How Stanford’s early professors brought extravagant Queen Anne architecture to Palo Alto

The article highlights ten iconic buildings and spaces across the United States that were designed by architects who are alumni of Columbia University. These structures showcase a range of architectural styles and purposes, reflecting the diverse contributions of Columbia graduates to the built environment. Beginning with Grand Central Terminal, a prominent example of Beaux-Arts architecture in New York City, the article details the involvement of Whitney Warren, who studied at Columbia's School of Architecture and School of Mines in the 1880s. Warren, in collaboration with Reed and Stem, was instrumental in designing the terminal's interiors, including the celestial mural on the main concourse ceiling, which was based on a star chart by Columbia astronomy professor Harold Jacoby. This section describes the initial creation of the mural by James Monroe Hewlett and Charles Basing and its subsequent restoration due to mold damage. The Empire State Building, an iconic Art Deco skyscraper, is also featured. Arthur Loomis Harmon, a 1901GSAPP alumnus and partner at Shreve, Lamb, and Harmon, was a key figure in its design. Completed in 1931 during the Great Depression, the building quickly became the world's tallest skyscraper, a title it held until 1970. In the realm of government architecture, Eric Gugler, a 1911GSAPP graduate, was responsible for reconfiguring the West Wing of the White House in 1933 for President Franklin D. Roosevelt. Gugler's modifications included excavating a basement for additional office space, creating a new Cabinet Room, and designing the Oval Office with Georgian details and a presidential seal medallion, enhancing privacy and accessibility for the president. The National Archives Building in Washington, D.C., designed by John Russell Pope (1894GSAPP), is presented as an example of the American Renaissance movement's reverence for classical aesthetics. Pope's Pantheon-inspired edifice, with its massive Corinthian columns and bronze doors, was intended to convey the gravitas of a repository for historical records. Pope also designed the National Gallery of Art's West Building, completed in 1941, making it the largest marble structure globally at the time, although he passed away before its completion. The Museum of Modern Art (MoMA) in New York City is another significant project. Philip L. Goodwin (1912GSAPP) and Edward Durell Stone designed the original 1939 building, which featured a modern, boxy structure and a glass façade that allowed natural light into the galleries while protecting artwork. Diller Scofidio + Renfro, an alumni-led firm including Elizabeth Diller (2018HON), Ricardo Scofidio (1960GSAPP), and Charles Renfro (1994GSAPP), later oversaw a major expansion of MoMA, adding gallery space and other facilities. Lincoln Center, a complex of performing arts venues, has seen extensive contributions from Columbia architects. Max Abramovitz (1931GSAPP) designed the original Philharmonic Hall (now David Geffen Hall) in the 1960s. More recently, Diller Scofidio + Renfro led a series of redevelopment projects to modernize Lincoln Center, redesigning Alice Tully Hall, renovating the Juilliard School, building a screening center, and enhancing public spaces. The article also highlights Norma Merrick Sklarek (1950GSAPP), the first Black woman member of the American Institute of Architects, who worked as a principal architect on the Mall of America in Minnesota. This massive shopping center, opened in 1992, remains the largest in the Western Hemisphere. Sklarek's extensive career also included designs for the United States Embassy in Tokyo and Los Angeles International Airport's Terminal One. Finally, the High Line in New York City and The Broad museum in Los Angeles are presented as projects by Diller Scofidio + Renfro. Ricardo Scofidio served as partner-in-charge for the High Line, a successful transformation of abandoned elevated railway tracks into a public park. The Broad, a contemporary art museum, features an innovative design by the firm that integrates stored collections within a partially transparent central vault, allowing for increased display of art and offering free public admission. #Architecture #ColumbiaAlumni #IconicBuildings #NewYorkCity #UrbanDesign #ArchitecturalHistory #ModernArchitecture #PublicSpaces

This article presents a question-and-answer interview with Thomas E. Austin, the newest Architect of the Capitol, offering insights into his motivations, priorities, inspirations, and leadership philosophy. Austin's decision to apply for the role was driven by his lifelong passions for service to his country, engineering and construction, and history, drawing a parallel to his previous role as Director of Engineering for Arlington National Cemetery. He views the Architect of the Capitol position as a unique opportunity that perfectly aligns with his interests and experience, expressing gratitude and humility for the appointment. His immediate priorities include revising the Human Capital Strategic Plan and the Capitol Campus Master Plan, alongside rebuilding trust within the workforce and with congressional stakeholders. Austin emphasizes the