The corresponding cross axis starts with the center point of the circle forming the GRI library garden, then passing to the center of the entrance rotunda, and aligning with the south wall of the rotunda building. Although all of the Museum is aligned on these alternative axes, portions of the exhibitions pavilion and the east pavilion are aligned on the true north-south axis as a reminder that both grids are present in the campus. The primary grid structure is a square; most wall and floor elements are squares or some derivative thereof. The buildings at the Getty Center are made from concrete and steel with either travertine or aluminium cladding.
Architecture
Getty Center
Getty Center | Architecture
The primary grid structure is a square; most wall and floor elements are squares or some derivative thereof. It uses two naturally-occurring ridges by overlaying two grids along these axes The Getty Research Institute, the Getty Conservation Institute, the Getty Foundation, and the J. Paul Getty Trust Sorry. I cannot find the answer based on the context.
what is the getty center in los angeles
user
A campus of the Getty Museum and other programs of the Getty Trust.
assistant
who designed this campus?
user
Richard Meier
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what architectural pieces are found in this campus center?
user
Meier has exploited the two naturally-occurring ridges (which diverge at a 22.5 degree angle) by overlaying two grids along these axes. These grids serve to define the space of the campus while dividing the import of the buildings on it. Along one axis lie the galleries and along the other axis lie the administrative buildings. Meier emphasized the two competing grids by constructing strong view lines through the campus. The main north-south axis starts with the helipad, then includes a narrow walkway between the auditorium and north buildings, continues past the elevator kiosk to the tram station, through the rotunda, past the walls and support columns of the exhibitions pavilion, and finally the ramp besides the west pavilion and the central garden.
Getty Center | Architecture
In addition, the Museum's collection at the Center includes outdoor sculpture displayed on terraces and in gardens and the large Central Garden designed by Robert Irwin. Among the artworks on display is the Vincent Van Gogh painting "Irises". Designed by architect Richard Meier, the campus also houses the Getty Research Institute (GRI), the Getty Conservation Institute, the Getty Foundation, and the J. Paul Getty Trust. The Center's design included special provisions to address concerns regarding earthquakes and fires.
Getty Center | Introduction
Meier also designed three other buildings located next to the north promontory and offset at a 22.5 degree angle from the main axis of the Museum pavilions. The north-most building is an auditorium. Next to it is the North Building, with the East Building sitting between the North Building and the rotunda. The main entrance to the East Building is flanked by two round silos that hold its elevators. A bridge over a sunken courtyard links the main entrance of the East Building to the main walkway that connects the auditorium and North Buildings to the rotunda. These buildings house the Getty Conservation Institute (GCI), the J.
Getty Center | Other offices
The corresponding cross axis starts with the center point of the circle forming the GRI library garden, then passing to the center of the entrance rotunda, and aligning with the south wall of the rotunda building. Although all of the Museum is aligned on these alternative axes, portions of the exhibitions pavilion and the east pavilion are aligned on the true north-south axis as a reminder that both grids are present in the campus. The primary grid structure is a square; most wall and floor elements are squares or some derivative thereof. The buildings at the Getty Center are made from concrete and steel with either travertine or aluminium cladding.
Getty Center | Architecture
Around of travertine was used to build the Center.
Getty Center | Architecture
The campus contains 121 buildings in a variety of architectural styles. Georgian Revival predominates (examples by famed traditionalist architect Ralph Adams Cram and by Polhemus & Coffin), but there are also eighteenth- and nineteenth-century houses and dramatic modernist structures (examples by I.M. Pei and by James Polshek). Principal buildings are in Georgian red brick, often with classical porticoes that were, by design, the unifying architectural feature of the early building phase. Of this type are, in chronological order: The I. M. Pei-designed buildings on campus are:
Choate Rosemary Hall | Buildings and facilities
The center was founded to encompass all aspects of visual and performing arts with a focus on new commissions and artist residencies. Part of its design was to pay tribute to the armory that formerly had the same location. Its groundbreaking deconstructivist architecture has resulted in it being lauded as one of the most important buildings of its generation. Its design has also been criticized as proving less than ideal for many of the art installations it has attempted to display. The centerpiece of the Wexner Center's permanent collection is Picasso's "Nude on a Black Armchair", which was purchased by alumnus Leslie Wexner at auction for $45 million.
Ohio State University | Campus
Its corresponding east-west visual axis starts with the edge of the scholar's wing of the Getty Research Institute (GRI), the walkway between the central garden and the GRI, the overlook to the azalea pool in the central garden, the walkway between the central garden and the west pavilion, and finally the north wall of the west pavilion and the courtyard between the south and east pavilions. The main axes of the museum grid that is offset by 22.5 degrees begins with the arrival plaza, carries through the edge of the stairs up to the main entrance, aligns with the columns supporting the rotunda as well as the center point of the rotunda, aligns with travertine benches in the courtyard between the pavilions, includes a narrow walkway between the west and south pavilions, a staircase down to the cactus garden and ends in the garden.
Getty Center | Architecture
The postmodern Campus Center, designed by Cathy Simon of Perkins+Will, is a 30,000-square-foot facility that opened in 1999. The facade incorporates tan-colored brick and blue EIFS. The spacious building features oversized windows and, like Simon's Olin Humanities Building, exhibits a distinct separation of functions. Weis Cinema, a 100-seat theater, protrudes from the South side of the building, whereas the Multi-Purpose Room encompasses the entire building footprint on the eastern end. In addition to lounge areas and student space, the Campus Center is host to several student-oriented offices, like the Career Development Office, the Trustee Leader Scholar Office, and the Student Activities Office.
Bard College Campus | Bertelsmann Campus Center
It now houses the Architecture and Planning Library, the Alexander Architectural Archive and the Center for American Architecture. The building's design, particularly its Spanish red tile roof, overhanging eaves and limestone walls, heavily influenced the 1933 master plan developed by Paul Cret, which in turn is a design requirement for new buildings on campus to this day.
