ETHIOPIAN TECHNICAL INSTITUTE

ARCHITECTURAL HISTRY ASSIGNMENT –3

Eclectic Architects Works

By Dawit Ketema

ID-TIE/0262/10

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CONTENTS
1. Daniel Burnham ……………………………………………………….….3

Daniel Burnham 15 Iconic Projects

1.1 Flatiron Building, New York [1902]…………………………………………………5

1.2 Roorkey Building, Chicago [1888] ………………………………………..6
1.3 Montauk Building, Chicago [1883]……………………………………….....7
1.4 Chicago Union Station, Chicago [1925]……………………………………..7
1.5 Jackson Park, Chicago [1891]………………………………………….……9
1.6 Union Station, Pittsburgh [1903]………………………………………………………..……..10
1.7 The White City [1893]………………………………………………………10
1.8 Majestic Building, Detroit [1896]……………………………………………………………....11
1.9 Orchestra Hall, Symphony Centre, Chicago [1904]…………………………………….12
1.10 John Wanamaker Department Store, Philadelphia [1910]…………….….13
1.11 ‘Manila’ City Planning, Philippines[1904]……………………………..…14
1.12 Joliet Public Library, Joliet [1903]…………………………………….…..15
1.13 Riverfront Apartments, Toledo [1913]………………………………….…16
1.14 Sydney Kent House, Chicago [1883]………………………………………16
1.15 Plan of Chicago, 1909………………………………………………………………………………17
2. Alexander Jackson Davis……………………………………………..……………………………19
Country residences (1840 - 1860)
…………………………………………………………………….21
Declining patronage and retirement……………………………………………………………….24
3. Antonio Gaudi……………………………………………………………………………………………….25
Adulthood and professional work……………………………….……………..27
His Student time Works………………………………………………………………………………….31
Early post-graduation projects………………………………………………………………………..32
First Güell projects………………………………………………………………………………………….33
Orientalist period………………………………………………………………………………………….33
4. Josef Hlavka…………………………………………………………………………………………………..34
Patron………………………………………………………………………………………………
…………….35
5. Richard Morris Hunt…………………………………………………………………………………..36
6. Charles Follen McKim………………………………………………………………………………..39
7. William Mead………………………………………………………………………………………………41
8.Richard Norman Shaw..................................................................................43
His
works………………………………………………………………………………………………
………44
9.Stanford White.................................................................................................46
Early life and training………………………………………………………………………………….47
Residential properties………………………………………………………………………………….48

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 Main Eclectic Architects
1. Daniel Burnham 4. Josef Hlavka 7. William Mead
2. Alexander Jackson Davis 5. Richard Morris Hunt 8. Richard Norman
Shaw
3. Antoni Gaudi 6. Charles Follen Mckim 9. Stanfors White

1. Daniel Burnham (September 4, 1846 – June 1, 1912)

He was an American architect and urban designer. A proponent of the Beaux-Arts movement, he
may have been, "the most successful power broker the American architectural profession has
ever produced."

A successful Chicago architect, he was selected as Director of Works for the 1892–93 World's
Columbian Exposition, colloquially referred to as "The White City". He had prominent roles in
the creation of master plans for the development of a number of cities, including the Plan of
Chicago, and plans for Manila, Baguio and downtown Washington, D.C.. He also designed
several famous buildings, including a number of notable skyscrapers in Chicago, the Flatiron
Building of triangular shape in New York City, Union Station in Washington D.C., London's
Selfridges department store, and San Francisco's Merchants Exchange.

Although best known for his skyscrapers, city planning, and for the White City, almost one third
of Burnham's total output – 14.7 million square feet (1.37 million square meters) – consisted of
buildings for shopping.

Daniel Hudson Burnham

September 4, 1846 to June 1, 1912
(aged 65)

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Burnham was born in Henderson, New York, the son of Elizabeth Keith (Weeks) and Edwin
Arnold Burnham. He was raised in the teachings of the Swedenborg an, also called The New
Church which ingrained in him the strong belief that man should strive to be of service to others.
At the age of eight, Burnham moved to and his father established there a wholesale drug business
which became a success.

Burnham was not a good student but he was good at drawing. He moved to the eastern part of the
country at the age of 18 to be taught by private tutors in order to pass the admissions
examinations for Harvard and Yale, failing both apparently because of a bad case of test anxiety.
In 1867, when he was 21 he returned to Chicago and took an apprenticeship as a draftsman under
William LeBaron Jenney of the architectural firm Loring & Jenney. Architecture seemed to be
the calling he was looking for, and he told his parents that he wanted to become "the greatest
architect in the city or country".

Burnham married Margaret Sherman, the daughter of his first major client, John B. Sherman, on
January 20, 1876. They first met on the construction site of her father's house. Her father had a
house built for the couple to live in. During their courtship, there was a scandal in which
Burnham's older brother was accused of having forged checks. Burnham immediately went to
John Sherman and offered to break the engagement as a matter of honor but Sherman rejected
the offer, saying "There is a black sheep in every family." However, Sherman remained wary of
his son-in-law, who he thought drank too much.

Burnham and Margaret remained married for the rest of his life.They had five children, two
daughters and three sons, including Daniel Burnham Jr. born in February 1886, who became an
architect and urban planner like his father. He worked in his father's firm until 1917, and served
as the Director of Public Works for the 1933-34 Chicago World's Fair, known as the "Century of
Progress".

When Burnham was in his fifties, his health began to decline. He developed colitis and in 1909
was diagnosed with diabetes, which affected his circulatory system and led to an infection in his
foot which was to continue for the remainder of his life.

Burnham died only 47 days later from colitis complicated by his diabetes and food poisoning
from a meal eaten in Heidelberg

At the time of his death, D.H. Burnham and Co. was the world's largest architectural firm. Even
legendary architect Frank Lloyd Wright, although strongly critical of Burnham's Beaux Arts
European influences, still admired him as a man and eulogized him, saying: "[Burnham] made
masterful use of the methods and men of his time ...[As] an enthusiastic promoter of great
construction enterprises ...his powerful personality was supreme."

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 Daniel Burnham 15 Iconic Projects
1.1 Flatiron Building, New York [1902].
One of the most iconic skyscrapers and characters of New York City. Flatiron Building
stood high and strong with its 22-storied steel-framed skeleton, just like Burnham’s
personality. The structure showcases Beaux-Arts showpiece; a varied form of
Neoclassicism. The architectural style of this building is what turns out to be Burnham’s
trademark later. The change in New York City’s building codes, 1892 resulted in the
allowance for the use of steel framing. Thus, what we witness today is a triangular-
shaped plan with steel framing along with interior done with wood frames and copper-
cladded windows. Although this caused the users to experience a major heat problem
and mediocre user experience. Flatiron The building, with all its fame, didn’t seem to
satisfy its core, the users! Appears as if the exterior beautification doesn’t mean the
correct instinctive feel.

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 1.2 Roorkey Building, Chicago [1888]

Roorkey Building is a historic building in the evolution of the city’s architecture. It

provided the transition of new building techniques with exterior load-bearing walls and
interior steel framing. Being amongst the first large scale structures, done along with
Burnham’s first and life lasting partner John Root, started in the year 1873. Light Court
is the most featured part of the Roorkey Building. The use of ornamentations and light
at the focal point of the building brings daylight into the interior offices. There is a semi-
circular staircase west of the light court; which surely would make you feel like going
back to Buckingham Palace; if you ever did go in the first place though!

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1.3 Montauk Building, Chicago [1883]

Built-in 1882-1883 the building had to be demolished just after a decade of its
construction; this was the first major commercial project handled by Burnham & Root. It
was a 10-stories structure with steel construction, on a heavy foundation for the load to
be held on to. With 150 offices, along with two passenger elevators and 300 occupant
capacity. For a relatively less heightened structure in Burnham’s career, Montauk
Building sure was huge at that time.

