Boston Architecture
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| Author | : Donald Freeman |
| Publisher | : MIT Press (MA) |
| Total Pages | : 136 |
| Release | : 1970 |
| Genre | : Architecture |
| ISBN | : |
Originally prepared to introduce Boston to the members of the American Institute of Architects meeting there in June 1970, this book now serves a wider purpose of presenting America's most architecturally interesting city to both architects and nonarchitects, whether in or not in Boston. Boston's architecture is marked by diversity and by a sometimes astonishing juxtaposition of styles, periods, and purposes. The work of H. H. Richardson stands its ground across the street from I. M. Pei's; Charles Bulfinch's State House (1795), at the summit of Beacon Hill, looks down on Paul Rudolph's state office buildings; the magnificent new City Hall is separated from Faneuil Hall only by Sam Adams (in bronze)&- and both equally well accommodate today's public debates, as one also did before the Revolution. Yet, in spite of this diversity, there are whole sections of the city that have their own unmistakable character&-a historic/architectural cohesion that immediately impresses itself on the mental map of those who pass through them. In picture and in text (which briefly recounts their history and prospects) some of the most important of these sections are exhibited and described. These are Beacon Hill, the Back Bay, the Fenway, the Central Business District (including the new Government Center), the Waterfront, the South End, Roxbury and Washington Park, and the city of Cambridge. Maps of these sections, pinpointing the buildings pictured, are also included.
| Author | : Mark Pasnik |
| Publisher | : The Monacelli Press, LLC |
| Total Pages | : 337 |
| Release | : 2015-10-27 |
| Genre | : Architecture |
| ISBN | : 1580934242 |
Often problematically labeled as “Brutalist” architecture, the concrete buildings that transformed Boston during 1960s and 1970s were conceived with progressive-minded intentions by some of the world’s most influential designers, including Marcel Breuer, Le Corbusier, I. M. Pei, Henry Cobb, Araldo Cossutta, Gerhard Kallmann and Michael McKinnell, Paul Rudolph, Josep Lluís Sert, and The Architects Collaborative. As a worldwide phenomenon, building with concrete represents one of the major architectural movements of the postwar years, but in Boston it was deployed in more numerous and diverse civic, cultural, and academic projects than in any other major U.S. city. After decades of stagnation and corrupt leadership, public investment in Boston in the 1960s catalyzed enormous growth, resulting in a generation of bold buildings that shared a vocabulary of concrete modernism. The period from the 1960 arrival of Edward J. Logue as the powerful and often controversial director of the Boston Redevelopment Authority to the reopening of Quincy Market in 1976 saw Boston as an urban laboratory for the exploration of concrete’s structural and sculptural qualities. What emerged was a vision for the city’s widespread revitalization often referred to as the “New Boston.” Today, when concrete buildings across the nation are in danger of insensitive renovation or demolition, Heroic presents the concrete structures that defined Boston during this remarkable period—from the well-known (Boston City Hall, New England Aquarium, and cornerstones of the Massachusetts Institute of Technology and Harvard University) to the already lost (Mary Otis Stevens and Thomas F. McNulty’s concrete Lincoln House and Studio; Sert, Jackson & Associates’ Martin Luther King Jr. Elementary School)—with hundreds of images; essays by architectural historians Joan Ockman, Lizabeth Cohen, Keith N. Morgan, and Douglass Shand-Tucci; and interviews with a number of the architects themselves. The product of 8 years of research and advocacy, Heroic surveys the intentions and aspirations of this period and considers anew its legacies—both troubled and inspired.
