This week we received quite an assortment of new books. To follow are the ones I am most excited about, but you should stop by the new books table at APL to find one that excites you!
American Furniture 2015. Edited by Luke Beckerdite. Lebanon New Hampshire: Chipstone Foundation and University Press of New England, 2015.
This year’s American Furniture includes two articles on sulfur inlay, an article on Barnard Eaglesfield, and one announcing a new research project at the Chipstone Foundation on John Widdifield. According to the Chipstone Foundation:
The collector who acquired the book [notebook of John Widdifield] has generously allowed the Chipstone Foundation to publish it in this volume of American Furniture and make it, along with a keyword searchable transcription, available on the foundation’s website, www.chipstone.org, and that of the University of Wisconsin-Madison. Widdifield’s notebook will also be designated as an ongoing research project on Chipstone’s website, thus allowing scholars, students, and others to publish work related to that manuscript. This introduction to the book is intended to begin that dialogue. (“The Notebook of Philadelphia Joiner John Widdifield,” 17.)
I could not find the digitized material on Chipstone; however, the Digital Library for the Decorative Arts and Material Culture, University of Wisconsin does have the digitized copy available with full text searching. If you are interested in early American furniture, the notebook and larger project might be of interest to you.
Taut, Bruno. The City Crown. Translated and edited by Matthew Mindrup and Ulrike Altenmüller-Lewis. Burlington, VT: Ashgate, 2015.
Mindrup and Altenmüller-Lewis write: The texts and images in this translation are organized to retain the original format of the book – a composition of layers intended to guide the reader to understand the efficacy of his city crown proposal. Mindrup and Altenmüller-Lewis continue: As a work, we hope this first English translation of Tuat’s seminal anthology will become a critical text in architectural studies on the history of European Modernism, urban design theory and Taut’s oeuvre in general. (Preface, xii)
In addition to the translations of the works of Bruno Taut, Paul Scheerbart, Erich Baron, and and Adolf Behne, the editors also wrote an introductory essay and afterword.
Radically Modern is the publication that accompanied the exhibit at Berlinische Galerie. Müller writes:
The focus is on the implementation, in both halves of the city, of modern planning objectives which – for all the heterogeneity and the efforts made during the Cold War to draw distinctions – can be interpreted today as emphasizing common ground between the two cultures of construction. Deeply unsettled by the events of the Second World War, and visually confronted by urban destruction, planners and architects rigorously refused – apart from a few exceptions – to rebuild the traditional city. (Introduction, 18)
The catalogue is extensively illustrated with archival materials, photographs, and models. Additionally, nine essays explore the topics- Risen from Ruins, Urban Spaces/Urban Dreams, Techno-Geometries, Serial Diversity, Large Housing Estates and Oppositions.
This past March several members of the staff from the Library and Archives attended the Association of Architecture School Librarians Annual Conference held this year in Seattle with ARLIS/NA and VRA. Beth Dodd, Katie Pierce Meyer, and myself were all part of the programming committee. We were charged with organizing the conference sessions, which included both traditional sessions and lightning rounds. The topics included: Building New Models: Library as Learning Lab; Engaging the School: Making Scholarship Visible; Co-constructing and Documenting Place; and Evolving Architectural Collections and Connections. Stephanie Tiedeken had the chance to present her capstone project on Islandora, a data asset management system, while I spoke about a DH project, Still Looking for You, which I worked on at Lehigh University.
In addition to the conference sessions, we also had the chance to explore Seattle, both on our own and with guided tours. I attended the tours: University of Washington Campus Architecture Tour: “Building a Polyvalent Campus, 1895-2015″ and “Pike/Pine: Change on a Urban Scale.” The latter was led by the Seattle Architecture Foundation Tour Guide. I greatly enjoyed the Pike/Pine tour which examined the challenge of preserving the neighborhood identity and fabric in the face of urban renewal and the changing demographic of residents.
