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"Pennoyer, Peter"
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Books : Beauty of the city : A.E. Doyle, Portlands architect, by Philip Niles; The architecture of William Lawrence Bottomley, by Susan Hume Frazer; The country houses of John F. Staub, by Stephen Fox
The following studies of American architects are reviewed: (1) Beauty of the city : A.E. Doyle, Portlands architect, by Philip Niles (Oregon State University, 2008); (2) The architecture of William Lawrence Bottomley, by Susan Hume Frazer (Acanthus Press, 2007); and (3) The country houses of John F. Staub, by Stephen Fox (Texas A&M University Press, 2007).
Journal Article
New York transformed : the architecture of Cross & Cross
The architects Cross & Cross shaped the streetscape and skyline of New York City in the 1920s and 1930s with Upper East Side townhouses and apartment buildings, the RCA Victor Building, and Tiffany's flagship store on 57th Street. Working through a period of American history that saw dramatic change, from luxurious apartment buildings during the economic boom of the 1920s, to federal commissions during the Depression, the brothers John and Eliot Cross were masters of their craft. Well-connected society men who also showed remarkable foresight in business, Cross & Cross supported their practice with a partnered real estate firm and played a vital role in residential developments like Sutton Place along the East River. Cross & Cross oversaw the development of handsome clubs and houses throughout New York City, including the Links Club and the Upper East Side houses of Lewis Spencer Morris and George Whitney. They designed country houses in exclusive residential pockets outside New York: the Southampton estate of Winterthur founder Henry Francis du Pont; houses on the North Shore of Long Island, and in Greenwich, Connecticut; the childhood home of Sister Parish in Far Hills, New Jersey; and the Shelburne, Vermont home of J. Watson and Electra Webb.-- Source other than Library of Congress.
Book
Old New York in brick & stone
[...]The New York Times rejected a scheme to salvage and relocate colossal columns from Colonnade Row on Lafayette Street in 1902 in an editorial edict: \"The rule is simple and Scriptural. By the 1940s the city was on a well-chronicled downward slope that would lead to the edge of municipal bankruptcy in 1978. Since the Great Depression, construction had been sparse. Examining the Federal row house, the dominant style after the Revolutionary War and into the 1830s, Lockwood connects these modest façades to their roots in English Georgian architecture and the broader classical tradition. Commercial interests actually welcomed the New York City Zoning Resolution of 1916 as a measure that would protect the value of their properties. [...]recently, however, relatively permissive codes allowed a fluid adaptation of the use and occupancy of brownstones.
Trade Publication Article
Yale’s sense of place
After years of study, Yale's decision in 2007 to expand the student body by 15 percent required the addition of the thirteenth and fourteenth residential colleges. Given that the location of the site was seen as remote by most students, Yale wanted the architecture of the new colleges to connect Old Campus to Science Hill, the Divinity School, and other facilities beyond, in style and planning. These were not to be poor cousins.In 2008, Yale announced the selection of Robert A.M. Stern Architects (ramsa) to design the new colleges. When Yale selected ramsa to design the new colleges, the mandate was to make them in a style that would relate to the existing, preSaarinen colleges, primarily those of James Gamble Rogers. The decision to make the colleges in the Gothic style, once it was proven feasible under the $500 million budget, creates buildings that are sympathetic to the style of the campus and serve as an effective stylistic bridge between the center of the campus and Science Hill, and allows for the flexibility in form, massing, and detail that must have been essential tools as the architects, led by ramsa partners Melissa DelVecchio and Graham Wyatt, grappled with a triangular site.
Trade Publication Article
Piano plays Harvard
From inside Harvard Yard, standing on the steps of Sever Hall, the façade appears untouched and the large glass roof, a truncated hipped form, makes a pleasantly diaphanous appearance at a comfortable scale, but a closer view reveals the conflict between old and new: the steps to the entrance remain, but Piano compromises the relationship of the Fogg to the ground, defacing the building with a vast, triangular ramp that cuts across the façade, slicing through original details in one stroke. Piano's goal, \"to bring change to the spirit of the relationship between Harvard and the Cambridge community,\" is laudable, but his notion that this cantilever would make the building \"float\" is simply a self-delusion, and the idea that raising the galleries would allow the community to flow in is a misconception exposed by its overbearing, almost intimidating presence on Prescott Street. The arcades of the courtyard and its central axis organize the entire plan on every level, and abundant daylight admitted through the glass roof floods the surrounding spaces and reorients the visitor emerging from the surrounding galleries. Because the admissions desk, the gift shop, and the cloakroom are pushed to the outside of the arcade, the courtyard is free of the clutter that is so often imposed in museums as part of the \"visitor experience.\" The extension of the volume of the courtyard in glass provides welcome views of the conservation studios and study rooms above and a glimpse of an entire wall of glass-fronted cabinets displaying a library of pigments, paints, glues, and other archived materials central to the work of the conservators and scholars.
Trade Publication Article
Mittel march
In 1932, the Museum of Modern Art mounted \"The International Style\" an exhibition curated by Philip Johnson and Henry-Russell Hitchcock, that defined an architecture they regarded as so pure that it sat above mere styles. The curator of the 2000 Metropolitan Museum of Art exhibition \"American Modernism, 1925-1940\" was more inclusive than Johnson and Hitchcock, yet they chose the date ofthe French exposition as the start of the story, an approach that ignored the role of the Central European émigrés who arrived before 1925 in defining American modernism. Encompassing a wide range of fields including architecture, art, and artisanship, Stern and Long write compelling narratives of the creation of buildings, furniture, household objects, posters, films sets, clothing, fabrics, and books. Advertising, especially in the form of posters, provided many opportunities: the artist Hans Flato arrived in 1910 and by 1913 had completed work for the Post-Gazette and the American Examiner, which brought him critical acclaim and a place in an exhibition of posters organized by the Metropolitan Museum.
Magazine Article