Saint Paul, Minnesota ~ City Hall and Ramsey County Courthouse ~ God of Peace by Carl Milles (later renamed Vision of Peace)

October 19, 2020 by 4g3nd4

The interior design in the "Zigzag Moderne" style drew its inspiration from the Exposition Internationale des Arts Décoratifs et Industriels Modernes, which promoted soft ornamentation and sensuous curves. In Memorial Hall the white marble floor contrasts with three-story black marble piers leading to a gold-leaf ceiling. At the end of the hall is the 60-ton, 38 feet (11.6 m) white onyx Indian God of Peace by Carl Milles (later renamed Vision of Peace. Other features include woodwork fashioned out of twenty-three different species of wood and uses for five different types of imported marble. Murals were painted by John W. Norton while the six bronze elevator doors were made by Albert Stewart 169

Posted by Onasill ~ Bill – Thank You on 2020-02-16 01:00:05

Tagged: , St , Paul , MN , Minnesota , Twin , Cities , City , Hall , Attraction , Downtown , Ramsey , County , Courthouse , GodofPeace , God , Peace , Statue , Sculptor , Carl , Miles , Reflection , VisionofPeace , Vision , Zigzag , Interior , Moderne , Architecture , Style , Exposition , Art , Deco , MemorialHall , Marble , Onasill , Travel , Tourist , BlackGold , Leaf , Woodwork , Carving , Murals , Site , Northwest , Memories , Vintage , Old , BillBadzo

26898

October 17, 2020 by 4g3nd4

The Grade II* Listed Parish Church of St Mary, in the grounds of Riseholme College, in Riseholme, West Lindsey, Lincolnshire.

The first Bishop of Lincoln to live at Riseholme Hall was John Kaye and he had the 14th century style church of St Mary’s built at his own expense to a design by S.S. Teulon. The foundation stone was laid by Bishop Kaye on 4th April 1851. The church consists of a nave with gabled western bellcote, a gabled south porch, a vestry and a chancel. St Mary’s is built of local stone and the architecture is early Decorated period. All the woodwork is English oak and the font is of stone from Caen. The chancel arch is in a 13th century style and the chancel floor is Victorian encaustic tiles. The windows are by Gibbs.

The organ is a Premier pipe organ made by Cousans of Lincoln. St Mary’s did not have electricity until 1948 and an electric blower was installed for the organ in 1954.

Posted by benbobjr on 2017-04-05 16:58:43

Tagged: , Lincoln , Lincolnshire , Midlands , East Midlands , England , UK , United Kingdom , GB , Great Britain , British , English , Britain , Riseholme , Riseholme Hall , Hall , Manor , Stately Home , Riseholme Campus , Riseholme College , Riseholme Park , campus , University of Lincoln , Nettleham , farming and agriculture , farming , agriculture , church , chapel , worship , religion , Christ , Christian , Christianity , Parish Church of St Mary , Parish Church of Saint Mary , Grade II* Listed , Grade II* Listed Building , Listed Building , John Kaye , architect , S.S. Teulon , foundation stone , Bishop Kaye , nave , gabled western bellcote , gabled south porch , vestry , chancel , English oak , Caen , chancel arch , 13th century style , chancel floor , Victorian encaustic tiles , Premier pipe organ , Cousans of Lincoln

The Long Gallery at Hanbury Hall – side room

October 15, 2020 by 4g3nd4

A visit to Hanbury Hall, near the village of Hanbury in Worcestershire. A National Trust property since 1953.

Hanbury Hall is a large stately home, built in the early 18th century, standing in parkland at Hanbury, Worcestershire.

The main range has two storeys and is built of red brick in the Queen Anne style. It is a Grade I listed building. The associated Orangery and Long Gallery pavilion ranges are listed Grade II*.

Hanbury Hall was built by the wealthy chancery lawyer Thomas Vernon in the early 18th century. Thomas Vernon was the great-grandson of the first Vernon to come to Hanbury, Worcestershire, Rev Richard Vernon (1549–1628). Rev Richard and his descendants slowly accumulated land in Hanbury, including the manor, bought by Edward Vernon in 1630, but it was Thomas, through his successful legal practice, who added most to estates, which amounted to nearly 8,000 acres (3,200 ha) in his successor Bowater Vernon’s day.

Hanbury Hall is thought to stand on the site of the previous mansion, Spernall Hall, and Thomas Vernon first describes himself as ‘of Hanbury Hall’ in 1706, and this and other evidence leads to a likely completion date of about 1706. The date of 1701 above the front door is thought to be a Victorian embellishment, but no building accounts are known to exist.

Although Hanbury Hall appears to be of a very uniform style, the rear wall is clearly of a different and rather earlier style, and may mark the first phase of a building campaign when Thomas Vernon and his wife Mary first came into possession of Spernall Hall in 1692 when his bachelor uncle John Vernon died.

A notable feature of Hanbury Hall is the painting of the staircase, hall ceiling, and other rooms by the English painter Sir James Thornhill. They include a small representation of Rev Henry Sacheverell being cast to the furies – this relates to an incident in 1710 when Sacheverell, a Tory, was put on trial for sedition by the Whig government, and dates the paintings to that year. The focus of the paintings around the stairwell is the life of the Greek hero Achilles, as told by a range of classical sources. They are surmounted by a large representation of the Olympian gods on the ceiling.

The original plan of the Hall had a large undivided central hall with the main staircase leading off it, with many rather small rooms in the corner pavilions and north range – the south range was given over mainly to service rooms. The 18th century Worcestershire historian Treadway Nash, in his Collections for the History of Worcestershire, wrote “Here is a large handsome house built by Counsellor Vernon about the year 1710 when a bad style of architecture prevailed; many windows and doors, rooms small, many closets, few arched cellars, large stables and offices in full view, are marks of that time”.

When the heiress Emma Vernon (1754–1818) married Henry Cecil, 1st Marquess of Exeter in 1776, Cecil clearly was of the same opinion, as he remodelled the interior (other than the great hall) creating larger rooms and enlarging the north east pavilion. On the south façade, having removed a doorway he repositioned all the windows to lie under their first floor equivalent. On the south side there had been large formal gardens, clearly shown in Dougharty’s perspective drawing contained in the estate maps of the 1730s, and Cecil swept all these away (including the farm buildings in front of the Hall) and landscaped the park in the fashion of the time – he would have had contact with Capability Brown when being brought up by his uncle 9th Earl of Exeter at Burghley House.

Following Henry and Emma’s divorce in 1791 the contents were all sold, and the house remained empty until Henry’s death in 1804, when Emma and her third husband, John Phillips, were able to regain possession. As the house had lain unoccupied for so long, many repairs had to be carried out at that time. Emma died in 1818 and left her second cousin, Thomas Shrawley Vernon (1759-1825), as the heir to her estate after the death of her husband John Phillips. Phillips married again and had two daughters in Hanbury before finally moving out in 1829. From then, the eldest son of Emma’s heir, Thomas Tayler Vernon (1792–1835), was able to occupy it. His grandson Harry Foley Vernon (1834–1920) MP, was created 1st Baronet of Hanbury in 1885, and was succeeded by his son Sir (Bowater) George Hamilton Vernon (1865–1940), 2nd Baronet. Sir George led an unhappy life, separating from his wife Doris, and spending his last 10 years living with his secretary and companion Ruth Horton, who later changed her name by deed poll to Vernon. During this time the agricultural depression led to a reduction in rental income, and Hanbury Hall suffered a lack of care.

In poor health, Sir George Vernon took his own life in 1940. There were no further heirs to the Baronetcy which became extinct. Sir George’s estranged wife was able to move back in after his death, dying there in 1962. In the meantime, negotiations had led to the National Trust having the reversion, and after making essential repairs on Lady Vernon’s death, the hall was let to tenants and opened to the public on a restricted basis. In recent years the hall has been managed more commercially and is now open daily.

The Long Gallery & Dairy. There is a small art gallery inside of here. I was more interested in the furniture (or lack of it) in the rooms, than the art on the walls!

Grade II* Listed Building

The Long Gallery About 30 Yards North-West of Hanbury Hall and Attached Wall to South-East

Listing Text

HANBURY CP SCHOOL ROAD (north side)
SO 96 SW
3/125 (11/2(B)) The Long Gallery
about 30 yards north-west
14.3.69 of Hanbury Hall and
attached wall to south-east
GV II*

The Long Gallery and attached wall. c1701 with mid-C19 alterations. Red
brick in Flemish bond; hipped plain tiled roof. L-plan; main part of seven
bays aligned north-west/south-east with single-bay north-east return; external
chimney with off-sets at rear and in angle of return. Single storey and base-
ment with 2-course band between levels; modillion eaves cornice to front, brick
dentilled eaves cornice at rear. Queen Anne style. Main south-east elevation:
seven sash windows, all 18-pane with thick glazing bars, moulded architraves
and gauged flat heads; basement has six irregularly-spaced casements and a half-
glazed door with a cambered head; entrance at south-east end has three C19
pointed brick arches, the outer two having pierced brick infill in lower part
with a sandstone coping; two flights of steps lead up to the central entrance
arch and porch within which are fitted side benches. Interior: panelled to
shoulder height; two Jacobean overmantels in main part; one is constructed from
church woodwork, carved with the symbols of the Passion and frames a funerary
hatchment with the three Vernon wheatsheaves; the other is divided into three
compartments by Caryatids and is crowned by a frieze of fruit, flowers and strap-
work; at the centre are carved the Prince of Wales’ feathers and, beneath the
figures, a fleur-de-lis, rose, thistle and pear; it was moved to the Long
Gallery from the Parlour and is believed to have originally come from Tickenhill
House, Bewdley. The Study in the north-east return is also panelled. A dairy
in the basement has walls covered with glazed ceramic tiles. The attached wall
links the Long Gallery to the south-west of the house; brick with sandstone
coping; about 30 yards long and 20 feet high; south-west side has blocked open-
ings with cambered heads; north-east side has four recessed rectangular panels.
At the south-east end is a half-glazed door with a cambered head.
(VCH 3 (ii) p 373; BoE, p 186; Hanbury Hall, The National Trust Official Guide-
book, 1981, p 26; Country Life xxxix, p 502; LXLiii, p 18, 16; Gardens X p 368).

Listing NGR: SO9435863757

This text is from the original listing, and may not necessarily reflect the current setting of the building.

side room – bit like an office?

