Glasgow Architecture, Grecian Buildings, Sauchiehall Street.

This building dates from 1867-68 and was designed by Alexander 'Greek' Thomson

Aaron Russo Architecture Of A Prison Planet

yesuniversalbrotherhood.blogspot.com @ComunitaEbraicaRoma - a family of Jews (who do not: they have betrayed God through: the Talmud) have adopted a baby pygmy: who: became: as low as rabbi of the whole history of Israel, but just him, is the more saint of all the rabbis: the greatest, in the Kingdom of God! If this condition: it is impossible for you? You have done: of God a devil .. You have destroyed: "Faith Hope Charity!" because: every man is my brother! "contrary? You thought blasphemous things: against your Creator: that he may have also created evil .. if you're not with me? you will be destroyed in the fire of Geenna: hell! ... my: YHWH - your anger is kindled: against: all enemies of your kingdom! i want to see the destruction of that antichrist Zapatero: and of all its accomplices: New World Order: IMF: seigniorage banking and for all this: I will glorify you forever: amen amen amen: Hallelujah hallelujah hallelujah @ joehardysr - God created the Garden of Eden: where there was: no: form of evil: so there were no carnivores [(yes: scavengers: Omnivore) because the animals could die because they did not have access to 'tree of life, which was near the tree (the knowledge of good and evil)]. All men who are on this planet? we had been: all: to betray God, all eating the forbidden fruit (made ​​by God as a demonstration for our loyalty). so our earthly paradise is fallen: regressed: deteriorated: is why, we set us here, is why: we are born on earth (ie the ...

Architecture Project 88 (Led Zeppelin - (What Is and What Should Never Be) (HD)

See project: proiectecasetip2.wordpress.com ;arh. Dan Mihalache: dannarchitect@gmail.com, tel.: 0770/694.945; 0748/371.353; architecture office: united architects, Iaşi, România. Brick (or wood) dwelling house ground floor and attic realized in AutoCAD. Locuinţă parter şi mansardă din cărămidă sau lemn. Proiect realizat în AutoCAD. "What Is and What Should Never Be" is a song by English rock band Led Zeppelin on their 1969 album Led Zeppelin II. It was written by Jimmy Page and Robert Plant. This was one of the first songs on which Page used his soon-to-become trademark Gibson Les Paul for recording. The production makes liberal use of stereo as the guitars pan back and forth between channels. Robert Plant's vocals were phased during the verses. This was also one of the first songs recorded by the band for which Robert Plant received writing credit. According to rock journalist Stephen Davis, the author of the Led Zeppelin biography Hammer of the Gods: The Led Zeppelin Saga, the lyrics for this song reflect a romance Plant had with his wife's younger sister. "What Is and What Should Never Be" was performed live at Led Zeppelin concerts between 1969 and 1972. A live version taken from a performance at the Royal Albert Hall in 1970 can be seen on the Led Zeppelin DVD. The song inspired the name of an episode of the popular teen drama One Tree Hill, and the name of an episode of the paranormal drama "Supernatural", as well as an episode of popular half-hour comedy That 70s ...

Glasgow Architecture: Holmwood House

This is Alexander 'Greek' Thomson's finest villa. It dates from 1857-58 and is located at 61-63 Netherlee Road. Now under management of National Trust for Scotland.

Pedro Paez on the New Regional Financial Architecture (ENGLISH SUBTITLES) - Part 3 embedded

This is the third part of speech given by economist Pedro Páez to the Ecuadorean National Constituent Assembly´s ¨Committee on Development Planning¨ on February 29, 2008, in which he discusses in detail the Correa Administration´s proposals for a ¨new regional financial architecture¨. --------------------------------------------------------------------------------- --------------------------------------------------------------------------------- At the time of this speech, Mr Páez was the Minister of Economic Policy Coordination of the Republic of Ecuador in the administration of President Rafael Correa. In December 2008, Páez was named chairman of the newly formed Ecuadorean Commission for the Bank of the South and the New Regional Financial Architecture (BDS-NAFR), a position which he currently still holds. Páez is also a member of the United Nation´s ¨Commission of Experts of the President of the UN General Assembly on Reforms of the International Monetary and Financial System,¨ better known as the ¨Stiglitz Commission¨ after its chair, the Nobel Prize-winning American economist Joseph Stiglitz. --------------------------------------------------------------------------------- --------------------------------------------------------------------------------- ENGLISH TRANSLATION AND SUBTITLES by Christopher Reid. --------------------------------------------------------------------------------- ORIGINAL VIDEO IN SPANISH was uploaded to youtube by Jubileo2000Ecuador on ...

