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Ideally situated on Newbury Street in the heart of Boston’s Back Bay, the BAC has become a pornhub of design activity in Boston and an advocate for the increased exchange of ideas and information.
The BAC’s location makes it a convenient and accessible site for hosting lectures on issues related to architecture, interior design, landscape design, real estate, development, and city planning, among others. An annual lecture series, the porno Cascieri Lectureship in the Humanities, brings a renowned lecturer to the BAC each spring to speak about the connections between design and the humanities. Two exhibition spaces showcase work by design professionals and students alike on issues of interest to the public at large.

BAC faculty and administrators represent the wider community of Boston-area practitioners who have shaped the Center since its founding and continue to make it what it is today — a college committed to creating experienced design professionals and a gathering place for people who are passionate about design.
The Boston Architectural xvideos Center (BAC) is an independent, professional college located in Boston’s Back Bay, offering bachelor’s and master’s degrees in both architecture and interior design.
Founded in the 1880s as a club for architects in the Boston area, the BAC has maintained close ties to the professional design community throughout its history. These ties are evident today in the BAC’s faculty of practicing professionals, many of whom volunteer their time at the Center, and in the BAC’s commitment to concurrent academic and practice-based curricula as the cornerstone of a design education.
The BAC has also serviporno remained true to its founding principles of affordability and accessibility, making an education in design available to all those who express an interest.

In addition to its degree programs in architecture and interior design, the BAC offers an extensive array of continuing education courses. Professionals and non-professionals alike can choose to take a course or enroll in certificate programs covering the following areas: advanced architectural rendering, computer-aided design, decorative arts, historic preservation, and sustainable design.

The BAC is also a center for professional development, offering practicing architects and interior designers an opportunity to redtube obtain continuing education credit by taking courses at the BAC and in their own firms.

The BAC’s central location and its strong links with the design community make it a strategic center for the discussion of design-related issues in the city. A vibrant exhibit and lecture program invites metro-Boston residents to learn more about topics related to architecture, interior design, landscape design, real estate, development, and city planning, among others — making the BAC a true center for life-long learning.

INTRODUCTION

INTRODUCTION

The BAC is committed to creating an educational environment that promotes opportunities for learning. Such an environment can only occur when every individual in the BAC community takes an active role in respecting the integrity of others.

This document establishes a code of conduct for all members of the BAC community to follow in enhancing the BAC as a learning environment. The BAC community, as referred to in this document, comprises alumni; members; Overseers; Board members; staff; faculty in the Academic Curriculum, Practice Curriculum, Thesis program, and Continuing Education program; and full-time and Continuing Education students.

The expectations described in this document incorporate certain policies already in use at the BAC and generally described in the “Community Rights, and Responsibilities” chapter of the BAC Catalog and in the “Faculty Benefits/Responsibilities” chapter of the Faculty Handbook. However, this document includes some enhancements in the BAC’s existing policies, as follows:

clarifying that expectations exist for the behavior of all members of the BAC community, from Overseer, to student, to visiting jury member on a review; and setting out specific guidelines for the conduct of faculty, students, and visitors to BAC classrooms and studios. This document has been approved by the BAC’s Board of Directors and reviewed by the BAC counsel. It is, however, a living document and is subject to change by the BAC at any time. In addition, the BAC reserves the right to rule on any matter not specifically described in this document but which violates the spirit of the expectations described below. Any questions concerning this document or the BAC’s policies as set forth in the Catalog should be addressed to the appropriate person named on pages 8-10 of the 2001-03 BAC Catalog. Principles of Interpersonal Responsibility

The BAC expects that, while participating in any activity associated with the BAC, members of its community will adhere to high standards of personal and professional conduct. They will understand that mutual respect, civility, and ethical behavior are core principles and values at the BAC. This Compact directs each individual to be intentional in considering the spirit of these principles in all interactions with other members of the BAC community. This document is not intended to address comprehensively every aspect of individual behavior. Instead the BAC requests, and expects, that everyone who is a part of the BAC community exercise good judgment, fairness, and logic. Consequences of Unacceptable Behavior

If the behavior of a member of the BAC community does not, in the eyes of the BAC, meet the BAC’s expectations, the BAC, obeying the law and its own policies, rules, and regulations, will take appropriate action against that member of the community up to and including expulsion.