Katie and I also made the pilgrimage to see Hat ‘n’ Boots. We spent months talking about visiting this restored example of roadside architecture, now part of a neighborhood park!
April is World Landscape Architecture Month, and I realized today that I have nearly let April slip by without recognizing it. I thus selected William Wrighte’s work which includes designs for follies, bridges, baths, and water features. The style of the designs reflect rustic and Gothic architecture as well as an influences from Eastern cultures. Each plate is accompanied by a brief description to aid in the construction of the structures with tips on its ornamentation or siting.
Museum of Modern Art. Built in USA since 1932. Edited by Elizabeth Mock. Forward by Philip F. Goodwin. New York: Museum of Modern Art, 1945.
Museum of Modern Art. In USA Erbaut, 1932-1944. Edited by Elizabeth Mock. Forward by Philip F. Goodwin. Wiesbaden: Metopen Verlag, .
While I was in Special Collections, pulling books for a class visit in a few weeks, I came across MoMA’s Built in the USA, both the American and German editions. Each still had its original cover. What I found particularly striking about the covers was the different representations of American architecture. The American cover is a black and white photograph of Heckendorf House (1939) in Modesto, CA by John Funk. The German cover rather has a stylized drawing of a modern skyscraper.
The Alexander Architectural Archives are undergoing some renovations—and not just in the East Wing: the Archives’ EAD-encoded finding aids are being converted to schema-compliant documents. As one of the University of Texas’s smaller campus repositories, we at the Architectural Archives are serving as a test case for a larger university-wide (and broader TARO) effort to adopt the XML Schema standard. During this transitional period, my job has been to fix any errors that result from the batch-conversion process; however, as part of the larger scope of this project, my job also entails modifying certain elements in our finding aids to better reflect current descriptive practices with respect to use policy, sponsorship, and materials stored within Texas ScholarWorks (formerly the University of Texas Digital Repository).
If you’re still wondering what “Schema-compliance” means, XML schemas (note the little “s”) define the grammar of XML documents, since XML by definition has no set tag vocabulary or structure; these schemas fall into different families. The two families that we’re primarily concerned with are the DTD and XML Schema (big “S”). Encoded Archival Description (EAD) is the standard data vocabulary (with a tag library maintained by the Library of Congress) for describing archival records and the schema (whether it conforms to a DTD or a Schema document) controls the ordering and structure of your XML instance. Although XSD (XML Schema Definition) has been around for a while and has been a W3C recommendation since 2001, many of our local UT archives have used DTDs to define the structure and semantics of their XML-encoded finding aids. The reticence to use Schema is owing to the fact that the technology hasn’t necessarily been fully supported by XML parsers and that the EAD schema for use in finding aids was not released until 2012.
Yet the question remains: why convert now?
One motivation for switching to XSD-compliant XML is that it’s namespace aware, meaning it imposes more restrictions and offers more detailed enforcement on values (date, language, and repository encodings, for example). Being namespace aware also means that an XML file can refer to specific structured vocabularies when linking elements—this is what enables large-scale interoperability and data synchronization. The XLink capacities of XSD-compliant documents also allow for more complex links between digital objects. Additionally, the newest EAD tag library (EAD3), which we haven’t adopted yet, gravitates toward deprecating ambiguous elements. These EAD emendations form part of a larger trend toward standardizing archival description: by reducing EAD’s flexibility, we reduce inconsistencies among repositories by discouraging idiosyncratic institutional practices. Finally, looking forward, the EAD tag library revisions and the widespread adoption of XSD as our standard document grammar is part of the movement toward linked data and the semantic web.
This exhibit series seeks to explore buildings through drawings and other visual items found in the Alexander Architectural Archive and Architecture & Planning Library with a focus on working drawings.
The fourth installment in the series features the NexusHaus. The University of Texas at Austin and the Technische Universität München U.S. Solar Decathlon 2015 house combines the efforts of an international group of students in an affordable, modular residential green building design. The house demonstrates transformative technologies that make it Zero Net Energy, Zero Net Water capable and carbon neutral in its use of sustainable building materials.