Enduring Influences Greek Architecture in DC

How is greek architecture still in buildings today you may ask, well look no further, here is your answer to everything.

Geography, Tradition, and the Individual: Greek Architecture

In modern times architecture in Greece has become a vibrant field that builds on the country's historic traditions to meet the needs of contemporary cities and towns. An international conference at the University of California, Santa Barbara, brought together prominent Greek architects and architectural historians to discuss trends and directions of architecture in Greece and internationally, the Greek architectural tradition, and architectural developments over the past 50 years. Series: Voices [12/2009] [Humanities] [Show ID: 14712]

1. Introduction to Roman Architecture

Roman Architecture (HSAR 252) Professor Kleiner introduces the wide variety of Roman buildings covered in the course and links them with the theme of Roman urbanism. The lecture ranges from early Roman stone construction to such masterpieces of Roman concrete architecture as the Colosseum and Pantheon. Traveling from Rome and Pompeii across the vast Roman Empire, Professor Kleiner stops in such locales as North Africa and Jordan to explore the plans of cities and their individual edifices: temples, basilicas, theaters, amphitheaters, bath complexes, and tombs. The lecture culminates with reference to the impact of Roman architecture on post-antique architectural design and building practice. 00:00 - Chapter 1. Introduction: Roman Urbanism 09:47 - Chapter 2. The Urban Grid and Public Architecture 24:41 - Chapter 3. Bathing, Entertainment, and Housing in the Roman City 37:06 - Chapter 4. Roman Tombs, Aqueducts, and the Lasting Impact of Roman Architecture Complete course materials are available at the Open Yale Courses website: open.yale.edu This course was recorded in Spring 2009.

Greek Architecture MJU

คลิปวิดีโอนี้ เป็นเพียงส่วนหนึ่งของวิชา ประวัติศาสตร์สถาปัตยกรรม1 สาขาสถาปัตยกรรม คณะสถาปัตยกรรมศาสตร์และการออกแบบสิ่งแวดล้อม มหาวิทยาลัยแม่โจ้ ,,,,ขอขอบคุณค่ะ

Principles of Roman Architecture

An Educative presentation by Moon Adamant

Architecture of Greece and Trends in American Architecture

Experts in Greek and American architecture comment on the similarities and differences of the two nations modern architecture trends. Series: Voices [12/2009] [Humanities] [Show ID: 14706]

Glasgow Architecture: Bucks Head Building

This building dates from 1863. It is located at 59-61 Argyle Street and was designed by Alexander 'Greek' Thomson.

12. The Creation of an Icon: The Colosseum and Contemporary Architecture in Rome

Roman Architecture (HSAR 252) Professor Kleiner features the tumultuous year of 68-69 when Rome had four competing emperors. Vespasian emerged the victor, founded the Flavian dynasty, and was succeeded by his sons, Titus and Domitian. The Flavians were especially adept at using architecture to shape public policy. Professor Kleiner demonstrates that Vespasian linked himself with the divine Claudius by completing the Claudianum and distanced himself from Nero by razing the Domus Aurea to the ground and filling in the palace's artificial lake. In that location, Vespasian built the Flavian Amphitheater, nicknamed the Colosseum, thereby returning to the people land earlier stolen by Nero. Professor Kleiner discusses the technical and aesthetic features of the Colosseum at length, and surveys Vespasian's Forum Pacis and Titus' Temple to Divine Vespasian. The lecture concludes with the Baths of Titus, Rome's first preserved example of the so-called "imperial bath type" because of its grand scale, axiality, and symmetry. 00:00 - Chapter 1. The Year 68-69 and The Founding of the Flavian Dynasty 11:42 - Chapter 2. The Claudianum or The Temple of Divine Claudius 19:52 - Chapter 3. The Colosseum: Icon of Rome 33:17 - Chapter 4. The Colosseum as a Post-Antique Quarry 44:30 - Chapter 5. The Forum or Templum Pacis 01:01:39 - Chapter 6. The Imperial Baths of Titus Complete course materials are available at the Open Yale Courses website: open.yale.edu This course was recorded in Spring 2009.

