Thursday, November 18, 2010
Tuesday, October 19, 2010
Monday, October 18, 2010
Sunday, October 17, 2010
Saturday, October 16, 2010
Project Name: Davidson/LeCompte Residence
Project #: 10.02
Project Location: Sharon, MA USA
1) Provide 2-3 schemes which satisfy the following criteria:
2) Add half-bath on first floor
3) Add laundry room to first or second floor
4) Create more open and efficient floor plan
5) New master bedroom/bathroom
6) Reconfigure main entry into kitchen
7) Reconfigure second floor
8) Add closet space to first floor
9) Redesign deck configuration
10) Visually orient house toward rear carriage house
11) Maintain same number of bedrooms
12) Create eat-in kitchen in addition to dining room
13) Open up south facade (more light, visually connect to outdoors)
14) Add study/library space
15) Maintain a focus on entertaining while maintaining quiet/private
16) Kitchen to living room access
17) Preserve/Reuse existing architectural elements where possible
(pocket doors, woodwork, etc.)
Friday, October 15, 2010
Sunday, October 10, 2010
Wednesday, October 6, 2010
Used extensively by ATR for conducting research on American vernacular architecture, the Historic American Buildings Survey posted by the Library of Congress is an invaluable resource for anyone interested in either conducting research on American vernacular architecture, or simply for admiring the beautiful black and white photographs or hand-drafted drawing sets of the timeless works of architecture found in the collection.
(Image Credit: The Library of Congress : American Memory : Built in America : Historic American Buildings Survey/Historic American Engineering Record : Ephraim Rich House, Pump Log Point, Truro, Barnstable, MA)
Tuesday, October 5, 2010
Friday, October 1, 2010
The works presented below represent a range of research spanning the fields of American vernacular architecture, consumerism, and craft, as they combine to form the basic building blocks of research into the examination and study of consumerism’s effect on the decline of traditional craft building methods used in constructing the built vernacular landscape since the Industrial Revolution. The authors and scholars presented here are all experts in their respective fields. John Brinckerhoff Jackson (Discovering the Vernacular Landscape) and Peter Dormer (The Culture of Craft) to name a couple, are not only experts in their given fields, but have devoted their lives to them (American vernacular architecture and craft, respectively). In compiling sources pertaining to a research topic that is composed of three significant topics in their own right, it was essential to bring together scholars with an absolute mastery of their subjects as the substantial nature of their research frequently ties into the other topics involved in this discussion, due in part to the breadth of each scholar’s work.
The goal of each work presented here is to first, provide us with a substantial understanding of each of the three primary topics involved in the discussion of the research topic (American vernacular architecture, consumerism, and craft), and second, to provide us with the connections amongst the primary topics which have already been established through scholarly research. The sources and their respective authors in this essay will progress from a discussion of American vernacular architecture, to consumerism, and finally, to craft. Along the way, connections amongst the sources will be made not only to connect the primary topics in a manner relevant to the discussion of the research topic, but to also substantiate or clarify information put forth in a given source.
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The late John Brinckerhoff (J. B.) Jackson, one of America’s greatest and well-known advocates for the study and appreciation of the vernacular landscape, presents within one of his most significant works, Discovering the Vernacular Landscape, the necessity and importance of exploring and understanding the vernacular landscape as an encompassment of our culture; its values, politics, economics, et cetera. A collection of Jackson’s essays written over the course of a decade from the mid 1970s to the mid 1980s, Discovering the Vernacular Landscape explores a number of different, yet interrelated topics pertaining to the American vernacular landscape.
Contributing to the discussion of American vernacular architecture, Jackson provides some valuable insight in regard to defining and interpreting vernacular architecture in his aptly entitled essay, “Vernacular.” Within this essay, Jackson discusses the notion that the typical, almost standardized definition of vernacular architecture developed by architects and architectural historians, focuses too much on form and too little on function and relationships to work and community. Elaborating on this, Jackson discusses how scholars from other fields of study such as geography and archaeology, have become increasingly more involved in the study of vernacular architecture, contributing “to a broader, more prosaic definition of vernacular architecture that we cannot afford to ignore.” For American vernacular architecture is a complex, constantly evolving representation of not just an architectural evolution, but a cultural one.