Posted by ell brown on 2018-06-18 08:11:08

Tagged: , Hanbury , Wychavon , Worcestershire , England , United Kingdom , Great Britain , Hanbury Hall , tree , trees , Vernon family , National Trust , Hanbury Hall and Gardens , Droitwich Spa , School Rd , School Rd, Hanbury , Droitwich , Thomas Bowater Vernon , Thomas Vernon , Bowater Vernon , Thomas Taylor Vernon , The Long Gallery , The Long Gallery & Dairy , Grade II* Listed Building , Grade II* Listed , The Long Gallery About 30 Yards North-West of Hanbury Hall and Attached Wall to South-East , The Long Gallery and attached wall , Red brick in Flemish bond , hipped plain tiled roof , Queen Anne style , two Jacobean overmantels , side room , office , fireplace

DSC06215 Lynn Hall

October 9, 2020 by 4g3nd4

Which came first?
After Edgar Kaufmann Jr. stumbled upon this house, his father told Frank Lloyd Wright, "We have our builder"
by Seamus McGraw // Winter 2007
It is almost invisible now, a ghost of a building squatting in the shade of looming hemlocks at the edge of the highway. Though it’s now rundown and overgrown, the brooding brilliance of the place endures. You still can see its crisp, horizontal lines formed by the distinctive, rough-hewn rocks, laid by hand three-quarters of a century ago by a gifted craftsman.
It had been magnificent once, a monument to a vision of architecture as art. Those few locals who still remember it in its heyday remember the place known as Lynn Hall as an elegant and sophisticated place.

But that was a long time ago. Now it seems that Lynn Hall is disappearing, retreating back into the mountainside above Port Allegany from which it had been carved. But even more important than the building itself is the mystery that continues to surround it. A remarkable achievement in its own right, the building at the top of a hill immediately brings to mind Fallingwater, the architectural icon that Frank Lloyd Wright designed at Bear Run. And there is a very real question, hotly debated by those few experts who have seen Lynn Hall: Did Fallingwater serve as a model for Lynn Hall, or did Lynn Hall, begun years earlier, provide the inspiration for at least portions of Wright’s masterpiece?

Lynn Hall has almost been forgotten, as has its builder, Walter J. Hall, a brilliant, some say eccentric, local man with a native talent for stone work and a gift for architectural improvisation.

But walk through Lynn Hall now, pushing past the detritus of years of neglect, past the discarded paint cans and old boxes, wading through rivulets of brackish water and clambering over fallen plaster, and the question of which came first echoes with every footfall.

There is no question that Hall was deeply impressed with the early work of Frank Lloyd Wright, though precisely how the backwoods builder learned about the work of the revolutionary and famously flamboyant architect remains a bit of a mystery.
Perhaps, says Frank Toker, the University of Pittsburgh professor who penned “Fallingwater Rising” and has also studied Lynn Hall, Walter Hall came across some of Wright’s designs during a foray to Buffalo, N.Y., where in 1903 Wright built the Darwin-Martin house, a classic example of his prairie-style homes.

It is also possible that Hall learned of Wright’s work through a former employee, Earl Friar, one of the scores of young men from the valley between Smethport and Port Allegany whom Hall put to work during his 50-plus year career. After learning his trade at Hall’s side, particularly his magical skills with stone and concrete, Friar later went to work for Wright at the Taliesin Studio in Wisconsin.

Regardless of its roots, Hall’s fascination with Wright’s sense of style and design and, most importantly, his commitment to harmonizing buildings with the land bordered on the obsessive.

“From the very start, when I went to work with him, he talked about Frank Lloyd Wright,” said Rudy Anderson, who 70 years ago was a young, would-be carpenter whom Hall took under his wing. “He had ideas like Frank Lloyd Wright,” the now 93-year-old Anderson recalls. “Of course at the time, it didn’t mean anything to me.”

It didn’t mean much to the comfortable burghers of Port Allegany or nearby Smethport, then two moderately prosperous oil, lumber and farming communities in McKean County for whom Hall regularly produced predictably traditional homes and fashioned appropriately subdued additions for their appropriately subdued public buildings.

By all accounts, Hall’s obsession with Wright’s organic designs was generally regarded by the locals as an eccentricity, and one that his neighbors and clients might have been willing to tolerate, but would never indulge, certainly not with a contract or a commission.

But that was not enough to prevent Hall from indulging his dream on his own.

In the early 1930s, years before Frank Lloyd Wright sketched the first drafts for Fallingwater, Hall began work on Lynn Hall.

His grandson, Ray Morton Hall, recalls a mixture of idealistic inspiration and cold, back-country pragmatism that led Hall to buy a 55-acre tract at the end of a dirt cow path and to fashion on it a kind of laboratory where, it is widely agreed, at least some of the innovations later applied to Fallingwater would be proved.

The way Ray Morton Hall, known to the locals as Ray Jr., tells the story, the builder was getting on in years, and his wife had died. Though he had built houses for others and from time to time even lived in them until they were sold, he had never really built one for himself. By 1934, he found himself living in various rooming houses, taking his meals at other people’s tables.

“His rationale…was that if he was going to spend the rest of his life in boarding houses and soup kitchens here and there and everywhere, then he might as well build a joint of his own,” Ray Jr. said.

But it wasn’t going to be just any joint. Along with his son, Ray Hall Sr. a budding architect and sometime-builder who had a knack for losing hammers so he wouldn’t actually have to do any real physical work, Walter began sketching out the design for what he would later call a country inn. But this was to be no rustic retreat.

Hall envisioned an organic building, carved out of and molded into the mountainside overlooking the pristine Allegheny River valley. To be sure, the design — long horizontal lines faced with carefully laid and hand-picked local stone capped by a sleek concrete roof and porticos — owed much of its inspiration to Wright.

But the building, as Hall designed it, also reflected his understanding of what the rocky ground of Western Pennsylvania offered and what it demanded of anyone who wanted to build something that would harmonize with it.

In short, as Ray Hall Jr. sees it, Lynn Hall was the first place where the vast blue of Wright’s theories came in contact with the flinty practicality of Walter Hall’s experience.
In Wright’s theoretical world, the land informs the designs. At Lynn Hall, the land itself was one of the designers of the place. The land demanded that. Back in those days, Ray Hall Jr. said, there were no earth movers readily available, no rock drills, no bulldozers. So Walter Hall and the young laborers he hired had to carve out the building site with picks, shovels and a solid appreciation of their own limitations. “That’s one of the reasons the building is up and down all over the place. You dug with a pick and shovel until you came to hard rock, and that’s where the stairs started.”

Rudy Anderson, who signed on to learn carpentry from Hall, remembered his first day on the job at Lynn Hall as something more akin to mining than woodwork. “I told him I wanted to be a carpenter, and he kind of looked me up and down and he says, ‘Why, I’ve got three or four guys like you now and three or four guys lined up behind them to tear down what they do. But come on out in the morning anyway.’ So I come out the next day. The boiler room had to be dug out 20 inches to 2 feet deeper, and that’s what he got me doing. Digging dirt. And I thought, ‘If this is carpenter work, I don’t want any part of it.’”

By 1935, according to both Anderson and Hall’s grandson, much of the work on the main structure — the dining room and ballroom, with its elaborate stone fireplaces and its sleek, carved steps leading to an elegant indoor waterfall and fish pond — had been completed, at least to the point where the vision could be clearly seen and the structure was put on the local tax rolls.

That was when, at long last, Walter Hall and Frank Lloyd Wright crossed paths.

Edgar Kaufmann Jr., son of the man who hired Wright to dream up his masterpiece at Bear Run, had been dispatched by his father to Buffalo to take stock of some of Wright’s earlier work. En route, he found his way to Port Allegany. While looking for a place to grab a quick meal, Kaufmann is said to have gotten into a conversation with some of the locals who told him about the eccentric builder and his odd project at the top of the hill. Kaufmann dropped in unannounced at the unfinished Lynn Hall and talked with Hall. Though he would later describe him in a conversation with author Donald Huffman as “a hillbilly builder,” at the time, Kaufmann was so struck by Hall’s work that he immediately notified his father, saying “this house is chiefly masonry, stone work and concrete — exactly the type we are to build at Bear Run.”

Shortly thereafter, the elder Kaufmann wrote to Wright. “We have our builder.”

The truth was, Wright and Kaufmann desperately needed one.

The first contractor had already walked off the job, claiming that Wright’s design for Fallingwater — which often relied on specifications that were incomplete and in some cases flat wrong — could not be built. That’s when Walter Hall decided to accept the $50-a-week job Kaufmann and Wright had offered him.

Hall’s decision was so swift that it took his young apprentice, Rudy Anderson, by surprise. “I was working for him about three or four weeks, and I took a weekend off and went down to see my sister in Bucks County. While I was down there, he got a call to come down and build Fallingwater,” Anderson told Pittsburgh Quarterly.

“Well, his wife was dead, he was all alone and so he thought, ‘Well this is what I want to do.’ And so he left, and went right down there,” Anderson said. “Well, when I came back I was out of a job. So, two or three, or maybe a week or 10 days later, I got a call from him. He says ‘Come down, I’ve got a good job here.’”

Anderson, who did not own a car at the time, scrounged a ride down to Bear Run and when he arrived at the site, Hall had already established himself as the cock of the walk. “They had just poured the piers under Fallingwater and was pulling the forms off when we come down there,” Anderson said. “He was showing the boys how to grind the concrete with mortar and whatnot. Well he comes right back up on the bridge where I was standing, just

tickled to see me, like one of his own kids.”

Whether the famed architect recognized it or not, his design for Fallingwater left a great deal of room for improvisation. And because Wright spent long months away from the project, Hall improvised with abandon.

Often it was to Wright’s chagrin, Ray Jr. said.

Ray Hall Jr. noted one particularly testy letter to Wright, in which Hall informed the master designer that he had just finished pouring the support piers for the living room at Fallingwater. Hall added curtly, “I put them where I thought they ought to be on account of there’s no dimensions on your drawing.”

Hall, whose ego, by all accounts, matched Wright’s, made changes to the plans as he went along, among other things, adding reinforcement to what he saw as dangerously weak concrete, and in some cases adding flourishes to the building. In one move, apparently inspired by his Lynn Hall experience, Hall decided to leave a massive boulder in place in the living room. “You recall that big stone next to the fireplace?” Hall’s grandson asked. “That was my grandfather’s idea. Wright wanted it removed, and Walter said, ‘Why take it out? It’s natural.’”

As the work progressed on Fallingwater, the clash of egos between Wright and the builder became more dramatic. “Wright was not really a builder. He was a designer, and he was also just about as obstinate as my grandfather,” Ray Hall Jr. said.” The problem was there was only room for one god on a project, and they had two.” On at least one occasion, Walter Hall allowed himself to be photographed wrapped in an Indian blanket, Ray Hall Jr. said, a tweak at Wright’s penchant for wearing capes at the work site.

For his part, Wright made no secret of his irritation with what he perceived to be Hall’s cheekiness.

“I guess I took too much for granted when I called you on to the Kaufmann house. Probably, you have always been your own boss, never worked for an architect and never heard of ethics,” Wright wrote Hall in one letter that Ray Hall Jr. has kept as a treasured memento. “If you imagine your meddlesome attitude to be either sensible or honest — we will not say ethical — something was left out of either your character or your education. I have put too much into this house, even money, which item you will understand, to have it miscarry by mischievous interferences of any sort. The kind of buildings I build don’t happen that way. Several have been ruined that way however and this one may be one of them. It is only fair to say to you directly that you will either fish or cut bait or I will. I am willing to quit if I must but unwilling to go with my eyes open into the failure of my work.”