Architecture Project 109 - (Cat Stevens - Wild World) (HD)

See project: proiectecasetip2.wordpress.com ;arh. Dan Mihalache: dannarchitect@gmail.com, tel.: 0770/694.945; 0748/371.353; architecture office: united architects, Iaşi, România. Brick (or wood) dwelling house ground floor and attic realized in AutoCAD. Locuinţă parter şi mansardă din cărămidă sau lemn. Proiect realizat în AutoCAD. Yusuf Islam (born Steven Demetre Georgiou; 21 July 1948 in London, England), originally and commonly known by his former stage name Cat Stevens, is a British musician. He is a singer-songwriter, multi-instrumentalist, educator, philanthropist, and prominent convert to Islam. His early 1970s record albums Tea for the Tillerman and Teaser and the Firecat were both certified as Triple Platinum by the RIAA in the United States; his 1972 album Catch Bull at Four sold half a million copies in the first two weeks of release alone and was Billboard's number-one LP for three consecutive weeks. He has also earned two ASCAP songwriting awards in consecutive years for "The First Cut Is the Deepest", which has been a hit single for five different artists. Stevens converted to Islam at the height of his fame, in December 1977, and adopted his Muslim name, Yusuf Islam, the following year. In 1979, he auctioned all his guitars away for charity Steven Georgiou was the third child of a Greek-Cypriot father, Stavros Georgiou (b. 1900), and a Swedish mother, Ingrid Wickman (b. 1915). He has an older sister, Anita, and brother, David. The family lived above Moulin ...

Architecture in Miniaturk in Istanbul Turkey

ISTANBUL,TURKEY,Hagia Sophia Museum,Blue Mosque,Topkapi Palace,Grand Bazaar,Spice Bazaar,Dolmabahce Palace,Underground Cistern,Sema ceremony of the Whirling Dervishes,Galata Tower,Bosphorus,Princes' Islands,Sultanahmet ,Pera,Beyoglu,Taksim,ST. SOPHIE ,HIPPODROME ,THE MUSEUMS OF TURKISH ISLAMIC ART,SULEYMANIYE CAMII,ARCHEOLOGICAL MUSEUM,BEYLERBEYI PALACE,CHORA CHURCH,RUSTEM PASA MOSQUE,RUMELI FORTRESS,NIGHTLIFE,RESTAURANTS,Kariye Museum,Military Museum,The Covered Bazaar,The Spice or Egyptian Bazaar,Blue Mosque,Eyup Mosque,Suleymaniye Mosque,Istanbul Toy Museum,Dogancay Museum ,Istanbul Modern Art Museum ,Sakip Sabanci Museum ,Rahmi Koc Museum,Pera Museum,Istanbul Byzantine Mosaic Museum ,Istiklal Street,Turkuazoo Aquarium,Camlica Hill,Kilyos (Beach),Caddebostan (Beach),Belgrade Forest - Belgrad Orman Bahcekoy,Emirgan Park,Ayasofya Museum,Eyup,Kanlica,Hidiv Pavilion,Jewish Museum of Turkey - Zulfaris Synagogue,Sehzade Mosque,Armenian Church of the Three Altars,Kumkapi,Cengelkoy,Rezan Has Museum,Polonezkoy,Arasta Bazaar,Fish Market - Balik Pazari,Rumeli Feneri - Rumeli Lighthouse,Yeni Cami - New Mosque,Aya Triada Greek Orthodox Church,Santral Istanbul,Bebek,Anadolu Feneri - Anadolu Lighthouse,Ataturk Cultural Centre,Beykoz,Cemal Resit Rey (CRR) Concert Hall,Taksim Square,Riva (Beach),Fenerbahce Saracoglu Stadium,Yeralti Camii- Underground Mosque,Kucuk Ayasofya - Little Hagia Sophia,Istanbul UFO Museum,Church of the Pantocrator - Zeyrek Cami,Ortakoy Mosque,Galerist,Yildiz ...

