII
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city hall, philadelphia
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1871-1901; John MacArthur
grand, inspired local greatness, center square, right in the middle of market and broad streets -7 story building, looks like 2 columns on columns...lots of sculpture -very tall tower filled with details from all across the earth and history....first of its kind built like nothing else -first and foremost and office building and low offices -can walk down broad street and under the building to the other side of market street. practical utilitarian -chimney stacks parallel to medieval fortifications -structural determinism...stairs -pretty outside, simple inside -baltimore and providence city halls are larger with grand entrances...they're big spaces, simpler but not matching phladelphia...richmond came close -large city halls and courthouses symbolic of strength and potential of town...investing large sums of money in the building shows the people want progress (college, large commercial buildings) |
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memorial hall, harvard university
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cambridge, Ware & Van Brunt, competition 1865, constructed 1874-78
-huge buildings (in both public and private education) were constructured to show world of prosperous future -memorial to harvard alum & students that had served in civil war -many functions: gathering place, memorial, dining commons, and even a few lecture halls -commemoration, gathering, and academics -looks like a church -van brunt draws from -le Duc, French and English Gothic -Early American champion -Geometric based rationale -influenced by the French, they sought a rational expression in plan and massing of building's programmatic requirements -placed memorial hall under a tall tower, and adjoined on either side a long refectory dining hall and a semi circular auditorium -then elaborated basic idea in a high victorian gothic direction, with exposed roof trusses and a variety of colored bricks, stones, and roof slates for the requisite expressions of structural honesty and polychromy -even though the form of memorial hall log |
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pennsylvania academy of fine arts
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Philadelphia, Furness & Hewitt, 1871-76
-Furness made everyone seem conservative...he was a bit out there. born into privilege (father was unitarian minister in civil war) -one of the oldest art schools in country -hosted 1876 centennial fair -museum, gallery as well as schoool -side wall - color, texture, side entrance of students -head house and shed format reminiscent of a common railway station plan -long vista down the main hall, with iron ribbed skylights, similarly evoked shoppnig arcades in a city that was home to the first a merican arcade -meant to embellish the city -transcend mere commerce -colorful exterior inspired by writerings of english critic john ruskin, who was obsessed w the surface qualities of buildings |
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provident life and trust company
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philadelphia, frank furness, 1876-1879
-small bank -furness essayed buildings that veered markedly away from any standard idiom, and then celebrated their individuality -in this building, we can find the most extraordinary composition of vaguely familiar architectural elements unconventionally employed -massive canopy cut with a gothic arch balances precariously on squashed columns, which are in turn supported by abstracted brackets -other squashed columns at the ground floor level struggle to carry the apparent weight of the massive granite wall and a pseudo shingled roof that lies trapped between the canopy and wall -drew a number of ideas from Ruskin about ornament and about pleasuring the senses, and from the french architects (le duc) about bold geometrical and structural expression -emphasis on individuality and free expression at the expense of tradition (derived of extreme laissez faire individualism in US after the war?) |
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trinity church
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boston, gambrill & richardson, 1872-1877
-richardson all about order and unity -most popular/famous american architects in 1880s -southern french romanesque -more specifications to past -command of form -lots of decoration ->different interior, each part ward made with help of other artists to make a WHOLE work of art -turned less to german sources, more to french, english, even syrian and spanish examples -employs bolder and more coherent massing -drew upon his french training to express the greek cross plan as a three dimensional volume comprised of logically distinct parts -a tower clearly stands over the crossing, while smaller abutting forms house the short nave, the transepts, and the combined chancel and apse -form is muscular in the spirit of high victorian gothic (also polychromy) -unlike many high victorian gothic buildings, trinity church is not as visually complex or as fussy with detail....more aware of a crescendo of primitive forms building up to a dramatic tower, the total effect |
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thomas crane public library
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quincy, mass; henry hobson richardson; 1880-82
-building reduced to a simple box w/ intersecting gable roofs -large window wall opens into the reading room, strong arch marks entrance, semi-circular staircase provides access to the offices behind upper gable, and high bank of windows provides light to book stacks behind -primitive simplicity: hewn granite form, occasionally interrupted by horizontal brownstone bands that visually tie various elements together -enhanced powerful effect with huge syrian arch that springs from a low base rather than from a line above the door head -simplified historical ornament less noticable than powerful forms and play of voids against solids -more maps. books, printed papers, magazines, means more room needed to hold everything -rise in philanthropy, helping out community w/ $$ -asymmetrical -domestic architecture had so much asymmetricalness -great big arch is cut off, door within arch is not centered -got a lot of criticism for design |