Even though the structure had to be demolished because of the swampy soil type of Chicago.
The bright side we can hold on to is that at least Burnham & Root dared to try it and even made
it happen.

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1.4 Chicago Union Station, Chicago [1925]
After the Great Chicago Fire of October 1871; A black day in Chicago’s history. The city
was in a completely new phase of redevelopment. Futuristic by character Daniel
Burnham never held back his ever-expanding thoughts. Chicago Union Station is the
result of his 1909’s vision of having all intercity trains using the same station. The
biggest architectural glory of the Station is the Central Great Hall; with a large barrel-
vaulted skylight having 110ft. high atrium. The Union Station is a basic square-shaped
neoclassical structure contrasting with the modern glass facade.

Unfortunately, D. Burnham never got to see it after its completion; because of

Burnham’s sudden death in 1918.

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 1.5 Jackson Park, Chicago [1891]
Yet another Project in Chicago; Looks like Chicago believed in Burnham’s architecture
even more than he did in himself.

Host to the World’s Columbian Expo, or the World Chicago Fair 1893; Jackson Park
was then proposed. Major work of this park was done by the then flourishing Landscape
Architect Frederick Law Olmsted. Daniel Burnham worked as the Chief of Construction
to this project. This park worked as the foundation for the process of ‘City Beautiful
Movement’

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 1.6 Union Station, Pittsburgh [1903]
Built 1898-1904; this union station has more of a raw materialistic appearance coming
from its brown terracotta cladding and brickwork. Still regarded as one of the great
pieces of Beaux-Arts architecture in America. Founded on the base values of French
Neoclassicism, having integrated gothic and renaissance elements; along with mixed-use
of modern materials like iron, glass, steel, etc. Union station Pennsylvania is thus far
another demonstration of Burnham’s legacy.

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 1.7 The White City [1893]
‘White City’ termed the origin of ‘City Beautiful Moment’, which developed Burnham’s
intellect, working it out later as an influential urban planner.

It was proposed first in the World Columbian Expo 1893; which was maybe the first
architectural collaboration work done together by different artists, architects, engineers,
sculptures, and landscape architects.

Burnham & Root were responsible for the final design & construction of this World
Chicago Fair or the World Columbian Expo.

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 1.8 Majestic Building, Detroit [1896]
Another High-rise building of the late 1890s. Majestic Building was the city’s only
second skyscraper, quoted as a fireproof skyscraper. The building stood strong to its
claim, after a fire break in 1915 on the top floor. The building’s support structure did not
withhold any kind of damage and the fire was restricted to the top floor itself without
endangering the other floors.

Having studied architecture at the École desBeaux-Arts, Paris. The blend of modern
materials like glass and the typical hint of neoclassicism can once againbe noticed.

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 1.9 Orchestra Hall, Symphony Centre, Chicago [1904]
Constructed and completed in 1904. The structure underwent major makeover by the
end of the 20th century; with improved and enhanced acoustics of the concert hall, done
by Trahan Architects. To define the significance of a structure lasting centennial years;
any kind of description would not just be enough.

That’s a major landmark that Burnham’s work represents. They are more like a legacy
today. A perfect tribute to someone who believed in making breakthroughs happen.

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 1.10 John Wanamaker Department Store, Philadelphia
[1910]
After the death of John Root in 1873; this department store building was a project by D.
H. Burnham and Co.; changed from its preceding ‘Burnham & Root’.

With the Beaux-Arts influence, Burnham had; typically, the classic style of Greece and
Rome, and the use of modern materials that were the result of the Industrial Revolution
ending roughly in between 1820-1840s; Major part of the structure is cladded with terra
cotta, giving it a plain yet elegant look. It was the City’s first fully sprinkled commercial
structure with dozens of elevators.

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 1.11 ‘Manila’ City Planning, Philippines[1904]
After gaining notable nominations from his ever-expanding project list, D. H. Burnham
did get a commission to develop the capital city of the Philippines and delivered the new
city plans for Manila.

Establishing his very own presence in the Philippines. After spending six on-site weeks,
Burnham returned to the U. S. with maps and manuscripts for the proposed
improvements in Manila which included, development of the waterfront and the
expansion of parks and parkways, direct district to city communication via a proper
street system, development of transportation canal and river banks for the Pasig River.
Along with the other small necessary improvements.

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 1.12 Joliet Public Library, Joliet [1903]
As a public library, it started with the help of 750 donated books on March 7, 1876.

But as always, it looks as if there is a paradox associated with Burnham’s every other
piece of work. Yet another majorly limestone cladded structure. It was firebombed on
April 19th, 1989, which destroyed the non-fiction section of children’s area; closing
down the library for months exclusively for the kids, and opened after 9 days of buffer
time for everyone else.

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 1.13 Riverfront Apartments, Toledo [1913]
Built-in 1913, it’s astonishing to know that the building still holds the position of fifth-
tallest building in Toledo. Originally known as the Second National Bank Building, it
stood as Toledo’s tallest building for 17 years after its public opening. Converted to a
residential apartment in 1999 and renamed as Riverfront Apartments.

No wonder, why D. H. Burnham and Co. are considered as the originators of

skyscrapers. Ultimately they are still standing high and strong.

1.14 Sydney Kent House, Chicago [1883]

Not many structures designed by the partnership of Burnham & Root are existing today;
a true symbol of a professional friendship, Sydney Kent House is amongst the rare
buildings which aren’t skyscrapers. Being a residential home; it carries again the typical
Neo-Classical approach Burnham used in his structures. It is still one of the structures in
Burnham’s ‘Chicago loop’; which till date shows the footprints of Burnham’s ever-
expanding vision.

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 1.15 Plan of Chicago, 1909.
A combined effort co-authored by D. Burnham & Edward Bennett; popularly known as
the Burnham Plan.

It was this plan that reshaped Chicago’s central area; having proposed civic and cultural
centers, improved streets, and railway terminals along with an efficient highway system.
The sole motive of this visionary plan can be said to be more fitting for the elites of the
society and its expansion, thus inviting criticism to have ignored the social issues.
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 2. Alexander Jackson Davis (July 24, 1803 – January 14, 1892)
He was an American architect, known particularly for his association with the Gothic Revival
style. Davis was born in New York City and studied at the American Academy of Fine Arts, the
New-York Drawing Association, and from the Antique casts of the National Academy of
Design. Dropping out of school, he became a respectable lithographer and from 1826 he worked
as a draftsman for Josiah R. Brady, a New York architect who was an early exponent of the
Gothic revival style: Brady's Gothic 1824 St. Luke's Episcopal Church is the oldest surviving
structure in Rochester, New York.

Detail of Davis portrait ca. 1855

Davis made a first independent career as an architectural illustrator in the 1820s, but his friends,
especially painter John Trumbull, convinced him to turn his hand to designing buildings.
Picturesque sitting, massing and contrasts remained essential to his work, even when he was
building in a Classical style. In 1826, Davis went to work in the office of Ithiel Town and
Martin E. Thompson, the most prestigious architectural firm of the Greek Revival; in the office
Davis had access to the best architectural library in the country, in a congenial atmosphere where
he gained a thorough grounding.

From 1829, in partnership with Town, Davis formed the first recognizably modern architectural
office and designed many late Classical buildings, including some of public prominence. In
Washington, Davis designed the Executive Department offices and with Robert Mills the first
Patent Office building (1834–36). He also designed the Custom House of New York City (1833–
42). Bridgeport City Hall, constructed in 1853 and 1854, is a later government building Davis
designed in the Classical style.

