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To obtain and understanding of the current state of American Architecture and its development, we must first briefly establish the origin of architecture in America. Much of the 17th-century English colonial architecture resembled late medieval forms that had survived throughout much of rural England. The first American architecture houses were built in a wide range of sizes, gables, and overhangs. They also had a lack of symmetry that was reflected in the late medieval style throughout Europe. However, unlike rural England’s architecture, in Virginia and Maryland; brick construction and a symmetrical facade were preferred for one story homes. Upon the idea of domestic homes, cities began to be founded in the 17th century. Cities such as Boston, were chaotic in plan and with the turn of the 18th century, colonies began to take on a more permanent role, often establishing individual character. Newly founded cities, such as: Williamsburg, Virginia; Annapolis, Maryland, and especially Philadelphia began to be laid out in a logical organization of regular grids. This eluded planners in London during the same period and thus the diverse seed of American architecture was planned. Continuing the development of unique American architecture, American in the early 1890s began to value their own heritage and architectural language featuring larger neighborhood tracts. In the 19th century, the Colonial Revival style took a more eclectic style, and columns were often seen. Thomas Jefferson was one of the front runners that established the need for a unified American style. He advocated that laying out cities and buildings could reflect America’s ideals. Jefferson, as well as others, believed that by adhering to a classicized architectural st... ... middle of paper ... ... 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.” None knew this language more than his colleague and pupil, Frank Lloyd Wright.

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