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  • [Solved] Neuro help

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  • [Solved] Journal and 2 discussions

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    Discussion 1 – 200 Words Discussion 2 – 200 Words Journal – 4 pages. – 2 years ago **files (3)** – ## HumanComputinter_Discussion.docx – ## HumanComputinter_Journal.docx – InteractionDesign_5thEdition.pdf **## HumanComputinter_Discussion.docx** **Human Comput inter & Usability** **Discussion 2**…

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    Discussion 1 – 200 Words

    Discussion 2 – 200 Words

    Journal – 4 pages.

    – 2 years ago

    **files (3)**

    – ## HumanComputinter_Discussion.docx

    – ## HumanComputinter_Journal.docx

    – InteractionDesign_5thEdition.pdf

    **## HumanComputinter_Discussion.docx**

    **Human Comput inter & Usability**

    **Discussion 2**

    After reading Chapter 3, which of the interaction types do you feel most influence interface design challenges? You are required to write a statement that is
    **LIMITED to 150 words**.

    **Discussion 3**

    After reading Chapter 4, which of the cognitive frameworks do you feel best help users determine how to complete a task and activity? You are required to write a statement that is
    **LIMITED to 150 words**.

    **Textbook (attached last week)**

    Title: Interaction Design

    ISBN: 9780470665763

    Authors: Yvonne Rogers, Helen Sharp, Jenny Preece

    Publisher: John Wiley & Sons

    Publication Date: 2011-06-07

    **## HumanComputinter_Journal.docx**

    **Human Comput inter & Usability**

    [**Usability Journal**](https://ucumberlands.blackboard.com/webapps/blackboard/content/listContent.jsp?course_id=_172745_1&content_id=_7098052_1)

    Each day, we use the Internet on our personal computers and mobile devices to access information and purchase goods. Websites often have their own mobile form factor while others maintain the same Website user experience, creating challenges when trying to use navigation, overcome errors, search, and complete the most mundane tasks. For this assignment, you are to review a website as well as a Mobile Site. For example, you would evaluate Amazon.com on Microsoft Edge (PC) and Amazon.com on your iPhone using Safari. Conducting a heuristic evaluation (self-evaluation), you will write an assessment on each Website answering the following questions:

    1. What Website did you evaluate?

    2. What industry does the company participate in?

    3. Looking at the online website, address three issues that require revision? For each issue, please provide a screenshot and explicitly mark why you feel this issue is problematic.

    4. Looking at the online website, how would you suggest that the issues requiring revision are corrected based on what you have learned in the class so far?

    5. Moving to the mobile site, compare those same three features. Did you find the user experience to be problematic or better suited for the mobile form factor?

    6. With the mobile site, how would you enhance the experience for those same issues you found on the Website to be problematic.

    This paper length is 4 -6 pages.

    **Textbook (attached last week)**

    Title: Interaction Design

    ISBN: 9780470665763

    Authors: Yvonne Rogers, Helen Sharp, Jenny Preece

    Publisher: John Wiley & Sons

    Publication Date: 2011-06-07

    **InteractionDesign_5thEdition.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/interactiondesign-5thedition-pdf-10220239)

    **InteractionDesign_5thEdition.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/interactiondesign-5thedition-pdf-10220239)

    **## HumanComputinter_Discussion.docx**

    **Human Comput inter & Usability**

    **Discussion 2**

    After reading Chapter 3, which of the interaction types do you feel most influence interface design challenges? You are required to write a statement that is
    **LIMITED to 150 words**.

    **Discussion 3**

    After reading Chapter 4, which of the cognitive frameworks do you feel best help users determine how to complete a task and activity? You are required to write a statement that is
    **LIMITED to 150 words**.

    **Textbook (attached last week)**

    Title: Interaction Design

    ISBN: 9780470665763

    Authors: Yvonne Rogers, Helen Sharp, Jenny Preece

    Publisher: John Wiley & Sons

    Publication Date: 2011-06-07

    **## HumanComputinter_Journal.docx**

    **Human Comput inter & Usability**

    [**Usability Journal**](https://ucumberlands.blackboard.com/webapps/blackboard/content/listContent.jsp?course_id=_172745_1&content_id=_7098052_1)

    Each day, we use the Internet on our personal computers and mobile devices to access information and purchase goods. Websites often have their own mobile form factor while others maintain the same Website user experience, creating challenges when trying to use navigation, overcome errors, search, and complete the most mundane tasks. For this assignment, you are to review a website as well as a Mobile Site. For example, you would evaluate Amazon.com on Microsoft Edge (PC) and Amazon.com on your iPhone using Safari. Conducting a heuristic evaluation (self-evaluation), you will write an assessment on each Website answering the following questions:

    1. What Website did you evaluate?

    2. What industry does the company participate in?

    3. Looking at the online website, address three issues that require revision? For each issue, please provide a screenshot and explicitly mark why you feel this issue is problematic.

    4. Looking at the online website, how would you suggest that the issues requiring revision are corrected based on what you have learned in the class so far?

    5. Moving to the mobile site, compare those same three features. Did you find the user experience to be problematic or better suited for the mobile form factor?

    6. With the mobile site, how would you enhance the experience for those same issues you found on the Website to be problematic.

    This paper length is 4 -6 pages.

    **Textbook (attached last week)**

    Title: Interaction Design

    ISBN: 9780470665763

    Authors: Yvonne Rogers, Helen Sharp, Jenny Preece

    Publisher: John Wiley & Sons

    Publication Date: 2011-06-07

    **InteractionDesign_5thEdition.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/interactiondesign-5thedition-pdf-10220239)

    **## HumanComputinter_Discussion.docx**

    **Human Comput inter & Usability**

    **Discussion 2**

    After reading Chapter 3, which of the interaction types do you feel most influence interface design challenges? You are required to write a statement that is
    **LIMITED to 150 words**.

    **Discussion 3**

    After reading Chapter 4, which of the cognitive frameworks do you feel best help users determine how to complete a task and activity? You are required to write a statement that is
    **LIMITED to 150 words**.