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 Western view of Bridgeport City Hall,
Federal Hall National Memorial, New
before 1905
York City

A series of consultations over state capitols followed, none apparently built entirely as Davis
planned: the Indiana State House, Indianapolis (1831 – 35), elicited calls for his advice and
designs in building other state capitols in the 1830s: North Carolina's (1833 – 40, with local
architect David Paton), the Illinois State Capitol, often attributed entirely to the Springfield,
Illinois architect John F. Rague, who was at work on the Iowa State Capitol at the same time, and
in 1839, the committee responsible for commissioning a design for the Ohio Statehouse asked
his advice. The resulting capitol in Columbus, Ohio, often attributed to the Hudson River School
painter Thomas Cole consulting with Davis and Ithiel Town, has a stark Greek Doric order
colonnade across a recessed entrance, flanked by recessed window bays that continue the rhythm
of the central portico, all under a unique drum capped by a low saucer dome. With Town's
partner James Dakin, he designed the noble colossal Corinthian order of the Greek Revival
"Colonnade Row" on New York's Lafayette Street, the very first apartments designed for the
prosperous American middle class (1833, half still standing). Two years after its completion,
Davis was hired to design the Dutch Reformed Church upriver in Newburgh, inspired by the
Temple of Poseidon, both positioned for the viewing of maritime travelers. He continued in
partnership with Town until shortly before Town's death in 1844.

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 Indiana State House in Indianapolis North Carolina State Capitol

West facade of the Ohio Statehouse

The church in late 2006, with all four

columns restored

Country residences (1840 - 1860)

The 1840s and 1850s were Davis's two most fruitful decades as a designer of country houses. His
villa "Lyndhurst" at Tarrytown, New York, is his single most famous house. Many of his villas
were built in the scenic Hudson River Valley— where his style informed the vernacular Hudson
River Bracketed that gave Edith Wharton a title for a novel but Davis sent plans and
specifications to clients as far afield as Indiana. He designed Blandwood, the 1846 home of
Governor John Motley Morehead that stands as America's earliest Italianate Tuscan
Villa.Innovative interior features, including his designs for mantels and sideboards, were also
widely imitated in the trade. Other influential interior details include pocket shutters at windows,
bay windows, and mirrored surfaces to reflect natural light. The Greek Revival style William

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Walsh House was built at Albany, New York, and Gothic Revival style Belmead was built near
Powhatan, Virginia, in 1845.

Blandwood Mansion is an example of

Two Front facade
smaller butofwell
Lyndhurst,
known structures designed by design
Italianate Davisbyinclude oneinbuilt for John Cox
Davis. 1844
1838 and 1864
Stevens in 1845; Stevens was the first Commodore of New
Greensboro, North York Yacht Club and the small
Carolina
Carpenter Gothic building on his property near Hoboken was given to NYYC to be used as its
first clubhouse. This building, fondly called "Station 10", still exists and can be found in
Newport. Davis built a similar pavilion for his colleague and fellow NYYC founder, John
Clarkson Jay, on Jay's Long Island Sound waterfront property in Rye, New York, in 1849.
Although this building was taken down in the 1950s, the original setting and garden where it was
once located is part of a National Historic Landmark site and open to the public.

Inspired in part by friend Andrew Jackson Downing, Davis constructed several Gothic Revival
cottage-style homes in Central New York, including the 1852-completed Reuel E. Smith House,
which is included in the National Register of Historic Places.

In 1851, Davis completed Winyah Park, one of approximately eighteen or more Italianate houses
he designed in the 1850s. Winyah was built for Richard Lathers, who had studied architecture
with Davis in New York in the 1830s. It was situated on Lathers's estate in the town of New
Rochelle in Westchester County, New York. For this design Davis won the first architectural
prize at the New York World's Fair of 1853–54. He used its most striking feature, two adjacent
yet contrasting towers, in a much larger house named Grace Hill, built in Brooklyn between
1853 and 1854. In both Winyah and Grace Hill, broad octagonal towers serve as visual anchors
for the taller square towers. Lathers later employed Davis to design four additional "investment
houses" on his property which became known as "Lathers's Hill". The homes included two
Gothic cottages and "Tudor Villa" constructed in 1858, and "Pointed Villa" constructed in 1859.
In 1890, the artist Frederic Remington purchased one of these cottages from which he created his
estate "Endion", which served as the studio for most of his artistic career. The success of
"Winyah Park" and "Lathers's Hill" generated other important commissions for Davis in New
Rochelle, including two cottage-villas, Wildcliff and Sans Souci, which he designed for
members of a prominent Davenport family.

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 Davis's Italianate villa "Winyah
Park" in New Rochelle, New York "Tudor Villa" in New Rochelle, New
York

Wildcliff Davenport House

Davis's signature central gable. Another extant Gothic Revival commission is Whitby Castle,
designed in 1852 for Davis' lifelong friend William Chapman. The building is part of the Boston
Post Road Historic District (Rye, New York) and retains many original features.

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Whitby Castle in winter

Davis was invited to become a member of the American Institute of Architects shortly after its
founding in 1857. In the late 1850s, Davis worked with the entrepreneur Llewellyn S. Haskell to
create Llewellyn Park in West Orange, New Jersey, a garden suburb that was one of the first
planned residential communities in the United States.

Davis designed buildings for the University of Michigan in 1838, and in the 1840s he designed
buildings for the University of North Carolina at Chapel Hill, Chapel Hill, North Carolina. At
Virginia Military Institute, Jackson's designs from 1848 through the 1850s created the first
entirely Gothic revival college campus, built in brick and stuccoed to imitate stone. Davis's plan
for the Barracks quadrangle was interrupted by the Civil War; it was sympathetically completed
to designs of Bertram Goodhue in the early 20th century. He married Margaret Beale in 1853
and had two children.

Gothic villa, watercolor. A faculty

residence on the Parade Ground,
Virginia Military Institute, 1850s

Declining patronage and retirement

With the onset of Civil War in 1861, patronage in house building dried up, and after the war,
new styles unsympathetic to Davis's nature were in vogue. In 1867, he designed the Hurst-
Pierrepont Estate. In 1878, Davis closed his office. He built little in the last thirty years of his
life, but spent his easy retirement in West Orange drawing plans for grandiose schemes that he
never expected to build, and selecting and ordering his designs and papers, by which he
determined to be remembered. They are shared by four New York institutions: the Avery
Architectural and Fine Arts Library at Columbia University, the New York Public Library, the
New-York Historical Society, and the Metropolitan Museum of Art. A further collection of
Davis material has been assembled at the Henry Francis DuPont Winterthur Museum library.
Davis is interred in Bloomfield Cemetery in Bloomfield, New Jersey.

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 3. Antonio Gaudi (25 June 1852 – 10 June 1926)
Antoni Gaudí i Cornet 25 June 1852 – 10 June 1926) was a Catalan architect known as the
greatest exponent of Catalan Modernism. Gaudí's works have a highly individualized, sui
generis style. Most are located in Barcelona, including his main work, the church of the Sagrada
Família.

Gaudí's work was influenced by his passions in life: architecture, nature, and religion. He
considered every detail of his creations and integrated into his architecture such crafts as
ceramics, stained glass, wrought ironwork forging and carpentry. He also introduced new
techniques in the treatment of materials, such as trencadís which used waste ceramic pieces.

Under the influence of neo-Gothic art and Oriental techniques, Gaudí became part of the
Modernista movement which was reaching its peak in the late 19th and early 20th centuries. His
work transcended mainstream Modernisme, culminating in an organic style inspired by natural
forms. Gaudí rarely drew detailed plans of his works, instead preferring to create them as three-
dimensional scale models and moulding the details as he conceived them.

Gaudí's work enjoys global popularity and continuing admiration and study by architects. His
masterpiece, the still-incomplete Sagrada Família, is the most-visited monument in Spain.
Between 1984 and 2005, seven of his works were declared World Heritage Sites by UNESCO.
Gaudí's Roman Catholic faith intensified during his life and religious images appear in many of
his works. This earned him the nickname "God's Architect" and led to calls for his beatification.