The work, of course, was not a failure. The moment it was completed, Fallingwater was celebrated as one of the world’s great architectural achievements, and Wright basked in the glory.

There is no question that his design was both revolutionary and spectacular, but though the historical record is unclear, there are elements of the building for which Walter J. Hall deserves great credit, and for which Lynn Hall may well have been the model. The use of radiant heat, which was regarded as progressive when used at Fallingwater, “is probably something Wright picked up from Walter J. Hall,” says Toker. And Hall, who had used a 40-foot reinforced concrete beam that provided the spine for Lynn Hall, appears to have drawn on that experience in his construction at Fallingwater.

There will always be a question about the extent of Hall’s influence over Fallingwater and to what degree Lynn Hall served as a model for it.
As Toker put it; “That Walter J. Hall was influenced by Wright is 100 percent clear, but he certainly did make contributions to Fallingwater. And maybe the

characteristic stone of Fallingwater, which Wright had not exactly used in that

matter, might be a contribution of Walter J. Hall.”

There is little question that Wright, despite his petulant outbursts, recognized that Hall had contributed a great deal to Fallingwater. Ray Hall Jr. says Wright appreciated those contributions enough to offer Hall a job at Taliesin.

But by the time Fallingwater was completed, the builder had enough of Wright. He turned him down.

He returned to Port Allegany, and while he continued to build other homes in the style that he honed at both Lynn Hall and Fallingwater, he never really fulfilled his dream of completing Lynn Hall.

The old cow path that led to the place became part of Route 6, a scenic highway that snakes across the northern tier of the state. An apartment wing was added, and Hall and his son built a cottage — a pump house, actually, that he designed as a small home. It radiates around a central stone hearth, a building that seems to owe as much to the lessons Hall learned at Fallingwater, as Fallingwater owes to the lessons drawn from Lynn Hall.
But despite those efforts, Hall’s vision of a country inn, complete with stylish rooms fashioned out of stone and built in harmony with the land around it, never came to pass.

For a time, it did operate as a restaurant, first run by the family and then by a succession of restaurateurs. It was, by all accounts, a stunningly elegant place that was advertised by a 20-foot high wooden sign posted on the hill above it that could be seen for miles.

Ethlyn Ford, now 88 years old, was a 17-year-old girl when she first took a job as a waitress at Lynn Hall. She remembers it as an almost magical place where scores of nattily dressed customers from as far away as Buffalo dined in the flickering glow of the massive fireplace or glided up the polished stone staircase to dance in the expansive ballroom.

“It was always busy,” she recalled.

But changing tastes and changing fortunes seemed to conspire against it. Gasoline rationing during World War II slowed traffic along Route 6 to a trickle, and business dried up along with it. It didn’t help that Walter J. Hall, a teetotaler, refused to secure a liquor license for the place, though he was willing to turn a blind eye when, during parties or other functions, customers brought their own libations.

By the early 1950s, the restaurant was fading into memory. In 1953, Hall died. His deathbed had been placed near the front window of the little cottage overlooking Lynn Hall and the valley below.

In the years that followed, Hall’s son, Ray Sr., tried to keep Lynn Hall alive, turning it into an office of sorts for his architectural business, but after his death, Ray Jr. says the building slipped into decline.

The decline accelerated when Ray Sr.’s second wife won the rights to the place, and, after living there for a time, virtually abandoned it.

Ray Jr., a retired pilot, and his wife, Rhonda, an educational consultant, eventually regained control of Lynn Hall, but by that time the building needed far more work than they could afford. Recently, they’ve begun the arduous task of trying to document the building’s history and its influence on one of the world’s great architectural masterpieces.

They are trying to have the place listed on the National Historic Register and are hoping that someone with a deep appreciation of the native beauty and historic significance of the building will buy it and restore it to its former glory.

“That’s what we’re hoping for,” says Ray Jr., as he makes his way in the shadows up the central stairway of the old inn, past the long-dry waterfall and the dusty basin of the fish pond and into the long-abandoned ballroom.

Hall understands that finding a rescuer for Lynn Hall is a long shot. But unless that happens, and unless it happens soon, the old place will continue to deteriorate and may be lost forever. That would be a tragedy.

Posted by David Diffenderfer, Grove City, Penn on 2014-11-09 22:29:34

Tagged:

Burton Agnes Hall

October 8, 2020 by 4g3nd4

An Elizabethan manor house in the village of Burton Agnes, near Driffield in the East Riding of Yorkshire, England. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson. The older Norman Burton Agnes Manor House, originally built in 1173, still stands on an adjacent site; both buildings are now Grade I listed buildings.

The Hall contains a number of fine 17th-century plaster ceilings and chimneypieces. The ceiling of the Long Gallery was restored in two stages by Francis Johnson between 1951 and 1974. The plan attributed to John Smythson presents a square block with bay windows and a small internal courtyard. All of the display has been concentrated on the entrance facade, which includes many windows and many shaped projecting bays, two square flanking the central entrance, two semicircular at the ends of the projecting wings, and two five-sided around the corners. Variety in the skyline is created by gables alternating with level parapets.

The main facade is built a story higher than the rest of the house to contain a long gallery running the full length of the second floor, with the result that the minor side facades are asymmetric.

One of the asymmetric side fronts
The two square projecting bays flanking the central double bay contain the porch and the bay window at the screens end of the hall. This preserved a traditional arrangement, but with the doorway to the porch placed where it does not show, not in the front but in the side of its projection; in this way apparent symmetry is preserved.

The entrance to the Porch
The main rooms vary in size due to the recessions of the bay windows but the main feature of the interior is the Long Gallery, which runs the length of the main front; it is covered by a wagon-roofed, richly plastered ceiling. The "great chamber." now divided into two, was placed on the first floor above the parlour. Even though the house has been through many renovations, a great deal of 17th-century fittings still remain such as carved woodwork, plaster and alabaster.

Robert Smythson heavily influenced Burton Agnes Hall, however comparing the Smythson plan with the house as built it is clear there are several differences. In the plan all four of the great bay windows at the corners of the main front are five-sided but in the building two are semicircular. The central bay of the east front has dropped out, the corner bays of the north front have become square, and the whole of the west front has been much altered. Also, the door of the porch is shown in the plan frontal instead of at the side.

The gardens boast 3,000 plant species and include the National Collection of Campanulas.

The walled flower garden has a games motif with a central chess board played on black and white paving stones. Other games include draughts, snakes and ladders and hoop toss. Each of these games is in a separate garden surrounded by plants selected by flower colours. There is also a market garden area with attractively planted seasonal vegetables. Whimsical statues abound throughout the grounds. Various artists work rotates through the grounds and galleries regularly. A woodland walk is well known locally for abundant snowdrop blooms in February.

The estate has been in the hands of the same family since Roger de Stuteville first built a manor house on the site in 1173. In 1457 Sir Walter Griffith came to live there. The Griffiths were a Welsh family who had emigrated to Staffordshire in the thirteenth century and inherited the Burton Agnes estate.

The present Elizabethan house was built nearby in 1601–10 by Sir Henry Griffith, 1st Baronet, after he was appointed to the Council of the North. His daughter Frances Griffith, heiress of the estate, married Sir Matthew Boynton, Governor of Scarborough Castle and the first Boynton baronet. On her death in 1634 the estate was bequeathed to their son Francis, later the second Baronet Boynton. According to legend, the skull of Sir Henry’s youngest daughter Anne is bricked up in the Great Hall. It is reputed to be a screaming skull, and to return to the house whenever it is removed.

The widow of the 6th Baronet married John Parkhurst of Catesby Abbey, Northamptonshire, known as "Handsome Jack", who squandered much of the family fortune and neglected the estate.

On the death of the eleventh Baronet in 1899 the house passed to his daughter, who had married Thomas Lamplugh Wickham, and who had adopted the additional surname of Boynton. On her death it passed in turn to their son Marcus Wickham Boynton, who operated a successful stud farm on the estate for many years and was High Sheriff of Yorkshire for 1953–54. He died in 1989 and left the property to a distant cousin, Simon Cunliffe-Lister, then aged twelve, grandson of Viscount Whitelaw and son of the 3rd Earl of Swinton. Today, the estate is owned by the Burton Agnes Preservation Trust and is managed by Cunliffe-Lister and his mother, Hon Susan Whitelaw.

A Hall Class railway engine was named Burton Agnes Hall, and is preserved at Didcot Railway Centre.

Posted by The Frantic Photographer on 2017-07-03 16:42:38

Tagged: , England , HHA , Historic Houses , Yorkshire , pond , Reflections , Garden , sculpture , Burton Agnes

Close-Up of Baroque Organ in Chapel

October 8, 2020 by 4g3nd4

Cornell’s is First Organ with Multiple Historic Wind Systems

Cornell’s new baroque organ has become the world’s first organ with multiple historic wind systems, using a technique organ designer Munetaka Yokota perfected on a research instrument at the Göteborg Organ Art Center (GOArt) at the University of Gothenburg, Sweden.

With simple manual adjustments, organists can authentically re-create the wind systems of organs from the 15th to the beginning of the 19th century from north and central Germany on the instrument.

Professor of music Annette Richards, who led the organ project at Cornell, explains that “the wind is the basis of any organ’s sound, and to appreciate music like Bach’s as it was intended, you need to hear it played on the kind of organ for which it was written.”

The organ is intended to reintroduce modern audiences to this authentic, historic sound, which was gradually lost over the centuries as equal temperament in keyboard intervals and highly stable wind systems became the norm.

The ingenious system includes seven new valves and 80 new feet of conductors, and has attracted worldwide attention from organists and researchers. An international group of scientists gathered at Cornell in spring 2012 to share data on the organ’s key action characteristics and wind behavior.

Yokota and GOArt research engineer Carl Johan Bergsten will use the new system to study general wind system behavior in organs. They’ll compare the measurements they took in November 2011, before the modification, to measurements they will take after.

“We’re excited to hear how the collaborative research on this organ between mathematical modelers, engineers and a builder with Munetaka Yokota’s historical knowledge and incomparable musical intuition can make our instrument speak with even more clarity, power, nuance and expressivity—even while acting as a cutting-edge laboratory for the latest experimental study,” Richards says.

The $2 million organ is the culmination of more than seven years of research and collaboration by GOArt and the Department of Music, and more than two years of work by 21st-century craftsmen, who used authentic 17th- and early 18th-century methods to hand-build the instrument.

The organ re-creates the tonal design of the 1706 Arp Schnitger organ at Charlottenburg in Berlin, which was destroyed by Allied bombers during WWII. The massive wooden case has a design based on a Schnitger organ at Clausthal-Zellerfeld, Germany, and was hand-built by local cabinetmaker Christopher Lowe.