| Author | : Naomi Miller |
| Publisher | : Prestel Publishing |
| Total Pages | : 258 |
| Release | : 1990 |
| Genre | : Architecture |
| ISBN | : |
| Author | : Brian M. Sirman |
| Publisher | : Bright Leaf |
| Total Pages | : 0 |
| Release | : 2018 |
| Genre | : Architecture |
| ISBN | : 9781625343574 |
From the 1950s to the end of the twentieth century, Boston transformed from a city in freefall into a thriving metropolis, as modern glass skyscrapers sprouted up in the midst of iconic brick rowhouses. After decades of corruption and graft, a new generation of politicians swept into office, seeking to revitalize Boston through large-scale urban renewal projects. The most important of these was a new city hall, which they hoped would project a bold vision of civic participation. The massive Brutalist building that was unveiled in 1962 stands apart -- emblematic of the city's rebirth through avant-garde design. And yet Boston City Hall frequently ranks among the country's ugliest buildings. Concrete Changes seeks to answer a common question for contemporary viewers: How did this happen? In a lively narrative filled with big personalities and newspaper accounts, Brian M. Sirman argues that this structure is more than a symbol of Boston's modernization; it acted as a catalyst for political, social, and economic change.
| Author | : Maureen Meister |
| Publisher | : UPNE |
| Total Pages | : 232 |
| Release | : 2003 |
| Genre | : Architects |
| ISBN | : 9781584653516 |
H. Langford Warren (1857-1917) was an important link in the chain of individuals who contributed to the architectural practice, theories of design, and the teaching of architectural history in the United States at the turn of the twentieth century. Best known in the Boston area, Warren first worked under the renowned architect Henry Hobson Richardson before establishing his own practice. Friends and colleagues during this period included Charles Eliot Norton, the noted art historian, and Harvard's Charles Herbert Moore, a leading Ruskinian painter. Hired by Harvard University in 1893, Warren developed its architectural curriculum. In 1897 he helped found Boston's Society of Arts and Crafts. At the time of his death in 1917, Warren was Dean of the School of Architecture at Harvard and President of the Society of Arts and Crafts. At the turn of the century, Warren's philosophical vision offered a conservative and ethnocentric perspective attractive to many Bostonians and to a significant segment of Americans nationwide. According to this view, English culture was the basis of American culture. Through his work at Harvard and in the Arts and Crafts movement, he articulated and promoted an aesthetic guided by an attachment to the past, and he encouraged his students at Harvard to revive and reinterpret English and Anglo-American models. Another characteristic of Warren's aesthetic was "restraint," a quality generally attributed to the region's Puritan settlers. "Restraint" also meant a rejection of both the lavish ornamentation of the Ecole des Beaux-Arts in Paris and the more original styles such as Art Nouveau that were emerging at the turn of the century. Following the ideals of John Ruskin, William Morris, and later leaders of the English Arts and Crafts movement, Warren and his architect-colleagues promoted a close collaboration with the craftsmen who enhanced their buildings. The resulting building designs represent a significant contribution to the development of American Arts and Crafts architecture, complementing the proto-modern work of designers such as Frank Lloyd Wright. In fact, Arts and Crafts architecture in North America was extremely diverse. Meister examines the greater complexity of this architecture by exploring the eclectic historicism of Warren, a key figure in the movement that was centered in Boston.
| Author | : Maureen Meister |
| Publisher | : University Press of New England |
| Total Pages | : 504 |
| Release | : 2014-11-04 |
| Genre | : Architecture |
| ISBN | : 1611686644 |
This book offers the first full-scale examination of the architecture associated with the Arts and Crafts movement that spread throughout New England at the turn of the twentieth century. Although interest in the Arts and Crafts movement has grown since the 1970s, the literature on New England has focused on craft production. Meister traces the history of the movement from its origins in mid-nineteenth-century England to its arrival in the United States and describes how Boston architects including H. H. Richardson embraced its tenets in the 1870s and 1880s. She then turns to the next generation of designers, examining buildings by twelve of the region's most prominent architects, eleven men and a woman, who assumed leadership roles in the Society of Arts and Crafts, founded in Boston in 1897. Among them are Ralph Adams Cram, Lois Lilley Howe, Charles Maginnis, and H. Langford Warren. They promoted designs based on historical precedent and the region's heritage while encouraging well-executed ornament. Meister also discusses revered cultural personalities who influenced the architects, notably Ralph Waldo Emerson and art historian Charles Eliot Norton, as well as contemporaries who shared their concerns, such as Louis Brandeis. Conservative though the architects were in the styles they favored, they also were forward-looking, blending Arts and Crafts values with Progressive Era idealism. Open to new materials and building types, they made lasting contributions, with many of their designs now landmarks honored in cities and towns across New England.