Gaudí in 1878, by Pau Audouard

Early life

Antoni Gaudí was born on 25 June 1852 in Riudoms or Reus, to the coppersmith Francesc Gaudí
i Serra (1813–1906) and Antònia Cornet i Bertran (1819–1876). He was the youngest of five
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children, of whom three survived to adulthood: Rosa (1844–1879), Francesc (1851–1876) and
Antoni. Gaudí's family originated in the Auvergne region in southern France. One of his
ancestors, Joan Gaudí, a hawker, moved to Catalonia in the 17th century; possible origins of
Gaudí's family name include Gaudy or Gaudin.

Gaudí had a deep appreciation for his native land and great pride in his Mediterranean heritage
for his art. He believed Mediterranean people to be endowed with creativity, originality and an
innate sense for art and design. Gaudí reportedly described this distinction by stating, "We own
the image. Fantasy comes from the ghosts. Fantasy is what people in the North own. We are
concrete. The image comes from the Mediterranean. Orestes knows his way, where Hamlet is
torn apart by his doubts."[13] Time spent outdoors, particularly during summer stays in the
Gaudí family home Mas de la Calderera, afforded Gaudí the opportunity to study nature. Gaudí's
enjoyment of the natural world led him to join the Centre Excursionista de Catalunya in 1879 at
the age of 27. The organization arranged expeditions to explore Catalonia and southern France,
often riding on horseback or walking ten kilometers a day.

Young Gaudí suffered from poor health, including rheumatism, which may have contributed to
his reticent and reserved character. These health concerns and the hygienist theories of Dr.
Kneipp contributed to Gaudí's decision to adopt vegetarianism early in his life. His religious faith
and strict vegetarianism led him to undertake several lengthy and severe fasts. These fasts were
often unhealthy and occasionally, as in 1894, led to life-threatening illness.

Gaudí attended a nursery school run by Francesc Berenguer, whose son, also called Francesc,
was later one of Gaudí's main assistants. He enrolled in the Piarists school in Reus where he
displayed his artistic talents via drawings for a seminar called El Arlequín (the Harlequin).
During this time, he worked as an apprentice in the "Vapor Nou" textile mill in Reus. In 1868, he
moved to Barcelona to study teaching in the Convent del Carme. In his adolescent years, Gaudí
became interested in utopian socialism and, together with his fellow students Eduard Toda i
Güell and Josep Ribera i Sans, planned a restoration of the Poblet Monastery that would have
transformed it into a Utopian phalanstère.

Between 1875 and 1878, Gaudí completed his compulsory military service in the infantry
regiment in Barcelona as a Military Administrator. Most of his service was spent on sick leave,
enabling him to continue his studies. His poor health kept him from having to fight in the Third
Carlist War, which lasted from 1872 to 1876 In 1876, Gaudí's mother died at the age of 57, as
did his 25-year-old brother Francesc, who had just graduated as a physician. During this time
Gaudí studied architecture at the Llotja School and the Barcelona Higher School of Architecture,
graduating in 1878. To finance his studies, Gaudí worked as a draughtsman for various architects
and constructors such as Leandre Serrallach, Joan Martorell, Emili Sala Cortés, Francisco de
Paula del Villar y Lozano and Josep Fontserè. In addition to his architecture classes, he studied
French, history, economics, philosophy, and aesthetics. His grades were average and he
occasionally failed courses. When handing him his degree, Elies Rogent, director of Barcelona
Architecture School, said: "We have given this academic title either to a fool or a genius. Time
will show." Gaudí, when receiving his degree, reportedly told his friend, the sculptor Llorenç
Matamala, with his ironical sense of humour, "Llorenç, they're saying I'm an architect now."

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 Adulthood and professional work

Gaudí and Eusebi Güell on a visit to the Colònia Güell (1910)

Gaudí's first projects were the lampposts he designed for the Plaça Reial in Barcelona, the
unfinished Girossi newsstands, and the Cooperativa Obrera Mataronense (Workers' Cooperative
of Mataró) building. He gained wider recognition for his first important commission, the Casa
Vicens, and subsequently received more significant proposals. At the Paris World's Fair of 1878
Gaudí displayed a showcase he had produced for the glove manufacturer Comella. Its functional
and aesthetic modernista design impressed Catalan industrialist Eusebi Güell, who then
commissioned some of Gaudí's most outstanding work: the Güell wine cellars, the Güell
pavilions, the Palau Güell (Güell palace), the Park Güell (Güell park) and the crypt of the church
of the Colònia Güell. Gaudí also became a friend of the marquis of Comillas, the father-in-law of
Count Güell, for whom he designed "El Capricho" in Comillas.

In 1883 Gaudí was put in charge of the recently initiated project to build a Barcelona church
called Basílica i Temple Expiatori de la Sagrada Família (Basilica and Expiatory Church of the
Holy Family, or Sagrada Família). Gaudí completely changed the initial design and imbued it
with his own distinctive style. From 1915 until his death he devoted himself entirely to this
project. Given the number of commissions he began receiving, he had to rely on his team to
work on multiple projects simultaneously. His team consisted of professionals from all fields of
construction. Several of the architects who worked under him became prominent in the field later
on, such as Josep Maria Jujol, Joan Rubió, Cèsar Martinell, Francesc Folguera and Josep
Francesc Ràfols. In 1885, Gaudí moved to rural Sant Feliu de Codines to escape the cholera
epidemic that was ravaging Barcelona. He lived in Francesc Ullar's house, for whom he designed
a dinner table as a sign of his gratitude.

At the beginning of the century, Gaudí was working on numerous projects simultaneously. They
reflected his shift to a more personal style inspired by nature. In 1900, he received an award for
the best building of the year from the Barcelona City Council for his Casa Calvet. During the
first decade of the century Gaudí dedicated himself to projects like the Casa Figueras (Figueras
house, better known as Bellesguard), the Park Güell, an unsuccessful urbanisation project, and
the restoration of the Cathedral of Palma de Mallorca, for which he visited Majorca several
times. Between 1904 and 1910 he constructed the Casa Batlló (Batlló house) and the Casa Milà
(Milá house), two of his most emblematic works.
As a result of Gaudí's increasing fame, in 1902 the painter Joan Llimona chose Gaudí's features
to represent Saint Philip Neri in the paintings for the aisle of the Sant Felip Neri church in
Barcelona. Together with Joan Santaló, son of his friend the physician Pere Santaló, he
unsuccessfully founded a wrought iron manufacturing company the same year.

28
 Saint Philip Neri celebrating the Holy
Mass by Joan Llimona (church of Sant
Felip Neri, Barcelona). Gaudí was the
Roof architecture at Casa Batlló model for Saint Philip Neri's face.

An event that had a profound impact on Gaudí's

personality was Tragic Week in 1909. Gaudí remained in his house in Güell Park during this
turbulent period. The anticlerical atmosphere and attacks on churches and convents caused Gaudí
to worry for the safety of the Sagrada Família, but the building escaped damage.

Gaudí and Modernisme

Traditional Gothic cross flower reinterpreted, one of the most typical features of Gaudí's works

Gaudí's professional life was distinctive in that he never ceased to investigate mechanical
building structures. Early on, Gaudí was inspired by oriental arts (India, Persia, Japan) through
the study of the historicist architectural theoreticians, such as Walter Pater, John Ruskin and
William Morris. The influence of the Oriental movement can be seen in works like the Capricho,
the Güell Palace, the Güell Pavilions and the Casa Vicens. Later on, he adhered to the neo-
Gothic movement that was in fashion at the time, following the ideas of the French architect
Eugène Viollet-le-Duc. This influence is reflected in the Teresian College, the Episcopal Palace
in Astorga, the Casa Botines and the Bellesguard house as well as in the crypt and the apse of the

29
Sagrada Família. Eventually, Gaudí embarked on a more personal phase, with the organic style
inspired by nature in which he would build his major works.