Battle Hall | Introduction
Designed by Charles A. Platt, the Architecture Building is part of the College of Fine and Applied Arts' School of Architecture. The Architecture Building lies on Lorado Taft Drive and is between David Kinely Hall and Wohlers Hall. Notable features within the building includes ornamental metal works by Louis Sullivan and a cast of Gates to Paradise of the Florence Baptistry. The Temple Buell Architecture Gallery (TBAG) once housed the university-owned Gregory Plaster Cast collection. Today, the building houses college's Ricker Library of Architecture and Art, named after the first graduate Nathan C. Ricker. Today the Ricker Library contains more than 120,000 volumes and 33,000 serials, 35,000 microforms, and a small but burgeoning collection of videos, making it one of the largest of its kind in the United States.
Campus of the University of Illinois at Urbana–Champaign | Architecture Building
Eisenman also took note of the mismatched street grids of the OSU campus and the city of Columbus, which vary by 12.25 degrees, and designed the Wexner Center to alternate which grids it followed. The result was a building of sometimes questionable functionality, but admitted architectural interest. The center's brick turrets make reference to the medieval-like armory building that occupied the site until the 1958. Included in the Wexner Center space are a film and video theater, a performance space, a film and video post production studio, a bookstore, café, and 12,000 square feet (1,100 m²) of galleries.
Wexner Center for the Arts | Architecture
The college is housed in a facility consisting of four buildings: Frederick H. and Eleanora C.U. Alms Memorial Hall (1952, known simply as Alms), DAA Addition (1956, now referred to as the DAAP Building on most signage in the complex), the Wolfson Center for Environmental Design (1972), and the newest addition, the Aronoff Center. The Aronoff Center, which ties together the three older buildings and houses the college library, cafeteria, auditorium, art supply store, and photography lab, was designed by Peter Eisenman and opened in 1996.
University of Cincinnati College of Design, Architecture, Art, and Planning | Facilities
The building stands three stories tall and has of floorspace. It is constructed of granite, limestone, slate, and copper, which is intended to match the older buildings on campus. The tower element on the left side of the building is intended to match the most prominent building on campus, Old Main. The 30-degree bend at one end created a "cornerstone" effect on the campus' northeast property line. A false chimney houses mechanical equipment. The entrance plaza includes a fountain and a grassed bowl area in the lower plaza. The interior of the Burnett Center consists of cherry wood trim and doors, veneer plaster, wool carpet, and cove lighting.
The Burnett Center | Facilities
The campus's data center is the first archive to preserve digital content at the petabyte (1 million gigabyte) level. The campus also contains a 206-seat theater capable of projecting both film and modern digital cinema and which features a digital organ that rises from under the stage to accompany silent film screenings. The Packard Campus currently holds semi-weekly screenings of films of cultural significance in its reproduction Art Deco theater according to this schedule.
National Audio-Visual Conservation Center | Campus architecture
The center was designed in 1971 by renowned Modernist architect Edward D. Dart, and boasts an area of approximately 150,000 square feet.
Norris University Center | Architecture
This, in turn, led to a "contextualist" approach beginning in the late 1990s combining stylistic elements of the first two phases in an attempt to provide an architectural "middle ground" between the two vastly different styles. Gehry's building was recently removed from campus to make way for a new building, with a design that has been called a "big beige box with bands of bricks". In 2009 the Humanities Gateway building, designed by Curtis W. Fentress, was opened. Its curvilinear design marked a return to the sculptural treatment of concrete begun by Pereira. As of 2005, the campus has more than 200 buildings and encompasses most of the university's .
University of California, Irvine | Architecture
The building is constructed in the Collegiate Gothic style of architecture. Architect John M. Moore designed the building, along with help from Frederick H. Spier. Spier's influences are seen primarily in the tower and main auditorium.
University College (University of Western Ontario) | Architecture and features
The buildings were built after the destruction by fire of Ankeny Hall in 1902. Foster Hall (1903), Fairfield Hall (1903), and the Carnegie Library (1907) have elements of the Beaux-Arts style. Barhydt Chapel and the Parsons Bible School were completed in 1912. Parsons Hall was completed in 1915.
Architecture of Henry K. Holsman Historic Campus District | Introduction
The art center is housed in a structure designed by Argentine architect César Pelli. It features a curved glass entry, and rooms separating covering Asian; Greek and Roman; Medieval, Renaissance, and Baroque; 19th-century American; 19th-century European; and the 20th century. Changing print and photographic exhibitions are housed in a separate room.
Frances Lehman Loeb Art Center | Architecture
This in turn led to a "contextualist" approach beginning in the late 1990s, combining stylistic elements of the first two phases in an attempt to provide an architectural "middle ground" between the two vastly different styles. Gehry's building was recently removed from campus to make way for a new building, with a design that has been called a "big beige box with bands of bricks." Many of the campus's Futurist buildings were featured prominently in the 1972 film "Conquest of the Planet of the Apes".
Campus of the University of California, Irvine | Architecture
The University of Cincinnati is home to a number of buildings by significant contemporary architects. The vision to create an architecturally distinctive campus was spearheaded by Jay Chatterjee, dean of the College of DAAP from 1982-2001. Several major news publications have lauded Dean Chatterjee's transformation of the campus. This transformation includes the removal of surface parking lots, and the addition of signature buildings connected by a George Hargreaves landscape. Significant buildings and their architects include:
School of Architecture and Interior Design | Campus Architecture
Recto considered the school's desire to preserve the existing neoclassical architecture of the campus as well as to have a modern-looking structure in his design. As a result, the architectural style he adopted is a modern interpretation of neoclassical design. It retains the beautiful form and proportion of classical architecture but is executed in modern lines and using modern materials such as high-reflective glass curtain walls and high-tech equipment. According to Recto, the predominantly vertical lines in the green and white facade signify the pursuit of lofty aspirations while bright colors in the interiors portray youthfulness, vibrancy and dynamism. The total design exudes an aura of simplicity, beauty and modernity.
Br. Andrew Gonzalez Hall | Design
Upon completion, the Katzen Arts Center was immediately received as an architectural gem at American University, not only for its design but also for its purpose to encourage student innovation in media, concept, and approach by uniting facilities for creating, displaying, and performing art under one roof. Designed by EYP Architecture & Engineering, the Center is situated on a very long, narrow site abutting Ward Circle. Other architectural highlights include the piazza with a skylighted rotunda at the center of the facility.