| Author | : Douglass Shand-Tucci |
| Publisher | : Univ of Massachusetts Press |
| Total Pages | : 640 |
| Release | : 1995 |
| Genre | : Architecture |
| ISBN | : 9781558494893 |
Following in the footsteps of Boston Bohemia, 1881-1900, Douglass Shand-Tucci's widely praised portrait of Ralph Adams Cram's early years, this volume tells the story of Cram's later career as one of America's leading cultural figures and most accomplished architects. With his partner Bertram Goodhue, Cram won a number of important commissions, beginning with the West Point competition in 1903. Although an increasingly bitter rivalry with Goodhue would lead to the dissolution of their partnership in 1912, Cram had already begun to strike out on his own. Supervising architect at Princeton, consulting architect at Wellesley, and head of the MIT School of Architecture, he would also design most of New York's Cathedral of St. John the Divine and the campus of Rice University, as well as important church and collegiate structures throughout the country. By the 1920s Cram had become a household name, even appearing on the cover of Time magazine. A complex man, Cram was a leading figure in what Shand-Tucci calls "a full-fledged homosexual monastery" in England, while at the same time married to Elizabeth Read. Their relationship was a complicated one, the effect of which on his children and his career is explored fully in this book. So too is his work as a religious leader and social theorist. Shand-Tucci traces the influence on Cram of such disparate figures as Franklin Delano Roosevelt, Phillips Brooks, Henry Adams, and Ayn Rand. He divides Cram's career into four lifelong "quests" medieval, modernist, American, and ecumenical. Some quests may have failed, but in each he left a considerable legacy, ultimately transforming the visual image of American Christianity in the twentieth century. Handsomely illustrated with over 130 photographs and drawings and eight pages of color plates, Ralph Adams Cram can be read on its own or in conjunction with Boston Bohemia, 1881-1900. Together, the two volumes complete what the Christian Century has described as a "superbly researched and captivating biography."
| Author | : Bainbridge Bunting |
| Publisher | : Harvard University Press |
| Total Pages | : 516 |
| Release | : 1967 |
| Genre | : Architecture |
| ISBN | : 9780674409019 |
Sociologically speaking, the Back Bay is Boston's fashionable residential quarter -- or so it was until the great depression of 1929 began the gradual conversion of its aristocratic dwellings to more modest uses. Occupying about two hundred acres in the center of the greater filled region, the limits of this smaller area are the river, the Public Garden, Boylston Street, and Fenway Park. The Back Bay is interesting to Bostonian and visitor of the present day for a variety of reasons. Some will look at the area as a remarkably complete example of nineteenth century American architecture. Some people with a sociological interest will study the area's changes in property use and occupancy over the last thirty-five years and try to foresee the role the Back Bay is to play in the future development of the metropolitan center. Still others are concerned with the area as a convenient place to live or with property values and tax rates. With a precision almost unique in American history, the buildings of the Back Bay chart the course of architectural development for more than half a century. - Introduction.
| Author | : Margaret Henderson Floyd |
| Publisher | : University of Chicago Press |
| Total Pages | : 586 |
| Release | : 1994-09 |
| Genre | : Architecture |
| ISBN | : 9780226254104 |
Over the years, their commissions included scores of city and country residences for the elite of both regions as well as major institutional and business buildings such as those at Harvard and Radcliffe, the Cambridge City Hall, and Pittsburgh's Duquesne Club and Carnegie Institute.
| Author | : John Silber |
| Publisher | : |
| Total Pages | : 108 |
| Release | : 2007 |
| Genre | : Architecture |
| ISBN | : |
"In his twenty-five years as President of Boston University, Dr. Silber oversaw a building program totaling more than 13 million square feet. Here he constructs an unflinching case, beautifully illustrated, against the worst trends in contemporary architecture. He challenges architects to derive creative satisfaction from meeting the practical needs of clients and the public. He urges the directors of our universities, symphony orchestras, museums, and corporations to stop financing inefficient, overpriced architecture, and calls on clients and the public to tell the emperors of our skylines that their pretensions cannot hide the naked absurdity of their designs."--BOOK JACKET.