The original wind system on Cornell’s organ was built by Parsons Pipe Organ Builders in Canandaigua, N.Y.; the 1,827 pipes were handcrafted in Sweden by Yokota, using rediscovered historic techniques. The modifications to the wind system were made by Lowe.

The Cornell Baroque Organ

The new majestic baroque organ in Cornell’s Anabel Taylor Chapel required over seven years of research in an international, collaborative effort by Cornell’s College of Arts and Sciences and the Gothenburg Organ Art Center (GOArt) at the University of GÖTEBORG, Sweden.

Interdisciplinary Effort

The instrument re-creates the tonal design of the celebrated Charlottenburg organ in Berlin, handmade in 1706 by master organ builder Arp Schnitger and tragically destroyed during WWII. The interdisciplinary effort to understand the many aspects of this historic organ’s construction included experts in fluid dynamics, electro-acoustics, and metallurgy, as well as craftsmen and musicians. Each of the nearly 2,000 pipes was handcrafted in Sweden under the direction of project designer Munetaka Yokota.

Exquisite Craftsmanship

View from behind the keyboardThe massive, intricately designed wooden case is based on another Schnitger organ in Germany. Every detail is handmade and historically accurate, from the wooden pegs and hand-forged nails to the hand-planed wooden surface and dovetail joints.

Musical Versatility

Commissioned by the Department of Music, the organ is perfect for the music of J.S. Bach and his north German predecessors, and is versatile enough for solo and ensemble music from the 16th century onward. As a complement to the music department’s strengths in performance and research, the organ is expected to attract top organ students, professional performers, composers and scholars to Cornell.

The Cornell Baroque Organ Project

A New Organ for Anabel Taylor Chapel

In 2003 Cornell University began work on a new organ for Anabel Taylor Chapel—an instrument based on a German 18th century masterpiece—as part of an international research project involving three academic institutions in the field of organ studies: Cornell, the University of Gothenburg, Sweden, and the Eastman School of Music at the University of Rochester. This interdisciplinary and international effort encompasses scholars, physical scientists, musicians, craftsmen and visual artists from Sweden, Japan, The Netherlands, Germany and New York State. Joining their efforts under the artistic direction of Munetaka Yokota at the Gothenburg Organ Art Center (GOART), the members of this team created an organ that is not just a fine vehicle for teaching, performance and scholarship, but also a magnificent work of art. (See Photo Galleries section below.)

Historical Models

The Cornell Baroque Organ will reconstruct the tonal design of the celebrated instrument at the Charlottenburg-Schlosskapelle built in the first decade of the 18th century in Berlin by Arp Schnitger, one of history’s greatest organ builders. The instrument’s layout and visual design will be based on Schnitger’s breathtaking organ case at Clausthal-Zellerfeld in central Germany. See Historic Model Photo Gallery.

Arp Schnitger was the most important organ builder of late 17th-century North Germany; although he was active mainly in its northwestern corner, his work was well known in all of the German speaking lands. He built several organs in the eastern cities as well, with unique features not possessed by their northwestern counterparts. Many of his works in the northwestern areas survive today and are well-known, but none of his instruments in the eastern areas are extant today, with the one exception of the organ case in Clausthal-Zellerfeld.

Tragically destroyed in the Second World War, the Charlottenburg organ and its unique tonal qualities can be recreated today using original documentation alongside early 20th-century studies and recordings of the instrument. Unique to this Berlin instrument, and still little-understood, is the way in which Schnitger combined North- and Central-German organ aesthetics in its design, to result in an unusual, even exceptional, tonal concept. This recreation will allow us to explore this fascinating sound world once again. (See Specification section below.)

Research, Collaboration and Outreach

The project involves extensive research into the art of woodworking, metallurgy, organ construction and the crucial voicing of organ pipes in the early 18th century. It seeks to go beyond simply revivifying these skills, and attempts to place them in the cultural and aesthetic contexts so particular to Berlin and its environs. As part of this process, Cornell’s new organ is being built using sophisticated handcraft techniques, replicating the construction techniques of its storied historical models. In a landmark collaboration with local talent, Cornell is engaged not just with GOArt, but also with Ithaca-based master woodworkers Christopher Lowe and Peter De Boer, who built the organ case entirely by hand, and with the Canandaigua-based organ-building firm Parsons Pipe Organ Builders (see Case Construction Photo Gallery). This is more than an academic exercise. The historical entity that was the Berlin organ will enrich the active musical culture of Cornell, Ithaca, and Central New York and will provide valuable data and insights that can be drawn on by kindred projects globally. And with the inauguration of Cornell’s Baroque organ, the Fingerlakes region of New York will become an unprecedented destination for historic organ performance and research, with musicians and scholars able to work both at Cornell and on the nearby Eastman School of Music’s historic organs.

Performance and Teaching

The Cornell Baroque Organ will be ideal both for the glorious solo repertoire of the 17th and 18th centuries, especially the music of J. S. Bach, and for the accompaniment of ensemble music for instruments and voices; in addition, it will be versatile enough for performance of music from the 16th to the 19th centuries and beyond. This instrument will act as a magnet for top student organists, as well as being an inspiring tool for teaching, solo and group performance, and new composition. The Cornell Baroque Organ will complement the existing strengths of the Cornell music department in performance and research, especially in the music of the 17th to 19th centuries. In addition, it will contribute to the university and wider community in diverse and unforeseen ways. This project does not simply import a historic organ into Central New York, but seeks to transplant and nurture the skills required to make and maintain such an instrument, and of course to play and use it, drawing on the best of the past in pursuit of a rich future. This is not an exercise in reconstruction and museum-style curatorship but an effort to invigorate a constellation of skills and musical activities to help further energize both local culture and the University’s international standing.

Specification:

Hauptwerk (Manual I)

Principal 8′, Quintadena 16′, Floite dues 8′, Gedact 8′, Octav 4′, Violdegamb 4′, Nassat 3′, SuperOctav 2′, Mixtur IV, Trompete 8′, Vox humana 8′

Rückpositiv (Manual II)

Principal 8′, Gedact lieblich 8′, Octav 4′, Floite dues 4′, Octav 2′, Waltflöit 2′, Sesquialt II, Scharf III, Hoboy 8′

Pedal

Principal 16′, Octav 8′, Octav 4′, Nachthorn 2′, Rauschpfeife II, Mixtur IV, Posaunen 16′, Trommet 8′, Trommet 4′, Cornet 2′

Baroque Organ Fact Sheet

Total cost: approx. $ 2 million

Number of years of research, planning and construction: 7

Number of years organ is projected to last: several hundred

Pipes:

•Number of pipes 1,847
•Largest pipe; c. 16 feet long, 8 inches diameter
•Smallest pipe—c. 1 inch long, ¼ inch diameter
•Materials for pipes: lead, tin, pine
•Sheets of metal for pipes cast on beds of sand
•Seven and a half months required to “voice” pipes (ensure each has perfect sound in the chapel, and responds correctly to pressure and speed of the touch of the performer)
•42 ranks (individual rows of pipes)
•30 stops

Keyboards:

•2 manuals, each with 50 notes (C, D to d3)
•1 pedal, with 26 notes (C, D to d1)
•over 740 feet of wooden trackers traveling from key to pallet

Bellows:

•4 wedge bellows (each weighing approximately 430 pounds)
•two pumpers required to manually run the bellows
•fastened together with cow hide and cow hide organic glue

Scale:

•lowest pitch: c. 30 Hz
•highest pitch c. 8, 000 Hz

Case:

•quarter-sawn fumed white oak
•many tons of lumber in the case (estimated around 7)
•handcrafted; every surface hand-planed rather than sanded
•longest boards, 18 ft, imported from 300-year old sustainable forest in Germany
•case dimensions: 25ft wide; 4 and ½ feet deep; 23ft high in the center
•number of structural nails in case: zero—case held together by wooden pegs, dovetail joints, wedges, drawboard mortise and tenon

All nails, hinges, etc. hand-forged of solid iron in Sweden

Contacts

•Cornell University
oContact: Annette Richards, University Organist
oProfessor of Musicology and Performance (17th-18th-century music, organ)
oPh.D., Stanford University
o607-255-7102, ar34@cornell.edu
Annette Richards provided the passion and organization behind the Cornell Baroque Organ project. She managed every aspect, from coordinating the international team of builders to shoveling snow for the delivery trucks, and is now delighted to be one of the primary organists to play the unique instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a… and vivo.cornell.edu/humanities/individual/vivo/individual23295
•David Yearsley
oProfessor of Musicology and Performance (17th-18th-century music, early keyboards)
oPh.D., Stanford University
o607-255-9024, dgy2@cornell.edu
David Yearsley provided key support for the Cornell Baroque Organ project through his expertise with organs and his skill as a performer. He is also one of the primary organist to play this magnificent instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a…
•CCSN Woodworking
oContact: Christopher Lowe
oCabinet Maker
oFreeville, NY(607) 347-6633 scmarlowe@frontiernet.net
Christopher Lowe is a local craftsman who has been a cabinet maker for 28 years, specializing in everything from barn restoration to furniture making. This was his first organ commission.
•Göteborg Organ Art Center
oUniversity of Gothenburg, Sweden
oGOArt was responsible for the overall design and project coordination, the production of the pipework, and the voicing of the pipes. More details at www.goart.gu.se/Research/
oContact: Munetaka Yokota
oEmail: munetaka.yokota@goart.gu.se
Munetaka Yokota supervised the assembly of the organ at Cornell. He is the main researcher and designer of the instrument and the primary craftsman for the organ pipes. He brought his family to Ithaca to live for almost a year, while he installed and voiced the pipes at Cornell.
•Parsons Pipe Organ Builders
oCanandaigua, New York
oParsons Pipe Organ Builders was responsible for constructing the wind system inside the organ, including all the mechanicals and the bellows. More details at: www.parsonsorgans.com/home.htm
oContact: Richard Parsons
oPresident and owner (585) 229-5888 or (888) 229-4820 or info@parsonsorgans.com

Timeline

•2/2/10 Delivery of wind chest, organ case, to Anabel Taylor Chapel
•Assembly of organ begins
•2/8/10-2/19/10 Pipe racking (involves burning wood and making a great deal of smoke, and will happen in a little shed right outside the chapel)
•2/17/1 Voicing of pipes begins
•3/1/10 Basic organ assembly complete, though all pipes might not be in
•03/4-6/10 Inspection by the great Dutch organist and organ expert Jacques van Oortmerssen
•03/10-11/10 Final tuning of organ
•04/10 Open house to display assembled organ
•11/10 Late November concert to inaugurate organ for local audience
•3/11 Official inauguration of organ

Annette Richards

University Organist
Professor
Musicology, Performance
17th-18th-century music, organ
Ph.D., Stanford University
Tel#: 607-255-3712
ar34@cornell.edu
340 Lincoln Hall

In her work as a music historian and keyboard player, Annette Richards draws on her training in English literature, art history, musicology, and musical performance. Musical and visual aesthetics and criticism are of particular interest to her, as is music in literature, and changing attitudes and approaches to performance in the late eighteenth and early nineteenth centuries. Her book The Free Fantasia and the Musical Picturesque (Cambridge, 2001) explores the intersections between musical fantasy and the landscape garden in late eighteenth- and early nineteenth-century music culture, ranging across German-speaking Europe to England. Other topics on which she has written include Mozart and musical automata, the German keyboard song and solitude, and Haydn and the grotesque. She is the editor of CPE Bach Studies (Cambridge, 2006), and, with David Yearsley, of the Organ Works of C. P. E. Bach for the new complete edition (Packard Humanities Institute, 2008). She is also the founding editor of Keyboard Perspectives. Prof. Richards is currently working on two projects: a reconstruction of the extraordinary collection of musical portraits belonging to C. P. E. Bach, and a book that expands on her work on death, fantasy, and the grotesque to explore the dark hermeneutics of musical life in the age of European enlightenment and revolution—Music and the Gothic on the Dark Side of 1800.

