Buildings & Landscapes-Journal of the Vernacular Architecture Forum最新文献

{"title":"Light on the Land: Construction Revolution in Farm Buildings of the Northern Rockies, 1890–1910","authors":"M. Conrad","doi":"10.5749/BUILDLAND.24.2.0058","DOIUrl":"https://doi.org/10.5749/BUILDLAND.24.2.0058","url":null,"abstract":"In the twenty years surrounding the turn of the twentieth century, the form and character of agricultural buildings in the Northern Rockies and the construction methods used to build them changed dramatically. This essay focuses on the Gallatin Valley of southwestern Montana to explore the nature and meaning of these changes. It places them within the context of the region's growth and development during its early agricultural settlement, which coincided with a period of tremendous advances in agricultural practices. The earliest Euro-American buildings in the region (1862 to the 1880s) reflect typical frontier construction, with logs the predominant material due to the plentiful local pine and fir and the limited tools available. However, this construction method presented structural limitations when the need for larger buildings arose due to regional economic development. Lacking other alternatives, farmers and stock growers put their faith in light balloon frame construction, although many of them had little experience with this method, particularly for sizable buildings. The demand for larger and more complex buildings spurred the introduction and subsequent adoption of an essentially new architecture. High elevation, climate, and the forces of national economic markets were the principal factors that influenced the rapid transition to light wood framing in Rocky Mountain agricultural buildings. This transformation, a real revolution in local design and construction, relates to the larger history of American architecture in the western United States, and it led to the broad diversification of farm building forms and types in the Northern Rockies.","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90429047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Research Notes: Toward a History of the Suburban Driveway","authors":"David Salomon","doi":"10.5749/BUILDLAND.24.2.0085","DOIUrl":"https://doi.org/10.5749/BUILDLAND.24.2.0085","url":null,"abstract":"Driveways are everywhere. Like traffic signs and signals, pavement markings, telephone poles, and street lamps, they belong to a category of highly legislated and highly engineered elements found especially in the suburban domestic landscape. Like these other elements of American infra structure, driveways are ubiquitous almost to the point of invisibility. However, they do have an aesthetic presence and identity. They also have a history. In the context of single-family homes, driveways have gone from being the picturesque private paths described by Andrew Jackson Downing in the 1840s to the nondescript parking pads being built in suburbia today, with many steps taken between these two extremes. No matter the form they take, driveways simultaneously perform utilitarian and representational functions. They help establish where one can go, what one does, and how one feels. However, because driveways are designed and deployed primarily for practical reasons, their experiential and rhetorical aspects are often overlooked. What does paying closer attention to these almost invisible elements of the suburban landscape reveal? These notes focus on the formal aspects of the suburban driveway and outline the different shapes, sizes, uses, and interpretations driveways have taken on over time. The goal is not to show how one type of driveway is better than another or to argue that the aesthetic aspects of driveways preclude the functional ones. Rather, these notes draw attention to the physical qualities of the driveway as a means of beginning to understand its changing cultural significance within the vernacular cultural landscape from the mid-nineteenth century to the present. This essay focuses on the driveway’s presence in a number of well-known polemical texts, design proposals, and built projects over a 150-year time frame. While the current study documents the general changes made to the suburban driveway, it is hoped that future investigations will be able to build on some of its points by examining how local legislators, builders, and owners have adapted the driveway to meet the cultural needs of specific times and places.","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73654530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"One Standardized House for All: America's Little House","authors":"Kristina Borrman","doi":"10.5749/BUILDLAND.24.2.0037","DOIUrl":"https://doi.org/10.5749/BUILDLAND.24.2.0037","url":null,"abstract":"The federal organization Better Homes in America built a model house in a conspicuous Midtown Manhattan location in 1934. Standing on the corner of 39th Street and Park Avenue, America's Little House drew daily crowds during its nearly one-year run. Better Homes leaders used the model house as an educational demonstration to illustrate how standardized components and methods could make home improvement easier and cheaper. Many of these ideas were inspired by Frederick W. Taylor's philosophy of scientific management, which was originally designed to make industrial work more efficient, but was broadly applied to other fields, including home improvement, during the interwar era. America's Little House was an important testing ground for the federal government, which assembled a team of experts in the fields of architecture, interior design, landscaping, and housekeeping to come up with universal plans that could be used to improve any house. In this way, Better Homes leaders challenged the conventional wisdom that the best houses were individualized ones, and they targeted more efficient domestic labor and consumerism as primary examples of the benefits associated with standardization. America's Little House demonstrated, for example, how women's household chores and purchases could be systematized in order to save time and money. For the Better Homes organization, standardized parts and procedures were more than just practical goals; they were democratic pursuits, undertaken with the belief that economical planning could make home improvement available to