Katzen Arts Center | Architecture
The buildings were extended in 2000 with additional wings that conserve the architectural style of the original buildings. The campus grounds also feature large sculptures by a number of celebrated European sculptors, including , who designed the original campus, and Francesco Marino di Teana. The campus interior houses a notable collection of contemporary wall carpets by the likes of Sonia Delaunay (co-founder of the Orphism movement), and Natalia Dumitresco.
CEDEP | History
They were designed by Architect Ernst Johnson; many other buildings designed by Johnson for the University have since been torn down and replaced. The most recent renovation to the building, beginning in 2014, The Gatton Student Center was designed by Omni Architects company.
Gatton Student Center | History
The Foust Building was listed on the National Register of Historic Places in 1980. It is the only surviving nineteenth-century structure on the campus.
Julius I. Foust Building | Introduction
The building's architect, Aaron B. Schwarz of Perkins Eastman architects, incorporated as much natural lighting as possible into the new design. The building's facade has stones similar to the original Learning Resource Center building, to better match the existing look on campus. Schwarz received a Design Award in 2003 for the building, from the Westchester/Mid-Hudson chapter of the American Institute of Architects. A more recent addition was the Gateway Center which functions as a unique resource on the campus, housing the college’s Business Programs, Professional Development Center, and multi lingual programs. The design of this building was made by Ennead Architects, and structurally engineered by Leslie E.
Westchester Community College | Campus
The architecture of the campus is mostly of the International style (designed primarily by architect Edward Killingsworth) and is very minimalist, placing emphasis instead on the landscaping that surrounds it. This naturalistic, park-like layout has earned the campus numerous design awards, as well as other awards from gardening societies. Recent construction maintains the characteristic glass-and-brick style. The integration of landscaping and architecture is apparent at the school's theater complex, where a dense grove of ficus trees is planted in such a way that it forms a continuation of the pillar-supported canopy at the theater's entrance. The university's registration offices are located in the open courtyard of Brotman Hall, which is "roofed" by a similar jungle-like canopy.
California State University, Long Beach | Architecture
The school has several buildings (constructed in the 1960s and 70s) of importance in the Modernist style, including the Murray D. Lincoln Campus Center and Hotel designed by Marcel Breuer, the Southwest Residential Area designed by Hugh Stubbins Jr, the Fine Arts Center by Kevin Roche, the W.E.B. Du Bois Library by Edward Durell Stone, and Warren McGuirk Alumni Stadium by Gordon Bunshaft of Skidmore, Owings and Merrill. Many of the older dorms and lecture halls are built in a Georgian Revival style such as French Hall, Fernald Hall and Flint Laboratory. Recently completed projects on campus include the Studio Arts Building (2007), the Campus Recreation Center (2009), the Integrated Science Building (2010), a new Campus Police Station (2011), the George N.
Campus of the University of Massachusetts Amherst | Architecture
After a two-year search for a recipient, the College for Creative Studies agreed to accept the work for its new A. Alfred Taubman Center for Design Education. It was installed for the center's opening in 2009.
Patrick V. McNamara Federal Building | Architecture
New facilities were needed to respond to the University's growing national reputation in artificial intelligence, business, robotics and the arts. In addition, an expanding student population resulted in a need for improved facilities for student life, athletics and libraries. The campus finally expanded to Forbes Avenue from its original land along Schenley Park. A ravine long known as "The Cut" was gradually filled in to campus level, joining "the Mall" as a major campus open space. The buildings of this era reflect current attitudes toward architectural style. The International Style, with its rejection of historical tradition and its emphases on functionalism and expression of structure, had been in vogue in urban settings since the 1930s.
Carnegie Mellon University | Campus architecture and design
Concrete counterweights totaling — with some as large as — counteract the weight of the roof from below the ground. The masts and counterweights are likened as external form-giving elements to flying buttresses in gothic architecture, which predominates the campus' architecture. The building is said to interpret gothic architecture through structural expressionism. The exterior support design made the interior space more receptive to open natural lighting and more accommodating for free movement. The roof design incorporated multi-level splayed cables so that the structural roof members could form a deep uniformly curved roof plane. The roof members are curved and shallow.
Gerald Ratner Athletics Center | Design
Metal panels have appeared in construction since the late 1990s. The Central Library, designed by prominent 20th-century architect George Dahl (well known contributions include Art Deco buildings at Dallas Fair Park), forms one side of a Library Quad which may be regarded as the heart of campus. The Central Library and Texas Hall are examples of Mid-century Modern design. Attention to building design and the definition of outdoor spaces is evident with the postmodern additions of the Chemistry & Physics Building (Perkins + Will), Maverick Activities Center (Hughes Group with Page), Engineering Research Building (ZGF Architects with Page), College Park Center (HKS, Inc.), and Science & Engineering Innovation & Research Building (ZGF with Page).
University of Texas at Arlington | Main Campus architecture
The School of Architecture's facilities are located on the second floor of the College of Fine Arts building and the second, third, and fourth floors of Margaret Morrison Carnegie Hall. These two buildings house Undergraduate and Master studios, PhD, administrative, and faculty offices, and several conference spaces as well as the Computational Design (CODE) Lab, a full Wood & Metal Shop, a (Digital Fabrication Lab) dFAB Lab, and the Robert L. Preger Intelligent Workplace, a sustainable "living laboratory" built atop Margaret Morrison Carnegie Hall.
Carnegie Mellon School of Architecture | Facilities
The Schwartz Center occupies a prominent site at the southwest corner of Emory's campus at the intersection of North Decatur Road and Clifton Road. The architectural style and exterior materials were chosen to echo existing buildings on campus. The nearby Goizueta Business School influenced the primary exterior finish which is a stucco accented by a Portuguese limestone known as "cietra bella" at the building's entrances. The architects studied venues including Boston's Symphony Hall and Vienna's Musikverein when designing the center. The Center's main hall is the 825-seat Cherry Logan Emerson Concert Hall, a tall, narrow shoebox concert hall design that rises above the roofline of the main building and is articulated with clerestory windows.