As a performer Annette Richards specializes in music of the Italian and North German Baroque, and has played concerts on numerous historic and modern instruments in Europe and the United States. She also regularly performs music from the nineteenth and twentieth centuries, and has won prizes in international competitions including the 1992 Dublin International Organ Competition and first prize for organ duo with David Yearsley at the Bruges Early Music Festival in 1994. Her CD Melchior Schildt and the North German Organ Art ( on the Loft label) was recorded on the historic organ at Roskilde Cathedral, Denmark.

Prof. Richards has won numerous honors, including fellowships at the Stanford Humanities Center, the Getty Center in Santa Monica and at the Society for the Humanities at Cornell. She has also held a New Directions Fellowship from the Mellon Foundation and a fellowship from the Alexander von Humboldt Foundation.

At Cornell Prof. Richards teaches courses on eighteenth- and early nineteenth-century music aesthetics and criticism; intersections between music and visual culture; music and the uncanny; the undergraduate history survey; music of the Baroque; and the organ and its musical culture, as well as organ performance. She has organized several conferences and concert festivals at the university, including “German Orpheus: C. P. E. Bach and North German Music Culture” (1998) and “British Modernism” (2003).

Prof. Richards is also the Executive Director of the Westfield Center for Historical Keyboard Studies.

David Yearsley

Professor
Musicology, Performance
History, literature, and performance of 17th-18th-century music
Ph.D., Stanford University
Tel#: 607-255-9024
dgy2@cornell.edu
341 Lincoln Hall

David Yearsley was educated at Harvard College and Stanford University, where he received his Ph.D. in Musicology in 1994. At Cornell he continues to pursue his interests in the performance, literature and history of northern European music among other activities. His musicological work investigates literary, social, and theological contexts for music and music making, and he has written on topics ranging from music and death, to alchemy and counterpoint, musical invention and imagination, and musical representations of public spaces in film. His first book, Bach and the Meanings of Counterpoint (Cambridge, 2002) explodes long-held notions about the status of counterpoint in the mid-eighteenth century, and illuminates unexpected areas of the musical culture into which Bach’s most obsessive and complicated musical creations were released. More recently, his Bach’s Feet: the Organ Pedals in European Culture (Cambridge, 2012) presents a new interpretation of the significance of the oldest and richest of European instruments—the organ—by investigating the German origins of the uniquely independent use of the feet in music-making. Delving into a range of musical, literary, and visual sources, Bach’s Feet pursues the wide-ranging cultural importance of this physically demanding art, from the blind German organists of the 15th century, through the central contribution of Bach’s music and legacy, to the newly-pedaling organists of the British Empire, and the sinister visions of Nazi propagandists.

He is currently working on a monograph entitled The Musical Lives of Anna Magdalena Bach, a study of the changing musical contributions and restrictions, performing possibilities and perils that characterized the musical world of the women of the Bach household in the first half 18th century.

David’s musical and musicological interests extend to the Elizabethans, the Italian keyboard traditions of the seventeenth century, Handel’s operas, film music, musical travels, and the intersections between music and politics.

The only musician ever to win all major prizes at the Bruges Early Music Festival competition, David’s recordings of seventeenth- and eighteenth-century organ music are available from Loft Recordings and Musica Omnia.

While his primary interests are in European music culture of the seventeenth and eighteenth centuries, he has taught courses in music theory, film music, music and travel, and music historiography.

Works by David Yearsley

Articles

•An essay on the political implications of Bach’s vocal works: konturen.uoregon.edu/vol1_Yearsley.html

Performances

•Concert performance of C. P. E. Bach’s Abschied von meinem Silbermannischen Claviere for the Cambridge Society for Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord
•Concert performance of C. P. E. Bach’s Fantasia in C Major from Kenner und Liebhaber VI for the Cambridge Society of Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord

Why Cornell?

“A great university deserves to have a really great organ,” says Annette Richards, university organist and project manager. Although Cornell had a number of organs already, it lacked an instrument of the style and scope appropriate to the music of the noted German organist composers of the 17th and 18th centuries. “There was no great vehicle for playing the music especially of Johann Sebastian Bach and his North German predecessors. So I felt it was important for us to get a new really first class—world class—instrument at Cornell,” says Richards.

Cornell’s New Baroque Organ

“Cornell is an institution that fosters many kinds of scholarship, and it also has a long and very storied musical tradition,” continues Richards. “Andrew Dickson White was a big organ supporter and fan. He initiated getting an important organ for Bailey Hall when that building was built. And Cornell’s College of Arts and Sciences has a music department where the 18th century is a real strength. It also has a fine collection of keyboard instruments already, and it made sense to build on all those strengths and that history to bring something like this here.”

Posted by Autistic Reality on 2016-09-17 17:31:28

Tagged: , Chapel , Interior , Inside , Indoors , Collegiate Gothic , Gothic , School , Cornell University , Higher Learning , University , Ithaca , City of Ithaca , Central New York , Central NY , United States , United States of America , USA , US , America , Upstate New York , Upstate NY , NY State , NYS , NY , State of New York , New York State , New York , Tompkins County , CNY , Southern Tier , Campus , CU , Finger Lakes Region , Education , Architecture , Building , Structure , Avenue , College Avenue , College Ave. , Quadrangle , Quad , Taylor Quad , Taylor Quadrangle , Myron and Anabel Taylor Quad , Myron and Anabel Taylor Quadrangle , Collegiate , Hall , Anabel Taylor , Anabel Taylor Hall , Cornell United Religious Work , CURW , Worship , Place of Worship

The Long Gallery at Hanbury Hall – side room

October 7, 2020 by 4g3nd4

A visit to Hanbury Hall, near the village of Hanbury in Worcestershire. A National Trust property since 1953.

Hanbury Hall is a large stately home, built in the early 18th century, standing in parkland at Hanbury, Worcestershire.

The main range has two storeys and is built of red brick in the Queen Anne style. It is a Grade I listed building. The associated Orangery and Long Gallery pavilion ranges are listed Grade II*.

The Long Gallery & Dairy. There is a small art gallery inside of here. I was more interested in the furniture (or lack of it) in the rooms, than the art on the walls!

Grade II* Listed Building

The Long Gallery About 30 Yards North-West of Hanbury Hall and Attached Wall to South-East

Listing Text

HANBURY CP SCHOOL ROAD (north side)
SO 96 SW
3/125 (11/2(B)) The Long Gallery
about 30 yards north-west
14.3.69 of Hanbury Hall and
attached wall to south-east
GV II*

Listing NGR: SO9435863757

This text is from the original listing, and may not necessarily reflect the current setting of the building.

side room – bit like an office?

Posted by ell brown on 2018-06-18 08:11:09

Somerton Park Paringa Hall

September 27, 2020 by 4g3nd4

House built 1882, designed by Edmund Wright, sold 1914 to Marist Brothers for Sacred Heart College, a Catholic Boys school. Sale of contents Jun 1915 listed entrance hall, drawing room, ballroom, library, breakfast room, dining room, billiard room, sitting room, 11 bedrooms, sewing room, bathrooms and more.

“There is now on view in the window of Messrs. E. S. Wigg & Sons’ premises, in Rundle-street, a beautifully executed perspective in pen and ink, drawn by Mr. J. S. Beaver, of a residence designed and being built at Somerton, near Brighton, for Mr. J. F. Cudmore.” [Register 9 Feb 1882]

“The house of 30 rooms was renowned for its woodwork and beautiful fittings. The stained-glass windows at the entrance hall depicted the Cudmore coat of arms. Entertaining was run on a lavish scale, and visitors to the house will remember the beautiful stained windows in the ballroom which represented the seasons of the year. Many of the rooms had walls of embossed oak leaves, and the Marshall Wood statuary, the wonderful pictures and china, and rare old silver kept connoisseurs in a state of rapture. The entrance hall was remarkable for its Italian tiles, and beautiful parquetry floored most of the rooms.” [The Mail 15 Dec 1928]

“the Chief Secretary received a letter from Mr. J. F. Cudmore, of Glenelg, of which the following is a copy:— ‘In view of the prospect of war with Russia, I beg to offer the Government without cost the use of my house, Paringa HalL New Glenelg, as a military hospital should such be required, and I am also prepared without expense to the Government to provide such furniture and bedding as may be found necessary. I would call the attention of the Government to the fact that the position of my house, the number of rooms, and the appointments (which include hot and cold water baths), would render it in every way suitable for the purposes above mentioned, as would also the fact of its having a tower and flagstaff, from which observations could be made and signals given.’” [Register 29 Apr 1885]

“CUDMORE.-On the 17th August at Paringa Hall, Somerton, Glenelg, James Francis beloved husband of Margaret Cudmore, aged 74 years.” [Register 19 Aug 1912]

“The death occurred on Saturday of Mr. J. F. Cudmore, of Paringa Hall, Brighton road, Somerton, at the age of 74 years. The deceased was one of the leading pastoralists of South Australia, and his activities extended to the other States. His father (the late Mr. D. Cudmore) originally came out from England to Tasmania to join a cousin, who was attached to a regiment of British troops there, but subsequently decided to settle on the mainland of Australia. He chartered a vessel to cross over to South Australia, and on the voyage the late Mr. J. F. Cudmore was born. The father started a brewery at Kapunda, but not long afterwards took up sheepfarming at Yongala Station. The son was educated at Sevenhills College, in the Clare district. About 1859 he crossed the River Murray, and became the occupier of Paringa Station, opposite to Renmark. In 1863 he proceeded to Brisbane, bought sheep there, travelled them along the coast to Rockhampton, and then out into Central Queensland in search of another pastoral holding. The flock was shorn en route. . . a few years later he ventured into Queensland again, started Gooyea Station, and next the Milo and Welford Downs, in South-Western Queensland. As time went on he became interested in land in Central Queensland, and took up Tara Station, with several of his sons. He established his home at Paringa Hall about 30 years ago. When the Western Australian gold rush occurred he was early on the Coolgardie field with a camel party, and erected what was believed to be the first crusher there. . . He has left six sons and four [five] daughters. The sons are Mr. K. Cudmore (Brisbane manager for Goldsbrough, Mort, & Co.), Dr. A. M. Cudmore (of Adelaide), Messrs. J. K. and D. C. Cudmore (of Tara), T. C. Cudmore (of near Blackall), and R. M. Cudmore (of Adelaide).” [Register 19 Aug 1912]