all.","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80808605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Object Lesson: \"Build the Negro houses near together\": Thomas Jefferson and the Evolution of Mulberry Row's Vernacular Landscape","authors":"G. Hallock","doi":"10.5749/BUILDLAND.24.2.0022","DOIUrl":"https://doi.org/10.5749/BUILDLAND.24.2.0022","url":null,"abstract":"","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89702163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Zoo Renewal: White Flight and the Animal Ghetto by Lisa Uddin (review)","authors":"John M. Kinder","doi":"10.5860/choice.193207","DOIUrl":"https://doi.org/10.5860/choice.193207","url":null,"abstract":"than a vision of never-ending reconstruction and newness. In charting these responses to obsolescence, Abramson provides an architectural history of one more approach, too: the strategy today known as sustainability. Indeed, one of Obsolescence’s great contributions is to give sustainability a history. Here, Abramson ties the idea inextricably to the obsolescence paradigm. Obsolescence insisted on the replacement of resources at regular intervals. Sustainability, by contrast, insists on their conservation. Yet in chapter 6 Abramson warns against a simplistic view of their relationship as one of succession, with sustainability replacing obsolescence as a more enlightened theory. To the contrary, he insists on a connection “as much filial as agonistic” (138), with obsolescence persisting as a force in the built environment and sustainability exhibiting many similar attributes and contradictions. Most significant among these is the continued power of capitalism at the core of sustainability. As Abramson explains, sustainability aims to use fewer resources but has nevertheless become a selling point for real estate developers and is often “a privilege of the wealthy” (152). Paradoxically, it has also provided ready justification for new claims of obsolescence, with state-of-the-art sustainable buildings replacing older obsolete ones. Here, Abramson returns to the book’s guiding premise of understanding what the built environment can teach history more broadly. Ultimately, Abramson argues, his story suggests the limitations of “creative destruction” as the explanatory logic of capitalism. Instead, the architectural history of obsolescence shows us “capitalism’s capacity to manage the contradictions of its own development” (137), meaning that demolition and reconstruction of still-young buildings could be very profitable, but so too could the adaptive reuse of postindustrial environments for new purposes, or historic preservation, or new, sustainable design approaches. In other words, he writes, this history shows “the flexibility of capitalism, its capacity . . . to exploit the built environment one way and then the other” (138). In the course of demonstrating that the history of architecture has new insights to offer to the history of capitalism, Abramson crafts an alternative history of the built environment in the twentieth century. By centering obsolescence in that history, he joins discourses that are otherwise easily separated, including those of the vernacular and the avant-garde, the modern and the postmodern, the visionary and the pragmatic, and the aloof and the socially embedded. Across these decades and geographic boundaries, Obsolescence shows that architects, planners, and developers alike were joined in a common pursuit: the need to acknowledge and grapple with the dominant idea that buildings, as soon as they were completed, were already destined to fail. Yet as Abramson explains here, their responses rarely answered that challenge in ","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91337587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Placing Radio in Sackville, New Brunswick","authors":"Michael Windover","doi":"10.5749/BUILDLAND.24.1.0046","DOIUrl":"https://doi.org/10.5749/BUILDLAND.24.1.0046","url":null,"abstract":"The Canadian Broadcasting Corporation's (CBC) site near Sackville, New Brunswick, exemplifies the material and spatial foundations of radio. Designed by the CBC's own architecture department and constructed in 1939, the station operated as a regional transmitter, broadcasting to the Maritimes of Canada and the northeastern United States, and visually and materially represented the CBC in this area. During World War II the Canadian government decided to establish a powerful shortwave station at the Sackville site, resulting in the erection of a much larger facility on the location of the earlier building and an innovative system of antennae on the surrounding marshlands in 1944–45. The recent dismantling of these towers, which marked the skyline for seven decades, has radically altered the built environment around Sackville and raises questions about the role of architecture and space in the history of radio.","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89538547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Ritual to Protest: Sukkot in the Garden of Hope","authors":"G. A. Berlinger","doi":"10.5749/BUILDLAND.24.1.0001","DOIUrl":"https://doi.org/10.5749/BUILDLAND.24.1.0001","url":null,"abstract":"In 2010 and 2011, as civil demonstrations erupted around the world, the observance of Sukkot, the annual Jewish holiday that commemorates the Israelites' biblical journey through the Sinai Desert to the Promised Land, came to embody the contemporary struggle for social and economic justice. During this weeklong autumn festival, observant Jews traditionally build and inhabit temporary outdoor ritual structures called sukkot, which translates from Hebrew to \"booth\" or \"tabernacle.