Among the UT students on the Nexushaus team, 41 were from the Cockrell School of Engineering, 36 were from the School of Architecture, four were from the McCombs School of Business, three were from the College of Liberal Arts and there is one each from the Jackson School of Geosciences, the College of Natural Sciences and the Moody College of Communication.
After the competition, NexusHaus was shipped to McDonald Observatory in West Texas and reassembled to house scientists and other University staff members.
We would like to thank UT School of Architecture faculty members Michael Garrison, Petra Liedl and Adam Pyrek for their willingness to donate to the Alexander Architectural Archive the documentation for the NexusHaus for future researchers to access.
These drawings of the NexusHaus are a fine example of the current art of construction drawings.
The opening reception is Monday, March 28 at 6pm in the Reading Room of the Architecture & Planning Library in Battle Hall.
In the summer of 2010, Amanda Keyes blogged about the journal Southern Architect and Building News housed in APL’s Special Collections (for reference: Architectural Drawing, Now and Then). I wanted to provide an update regarding the work that was done, as researchers pepper us with questions now and then.
Ms. McDougal’s kind gift provided APL the opportunity to build and test a prototype database to index the material in Southern Architect and Building News. Additionally, a cataloging manual based upon the guidelines established by the Avery Index to Architectural Periodicals was also written. Unfortunately, the initiative to index and digitize the journal was never fulfilled. APL has not had the resources to either digitize or create article level metadata around the journal content. We are excited to have the opportunity to revisit this project by applying for CLIR’s Digitizing Hidden Special Collections and Archives: Enabling New Scholarship through Increasing Access to Unique Materials grant competition.
For the past couple of weeks, I have been contemplating the transmission of ideas as it relates to architecture. While browsing Special Collections, I found several books on fireplaces – two catalogs, one a history, and the last a reprint of an eighteenth-century pattern book – that provide another opportunity to think a bit further about ideas on the move.
The writer of the catalog proclaims the importance of the fireplace to any American home:
For ages at the twilight hour humans have drawn together at the firelight’s cheerful glow. In habitations throughout the centuries, the fireplace has received special attention, and some of the loveliest art of all ages has been lavished upon it.
Today, thanks to modern methods of production, the best of classic mantel designs from various periods are available to every home. For the bungalow or palace, there is an appropriate mantel in cast stone whose lines will focus the very spirit of the home into a glowing shrine about which the family may gather. (pg. 19)
Each page is dedicated to a single fireplace with a black and white photograph, measurements, molding profile, and an identified style. The styles include Louis XIV, XV, and XVI, Adam, Colonial, Tudor, Georgian, Italian, and several variations on the theme of Renaissance. The intended audience of the catalog is builders and architects. The writer notes “They [fireplaces] help close sales.” (pg. 1)
The second catalog comes from a British company in which a new type of stove can be placed into an existing fireplace. Accordingly:
The “HUE” has been placed before the public as an Easy, Inexpensive and Efficient method of converting the old-fashioned, coal-wasting type of grate into a modern barless stove, possessing all the advantages of the very latest improvements in open grates without the necessity of pulling down mantelpieces and removing existing stoves. (pg. 2)
The models are assigned one or two to a page, accompanied by measurements, a rendering – some reproduced in color – materials and finish. Unlike the catalog from the Architectural Decorating Company, the target audience appears to be the general public. Some of the illustrations, for example, create atmosphere and context so that the customer would not have to imagine how the fireplace might look in their homes. The cover includes an illustration of the “glowing shrine” as described in the previous catalog. Furthermore, Young & Martin, Ltd. refrain from architectural styles, preferring to bestow names onto their fireplaces like “Hampton” or “Windsor.”
Our copy is well worn. A previous owner sketched a ruler onto the rendering of the “Henley.”
