History and Theory of Architecture II

 

SYLLABUS

CONTENT

This course traces the history of Architecture from the 15th Century to the late 19th Century. The various theories and formal languages (styles) that shaped the history of Architecture within the specified time span will be explored through the close examination of a select group of buildings and the specific cultural, social, political, and economic contexts of their design and construction. Our coverage will encompass the architectural achievements of the cultures of Europe, the Middle East, South, Southeast, and East Asia, the Americas, and Africa.

 

OBJECTIVE

Treating the history of architecture as a history not of buildings per se, but of cultural beliefs and ideas, values, and aesthetic ideals actualized through architectural forms and experiences, this course seeks to foster the students’ ability to analyze and understand the unique formal vocabulary of architecture and its expressive potential, as well as the complex and instrumental dialogue between architecture and culture.

 

NAAB PERFORMANCE CRITERIA 

PC.4 History and Theory—How the program ensures that students understand the histories and theories of architecture and urbanism, framed by diverse social, cultural, economic, and political forces, nationally and globally. 

PC.8 Social Equity and Inclusion—How the program furthers and deepens students' understanding of diverse cultural and social contexts and helps them translate that understanding into built environments that equitably support and include people of different backgrounds, resources, and abilities.

 

PREREQUISITE

History and Theory  of Architecture I (ARCH 5220 or equivalent).

 

FORMAT

This course will meet twice a week on Mondays and Thursdays from 11:00 AM to 12:15 PM for lecture, presentation, and discussion sessions.

 

READING

The required text for this course, available through the campus bookstore, is:

 

Richard Ingersoll

World Architecture: A Cross Cultural History - second edition

Oxford University Press, 2019

 

The textbook has an associated website that offers extensive useful resources. You need to register at the site to access the material.

The site address is: https://learninglink.oup.com/access/ingersoll2e

The reading assignments for each week are listed in the Lecture Outline.

The lectures and the reading assignments do not necessarily cover the same material, nor do they necessarily follow the same sequence in presentation. Instead, they are intended to complement each other, provide different perspectives on each subject and help the students develop a critical approach to studying architecture and its history.

In addition to the required text for this course, you may wish to consult and review any of the following similar texts:

 

Francis D. K. Ching, Mark M. Jarzombek, Vikramaditya Prakash

A Global History of Architecture

John Wiley & Sons, 2010

 

Marian Moffett, Lawrence Wodehouse, Michael Fazio

A World History of Architecture

McGraw-Hill Professional, 2008

 

Leland M. Roth

Understanding Architecture: Its Elements, History, And Meaning

Westview Press, 2nd edition, 2006

 

Marvin Trachtenberg & Isabelle Hyman:

Architecture - from Prehistory to Post-Modernism

Second Edition, New York: Pearson, 2002

 

Dan Cruickshank (Editor)

Sir Banister Fletcher's A History of Architecture

Architectural Press, 1996

 

Spiro Kostof, Gregory Castillo, Richard Tobias

A History of Architecture: Settings and Rituals

Oxford University Press, 1995

 

You may substitute any one of these texts for the required text at your own risk.

 

REQUIREMENTS

Your performance is evaluated based on the individual command of course material and the assigned readings as evidenced by effective synthesis of course material and completion of three online exams. You will complete each exam online at Canvas in class on the following dates:

Exam 1: Monday, October 3, 2022

Exam 2: Monday, November 7, 2022

Exam 3: Monday, December 12, 2022

In addition to the three exams, you are required to complete a research term paper on a building of your choice from a provided list of buildings. Please refer to the Term Paper Assignment appended to this syllabus for a detailed description of this assignment. The term paper will be due:

 

Term Paper: Thursday, October 27, 2022

 

Please submit your term paper online at Canvas as a Microsoft word or a pdf document. Please label your file using your name, e.g., JaneDoe.doc Please make sure your file is appropriately labeled.

All due dates should be strictly observed. In fairness to all, exceptions will only be made due to medical or personal emergencies.

The exams and the term paper will each count for 25% of the final grade for the course.

Your success in this class depends on constant and effective engagement with the course material. To this end, you are required to complete the assigned readings prior to each class and to write a one to two-page synopsis of the material covered in lectures and assigned readings for each week. These will be of great assistance to you in answering the exam questions. Please carefully read the detailed explanation of the exam requirements at the end of this syllabus.