inspiring nature of the Capitol's architecture, particularly the Dome with the Statue of Freedom, and the extensive artwork throughout the building. He also highlights the dedication and talent of the staff responsible for maintaining the buildings and grounds, sharing an anecdote about a night shift team that collaboratively resolved a significant water accumulation issue in the House Office Buildings, showcasing problem-solving and teamwork. The interview also delves into Austin's past preservation and restoration experiences. At Arlington National Cemetery, he spearheaded the reconstruction of the Ord and Weitzel Gate, one of the four historical gates, using recovered original stones. This project, completed with a historic masonry company, restored a significant piece of the cemetery's historical and spiritual fabric. During the COVID-19 pandemic, with reduced public access to ANC, his team addressed a superficial crack at the Tomb of the Unknown Soldier, developing a durable and nearly invisible repair. Additionally, they successfully treated black biofilm discoloration on the Tomb and Memorial Amphitheater using a novel zinc oxide application, which is now being adopted for other historic monuments in the D.C. area. Regarding fostering a positive work environment, Austin advocates for honesty, engagement, and modeling desired behaviors. His leadership is guided by four principles: Professionalism, Integrity, Accountability, and Transparency. He stresses treating colleagues with respect, acting with honesty, setting clear expectations, and being transparent, even when information is unfavorable, as foundational to building trust. Recognizing and rewarding team members who exceed expectations and adhering to the principle of praising publicly while criticizing privately are also crucial elements of his approach. He believes that a positive work environment stems from mutual respect and a shared understanding of contributing to a larger mission. When asked about career advice, Austin shares several insights: valuing people as the greatest asset, viewing success as a continuous journey with achievable milestones, prioritizing lifelong learning, and maintaining professionalism in all conduct. He also humorously advises against sending emails when angry. Outside of work, Austin maintains a balanced life with hobbies such as running, hiking, camping, reading, gardening, and spending time with his dogs and family. He enjoys military and political history, science fiction, and biographies. Running serves as both a physical and mental outlet, while his passion for gardening includes growing strawberries, blueberries, apples, roses, and American Chestnut trees, as well as keeping beehives for honey production. The article concludes with photographs of his swearing-in ceremony as the 13th Architect of the Capitol by Supreme Court Chief Justice John G. Roberts, Jr., with his family present. #ThomasEAustin #ArchitectOfTheCapitol #AOCLeadership #CapitolCampus #HistoricPreservation #ArlingtonNationalCemetery #LeadershipPhilosophy #WorkplaceCulture #PublicService

Prairie View A&M University's School of Architecture is committed to preparing graduates for leadership roles in urban transformation and enhancing the quality of life through sustainable solutions for the built environment. The School offers a comprehensive range of programs, including a B.S. in Architecture, a B.S. in Construction Science, a B.S. in Digital Media Arts, an M. of Architecture, and an M.S. in Community Development Planning. Additionally, the School provides various summer programs to enrich student learning and professional development. A central component of the School's mission involves fostering student success and community engagement. This is achieved through dedicated student organizations and a clear mission and vision that guides its educational and research endeavors. The School of Architecture holds the distinction of being the only Historically Black Colleges and Universities (HBCU) in Texas with an accredited Architecture Program and is one of only seven HBCUs nationwide to offer such a program. Furthermore, it proudly stands as the leading producer of Black architecture graduates in the nation. Key resources and facilities within the School include the Nathelyne Archie-Kennedy Building, which serves as a central hub for academic activities. The School is home to several vital research and service centers, such as the Community Urban Rural Enhancement Service Center (CURES), the DesignView Media Center, and the Texas Institute for the Preservation of History & Culture (TIPHC). These centers facilitate cutting-edge research, community outreach, and historical preservation efforts, reinforcing the School's commitment to both academic excellence and societal impact. Strong corporate partnerships are integral to the School of Architecture's strategy, ensuring that its curriculum remains current and relevant to industry demands. These collaborations also support advanced research initiatives and help align academic offerings with the evolving needs of the corporate sector. An example of such collaboration is the School's work with Habitat for Humanity to construct homes and structures in the Houston