Donna and Marvin Schwartz Center for Performing Arts | Design
The center's campus, first used as a farm and woodlot by members of the Orvis family, was established as a summer country estate by William and Gertrude Divine Ritter, then of Columbus, Ohio, in 1916. The Ritters hired the New York City architectural firm Murphy and Dana to design the main buildings of the estate, include the large 28-room Colonial Revival main house, now known as the Yester House Gallery. The Ritters apparently separated during the development of the estate's plans, and were soon divorced. Gertrude Divine Ritter retained ownership of the estate, soon afterward remarrying, to Hugh Webster. Mrs.
Southern Vermont Arts Center | Campus history
Frist Campus Center is a focal point of social life at Princeton University. The campus center is a combination of the former Palmer Physics Lab, and a modern addition completed in 2001. It was endowed with money from the fortune the Frist family has made in the private hospital business. Designed by Venturi, Scott Brown & Associates, the firm of acclaimed architects Robert Venturi (a Princeton alumnus) and Denise Scott Brown, the building consists of a modern expansion to the existing Collegiate Gothic Palmer Hall. The new building volume fills in the courtyard of the previous C-shaped structure, and extends across its open side to create a new east facade.
Frist Campus Center | Introduction
The center bay is slightly recessed. Like the other buildings, it features classical detail, brick quoining semi-circular pediment, and continuous sills.
Drake University Campus Historic District | Architecture
The architecture of the entire complex is primarily post-modern, with sharp, jagged angles, canted walls, sloping roofs, glass walls, and a reflection of the local vernacular in both colors and materials. The introverted campus is inspired by a geode, and guides pedestrians from the outer concrete walls to a central space of glass, water, and color. This campus has been designed to be reflective of the Sonoran Desert. The complex was designed by Bora Architects of Portland, Oregon in associations with DWL Architects + Planners, Inc., of Phoenix, Arizona. Martha Schwartz Inc. served as landscape architect for the project. Michael Tingley, AIA was the Principal Architect from Bora Architects that partnered with Schwartz on the creation of this complex.
Mesa Arts Center | Architecture
Both the campus designs and the architecture of colleges throughout the country have evolved in response to trends in the broader world, with most representing several different contemporary and historical styles and arrangements.
Campus | History
The interior railings include cast iron fleur-de-lis balusters from Hays Hall, the first dormitory on campus, that was demolished in 1994. The large vertical ribbon window assemblies and atrium provide a view of the rest of campus. The architecture and masonry work won several national awards.
List of Washington &amp; Jefferson College buildings | The Burnett Center
The College of Design occupies several buildings and spaces throughout campus, the center of which are the two main buildings - College of Architecture East and West - in the center of the campus on Fourth Street.
Georgia Institute of Technology College of Design | Facilities
Most campus facilities feature red or brown brick façades with the exceptions of Elliott and Pruis Halls, each made of Indiana limestone. Completed in 1899 as the university's first building, the Frank A. Bracken Administration Building was built in Neoclassical style with a yellow brick façade. Most campus facilities built prior to 1960 feature Collegiate Gothic architecture, including Ball Gymnasium, Burris Laboratory School, Fine Arts Building, and L. A. Pittenger Student Center. Other examples include Burkhardt Building, North Quad Building, and Lucina Hall. Several modern campus buildings (early-1960s to early-1980s) have been built in Brutalist architecture, embracing blank walls and exposed concrete.
Ball State University | Architecture
The interior features a large atrium, large vertical ribbon window assemblies, and cast iron fleur-de-lis balusters from a former residence hall. The architecture and masonry work won several national awards.
The Burnett Center | Introduction
The gallery consists of 4,200 square feet, and is located in the Fine Arts Building on campus. The Albin O. Kuhn Library & Gallery includes another gallery space that is often used for student exhibitions.
Center for Art, Design and Visual Culture | Gallery
Several of the campus buildings have been listed on the National Register of Historic Places since August 26, 1982. The historic district is made up of the original campus buildings built before 1940: Administration Building, Memorial Tower, Susie Gray Dining Hall, Bennett Hall, and Wightman Chapel.
Scarritt College for Christian Workers | Architectural significance
The theater faces the west side of the Villa and uses its entrance as a stage. To the northwest of the theatre is a three-story, building built into the hill that contains the museum store on the lower level, a cafe on the second level, and a private dining room on the top level. North of the Villa is a indoor 250 seat auditorium. On the hill above the museum are Getty's original private ranch house and the museum wing that Getty added to his home in 1954. They are now used for curatorial offices, meeting rooms and as a library.
Getty Villa | Campus
Several prominent architects have contributed some more recent additions, including Frank Gehry (Lewis Library), I. M. Pei (Spelman Halls), Demetri Porphyrios (Whitman College, a Collegiate Gothic project), Robert Venturi and Denise Scott Brown (Frist Campus Center, among several others), and Rafael Viñoly (Carl Icahn Laboratory). A group of 20th-century sculptures scattered throughout the campus forms the Putnam Collection of Sculpture. It includes works by Alexander Calder ("Five Disks: One Empty"), Jacob Epstein ("Albert Einstein"), Henry Moore ("Oval with Points"), Isamu Noguchi ("White Sun"), and Pablo Picasso ("Head of a Woman"). Richard Serra's "The Hedgehog and The Fox" is located between Peyton and Fine halls next to Princeton Stadium and the Lewis Library.
Princeton University | Campus
The University's academic presence on the three top floors was marked by engaged Ionic columns capped by pediments. In 1927, due to the pressures of a growing post-war student body, NYU ejected commercial tenants to use the space for academic purposes. Samuel Colt developed the revolver and Samuel Morse invented the telegraph; John William Draper in 1840 took the first photograph in the United States in the original Main Building that the present structure replaced. Edgar Allan Poe, Herman Melville, Walt Whitman lived and taught and privately lectured there, Winslow Homer painted there, and architects Alexander Jackson Davis and Richard Morris Hunt had offices there.
Silver Center | History
The Architecture Building is also the Home of main administrative office for the College of Fine & Applied Arts.
Campus of the University of Illinois at Urbana–Champaign | Architecture Building
William and Mary's campus design similarly rejected the enclosed quadrangle, and was originally a single building that burned, to be replaced later by a single structure, the Wren Building, named for its purported designer Christopher Wren. The newer building was three sided, open on the fourth, in a style favored by Wren; he disliked four sided, monastic-style constructions. Later, there were small additions to the campus in the form of two structures, a house for the college president and the so-called "Indian School", making the campus resemble an English country estate, similar to those inspired by the work of architect Andrea Palladio.
