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Druid Hills (Hardcover)
Jennifer J Richardson, Sue Sullivan; Foreword by Robert M. Craig
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R842
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Discovery Miles 7 000
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This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
Francis Palmer Smith was the principal designer of Atlanta-based
Pringle and Smith, one of the leading firms of the early
twentieth-century South. Smith was an academic eclectic who created
traditional, history-based architecture grounded in the teachings
of the ecole des Beaux-Arts. As "The Architecture of Francis Palmer
Smith" shows, Smith was central to the establishment of the
Beaux-Arts perspective in the South through his academic and
professional career.
After studying with Paul Philippe Cret at the University of
Pennsylvania, Smith moved to Atlanta in 1909 to head the new
architecture program at the Georgia Institute of Technology. He
would go on to train some of the South's most significant
architects, including Philip Trammell Shutze, Flippen Burge,
Preston Stevens, Ed Ivey, and Lewis E. Crook Jr.
In 1922 Smith formed a partnership with Robert S. Pringle. In
Atlanta, Savannah, Chattanooga, Jacksonville, Sarasota, Miami, and
elsewhere, Smith built office buildings, hotels, and Art Deco
skyscrapers; buildings at Georgia Tech, the Baylor School in
Chattanooga, and the Darlington School in Rome, Georgia; Gothic
Revival churches; standardized bottling plants for Coca-Cola; and
houses in a range of traditional "period" styles in the suburbs.
Smith's love of medieval architecture culminated with his 1962
masterwork, the Cathedral of St. Philip in Atlanta. As his career
drew to a close, Modernism was establishing itself in America.
Smith's own modern aesthetic was evidenced in the more populist
modern of Art Deco, but he never embraced the abstract machine
aesthetic of high Modern.
Robert M. Craig details the role of history in design for Smith and
his generation, who believed that architecture is an art and that
ornament, cultural reference, symbolism, and tradition communicate
to clients and observers and enrich the lives of both.
This book was supported, in part, by generous grants from the
Graham Foundation for Advanced Studies in the Fine Arts and the
Georgia Tech Foundation, Inc.
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