Claude Fayette Bragdon

Architecture and Democracy (eBook, ePUB)

Unveiling the Architectural Influence on Democratic Principles in the Progressive Era

• Format: ePub

Produktbeschreibung

Claude Fayette Bragdon's 'Architecture and Democracy' is a groundbreaking exploration of the intersection between architecture and society, delving into the role of architecture in shaping democratic ideals and principles. Bragdon's writing style is both insightful and contemplative, offering a deep analysis of how architectural design can influence societal values and behaviors. Drawing on a wide range of philosophical and historical references, Bragdon presents a compelling argument for the importance of architecture in promoting democracy and social equality. This book is a must-read for anyone interested in the connection between physical spaces and political ideology within the context of the early 20th century American society. Bragdon's background as an architect and writer uniquely positions him to offer a fresh perspective on the significance of architecture in fostering democratic principles. 'Architecture and Democracy' is not only a scholarly work of architectural theory but also a thought-provoking examination of the ways in which built environments can shape our collective consciousness and political systems.

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Produktdetails

• Verlag: Good Press
• Seitenzahl: 177
• Erscheinungstermin: 20. November 2019
• Englisch
• ISBN-13: 4057664142412
• Artikelnr.: 58436166

Autorenporträt

Claude Fayette Bragdon (August 1, 1866 - 1946) was an American architect, writer, and stage designer based in Rochester, New York, up to World War I, then in New York City. The designer of Rochester's New York Central Railroad terminal (1909-13) and Chamber of Commerce (1915-17), as well as many other public buildings and private residences, Bragdon enjoyed a national reputation as an architect working in the progressive tradition associated with Louis Sullivan and Frank Lloyd Wright. Along with members of the Prairie School and other regional movements, these architects developed new approaches to the planning, design, and ornamentation of buildings that embraced industrial techniques and building types while reaffirming democratic traditions threatened by the rise of urban mass society. In numerous essays and books, Bragdon argued that only an "organic architecture" based on nature could foster democratic community in industrial capitalist society. Bragdon was born in Oberlin, Ohio. He was raised in Watertown, Oswego, Dansville and Rochester, New York, where his father worked as a newspaper editor. After working for architects in Rochester, New York City, and Buffalo, Bragdon went into practice in Rochester. His major buildings include the city's New York Central Railroad Station, the Rochester First Universalist Church, Bevier Memorial Building, Shingleside, and the Rochester Italian Presbyterian Church, among many others. At Oswego he designed the Oswego Yacht Club. He designed an addition to the Romanta T. Miller House in 1914.[1]:8 While Bragdon's early work reflected the revival of Renaissance architecture associated with the City Beautiful, he soon became a leading participant in the arts and crafts movement, working with Harvey Ellis, Gustav Stickley, and other arts and crafts artists. Around 1900, Bragdon embraced the ideas of Louis Sullivan and began to reorient his work toward the midwestern ideal of a progressive architecture based on nature. His version of organic architecture, however, reflected different social and cultural values than did those of either Sullivan or Bragdon's contemporary Frank Lloyd Wright. Whereas for Sullivan and Wright a building was most organic when it expressed the individual character of its creator, Bragdon saw individualism as a hindrance to the formation of a consensual democratic culture. Accordingly, he promoted regular geometry and musical proportion as ways for architects to harmonize buildings with one another and with their urban context. From 1900 until he closed his architectural practice during World War I, Bragdon applied these principles to his buildings, and he continued to use them through the 1920s in both graphic designs and the theatrical sets he created during a second career as a New York stage designer.