History of college campuses and architecture in the United States | Campus organization
Design of the building began in 1997 during an international architectural design competition hosted by the school. Finalists included Peter Eisenman, Helmut Jahn, Zaha Hadid, Kazuyo Sejima, and the winner, Rem Koolhaas. He worked with Chicago architecture firm Holabird & Root, especially on structural engineering issues. The site was previously a heavily used student parking lot with tracks of the Green Line passing overhead. Koolhaas tracked movements of students across the lot, which led to diagonal passageways as the center's interior thoroughfares. Campus functions which had been spread around campus, such as the student bookstore and a post office, were relocated between these pathways.
McCormick Tribune Campus Center | History
Some buildings, such as the Hameetman Science Center (designed by Anshen + Allen, 2003), deviates from the original architecture with its large glass windows and metal balconies (its lobby houses a large Foucault pendulum). In 1979, Occidental installed "Water Forms II", a kinetic fountain designed by professor George Baker. The fountain is a campus landmark and was featured prominently in the 1984 film "". The campus is also noted for its outdoor Remsen Bird Amphitheater, also called the Remsen Bird Hillside Theatre, where between 1960 and 1996, a season of summer plays were performed, including Shakespeare plays and musicals. However, financial cutbacks caused the theater department to end its summer festival programs.
Occidental College | Campus
Sculpture is also on display at various points outside the buildings, including on various terraces and balconies. The lower level (the highest of the floors in the base) includes a public cafeteria, the terrace cafe, and the photography galleries.
Getty Center | Museum
The Center has a considerable collection of books and DVDs about the fields of technology, science, economics, psychology, sociology, and the arts.
Br. Andrew Gonzalez Hall | Building layout
Comprising of space, the building was designed by Esherick Homsey Dodge & Davis of Chicago, which sought to "break the mold" of institutional libraries. Part of a $33 million project, the Christopher Center was made possible through gifts from alumni and friends, including a $16 million gift from Jay Christopher and his wife Doris. Support of the University's "Three Goals, One Promise" campaign made construction of the building possible. Among the major donors to the building project are those whose gifts are recognized in special areas of the building. The grid-like structure flanking the south and east sides of the building's exterior provides an interesting appearance for the building while serving as a valuable sun screen.
Christopher Center | Construction and architecture
These areas are also filled with hanging and potted indoor plants. The main door of each building faces towards the Robert Karam Campanile, keeping students within the academic life area, where buildings for classes are located. Large mounds of earth (berms) also stand between the parking lots, making the lots partially invisible from within the original Academic Life area (though not from within some recent additions to it, such as the Charlton College of Business building). More recent buildings, most notably the Woodland Commons and residence halls to the south of the main campus, have been built to complement Rudolph's Late Modernist aesthetic.
University of Massachusetts Dartmouth | Architecture
However, none of the higher levels are on the same level with each other; they are connected by voluminous stairs and ramps. Most of the outer buildings occupy two or three squares on the grid. The entire complex shares a red brick and concrete theme, with sharp corners, square and triangular shapes, and little vegetation. The newest academic building is the art center, which is adjacent to the main complex but has its own architectural style. The building opened in the 2006-2007 school year. It was designed by Beverly Prior Architects to be built from prefabricated materials, because of the short time frame between the start of construction and planned opening.
Laney College | Campus
Although not open to the public, the campus includes J. Paul Getty's grave on the hill behind his ranch house. A 200-car North Parking Garage is behind the ranch complex. The museum building is arranged in a square opening into the Inner Peristyle courtyard. The 2006 museum renovation added 58 windows facing the Inner Peristyle and a retractable skylight over the atrium. It also replaced the terrazzo floors in the galleries and added seismic protection with new steel reinforcing beams and new isolators in the bases of statues and display cases. The museum has of gallery space. Writing in 2008, the architectural critic Calum Storrie described the overall effect: What the Getty Villa achieves, first by seclusion, then by control of access, and ultimately through the architecture, is a sense of detachment from its immediate environment.
Getty Villa | Campus
Planned mainly around a central quad, the campus architecture is highly varied with elements of many styles visible. While the overall architectural style cannot be singularly determined, examples from Beaux-Arts, Postmodernism, Gothic Revival, Richardsonian Romanesque, and Second Empire architecture are clearly visible on campus. In 1909, the Olmsted Brothers, one of the most influential landscape architectural firms at the time, were commissioned to produce a report on Lafayette's campus. In it, they praised the topography and grounds of the college, but lamented at a lack of harmony in architectural style. However, this "architectural eclecticism" has been a purposeful tradition at Lafayette, and has also been a source of praise; as the campus was not constructed all at once, the style of buildings reflect the time periods in which they were constructed.
Campus of Lafayette College | Architecture
The original buildings were designed by Herbert Riddle and built between 1923 and 1928. Riddle was the architect for Mather Tower in the Loop, as well as many buildings in New York. The original CTS building complex included stained glass windows, medieval style groin vaulting, furniture, lighting fixtures, ceramic ornament and tile work, and architectural relics—all of the highest quality of the day.
Chicago Theological Seminary | Campus
The railings include cast iron fleur-de-lis balusters from Hays Hall, the first dormitory on campus that was demolished in 1994. The first floor has atrium spaces and a main staircase. The large vertical ribbon window assemblies provide a view of the rest of campus.
The Burnett Center | Facilities
The campus itself is divided into four areas: In 1891, prominent Philadelphia architect Frank Furness designed Recitation Hall. Several buildings (Wolf, Sussex, and Harter Halls) were designed by Frank Miles Day, who also designed the formal campus landscape. From 1918 to 1952, Marian Cruger Coffin was appointed the university's landscape architect, a position which required her to unite the university's two separate campuses (the men's to the north and the women's to the south) into one cohesive design. This was a challenge since the linear mall design of each was out of alignment with the other. Coffin solved this problem by linking them with a circle (now called Magnolia Circle) instead of curving the straight paths, which rendered the misalignment unnoticeable to the pedestrian.