Another essay within Jackson’s collection of writings that lends itself to the discussion of American vernacular architecture, but with ties into our discussion of consumerism and craft, is “Craftsman Style and Technostyle.” Within this essay, Jackson discusses a period in America’s history shortly after the turn of the 20th century, when a large part of our culture began to become dissatisfied with the mundane “anonymous, mass-produced, middle-class dwelling,” which had become so prevalent in the American landscape. To protest this, the Arts and Crafts movement was established, initiating a cultural obsession with the handmade, and thus a rejection of the machine-made and the mass-produced. Ironically, what resulted was the development of new building products which mimicked the handmade, which therefore resulted in a redefinition of style in domestic vernacular architecture, exemplified by the production of “styles defined by workers and techniques of work. Vastly enlarged, hopelessly inaccurate in detail, entirely up-to-date in utilities and plan, these dwellings recalled not a traditional period as such but traditional manual occupations.” This cultural shift, Jackson examines, resulting in the mass production of domestic architectural elements, served to even seemingly vanish the traditional craftsman from sight.
Before we shift our attention to the other two foundations of our discussion, consumerism and craft, we should first strengthen our understanding of the specific culture of building, an important element of vernacular architecture. American architect and writer Howard Davis in his most significant work to date, The Culture of Building, examines “the coordinated system of knowledge, rules, procedures, and habits that surrounds the building process in a given place at a given time.” Davis believes that building cultures, such as the vernacular, reflect the socioeconomic cultures of which they are a part. The Culture of Building provides a framework for showing how all of the different elements composing our building culture relate to one another – elements such as “the ways in which building plans have evolved hand in hand with social life, or how the craft economy was replaced by modern manufacturing.” Touching on everything from the vernacular to pre- and post-Industrial Revolution craftsmanship, The Culture of Building is an outstanding resource for comprehending the core ideas behind how any building culture evolves.
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Informing the overarching topic of consumerism in our discussion, material culture scholar Ann Smart Martin in her essay, “Makers, Buyers, and Users: Consumerism as a Material Culture Framework,” provides an insightful look into the role of consumerism, consumption, and materialism in American culture, positing that our culture’s desire for material goods is capable of providing “new insights into the study of the intersection of people, objects, and ideas in our past.” In the section entitled, “Consumerism as an Interdisciplinary Problem,” Martin, of significance to the discussion of consumerism’s effect on vernacular architecture, presents the idea of examining buildings as consumer goods – “as well as containers for material goods,” an idea developed by architectural scholar Edward A. Chappell. Looking at buildings in this way, “changes in housing can be studied as parallel phenomena to changes in consumption of household goods.” In conclusion, Martin writes that the study of “household objects, landscapes, and buildings amply demonstrate that the artifactual record is replete with evidence of cultural change in people’s conceptions – and creations – of their material world.”
Relating to Martin’s discussion of consumerism as it relates to American culture on the whole, writer and urban designer John Chase turns the discussion of consumerism back to architecture in his essay entitled, “The Role of Consumerism in American Architecture.” Asserting that consumerism is “the single most important social and economic organizing force in the United States today,” and that “building production can only be understood by analyzing its relationship to consumerism,” Chase examines consumerism’s role and effect on the design and production of primarily modern-day American architecture. One of the most significant contributions that Chase makes to the discussion is the evolution of the traditional vernacular to a now more “commercial vernacular,” examining our society’s changing attitude toward vernacular architecture in general:
Commercial vernacular is part of our economic and social evolution, and it is tied to changes in public taste and living patterns. What makes its study so confusing is that this vernacular seems so unvernacular. Although there are accepted ways of building vernacular architecture today, these widely accepted practices are often the result of technological innovation, advertising, and marketing, whereas in earlier times these customs were the result of slowly evolving patterns of social interaction.
Another field that has been substantially altered due to technological innovation and consumerism in our culture is craft, the third and final topic involved in the discussion of consumerism’s effect on craft. The late Peter Dormer, one of the greatest proponents and scholars of craft, particularly in modern-day society, compiles a collection of essays from some of the most widely recognized and authoritative writers on the subject of craft in his book, The Culture of Craft: Status and Future. Dormer, who contributes extensively to this volume, compiled this collection because of his displeasure with the marginalization of craft in modern-day society. This marginalization Dormer believes stems from three fundamental factors: a “plurality of meanings” in regard to the definition of craft, the advancement and increased use of technology in modern-day manufacture, and finally, a lack of a substantial discourse on the subject.
The Culture of Craft is divided into three sections, each containing a handful of essays regarding the three fundamental factors contributing to the marginalization of craft as outlined above. The essays contained within each of the three sections, “The Status of Craft,” “The Challenge of Technology,” and “Writing About the Crafts,” are almost all capable of providing some valuable insight into the overarching discussion of consumerism’s effect on craft over the course of the past century and a half. For the benefit of this discussion however, we should focus on two essays in particular, Gloria Hickey’s, “Craft Within a Consuming Society,” and Jeremy Myerson’s “Tornadoes, T-squares and Technology: Can Computing be a Craft?” as their contributions are most directly related to the primary discussion.
