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.ÿþprelude 7sign and construction of a large number of projects held by theSupervising Architect s Office in Washington, D.C.The evolution of American public architecture paralleled and re-flected the development of the country itself and the cities and townscontained within it.From a collection of single building projects, aunified program for federal building construction emerged by themid-nineteenth century.The design of federal buildings representeddemocratic ideals, reflecting a growing sense of national identity.Because such federal buildings as custom houses and federal court-houses usually were located in expanding urban centers, their con-struction signaled the arrival of that particular city into the commu-nity of major U.S.cities.The placement of federal buildings alsoportended excellent prospects for continued growth and prosperity.This aspiration was reflected in the painted views of cities done in theearly nineteenth century by artists who captured on canvas America spride in its growing cities and harbors.7Congressmen argued both the present and future growth of citieswithin their districts as a means of justifying expenditures for federalbuilding construction.Federal buildings were regarded as such cov-eted items of federal patronage that their realization was often amonument to a politician s effectiveness in securing the project forhis jurisdiction.When federal buildings represented an ideal architecture, they be-came models for other public buildings.In the first four decades ofthe nineteenth century, the various architects called upon to designfederal buildings provided variations upon the classical style.Sym-bols drawn from Greece and Rome provided a unified republican im-age.8 Once the federal design responsibilities were centralized in theSupervising Architect s Office in 1852, the architectural language be-came more economical nationwide.Financial constraints as much asarchitectural taste encouraged the trends toward standardization andeconomy.A policy of consistency in federal building design prevailedduring a succession of design episodes, from the Italian Renaissancepalazzo of the 1850s, the French Second Empire of the 1860s and1870s, the picturesque eclecticism of the 1880s and 1890s, and the ac-ademic classicism of the early twentieth century.The responses tothese buildings were both laudatory and negative, and these reactionsprovide a level of understanding on a human scale of how well theOffice did its work.Another theme intertwined with the Supervising Architect s [ Pobierz caÅ‚ość w formacie PDF ]

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