![]() Morgan thought “the building should speak for itself.” She managed to be an epitome of modesty who toppled the walls of misogyny and social norms that were everywhere in the 1900s. She believed that “architecture is an art of form, not an art of words,” Kastner writes. She was a workhorse with a laser-beam focus on her clients and her work, and she avoided interviews. Morgan’s disinterest in self-promotion was partly to blame. Julia Morgan, circa 1920 (Photo courtesy Chronicle Books) Kastner visited Hearst Castle for the first time in 1978, in spite of reviews that called it a gaudy mishmash, she says. Kastner’s book was 30 years in the making - it’s an exhaustive historic record that taps thousands of Morgan’s own letters (she saved everything), interviews with family and friends and Kastner’s own exposure to Morgan’s work. And we also understand how this prolific architect, who designed 700 buildings in her lifetime, could fade into obscurity after her death in 1957. ![]() By the end of Kastner’s book, Morgan feels close and dear. The book, which features gorgeous, full-color images of Morgan’s designs, also reveals much about her Paris education, her family life, her attitudes and her passions. Morgan’s ties to the Bay Area and her friendship with Hearst are just a few of the windows that author Victoria Kastner opens for readers in “ Julia Morgan: An Intimate Biography of the Trailblazing Architect” (Chronicle Books, $32.50), available Tuesday. Microfilm: This column will appear if the collection has been microfilmed.Whoops! There was an error and we couldn't process your subscription. Project Type: The general term for the category of building.Į.g. Location and State: The geographical location of the project. May be a single year, a range of years, or a circa date. If an oversize folder contains the material, the size of the folder will be entered after the folder number.ĭate: The date of the project.T will be entered before the tube number. If the material is not a box, but actually a.additional folders - different box: 4 | 3, 5 | 2 Materials that reside in more than one box are separated in the cell with a comma.Į.g.additional folders - same box, not consecutive: 5 | 6, 11 Folders not in consecutive order, but in the same box will be separated by a comma.Į.g.additional folders - same box, consecutive: 5 | 6-9 Folders in consecutive order, but the same box will be hyphenated.Box # | Folder # - one box, one folder: 5 | 2 The location of the materials is formatted to have the box number, then folder number.Į.g.Include records, files, correspondence, and papers, drawings, detail drawings, or photographs. The next set of fields are used to designate the physical location of any materials related to the project.Manuscript Records, Drawings, Detail Drawings, Photographs (architect) = Maybeck as a collaborating architect The role of the collaborator follows in the same column in parenthesis.Į.g. This is the most likely way that researchers will wish to find a project.Ĭollaborator / Role: Often architects worked with other architects, engineers, or landscape architects. May be listed with a see reference to the client. Row holds information about a project and the location of the project records.Ĭlient Name/Project Name: The first column lists the Client or Project name. The Project Index is a way to organize the various formats of architectural records from the same project. ![]() The Julia Morgan Architectural History Project.Īvailable at The Bancroft Library, Bancroft Library Regional Oral History Office, Notes on the Julia Morgan Collection, 1985.Īvailable at clippings file, Environmental Design Archives, University of California, Berkeley Julia Morgan of San Francisco, California,Īvailable at clippings file, Environmental Design Archives, University of California, Berkeley, Morgan died Februat the age of eighty-five.īerkeley Architectural Heritage Association, To have designed more than seven hundred buildings, most of which were constructed. ![]() Although the exact number of projects by Julia Morgan is unknown, over her career she is believed Mediterranean and Islamic styles were all part of her architectural vocabulary and were pieced together and overlapped withĬraftsman elements as needed. Renaissance Revival, Tudor, Spanish Colonial, Logical and coherent plans and then added the exterior facades and ornament. Utilizing her Beaux-Arts training, Morgan began with Listen to clients' desires as well as her flexibility as an architect. This diversity is usually attributed to her willingness to Morgan's projects were incredibly varied in style and materials.
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