University of Delaware | Campus
Most of the buildings on the school's campus were partially or completely built by Putney students and faculty, with the exception of the most recent additions, the Michael S. Currier Center and the Field House. This Currier Center is a departure from Putney's customary white, colonial-style architecture, instead using stone and concrete walls in an angular design. It is used for dance, music, movie-making and visual-art presentations. The Field House, which opened in October 2009, was designed as a "net zero energy building".
The Putney School | Campus
The original marble gallery building, designed by Daniel Deverell Perry, opened in 1955. The Pietro Belluschi-designed Manton Research Center, housing the library and research programs, was completed in 1973. The Clark embarked on a long-term project in 2001 to improve its campus, enlisting the help of landscape firm Reed Hildebrand and architects Tadao Ando and Annabelle Selldorf. Reed Hilderbrand redesigned the campus grounds, revamping nearby walking trails, planting 1,000 trees, and creating a reflecting pool fed by recycled water. Tadao Ando designed two additions: the Lunder Center at Stone Hill and the 42,600-square-foot Clark Center, which opened in 2008 and 2014, respectively.
Clark Art Institute | Architecture
The 12-story, 143,000 square foot Center City building was designed by world-renowned architectural firm KieranTimberlake. The building features exterior glass walls individually tailored to the amount of sunlight, and cantilevered multi-story blocks which provide shade and give the building a distinctive look resembling a stack of books.
University of North Carolina at Charlotte | Center City Campus
The University of Michigan Central Campus Historic District contains nearly thirty significant buildings. These buildings were constructed over a range of dates, with the first, the President's House, constructed in 1840. Fully ten of the buildings were designed by Albert Kahn, who was University Supervising Architect from 1920 to 1925. Other architectural firms such as Smith, Hinchman and Grylls, Spier and Rohns, and Donaldson and Meier also designed buildings on campus. The center of the campus is defined by The Diag, a central open space about which many of the buildings are arranged. Historically significant buildings in the district, listed chronologically by construction date, are:
University of Michigan Central Campus Historic District | Description
Lewis Pilcher of the architectural firm Pilcher and Tachau served as an art professor at Vassar between 1900 and 1911; his firm was responsible for the design of the house. Jewett was built at the north end of the residential quad, northwest of Lathrop House and northeast of Davison House. Later projects saw the erection of Josselyn House (1912) to Jewett's west and the Students' Building (1913) to its east. It is the only building on the quad, including Rockefeller Hall, with its main facade facing inward. The dormitory, constructed from brick and stone, consists of a four-story U-shaped main body with a nine-story tower built ostensibly "to help campus water pressure." Construction on the house wrapped up in 1907.
Jewett House | Architecture and features
Among the college's notable alumni are architects Richard Meier (B.Arch. '56), designer of the Getty Center in Los Angeles, and Peter Eisenman (B.Arch. '55), founder of the Institute for Architecture and Urban Studies in New York City; artists Charles Ginnever (M.F.A. '59), Louise Lawler (B.F.A. '69), Susan Rothenberg (B.F.A. '67) and James Siena (B.F.A. '79); architect and planner Edmund Bacon (B.Arch. '32), and planners Paul Farmer (M.R.P. '71), Norman Krumholz (M.R.P. '65), and Robert Mier (M.R.P. '73, Ph.D. '75).
Cornell University College of Architecture, Art, and Planning | Introduction
"(The University of Montana Historic District Contributing Property)" Architects designing campus buildings between 1935 and 1939 were faced with a dilemma. Should they choose the Renaissance Revival style of most previous campus buildings or should they opt for the modern designs prevailing throughout the nation? In a compromise, three of the five buildings constructed during this phase allude to the previous style, but the Student Union and the Alumni Center proudly illustrate the modern Art Deco architectural movement. Very simple in design, the building features a flat roof, windows framed in terra cotta, and a stepped parapet. Completed in 1937, the Women's Club and Art Museum later occupied the Alumni Center.
Campus of the University of Montana | Alumni Center
The MIT campus features work from Modernists such as Eero Saarinen and I.M. Pei, as well as contemporary buildings by architects such as Steven Holl. Similarly, Cincinnati's campus features the work of many Modernists, and contemporary architects, such as Frank Gehry, Machado and Silvetti, and Michael Graves, an iconic postmodern architect.
History of college campuses and architecture in the United States | Contemporary architecture
Seuss. Library Walk, a heavily traveled pathway leading from the library to Gilman Drive, lies adjacent or close to Price Center, Center Hall, International Center, and various student services buildings, including the Student Services Center and the Career Services building. The layout of the main campus centers on Geisel Library, which is roughly surrounded by the six (soon to be seven) residential colleges of Revelle, Muir, Marshall, Warren, Roosevelt, Sixth, Seventh, and the School of Medicine. The six colleges maintain separate housing facilities for their students and each college's buildings are differentiated by distinct architectural styles. As residential colleges were added while the university expanded, buildings in newer colleges were designed with styles that were starkly different from that of the original campus.
University of California, San Diego | Campus
The structures forming the "classical core" of the campus were built in the Beaux-Arts Classical style, and include Hearst Greek Theatre, Hearst Memorial Mining Building, Doe Memorial Library, California Hall, Wheeler Hall, (Old) Le Conte Hall, Gilman Hall, Haviland Hall, Wellman Hall, Sather Gate, and the Sather Tower (nicknamed "the Campanile" after its architectural inspiration, St Mark's Campanile in Venice), the tallest university clock tower in the United States. Buildings he regarded as temporary, nonacademic, or not particularly "serious" were designed in shingle or Collegiate Gothic styles; examples of these are North Gate Hall, Dwinelle Annex, and Stephens Hall. Many of Howard's designs are recognized California Historical Landmarks and are listed on the National Register of Historic Places.
University of California, Berkeley | Architecture
The SUNY Plattsburgh main campus consists of 36 buildings on , in an area just west of the intersection of Broad Street and Rugar Street. The center of campus is Amité Plaza, a large outdoor courtyard surrounded by many of the most essential buildings on campus, including the Angell College Center, the Myers Fine Arts Building, and Feinberg Library. The iconic focal point of Amité Plaza is a massive metal sculpture of two people shaking hands. This sculpture, for which the courtyard was named, was created by renowned sculptor William King. It represents amity between the United States and Canada.