Although Hickey discusses craft from the viewpoint of gift-giving in “Craft Within a Consuming Society,” this insight is valuable to the discussion of consumerism’s effect on craft as it provides us with a cultural look at how we view craft-produced objects. The premise of Hickey’s essay is that although our culture places a high value on craft, it is sadly only typically shown in our consumerist society’s exercise of gift-giving and not through the objects we purchase on a more frequent basis. Outlining this Hickey writes:
Gift-giving is probably one of the oldest and most basic of human behaviors. To say that for centuries these gifts were handcrafted is a truism. However, to say that today, from the vast proliferation of market goods, craft objects are frequently selected as gifts is significant… Examining craft as giftware allows us to examine a variety of values and meanings assigned to the handcrafted object by contemporary society.
Jeremy Myerson, in his essay “Tornadoes, T-squares and Technology: Can Computing be a Craft?” examines the modern-day difficulty in grappling with the question, ‘what is craft?’ Myerson’s view as expressed through his essay is that craft methods are not being displaced by consumerism and technology, but rather, are simply evolving with our culture. For Myerson believes that computer-based design and manufacture are the new craft methods of the late twentieth century. This of course is apposite to our discussion of consumerism’s effect on craft in our culture in that it provides a significant and thought-provoking alternate viewpoint, one that must of course be taken into consideration.
Relating to both Myerson’s discussion of what is becoming of craft in modern-day culture and to the general discussion of the resultant effects of consumerism on craft in our culture since the Industrial Revolution, American artisanship and labor scholar Peter Betjemann discusses the seemingly axiomatic relationship of skill and technique to vernacular craft methods in his essay, “Craft and the Limits of Skill: Handicrafts Revivalism and the Problem of Technique.” In this essay, Betjemann suggests that definitions of craft since the Industrial Revolution are “in fact predicated on a paradoxical relationship to skill.”
Betjemann, drawing upon work from craft expert and previously discussed writer and scholar Peter Dormer, argues that “if skilled labor seems the self-evident alternative to mechanical production, it is [then] also true that machines, capable of absolute precision and uniformity, threaten the traditional associations of craft and perfect workmanship.” To substantiate his argument, Betjemann looks to handcrafted wooden furniture produced primarily from the mid-nineteenth century up until the turn of the twentieth century as his primary example. What Betjemann discovers is that as our consumerist culture became so enamored by the handmade, especially following the peak of the Industrial Revolution, towards the beginning of the twentieth century (see again Jackson’s “Craftsman Style and Technostyle”) it became necessary from an economic standpoint to allow machines to manufacture certain typically handmade elements of an object as a means of making that object more affordable to not just the middle- and upper-class, but the lower-class as well. The discussion of Betjemann’s argument in “Craft and the Limits of Skill” leads him to summarize and conclude that the culture of craft foresaw the disappearance of skilled labor and therefore “had to develop a sense of style predicated on more than just the actual details of manufacture…[for] practicality and effect, technique and image are less the dividing lines of authenticity and fakery than the twinned principles of workmanship in the modern age.” For in many ways, “handcraft has become less a mark of true rusticity than a consumable aesthetic.”
* * *
Through the works of J. B. Jackson, Howard Davis, Ann Smart Martin, John Chase, Peter Dormer, and Peter Betjemann, we find a number of themes regarding consumerism’s effect on craft (our culture’s fascination with the handmade, the evolution of craft, loss of skill), but more importantly, we are left with some critical questions: What does the current academic literature involving consumerism and craft say or imply about the future of American vernacular architecture? What is craft becoming? How has consumerism influenced other country’s vernacular landscapes? In moving forward we must answer these questions if we are to contribute to the scholarly discussion of what consumerism’s effect on craft means for the evolution of American vernacular architecture. Currently there exists little academic literature on this topic. The preceding sources have provided us with a substantive academic resource from which we can begin to formulate and develop our own hypotheses and arguments leading to some much-needed scholarly research on the topic. For consumerism, as a foundational element of our culture, must be evaluated in regard to its influence on the development of the American vernacular landscape, as without this critical study, we are missing one of the most significant components in the study of our culture’s built environment.
 John Brinckerhoff Jackson, Discovering the Vernacular Landscape (New Haven: Yale University Press, 1984).
 Ibid., ix.
 Ibid., 85-87.
 Ibid., 85.
 Ibid., 115-123.
 Ibid., 115.