During his time as a student, Gaudí was able to study a collection of photographs of Egyptian,
Indian, Persian, Mayan, Chinese and Japanese art owned by the School of Architecture. The
collection also included Moorish monuments in Spain, which left a deep mark on him and served
as an inspiration in many of his works. He also studied the book Plans, elevations, sections and
details of the Alhambra by Owen Jones, which he borrowed from the School's library. He took
various structural and ornamental solutions from Nasrid and Mudéjar art, which he used with
variations and stylistic freedom in his works. Notably, Gaudí observed of Islamic art its spatial
uncertainty, its concept of structures with limitless space; its feeling of sequence, fragmented
with holes and partitions, which create a divide without disrupting the feeling of open space by
enclosing it with barriers.

Undoubtedly the style that most influenced him was the Gothic Revival, promoted in the latter
half of the 19th century by the theoretical works of Eugène Viollet-le-Duc. The French architect
called for studying the styles of the past and adapting them in a rational manner, taking into
account both structure and design. Nonetheless, for Gaudí the Gothic style was "imperfect",
because despite the effectiveness of some of its structural solutions it was an art that had yet to
be "perfected". In his own words:

Gothic art is imperfect, only half resolved; it is a style created by the compasses, a formulaic
industrial repetition. Its stability depends on constant propping up by the buttresses: it is a
defective body held up on crutches. (...) The proof that Gothic works are of deficient plasticity is
that they produce their greatest emotional effect when they are mutilated, covered in ivy and lit
by the moon.

The salamander in Park Güell has become a symbol of Gaudí's work.

After these initial influences, Gaudí moved towards Modernisme, then in its heyday.
Modernisme in its earlier stages was inspired by historic architecture. Its practitioners saw its
return to the past as a response to the industrial forms imposed by the Industrial Revolution's
technological advances. The use of these older styles represented a moral regeneration that
allowed the bourgeoisie to identify with values they regarded as their cultural roots. The
Renaixença (rebirth), the revival of Catalan culture that began in the second half of the 19th
century, brought more Gothic forms into the Catalan "national" style that aimed to combine
nationalism and cosmopolitanism while at the same time integrating into the European
modernizing movement

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Some essential features of Modernisme were: an anticlassical language inherited from
Romanticism with a tendency to lyricism and subjectivity; the determined connection of
architecture with the applied arts and artistic work that produced an overtly ornamental style; the
use of new materials from which emerged a mixed constructional language, rich in contrasts, that
sought a plastic effect for the whole; a strong sense of optimism and faith in progress that
produced an emphatic art that reflected the atmosphere of prosperity of the time, above all of the
esthetic of the bourgeoisie.

His Interiors Design works

Interior of the Casa Vicens

Equally, Gaudí stood out as interior decorator, decorating most of his buildings personally, from
the furnishings to the smallest details. In each case he knew how to apply stylistic particularities,
personalising the decoration according to the owner's taste, the predominant style of the
arrangement or its place in the surroundings—whether urban or natural, secular or religious.
Many of his works were related to liturgical furnishing. From the design of a desk for his office
at the beginning of his career to the furnishings designed for the Sobrellano Palace of Comillas,
he designed all furnishing of the Vicens, Calvet, Batlló and Milà houses, of the Güell Palace and
the Bellesguard Tower, and the liturgical furnishing of the Sagrada Família. It is noteworthy that
Gaudí studied some ergonomy in order to adapt his furnishings to human anatomy. Many of his
furnishings are exhibited at Gaudi House Museum.

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 Prie Dieu, or prayer desk, designed by Gaudí for Casa Batlló

Another aspect is the intelligent distribution of space, always with the aim of creating a comfortable,
intimate, interior atmosphere. For this purpose, Gaudí would divide the space into sections, adapted to
their specific use, by means of low walls, dropped ceilings, sliding doors and wall closets. Apart from
taking care of every detail of all structural and ornamental elements, he made sure his constructions had
good lighting and ventilation. For this purpose, he studied each project's orientation with respect to the
cardinal points, as well as the local climate and its place in its surroundings. At that time, there was an
increasing demand for more domestic comfort, with piped water and gas and the use of electric light, all
of which Gaudí expertly incorporated. For the Sagrada Família, for example, he carried out thorough
studies on acoustics and illumination, in order to optimise them. With regard to light, he stated:

Light achieves maximum harmony at an inclination of 45°, since it resides on objects in a way
that is neither horizontal nor vertical. This can be considered medium light, and it offers the most
perfect vision of objects and their most exquisite nuances. It is the Mediterranean light.

Lighting also served Gaudí for the organisation of space, which required a careful study of the
gradient of light intensity to adequately adapt to each specific environment. He achieved this
with different elements such as skylights, windows, shutters and blinds; a notable case is the
gradation of colour used in the atrium of the Casa Batlló to achieve uniform distribution of light
throughout the interior. He also tended to build south-facing houses to maximise sunlsight.

His Student time Works

During his studies, Gaudí designed various projects, among which the following stand out: a
cemetery gate (1875), a Spanish pavilion for the Philadelphia World Fair of 1876, a quay-side
building (1876), a courtyard for the Diputació de Barcelona (1876), a monumental fountain for
the Plaça Catalunya in Barcelona (1877) and a university assembly hall (1877).

Cemetery gate (1875) Quay-side building (1876)

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 Fountain in Plaça Catalunya (1877) University assembly hall (1877)

Early post-graduation projects

After his graduation as an architect in 1878, Gaudí's first work was a set of lampposts for the
Plaça Reial, the project for the Girossi newsstands and the Mataró cooperative, which was his
first important work. He received the request from the city council of Barcelona in February
1878, when he had graduated but not yet received his degree, which was sent from Madrid on 15
March of the same year. For this commission he designed two types of lampposts: one with six
arms, of which two were installed in the Plaça Reial, and another with three, of which two were
installed in the Pla del Palau, opposite the Civil Government. The lampposts were inaugurated
during the Mercè festivities in 1879. Made of cast iron with a marble base, they have a
decoration in which the caduceus of Mercury is prominent, symbol of commerce and emblem of
Barcelona.

Lamppost Girossi newsstands

33
 Gibert Pharmacy Esteban Comella display

First Güell projects

Güell's first task for Gaudí, that same year, was the design of the furniture for the pantheon
chapel of the Palacio de Sobrellano in Comillas, which was then being constructed by Joan
Martorell, Gaudí's teacher, at the request of the Marquis of Comillas, Güell's father in law. Gaudí
designed a chair, a bench and a prayer stool: the chair was upholstered with velvet, finished with
two eagles and the Marquis's coat of arms; the bench stands out with the motif of a dragon,
designed by Llorenç Matamala; the prayer stool is decorated with plants.

Gaudí's drawing for the façade of the Barcelona Cathedral

Orientalist period

During these years Gaudí completed

a series of works with a distinctly
oriental flavour, inspired by the art of
the Middle and Far East (India, Persia, Japan), as well as Islamic-Hispanic art, mainly Mudejar
and Nazari. Gaudí used ceramic tile decoration abundantly, as well as Moorish arches, columns
of exposed brick and pinnacles in the shape of pavilions or domes.