“CUDMORE.—On the 1st December, at Paringa Hall, New Glenelg, Margaret, widow of the late J. F. Cudmore.” [Register 2 Dec 1912]

“Mrs. Cudmore, widow of Mr. J. F. Cudmore, died at her residence, Paringa Hall, New Glenelg, on Sunday. Her husband, who for some years was one of the leading pastoralists in South Australia, besides being interested in squatting pursuits in the other States, died on August 17 last. Six sons and five daughters are left.” [Advertiser 3 Dec 1912]

“For Sale. . . Paringa Hall. The well-known residence of the late J. F. Cudmore, situated in 10 Acres of Grounds, with complete Stables, Outhouses, &c, and 7 Acres of adjoining Land, with Cottage.” [Register 20 Nov 1913]

“The purchase of Paringa Hall by the Marist Brothers of Sacred Heart College, Semaphore, demonstrates the great interest taken in educational extension by the educational authorities of the Roman Catholic faith; and in their latest possession, which cost originally £30,000 to build. Paringa College will be one of the most ornate educational institutions in the Commonwealth. When originally constructed by Mr. J. F. Cudmore, the question of expense was not allowed to enter into the minds of builder or architects, and one large set of stained glass windows alone cost 300 guineas. The upstair portion, surrounded by spacious balconies, will form the living quarters for the students and guardians, whilst the ground floor will be utilised for chapel, class, and living room.” [Advertiser 6 Jun 1914]

“Messrs. Theodore Bruce & Co.. auctioneers, wish to draw special attention to the fact that the furniture at Paringa Hall, as advertised in the auction columns, is of the highest quality throughout, having been manufactured to order by Walker and Sons, the well-known English manufacturers. The marble statuary and bronzes are also worthy of special mention, being works of art of the best quality. Included in the statuary are exceptionally fine examples by Marshall Wood, the world-famed sculptor.” [The Mail 13 Jun 1914]

Posted by aquilareen on 2019-03-03 21:55:49

Tagged: , Somerton Park , Paringa Hall , school

Setnor Auditorium, Syracuse University

September 27, 2020 by 4g3nd4

The history of Setnor Auditorium and of Crouse College is ingrained in that of Syracuse University, itself. Crouse College was built in 1888 and was the third building on what would become the Syracuse University campus. At the time, the goal was to create a coeducational university, where women were afforded an equal opportunity at higher education. Formally, the building is called John Crouse Memorial College for Women, but when it was opened in 1889, it had transformed into a completely coeducational school for fine arts, the first of its kind in the United States.

John Crouse was a businessman and grocery store owner and native of North Syracuse. He died prior to the building’s 1889 opening, and his son finished supervising the building’s completion, and then named the building in his father’s memory. It was designed by architect Archemedes Russell in a revival of the Romanesque style of design. The exterior structure is made of Longmeadow brownstone and supported by a stout granite foundation. The high roofs, gables, rounded arches, and dormer windows provide a general medieval character which is romantic and stately in nature. The interior is distinctively Romanesque with carved hardwood woodwork designs representative of the elaborate patterns of this period.

Music and the arts have always flourished in Crouse College. Now home to the Setnor School of Music, Crouse College is an active, dynamic building bustling with dedicated music students of all types. Setnor Auditorium offers many concerts each year by the students, faculty, ensembles, and guest artists of the Setnor School of Music.

Setnor Auditorium was extensively renovated in 1998. The seats, floors, carpets, stage, and windows were all refinished and restored. This was due to a generious gift from the Setnor family, Rose, Jules, and Stanford Setnor. The music school and the Auditorium were renamed for the family. Individual seats were also sponsered at that time and each seat in the Auditorium is named for a family or individual.

Setnor Auditorium is home to a magnificent Holtkamp organ, which replaced the Roosevelt organ that was installed in the original space. Crouse College also houses a ten bell carillon set which provides the area with three fifteen minute concerts each day. They are played by the ChimesMasters, a student organization run through the Music School.

Crouse College has been listed on the National Register of Historic Places since 1974. Crouse College also houses the Winged Victory copy and several copies of art that are housed in Paris’s Louvre and Pantheon. In the early days of Syracuse University, the fine arts department paid for copies of famous pieces of art for their art students to study art up close. These works now line the walls on the second floor of Crouse College. Crouse College is also home to glorious stained glass windows, most are original to the building and others were installed by Richard Wolff in celebration of Syracuse University’s centennial celebrations in 1970.

Setnor Auditorium boasts a 70-foot wooden ceiling which adds to the beauty and resonance of the space. Attending a concert in this beautiful wooden space, with sunlight illuminating the stained glass windows that line each side of the auditorium, is a transcendent experience, linking the room’s atmosphere to the musical performance.

Posted by Tony Shi Photos on 2014-05-02 15:27:09

Tagged: , Setnor , Setnor Aud , Setnor Auditorium , Aud , Auditorium , HDR , Grand , Wide , Pano , Panorama , SU , Syracuse , Syr , Syracuse University , Orange , Cuse , SU Orange , Crouse , College , Crouse College , University , Update , New York State , NYS , Education , Music , Musical , Hall , Landmark , Historic , Campus , John Crouse Memorial College for Women , College of arts and science , Concert , Interior

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September 6, 2020 by 4g3nd4

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Posted by Limbertink on 2006-12-20 00:02:12

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Pedestrian plaza outside Los Angeles World Trade Center, Bunker Hill Towers, and Disney Hall

August 28, 2020 by 4g3nd4

Pedestrian plaza is part of the Calvin S. Hamilton Pedway:

"The Calvin S. Hamilton Pedway, as the system is formally known, is a network of elevated walkways that was first presented in the 1970 Concept Los Angeles: The Concept for the Los Angeles General Plan. Hamilton was the city planning director at the time, having taken the position in 1964. The plan, adopted by the city in 1974, promoted dense commercial developments connected to one another by a rapid transit system. The plan was abandoned in 1981 when federal funding for the project was eliminated. Hamilton stepped down from his position in 1985 after a criminal investigation."
www.kcet.org/socal/departures/landofsunshine/block-by-blo…

"The pedways fall within the Downtown Center Business Improvement District, but the organization’s CEO says its strained resources can only cover maintenance crews on the pedways about once a week."
articles.latimes.com/2013/may/23/opinion/la-ed-pedways-20…

—-

Bunker Hill Towers (aka Bunker Hill Apartments aka Bunker Hill Residential Towers):
Built ca. 1966–68.
Architect: Robert Evans Alexander.

www.you-are-here.com/los_angeles/bunker_hill.html
www.essexapartmenthomes.com/apartment/bunker-hill-towers-…
www.yelp.com/biz/bunker-hill-towers-apartments-los-angeles
www.apartmentratings.com/rate/CA-Los-Angeles-Bunker-Hill-…
laforum.org/content/articles/downtown-again-by-peter-zellner

ZIMAS data:
Central City Community Plan Area, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, Los Angeles State Enterprise Zone, General Plan Land Use= "Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 feet of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone.

Assessment:
Assessed Land Val.: $15,262,053
Assessed Improvement Val.: $30,664,155
Last Owner Change: 04/01/98
Last Sale Amount: $18,080,180
…
Year Built: 1968

"The 19-story, Robert Evans Alexander-designed Bunker Hill Towers opened in 1968. After the demolition of 7,310 pre-existing homes and forced relocation of their residents, Bunker Hill Towers became the residence for nearly all of Bunker Hill’s remaining residents. More than a decade would pass before the nearby residential Angelus Plaza and Promenade Towers opened. Long before the redeveloped loft crowd discovered downtown thousands lived in such residences, including Cathay Manor, Little Tokyo Towers, and hardest to ignore, on the streets."
www.kcet.org/socal/departures/landofsunshine/block-by-blo…

Robert Evans Alexander:
rmc.library.cornell.edu/EAD/htmldocs/RMM03087.html
digital.lib.washington.edu/architect/architects/180/
www.modernsandiego.com/RobertAlexander.html
archive.org/details/architectureplan01alex
archive.org/details/architectureplan02alex
articles.latimes.com/1992-12-02/news/mn-1120_1_r-e-alexander
joshtonies.com/?p=79
babel.hathitrust.org/cgi/pt?id=mdp.39015027871386;seq=3;v…

—-

Walt Disney Concert Hall:
111 South Grand Avenue

Project search announced: 1987.
Initial design approved: 1988.
"Final" design approved: 1991.
Ground broken for the garage: 1992.
Hall actually built: 1999–2003.

Architect: Frank Gehry / Gehry Partners, LLP / Frank O. Gehry & Associates (“FOG/A”)
Executive Architect: Dan Dworsky / Dworsky Architects (at least initially, off the project by ’94)
Project Designers: Michael Maltzan (at least initially, left to start his own firm in ’95), Craig Webb (I believe).
Acoustic Design: Yasuhisa Toyota for Nagata Acoustics, with preliminary work by Minoru Nagata
Overall Project Management: Fred Stegeman for Stegeman/Kastner Inc. (initially until ca. ’95, I think)
Project Management w/in Gehry’s Firm: James Glymph (at least initially)
Structural Engineering: CBM Engineering (at least initially)
Garden Design: Melinda Taylor
Woodwork: Columbia Showcase (headed by Joe Patterson)

Software: Catia (by Dassault). (Primary responsibility for pushing for use of this software in Gehry’s office goes to partner James Glymph. During the later construction phase [2001–3], a 4D scheduling modeling system was also used that was developed by CIFE at Stanford and Walt Disney Imagineers, using Catia as its base, I think.)
Software consultants: C-Cubed (ca. 1991–94)

Client: A seven-member architectural search committee was set up by the Music Center in 1987 and chaired by Richard Koshalek, with Daniel Commins as acoustic advisor. In 1989, the twelve-member Walt Disney Concert Hall Committee was formally established and thereupon headed by Frederick M. Nicholas on a volunteer basis until about 1995. The land ("Parcel K") was owned by Los Angeles County and the County was represented in negotiations by attorney Richard S. Volpert, at least from 1989 to 1995. Sally Reed was CAO of the county for much of this period until 1995, but I’m not sure how directly involved she was with this project. The Philharmonic was initially represented by Ernest Fleischmann, managing director, with input from Esa-Pekka Salonen, the music director. (In 2001, Debra Borda became the new head at the Philharmonic, Esa-Pekka Salonen remained music director.) Lillian Disney represented herself and her family as the single largest private donor until her death in 1998, with Diane Disney Miller also on the committee and serving as its vice-chair at one point. Sharon Disney Lund was also involved in the negotiations until her death in 1993. They also acted through the family attorney, Ron Gother. From 1995 to 1997, Harry Hufford served as volunteer full-time CEO of the committee, with Suzanne Marx his vice-president for development, and a mandate to save the project and recapitalize it. At various points, other committee members included Stuart Ketchum, James A. Thomas, and Ronald J. Arnault. Mayor Riordan was also heavily involved. Riordan brought in Eli Broad to help finance the completion. In 1996, Andrea Van De Kamp became the new chair of the Music Center. (Sheldon G. Stanfill was president of the Music Center in the early 1990s.) In 1997, a new oversight committee was formed, with Eli Broad and Diane Disney Miller as chief guiding members. In 1998, William Siart, a member of the oversight committee, became chair of the main committee (the legal entity at the center of this confusion).