 Ibid., 118. Jackson goes on, “they were the modern versions of the homes of the fisherman, farmer, craftsman, and colonial pioneer.”
 Howard Davis, The Culture of Building (New York: Oxford University Press, 2006), 5.
 Ibid., 4.
 Ann Smart Martin, “Makers, Buyers, and Users: Consumerism as a Material Culture Framework,” Winterthur Portfolio 28, no. 2/3 (Summer-Autumn 1993): 141-157.
 Ibid., 142.
 Ibid., 142-146
 Ibid., 146.
 John Chase, “The Role of Consumerism in American Architecture,” Journal of Architectural Education 44, no. 4 (August 1991): 211-224.
 Ibid., 211.
 Ibid., 213.
 Peter Dormer, ed., The Culture of Craft: Status and Future (Manchester: Manchester University Press, 1997).
 Ibid., vii.
 Gloria Hickey, “Craft Within a Consuming Society,” in The Culture of Craft, Status and Future, edited by Peter Dormer (Manchester: Manchester University Press, 1997)
 Jeremy Myerson, “Tornadoes, T-squares and Technology: Can Computing be a Craft?” in The Culture of Craft: Status and Future, edited by Peter Dormer (Manchester: Manchester University Press, 1997)
 Gloria Hickey, “Craft Within a Consuming Society,” in The Culture of Craft, Status and Future, edited by Peter Dormer (Manchester: Manchester University Press, 1997), 83.
 Jeremy Myerson, “Tornadoes, T-squares and Technology: Can Computing be a Craft?” in The Culture of Craft: Status and Future, edited by Peter Dormer (Manchester: Manchester University Press, 1997), 176.
 Peter Betjemann, “Craft and the Limits of Skill: Handicrafts Revivalism and the Problem of Technique,” Journal of Design History 21, no. 2 (Summer 2008): 183-193.
 Ibid., 183.
 Ibid., 192.
Tuesday, September 28, 2010
Project Name: Youland Residence
Project #: 10.01
Project Location: Montgomery Center, VT USA
1) Expand Great Room
2) Add laundry room and half-bath onto main entry/mudroom
3) Convert existing first floor bathroom into master bathroom
4) Add window to new master bathroom
5) Cover front exterior stairs
6) Design new deck for entry off of kitchen
Monday, September 27, 2010
Peter Dormer (ed.). Manchester University Press, 1997. xi + 200 pp. $22.00. ISBN 978-0-7190-4618-6.
The late Peter Dormer, one of Britain’s most outspoken and idiosyncratic writers on the visual arts, posits in his anthology The Culture of Craft: Status and Future, that through a separation from art and design, a “phenomena of late-twentieth-century Western culture,” craft in modern-day culture has been severely marginalized, an occurrence which is attributable to three significant factors: a “plurality of meanings” in regard to the definition of craft, the advancement and increased use of technology in modern-day art and manufacture, and finally, a lack of a substantial discourse on the subject.
Dormer, here in his last published work, has assembled a group of some of the most widely recognized and authoritative writers on the subject of craft in modern-day society. Among them, Paul Greenhalgh, Gloria Hickey, Jeremy Myerson, as well as Dormer himself, provide within their respective essays some of the most insightful discourse regarding craft in today’s technological and consumerist culture.
Divided into three parts, each focused on one of Dormer’s three significant factors contributing to the marginalization of craft in modern-day society, Dormer’s anthology attempts to immerse the reader in the ongoing dialogue revolving around the culture of craft, looking at its past, where it stands today, and where it is headed tomorrow.
Part One, “The Status of Craft,” examines three significant “aspects which contribute to the ambiguity of the status of ‘the crafts’: (i) the separation of making from meaning, (ii) the separation of the arts into categories of ‘higher’ and ‘lower’ (pottery is low art, sculpture isn’t), [and] (iii) puzzled ‘ordinary’ consumers.” Greenhalgh’s “The History of Craft” and Hickey’s “Craft Within a Consuming Society,” provide an exceptional background into craft’s fluctuating cultural status throughout history, as well as a meaningful and relevant look into the status of craft in today’s consumerist culture.
Hickey’s essay in particular, “Craft Within a Consuming Society,” provides a significant look into the ever-significant craft vs. factory-made debate through the analysis of gift-giving in modern-day society. Hickey puts forth that “gift-giving is probably one of the oldest and most basic of human behaviors. To say that for centuries these gifts were handcrafted is a truism. However, to say that today, from the vast proliferation of market goods, craft objects are frequently selected as gifts is significant.” What is interesting about Hickey’s work is that (seemingly contradictorily) it is shown that although our culture places a high value on craft, it is sadly only typically shown in our consumerist society’s exercise of gift-giving and not through the objects we purchase on a more frequent basis.