EXPECTATIONS OF BAC COMMUNITY MEMBERS

The BAC expects members of its community to: Obey the law and all BAC policies, rules, and regulations; Promote a learning environment; and Respect the safety and well-being of themselves and others. The remainder of this document provides detailed descriptions of these expectations. I. Obeying the Law and all BAC Policies, Rules, and Regulations The BAC expects the members of its community to obey all local, state, and federal laws and all BAC policies, rules, and regulations. II. Promoting a Learning Environment The BAC expects everyone – students, staff, faculty, observers, or visitors – engaged in the learning environment of its colleges and Continuing Education programs to behave as professionals. They should interact with others in the academic setting of 320 and 601 Newbury Street exactly as they are expected to do in the Practice Curriculum setting of the professional firms in the region.

General Expectations for Academic Classes and Studios

The BAC expects faculty to: Honor their contract, which incorporates, by reference, faculty responsibilities listed in the Faculty Handbook. Be clear in their expectations for students and grade students in terms of those expectations. The BAC expects students to: Come to the classroom prepared, focus on course content while there, and contribute to understanding it by participating actively in each session. Specific Expectations for Academic Studios

Architecture and interior design require creativity. The primary place in the BAC’s academic setting for learning creativity is the studio. The BAC evaluates students’ progress in learning creativity, and that evaluation is, of necessity, subjective. The BAC expects participants in studios, guests at reviews, faculty, and students to:

Come to studios prepared; students should have all required work completed, and faculty and guests should be familiar with the purpose and content of the studio beforehand; Comment on others’ work by criticizing it in terms of the problem and the solution; Conduct reviews as a learning experience: Faculty should manage the review so that each student is given an opportunity to present and so that faculty and student expectations of the reviewer are clearly expressed. Students should be verbally and graphically proficient; they should prepare an outline of their presentation beforehand and have required materials prepared to be easily seen and understood. All participants should speak directly to the person on whose work they are commenting, respecting the effort made, offering meritorious praise, and suggesting constructive ways for improvement. III. Respecting the Safety and Well-Being of Community Members

It is the BAC’s goal to promote a place of learning that is respectful of every person and his/her work. Specific areas requiring respect include but are not limited to the following: Intellectual Integrity: The BAC expects intellectual activities to be conducted with honesty and integrity. Work submitted or presented as part of a BAC course:

Shall be the original creation of its author; Is allowed to contain the work of others so long as there is appropriate attribution; and Shall not be the result of unauthorized assistance or collaboration. Physical Safety: The BAC does not tolerate, in any BAC activity or on any premises of the BAC, abusive behavior, including harassment and hazing, whether it is physical, verbal, or otherwise. Diversity: The BAC does not tolerate, in any BAC activity or on any premises of the BAC, discriminatory behavior based on personal bias about race, gender, ethnic origin, religion, sexual preference, age, or disability.

Sexual Harassment: The conduct that is described as inappropriate in the section of the BAC Catalog entitled “Community Rights and Responsibilities” will not be tolerated. Substance Abuse: The BAC strictly prohibits the use or possession of illegal drugs and other controlled substances on its premises. Responsible Alcohol and Tobacco Use at BAC Events: The BAC supports drug, alcohol, and tobacco laws while respecting the privacy of individuals in its community (within the parameters of the law):

Tobacco: There is no smoking at 320 and 601 Newbury Street. The BAC supports and encourages individuals who wish to stop smoking to enter a cessation program. Alcohol: Alcohol is not to be provided or consumed in an academic or professional setting at the BAC. The BAC will, on occasion, sponsor a social event or exhibit opening where alcohol may be served. If the BAC serves alcohol, it will do so only: If providing alcohol does not present a conflict with the academic activities in the vicinity of the social event or exhibit opening; and If the BAC provides all those present with equal access to nonalcoholic beverages.