Between 1883 and 1888 he constructed the Casa Vicens, commissioned by stockbroker Manuel
Vicens i Montaner. It was constructed with four floors, with façades on three sides and an
extensive garden, including a monumental brick fountain. The house was surrounded by a wall
with iron gates, decorated with palmetto leaves, work of Llorenç Matamala. The walls of the
house are of stone alternated with lines of tile, which imitate yellow flowers typical of this area;
the house is topped with chimneys and turrets. In the interior the polychrome wooden roof beams
stand out, adorned with floral themes of papier maché; the walls are decorated with vegetable
motifs, as well as paintings by Josep Torrescasana; finally, the floor consists of Roman-style
34
mosaics of "opus tesselatum". Among the most original rooms is the smoking room, notable the
ceiling, decorated with Moorish honeycomb-work, reminiscent of the Generalife in the
Alhambra in Granada

Casa Vicens (1883–88) El Capricho (1883–85)

Güell Pavilions (1884–87) Palau Güell (1886–88)

4. Josef Hlavka (15 February 1831 – 11 March 1908)

He was a Czech architect, builder, philanthropist and founder of the oldest Czech foundation for
sciences and arts.

Josef Hlávka (1908)

35
Hlavka studied at the Technical University in Prague and later architecture at the Academy of
Fine Arts in Vienna. Shortly after he had finished his studies, the Czech architect František
Šebek retired and left him his well-established company in Vienna. In 1861-1869 Hlávka built
the Vienna State Opera in the Ringstrasse. He also built the regional maternal hospital in Prague,
the Residence of Bukovinian and Dalmatian Metropolitans in Czernowitz (now Chernivtsi,
Ukraine) (which is a UNESCO World Heritage Site and now the seat of the university there),
and numerous apartment buildings in Vienna.

Patron

The Czech Academy of Sciences was founded in 1888-1890 by the financial contributions of
Josef Hlávka, who became its first president. When the floods damaged the Charles Bridge in
Prague in 1890, Hlávka pushed through and co-funded its renovation in the original Gothic style.
Moreover, he founded the student dormitory in Jenštejnská Street, Prague and donated it for
gifted but poor students. In 1904 Hlávka gave all his fortune to the foundation, named after him
and his wives Nadání Josefa, Marie a Zdenky Hlávkových ("Foundation of Josef, Marie and
Zdeňka Hlávka"); this foundation is the oldest continuously operating Czech institution of its
kind.

The 100th anniversary of the death of Hlavka was declared by UNESCO as a World Cultural
Anniversary.

Residence of Bukovinian and Dalmatian Metropolitans, Chernivtsi.

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 5. Richard Morris Hunt (October 31, 1827 – July 31, 1895)
He was an American architect of the nineteenth century and an eminent figure in the history of
American architecture. He helped shape New York City with his designs for the 1902 entrance
façade and Great Hall of the Metropolitan Museum of Art, the pedestal of the Statue of Liberty
(Liberty Enlightening the World), and many Fifth Avenue mansions since destroyed.

Hunt is also renowned for his Biltmore Estate, America's largest private house, near Asheville,
North Carolina, and for his elaborate summer cottages in Newport, Rhode Island, which set a
new standard of ostentation for the social elite and the newly-minted millionaires of the Gilded
Age.

Richard Morris Hunt

Hunt was born at Brattleboro, Vermont into the prominent Hunt family. His father, Jonathan
Hunt, was a lawyer and U.S. congressman, whose own father, Jonathan Hunt, senior, was
lieutenant governor of Vermont. Hunt's mother, Jane Maria Leavitt, was the daughter of
Thaddeus Leavitt, Jr., a merchant, and a member of the influential Leavitt family of Suffield,
Connecticut.

Richard Morris Hunt was named for Lieut. Richard Morris, an officer in the U.S. Navy, a son of
Hunt's aunt, whose husband Lewis Richard Morris was a U.S. Congressman from Vermont and
the nephew of Gouverneur Morris, author of large parts of the U.S. Constitution. Hunt was the
brother of the Boston painter William Morris Hunt, and the photographer and lawyer Leavitt
Hunt.

Following the death of his father at Washington, D.C. in 1832 at the age of 44, Hunt's mother
moved her family to New Haven, then in 1837 to New York, and then in the spring of 1838 to
Boston. There, Hunt enrolled in the Boston Latin School, while his brother William enrolled in

37
Harvard College. However, in the summer of 1842, William left Harvard, transferring to a school
in Stockbridge, Massachusetts, while Richard was sent to school in Sandwich, Massachusetts.

Career in America
New York early years

Hunt spent Christmas 1855 in Paris, after which he returned to the United States. In March 1856,
he accepted a position with the architect Thomas Ustick Walter helping Walter with the
renovation and expansion of the U.S. Capitol, and the following year moved to New York to
establish his own practice. Hunt's first substantial project was the Tenth Street Studio Building,
where he rented space, and where in 1858 he founded the first American architectural school,
beginning with a small group of students, including George B. Post, William Robert Ware,
Henry Van Brunt, and Frank Furness. Ware, who was deeply influenced by Hunt, went on to
found America's first two university programs in architecture: at MIT in 1866, and at Columbia
in 1881.

Tenth Street Studio Building (photographed 1938)

Beginning in the 1870s, Hunt acquired more substantial commissions, including New York's
Tribune Building (built 1873–75, one of the earliest buildings with an elevator), and the pedestal
of the Statue of Liberty (built 1881–86). Hunt devoted much of his practice to institutional work,
including the Theological Library and Marquand Chapel at Princeton; the Fogg Museum of Art
at Harvard; and the Scroll and Key clubhouse at Yale, all of which except the last have been
demolished.

Before Hunt's Lenox Library was completed in 1877 on Fifth Avenue, none of his American
works were designed in the Beaux-Arts style with which he is usually associated, of which his
entrance façade for the Metropolitan Museum of Art (completed posthumously in 1902) is
perhaps the chief example. Late in life he joined the consortium of architects selected to plan
Chicago's 1893 World's Columbian Exposition, considered to be an exemplar of Beaux-Arts
design. Hunt's design for the fair's Administration Building won a gold medal from the Royal
Institute of British Architects.

The last surviving New York City building entirely by Hunt is the charity hospital he designed
for the Association for the Relief of Respectable Aged Indigent Females, completed in 1883 at
38
Amsterdam Avenue between 103rd and 104th Streets. The red-brick building was renovated in
the late 20th century and is now a youth hostel.

Princeton, New Jersey Fogg Museum of Art

Scroll and Key Tomb Lenox Library View from the corner of Fifth

Avenue and 70th Street

The NYC HI hostel on Amsterdam Avenue, formerly the Association Residence Nursing

39
 6. Charles Follen McKim (August 24, 1847 – September 14,
1909)
He was an American Beaux-Arts architect of the late 19th century. Along with William
Rutherford Mead and Stanford White, he provided the architectural expertise as a member of the
partnership McKim, Mead & White.
McKim was born in Chester County, Pennsylvania. His parents were James Miller McKim, a
Presbyterian minister, and Sarah Speakman McKim. They were active abolitionists and he was
named after Charles Follen, another abolitionist and a Unitarian minister. After attending
Harvard University, he studied architecture at the École des Beaux-Arts in Paris[2] before
joining the office of Henry Hobson Richardson in 1870. McKim formed his own firm in
partnership with William Rutherford Mead, joined in 1877 by fellow Richardson protégé
Stanford White.

For ten years, the firm became primarily known for their open-plan informal summer houses.
McKim became best known as an exponent of Beaux-Arts architecture in styles of the American
Renaissance, exemplified by the Boston Public Library (1888–95), and several works in New
York City, including the Morningside Heights campus of Columbia University (1893), the
University Club of New York (1899), the Pierpont Morgan Library (1903), New York Penn
Station (1904–10), and The Butler Institute of American Art in Youngstown, Ohio (1919). He
designed the Howard Mansion (1896) at Hyde Park, New York

McKim, with the aid of Richard Morris Hunt, was instrumental in the formation of the American
School of Architecture in Rome in 1894, which has become the American Academy in Rome,
and designed the main campus buildings with his firm McKim, Mead, and White

McKim first married Annie Bigelow in 1874 and after divorcing Bigelow married Julia Amory
Appleton in 1885. McKim died at aged 62 in St. James, New York on September 14, 1909.