Guy Cadogan Rothery provides a brief history of the fireplace from the medieval period to the nineteenth century, followed by an extensive photo essay and accompanied with some architectural drawings of fireplaces. Our copy of English Chimney-Pieces belonged to J. A. Sherman of Ipswich with an associated date of August 1928. After a bit of research, I was not able to positively identify Sherman as an architect. A previous owner of the book, whether Sherman or otherwise, taped a drawing of a fireplace into the front end papers of the work.
Of the four books, the reprint issued by the Boston Architectural Club of B. Langley’s architectural drawings for various decorative elements – including fireplaces – is my favorite. Our copy is part of the Paul Cret collection. While the work is a facsimile of an eighteenth-century work, it also includes extensive advertisements often associated with a trade publications. I find the juxtaposition of these two elements speaks to both historical practice and need.
Now one of the largest repositories of its kind in the United States and housed at UT-Austin’s venerable Battle Hall, the Alexander Architectural Archives began as an associate professor’s private passion, an ad hoc gathering of student reports written for the “Survey of Texas Architecture” course taught by archives namesake Blake Alexander (1924-2011). For the class, which Alexander, a Texas native and Longhorn alum, began teaching in the 1960s, students were sent into the field and also into reading rooms of city and county libraries and archives across the Lone Star State to research land titles, conduct oral interviews, and photograph and make measured drawings of Texas buildings. Students wrote about and drew a wide swathe of edifices, some of which no longer stand, lost to indifference or to the vested interests of urban developers; some of which are currently under threat, like Austin’s Palm School, named for 19th-century Swedish immigrant Swante Palm, a diplomat and bibliophile whose donated book collection essentially started the University of Texas’ library system and whose house stood just off Congress Avenue, right where the thermal-glass tower Texas Monthly calls home now looms; and some of which, through the rugged persistence of high-minded preservationists like Alexander and his indefatigable colleague Wayne Bell, have been saved from the wrecking ball and repurposed, like the old Lone Star Brewery complex in San Antonio that today is the San Antonio Museum of Art. Buildings grand and mundane, commissioned and vernacular, everything from aristocratic 19th-century hotels to lowly log jails, were documented by students in these class reports, which were kept personally over the years by Alexander until the collection outgrew both his office and a storage room known as “Alexander’s closet” and were transferred to the care of what is now The University of Texas Libraries.
Since then, the Alexander Architectural Archives has grown into a major collection of over 280,000 drawings, 1,150 linear feet of papers, and some 300,000 photographic items related to architectural projects not just in Texas but throughout the United States and abroad as well. Though now just a fraction of the archives’ total holdings, Alexander’s seed assemblage of student reports—formally the Texas Architecture Archive (TAA)—still retains a special position with both archives staff and researchers. Its materials get heavy and loving use, so to provide even better access to this signature collection, archives staff spent much of last summer and fall reviewing and updating descriptive metadata for each and every one of the nearly 1,400 student reports. When needed, these reports, filling more than 25 record storage boxes, were also individually rehoused into acid-free folders, though it should be noted that most of these reports, many of which were written over half a century ago, well before personal computers and inkjet printers became fixtures in campus dorm rooms, are in fine fettle given the high-quality, durable cotton paper (sometimes watermarked with a vintage University of Texas bookstore logo) on which students typed their final drafts. With enhanced metadata (project dates, architect names, location information) researchers will have new access points and avenues into the collection, whether they’re looking for scholarship about a well-known Texas architect (Abner Cook, Nicholas J. Clayton, James Riely Gordon, to name a few) or have more general queries about historic structures within a specific city or county.
Richer metadata has also allowed us at the archives to begin exploring different ways to visualize the collection’s wide-ranging materials, the vast majority of which are related to the built environment of Texas. For instance, we’ve been able to use Palladio, a free browser-based digital humanities toolset developed at Stanford, to map the subject locations of each student report.
