However, much has happened since it went up, including the Blogger outage.
Michigan Central lacks the landmark designation that would give it the protection it deserves, including oversight of alterations or restoration. Political realities often drive preservation decisions and may explain how the Station remains unprotected. They were forced together by the New York Central Railroad, owner of the Michigan Central Railroad, in a shotgun-marriage of a partnership called the Associated Architects of Grand Central Terminal, the name by which they also designed Michigan Central.
The stations were their only large-scale collaborations and were designed almost at once for effectively the same client. Renderings of Michigan Central Station with its defining tower left and Grand Central Terminal with its unbuilt one right show how similar they were in concept. Their trios of monumental arches, each flanked by paired columns and alternating with smaller openings, reveal a more specific level of similarity.
This duality reflects an underlying battle for the soul of American architecture then led by two Chicago architects: Beyond their juxtaposition of skyscraper and Roman bath, the stations are permeated by a mix of the historic and futuristic, giving them unique architectural depth.
Its full explanation leads from ancient Rome through Paris and Chicago to New York at its most futuristic. Richard Morris Hunt designed several houses for William K.
Vanderbilt, including his Marble House in Newport left. The Fair popularized the classical architecture favored by Gilded Age tycoons like Vanderbilt and imprinted their taste on the American populace.
While the school promoted rational analysis and planning which would pave the way for modernism, its adherence to classical forms and compositional rules can appear cult-like or even superstitious from a modern perspective.
Classical precedents were viewed as pertinent educational models because they had been gradually refined over centuries. Whitney Warren defended their applicability to the New World: Architecture is always an evolution. So we are taking the best elements in the old styles, and we are attempting to produce from them what is suggested and demanded by our present conditions — a new and American style.
Roman baths and basilicas were the ancient building types best suited as models for large buildings, including metropolitan train stations.
These men were exclusively responsible for the Court of Honor, where their shared classical language harmonized to a crowd-pleasing overall effect.
It was co-authored by the architect and city planner Edward Bennett, edited by the journalist and historian Charles Moore, and compellingly illustrated with panoramic watercolors by the artist Jules Guerin.
Burnham was largely responsible for the historicism cloaking the technological advances of American architecture in the era of Grand Central and Michigan Central. He would design more structures for the White City than any other architect, including its train station and the permanent building that now houses the Art Institute of Chicago.
His tenure with Burnham lasted untilwhen his job and then his increasingly skeletal presence went up in opium smoke. The whole is better than any of its parts and greater than all its parts, and its effect is one and indivisible. The Fair is going to have a great influence in our country.
I can see all America constructed along the lines of the Fair, in noble, dignified, Classic style. The great men of the day all feel that way about it — all of them. Wright claimed the conversation took place as Burnham offered him an all-expenses-paid Beaux-Arts education in Paris and two years soaking up Rome, to be followed by a job with his firm.
Wright declined and lived to portray Burnham as Mephistopheles and himself refusing to barter his self-reliant American soul, giving Ayn Rand material for the individualistic architect-protagonist Howard Roark in her novel, The Fountainhead. Where function does not change, form does not change.
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