    **Textbook (attached last week)**

    Title: Interaction Design

    ISBN: 9780470665763

    Authors: Yvonne Rogers, Helen Sharp, Jenny Preece

    Publisher: John Wiley & Sons

    Publication Date: 2011-06-07

    **## HumanComputinter_Journal.docx**

    **Human Comput inter & Usability**

    [**Usability Journal**](https://ucumberlands.blackboard.com/webapps/blackboard/content/listContent.jsp?course_id=_172745_1&content_id=_7098052_1)

    Each day, we use the Internet on our personal computers and mobile devices to access information and purchase goods. Websites often have their own mobile form factor while others maintain the same Website user experience, creating challenges when trying to use navigation, overcome errors, search, and complete the most mundane tasks. For this assignment, you are to review a website as well as a Mobile Site. For example, you would evaluate Amazon.com on Microsoft Edge (PC) and Amazon.com on your iPhone using Safari. Conducting a heuristic evaluation (self-evaluation), you will write an assessment on each Website answering the following questions:

    1. What Website did you evaluate?

    2. What industry does the company participate in?

    3. Looking at the online website, address three issues that require revision? For each issue, please provide a screenshot and explicitly mark why you feel this issue is problematic.

    4. Looking at the online website, how would you suggest that the issues requiring revision are corrected based on what you have learned in the class so far?

    5. Moving to the mobile site, compare those same three features. Did you find the user experience to be problematic or better suited for the mobile form factor?

    6. With the mobile site, how would you enhance the experience for those same issues you found on the Website to be problematic.

    This paper length is 4 -6 pages.

    **Textbook (attached last week)**

    Title: Interaction Design

    ISBN: 9780470665763

    Authors: Yvonne Rogers, Helen Sharp, Jenny Preece

    Publisher: John Wiley & Sons

    Publication Date: 2011-06-07

    **InteractionDesign_5thEdition.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/interactiondesign-5thedition-pdf-10220239)

  • [Solved] Journal 1 PHL

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    [>Philosophy homework help](https://www.sweetstudy.com/fields/social-science-philosophy) see Attached – 2 years ago

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  • [Solved] Fiduciary Fraud and Government Corruption

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    [>Criminal homework help](https://www.sweetstudy.com/fields/law-criminal) **Topic:** **Fiduciary Fraud and Government Corruption** **Assignment** **Before completing the discussion forum assignment, watch the following video and read the following article:** [**Keating 5 and John McCain**](https://w…

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    **Topic:**

    **Fiduciary Fraud and Government Corruption**

    **Assignment**

    **Before completing the discussion forum assignment, watch the following video and read the following article:**

    [**Keating 5 and John McCain**](https://www.youtube.com/watch?v=xgcZEYrnANA)

    [**Casino Jack: The Rise and Fall of Jack Abramoff**](https://www.cbsnews.com/news/casino-jack-a-lobbyists-rise-and-fall/)

    **Find and summarize an additional example of money influencing politics not mentioned in the book or videos.  Given the influence of lobbyists in Washington, D.C., how can the government be expected to serve the best interests of its citizens?  Or, in other words, if politicians are being funded by special interest groups, who are they serving?  At what level should accepting funding from private interests become a crime?  Or, should it ever?**

    – 2 years ago

  • [Solved] efine police discretion and the factors that influence it.

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    [>Criminal homework help](https://www.sweetstudy.com/fields/law-criminal) **Define police discretion and the factors that influence it. What is police discretion? Why is police discretion important?** – 2 years ago

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    **Define police discretion and the factors that influence it. What is police discretion? Why is police discretion important?**

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  • [Solved] create framework

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    i attached the instruction – 2 years ago **files (1)** – ## Spring2025VulnerablePopulationsandSocialEquityinDisasterPreparedness.pdf **## Spring2025VulnerablePopulationsandSocialEquityinDisasterPreparedness.pdf** Mid-term Spring 2025 Vulnerable Populations and Social Equity in Disaster Preparedness …

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    i attached the instruction

    – 2 years ago

    **files (1)**

    – ## Spring2025VulnerablePopulationsandSocialEquityinDisasterPreparedness.pdf

    **## Spring2025VulnerablePopulationsandSocialEquityinDisasterPreparedness.pdf**

    Mid-term Spring 2025

    Vulnerable Populations and Social Equity in Disaster Preparedness

    The importance of equity in emergency management is not a new concept. The Stafford Act

    (https://www.fema.gov/disaster/stafford-act) requires FEMA assistance be delivered in an

    equitable manner without discrimination on the grounds of race, color, religion, nationality, sex,

    age, disability, language accessibility, or economic status.

    Ensuring social equity in disaster preparedness remains a critical challenge for many emergency

    management teams nationwide.

    In recent years, the United States (U.S.) has been severely impacted by multiple large-scale

    disasters. Multiple large and destructive hurricanes in 2017 and 2018 including Hurricanes

    Harvey, Irma, Maria, Florence, and Michael led to the evacuation of millions of people. Fast-

    moving wildfires in California including the October 2017 Northern California Wildfires and the

    December 2017 Southern California Wildfires, along with the Mendocino Complex, Carr, Camp,

    Hill, and Woolsey wildfires, led to the evacuation of thousands. Even with the rise in disasters,

    many emergency management agencies remain unprepared to support all citizens in disasters,

    mostly due to a lack of necessary resources assets. Although all citizens are impacted, those

    populations affected by social factors, such as medical and physical disabilities, immigrant

    status, language barriers, age, gender, and resources (lack of) are at higher risk (Nancy Aldrich,

    William F. Benson, 2008). Lack of planning, consideration, inclusion are the main culprits.

    Look at the chart below to identify data attached to vulnerable populations for California’s

    largest cities. Take this data set into account when completing your assignment.