Not surprisingly, most students wrote about buildings and structures in Travis County or in cities and towns a (relatively) short drive away along the I-35 corridor north to Dallas-Fort Worth or south to San Antonio, a route that roughly follows the scalloped curve of the Balcones Fault. Conversely, the map reveals how strikingly few structures west of the Hill Country were researched. The Llano Estacado of the Lubbock area or, further south of that, the Trans-Pecos region near Fort Stockton, are more onerous distances from Austin, and impecunious pupils no doubt preferred to examine historic structures closer to the Forty Acres. One of the buildings written most frequently about, the Greek Revival Neill-Cochran House, built in 1855, is just a few short blocks from Guadalupe Street, the university’s main commercial drag. The mapped reports also simply mirror well-established historical trends of 19th– and 20th-century settlement in Texas, the limits of which were always around the 98th meridian, east of which there was enough (if not plenty of) rainfall and west of which there was land so dry that it was difficult to cultivate, making both town-building and its byproduct architecture risky propositions.
Over the next few months we’ll be writing posts meant to illuminate how the Texas Architecture Archive student reports make visible this intersection between the architecture and history (natural, social, political, industrial) of the Lone Star State. Above all, the hope is that this occasional series, which we’ll call Tales from the Texas Architecture Archive (or Tales from the TAA), will convey the elemental pleasure of time spent in our archives. Whether the subject is food, transportation, entertainment, military affairs, or demographic shifts, architecture is everywhere a foil to life. It’s always there, shaping or reflecting the world at large, a locus or backdrop to the lives we lead.
One of the more delectable documents in the TAA collection is a 59-page report on the history of Austin’s Enfield Grocery. Designed by Hugo Kuehne, founding dean of UT’s School of Architecture, it was built in 1916 with barge-board trimmings by locally-renowned Swiss woodcarver Peter Mansbendel. It offered “staple and fancy groceries” until after Prohibition, when it became The Tavern, a neighborhood beer joint. (A sports bar operates there today under the same name, serving sinfully good queso burgers on kolache buns to sudsy Longhorns fans who gather to watch televised games.) For her report, written in 1987, the student interviewed one C. J. Schmid, an old-timer who recalled the motley regulars who’d drink there in the 1930s, including Mansbendel, Paul Cret, the architect who developed the UT campus master plan, and Italian-born sculptor Pompeo Coppini, who worked with Cret on UT’s Littlefield Memorial Fountain and whose bronze figures of Jefferson Davis and Woodrow Wilson were removed last August from their prominent limestone perches on UT’s South Mall. (They eventually will be on display at their new home, the Briscoe Center for American History.) In the interview, Schmid lamented that The Tavern’s current “kindergarten” clientele was objectionably green and boorish and that fellows of his advanced age therefore avoided it, as they did Scholz Garten, where the snot-nosed college kids “kind of looked ill-kept, you know, all whiskered up” and had “stringy hair, you know, kind of greasy.” As for the waitresses, Schmid opined, “soap was not their main possession.” We can see from the TAA collection’s student reports, then, that while buildings come and buildings go, some things, like griping about younger generations and the newest out-of-towners (a seemingly inexhaustible parlor game in Austin) never change.
Explore UT, that carnival of an open house, that invasion of miniature wide eyed students and their exhausted parents, whose scale rivals the world’s fair, will be held on campus one month from today on Saturday March the 5th. In order to do our part to help recruit some new students for the university and the School of Architecture, we at the Architecture and Planning Library have prepared a few quasi educational sideshows. There will be materials for coloring, a game to test your knowledge of fictional architecture, and a clown who will show you how to make a simple book. The activities will be held in the library’s reading room in Battle Hall from 11-5, except the book making which will be held from 12-3. If you don’t care for activities, then the classical beauty and grandeur of Battle Hall should be reason enough to pay us a visit, and should also be far more compelling to an impressionable young student than any game could be. Come explore our library!
Blog from the University of Texas Architecture and Planning Library