 

EXTRA CREDIT

You may choose, at your own discretion, to take an extra credit exam covering the course content from the first and the second exams. This voluntary exam should be helpful to anyone who may not have done as well as hoped in the first two exams. The extra credit exam will be given on:

Thursday, December 15, 2022

If you choose to take this extra credit exam, your final grade will be based on four exams and a paper (20% each), rather than three exams and a paper (25% each).

 

ATTENDANCE

You are required to attend every class and actively participate in class discussions. Every unexcused absence will lower your final grade by a third of a numeric grade (for example, from C+ to C). Four or more unexcused absences will result in a failing grade for the course. Absences will be excused by prior or timely notice due to family emergencies, medical conditions, and established religious holidays.

 

Online

Individual dates in the Lecture Outline of the online syllabus will be linked to a video of the visual material presented in class on that date.

 

CONTACT

 

UNIVERSITY-WIDE POLICIES

Please review the following university-wide policies:

 

 

 

LECTURE OUTLINE

____________________________________

 Lecture Topic

Tentative Date

Reading Assignment

____________________________________

1350 - 1500

____________________________________

The Architecture of the Renaissance and the Americas

August 22 - 25 - 29

Ingersoll-World Architecture: pp.374-428

____________________________________

1500 - 1600

____________________________________

The Architectures of the Ming and the Ottoman Empires

September 1 - 8

Ingersoll-World Architecture: pp.429-456

____________________________________

The Architecture of the High Renaissance and Mannerism

September 12 - 15 - 19

Ingersoll-World Architecture: pp.457-483

____________________________________

1600 - 1750

____________________________________

The Baroque Architecture

September 22 - 26 - 29

Ingersoll-World Architecture: pp.505-528, 542-556, 561-575

___________________________________

October 6                                   First Exam

____________________________________

The Architecture of Iran, India, and Japan

October 3 - 10 - 13

Ingersoll-World Architecture: pp.484-504, 529-541

____________________________________

The Architecture of the American Colonies

October 17

Ingersoll-World Architecture: pp.576-592

____________________________________

1750 - 1800

____________________________________

The Architecture of the Enlightenment

October 20 - 24 - 27 - 31

Ingersoll-World Architecture: pp.556-560, 593-638

____________________________________

October 27                                 Term Paper

____________________________________

1800- 1850

____________________________________

Eclecticism and Revivalism

November 3 - 10 - 14 - 17

Ingersoll-World Architecture: pp.639-685    46 - 4

____________________________________

November 7                               Second Exam

____________________________________

November 21 - 27                      Fall Break

____________________________________

1850 - 1890

____________________________________

Historicism and Imperialism

November 28, December 1 - 5 - 8

Ingersoll-World Architecture: pp. 686-739

____________________________________

December 12                             Third Exam

____________________________________

December 15                             Extra Credit Exam

____________________________________

 

 

 

 

Exams

 

Chartres is made of stone and glass. But it is not just stone and glass; it is a cathedral, and not only a cathedral, but a particular cathedral built at a particular time by certain members of a particular society. To understand what it means, to perceive it for what it is, you need to know rather more than the generic properties of stone and glass and rather more than what is common to all cathedrals. You need to understand also - and, in my opinion, most critically - the specific concepts of the relations among God, man, and architecture that, since they have governed its creation, it consequently embodies. (Clifford Geertz, The Interpretation of Cultures, Harper, New York, 1973)

 

To every work of architecture, there is a what, and there is a why. The what pertains to its tangible characteristics. The why pertains to the intangible reasons, ideas, beliefs, and ideals that condition every work of architecture and transform the work into a cultural artifact.

Every work of architecture is essentially a composition, i.e., it is comprised of distinct parts placed in a particular relationship to each other for a particular purpose. Understanding a work of architecture requires, first and foremost, an analysis of the work. It entails separating and identifying its constituent parts and their specific relationship to each other and the whole work, e.g., the specific relationship between solids and voids, horizontals and verticals, of the inside to the outside, of structure to skin, of the building to its site, ornamentation, articulation, and so on. This is, however, merely a first step. The more important step in understanding a work of architecture is the why of the work.

From a certain vantage point, architecture is an impossible task. Faced with multiple possibilities, the architect has no ground for the delimitation of her/his options. The functions of an edifice suggest no one form and much less a direction. In deference to biological needs, function is nebulous and multi-directional. However, function assumes a trajectory and becomes highly prescriptive when it is appropriated by culture and transformed into a ritual. Though by no means singular, a ritual is distinct and unidirectional. It has unique spatial requirements. It demands a specific setting. It is this and similar prescriptive cultural appropriations that make architecture possible.

