James F. O'Gorman, Dennis E. McGrath. ABC of Architecture. Philadelphia: University of Pennsylvania Press, 1998. Document. October 2013.
Queen Anne architecture can not be defined easily. It's architectural style has many different characteristics. In this paper, I will show how the Queen Anne style evolved from the architecture that was common during the reign of Queen Anne herself and also show how it evolved in America in the late 1800's during the Industrial Revolution. I will then show how the Queen Anne style is incorporated into today's architectural design.
William H. Pierson, Jr., American Buildings and Their Architects: Technology and the Picturesque, (Doubleday & Company, Inc.), 167.
Interested in the inspiration that informed Louis Sullivan’s infamous ornamentation, this discussion explores Sullivan’s correlation between society and architecture in his work. Through the use of ornamentation Sullivan works to achieve organic architecture aspiring from the relationship between man and nature.
Born shortly after the end of the Civil War in 1867, Wright grew up mostly in Madison, WI. After college, he secured a position with the prestigious Chicago architectural firm Adler & Sullivan in 1887. A disagreement with Sullivan six years later, forced Wright to start his own firm. After he designed six other homes is when Wright started to come into his own permanent designs in architecture. He came to use repetitive design elements in his plans that included the open concept, fireplaces, glazed windows and doors and the use of organic materials that were incorporated into the homes. Some of these designs o...
Frank Lloyd Wright is widely known and is considered to be America’s greatest architect. He is considered, in the eyes of many, to be the most consequential American architect of the 20th century. “Strongly individualistic, flamboyant, and arrogant, Wright designed and built more than four hundred structures that reflect his architectural genius. Directly and indirectly, he heavily influenced twentieth century architecture with his diverse use of geometry in his designs” (Eisenman).
... me that the eventual outcome of American architecture will be the emanation of what is going on inside of us at present, the character and quality of our thoughts and our observations and above all, our reflections.” Many architects practicing modernism in the development of American architecture however, fell victim to what Sullivan was calling for, in that architects should look within themselves as a source of truth. Many failed to understand that Sullivan insisted that this should not be a means of subjective and emotional human being state but rather a reserved and intuitive approach to design. In his discussion Sullivan comes close to acknowledging that style, as he has defined the term, has a highly subjective origin in which he describes as “the universal language of the soul.”
Louis Henry Sullivan, born 1856 in Boston, is one of the most famous American architects and is widely regarded as “The father of the skyscraper.” Sullivan’s designs, which number more than one hundred, are prevalent throughout a number of major cities in the U.S. Throughout his life Sullivan was intrigued with architecture and saw success from an early age.
Louis Sullivan is often called the “father of the skyscraper”. He was a very imaginative architect.
He suggests that the use of “electronic imaging prevents imagining and promotes thinking about architecture rather than bring architects, contractors, clients and critics to think within architecture” (275). Inspired by Frascari, the strategy of technography is encouraged (278). This is a “different way of thinking about the relationship between a [working] drawing and a future building. Rather than “simply Cartesian, technical lines showing edges, corners and joints these technographic drawings reveal both the symbolic and instrumental representations of the future building.. it is to make visible what is invisible”. Ridgway remarks, “The fact that any of this could be considered contentious indicates that extent to which architects have become alienated from the heart of their profession” (279). He asserts, “Part of any technography must be an acknowledgement of the historical context of construction knowledge. This is not only so we can better understand our rich architectural ancestry, but because it re-establishes a connection with the origins of our profession in building” (279). Rather than a “miniature projected representation of an imagined building, details are drawn as poetic constructions themselves, following the logic of drawing and not building and representing the “built detail symbolically, in addition to instrumentally. The symbolic and practical are one and the same thing” (280). “What are the symbolic qualities we are trying to embody in our buildings and how would we represent them in drawings?” becomes the question (278). These drawing “may not be easy or straightforward to understand or interpret.
As the photography of structures became more popular, several names emerged that would eventually be considered as the best architectural photographers; among these photographers are Walker Evans in the early 20th century, and Richard Nickel and Ron Gordon during the later 20th century. Each of these photographers, though all shooting buildings and architecture, have flares that could in some cases be considered art photography instead of plain documentation of the progr...
The Arts and Crafts Movement originated in England in the 1860s and became popular in the United States during the 1880s. Many important architects, designers, and historians had a part in establishing the popularity of the movement. The goal behind the reform was to “change the working conditions of craftspeople while improving the quality of design” (Harwood, May, & Sherman, 2012). During this time, industrialization was rapidly increasing, and the Arts and Crafts era focused on design values from “medieval-like craft guilds” (Harwood, May, & Sherman, 2012). Many considerations were made during this period, including the promotion of efficient space planning to adapt to human needs. Another focus was on establishing harmony with nature and design unity within individual spaces. Quite possibly the most important feature of the reform was honesty of materials. Structure and function were among the most highly regarded characteristics of the craftsmen’s handiwork (Harwood, May, & Sherman, 2012).
Louis Isadore Kahn, born Itze-Leib Schmuilowsky, had few buildings ever realized, but even so, he is often considered by many one of the greatest architects of the twentieth century. At the time of his death, Kahn was known by some as “America’s foremost living architect”. He was often noted for his use of materials such as brick and concrete masonry, and his development of a modern and monumental style which made use of simple platonic forms.
Louis Sullivan was without a doubt one of the most influential figures in American architecture. He can be credited with lying the foundation of today’s modern skyscrapers. In addition, he has produced some of the most magnificent ornaments seen in 19th and 20th century, which adorned his buildings.
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...