    [https://www.fema.gov/disaster/stafford-act](https://www.fema.gov/disaster/stafford-act)

    Mid-term Spring 2025

    Defining Equity (Disaster Preparedness Lens):

    Equity means that sociodemographic characteristics such as race, or gender, or age, or anything

    else, predict the distribution of disaster aid to the extent that these things are related to the need

    for aid. .1

    Defining Vulnerable Population:

    Any individual, group, or community whose circumstances create barriers to obtaining or

    understanding information, or the ability to react as the general population. … Circumstances

    that may create barriers include, but are not limited to age; physical, mental, emotional, or

    cognitive status; culture; ethnicity; religion; language; citizenship; geography; or socioeconomic

    status.2

    Defining Social Dimensions

    A cross-cutting theme that involves considering human, social, policy, and governance factors.

    [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2646456/#B8](https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2646456/#B8)

    [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2646456/#B8](https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2646456/#B8)

    Mid-term Spring 2025

    Assignment Focus: Developing emergency management preparedness plans with a focus on

    equity and focus on vulnerable populations.

    Assignment Task and Expectations:

    A. Design a framework (yes this is YOUR framework) to ensure equity is a priority when

    developing disaster preparedness plans. Your framework at minimum should include the

    following:

    • What are the issues or challenges? (Ex. Communication)

    • What would your recommendations be in alignment with the issues/challenges (Ex.

    Content of Communication/How things are communicated to various populations)

    • At least 3 major barriers to addressing the issue/challenge.

    • At least 4 items to consider when discussing equity and disaster preparedness?

    • Who (includes types of leaders and organizations) needs to be at the “table” when the

    disaster planning is happening?

    • Citations/ References

    • Clear/ Easy to follow

    • Detailed

    • Framework Aesthetics (how the framework looks in presentation)

    Mid-term Spring 2025

    References

    1. Finucane, Melissa L., Linnea Warren May, and Joan Chang, Assessing Social Equity in

    Disaster Preparation, Response, and Recovery. Homeland Security Operational Analysis

    Center operated by the RAND Corporation, 2021.

    https://www.rand.org/pubs/presentations/PTA1876-1.html.

    2. Iowa Public Health Preparedness Program. Emergency planning for people with

    disability. [cited 20008 Nov 14]. Available from:

    URL: http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.

    pdf.

    [https://www.rand.org/pubs/presentations/PTA1876-1.html](https://www.rand.org/pubs/presentations/PTA1876-1.html)

    [http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.pdf](http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.pdf)

    [http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.pdf](http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.pdf)

    **## Spring2025VulnerablePopulationsandSocialEquityinDisasterPreparedness.pdf**

    Mid-term Spring 2025

    Vulnerable Populations and Social Equity in Disaster Preparedness

    The importance of equity in emergency management is not a new concept. The Stafford Act

    (https://www.fema.gov/disaster/stafford-act) requires FEMA assistance be delivered in an

    equitable manner without discrimination on the grounds of race, color, religion, nationality, sex,

    age, disability, language accessibility, or economic status.

    Ensuring social equity in disaster preparedness remains a critical challenge for many emergency

    management teams nationwide.

    In recent years, the United States (U.S.) has been severely impacted by multiple large-scale

    disasters. Multiple large and destructive hurricanes in 2017 and 2018 including Hurricanes

    Harvey, Irma, Maria, Florence, and Michael led to the evacuation of millions of people. Fast-

    moving wildfires in California including the October 2017 Northern California Wildfires and the

    December 2017 Southern California Wildfires, along with the Mendocino Complex, Carr, Camp,

    Hill, and Woolsey wildfires, led to the evacuation of thousands. Even with the rise in disasters,

    many emergency management agencies remain unprepared to support all citizens in disasters,

    mostly due to a lack of necessary resources assets. Although all citizens are impacted, those

    populations affected by social factors, such as medical and physical disabilities, immigrant

    status, language barriers, age, gender, and resources (lack of) are at higher risk (Nancy Aldrich,

    William F. Benson, 2008). Lack of planning, consideration, inclusion are the main culprits.

    Look at the chart below to identify data attached to vulnerable populations for California’s

    largest cities. Take this data set into account when completing your assignment.

    [https://www.fema.gov/disaster/stafford-act](https://www.fema.gov/disaster/stafford-act)

    Mid-term Spring 2025

    Defining Equity (Disaster Preparedness Lens):

    Equity means that sociodemographic characteristics such as race, or gender, or age, or anything

    else, predict the distribution of disaster aid to the extent that these things are related to the need

    for aid. .1

    Defining Vulnerable Population:

    Any individual, group, or community whose circumstances create barriers to obtaining or

    understanding information, or the ability to react as the general population. … Circumstances

    that may create barriers include, but are not limited to age; physical, mental, emotional, or

    cognitive status; culture; ethnicity; religion; language; citizenship; geography; or socioeconomic

    status.2

    Defining Social Dimensions

    A cross-cutting theme that involves considering human, social, policy, and governance factors.

    [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2646456/#B8](https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2646456/#B8)

    [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2646456/#B8](https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2646456/#B8)

    Mid-term Spring 2025

    Assignment Focus: Developing emergency management preparedness plans with a focus on

    equity and focus on vulnerable populations.

    Assignment Task and Expectations:

    A. Design a framework (yes this is YOUR framework) to ensure equity is a priority when

    developing disaster preparedness plans. Your framework at minimum should include the

    following:

    • What are the issues or challenges? (Ex. Communication)

    • What would your recommendations be in alignment with the issues/challenges (Ex.

    Content of Communication/How things are communicated to various populations)

    • At least 3 major barriers to addressing the issue/challenge.

    • At least 4 items to consider when discussing equity and disaster preparedness?

    • Who (includes types of leaders and organizations) needs to be at the “table” when the

    disaster planning is happening?

    • Citations/ References

    • Clear/ Easy to follow

    • Detailed

    • Framework Aesthetics (how the framework looks in presentation)

    Mid-term Spring 2025

    References

    1. Finucane, Melissa L., Linnea Warren May, and Joan Chang, Assessing Social Equity in

    Disaster Preparation, Response, and Recovery. Homeland Security Operational Analysis

    Center operated by the RAND Corporation, 2021.

    https://www.rand.org/pubs/presentations/PTA1876-1.html.