“The Challenge of Technology,” Part Two, the most significant and pertinent section of the anthology, addresses four questions posed by contributing authors Neal French, Jeremy Myerson, and editor Peter Dormer: “(i) how does technology differ from craft?, (ii) do either artisanal or ‘the studio crafts’ have a contribution to make to the debate about aesthetics in design?, (iii) can computing, our most advanced commonplace technological tool, be described as a craft?, [and] (iv) are there crafts which are naturally at ease with contemporary technology?”
One of the most relevant essays within Part Two and perhaps the entire anthology, Myerson’s “Tornadoes, T-squares and Technology: Can Computing be a Craft?” examines the claim that “virtual computer-based design is the new craft of the late twentieth century.” Within our technology-driven consumerist culture, the increasing capabilities of the computer are causing, especially in the fields of architecture and industrial design, an obsessive interest towards increased production, which has proven more than anything to be a detriment to craft in modern-day society.
Thankfully, Myerson concludes that “until the computer becomes less of a machine and more of a biological extension of the user, then ascribing craftlike qualities to its process will be like looking into the proverbial eye of the hurricane.” For those readers who are sympathetic to the plight of craft, this is reassuring information; although in our technology-driven consumerist culture, computers as “biological extension of the user” are presumably not far off.
The final section of the anthology, “Writing About the Crafts,” takes a look at what Dormer believes is a critical missing link in the study of craft: discourse. Dormer believes that craft deserves a substantial base of “good-quality writing and argument,” even though it is Dormer himself who says in regard to writing about craft, “what can only be shown cannot be written about, and to those who think there can be a theory and a critical language of craft that is a warning worth heeding.”
The final essay of the anthology, Dormer’s “The Language and Practical Philosophy of Craft,” provides two essential, albeit seemingly contradictory arguments with regard to developing a much-needed philosophy of craft. The first argument states that “when craft is practiced as a disciplined piece of knowledge, it is inevitably an activity of self-exploration in the sense that one learns about oneself through searching for excellence in work.” The second argument however, states that “there can be no general theory covering the craft disciplines, and that consequently whatever clarification of motives and values the craftsperson achieves can be inferred from the work and what he or she does but cannot, with any depth, be put into words.”
I bring this final essay up here because what makes this seemingly contradictory argument significant is that it helps the reader to understand the inherent complexities within the topic of craft and to exemplify the difficulties which are presenting themselves to the proponents of craft in modern-day society.
* * *
Overall, Dormer’s The Culture of Craft: Status and Future is an expertly choreographed collection of essays, which are capable of providing the authority and neophyte alike with a breadth of insight and meaningful discourse into the topic of craft in modern-day culture. Dormer’s anthology provides a solid foundation whether one is looking to gain a fundamental understanding of the topic, use it as a springboard into their own research, or to simply use the collection of essays as a reference. In our technology-driven consumerist culture, it is imperative that the study and practice of craft not be lost to the soulless computer…Dormer would want it that way.
 Tanya Harrod, “Obituary: Peter Dormer,” The Independent, January 2, 1997, http://www.independent.co.uk/news/people/obituary-peter-dormer-1281298.html (accessed June 25, 2010).
 Peter Dormer (ed.), The Culture of Craft: Status and Future (Manchester: Manchester University Press, 1997), 18.
 Ibid., vii.
 Ibid., x. “Peter Dormer died on Christmas Eve 1996, as this volume entered its final proofing stage. He leaves behind his many friends and countless admirers of his many contributions to the history and theory of the visual arts.”
 Ibid., ix.
 Ibid., 16. Dormer states in his introduction to the anthology that he regards “all of the chapters in this book as a contribution to a family argument provided either by members or friends of the family.”
 Ibid., 19.
 Gloria Hickey, “Craft Within a Consuming Society,” in The Culture of Craft: Status and Future, edited by Peter Dormer (Manchester: Manchester University Press, 1997), 88
 Ibid., 83.
 Dormer, The Culture of Craft: Status and Future, 103.
 Jeremy Myerson, “Tornadoes, T-squares, and Technology: Can Computing be a Craft?” in The Culture of Craft: Status and Future, edited by Peter Dormer (Manchester: Manchester University Press, 1997), 176.
 Ibid., 185.
 Dormer, The Culture of Craft: Status and Future, 16.
 Peter Dormer, “The Language and Practical Philosophy of Craft,” in The Culture of Craft: Status and Future (Manchester: Manchester University Press, 1997), 230.
 Ibid., 219.
 Ibid., 219