area, providing students with practical, real-world experience. The School places a high priority on accreditation and transparency. The National Architectural Accrediting Board (NAAB) mandates comprehensive information disclosure to students, faculty, and the public. In adherence to these standards, the Construction Science program at Prairie View A&M University received full accreditation from the American Council for Construction Education (ACCE) in July 2023, underscoring the quality and rigor of its educational programs. The School of Architecture actively celebrates student achievements and engages in various events. Recent news highlights include students winning the College Challenge award at the Galveston Sandcastle Festival, the successful conclusion of the ARTEC 2025 summer program, a senior honoring Juneteenth with a winning logo design, and the graduation of the last of four sisters from PVAMU, marking a significant sisterhood legacy. These activities not only foster a vibrant campus life but also provide students with opportunities to apply their skills and contribute to the broader community. The School also maintains a robust schedule of upcoming events, accessible through its official channels. #ArchitectureEducation #HBCU #ArchitecturalPrograms #CommunityDevelopment #ConstructionScience #DigitalMediaArts #Accreditation #ResearchCenters #CorporatePartnerships

The Pratt Institute's School of Architecture is dedicated to utilizing the design, planning, and management of the built environment to address pressing contemporary issues, including social justice and the climate crisis. The school aims to equip students with the necessary skills and knowledge to tackle these complex and evolving challenges in a versatile, innovative, and ethical manner. The curriculum prepares students for impactful careers within various architectural disciplines, fostering leadership and responsibility. The School of Architecture offers a comprehensive range of undergraduate and graduate programs. Undergraduate options include a Bachelor of Architecture (BArch), with a specialized Morphology Concentration, and a Bachelor of Professional Studies (BPS) in Construction Management, alongside minors in Construction Management and Morphology. These programs emphasize foundational architectural principles, advanced design techniques, and practical construction and management skills. The Morphology Concentration, for example, delves into abstract and intricate structural formations, pushing the boundaries of traditional architectural design. Graduate studies at Pratt's School of Architecture cover an even broader spectrum of specializations. Offerings include a Master of Architecture (M.Arch), a Master of Landscape Architecture (MLA), a Master of Science in Architecture (Post Professional), and a Master of Science in Urban Design (Post Professional). The Graduate Center for Planning and the Environment further expands these options with master's programs in Historic Preservation, Sustainable Environmental Systems, Urban and Community Planning, and Urban Placemaking and Management. Additionally, the school provides advanced certificates in Community Planning, Historic Preservation, Sustainable Environmental Systems, and Urban Placemaking, catering to professionals seeking specialized expertise. The pedagogical approach at Pratt emphasizes hands-on learning, critical discussion, and design exploration. Students engage with a wide array of technologies, methodologies, and community engagement processes to understand and expand the possibilities of built, unbuilt, and rebuilt environments. The overarching goal is to empower students to leverage their expertise in creating and maintaining sustainable spaces, communities, and habitats, thereby contributing positively to the public good. Recent news highlights include exhibitions celebrating the school's legacy, reflections on its 70-year history, and upcoming information sessions for prospective graduate students. Key departments within the school are Undergraduate Architecture; Graduate Architecture, Landscape Architecture, and Urban Design; Construction Management; and the Graduate Center for Planning and the Environment. Each department focuses on specific aspects of architectural and urban development, ensuring a diverse and specialized educational experience. The School of Architecture also maintains strong ties with professional accreditation boards, such as the National Architectural Accrediting Board (NAAB) and the Planning Accreditation Board (PAB), underscoring its commitment to high academic and professional standards. The institution provides resources like contact information, messages from the dean, news and events, and a studio culture policy, all aimed at fostering a supportive and rigorous academic environment. #PrattInstitute #SchoolOfArchitecture #ArchitecturalEducation #UrbanPlanning #LandscapeArchitecture #ConstructionManagement #HistoricPreservation #SustainableDesign #UrbanDesign