\" This practice creates a unique opportunity for creative expression through the construction, decoration, and interpretation of the sukkah (singular of sukkot) and for social interaction through the holiday's customary rite of hospitality. Ethnographic research conducted from 2010 to 2011 in Shchunat Hatikva (Neighborhood of Hope), a working-class, multiethnic neighborhood in south Tel Aviv, Israel, uncovers the purpose and variety of Sukkot observance in a community struggling with economic constraint and social neglect. Addressing the history of the holiday and its practice in south Tel Aviv in the fall of 2011, as housing and Occupy demonstrations took root across the country and the world, this study bridges the fields of vernacular architecture and folklore studies. Challenging the holiday's symbolic promise of shelter, the search for house and home among Israel's disadvantaged and migrant populations reframes the narrative and observance of Sukkot with both reaffirming and subversive expressions of sukkah construction and use.","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78803937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Coed's Predicament: The Martha Cook Building at the University of Michigan","authors":"C. Yanni","doi":"10.5749/BUILDLAND.24.1.0026","DOIUrl":"https://doi.org/10.5749/BUILDLAND.24.1.0026","url":null,"abstract":"A women's dormitory required a plan that facilitated genteel surveillance. The Martha Cook Building (York & Sawyer, 1911–15) at the University of Michigan manifested early twentieth-century ideas about gender, race, class, and higher education. The residence hall, named in honor of donor William W. Cook's mother, had one main entry on its narrow end, with a door facing the street and a matron's office adjacent to it. When the University of Michigan built a men's dormitory soon after, paid for by the same patron and designed by the same architects, it used a staircase plan, which afforded less control over the students. One might think that a donor who funded a lavish dorm would have as his motive the promotion of woman-centered education. Instead, Cook employed architecture in the service of social exclusion; he objected to the presence of Asians and poor women in the dorm and imagined that the elegant semipublic rooms would civilize brutish young men. As had been the case at Oberlin College, the women's residence hall served as the social hub for the entire campus.","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85746207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Research Notes: Design for Mobility: Intercity Bus Terminals in the Puget Sound Region","authors":"J. Ochsner, David A. Rash","doi":"10.5749/BUILDLAND.24.1.0067","DOIUrl":"https://doi.org/10.5749/BUILDLAND.24.1.0067","url":null,"abstract":"Intercity buses were significant in transportation networks serving American cities and towns during much of the twentieth century. Bus terminals were once an important building type, an element of the vernacular urban landscape. In the twentieth century, intercity buses offered a new form of mobility, and bus terminals showed how this new technology was manifested in place, both architecturally and urbanistically. American architectural journals occasionally published designs for bus terminals along with other types of transportation facilities. Yet surprisingly little scholarship has been published about this building type. Part of the reason for the lack of attention is that bus companies only occasionally employed leading architects and built facilities that were recognized for design achievement. In recent years, evidence of this part of American urban and architectural history has begun to disappear, making the story of bus terminals more difficult to uncover. Daniel Bluestone notes the buildings historians choose to analyze are often the ones that are preserved. In turn, buildings by their presence, or absence, are often included in, or omitted from, the histories that scholars choose to address. The investigation of a building type will draw attention to it, but the absence of examples may make its detailed study unachievable. With the increasing demolition of bus terminals, it becomes harder to understand their forms and contributions to the urban landscape. This essay begins to fill this gap by exploring this building type as it developed in the Puget Sound region. In the early twentieth century, entrepreneurs established independent bus companies in markets that were not well served by steam railroads and electric interurban lines. Early bus companies were most competitive in areas of the United States that grew rapidly in the first decades of the twentieth century—places where rail networks were relatively incomplete, including parts of Minnesota, Texas, California, and the Pacific Northwest. Because the Puget Sound region was one of the places where bus transportation developed rapidly, examining bus stations here offers an opportunity to discuss the development of bus terminals over more than half a century while also suggesting some ways in which the changing fortunes of bus companies shaped the form, style, and location of bus terminals (Figure 1). We hope this regional study presents a typology that may support additional examinations of these understudied buildings nationally.","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83226549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Preservation and Negotiation of History and Identity in Lexington, Kentucky","authors":"Bryan D. Orthel","doi":"10.5749/BUILDLAND.23.2.0023","DOIUrl":"https://doi.org/10.5749/BUILDLAND.23.2.0023","url":null,"abstract":"I want modernism to emerge as a distinctive patterning of mental and technical possibilities. . . . “Modernity” means contingency. It points to a social order which has turned from the worship of ancestors and past authorities to the pursuit of a projected future—of goods, pleasures, freedoms, forms of control over nature, or infinities of information. This process goes along with a great emptying and sanitizing of the imagination. Without ancestor-worship, meaning is in short supply—“meaning” here meaning agreed-on and instituted forms of value and understanding, implicit orders, stories and images in which a culture crystallizes its sense of the struggle with the realm of necessity and the reality of pain and death. . . . We know we are living a new form of life, in which all previous notions of belief and sociability have been scrambled. And the true terror of this new order has to do with its being ruled—and obscurely felt to be ruled—by sheer concatenation . . . that is, by a system without any focusing purpose to it, or any compelling image or ritualization of that purpose.","PeriodicalId":41826,"journal":{"name":"Buildings & Landscapes-Journal of the Vernacular Architecture Forum","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82290230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}