The Architecture Of New Orleans

New Orleans is one of the few American cities that has managed to retain much of its historic architecture. The French Quarter has many buildings dating back 150 years or more, while the Garden District has splendid mansions designed in a variety of styles. Beautiful houses line Esplanade Avenue, historically the residential nucleus of the Creole elite, and the city also possesses a good stock of 19th-century public buildings built in Greek Revival style. It is not always easy to categorize buildings by style, for many of them are hybrids, like the Gallier House, which incorporated both Creole and American features.

Creole Cottage

Only a few buildings, such as the Old Ursuline Convent and Lafitte's Blacksmith Shop (see p78), remain from this period, which combines various French styles of the 18th century. Most were destroyed by a series of fires: one, in 1788, destroyed 856 wooden buildings; a second in 1794 destroyed 212 buildings.

Spanish Colonial

After the 1788 and 1794 fires, the Spanish decreed that any building of more than one story must be constructed of brick. The houses that were subsequently built can still be seen in the French Quarter.

They often combine residence and store, and feature arcaded walls, heavy doors and windows, and a flagstone alleyway leading to a loggia and fountain-graced courtyard

Federal Townhouse

Americans from the Atlantic states brought their own architectural preferences with them, and the successful among them erected Federalstyle homes that stand out from the French or Spanish cottages surrounding them in the Quarter.

Raised American Cottage

Most of these raised cottages feature extensive eaves and an alleyway leading to a rear garden or courtyard. The interior usually contains four rooms arranged symmetrically and separated by a center hall. The kitchen and servants' quarters are away from the house at the rear.

Shotgun House

These cottages were so called because a bullet fired from a shotgun through the front door would go straight through the house and out the back as all the doors were aligned. They come in single and double versions, and usually have a set of box steps in front.

The Creole Plantation House

The refugees from Saint Dominguez (Haiti) brought this Caribbean-style dwelling to New Orleans. This one-story residence is usually raised on brick pillars (to catch the breezes and to cope with flooding) and incorporates a wraparound veranda. The space below the house and the flagstone piazza below the veranda are used as service or storage areas.

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Classical Orders of Greek Architecture

Did you know architectural columns belong to specific orders derived from Ancient Greece? Watch to find out more!

greek architecture halo reach project

Cycles of Memphis Architecture

What does Memphis, Tennessee share with major cities like Chicago? The answer would be: an exceptional number of historic buildings. The city can boast of over eleven thousand national register listings. While historic examples can be seen everywhere, Memphis doesn't feature just one style. As the city has experienced ups and downs financially and the effects of both World Wars and the Great Depression, the design of both commercial and residential buildings has been altered. An attempt to apply modern principles can also be seen throughout the wider urban area.

A series of yellow fever epidemics ravaged Memphis during the late 1800's cutting the population in half. Everything slowed down, including building projects as the city worked hard just to survive. Homes prior to the epidemics can still be viewed, especially in the midtown area. Clano Hall (1853), the Hunt-Phalen House (1830), and Annesdale (1855) are a few examples of everything from antebellum Federal brick architecture to Italian Villa style..

By the 1890s, functionality had become more important in architectural design. Superfluous architectural flourishes died off as an emphasis on regularity and volume came into vogue. The influence of modernism spread from residential to commercial and even industrial properties. Steel buildings replaced older structures along the venerable Memphis streets of Union Ave,Main st., and Madison. Memphians also would alter the facade of older building to be more in keeping with modern styles. Memphis counted it's first skyscraper by 1914. The emergence of the streetcar also allowed the first development of Memphis's future historic home in subdivisions such as Central Gardens and Annesdale Park.

These new suburban residential areas became middle class modernist communities. Higher end properties can also been seen with expensive materials and spacious yards. The cottages and smaller homes were either Craftsman style or a modern version of Greek Revival design. Occasionally, an imitation of Frank Lloyd Wright's Prairie School style was also interspersed, boasting bands of wooden casement windows, horizontal lines, and deep overhanging roofs.Very utilitarian housing projects were also included, but it wasn't until 1924 that the city started designating certain areas to be residential, commercial, or industrial.

Atypically for Memphis, Memphis led the nation in focusing on the design of smaller affordable homes. The Memphis small builder's association published a catalogue with more than a hundred design plans costing less than six grand. Also, local architects offered their services at a reduced rate. Such was the community concern for helping residents secure their own homes after the Great Depression.