State University of New York at Plattsburgh | Facilities
It came late to the Carnegie campus because of the hiatus in building activity and a general reluctance among all institutions of higher education to abandon historical styles. By the 1960s, it was seen as a way to accomplish the needed expansion and at the same time give the campus a new image. Each building was a unique architectural statement that may have acknowledged the existing campus in its placement, but not in its form or materials. During the 1970s and 1980s, the tenure of University President Richard Cyert (1972–1990) witnessed a period of growth and development. The research budget grew from roughly US$12 million annually in the early 1970s to more than US$110 million in the late 1980s.
Carnegie Mellon University | Campus architecture and design
"(The University of Montana Historic District Contributing Property)" Originally "Woman's Art Club Building" Architects designing campus buildings between 1935 and 1939 were faced with a dilemma. Should they choose the Renaissance Revival style of most previous campus buildings or opt for the modern designs prevailing throughout the nation? In a compromise, three of the five buildings constructed during this phase allude to the previous style, but the Student Union and this building proudly illustrate the modern Art Deco architectural movement. Very simple in design, the building features a flat roof, windows framed in terra cotta, and a stepped parapet. Completed in 1937, the building was financed by the Woman's Club of Missoula and the PWA.
Campus of the University of Montana | International Center
In 2009 Tyler School of Art moved to a new location, a 250,000-square-foot building designed by architect Carlos Jiménez, Tyler's architecture program moved into a new, 50,000-square-foot Architecture Building in 2012. The two structures, which are connected by a passageway and are located at Temple University's Main Campus in Philadelphia. Their location adjacent to Presser Hall (part of Temple University's Boyer College of Music and Dance) and Temple Theaters (part of Temple's School of Theater, Film and Media Arts) has created an arts quadrant in the northeast corner of campus.
Tyler School of Art and Architecture | Facilities
The construction materials—granite, limestone, slate, and copper—create substantial quality.” The masonry sub-contractor Harris Masonry won the Excellence in Craftmanship Award from the Master Builders’ Association, saying that “The Weymouth Granite Ashlar veneer greatly enhances the traditional campus architecture of Washington & Jefferson College. The art of stone cutting and trimming rises to the highest level of beauty and reflects truly superb craftsmanship,” The masonry work also won the 2001 IMI Golden Trowel Award for "Excellence in Masonry Design and Construction." Griffin Interior created custom furniture for the building, including custom-built radiused desks for the computer rooms
The Burnett Center | Construction and design
Construction began in early 1980 and the building itself was completed in May 1982 at a cost of $23,000,000. The interior of the building consists of six floors of educational space and a seventh maintenance floor, altogether totaling . While at the time the center was considered futuristic, a "dark spaceship" on the historic campus, it has since become incorporated into the campus with its Red Square courtyard serving as a student gathering area.
Edward B. Bunn, S.J. Intercultural Center | History
Similarly, the decorative friezes on the buildings depict contemporary scenes such as policemen chasing a robber and arresting a prostitute (on the wall of the Law School), or a student relaxing with a mug of beer and a cigarette. The architect, James Gamble Rogers, faux-aged these buildings by splashing the walls with acid, deliberately breaking their leaded glass windows and repairing them in the style of the Middle Ages, and creating niches for decorative statuary but leaving them empty to simulate loss or theft over the ages. In fact, the buildings merely simulate Middle Ages architecture, for though they appear to be constructed of solid stone blocks in the authentic manner, most actually have steel framing as was commonly used in 1930.
Yale University | Campus
Of these athletic facilities, only Sanford Stadium remains and continues to dominate Central Campus. Located in the northwest corner, the Fine Arts Building was modeled in the neoclassical architectural style and built in 1941 with funds from the Public Works Administration, part of the New Deal initiated in the 1930s. The building covers an area about the size of a city block, and the interior features a giant mural by French-American artist Jean Charlot. At the time of its construction, it was the largest and most expensive academic building on campus. The Zell B. Miller Learning Center became the largest academic building in Central Campus when it was built in 2003 with a footprint of .
University of Georgia | Central Campus
When the Cohen Library moved to the North Academic Complex in the early 1980s, the structure was renamed the 'Y' building, and housed offices, supplies, the mail room, etc. The building was eventually gutted and renovated to become the home of the School of Architecture in 2009 (see below).
City College of New York | South Campus
There are also additional laboratories set aside for the recruitment of further research talents to Ohio University. The building has 13 classrooms. The Academic and Research Center now contains all of the Russ College's learning space. The architecture and interior design were developed with collaboration in mind. Almost all of the furniture in the ARC is mobile, easily creating group spaces, and smaller study nooks with comfortable chairs and tables distributed throughout the building.
Academic and Research Center (Ohio University) | Architecture
Contextually within the campus design "Johnson Hall" works to complete a north/south axis. With its two entrances both being glass doors the design helps to maintain the relationship between the "Old Quadrangle" and the "Woman's Quadrangle". Furthermore, the building is contextually significant in the campus' design because being the administration building it is located close to the center of campus.
Johnson Hall (Eugene, Oregon) | Architecture
The architecture of these pre-World War II buildings is traditional. Later buildings from the 1960s, '70s, and '80s are typical of much campus construction of the period: modern, functional, and not especially noteworthy. An exception is the Architecture Building (designed by the respected Dallas firm, Pratt, Box, and Henderson) which forms an intimate and visit-worthy courtyard; the Nursing Building is noted for its unusual triangular shape. Texas Hall (George Dahl, architect) is a contributing building with its front portico, and Nedderman Hall is a contributing structure with its large atrium. An admirable feature of the campus is the aesthetic consistency of limestone and UTA-blend brick.
University of Texas at Arlington | Main Campus architecture
These buildings include the Russell House student union, constructed in 1955, the Engineering Laboratory (Sumwalt) in 1951–52, the Humanities Complex/Center in 1968, the President House in 1953, South Building in 1962, Tower Dormitory and Thomas Cooper Undergraduate Library in 1959, and a women's residence hall in 1962. LBC&W also constructed buildings for other universities in the Columbia area, including Allen College, Benedict College, Columbia College, Lutheran Theological Seminary, and Fort Jackson. At Allen College, LBC&W constructed the library in 1971 on Hampton Street. At Benedict College, the firm constructed the Benjamin F. Payton Learning Resources Center in 1971–73, the Human Resources Center, the library, and Mather Hall.