    2. Iowa Public Health Preparedness Program. Emergency planning for people with

    disability. [cited 20008 Nov 14]. Available from:

    URL: http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.

    pdf.

    [https://www.rand.org/pubs/presentations/PTA1876-1.html](https://www.rand.org/pubs/presentations/PTA1876-1.html)

    [http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.pdf](http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.pdf)

    [http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.pdf](http://www.idph.state.ia.us/bh/common/pdf/disability_health/emergency_planning.pdf)

  • [Solved] Spiritually-Based Organizational Leadership

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    **Spiritually-Based Organizational Leadership** **Complete 10 multiple choice questions** **Complete a Course assignment consisting of 18 short written questions followed by a longer question.** **The test is uploaded along with study materials used to finish the test and questions.** – [\ \ TEST1…

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    **Spiritually-Based Organizational Leadership**

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    **Complete a Course assignment consisting of 18 short written questions followed by a longer question.**

    **The test is uploaded along with study materials used to finish the test and questions.**

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  • [Solved] CRCJ MID-Term

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    IDES 312 CHAPTER 43 SHINGLE STYLE AND AMERICAN ARTS AND CRAFTS the

    1880s-1930s

    1. Shingle Style – ARCHITECTURE

    · Influence

    · Characteristics

    · Buildings – Public

    · Private – houses

    · Interiors

    · motifs

    2. American Arts and Crafts – ARCHITECTURE

    · Influence(s) for each of the following

    · Characteristics for each of the following

    · Include floor plans of the houses

    · Craftsman House

    · Gustav Stickley

    · Prairie Style

    · Frank Lloyd Wright

    · The Bungalow

    · Henry Mather Greene and Charles Sumner Greene

    · Colors of AA&C

    · Flooring

    · Walls

    · Doors

    · Ceilings

    · Textiles

    · Lighting

    3. Stickley – Craftsman – Prairie – Greene and Greene – Mission – Frank Lloyd Wright FURNISHINGS

    · Influences – for each of the above furniture styles/designers

    · Characteristics – for each of the above furniture styles/designers

    · Wood type – “

    · Joinery – “

    · Seating – “

    · Tables – “

    · Sofa – “

    · Storage – “

    · Beds – “

    · Decorative Arts – “

    4. Rookwood Pottery

    5. Lincrusta

    6. Inglenook

    7. Joinery

    **## ch-43-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 43

    Shingle Style and American Arts and Crafts

    1880s – 1930s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Shingle Style & American Arts & Crafts

    Shingle Style, unique to U.S., evolves from explorations of New England colonial architecture combined with English Queen Anne

    Picturesque, rambling, irregular, covered with wooden shingles

    American Arts and Crafts follows English principles

    More individualistic, more diverse influences, more democratic

    Similar ideals & social transformation advocated for middle class & wealthy

    Character varies by region & designer, builder, entrepreneur, mail-order company

    Image—simplicity, hand-made

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Concepts

    Shingle Style—roots in 17th century New England & English Queen Anne architecture

    Defining characteristics—shingles, additive or rambling shapes, broad roofs

    Shingles unify irregular shapes & massing

    American Arts and Crafts

    From concepts of Pugin, Ruskin, Morris & others

    Shared principles, not unified style

    More diverse & regional expressions

    Less likely to reject machine so democratized design—custom architect-designed homes to mail order cottages

    Also Craftsman, Mission, & Prairie Styles

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    3

    Characteristics and Motifs

    Both favor styles, forms, details of Middle Ages

    Asymmetry, irregularity, verticality, simplicity

    Non literal interpretation—seeks to capture essence of past

    Shingle Style—shingles cover walls, columns, details

    American arts & crafts architecture, interiors, furniture, decorative arts—unity

    Simplicity, honesty, revealed structure, suitability to purpose, truth in materials, vernacular traditions, harmony with landscape, handcrafted look

    Naturalistic colors, motifs; practicality, function, efficiency

    Motifs—flowers, trees, foliage, animals, geometric motifs, Gothic details, Oriental images

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    43.1

    Architectural Details: Stained glass window, Robie House, 1909-1910; Chicago, Illinois; Frank Lloyd Wright, and stair detail, David B. Gamble House, 1907-1908; Pasadena, California; Greene and Greene. American Arts and Crafts

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture  Shingle Style

    Appeals to newly wealthy leisured class, especially for vacation homes, resorts

    Recalls but not shackled by the past in freedom of expression, informality, continuity of texture

    Mostly residential, some hotels, other structures

    Shingles on nearly every surface most evident characteristic

    Asymmetry, irregular massing, horizontality, gables, towers, bay windows, porches, multiple roofs

    More continuity than Queen Anne but calmer, quieter, free-form character

    Many influences—New England Colonial, English Queen Anne, Romanesque Revival, Japan

    No corresponding interior or furniture style

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture  American Arts & Crafts

    Simple, honest, emphasis on structure & function, vernacular traditions, close ties to landscape & location, naturalistic colors & motifs, handcrafted appearance

    Same principles as in England, but wider diversity with strong regionalism & individuality

    Craftsman Houses—follow principles of G. Stickley, great promoter of Arts and Crafts

    Shown in The Craftsman, diversity in style & type

    Prairie Style—fully integrated custom houses by Frank Lloyd Wright

    Reflect his ideas of Arts & Crafts, Organic architecture

    Bungalow—small, single story house type for middle class

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.2

    Old Faithful Inn and Interior, Yellowstone National Park, 1903-1904; Wyoming; Robert Reamer. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The massive, seven-story lobby with walls of raw log surrounding a sixteen-foot-square fireplace of rough-cut rhyolite, vernacular building style, light from the traditionally dark and dank log cabin, through dormers scattered across the inn’s great sloping roof. As the light sprinkled down filtered through gnarled and twisted branches used for railings. The tall, airy space combined with the logs, lacy accents, and sunlight blur the boundary.