In some ways, WW II dampened enthusiasm for modern European architectural styles. International styles lost popularity with the association with the feuding Europeans. A small historical oddity was the late 1950 attempt by Mies van der Rohe to reestablish modern design with steel framed houses and glass curtains. Remains of this can be seen in Memphis even today.

Today, Memphis has had a prolonged buyer's market, and hopeful home owners can choose from fine homes in the downtown and riverfront areas. Memphis has rejuvenated itself starting with a downtown renaissance and working its way west. Older commercial buildings are being renovated while the Midtown area has salvaged its southern charm. In the far east, faux-estates with acreage abound. While there are homes for sale in every price range, values are appreciating, and the higher the price the more the competition. With pro-sports teams, museums, year-round festivals, cultural activities, and southern ambiance, Memphis Tennessee offers a great place to settle in and raise a family.

There's the history of Memphis architecture for you.

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About Corncribs and the Unpainted Aristocracy: Contemporary Architecture in North Carolina

It is possible to discuss the current condition of architecture in North Carolina by referring to a geologic event that happened between 150 and 200 million years ago: a great geologic uplift, known as the Cape Fear Arch, pushed what is now North Carolina upwards several hundred feet. The arch also raised the sea floor, which had once been joined with South America, and the waves produced by this change created the Outer Banks, a chain of barrier islands that are farther offshore than in any other part of the Atlantic Seaboard. As a result, North Carolina has shallow rivers and only one major harbor at the mouth of the Cape Fear River, which is made treacherous by offshore shoals. Shifting river patterns caused by the Cape Fear Arch, which continues to rise, remove topsoil thus giving North Carolina poorer soils than in surrounding regions. The lack of rivers for transport, inaccessible harbors and poor soils meant that early settlements in North Carolina were modest. For much of its history, North Carolina was a land of small landowners, its population scattered across a vast landscape.

Though we have become the 10th largest state in the nation, our dispersed settlement pattern persists to this day. And that dispersal has created among North Carolinians a spirit of independence that is individualistic, self-sufficient, resourceful, and proud. If we have less wealth, we have less pretense. A long history of dwelling apart can also engender a people who are watchful of their neighbors, self-righteous, and at times dour. I believe that all these qualities can be found in the architecture of North Carolina, not only in the past but also in the present.

Today an urban crescent nearly 200 miles long straddles the Cape Fear Arch along Interstate 85, from Charlotte to Raleigh, an urban banana-like farm where, as every proud Carolinian will tell you, there is chardonnay on every table, NPR in every car, and enough digital progress to make, if not a Silicon Valley, a silicon Piedmont. Parallel to this strip, which is about eight miles wide, there lies an older North Carolina, a quieter place where thousands of small frame houses, vegetable gardens and barns rest in the countryside. In these places it is possible to see an architecture of plain living made by hard-working people not opposed to wealth but not happy with opulence either. I believe there is a rare beauty here, portrayed in the paintings of Sarah Blakeslee, Francis Speight, Maud Gatewood, and Gregory Ivy, and in the photographs of Bayard Wooten.

The diversity of plant and animal life in North Carolina is another legacy of the Cape Fear Arch. Six fully distinct ecological zones span the state, from the sub-tropics of the coast to the Proto-Canadian climate of the highest mountains east of the Mississippi. Today our architecture trends towards sameness across this tapestry of plants and climate, but it was not always so. To a degree that seems remarkable now, the early settlement pattern of North Carolina tells a human story of ordinary buildings close to the land, as varied as the mountain tops and coastal plains on which they stand.

The first buildings in North Carolina were sustainable to their roots: built of local materials, embedded in the landscape, oriented towards the sun and breeze. They were made by Native Americans, not Europeans, in the eastern part of our state. In 1585 English explorer and artist John White documented them in drawings that depict a native people at rest in nature. For over three hundred years this pattern of local adaptation would persist across the state.

In the mountains, for example, farmers built their houses on wind-sheltered slopes facing south, next to a spring or a creek. They planted pole beans and morning glories to shade their porches in summer. Their houses were raised on stone piers to level the slope and to allow hillside water to drain underneath. The crops and the animals they raised varied from mountain valley to river bottom, according to how steep the land was and how the sun came over the mountain ridge. Their barns varied from one valley to the next for the same reasons.