Lyles, Bissett, Carlisle, and Wolff | University architecture
Examples of this style include the Architecture Building, Bracken Library, and Whitinger Business Building. The Teachers College Building, built in 1968, is the tallest building on campus, at 10 floors and . Recent building additions and expansions (early-1990s to present) have shied away from Brutalist designs, and instead, have been built to respect the scale and style of the university's older Collegiate Gothic buildings. While red and brown brick accented by limestone has remained the favored façade materials, large windows have become more commonplace in buildings constructed since the late-1990s to emphasize natural lighting. Examples of this architecture include the Alumni Center, Art and Journalism Building, Music Instruction Building, and the David Letterman Communication and Media Building.
Ball State University | Architecture
SAID is housed in a complex of four buildings, the most recent of which was designed by Peter Eisenman and completed in 1996. The complex includes many in-house services targeted to architecture and design students, including:
School of Architecture and Interior Design | Facilities
It owns and manages Coal Oil Point nature preserve on the West Campus. Much of the campus's early architecture was designed by famed architect William Pereira and his partner Charles Luckman, and made heavy use of custom tinted and patterned concrete block. This design element was carried over into many of the school's subsequent buildings.
University of California, Santa Barbara | Campus
An early architect's rendering revealed a building of Georgian-style brick, matching much of the rest of the Dartmouth campus. But with the engagement of architect Wallace K. Harrison, a favorite of Dartmouth graduate and New York's then-governor Nelson A. Rockefeller, the style moved to 1960s modern, and the arched and glassed-in front façade took on aspects that Harrison drew upon when he later designed the new Metropolitan Opera House at Lincoln Center. The arts were not new to Dartmouth at the time. A student theatre company, the Glee Club, Handel Society Chorus, Community Symphony Orchestra, Dartmouth Film Society, and artist-in-residence programs all pre-existed—but the thought was that students would need to be drawn into the arts activity housed within the center.
Hopkins Center for the Arts | History
The center includes spaces for exhibitions, performances, classes, and media production. The Logan Center was designed by Tod Williams and Billie Tsien. This building is entirely glass. The brick is a facade designed to keep the glass safe from the wind. The architects later removed sections of the bricks when pressure arose in the form of complaints that the views of the city were blocked.
University of Chicago | Arts
Almost all campus architecture is in the Richardson Romanesque style, and modern buildings reflect the features and themes of the older structures. There are five major academic buildings: Clinton Hall, Bogle Science Center, Timken Library, Armstrong-Hipkins Center for the Arts and the Chiang-Elghanayan Center for Innovation and Collaboration. Bogle Science Center, dedicated in 1989 and expanded and renovated in 2019, provides laboratories and classrooms for the science department and includes the 100-seat Cowan Auditorium. Armstrong-Hipkins Center for the Arts was dedicated in 1997 and includes the 500-seat DuBois Theatre, the black box Wean Theatre, and practice rooms. The renovated Timken Library opened in 1998.
Blair Academy | Facilities
It is now occupied by the University's Department of Arts, Faculty of Arts, Design and Social Sciences.
Burt Hall | History
These stylized elements sit somewhere between medieval revival and Art Deco.
National Bible Institute School and Dormitory (New York City) | Architecture
Kallmann, McKinnell & Wood designed Gerlach Hall, Schoenbaum Hall and Mason Hall. RTKL was hired as the hospitality consultant for the Blackwell Inn. Karlsberger completed all design documents and served as construction administrator for the entire complex. The campus consists of the following buildings and offices:
Fisher College of Business | Campus plan and architecture
The architecture of the Ray and Maria Stata Center (Building 32) is some of the most recognizable on MIT's campus. Designed by architect Frank Gehry, the building is built in a Deconstructivist style - it is composed of an eclectic combination of shapes constructed using a range of materials from brick to glass to a variety of architectural metals. The building houses several auditoriums, classrooms, and offices for the Electrical Engineering and Computer Science department (Course 6). In particular, the upper floors house research labs and offices of the Computer Science and Artificial Intelligence Laboratory (CSAIL), the Laboratory for Information and Decision Systems (LIDS), as well as the Department of Linguistics and Philosophy (Course 24).
Campus of the Massachusetts Institute of Technology | Stata Center (2004)
Here Mies employed his signature steel vertical I-beam detail at the mullions. These vertical I-beams express the structural language of the building, emphasize the vertical proportion, and add depth and shadow to the long facade. The split entrances occur near the entry points of the two back-to-back lecture halls, each seating roughly 250. The interior spaces on the ground floor have exposed buff brick walls, the same as the exterior. The internal two fan shaped lecture halls, form a core with buff brick walls on the sides and curved wood walls on the ends. The floors on the first floor are a tan terrazzo.
Richard King Mellon Hall | Building design
The building was designed by William B. Tubby, with interiors by Tiffany & Company. The three-story brick building was designed in a Renaissance Revival style. A feature of the interior is a marble staircase and pillars. The floors of the book stacks are made of glass and the stacks are a design by Library Bureau, which include oak shelves and copper-plated iron supports. Early renovations included the addition of a Children's Porch in 1912 to provide direct access to the Children's Room. The North Porch was added in the 1930s by architect John Mead Howells. Renovations in the early 1980s by architects Giorgio Cavaglieri and Warren Gran included the removal of the Children's Porch to another building on campus, an underground extension including additional stacks, study areas, and classroom with an outdoor mall above, and the addition of a climate-control system.
Pratt Institute Libraries | Architecture
The campus began to take shape in the Beaux-Arts architecture style of Henry Hornbostel, a winner of the 1904 competition to design the original institution and later the founder of what is now the Carnegie Mellon School of Architecture. There was little change to the campus between the first and second World War. A 1938 master plan by Githens and Keally suggested acquisition of new land along Forbes Avenue, but the plan was not fully implemented. The period starting with the construction of the Hall of the Arts (former Graduate School of Industrial Administration) building (1952) and ending with Wean Hall (1971) saw the institutional change from Carnegie Institute of Technology to Carnegie Mellon University.
Carnegie Mellon University | Campus architecture and design