The archival collections of the University of Pennsylvania

University of Pennsylvania

Museum (UPM) focus on archaeological and anthropological field work and research, as well as the administrative and collections history of the UPM.
UPM Online Photographic Collection sitio conte “… every time we take up another potsherd, there’s another gold ornament…You get a great kick out of finding gold. Give it a wipe or a little scrape and it’s as beautiful as it ever was…” –J. Alden Mason, 1940

The UPM has sponsored or participated in over 350 projects of archaeological and/or anthropological significance that have resulted in artifact collections primarily from ancient civilizations and traditional cultures. The archival collections are a valuable resource for serious researchers, as the records document the recovery of the artifact collections. Recently, the Museum Archives completed a project to digitize J. Alden Mason’s field notes from his excavations to Sitio Conte, Panama, and worked with the University of Pennsylvania Library (SCETI) and the University of Pennsylvania African Studies Center on “Daily Life in Sierra Leone: The Sherbro in 1936-37,” which makes available one of the UPM’s major ethnographic collections.

Archival collections include more than 2,000 feet of textual records, more than 300,000 individual photographic items, and several special collections. Photographic collections include glass plate and film negatives, lantern slides, moving images such as motion picture films and videotapes, stereograph cards, color transparencies, and vintage photographic prints.

bonfils photo, ca.1880 A cameleer of the Sinai. Photo by Bonfils, ca. 1880.
The Notable Photographers Collection includes the work of photographers such as Bonfils, William Henry Jackson, Edward S. Curtis, Jessie Tarbox Beals, and others. These collections contain ethnographic portraiture and architecture, with work by American and European nineteenth- and twentieth-century photographers of the American West, the Near East and Egypt, the Classical Lands of the Mediterranean, and Central America. Online preview: Excavating Voices: Photographs of Native Americans, a volume of arresting photographs of Native Americans from the Notable Photographers Collection.

Special collections include items such as books, journals, and exhibition catalogues published by or about the Museum, its research and collections; maps; archaeological site plans; art on paper; press clippings; posters, post cards and graphics; recorded sound media (phonograph records, reel to reel and cassette tapes); and even oil paintings and sculpture relating to Museum history.

bendiner pen + ink “Surveyors,” pen and Ink by Alfred Bendiner, Tikal, Guatemala, 1960. Researchers may consult A Guide to the University Museum Archives of the University of Pennsylvania (Philadelphia, 1984); the Index to American Photographic Collections (New York, 1995); and Anthropological Resources: A Guide to Archival, Library and Museum Collections (Garland Publishing, 1998). Finding aids for specific collections are available upon request for a nominal photocopying charge. Researchers may consult the collections by appointment only, Tuesday through Friday, 9:30 a.m. to 4:00 p.m. Direct inquiries to the following staff: Alessandro Pezzati, Reference Archivist Charles S. Kline, Photographic Archivist The Museum is also home to the University of Pennsylvania Museum Library, which houses more than 100,000 volumes related to archaeology and anthropology. “This is a dream realized, not only for the Museum and for researchers, but for the entire community. The international collections to be stored in the new Mainwaring Wing are a part of our shared human heritage and the Museum holds them in trust, for research, education and exhibition development for generations to come. The Stoner Courtyard garden, featuring plants from three continents, is an elegant new contemplative public garden space, and one that we want the regional community to visit, use, and enjoy.”–Jeremy A. Sabloff, The Williams Director, University of Pennsylvania Museum

In May 2002, construction was completed on the newest addition to the University of Pennsylvania Museum of Archaeology and Anthropology: a 17-million-dollar Mainwaring Wing for collections storage and study and the adjacent Stoner Courtyard garden. Click on the links below to learn more about this state-of the art collections study and storage facility, built to house the Museum’s most “at risk” artifacts from around the world, the refurbished public garden space, and the many people who helped to make this important Museum addition a reality.

Frank Furness: the Poetry of the Present

Frank Furness

President Landsmark Selected as 2006 Recipient of The Whitney M. Young Award Theodore Landsmark, Assoc. AIA, Boston Architectural Center President and CEO and AIA Diversity Committee Chair has been named the 2006 recipient of the Whitney M. Young Jr. Award, given to an individual or architecturally oriented organization exemplifying the profession’s responsibility toward current social issues. Please vist the link below for more information.

In 1888, when most American architects were turning to marble classicism of the granite of Richardson´s Romanesque, Frank Furness designed the University of Pennsylvania´s library in fiery red brick. Though there are hints of history in its gargoyles, Penn´s new library was a conflation of towers, chimneys, sky lighted rooms and foundry-like clerestoried halls whose closest sources were the factories of Philadelphia.