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allgehany county courthouse
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pittsburgh, richardson, 1883-88
-made after richardson's death -large tower in front, huge entry way, very unified position -jail behind courthouse connected by enclosed bridge (bridge of signs) -medieval fortress -courthouse is a square donut large stair cases -exposed iron beams and ceilings in court rooms |
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watts sherman house
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newport, richardson, 1874-76
-inspired by hunt (queen anne style) -looking abroad to his own sources, specifically work of the immediate past in england by richard norman shaw *who was a prolific architect for great country houses (suburban) of sussex and sorrow -hoping to host post medieval vernacular sources -great stair hall is used as aunifying space...principal space in a baronial estate but now used in a modern context as amulti purpose room that connects you to the rest of the house -richardson was a modern architect....thoroughly contemporary (likewise for mckinley) -english medieval sources reflected in its asymmetrical arrangements, steeply cascading roofs, medieval chimney stacks, horizontal bands of windows, half-timbering and shingles simulating the tile hanging on the walls |
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casino
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newport, Mckim, mead, and white, 1881-1883
-mckim and white go to normandy and britain to get inspiration, through interepreting things they started to look at thing scompletely different from richardson (looking to early american architecture as well as post medieval vernacular in n. france) -first manifestation was the casino on belvue ave -completely different from anything built before -much softer, more even, unified treatment of facade decoration -used as a social center for summer colony that newport never really had before -James Gordon was kicked out of Newport meeting room (for riding a horse in the library wtf), he thought he would build something that would put the reading room in its place for both men and women…so he buys up the lot right across the street from his house and it's on the busiest parts of belvue avenue -Stores in front of the casino act as a buffer from the public and the private inside..reception, library, game rooms, etc -Symmetrical, designed as a unit, bifurcated cro |
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bell house
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newport, mckim, mead and white, 1881-83
-shingle style: continuous surface of shingles sweeps over the walls, relieved only by the colonial sash windows and shutters and minimal moldings -Asymmetrical house…two story towerette is counter balanced by the open two story towerette as well as the adjacent gable, which serves as an anchor and counterpart to the chimney (as well as the adjacent gable) -Strong sense of balance -Porches considered outdoor living rooms -Huge windows that drop down (into the basement) so the whole space can be directly connected to the inside of the house -Master bedroom had its own balcony -Such as the watts sherman house, there is a hall that is connected to many other rooms (drawing room, reception room, dining room) -Inglenook -drawing room: great windows that drop down, derived from early american precedent -Dining room: grass cover for the ceiling -shows japanese influence...orientral architectural tradition of wood frame construction: long horizontal lines, broadly |
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HAC taylor house
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newport, mckim, mead, and white, 1882
-colonial revival (but with other additions, such as classical paladian windows and columns) most overtly referenced to 18th century american precent -though when directly compared, they are different in scale, composition, and motif -the plan is more symmetrical as opposed to the bell house, there is still a great hall with large thresholds |
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Tribune building
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new york, richard morris hunt, 1873-76
--newspapers were major clients of these large buildings (esp in new york) -corner building, tried to have ground floor service as a visual base -next 3 floors to be anchored to that -next 3 floors differentiated but related somewhat -the roof is a wedding cake type, drawing from a contemporary french design -wanted to be reflective of the purpose of the building -hunt astutely blended tower idea with more usual idea of horizontal commercial commercial structure -in lower block, he followed traditional classical tripartite arrangement of a base, middle, and cap, piling up successive layers of intermediate floors in the midle part to make up the height -wanted to minimize vertical emphasis of this lower block (brokeit up in th emiddle w/ strongly horizontal segmental arches, and treated entire top floor as a mansard roof to help disguise building's true height |
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The Rookery
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chicago, burnham & root, 1885-- heart of then-coalescing financial district of chicago
-much larger building than what we've seen before -largest and most prestigious office address when the office opened -layering a bit but also through very intricate brickwork is tying it together -uses round arches as a means to help him do that -informed by richardson but quite distinct in its own right -the brickwork is quite intricately detailed…lots of ornament but all subordinate to the overall effect -Root is learning how to capture the best of both worlds: to have a building that exudes efficiency and economy and still have the kind of embellishments that would suggest to tenements that this is a fine, elegant building sumptuous enough to compare to the richness of chicago -cutting edge in office buildings: large lot that wraps around central atrium that is enclosed…in order to take commercial advantage of this deep space, there are two principal entrances (which is given to retail) |