Charles Follen McKim

40
University Club of New York Morgan Library & Museum

Pennsylvania Station Butler Institute of American Art

McKim was a member of the Congressional commission for the improvement of the Washington
park system, the New York Art Commission, the Accademia di San Luca (Rome, 1899), the
41
American Academy in Rome and the Architectural League. He was an honorary member and
former president of the American Institute of Architects, and honorary member of the Society of
Mural Painters. He became a National Academician in 1907. He belonged to the University ,
Lambs, Racquet and Tennis Clubs of New York, and to the St. Botolph and Somerset Clubs of
Boston.
McKim received numerous awards during his lifetime, including the Medaille d'Or at the 1900
Paris Exposition and a gold medal from Edward VII of the United Kingdom. The royal gold
medal from Edward VII was awarded for the restoration of the White House. In 1902 Congress
appropriated $475,445 for this purpose to be spent at the discretion of President Theodore
Roosevelt. He received honorary doctorates from the University of Pennsylvania and Columbia
University, and the honorary degree of A.M. from Harvard in 1890, and from Bowdoin in 1894.
He was elected a Fellow of the American Institute of Architects in 1877, and received the AIA
Gold Medal, posthumously, in 1909.

7. William Mead (August 20, 1846 – June 19, 1928)

William Rutherford Mead was an American architect who was the "Center of the Office" of McKim,
Mead, and White, a noted Gilded Age architectural firm. The firm's other founding partners were Charles
Follen McKim (1847–1909), and Stanford White (1853–1906).

William Mead

Mead was born in Brattleboro, Vermont. He was a cousin of President Rutherford B. Hayes,
hence his middle name. His sister, Elinor, later married novelist William Dean Howells, and his
younger brother Larkin Goldsmith Mead became a sculptor. William Mead was handsome,
authoritative and quiet. His father was a prominent lawyer, and his mother was the sister of John
42
Humphrey Noyes, the Oneida Utopian. Mead attended Norwich University for two years and
graduated from Amherst College in Massachusetts in the class of 1867. He later learned
architecture under George Fletcher Babb in Russell Sturgis's office in New York City.

In 1872, Mead partnered with Charles Follen McKim, a fellow New York architect, but Mead's
talent was more for running an office rather than designing. This collaboration with McKim
produced one of Mead's only known commissions, a house for an Amherst classmate, Dwight
Herrick, from Mead's hometown of Chesterfield, New Hampshire.

Around December 1877, the firm took on William Bigelow, the elder brother of McKim's new
wife, Annie Bigelow, as a partner, becoming McKim, Mead and Bigelow, with offices at 57
Broadway. In 1879, Bigelow withdrew from the firm, but they were joined by Stanford White to
form McKim, Mead, and White. Mead was the partner who "hired and fired", "steered the ship",
and spent his time "trying to keep the partners from making damn fools of themselves."

In 1883, Mead married Olga Kilyeni (c.1850-1936) in Budapest, Hungary. They moved to
Rome, Italy, where he was heavily involved in the American Academy in Rome – McKim's
favorite project and legacy – until his death. He was an AAR charter member, as was McKim, a
Trustee from 1905–1928, and its President from 1910–1928. In 1902, King Victor Emmanuel
conferred on Mead the decoration of Knight Commander of the Crown of Italy for his pioneer
work in introducing the Roman and Italian Renaissance architectural style in America. In 1902,
Amherst College conferred upon Mead the honorary degree of LL.D. In 1909, he received a
degree of M.S. from Norwich University in Vermont. In 1913 he received the gold medal of the
American Academy of Arts and Letters.

American Academy in Rome Order of the Crown of Italy

Mead retired in 1920, and died on June 30, 1928, in a Paris hotel room from a heart attack, after
an illness of several weeks, with his wife at his side. Mead was the last of the firm's founding
partners to die, as McKim died in 1909, after White in 1906. At his death, his estate of $250,000

43
went to his wife, Olga. Olga moved in with her sister in New York City, and died on April 10,
1936, in New York City in her apartment in the Sherry-Netherland Hotel. She left her entire
estate to the trustees of Amherst College. The money was used to build the Mead Art Building,
which was designed by James Kellum Smith of McKim, Mead and White. The building was
completed in 1949 and houses the Mead Art Museum.

8.Richard Norman Shaw (7 May 1831 – 17 November 1912),

Richard Norman Shaw RA ,sometimes known as Norman Shaw, was a British architect who
worked from the 1870s to the 1900s, known for his country houses and for commercial
buildings. He is considered to be among the greatest of British architects; his influence on
architectural style was strongest in the 1880s and 1890s.

Richard Norman Shaw

Shaw was born 7 May 1831 in Edinburgh. His parents were William Shaw (1780-1833), an Irish
Protestant and army officer, and Elizabeth née Brown (1785-1883) of Edinburgh. Shaw was their sixth
and last child, his father died 2 years after his birth. Shaw's father left debts. But his mother came from
a family of successful lawyers .The family, two children died young and a third in early adulthood.
Lived first in Annandale Street and then Haddington Place. Richard was educated at an academy for
languages, located at 3 and 5 Hill Street Edinburgh until c.1842. He had one year of formal schooling in
Newcastle, followed by being taught by his sister Janet. The eldest surviving child Robert had moved to
London to work. The rest of the family followed about 1846, living in Middleton Road, Dalston.
Richard start his apprenticeship almost immediately at an unknown architect's practice. By 1849 he had
transferred to the London office of sixty year old William Burn. He remained at Burn's practice for five
years. He attended the evening lectures on architecture, given at the Royal Academy of Arts by Charles
Robert Cockerell. He met William Eden Nesfield at the Royal Academy, with whom he briefly
partnered in some architectural designs.In 1854–1856 Shaw travelled with a Royal Academy
scholarship, collecting sketches that were published as Architectural Sketches from the Continent, 1858.
On his return to London he moved to George Edmund Street's practice.

44
His works

In 1863, after sixteen years of training, Shaw opened a practice for a short time with Nesfield. In
1872, he was elected an Associate of the Royal Academy.

Shaw worked, among others, for the artists John Callcott Horsley and George Henry Boughton,
and the industrialist Lord Armstrong. He designed large houses such as Cragside, Grim's Dyke,
and Chigwell Hall, as well as a series of commercial buildings using a wide range of styles.

Cragside Grim's Dyke

Chigwell Hall

Shaw was elected to the Royal Academy in 1877, and co-edited (with Sir Thomas Jackson RA)
the 1892 collection of essays, Architecture, a profession or an Art?. He firmly believed it was an
art. In later years, Shaw moved to a heavier classical style which influenced the emerging
Edwardian Classicism of the early 20th century. Shaw died in London, where he had designed
residential buildings in areas such as Pont Street, and public buildings such as New Scotland
Yard.

45
 Norman Shaw North (centre) and South (left) Buildings

Shaw's early country houses avoided Neo-Gothic and the academic styles, reviving vernacular
materials like half timber and hanging tiles, with projecting gables and tall massive chimneys
with "inglenooks" for warm seating. Shaw's houses soon attracted the misnomer the "Queen
Anne style". As his skills developed, he dropped some of the mannered detailing, his buildings
gained in dignity, and acquired an air of serenity and a quiet homely charm which were less
conspicuous in his earlier works; half timber construction was more sparingly used, and finally
disappeared entirely.