In Furness´s career of more than 700 commissions, the University Library was not an aberration. From the 1870s into the early twentieth century, brick was his customary material while functional rather than associative expression gave form to his buildings. Equally striking was Furness´s use of iron. Where John Ruskin had confidently predicted that iron would never become an important building material because it was not commonly used as a metaphor in the Bible, Furness anticipated modern design by giving iron a central architectural role.

Furness´s and by extension, Philadelphia´s architecture was distinct from that of other American cities because it served a work culture rooted in engineering and industry, in contrast to the more international cultures of finance, commerce, and academics that dominated New York and Boston. Like most Philadelphia institutions of the era, the majority of the University of Pennsylvania´s Trustees came from engineering and industry. These were not laymen whose expertise was the amassing of capital. Fairman Rogers, trained as a civil engineer, had resolved the problem of compass deviation in iron ships for the Navy. John Henry Towne headed great iron foundries and endowed the Universitys scientific school. The University provost, William Pepper, was a medical doctor with an interest in research science. William Sellers, head of Penn´s Board after the Civil War, was the premier mechanical engineer of his day, designing and manufacturing the great machines that made Philadelphia the world capital of heavy industry. British judges at the Centennial stated that the Sellers exhibition outshone all machines ever exhibited in any world´s fair for the “beautiful outlines that are imparted to each structure by the correct proportions that have been worked out in the determining of strength and form and the disposal of material to take full share of the duty”. A century later, Sellers was still remembered for making the form of the machine “follow the functions to be performed”.

Furness´s ability to make buildings “out of his head,” in pupil Louis Sullivan´s phrase, linked his method to the Philadelphia world of work. This approach resonated with the values of Furness´s father´s close friend Ralph Waldo Emerson, who had preached that America should turn away from Europe to find her own arts in the principles of nature and modern engineering and railroads. In the generation of Furness´s youth, beginning in the 1850s, Philadelphia locomotive engineers had defined a new type of beauty that lay in the relation of forms to their function – an approach that Furness´s family friend Walt Whitman called “organic.” In the same decade, industrial design that eschewed extraneous ornament for a direct expression of function through form was described as typical of Philadelphia:

The machine work executed in the leading establishments of Philadelphia, is distinguished by certain characteristics, which enable a competent judge to detect a Philadelphia-made machine by the “earmarks.” Excellence of material, solidity, an admirable fitting of the joints, a just proportion and arrangement of the parts, and a certain thoroughness and genuineness, are qualities that pervade the machine work executed in Philadelphia, and distinguish it from all other American-made machinery. (Freedley, Manufactures in Philadelphia, 1858)

A generation later, the same modern qualities in Philadelphia-made locomotives elicited similar comments from British judges at the Centennial Exhibit:

The painting and general finish of the engine is planned with a view to quiet and harmonious effect, and is based upon the principle that the purpose for which a locomotive is used does not admit of any merely ornamental devices: but that its beauty, so far as it may have any, should depend upon good proportions and through adaptation of the various parts to their uses. (Judges´ Report, Centennial Exhibition, 1876)

To clients who were at home in a boardroom or a factory, Furness´s direct use of brick and iron in forms that expressed function would have seemed unremarkable. In a city where machine form denoted purpose, it would only have been surprising had Furness not made his architecture of modern materials and in forms that reflected function. This quality animates Furness´s best buildings such as the B&O station and the University Library. They have the raw impact of giant machines even as they transcended their materials to become a summa of the industrial age. This directness of expression has defined Philadelphia architecture from Furness to Howe, to Kahn, and to Venturi.

In the 1890s, when the University of Pennsylvania´s leadership changed from a scientist to a financier, Furness was fired and replaced as campus architect by the firm of Cope and Stewardson. Their designs in the academic Gothic mode became Penn´s twentieth-century image, marking Philadelphia´s shift toward the national mainstream of historically based design. Albert Kelsey, a veteran of Furness´s office who had continued to maintain contact with Sullivan, was outraged. Noting that Penn´s first graduates had been leaders of the American Revolution, he asked the effect on young students working in modern labs of a campus, “But what inspiration might they not impart if they reflected the poetry of the present as well as they suggest the romance of an alien past!” In the 1890s, the triumphs of the Beaux-Arts and historicism made Furness´s work seem bizarre; it would be half a century before the library was appreciated again. In 1957, when Sullivan´s pupil Frank Lloyd Wright visited Penn to see the library, he proclaimed, “It is the work of an artist.”