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auditorium building
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chicago, adler & sullivan, 1886-1890-Adler creates a temporary auditorium
-such a revelatory space not only in its character but also its ACOUSTICS that a very rich Chicago businessmen commissions them to build the auditorium building -Trying to bring opera to Chicago (from Europe) -Theater is encased by much more profitable space (hotel, office building) -Creates location: this building is on the very edge of a business district so land was able to be snagged up without much $$ and value is accrued over time -inspired by paris, french architecture |
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marshall field wholesale store
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chicago, richardson, 1885-87
-u-shaped -italian palazzo tradition: marched a series of identical bays down the sides of the building...grouped the windows of several floors together behind arches of varying widths...as the arches progress up the height of the building, they increase in number while they decrease in width, finally culminating in rectangular punctuations just under the cornice -thickened corners, an ever so slightly flared base, a flattened and simplified cornice, and the roughly hewn stones provide visual strength -tho at first it may seem like a simple box, with futher study, it seems to embody power and grace, liveliness and stability, and vague recollections of admired traditions without overt historical associations -designed as a show room -Major corporate headquarters for a wholesaler and a retailer -just like the alleghany county courthouse…developing a strong hierarchy -all sorts of texture in the brickwork (but its eventually built in stone instead) subtle sequences with two |
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wainwright building
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st. louis, adler and sullivan, 1890-91-Sullivan does several other buildings in a recognizable vein although this building is completely different
-Sullivan very quickly moves out of initially Richardsonian inspired mode and into a vocabulary that is entirely his own -glazed glass paritions to help with max light in hallways -10 stories -office building as symbol of capitalism and growth for devpt first w/ braced and riveted steel frame...not load bearing walls -3 part composition -intricacy ind etails between pillars (spandrel), paralleling richardson -move away from richardson, towards his own style |
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state, war and navy building
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washington dc; alfred mullet; 1871-88
-second empire style (influence from the Loubre) -symmetrically and axially organized with central and end pavilions marked by mansard roofs -horizontal lines break facade into piled up layers like a wedding cake -compared to previous government buildings, this new style is more brazen than refined, more muscular than delicate -so many post war govt offices and post offices follow this sign that it becomes the standard image for public buildings across the land |
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griswold house
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newport; richard morris hunt; ca 1861-63
-stick style -american gothic revival -evoked medieval images with asymmetrical planning, overhanging roofs and even jettied upper floors -however, hunt departed from older ideas by abandoning the usual board and batten vertical siding and substiting instead a rich web of external framing meant to simulate medieval half timbering -emphatic braces under the jetties and on the porch posts (and the previous bullet) evoke high victorian gothic ideal of bold structural expressionism |
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reliance building
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3 part chicago windows and projecting bays
-after root died...afwood made it -cagelike suspension |
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schlessinger & mayer
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represents growth of retailing over wholesaling ..rise of department store as dominant form of retail distribution, which was not always the case in earlier decades (built in stages during the 1890s)
-lots of windows: pertinent in allowing women to have as much daylight conditions as possible for trying on garments -except for the corner element, the emphasis is more horizontal, given the need to admit vast amounts of natural lights, and to show the building off…to have it stand out among the other building on state street…sheathes the entire upstairs with ivory terra cotta while that is eye popping while the metal facade contrasts it -3 part "chicago" window…ends are double hung sash where you can open…lots of details…small terra cotta bands tying all these windows together -ground level: highly original bantered ornament that he developed during the 1890's…inspired by nature, by plant material primarily into these incredibly lively geometric forms that make it parallel to what's occurring in the europe |
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wanamaker department store
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department store emerges as the authority (furniture, clothing, musical instruments)…dept store is the arbiter by the early 20th century
-no sales clerk upping the class in his head…there are established prices…meant to establish new standard for dept stores -give the lady what she wants -home delivery -art gallery, post office, western union, different cafes, huge ladies bathroom -service, service, service, customer is to be pampered -fantasy atmosphere created in the store -giant organ -idea was to make middle class feel as though they were in the "carriage trade" as in, they could afford to be chauffeured around -many were probably purchasing above their means..the whole idea was to make you forget your drab miserable lives and go into fantasy land…be fawned over by clerks |