One of Shaw's major commissions was the planning and designing of buildings for Bedford
Park, London. Shaw was commissioned in 1877 by Jonathan T. Carr though his involvement
only lasted until 1879. He designed St Michael and All Angels, Bedford Park, as the Anglican
parish church for the development.

St Michael and All Angels, Bedford Park

In later life he lived at 6 Ellerdale Road, Hampstead, London. He died in London and is buried in
St John-at-Hampstead Churchyard, Hampstead, London.

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 9.Stanford White (November 9, 1853 – June 25, 1906)
Stanford White was an American architect. He was also a partner in the architectural firm
McKim, Mead & White, one of the most significant Beaux-Arts firms. He designed many houses
for the rich, in addition to numerous civic, institutional, and religious buildings. His temporary
Washington Square Arch was so popular that he was commissioned to design a permanent one.
His design principles embodied the "American Renaissance".

In 1906, White was shot and killed at the Madison Square Theatre by Harry Kendall Thaw, in
front of a large audience. Thaw was a millionaire who had become obsessed by White's rape and
relationship with his wife Evelyn Nesbit, which started when she was 16 and years before their
marriage. She had married Thaw in 1905 and was working as an actress. Thaw was considered
mentally unstable at the time of the shooting. With its elements of murder among the wealthy
and a sex scandal, the resulting sensational trial of Thaw was dubbed "The Trial of the Century"
by contemporary reporters.

Photograph of White by George Cox, ca. 1892

Early life and training

White was born in New York City in 1853, the son of Richard Grant White, a Shakespearean
scholar, and Alexina Black (née Mease) (1830–1921). His father was a dandy and Anglophile
with little money but with many connections to New York's art world, including the painter John
LaFarge, the stained-glass artist Louis Comfort Tiffany, and the landscape architect Frederick
Law Olmsted.

White had no formal architectural training; like many other architects at the time, he learned on
the job as an apprentice. Beginning at age 18, he worked for six years as the principal assistant to
Henry Hobson Richardson, known for his personal style (often called "Richardsonian
Romanesque") and considered by many to have been the greatest American architect of his day.
47
In 1878, White embarked on a year and a half tour of Europe, to learn about historical styles and
trends. When he returned to New York in September 1879, he joined two young architects,
Charles Follen McKim and William Rutherford Mead, to form the firm of McKim, Mead and
White. As part of the partnership, they agreed to credit all of the firm's designs as the work of the
collective firm, not to be attributed to any individual architect.

In 1884, White married 22-year-old Bessie Springs Smith. She was from a socially prominent
Long Island family. Her ancestors had settled in what became Suffolk County in the colonial era,
and Smithtown, was named for them. The White couple's estate, Box Hill, was both a home and
a showplace for the luxe design aesthetic which White offered to prospective wealthy clients.
Their son, Lawrence Grant White, was born in 1887.

McKim, Mead and White

Commercial and civic projects

William Rutherford Mead, Charles Follen McKim and Stanford White

In 1889, White designed the triumphal arch at Washington Square, which, according to White's
great-grandson, architect Samuel G. White, is the structure for which White should be best
remembered. White was director of the Washington Centennial celebration. His temporary
triumphal arch was so popular, that money was raised to construct a permanent version.

Triumphal arch

Elsewhere in New York City, White designed the Villard Houses (1884), the second Madison
Square Garden (1890; demolished in 1925), the Cable Building – the cable car power station at
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611 Broadway – (1893), the baldechin (1888 to mid-1890s) and altars of Blessed Virginand St.
Joseph (both completed in 1905) at St. Paul the Apostle Church; the New York Herald Building
(1894; demolished 1921); the IRT Powerhouse on 11th Avenue and 58th Street; the First Bowery
Savings Bank, at the intersection of the Bowery and Grand Street (1894); Judson Memorial
Church on Washington Square; the Century Club; and Madison Square Presbyterian Church, as
well as the Gould Memorial Library (1903), originally for New York University. It is now part of
the campus of Bronx Community College and is the site of the Hall of Fame for Great
Americans.

Villard Houses Madison Square Garden (1890)

Herald Square Judson Memorial Church

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Residential properties

In the division of projects within the firm, the sociable and gregarious White landed the most
commissions for private houses. His fluent draftsmanship helped persuade clients who were not
attuned to a floorplan. He could express the mood of a building he was designing.

Many of White's Long Island mansions have survived. Harbor Hill was demolished in 1947,
originally set on 688 acres (2.78 km2) in Roslyn. These houses can be classified as three types,
depending on their locations: Gold Coast chateaux along the wealthiest tier, mostly in Nassau
County; neo-Colonial structures, especially those in the neighborhood of his own house at "Box
Hill" in Smithtown, Suffollk County; and the South Fork houses in Suffolk County, from
Southampton to Montauk Point, influenced by their coastal location. He also designed the Kate
Annette Wetherill Estate in 1895.

Harbor Hill

White designed a number of other New York mansions as well, including the Iselin family estate
"All View" and "Four Chimneys" in New Rochelle, suburban Westchester County. White
designed several country estate homes in Greenwich, Connecticut, including the Seaman-Brush
House (1900), now the Stanton House Inn, operated as a bed and breakfast. In New York's
Hudson Valley, he designed the 1896 Mills Mansion in Staatsburg.

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 Hudson Valley

Among his "cottages" in Newport, Rhode Island, at Rosecliff (1898–1902, designed for Mrs.
Hermann Oelrichs) he adapted Mansart's Grand Trianon. The mansion was built for large
receptions, dinners, and dances with spatial planning and well-contrived dramatic internal views
en filade. His "informal" shingled cottages usually featured double corridors for separate
circulation, so that a guest never bumped into a laundress with a basket of bed linens. Bedrooms
were characteristically separated from hallways by a dressing-room foyer lined with closets, so
that an inner door and an outer door gave superb privacy.

One of the few surviving urban residences designed by White is the Ross R. Winans Mansion in
Baltimore's Mount Vernon-Belvedere neighborhood. It is now used as the headquarters for
Agora, Inc. Built in 1882 for Ross R. Winans, heir to Ross Winans, the mansion is a premier
example of French Renaissance revival architecture. Since its period as Winans's residence, it
has served as a girls preparatory school, doctor's offices, and a funeral parlor, before being
acquired by Agora Publishing. In 2005, Agora completed an award-winning renovation project.

White designed Golden Crest Estate in Elberon Park, NJ while at McKim Mead and White for
E.F.C Young, President of the First National Bank of Jersey City and unsuccessful Democratic
candidate for New Jersey Governor in 1892. He built the house in 1901, as a golden wedding
anniversary gift for Young's wife Harriet. In 1929, the house was sold to Victor and Edmund
Wisner, who ran it as a rooming house for summer vacationers. In the 1960s, it was a fraternity
house for the then Monmouth College. From 1972 to 1976, it was owned and restored by Mary
and Samuel Weir. It is now a private residence.

White lived the same life as his clients, albeit not quite so lavishly, and he knew how the house
had to perform: like a first-rate hotel, theater foyer, or a theater set with appropriate historical
references. He could design a cover for Scribner's Magazine or design a pedestal for his friend
Augustus Saint-Gaudens's sculpture.

He extended the limits of architectural services to include interior decoration, dealing in art and
antiques, and planning and designing parties. He collected paintings, pottery, and tapestries for
use in his projects. If White could not acquire the right antiques for his interiors, he would sketch
neo-Georgian standing electroliers or a Renaissance library table. His design for elaborate
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picture framing, the Stanford White frame, still bears his name today. Outgoing and social, he
had a large circle of friends and acquaintances, many of whom became clients. White had a
major influence in the Shingle Style of the 1880s, Neo-Colonial style, and the Newport cottages
for which he is celebrated.

He designed and decorated Fifth Avenue mansions for the Astors, the Vanderbilts (in 1905), and
other high society families.

Fifth Avenue

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