Financial auditing/oversight: Hines Interests (beginning in ’94, with Bruce Frey heading this work).

Owner: The County of Los Angeles, with the facility operated by a nonprofit under a Master Lease Agreement. (I believe this is an accurate summary of the situation, but I am not fully certain. The agreement is complicated and I believe it involves a sublease back to the County that obliges it to provide building and grounds maintenance, and then another subsublease to the organization that runs programming, which has subleases to the Philharmonic and the Music Center. So if I’ve made a muddle of that, I apologize.)

Major Donors: Lilian Disney, Eli Broad, The Disney Corporation, Ron Burkle, The Ralphs/Food4Less Foundation, Wells Fargo, Bank of America, The Times Mirror Foundation, Richard Riordan, Roy E. Disney (specifically for REDCAT), Pacific Bell Foundation, and Deloitte & Touche. (The County also provided significant funds to the parking garage.)

Seats 2,265.

Current home of the Los Angeles Philharmonic.

Features an organ with 72 stops, 109 ranks, and 6,125 pipes, co-designed by Frank Gehry and Manuel Rosales, with assistance from Kevin Gilchrist, and built by Caspar Glatter-Götz, with engineering assistance from Heinz Kremnitzer. Early in the process, a special committee was formed (with Cherry Rhodes, Robert Anderson, and Michael Barone serving)—just for finding the right organ designer, settling on Manuel Rosales in 1990. Michael Barone also served as a consultant during the final design process.
www.gg-organs.com/eng/projects/images/Aprcovfeat.pdf

"In 1982, the family company, Retlaw Enterprises, sold the rights to Walt Disney’s name and likeness to the Walt Disney Co. for $47 million. That money was put aside for an unspecified charitable gift. . . . In 1987, Music Center then-Chairman F. Daniel Frost, who had been Walt Disney’s tax attorney, presented Lillian Disney with Los Angeles Times articles detailing the Music Center’s desire for a new concert hall. Disney readily agreed to donate her funds. At the time, Frost was the son-in-law of Music Center founder Dorothy Chandler and was a board member of Times Mirror, parent company of The Times. He has since divorced and has left the Times Mirror board."
articles.latimes.com/1995-02-27/news/mn-36686_1_disney-hall (’95)

The 1987/88 idea to use Parcel K for a new Philharmonic was not without significant opposition, including that out the outgoing CAO of the county, Jim Hankla, and architect Barton Myers, who both proposed that the new concert hall be built on the L.A. mall:
articles.latimes.com/1987-02-22/local/me-5387_1_music-cen…

"Lillian Disney made an initial gift of $50 million in 1987 to build a performance venue as a gift to the people of Los Angeles and a tribute to Walt Disney’s devotion to the arts and to the city. . . . Upon completion in 2003, the project cost an estimated $274 million; the parking garage alone cost $110 million. The remainder of the total cost was paid by private donations, of which the Disney family’s contribution was estimated to $84.5 million with another $25 million from The Walt Disney Company. By comparison, the three existing halls of the Music Center cost $35 million in the 1960s (about $190 million in today’s dollars). . . . The walls and ceiling of the hall are finished with Douglas-fir while the floor is finished with oak. The Hall’s reverberation time is approximately 2.2 seconds unoccupied and 2.0 seconds occupied."
en.wikipedia.org/wiki/Walt_Disney_Concert_Hall

It is worth pointing out that the final building hardly resembles the competition designs and models from the invited design competition in 1988 and substantially deviated from the 1991 designs and models in several key areas such as cladding and landscaping.

By the end, the design process apparently included over 30,000 drawings and models.
www.mediabistro.com/unbeige/disney-hall-turns-a-corner_b1653

From an initial field of ca. 80 entrants, then winnowed to a list of 25, the other three finalists in 1988 were Gottfried Böhm, Hans Hollein, and James Stirling.

From 1990 to 1991, the project faced a lawsuit brought by a group called A Local and Regional Monitor, represented by Sabrina Schiller, which alleged that there had not been a sufficient review of environmental and traffic impacts. Gary Justice, Pamela Schmidt, and Helen Parker represented the project and defeated the lawsuit and appeal.
www.gibsondunn.com/fstore/documents/pubs/AForbes_Eye_For_…

Another set of delays in 1990 came from a newer demand from the county that the site incorporate a hotel, in order to raise further revenue in the form of hotel taxes. Gemtel was to be the hotel developer and they were to bring in Ritz Carlton as operator. This was scrapped in 1991 when Ritz Carlton refused to agree to hire unionized labor and/or take on a living wage rule (the exact disagreement is somewhat unclear to me).

The 1991 models and other mock-ups premiered at the Fifth International Exhibition of Architecture at the Venice Biennale in 1991 to great acclaim, before being submitted for approval.

These mock-ups for the models were designed using Catia, "a 3D modeler made for the aerospace industry by Dassault, a French software company associated with IBM."
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf

"At one point, someone estimated that the project had over 90 consultants."
www.economist.com/node/86629 (’97)

During the first phase of the project, "a consortium of General Contracting firms, (Peck Jones, Turner Construction, and Obayashi) were selected to form the building entity, Concert Hall Builders." Yet I am not sure who the final constructing firms were.
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf

In 1994, the cost estimate skyrocketed by $50 million and the project was put on hold pending auditing and financial review by Hines.
"According to committee budgets, some of the biggest increases in construction and material costs were in the steel framing, $8.6 million more than originally thought; in wood purchases and millwork, up $7 million, partly because of a decision to add interior wood; and in drywalling and plaster, up $4.9 million. ‘The drywall designed for this hall has curves and movement that don’t have any comparison to anything else that’s been built in this city,’ Nicholas said. ‘The people who were bidding the drywall had never seen anything like it, hadn’t had any experience with it. So they put a lot of contingencies in it and they bid it very, very high. A bright spot is the purchasing, cutting and installation of the exterior Italian limestone–a process Gehry has closely supervised. Bids on that stonework are reported to be $325,000 below its original $22.6-million estimate.’"
articles.latimes.com/1994-08-27/news/mn-31646_1_disney-ha…

As described above, a major shake-up of operations occurred ca. 1995.
"Dworsky indicated, as a matter of tracking what happened to whom, it is quite simple, of all the major original participants (i.e. architects, engineers, builders, and project managers), no one survived except FOGA."
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf

The garden, initially a major feature of the design brief, has all but disappeared. It is supposedly partially on the roof? I have no idea. I never much noticed a garden during any of my visits to Disney Hall, although I didn’t mind the landscaping I did notice. In any case, Melinda Taylor was a fairly late addition to the project.

"She came in after a number of other designers, including Philadelphia landscape architect Laurie Olin and Nancy Goslee Powers, who did the Norton Simon Museum’s garden, had come and gone on the job."
articles.latimes.com/2002/mar/21/news/lv-disney21

“‘Wow! Did I do that? Holy shit! Did I do that?’ Sometimes you look at it that way,” Gehry says, taking in the flowing ribbons of steel at street level and then gazing up at the luffing “mainsails” at the center of the building—forms which seem to defy engineering, and which were conceived by Gehry as squiggly lines on a piece of paper more than 16 years ago. . . . Gehry, probably the most famous architect in the world right now, and arguably the most important and influential, is a modest figure in a profession known for its massive egos."
www.vanityfair.com/culture/features/2003/09/disney-concer… (2003)

"If Gehry lived in Idaho, we would see snowmobiles in his designs; he is an architect stuck in a feedback loop with his surroundings. As it is, he lives by the Pacific and owns a sailboat, and so it is seagoing vessels we see in his buildings: the boat-shaped main gallery of the Guggenheim Bilbao, the concert hall in Disney. ‘When I started Disney Hall,’ says Gehry, ‘I saw a show at the Toledo Museum in Ohio called In Praise of Ships in the Sea, and I got really excited about these shapes. I saw them in the wood ceiling I was already doing, and I brought them in.’ A metaphor took hold of Gehry: A concert was a journey, the hall would be a boat, the steel forms that shot into the air over L.A. its sails."
www.lamag.com/features/2003/10/12/how-disney-hall-redeeme… (quote on page 5)

For a student’s perspective on the use of nautical forms, see: couplarchideas.wordpress.com/2012/11/28/similarity-betwee…

books.google.com/books?id=WWl29hn0C9gC&lpg=PA72&v…
www.latimes.com/news/local/cl-ca-uroussoff19oct19,0,64916… (Ouroussoff, 2003)
www.nytimes.com/2003/10/23/arts/architecture-review-a-moo… (Muschamp, 2003)
www.slate.com/articles/arts/architecture/2003/10/epic_arc… (Hawthorne, 2003)
www.npr.org/templates/story/story.php?storyId=1264860 (Stamberg, 2003)
www.thedailybeast.com/newsweek/2003/08/17/a-mighty-monume… (McGuigan, 2003)
www.latimes.com/entertainment/news/arts/cl-et-swed1jul01,… (Swed, 2003)
www.businessweek.com/stories/2003-10-05/frank-gehrys-high… (Palmieri, 2003)
www.nybooks.com/articles/archives/2003/oct/23/victory-at-… (Filler, 2003, paywall)
www.riprense.com/Silverstunt.htm (contrarian view, ca. 2003)
articles.latimes.com/2003/oct/25/entertainment/et-fisher25 (blurb round-up, 2003)
books.google.com/books?id=c2Kwa-EZR2IC&lpg=PA106&… (photo of opening night, 2003)
articles.latimes.com/1988-04-29/news/vw-2468_1_concert-hall (1988)
articles.latimes.com/1991-09-05/local/me-2333_1_walt-disn… (Isenberg, ’91)
articles.latimes.com/1991-09-15/realestate/re-3191_1_disn… (’91)
www.nytimes.com/1992/12/13/arts/architecture-view-gehry-s… (Muschamp, ’92)
articles.latimes.com/1992-11-22/magazine/tm-2024_1_disney… (’92)
articles.latimes.com/1994-11-03/news/mn-58297_1_concert-hall (1994)
books.google.com/books?id=rF0EAAAAMBAJ&pg=PT72&lp… (’96, scroll back a page or two for the start of the article titled "Why L.A. Hates Frank Gehry")
www.newyorker.com/archive/1997/07/07/1997_07_07_038_TNY_C… (’97)
www.laphil.com/philpedia/about-walt-disney-concert-hall
www.laphil.com
www.aia.org/cities/los-angeles/all-stories/disneyconcerth…
www.arcspace.com/features/gehry-partners-llp/walt-disney-…
www.laweekly.com/2003-10-30/music/organomics/ (on the organ, 2003)
www.latimes.com/entertainment/news/arts/la-et-disneyhall6… (Swed, 2008)
illumin.usc.edu/177/
interactive.wttw.com/tenbuildings/walt-disney-concert-hall
en.wikiarquitectura.com/index.php/Walt_Disney_Concert_Hall
www.nbm.org/exhibitions-collections/exhibitions/symphony-…
www.johnmartin.com/publications/Disney%20Concert%20Hall/D…
books.google.com/books?id=CooTi-asobIC&lpg=PA48&o…