    8

    43.3a (1 of 2)

    First Church of Christ Scientist, 1910-1912; Berkeley, California; Bernard Maybeck. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.3a (2 of 2)

    First Church of Christ Scientist nave, 1910-1912; Berkeley, California; Bernard Maybeck. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The roof trusses and concrete pillars in the tracery are stained and decorated with modeled ornament and flat stencil work. Natural and artificial light improve the structure, and different shades of translucent glazing create the desired effect.

    10

    43.4a

    Isaac Bell House, 1883; Newport Rhode Island; McKim, Mead and White, Shingle Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.4b

    Isaac Bell House floor plans, 1883; Newport Rhode Island; McKim, Mead and White, Shingle Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.5a

    David B. Gamble House, 1907-1908; Pasadena, California; Charles Sumner Greene and Henry Mather Greene. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The house boasts multiple porches, including three large sleeping porches. The first level of the home's exterior includes handmade brick and terra cotta terraces that flank the walkway up to the front door. Round, tapered beams extend on the exterior to support the extended porches. Heavy layers of shingles insulate the house, stone, and brickwork. Hanging exterior lanterns accent the grounds from beams.

    13

    43.5b

    David B. Gamble House stair hall, 1907-1908; Pasadena, California; Charles Sumner Greene and Henry Mather Greene. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.6a

    Frederick C. Robie House, 1909-1910; Chicago, Illinois; Frank Lloyd Wright. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The house has roof eaves, continuous bands, a horizontal line, and the exterior walls are double-wythe construction of a brick core with an iron-spotted Roman brick veneer. It has a mortar with horizontal lines and vertical joints with a brick-colored design in the gates surrounding the outdoor spaces that enclose the garage courtyard.

    15

    43.6b

    Frederick C. Robie House floor plans, 1909-1910; Chicago, Illinois; Frank Lloyd Wright. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.6c

    Frederick C. Robie House dining room, 1909-1910; Chicago, Illinois; Frank Lloyd Wright. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    A room has Roman brick with a mortar, and the overhangs and the floating brick balcony have steel beams for structural support. It has horizontality of the brick, sweeping lines, extensive overhangs, well-lit interiors with furniture, and a balance of public and private spaces.

    17

    43.7

    Bungalow, 1900s-1920s and “The Winona,” 1910; Sears, Roebuck and Company mail-order bungalow.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors

    Architect or builder designed & middle class integrate architecture, interiors, furnishings into unified whole

    Informal or vernacular feeling, intimate scale, open space, asymmetrical arrangements, horizontality, rectangular shapes, straight lines

    Function & individuality important

    Visual continuity among rooms, informal materials & finishes, rough or natural textures, warmth, light

    Vary from totally designed environments of Wright or Greene brothers to mail-order furnishings of middle class

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.8

    Stair hall, Samuel Tilton House, 1881-1882; Newport, Rhode Island; McKim, Mead, and White. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.9

    Living rooms; published in The Craftsman, 1905-1906; Gustav Stickley and Harvey Ellis. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.10

    Living room and dining room, Meyer May House, 1905; Grand Rapids, Michigan. Frank Lloyd Wright with George Niedecken for furniture. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.11

    Lighting: Candlesticks, hanging lantern, and lamps, 1900-1915. United States. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Furnishing and Decorative Arts

    May be architect-designed for totally designed environments (Wright, Greene Brothers); mass-produced in factories (Stickley); hand-made in cooperatives or utopian communities (Roycroft)

    Similar principles—rectangular form & shape, revealed joints & structure; honest use of materials; structural emphasis; distinctive joinery

    Interiors have few pieces of furniture for simplicity & openness

    Custom design furniture relates to the architecture

    Mass-produced follows Arts & Crafts principles but lacks theoretical underpinnings

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.12

    Armchair, Darwin R. Martin House, 1904; Buffalo, New York; Frank Lloyd Wright. Prairie Style

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.13

    Craftsman armchair, 1905; Craftsman Workshops, New York. Gustav Stickley. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.14

    Sofa in oak, 1912; United States. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.15

    Display cabinet/bookcase in oak, c. 1904-1905; Craftsman Workshops; New York. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.16

    Art Pottery from Rockwood Pottery and Newcomb College Pottery, c. 1900s-1920s; Ohio and Louisiana.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    A Newcomb pottery was typically high-gloss glazes, with handcrafted decorations such as hand-painted flowers. It has a refined stoneware body of tapering cylindrical form, flaring to circular foot. Decorated underglaze with trees and landscape, and has a transparent matte glaze.

    29

    Copyright

    This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from it should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    30

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    **IMG_9699.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-9699-png)

    **IMG_9700.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-9700-png)

    **IMG_9702.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-9702-png)

    **IMG_9701.png**

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    **IMG_9703.png**

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    **IMG_9705.png**

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    **IMG_9704.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-9704-png)

    **IMG_9704.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-9704-png)

    **## IDES312CHAPTER43SHINGLESTYLEANDAMERICANARTSANDCRAFTSthe.docx**

    IDES 312 CHAPTER 43 SHINGLE STYLE AND AMERICAN ARTS AND CRAFTS the

    1880s-1930s

    1. Shingle Style – ARCHITECTURE

    · Influence

    · Characteristics

    · Buildings – Public

    · Private – houses

    · Interiors

    · motifs

    2. American Arts and Crafts – ARCHITECTURE

    · Influence(s) for each of the following

    · Characteristics for each of the following

    · Include floor plans of the houses

    · Craftsman House

    · Gustav Stickley

    · Prairie Style

    · Frank Lloyd Wright

    · The Bungalow

    · Henry Mather Greene and Charles Sumner Greene

    · Colors of AA&C

    · Flooring

    · Walls

    · Doors

    · Ceilings

    · Textiles

    · Lighting

    3. Stickley – Craftsman – Prairie – Greene and Greene – Mission – Frank Lloyd Wright FURNISHINGS

    · Influences – for each of the above furniture styles/designers

    · Characteristics – for each of the above furniture styles/designers

    · Wood type – “

    · Joinery – “

    · Seating – “

    · Tables – “

    · Sofa – “

    · Storage – “

    · Beds – “

    · Decorative Arts – “

    4. Rookwood Pottery

    5. Lincrusta

    6. Inglenook

    7. Joinery

    **## ch-43-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 43

    Shingle Style and American Arts and Crafts

    1880s – 1930s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    Shingle Style & American Arts & Crafts