The Lido Key home of Dan Denton, founder of Sarasota Magazine, is currently on the market for $4.95 million. This four-bedroom, four-bathroom residence at 117 S. Polk Drive exemplifies the Sarasota modern style, a significant architectural movement that gained international recognition from the mid-1940s through the 1960s. Denton, 71, recognized the enduring appeal of this style long before it was formally categorized as the “Sarasota School of Architecture.” He attended the 1982 American Institute of Architects convention where Gene Leedy, one of the movement's pioneers, officially coined the term. Denton, who admires architects like Paul Rudolph and Victor Lundy, acquired the home in 1989. At that time, the Sarasota School was a niche interest, with Mediterranean Revival being the predominant style. Denton was drawn to the home's flat roof, wide overhangs, terrazzo floors, and other midcentury characteristics, viewing it as a hidden gem reflecting the Sarasota School aesthetic, similar to a ranch version of the Umbrella House. Over 35 years, Denton undertook three significant renovations to transform the property into a pure embodiment of the Sarasota modern style. While the specific costs of these renovations are not disclosed, each decision was meticulously considered, with numerous architectural drawings and plans, including an idea for a second floor, ultimately not implemented. The initial layout, with rooms concentrated at one end, was reconfigured to a split floor plan. The guest wing is now arranged in a U-shape, creating a private courtyard at the back, mirroring another courtyard at the front, thereby maximizing outdoor living spaces. The backyard features a pool, spa, and fire pit, and a guest house is accessible via the kitchen in the main house's other wing. Architectural features include floating overhangs for shade and extensive use of windows and glass sliders, designed to enhance cross-ventilation and views. The first renovation in 1990, led by designer Robert Beardsworth, introduced a new pool and kitchen. Ten years later, Beardsworth’s partner, Robert Neal, and architect Michael Epstein of Seibert Architects (a firm founded by Tim Seibert, another Sarasota School leader and former draftsman for Paul Rudolph) collaborated on the second phase. The most recent renovation, completed in 2021, added an open pavilion to the garden, further integrating indoor and outdoor living. The front wall of the living and dining area was replaced with floor-to-ceiling windows, and screen-holding beams on the screened porch were removed to create unobstructed views of the pool. This renovation earned the home a Florida AIA Design Award in 2022. The home is adorned with Denton’s art collection and midcentury furniture, though these will accompany him to his new residence. Notable exceptions include a copper sculpture by Jack Cartlidge in the front yard and a colorful PVC pipe cylinder sculpture by James Renfro in the backyard, both of which will remain. The property does not have historical designation, offering flexibility for future modifications, but Denton hopes the next owner will share his appreciation for the home's unique style, expressing a desire to avoid a buyer who might consider demolition. He notes the challenge and interest in balancing replacements while maintaining the vintage aesthetic, exemplified by his decision to preserve the original pink tile in one of the bathrooms. Denton is downsizing but remaining in the local area. Kim Ogilvie of Michael Saunders & Company is handling the listing, emphasizing the home's prime location, offering access to the beach, boating, and dining without requiring a car, and highlighting the rarity of such expertly remodeled midcentury-modern homes on the market. #SarasotaModern #LidoKeyRealEstate #MidcenturyArchitecture #SarasotaSchoolOfArchitecture #HomeRenovation #LuxuryHomes #DanDenton #ArchitecturalDesign #FloridaAIAAward

This article details the transformation of a four-bedroom California bungalow on Sydney's Lower North Shore, owned by designer Jennie Cadman of Periwinkle Interiors. The renovation was undertaken to accommodate her growing family, which includes her husband and four children, aged between two and 12. Despite having completed a renovation on their previous home nearby, it proved insufficient for their needs, prompting the family to acquire this bungalow in 2018. The property was appealing due to its 'great bones,' featuring high ceilings, spacious bedrooms, a predominantly single-level layout, and a generous backyard. Previous owners had also effectively utilized the attic space, converting it into an additional bedroom and a family room. However, the bungalow presented challenges, particularly its dark and inefficient floor plan in the 1990s addition. This section included a bedroom and laundry overlooking the garden, a space Jennie felt was better suited for a living area. A significant issue was the lack of kitchen bench space, compelling Jennie to prepare meals on the stovetop. To address these functional shortcomings and improve the home's flow, the family engaged architect Adam Hampton of Hampton Architecture in 2019. Their primary goals were to design a new extension with a living area that maximized garden views, reconfigure the misplaced bedroom, and incorporate an ensuite for their eldest child, who needed a private bathroom. Today, the renovated home features an open-plan kitchen, dining, and living area that occupies almost