Every work of architecture points to a process of delimitation intended to give expression to a particular cultural proposition, theorem, or thesis. As such, every work of architecture serves to transform a culture’s assumptions about the world into a factual experience of them. The work shapes the world, in other words, after our image of it. In this process, economy, ecology, and technology play an important role. They make the realization of certain dreams possible and others not. The shape any work of architecture takes is invariably conditioned by the interaction of these three forces within the broader cultural context.

Therefore, to understand the why of any work of architecture is to understand the cultural rituals it is meant to provide for, the cultural experiences it is meant to instigate, and the ideas, the ideals, and the beliefs it is meant to embody and express.

Throughout the term, we will address both the what and the why of every work of architecture we examine. Lectures will specifically emphasize the why. Your aim throughout the term should be to understand architecture in the sense explained above. In this vein, the point and purpose of the three required exams for this course are not to test your command of the facts, names, dates, and places, per se. Although you are expected to command the facts fully, the exams intend to test your understanding of architecture. Mere and passive acquisition and repetition of information are not what is at issue. The exams are meant to test your active engagement with and the ability to comprehend and effectively synthesize diverse bodies of information and points of view provided in the lectures and reading assignments. They are meant to foster your ability to effectively analyze and hierarchically organize this information into a coherent and multi-layered picture  encompassing both the what and the why of architecture.

For each exam, you will be presented with multiple questions and asked to ascertain the accuracy of each.

For each exam, you’ll be presented with multiple questions and asked to ascertain the accuracy of each.

You will complete each exam online at Canvas in class on the following dates:

Exam 1: Monday, October 3, 2022

Exam 2: Monday, November 7, 2022

Exam 3: Monday, December 12, 2022

All due dates should be strictly observed. In fairness to all, exceptions will only be made due to medical or personal emergencies.

The exams will each count for one-fourth of the final grade.

Your success in this class depends on constant and effective engagement with the course material. To this end, you are required to complete the assigned readings prior to each class and to write a one to two-page synopsis of the material covered in lectures and assigned readings for each week. These will be of great help to you in answering the exam questions. Make sure you do not fall behind in completing your weekly reading assignments at all costs. Given the complexity and scope of the material covered, you will not be able to comprehend and effectively answer the exam questions if you do not complete your weekly assignments on time.

 

Exam Grade

If your exam score is 93 or higher, you will receive an A for the exam. If your exam score is 89 to 92, you will receive an A- for the exam. If your exam score is 85 to 88, you will receive a B+ for the exam. If your exam score is 81 to 84, you will receive a B for the exam. If your exam score is 78 to 80, you will receive a B- for the exam. If your exam score is 75 to 77, you will receive a C+ for the exam. If your exam score is 71 to 74, you will receive a C for the exam. If your exam score is 68 to 70, you will receive a C- for the exam. If your exam score is 65 to 67, you will receive a  D+ for the exam. If your exam score is 61 to 64, you will receive a D for the exam. If your exam score is 58 to 60, you will receive a D- for the exam. If your exam score is less than 58, you will receive an F for the exam.

 

 

 

Term Paper

 

Chartres is made of stone and glass. But it is not just stone and glass; it is a cathedral, and not only a cathedral, but a particular cathedral built at a particular time by certain members of a particular society. To understand what it means, to perceive it for what it is, you need to know rather more than the generic properties of stone and glass and rather more than what is common to all cathedrals. You need to understand also - and, in my opinion, most critically - the specific concepts of the relations among God, man, and architecture that, since they have governed its creation, it consequently embodies. (Clifford Geertz, The Interpretation of Cultures, Harper, New York, 1973)

 

To every work of architecture, there is a what, and there is a why. The what pertains to its tangible characteristics. The why pertains to the intangible reasons, ideas, beliefs, and ideals that condition every work of architecture and transform the work into a cultural artifact.

Every work of architecture is essentially a composition, i.e., it is comprised of distinct parts placed in a particular relationship to each other for a particular purpose. Understanding a work of architecture requires, first and foremost, an analysis of the work. It entails separating and identifying its constituent parts and their specific relationship to each other and the whole work, e.g., the specific relationship between solids and voids, horizontals and verticals, of the inside to the outside, of structure to skin, of the building to its site, ornamentation, articulation, etc. This is, however, merely a first step. The more important step in understanding a work of architecture is the why of the work.