    Shingle Style, unique to U.S., evolves from explorations of New England colonial architecture combined with English Queen Anne

    Picturesque, rambling, irregular, covered with wooden shingles

    American Arts and Crafts follows English principles

    More individualistic, more diverse influences, more democratic

    Similar ideals & social transformation advocated for middle class & wealthy

    Character varies by region & designer, builder, entrepreneur, mail-order company

    Image—simplicity, hand-made

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Concepts

    Shingle Style—roots in 17th century New England & English Queen Anne architecture

    Defining characteristics—shingles, additive or rambling shapes, broad roofs

    Shingles unify irregular shapes & massing

    American Arts and Crafts

    From concepts of Pugin, Ruskin, Morris & others

    Shared principles, not unified style

    More diverse & regional expressions

    Less likely to reject machine so democratized design—custom architect-designed homes to mail order cottages

    Also Craftsman, Mission, & Prairie Styles

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    3

    Characteristics and Motifs

    Both favor styles, forms, details of Middle Ages

    Asymmetry, irregularity, verticality, simplicity

    Non literal interpretation—seeks to capture essence of past

    Shingle Style—shingles cover walls, columns, details

    American arts & crafts architecture, interiors, furniture, decorative arts—unity

    Simplicity, honesty, revealed structure, suitability to purpose, truth in materials, vernacular traditions, harmony with landscape, handcrafted look

    Naturalistic colors, motifs; practicality, function, efficiency

    Motifs—flowers, trees, foliage, animals, geometric motifs, Gothic details, Oriental images

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    43.1

    Architectural Details: Stained glass window, Robie House, 1909-1910; Chicago, Illinois; Frank Lloyd Wright, and stair detail, David B. Gamble House, 1907-1908; Pasadena, California; Greene and Greene. American Arts and Crafts

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture  Shingle Style

    Appeals to newly wealthy leisured class, especially for vacation homes, resorts

    Recalls but not shackled by the past in freedom of expression, informality, continuity of texture

    Mostly residential, some hotels, other structures

    Shingles on nearly every surface most evident characteristic

    Asymmetry, irregular massing, horizontality, gables, towers, bay windows, porches, multiple roofs

    More continuity than Queen Anne but calmer, quieter, free-form character

    Many influences—New England Colonial, English Queen Anne, Romanesque Revival, Japan

    No corresponding interior or furniture style

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture  American Arts & Crafts

    Simple, honest, emphasis on structure & function, vernacular traditions, close ties to landscape & location, naturalistic colors & motifs, handcrafted appearance

    Same principles as in England, but wider diversity with strong regionalism & individuality

    Craftsman Houses—follow principles of G. Stickley, great promoter of Arts and Crafts

    Shown in The Craftsman, diversity in style & type

    Prairie Style—fully integrated custom houses by Frank Lloyd Wright

    Reflect his ideas of Arts & Crafts, Organic architecture

    Bungalow—small, single story house type for middle class

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.2

    Old Faithful Inn and Interior, Yellowstone National Park, 1903-1904; Wyoming; Robert Reamer. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The massive, seven-story lobby with walls of raw log surrounding a sixteen-foot-square fireplace of rough-cut rhyolite, vernacular building style, light from the traditionally dark and dank log cabin, through dormers scattered across the inn’s great sloping roof. As the light sprinkled down filtered through gnarled and twisted branches used for railings. The tall, airy space combined with the logs, lacy accents, and sunlight blur the boundary.

    8

    43.3a (1 of 2)

    First Church of Christ Scientist, 1910-1912; Berkeley, California; Bernard Maybeck. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.3a (2 of 2)

    First Church of Christ Scientist nave, 1910-1912; Berkeley, California; Bernard Maybeck. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The roof trusses and concrete pillars in the tracery are stained and decorated with modeled ornament and flat stencil work. Natural and artificial light improve the structure, and different shades of translucent glazing create the desired effect.

    10

    43.4a

    Isaac Bell House, 1883; Newport Rhode Island; McKim, Mead and White, Shingle Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.4b

    Isaac Bell House floor plans, 1883; Newport Rhode Island; McKim, Mead and White, Shingle Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.5a

    David B. Gamble House, 1907-1908; Pasadena, California; Charles Sumner Greene and Henry Mather Greene. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The house boasts multiple porches, including three large sleeping porches. The first level of the home's exterior includes handmade brick and terra cotta terraces that flank the walkway up to the front door. Round, tapered beams extend on the exterior to support the extended porches. Heavy layers of shingles insulate the house, stone, and brickwork. Hanging exterior lanterns accent the grounds from beams.

    13

    43.5b

    David B. Gamble House stair hall, 1907-1908; Pasadena, California; Charles Sumner Greene and Henry Mather Greene. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.6a

    Frederick C. Robie House, 1909-1910; Chicago, Illinois; Frank Lloyd Wright. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The house has roof eaves, continuous bands, a horizontal line, and the exterior walls are double-wythe construction of a brick core with an iron-spotted Roman brick veneer. It has a mortar with horizontal lines and vertical joints with a brick-colored design in the gates surrounding the outdoor spaces that enclose the garage courtyard.

    15

    43.6b

    Frederick C. Robie House floor plans, 1909-1910; Chicago, Illinois; Frank Lloyd Wright. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.6c

    Frederick C. Robie House dining room, 1909-1910; Chicago, Illinois; Frank Lloyd Wright. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    A room has Roman brick with a mortar, and the overhangs and the floating brick balcony have steel beams for structural support. It has horizontality of the brick, sweeping lines, extensive overhangs, well-lit interiors with furniture, and a balance of public and private spaces.