the entire left side of the house. A distinct sitting room is situated between this open-plan space and the entry, while the main bedroom suite and family bathroom are located to the right of the entry. The children’s bedrooms now overlook the backyard, and the pitched roof of the upper level houses a study and a family room. The kitchen, designed as the central hub, connects seamlessly to the new living room and the backyard. A notable architectural feature of the extension is its pitched roofline, which mirrors the original front facade and achieves an impressive height of approximately 4 meters, enhanced by skylights, to create an expansive and airy feel. Innovative design choices include a 1.4x1.1-meter cool room in place of a traditional fridge, providing an efficient way to store groceries. Jennie also specifically requested that all storage be below bench height, accommodating her stature. In the dining area, French doors were added, opening onto a deck overlooking the front garden and pool, with a sheltered sitting area beneath. Windows in the children’s bedrooms were enlarged, and the attic family room gained a balcony to further integrate indoor and outdoor spaces. The main bedroom was reconfigured to enlarge both the ensuite and walk-in wardrobe. The interior design, largely overseen by Jennie, showcases a bold navy blue palette, particularly prominent in the sitting room through artworks and soft furnishings. This is contrasted with vibrant pops of red and orange, seen in a Knoll ‘Womb’ chair and a patchwork kilim in the dining area. Jennie intentionally created a contrast between formal and informal spaces, with the casual living room being bright and airy, and the sitting room designed to be darker and more intimate. Texture plays a crucial role, with materials such as a linen modular sofa, linen curtains, timber floors, tongue-and-groove joinery, a concrete plinth, and a marble coffee table in the family room. The main bathroom features smooth marble, while the kitchen employs dolomite for benchtops and splashbacks, complemented by walnut veneer and brass finishes. Jennie identifies the sitting room as her favorite space, appreciating its cozy and enveloping atmosphere. #CaliforniaBungalow #HomeRenovation #InteriorDesign #FamilyHome #ArchitecturalExtension #OpenPlanLiving #NavyInteriors #CathedralCeilings #KitchenDesign #OutdoorLiving

This article highlights the significant contributions of Joseph Pell Lombardi, a Financial District resident and architect, to urban development through his pioneering work in converting commercial buildings into residential spaces. Lombardi's efforts are credited with initiating the loft movement in downtown New York, profoundly shaping the residential landscape of the city, particularly in areas like Tribeca and the Financial District. His most notable early achievement was the conversion of Liberty Tower at Liberty and Nassau streets into residential co-op apartments in 1978. This project, undertaken almost five decades ago, marked the first major residential conversion of an office building in the Financial District and was initially met with bafflement from the real estate industry. The article emphasizes that Lombardi's vision, though initially considered radical, has since become a widely accepted and imitated practice in urban planning and architecture. Kent Barwick, former chairman of the New York City Landmarks Preservation Commission, is quoted as stating that Lombardi's work was groundbreaking and changed how cities perceive the utility of old buildings. Lombardi's interest in preservation, which was initially unpopular among his architectural peers, is now considered a leading approach. The impact of Lombardi's work extends to numerous buildings across New York City. The article lists several of his preserved or converted projects in the neighborhood, including 161 Duane (Mohawk), 27 N. Moore (Ice House), 25 N. Moore (Atalanta), 14 Leonard (Juilliard), 79 Laight (Sugar Warehouse), 145 Hudson (Skylofts), 7 Hubert, the National City Bank Building on Canal and Broadway, and the Haughwout Building in Soho. His firm, Joseph Pell Lombardi & Associates, maintains offices on Broadway and Canal, and Lombardi himself continues to reside in an apartment in Liberty Tower. The article also touches upon the broader context of these conversions, particularly the economic climate of the 1970s. Comments from readers suggest that the fiscal crisis of 1975 likely led to a glut of vacant office spaces, creating an opportune environment for such adaptive reuse projects. Another comment elaborates on the historical trends leading to adaptive reuse, including the Great Depression, suburban flight, and urban renewal efforts that threatened historic buildings. This created a demand for new housing solutions in areas with declining commercial and industrial use. The opposition from city departments and the subsequent Loft Law of the 1980s are mentioned as crucial elements in legalizing and facilitating these conversions, addressing restrictive building codes and zoning resolutions. Ultimately, Lombardi's enduring legacy lies in his foresight and dedication to preserving architectural heritage while simultaneously innovating urban living. His work demonstrates that even modern office buildings, with appropriate modifications such as dropping shafts for courtyards and light, can be successfully repurposed for residential use. His pioneering efforts laid the groundwork for today's widespread practice of commercial-to-residential conversions and the establishment of preservation departments within architectural firms. #JosephPellLombardi #Architecture #LoftMovement #UrbanDevelopment #BuildingConversion #HistoricPreservation #FinancialDistrict #Tribeca #NewYorkCityRealEstate