From a certain vantage point, architecture is an impossible task. Faced with multiple possibilities, the architect has no ground for the delimitation of her/his options. The functions of an edifice suggest no one form and much less a direction. In deference to biological needs, function is nebulous and multi-directional. However, function assumes a trajectory and becomes highly prescriptive when it is appropriated by culture and transformed into a ritual. Though by no means singular, a ritual is distinct and unidirectional. It has unique spatial requirements. It demands a specific setting. It is this and similar prescriptive cultural appropriations that make architecture possible.

Every work of architecture points to a process of delimitation intended to give expression to a particular cultural proposition, theorem, or thesis. As such, every work of architecture serves to transform a culture’s assumptions about the world into a factual experience of them. The work shapes the world, in other words, after our image of it. In this process, economy, ecology, and technology play an important role. They make the realization of certain dreams possible and others not. The shape any work of architecture takes is invariably conditioned by the interaction of these three forces within the broader cultural context.

Therefore, to understand the why of any work of architecture is to understand the cultural rituals it is meant to provide for, the cultural experiences it is meant to instigate, and the ideas, the ideals, the beliefs it is meant to embody, and express.

Throughout the term, we will address both the what and the why of every work of architecture we examine. Lectures will specifically emphasize the why. Your aim throughout the term should be to understand architecture in the sense explained above. In this vein, the point and purpose of the term paper are to give you an opportunity to acquire a more thorough understanding of the formal and theoretical issues and concerns, ideas, and ideals of a generation of architects working within a specific cultural, social, political, and economic context that on the whole is of particular interest to you.

You are, therefore, to choose one of the following periods in the history of Western Architecture: Ancient Greek, Roman, Early Christian & Byzantine, Carolingian & Romanesque, Gothic, and Renaissance. Within this period, you should choose an exemplary building of particular interest to you from the provided list of buildings.

The task is then fourfold:

  1. Research the history of the development of the building and its design, including the various architectural issues and concerns, ideas, and ideals that conditioned the design of this and other buildings of its generation.
  2. Research the cultural, social, political, and economic context within which and in response to which this building was developed.
  3. Research and analyze the particular formal characteristics of the building you have chosen in light of the above research. This entails a careful analysis of the overall spatial organization, the relationship of the parts to the whole, of solids to voids, of volume to mass, of the inside to the outside, the particular expressions of structure and material, the particular articulation of surface, proportion, scale, and so on.
  4. Formulate and present a concise discussion of your research, whereby you demonstrate the integral relationship between the formal attributes of your chosen building and the theoretical concerns and ideals of its architect and his or her generation as this relationship is established and developed in response to the particular demands of a specific social, cultural, economic, and political context.

Your paper should be approximately 4500 words, excluding bibliography and images. It should, therefore, be well organized, concisely written, and economically worded. Every quotation should be identified as such and properly credited. Quotations should not exceed 10% of the paper. Footnotes should appear on the same page and the bibliography on the last page, in MLA format. The paper, on the whole, should demonstrate extensive research above and beyond the assigned readings and lecture material, as well as a thorough understanding of the architectural period chosen.

Your research should be based exclusively on peer-reviewed academic journals and book publications. Your research should not be based on nonacademic web sources, travel guides, etc.

The paper is due Thursday, October 27, 2022.

Before submitting your paper, please have your paper proofread by Grammarly. It is a free online service at https://www.grammarly.com.

Please submit your term paper online at Canvas as a Microsoft word or pdf document.  Please label your file using your name, e.g., JaneDoe.docx.

 

Graded papers will be returned to you after the third exam.

 

Evaluation Criteria

Your paper will be evaluated based on the following criteria. Please make sure you effectively address each criterion in your paper.

  1. How well does the paper evidence a clear understanding of the history of the development of the building and its design?
  2. How well does the paper evidence a clear understanding and explanation of the various architectural issues and concerns, ideas, and ideals that conditioned the design of this and other buildings of its generation?
  3. How well does the paper evidence a clear understanding and explanation of the cultural, social, political, and economic context within which and in response to which the building was developed?
  4. How well does the paper provide a careful and analytical discussion of the formal attributes of the building?
  5. How well does the paper demonstrate the integral relationship between the formal attributes of the building and the theoretical concerns and ideals of its architect and his or her generation?
  6. How well does the paper analyze and discuss the link between the formal and theoretical attributes of the building and the specific social, cultural, economic, and political context of the building's development?
  7. How well does the paper demonstrate extensive research above and beyond the assigned readings and lecture material?
  8. Is the paper content clearly organized, logically sequenced, and coherently presented?
  9. Are there any errors of fact in the paper?
  10. Are there grammatical and spelling errors?