    17

    43.7

    Bungalow, 1900s-1920s and “The Winona,” 1910; Sears, Roebuck and Company mail-order bungalow.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors

    Architect or builder designed & middle class integrate architecture, interiors, furnishings into unified whole

    Informal or vernacular feeling, intimate scale, open space, asymmetrical arrangements, horizontality, rectangular shapes, straight lines

    Function & individuality important

    Visual continuity among rooms, informal materials & finishes, rough or natural textures, warmth, light

    Vary from totally designed environments of Wright or Greene brothers to mail-order furnishings of middle class

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.8

    Stair hall, Samuel Tilton House, 1881-1882; Newport, Rhode Island; McKim, Mead, and White. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.9

    Living rooms; published in The Craftsman, 1905-1906; Gustav Stickley and Harvey Ellis. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.10

    Living room and dining room, Meyer May House, 1905; Grand Rapids, Michigan. Frank Lloyd Wright with George Niedecken for furniture. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.11

    Lighting: Candlesticks, hanging lantern, and lamps, 1900-1915. United States. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Furnishing and Decorative Arts

    May be architect-designed for totally designed environments (Wright, Greene Brothers); mass-produced in factories (Stickley); hand-made in cooperatives or utopian communities (Roycroft)

    Similar principles—rectangular form & shape, revealed joints & structure; honest use of materials; structural emphasis; distinctive joinery

    Interiors have few pieces of furniture for simplicity & openness

    Custom design furniture relates to the architecture

    Mass-produced follows Arts & Crafts principles but lacks theoretical underpinnings

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.12

    Armchair, Darwin R. Martin House, 1904; Buffalo, New York; Frank Lloyd Wright. Prairie Style

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.13

    Craftsman armchair, 1905; Craftsman Workshops, New York. Gustav Stickley. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.14

    Sofa in oak, 1912; United States. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.15

    Display cabinet/bookcase in oak, c. 1904-1905; Craftsman Workshops; New York. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.16

    Art Pottery from Rockwood Pottery and Newcomb College Pottery, c. 1900s-1920s; Ohio and Louisiana.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    A Newcomb pottery was typically high-gloss glazes, with handcrafted decorations such as hand-painted flowers. It has a refined stoneware body of tapering cylindrical form, flaring to circular foot. Decorated underglaze with trees and landscape, and has a transparent matte glaze.

    29

    Copyright

    This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from it should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    30

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    **IMG_9699.png**

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    **## IDES312CHAPTER43SHINGLESTYLEANDAMERICANARTSANDCRAFTSthe.docx**

    IDES 312 CHAPTER 43 SHINGLE STYLE AND AMERICAN ARTS AND CRAFTS the

    1880s-1930s

    1. Shingle Style – ARCHITECTURE

    · Influence

    · Characteristics

    · Buildings – Public

    · Private – houses

    · Interiors

    · motifs

    2. American Arts and Crafts – ARCHITECTURE

    · Influence(s) for each of the following

    · Characteristics for each of the following

    · Include floor plans of the houses

    · Craftsman House

    · Gustav Stickley

    · Prairie Style

    · Frank Lloyd Wright

    · The Bungalow

    · Henry Mather Greene and Charles Sumner Greene

    · Colors of AA&C

    · Flooring

    · Walls

    · Doors

    · Ceilings

    · Textiles

    · Lighting

    3. Stickley – Craftsman – Prairie – Greene and Greene – Mission – Frank Lloyd Wright FURNISHINGS

    · Influences – for each of the above furniture styles/designers

    · Characteristics – for each of the above furniture styles/designers

    · Wood type – “

    · Joinery – “

    · Seating – “

    · Tables – “

    · Sofa – “

    · Storage – “

    · Beds – “

    · Decorative Arts – “

    4. Rookwood Pottery

    5. Lincrusta

    6. Inglenook

    7. Joinery

    **## ch-43-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 43

    Shingle Style and American Arts and Crafts

    1880s – 1930s

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

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    1

    Shingle Style & American Arts & Crafts

    Shingle Style, unique to U.S., evolves from explorations of New England colonial architecture combined with English Queen Anne

    Picturesque, rambling, irregular, covered with wooden shingles

    American Arts and Crafts follows English principles

    More individualistic, more diverse influences, more democratic

    Similar ideals & social transformation advocated for middle class & wealthy

    Character varies by region & designer, builder, entrepreneur, mail-order company

    Image—simplicity, hand-made

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Concepts

    Shingle Style—roots in 17th century New England & English Queen Anne architecture

    Defining characteristics—shingles, additive or rambling shapes, broad roofs

    Shingles unify irregular shapes & massing

    American Arts and Crafts

    From concepts of Pugin, Ruskin, Morris & others

    Shared principles, not unified style

    More diverse & regional expressions

    Less likely to reject machine so democratized design—custom architect-designed homes to mail order cottages

    Also Craftsman, Mission, & Prairie Styles

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    3

    Characteristics and Motifs

    Both favor styles, forms, details of Middle Ages

    Asymmetry, irregularity, verticality, simplicity

    Non literal interpretation—seeks to capture essence of past

    Shingle Style—shingles cover walls, columns, details

    American arts & crafts architecture, interiors, furniture, decorative arts—unity

    Simplicity, honesty, revealed structure, suitability to purpose, truth in materials, vernacular traditions, harmony with landscape, handcrafted look

    Naturalistic colors, motifs; practicality, function, efficiency

    Motifs—flowers, trees, foliage, animals, geometric motifs, Gothic details, Oriental images

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    4

    43.1

    Architectural Details: Stained glass window, Robie House, 1909-1910; Chicago, Illinois; Frank Lloyd Wright, and stair detail, David B. Gamble House, 1907-1908; Pasadena, California; Greene and Greene. American Arts and Crafts

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture  Shingle Style

    Appeals to newly wealthy leisured class, especially for vacation homes, resorts

    Recalls but not shackled by the past in freedom of expression, informality, continuity of texture