In the Italian region of Puglia, architect Andrew Trotter undertook the transformation of a former all-girls school, closed since the 1960s, into a residential home. The property, known as Casolare Scarani, presented a unique opportunity, being smaller than the grand masserie and more characterful than typical farm outbuildings found in the area. Trotter, who has experience with various housing projects near Carovigno, identified the building's potential due to its historic charm and manageable size. The renovation began just before the 2020 pandemic when an Australian family, friends of Trotter, decided to purchase the property. Ian Coleman viewed the school in person, while his wife Maree made the decision based on photographs. The initial phase of the renovation involved a collaborative effort to strip layers of peeling paint from the arcade, revealing the original stone beneath. This arcade now forms part of a three-bedroom and one-bathroom suite on the second floor. The original garage was repurposed into a kitchen, and a stable became the dining room. For the two ground-floor bathrooms, Trotter added a white cubed extension that seamlessly integrates with the historical structure. Trotter's signature design approach, characterized by Mediterranean Minimalism, is evident throughout the renovated home. White lime plaster was extensively used on walls and ceilings, creating a soft, powdery finish that enhances the rounded arches and vaults, making them appear as if carved from limestone. This aesthetic achieves a balance between minimalist simplicity and warm comfort. The architect preserved and relaid old stones, while other areas feature Chianca porcelain tiles. Historical elements such as a star vault and a large living room fireplace were retained and integrated with new additions like shelves and wall niches. The interior decor incorporates local ceramics, crafts, antique wooden furniture, and natural textiles, all while retaining a rich patina that nods to the building's past without appearing outdated. The transformation highlights Trotter's skill in adapting historical structures for modern living while respecting their heritage. Specific changes include converting the original garage into a kitchen, the stable into a dining room, and developing a three-bedroom, one-bathroom area on the second floor, which was previously a classroom. The new cubed extension for the ground-floor bathrooms demonstrates a contemporary intervention that complements the historic core. The project successfully reimagines an obsolete educational facility into a functional and aesthetically pleasing home, blending traditional Puglian architecture with a modern, minimalist sensibility. #Puglia #Italy #AndrewTrotter #SchoolConversion #HistoricRenovation #MediterraneanMinimalism #HomeDesign #ArchitecturalTransformation #InteriorDesign

The adjacent communities of Glencoe and Winnetka, despite sharing similar demographics, constructed two elementary schools, Central School and Crow Island School, within a year of each other, yet with remarkably distinct architectural philosophies. Central School in Glencoe, built in 1939, exemplifies a commitment to traditional design, mirroring the village's desire to preserve its historical residential character. This architectural choice aligns with the colonial revival style previously adopted by South School and further reinforced by the reconstruction of Williamsburg in the 1920s, which popularized America's early architectural heritage. Central School, designed by Armstrong, Furst & Tilton, presents as a grand, symmetrical two-story brick edifice featuring a prominent entrance with columns and a curved broken pediment, reflecting the prevalent colonial architectural tastes of the time. Architects John Armstrong and William Furst, both Glencoe residents, were also responsible for designs at the University of Chicago's Laboratory School. The colonial style's enduring popularity in Glencoe is further evidenced by the construction of the red brick library before World War II and the Village Hall in 1951. In stark contrast, Winnetka's Crow Island School, built in 1940, embodies a progressive educational philosophy championed by Superintendent Carleton Washburne. Designed collaboratively by Eliel and Eero Saarinen and the emerging Chicago firm Perkins, Wheeler & Will, Crow Island School quickly gained national recognition as a pioneering example of educational architecture. Eliel Saarinen, known for his work at Cranbrook Schools of Art, was joined by his son Eero in the firm shortly before this commission. Larry Perkins, son of acclaimed school architect Dwight Perkins, was also a key figure. Crow Island School was conceived