The paper will be given a numeric grade from 1 to 5 for criteria 1 through 8. An excellent and exemplary response to a criterion will receive a 5. A very good and comprehensive response will receive a 4. A satisfactory response will receive a 3. An incomplete response will receive a 2. An unsatisfactory response will receive a 1.

If the average of all the numeric grades is between 4.6 and 5, the paper will receive an A. If the average of all the numeric grades is between 4.3 and 4.6, the paper will receive an A-. If the average of all the numeric grades is between 4 and 4.3, the paper will receive a B+. If the average of all the numeric grades is between 3.7 and 4, the paper will receive a B. If the average of all the numeric grades is between 3.3 and 3.7, the paper will receive a B-. If the average of all the numeric grades is between 3 and 3.3, the paper will receive a C+. If the average of all the numeric grades is between 2.7 and 3, the paper will receive a C. If the average of all the numeric grades is between 2.3 and 2.7, the paper will receive a C-. If the average of all the numeric grades is between 2 and 2.3, the paper will receive a D+. If the average of all the numeric grades is between 1.7 and 2, the paper will receive a D. If the average of all the numeric grades is between 1.3 and 1.7, the paper will receive a D-. If the average of all the numeric grades is less than 1.7, the paper will receive an F.

 

 

 

Building List for Term Paper

 

Renaissance Architecture

           Filippo Brunelleschi

            Public Buildings:

                        Ospedale degli Innocenti - Foundling Hospital - Florence, Italy,1419-1424

            Churches:

                        S. Lorenzo, Old Sacristy (1421-28), Florence, Italy, 1421-25, 1441-1460

                        S. Spirito, Florence, Italy, 1436-1482

                        Pazzi Chapel, Sta. Croce (1294-1480), Florence, Italy, 1429-1446

 

           Leone Battista Alberti

            Churches - Temples:

                        S. Andrea,  Mantua, Italy, 1470-81

 

           Donato Bramante

            Churches - Temples:

                        Sta. Maria presso S. Satiro, Milan, Italy, 1485

                        Tempietto, S. Pietro in Montorio, Rome, Italy, 1504

                        Palazzo Caprini, Rome, Italy, b. 1510

 

           Guilio Romano

            Villas:

                        Palazzo del Te, Mantua, Italy, 1527-34

 

           Michelangelo

            Churches:

                        Medici Chapel, S. Lorenzo, Florence, Italy, b.1520

                        St. Peter´s, Vatican, Rome, Italy, 1546-64

            Libraries:

                        Laurentian Library, Florence, Italy, b. 1524

             Public Projects:

                        Piazza del Campidoglio, Rome, Italy, b. 1537

 

           Jacopo Sansovino

            Public Buildings:

                        Libreria di S. Marco, Venice, Italy, b. 1536

 

           Andrea Pallladio

            Villas:

                        Villa Rotonda, Vicenza, Italy, 1560

            Churches:

                        S. Giorgio Maggiore, Venice, Italy, b. 1566

                       Il Redentore, Venice, Italy, 1576-80

 

 

European and American Architecture, 1600-1750

 

Italy

 

Gianlorenzo Bernini:

 St. Peter´s, Piazza, Vatican, Rome, Italy, 1656

 S. Andrea al Quirinale, Rome, Italy, 1658-70

 

Francesco Borromini:

 S. Carlo alle Quattro Fontane, Rome, Italy, 1638-39

 

Guarino Guarini:

 S. Lorenzo, Turin, Italy, 1668-87

 Cappella SS. Sindone, Italy, 1667-90

 

Pietro da Cortona:

 Sta. Maria Della Pace, Rome, Italy, 1656-57

 

Carlo Rainaldi:

 Sta. Maria in Campitelli, Rome, Italy, 1663-67

 

 

France

 

François Mansart:

  Châteaus de Maisons, Paris, France, 1642-46

 

Louis Le Vau:

  Châteaus, Vaux-le-Vicomte, France, 1657-61

  Versailles Palace, Versailles, France, 1661-1756,

 

Jules Hardouin-Mansart:

  Les Invalides, Paris, France, 1680

  Place Vendôme, Paris, France, 1698

 

 

Germany & Austria

 

Johann Fischer von Erlach:

  Karlskirche, Vienna, Austria, b. 1715

 

Johann Michael Fischer:

  Abbey Church, Ottobeuren, W. Germany, 1744-67

 

Johann Balthasar Neumann:

  Würzburg Residenz, Würzburg, W. Germany, 1737-42

  Vierzehnheiligen, Staffelstein, W. Germany, 1743

 

 

England

 

Inigo Jones:

  Queen's House, Greenwich, England, 1616-35

 

Christopher Wren:

  St. Stephen's, Walbrook, London, England, 1672-79

  St. Paul's Cathedral, London, England, 1675-1709

 

James Gibbs:

  St. Martin-in-the-Fields, London, England, 1722-26

 

Lord Burlington (Richard Boyle):

  Chiswick House, London, England, 1725

 

William Kent:

  Holkham Hall, Norfolk, England, 1734

 

 

European and American Architecture, 1750-1800

 

England

 

Robert Adam:

  Syon House, Middlesex, England, 1762-63

 

George Dance II:

  Newgate Prison, London, England, 1768-69

 

Sir John Soane:

  Bank of England, London, England, b. 1791

 

France

 

Jacques-Germain Soufflot:

  Ste. Geneviève (Panthéon), Paris, France, 1756-90

 

Jacques Gondoin:

  École de Médecine, Paris, France, 1769-75

 

Claude-Nicolas Ledoux:

  Royal Saltworks, Arc-et-Senans, France, 1775-79

  Barrière de la Villette, Paris, Franc, 1784-89

 

Étienne-Louis Boullée:

   Newton's Cenotaph

 

 

U.S.A.

 

William Thornton

  National Capitol, Washington, D.C., 1794, William Thornton

 

Thomas Jefferson

  University of Virginia, Charlottesville, Va., 1817-27

 

Benjamin Latrobe

  Bank of Pennsylvania, Philadelphia, PA, 1799-1801

 

 

 

 

European and American Architecture, 1800-1850

 

 

Germany

 

Karl Friedrich Schinkel:

  Altes Museum, Berlin, Germany, 1824-28

 

 

England

 

Robert Smirke:

  British Museum, London, England, 1824-47

 

 

France

 

Alexandre-Pierre Vignon:

  Church of Madeleine, Paris, France, 1807-45

 

 

U.S.A.

 

Robert Mills

  Treasury Building, Washington, D.C., 1836-42

 

William Strickland

  Second Bank of United States, Philadelphia, PA, 1818

 

Thomas U. Walter

  Girard College, Philadelphia, PA, 1833-47

 

 

 

 

European and American Architecture, 1850 -1900

 

 

England

 

Charles Barry

  Houses of Parliament, London, England, 1836-1860, A. W. Pugin

 

William Butterfield

  All Saints' church, London, England, 1849-59

 

George Gilbert Scott

  Midland Grand Hotel, London, England, b.1861

 

Joseph Paxton

  Crystal Palace, London, England, 1850-51

 

 

France

 

Henri Labrouste:

  Bibliothèque Ste. Geneviève, Paris, France, 1842-50

 

Charles Garnier

  Paris Opera House, Paris, France, 1861-75

 

 

U.S.A.

 

Frank Furness

  Pennsylvania Academy of Fine Arts, Philadelphia, PA, 1871-76

  Provident Life & Trust Co., Philadelphia, PA, 1879

 

A. B. Mullett

  State, War & Navy building, Washington, D.C., 1871

 

Henry Hobson Richardson

  Crane Memorial Library, Quincy, Mass, 1880-83

  Marshall Field Wholesale Store, Chicago, Ill, 1885-87

 

Richard Morris Hunt:

  Tribune Building, New York, NY, 1873-75

  Griswald House, Newport, RI, 1862

 

McKim, Mead & White:

  Boston Public Library, Boston, Mass, 1887-98

  Villard House group, New York, NY, 1882-85

 

Burnham & Root:

  Monadnock Building, Chicago, Ill, 1884-92

  Reliance Building, Chicago, Ill, 1889-95

 

Louis Sullivan:

  Wainwright Building, St. Louis, Miss., 1890-91, D. Adler

  Carson, Pirie, Scott Department Store, Chicago, Ill, 1899-1904

 

 

 

 

 

 

 

Arch History II