    Mostly residential, some hotels, other structures

    Shingles on nearly every surface most evident characteristic

    Asymmetry, irregular massing, horizontality, gables, towers, bay windows, porches, multiple roofs

    More continuity than Queen Anne but calmer, quieter, free-form character

    Many influences—New England Colonial, English Queen Anne, Romanesque Revival, Japan

    No corresponding interior or furniture style

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture  American Arts & Crafts

    Simple, honest, emphasis on structure & function, vernacular traditions, close ties to landscape & location, naturalistic colors & motifs, handcrafted appearance

    Same principles as in England, but wider diversity with strong regionalism & individuality

    Craftsman Houses—follow principles of G. Stickley, great promoter of Arts and Crafts

    Shown in The Craftsman, diversity in style & type

    Prairie Style—fully integrated custom houses by Frank Lloyd Wright

    Reflect his ideas of Arts & Crafts, Organic architecture

    Bungalow—small, single story house type for middle class

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.2

    Old Faithful Inn and Interior, Yellowstone National Park, 1903-1904; Wyoming; Robert Reamer. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The massive, seven-story lobby with walls of raw log surrounding a sixteen-foot-square fireplace of rough-cut rhyolite, vernacular building style, light from the traditionally dark and dank log cabin, through dormers scattered across the inn’s great sloping roof. As the light sprinkled down filtered through gnarled and twisted branches used for railings. The tall, airy space combined with the logs, lacy accents, and sunlight blur the boundary.

    8

    43.3a (1 of 2)

    First Church of Christ Scientist, 1910-1912; Berkeley, California; Bernard Maybeck. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.3a (2 of 2)

    First Church of Christ Scientist nave, 1910-1912; Berkeley, California; Bernard Maybeck. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The roof trusses and concrete pillars in the tracery are stained and decorated with modeled ornament and flat stencil work. Natural and artificial light improve the structure, and different shades of translucent glazing create the desired effect.

    10

    43.4a

    Isaac Bell House, 1883; Newport Rhode Island; McKim, Mead and White, Shingle Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.4b

    Isaac Bell House floor plans, 1883; Newport Rhode Island; McKim, Mead and White, Shingle Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.5a

    David B. Gamble House, 1907-1908; Pasadena, California; Charles Sumner Greene and Henry Mather Greene. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The house boasts multiple porches, including three large sleeping porches. The first level of the home's exterior includes handmade brick and terra cotta terraces that flank the walkway up to the front door. Round, tapered beams extend on the exterior to support the extended porches. Heavy layers of shingles insulate the house, stone, and brickwork. Hanging exterior lanterns accent the grounds from beams.

    13

    43.5b

    David B. Gamble House stair hall, 1907-1908; Pasadena, California; Charles Sumner Greene and Henry Mather Greene. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.6a

    Frederick C. Robie House, 1909-1910; Chicago, Illinois; Frank Lloyd Wright. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The house has roof eaves, continuous bands, a horizontal line, and the exterior walls are double-wythe construction of a brick core with an iron-spotted Roman brick veneer. It has a mortar with horizontal lines and vertical joints with a brick-colored design in the gates surrounding the outdoor spaces that enclose the garage courtyard.

    15

    43.6b

    Frederick C. Robie House floor plans, 1909-1910; Chicago, Illinois; Frank Lloyd Wright. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.6c

    Frederick C. Robie House dining room, 1909-1910; Chicago, Illinois; Frank Lloyd Wright. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    A room has Roman brick with a mortar, and the overhangs and the floating brick balcony have steel beams for structural support. It has horizontality of the brick, sweeping lines, extensive overhangs, well-lit interiors with furniture, and a balance of public and private spaces.

    17

    43.7

    Bungalow, 1900s-1920s and “The Winona,” 1910; Sears, Roebuck and Company mail-order bungalow.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors

    Architect or builder designed & middle class integrate architecture, interiors, furnishings into unified whole

    Informal or vernacular feeling, intimate scale, open space, asymmetrical arrangements, horizontality, rectangular shapes, straight lines

    Function & individuality important

    Visual continuity among rooms, informal materials & finishes, rough or natural textures, warmth, light

    Vary from totally designed environments of Wright or Greene brothers to mail-order furnishings of middle class

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.8

    Stair hall, Samuel Tilton House, 1881-1882; Newport, Rhode Island; McKim, Mead, and White. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.9

    Living rooms; published in The Craftsman, 1905-1906; Gustav Stickley and Harvey Ellis. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.10

    Living room and dining room, Meyer May House, 1905; Grand Rapids, Michigan. Frank Lloyd Wright with George Niedecken for furniture. Prairie Style.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.11

    Lighting: Candlesticks, hanging lantern, and lamps, 1900-1915. United States. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Furnishing and Decorative Arts

    May be architect-designed for totally designed environments (Wright, Greene Brothers); mass-produced in factories (Stickley); hand-made in cooperatives or utopian communities (Roycroft)

    Similar principles—rectangular form & shape, revealed joints & structure; honest use of materials; structural emphasis; distinctive joinery

    Interiors have few pieces of furniture for simplicity & openness

    Custom design furniture relates to the architecture

    Mass-produced follows Arts & Crafts principles but lacks theoretical underpinnings

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.12

    Armchair, Darwin R. Martin House, 1904; Buffalo, New York; Frank Lloyd Wright. Prairie Style

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.13

    Craftsman armchair, 1905; Craftsman Workshops, New York. Gustav Stickley. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.14

    Sofa in oak, 1912; United States. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.15

    Display cabinet/bookcase in oak, c. 1904-1905; Craftsman Workshops; New York. American Arts and Crafts.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    43.16

    Art Pottery from Rockwood Pottery and Newcomb College Pottery, c. 1900s-1920s; Ohio and Louisiana.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    A Newcomb pottery was typically high-gloss glazes, with handcrafted decorations such as hand-painted flowers. It has a refined stoneware body of tapering cylindrical form, flaring to circular foot. Decorated underglaze with trees and landscape, and has a transparent matte glaze.

    29

    Copyright

    This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from it should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    30

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