Frank Gehry:
www.foga.com
en.wikipedia.org/wiki/Frank_Gehry
www.gehrytechnologies.com
www.getty.edu/pacificstandardtime/explore-the-era/people/…
www.getty.edu/pacificstandardtime/explore-the-era/archive…
www.latimesmagazine.com/2008/10/frank-gehry-annie-gilbar….
www.kcet.org/arts/artbound/counties/los-angeles/frank-geh… (Frances Anderton)
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf
www.youtube.com/watch?v=zQ-Kf3sJfok (ca. 5 minutes)
www.youtube.com/watch?v=fRjnoNkaJUs (+1 hour long talk with Frank Gehry and others about him and the Los Angeles arts community)

Catia:
www.3ds.com/products/catia/
en.wikipedia.org/wiki/CATIA
worldcadaccess.typepad.com/blog/2012/05/whats-the-price-o…
www.mcadcentral.com/catia-software-development/
www.caddigest.com/subjects/aec/select/022304_day_gehry.htm

4D modeling:
cife.stanford.edu/sites/default/files/WP064.pdf

James Glymph:
Was a partner at Gehry’s firm for 19 years (ca. 1989–2008) and was founding CEO of Gehry Technologies.

"In the 1980s, he worked with LMN Architects in downtown Seattle, heading the team that designed the San Diego Convention Center."
www.aiaseattle.org/KBD/about_glymph.htm

www.laiserin.com/laiserinlive/speakers/glymph.php
www.miamialum.org/s/916/interior-3-col.aspx?sid=916&g… (scroll down to "Edges Torn Open")
archrecord.construction.com/innovation/1_TechBriefs/0310G…
businessmodelalchemist.com/blog/2010/09/on-business-model… (scroll down for video)

Dan Dworksy:
I feel the need to point out that though Dan Dworsky is currently rather maligned within the Los Angeles architectural community, especially for his involvement in this project, he’s directly responsible for my favorite Bunker Hill buildings, the Angelus Plaza senior housing complex, as well as the very decent Figueroa Courtyard. The vision of a revived Bunker Hill with more than just tall glass boxes of office space owes a great deal to his efforts over the years.
digital.lib.washington.edu/architect/architects/273/
en.wikipedia.org/wiki/Dan_Dworsky
sma.sciarc.edu/subclip/takeyama-minourou-and-daniel-dwors…

Michael Maltzan:
A rising star in the California architectural scene, recently garnering praise and awards for his New Carver Apartments for the Skid Row Housing Trust. A building that provides transitional housing for the recently formerly homeless, it’s one I don’t like for a number of nit-picky reasons, but whose social conscience I credit. One of his most prominent commissions was for another performance hall—Mashouf Performing Arts Center for SF State. My favorite of his works is the Billy Wilder Theatre at the Hammer, which is a great size for films they screen and makes me think every time that I’ve snuck inside a fancy, sexy lipstick holder from the late 1980s: hot pink, sleek black, kiss kiss. I also think he did a wonderful job with MoMA QNS, the temporary (and more fun) home of MoMA while the main building was being revamped during the early 2000s.

"Michael Maltzan established his independent practice in Los Angeles in 1995. After graduating from the Rhode Island School of Design (1985) and Harvard’s Graduate School of Design (1988), he worked briefly in Boston for Schwartz/Silver Architects and then for Machado and Silvetti Associates. . . Then in 1988, Maltzan moved to California, where he joined the office of Frank Gehry. . . In Gehry’s office, Maltzan worked on the initial design stages of the acclaimed Walt Disney Concert Hall (1988–2004) for Los Angeles and was project designer for the tautly elegant Vontz Center for Molecular Studies (1993–1999) at the University of Cincinnati."
www.mmaltzan.com/essays/essay-alternate-ground/
www.mmaltzan.com
www.mmaltzan.com/profile/michael-maltzan/
www.arcspace.com/features/michael-maltzan-architecture/
www.arcspace.com/the-architects-studio/michael-maltzan-sk…
places.designobserver.com/feature/no-more-play/26888/

Yasuhisa Toyota:
en.wikipedia.org/wiki/Yasuhisa_Toyota
live.stanford.edu/bingconcerthall/files/ch-na.pdf
www.time.com/time/magazine/article/0,9171,543822,00.html
www.nagata.co.jp/e_index.html
en.wikipedia.org/wiki/Nagata_Acoustics

Craig Webb:
Senior partner (currently?) at Gehry Partners and the main designer assigned to Disney Hall after Michael Maltzan left the firm.

Before joining Gehry, Webb worked at Albert C. Martin & Associates and Barton Myers Associates.

"The 125-employee office is structured like a pyramid, with Gehry delegating creative work to two principal architects: Webb and Edwin Chan, who oversee design and direct project teams. . . . And while Bilbao was the defining project for Chan, Disney Hall belongs to Webb. ‘There’s a lot of him in there,’ says Gehry. . . . ‘They’re different personalities,’ says Gehry. ‘When Craig makes stuff, it’s more real. Edwin is more outgoing with people,’ he continues. ‘He seems to enjoy dealing with clients, the personal stuff. It’s different than how Craig does it. He is a little shy or reticent, not as gregarious. He gets a little fussy sometimes. Like everybody else, he gets insecure.’ . . . Gehry describes the younger architect as intuitive, with good communication and analytical skills and what he calls excellent ‘hand-eye coordination’ — the ability to see, explore and realize Gehry’s ideas. ‘He can play with me on that level.’"
articles.latimes.com/2003/sep/17/entertainment/et-roug17

Manuel Rosales:
en.wikipedia.org/wiki/Manuel_Rosales_(organ_builder)

Caspar Glatter-Götz:
www.gg-organs.com
www.gg-organs.com/eng/projects/disney.htm
www.gg-organs.com/eng/projects/images/Aprcovfeat.pdf
books.google.com/books?id=cgDJaeFFUPoC&lpg=PA225&…

Melinda Taylor:
Landscape designer, married to Craig Webb. This seems to have been her single largest project, although she has also worked on smaller projects and private gardens in Los Angeles.
www.melindataylor.com
articles.latimes.com/2002/mar/21/news/lv-disney21

Frederick M. Nicholas:
"Frederick M. Nicholas, an attorney licensed to practice law in the State of California since 1952, is a specialist in Real Estate Development and Leases. He is President of The Hapsmith Company, a Real Estate Development Firm with major interests in Northern and Southern California."
www.frederickmnicholas.com
www.frederickmnicholas.com/400_images/wdchpdfs/1993%20fal…
www.gibsondunn.com/fstore/documents/pubs/AForbes_Eye_For_…

Frederick Stegeman (d. 2009):
www.s-and-k.com/about/index.html

Harry Hufford:
"Hufford served as the chief administrator for Los Angeles County from 1974 to 1985 and worked as interim chief administrative officer in Ventura County from December 1999 to [2001]."
articles.latimes.com/2001/may/13/local/me-62999

"As CAO, Hufford was responsible for preparation and presentation of the County budget to the Board of Supervisors; administrative supervision of County departments; and management studies."
ceo.lacounty.gov/pdf/bio/hlh.pdf

Prior to being named acting CAO in 1974, Hufford had spent almost his entire career, with some interruptions, working in the staff of the CAO office, beginning initially in 1953.

He also served as an administrative officer at Gibson Dunn, and as a past president of the Music Center.

In 2001, he won the Earl Warren Public Service Award.
In 2003, there was a settlement in a sexual harassment suit against him.

articles.latimes.com/2003/apr/23/local/me-hufford23
articles.latimes.com/keyword/harry-hufford

—-

A discussion on the 1979 Bunker Hill CRA competition and Gehry’s participation in that. Most of the proposed projects mentioned did not get built:
www.youtube.com/watch?v=9rUrkUi2GKM

Posted by jann_on on 2009-09-03 05:37:21

Tagged: , iphone , summer , 2009 , 2000s , los angeles , california , architecture , evening , downtown , downtown los angeles , modernism , modern , bunker hill , windows , pedestrianism , light , metal , lights , high-rise , central city community plan area , los angeles state enterprise zone , sez , greater downtown housing incentive area , downtown adaptive reuse incentive area , bunker hill redevelopment project , downtown center business improvement district , housing , apartments , bunker hill towers , bunker hill apartments , bunker hill residential towers , 1960s , 1966 , 1967 , 1968 , robert evans alexander , robert e. alexander , bunker hill towers apartments , walt disney concert hall , disney hall , 111 South Grand Avenue , 111 S Grand Ave , 111 South Grand , 1980s , 1987 , 1988 , 1989 , 1990s , 1990 , 1991 , 1992 , 1993 , 1994 , 1995 , 1996 , 1997 , 1998 , 1999 , 2000 , 2001 , 2002 , 2003 , frank gehry , gehry , gehry partners , frank o. gehry & associates , fog/a , dan dworsky , daniel dworsky , dworksy architects , michael maltzan , yasuhisa toyota , nagata acoustics , fred stegeman , stegeman/kastner

Cozy living-room nook, The Gamble House, Pasadena, California

August 24, 2020 by 4g3nd4

Inspired by the designs of Pasadena architects Charles and Henry Greene, the craftsman contractors led by Scandinavian woodworkers John and Peter Hall cut, turned, joined, carved, and hand-rubbed 17 species of wood into the house and furnishings considered one of the greatest achievements in American architecture and craftsmanship.

Custom furniture: gamblehouse.org/design-without-compromise/

1909
gamblehouse.org

Posted by jhberger505 on 2018-10-24 02:18:31

Tagged: , Crafts , California , Pasadena , Gamble , House , home , bungalow , Greene , hearth , oak , redwood , cedar , fireplace , glass , stained , table , leaded , USC , built-ins , Arts , preservation , historic , preserved , vase , flowers , bench , cabinet , lights , frieze , carved , carving , beams , joinery , mantel , rug , carpet , walnut , panels , paneling , inlay , lighting , fixtures , woodworking , Scandinavian , Hall , Peter , John