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This historic resource survey documents the career and buildings of Rochester, New York's most innovative mid-twentieth century architect, James H. Johnson (1932-2016). In a career spanning nearly 60 years, Johnson designed hundreds of buildings in the greater Rochester area. He is known locally as the designer of the Antell-Whitman House (better known as the "Mushroom House"), Liberty Pole, and Temple Sinai, but his other works are not generally well known, nor is the sheer number of buildings he designed appreciated either by the general public or the architectural community.Johnson's lengthy and prolific career has left the Rochester region with a tremendous legacy of innovative, unusual buildings. Having developed an early fascination with construction, Johnson always retained his interest in participating in the fabrication of his buildings, and was often found on building sites, particularly when he supervised and took a hands-on role in the construction of his series of earth-formed buildings in the late 1960s. Inspired by nature, geometry, history, and certain architectural predecessors, notably Bruce Goff, Johnson quietly demonstrated his determination to pursue novel approaches to design and construction in both highly visible public projects and in private, personal projects for clients who wanted a house intimately tied to nature, often away from public view. From his earliest projects to some of his last, he thought expansively about integrating architecture with other art forms, and regularly collaborated with artists working in other fields, incorporating their artistic visions into his own. While his expertise with large-scale construction brought him around the world on a few occasions, he spent almost all of his long career working in the Rochester area, where his daring, expressive designs remain some of the boldest and most creative contributions to the region's architectural heritage.
This book grew from a simple question. Why did French audiences become silent? Eighteenth-century travelers' accounts of the Paris Opera and memoirs of concertgoers describe a busy, preoccupied public, at times loud and at others merely sociable, but seldom deeply attentive.
Buffalo's rich architectural and planning heritage has attracted the attention of several prominent historians, whose work here is accompanied by over 250 illustrations and photographs. For its size, the city of Buffalo, New York, possesses a remarkable number and variety of architectural masterpieces from the late nineteenth and early twentieth centuries: Adler and Sullivan's Prudential building, H. H. Richardson's massive Buffalo State Hospital, Richard Upjohn's Sr. Paul's Episcopal Cathedral, five prairie houses by Frank Lloyd Wright, and building by Daniel Burnham, Albert Kahn, and the firms of McKim, Mead, and White, and Lockwood, Green and Company, among others. These structures by prominent "outsiders" served to spur the efforts of local architects, builders, and craftsmen, and all of them built within the context of the city-wide park and parkway system designed by Frederick Law Olmsted. In addition, the city and its environs exhibit representative works by more recent architects, among them Eero and Eliel Saarinen, Walther Gropius, Marcel Breuer, Paul Rudloph, Minoru Yamasaki, and the firm of Skidmore, Owings, and Merrill. Buffalo's rich architectural and planning heritage has attracted the attention of several prominent historians, capable of the challenge of evaluating its significance. Reyner Banham is one of the world's leading authorities on the theory and practice of architecture, and he has written extensively on design in the industrial age (and Buffalo's innovative manufacturing plants and grain elevators are important exemplars of such design). Charles Beveridge, whose essay covers the park and parkway system, is editor of the Olmsted papers at The American University. And Henry Russell Hitchcock is the dean of American architectural historians, and the organizer of a 1940 exhibition on Buffalo's built environment. Their essays are followed by seven sections that delineate the city's neighborhoods, each provided with a map, neighborhood history, and a full complement of photographs with descriptive building captions. An eighth section, "Lost Buffalo," describes demolished buildings, chief among them Wright's great Larkin administration building, while the remaining sections venture out of town, exploring Erie and Niagara Counties, other parts of Western New York, and southern Ontario.
Influential American architect Philip Johnson once mused, "All architecture is shelter; all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space." But with just a small swap of a key word, Johnson could well have been describing animal nests. Birds and insects are nature's premier architects, using a dizzying array of talents to build functional homes in which to live, reproduce, and care for their young. Recycling sticks, branches, grass, and mud to construct their shelters, they are undoubtedly the originators of "green architecture." A visual celebration of these natural feats of engineering and ingenuity, Architecture by Birds and Insects allows readers a peek inside a wide range of nests, offering a rare opportunity to get a sense of the materials and methods used to build them. Here, we see the kinds of places where nests are built--for instance, the house wren has been known to occupy cow skulls, flower pots, tin cans, and the pockets of hanging laundry, while the uglynest caterpillar prefers rose bushes and cherry trees. Inspired by the vast nest collection at the Field Museum, which features specimens gathered throughout North and South America, Peggy Macnamara's paintings are enhanced by text written by museum curators. This narrative provides a foundation in natural history for each painting, as well as fascinating anecdotes about the nests and their builders. Like so many natural treasures, nests are easy to ignore. But Macnamara's gorgeous paintings will undoubtedly change that. Architecture by Birds and Insects at last gives the tiniest engineers their rightful moment in the spotlight, and in so doing increases awareness and encourages the protection of birds, insects, and their habitats. Readers will never look at a Frank Gehry design, or a treetop nest, the same way again.
Living and working in extra-terrestrial habitats means being potentially vulnerable to very harsh environmental, social, and psychological conditions. With the stringent technical specifications for launch vehicles and transport into space, a very tight framework for the creation of habitable space is set. These constraints result in a very demanding “partnership” between the habitat and the inhabitant. This book is the result of researching the interface between people, space and objects in an extra-terrestrial environment. The evaluation of extra-terrestrial habitats in comparison to the user’s perspective leads to a new framework, comparing these buildings from the viewpoint of human activity. It can be used as reference or as conceptual framework for the purpose of evaluation. It also summarizes relevant human-related design directions. The work is addressed to architects and designers as well as engineers.