as a direct architectural response to progressive education principles, with its design centered entirely around the child's needs. The planning process was highly inclusive, involving the School Board, teachers, custodial staff, and even children, who reviewed a 3-by-3-foot model of the proposed building. This collaborative approach aimed to create a highly functional and engaging learning environment. Every aspect of Crow Island School was scaled to the child. Classrooms feature low windows facing south and west to maximize natural light. Furniture was specifically designed to adapt to growing children, including auditorium seating that increased in size towards the rear. The emphasis on flexibility allowed for light, custom-designed furniture to be easily moved, facilitating diverse learning activities such as building windmills or trains to teach geography and math. Each classroom included a dedicated small workshop for individual projects, its own bathroom, and an adjoining courtyard, promoting a holistic and hands-on learning experience. The innovative design of Crow Island School served as a springboard for Perkins & Will, establishing them as leading school architects in the Chicago area, across the United States, and eventually internationally. Today, Crow Island School is recognized as a national historic landmark, a testament to its significant contribution to educational architecture. #ArchitecturalHistory #SchoolDesign #ProgressiveEducation #ColonialRevival #ModernArchitecture #Winnetka #Glencoe #Saarinen #PerkinsAndWill

The New Review series, a biweekly examination of art installations and exhibitions near The New School campus, focuses this week on the Vera List Courtyard. Situated in a bustling urban environment, the courtyard serves as a space for reflection on The New School's past and present. While often regarded as the Lang courtyard, its formal name honors American art collector and philanthropist Vera List, having been dedicated on November 2, 1997. The space was designed by landscape architect Michael Van Valkenburgh and artist Martin Puryear, integrating sculptural presence with practical function to create a contemplative meeting area within the university. Kathleen Goncharov, a curator, highlights in "I Stand in My Place With My Own Day Here: Site-Specific Art at The New School" how this design appropriately honors Vera List’s legacy. Initially intended for small outdoor receptions, performances, and ceremonies, the courtyard's current usage by New School students often deviates from these educational purposes. Students frequently utilize it for lounging, organizing demonstrations, or even as a canvas for graffiti. The design incorporates staggered levels, steel benches, and cement steps that double as seating, creating a dynamic yet somewhat uncomfortable environment. The presence of 'witch-hat' shaped benches and a curved ramp surrounded by rocks and trees adds a playful aesthetic, contrasting with the harsh, gray cement walls that can feel restrictive. This perceived discomfort raises questions about the $2.6 million investment, funded through private contributions, for a space that, while fostering campus life, may not always be welcoming. The courtyard not only serves the present but also acts as a tangible reminder of The New School's revolutionary past, a history that might seem at odds with its current image. The institution, with its extensive art collection of approximately 2,000 works, positions itself as 'new' and disruptive of the capitalist status quo. However, this image potentially contradicts its original founding principles. Established in 1919, The New School was conceived as an advanced adult education institution, designed to bring together creative scholars and citizens for active questioning, debate, and discussion, rather than a traditional undergraduate and graduate university structure. The article encourages occupants of the courtyard to ponder the divergence between the school's foundational goals and its contemporary reality. The author prompts readers to observe the space critically, contemplating elements such as the dying red maple trees, the vibrant greenery that emerges in spring, and the oval terrace. This encourages engagement in Socratic seminars to discuss concerns about the tuition, the school's shortcomings, and potential improvements. The article suggests using the various seating areas—tables and chairs on the lower level, benches along the walls—as platforms for reimagining the school's future, fostering community, and addressing inclusivity. It advocates for active listening, observing campus interactions, and utilizing the echoey cement walls for voicing protests against institutional failures. By leaning against the metal bench on the oval terrace, students are encouraged to envision a truly 'new' school, recognizing that despite its progressive advertisements, significant work remains. The process of observation and conversation within these spaces, even if uncomfortable, is presented as the starting point for necessary institutional change. #VeraListCourtyard #NewSchool #MichaelVanValkenburgh #MartinPuryear #CampusLife #ArtInstallation #ArchitecturalDesign #HigherEducation #InstitutionalHistory