Strewn across the Piedmont hills of North Carolina are flue-cured tobacco barns, built to dry what was, for over two hundred years, the state's dominant cash crop. Sixteen to twenty-four feet square and usually the same height, they were sized to fit racks of tobacco leaves hung inside to dry in heat that could reach 180°F. Capped with a low-pitched gable roof, these humble barns remind me of Greek temples. Legions of them populate the landscape, yet no two are the same because farmers modified each standard barn with sheds to suit the micro-climate of his land. To know where to build a shed onto his tobacco barn, the farmer had to know where the sun rose and set, where the good winds came from, where the bad weather came from and when it came. He designed his house just as carefully because the lives of his children depended on his knowledge. The philosopher Wendell Berry has written that in such attention to place lies the hope of the world. Ordinary people who had no idea they were architects designed and built these extraordinary barns and farmhouses across North Carolina. Their builders are anonymous, yet they embody the wisdom of successive generations.

An equally extraordinary group of rustic cottages at Nags Head on the Outer Banks were also built on instinct for place -- not for farming, but for summers at the beach. The Nags Head cottages date from the 1910-1940 era, and for nearly one hundred years have been the first things hurricanes struck coming in from the Atlantic. Though made of wood framing, their builders made them sturdy enough to resist danger, yet light enough to welcome sun and breeze, elevating each cottage on wooden stilts to avoid floods and provide views of the ocean. Porches on their east and south sides guaranteed a dry porch in any weather, but there were no porches on the north side where bad weather hits the coast. Clad in juniper shingles that have weathered since they were built, the Nags Head cottages were referred to by former News & Observer editor Jonathan Daniels as the "unpainted aristocracy." Today they seem as native to their place as the sand dunes.

Mountain houses, Piedmont barns, and ocean cottages suggest that there is a fundamental, direct way of building that, left to themselves, most non-architect, non-designer makers will discover. I can see this design ethic in corn cribs and textile mills, in peanut barns and in the way early settlers dovetailed logs to make a cabin. These structures are to architecture what words are to poetry. I see this ethic in the way a farmer stores his corn because a corncrib is simpler and quieter than most things we build today but no less valid because of its simplicity.

I think that the same ethic is present in the minds of people who want buildings today, because it shows up in structures unencumbered by style, fashion, appearance commissions, or advertising. In countless DOT bridges, soybean elevators, and mechanics' workshops across North Carolina, I sense the practical mindset of this state.

Good building was much in demand in North Carolina in the years following World War II, when the state struggled to emerge as a progressive leader of the New South. The director of the State Fairgrounds in Raleigh, Dr. J. S. Dorton, wanted to build a new livestock pavilion that would make "the NC State Fair the most modern plant in the world." His architect was Matthew Nowicki, a brilliant young Polish architect who had arrived in North Carolina in 1948 to teach at the newly founded School of Design at North Carolina State College.

Extraordinarily talented yet foreign, Nowicki had an unassuming and practical attitude towards building and clients. He needed it, because he proposed to fling two immense concrete arches into the sky, anchor them at an angle to the earth, and spin a three-inch-thick roof on steel cables between the arches, creating what was one of the most efficient roof spans ever made. Strange as it looked, Dorton Arena's practical efficiency made sense to his tobacco-chewing, country boy clients the way a tobacco barn or a John Deere tractor would. When it was finished, the News and Observer declared that it was "a great architectural wonder that seems to lasso the sky." It remains today the best-known North Carolina building outside the state.

At the same time that Dorton Arena was rising, the young architect George Matsumoto came to North Carolina from his native California to practice architecture and to teach at the School of Design. Matsumoto quickly established himself as one of the most gifted design talents of the post-war generation. Matsumoto's early buildings were modest houses for small business owners and assistant professors. Working with landscape architect Gil Thurlow, Matsumoto sited his buildings to enhance the landscape, elegantly merging with the site. Often he used deciduous trees to shade the buildings in summer and to allow the sun to warm them in winter. Typically his houses were oriented to capture the prevailing summer breezes, and to shelter their occupants from winter wind.

Matsumoto's understanding of the technique and craft of construction encompassed wood, steel, stone and brick. His Gregory Poole equipment building in Raleigh (1956) was a logical and well-built construction that contrasted the delicacy of its steel and glass enclosure with the massive D8 caterpillars displayed inside. Modern though his buildings were, Matsumoto was welcomed because his designs had the directness of a corn crib: they were perceived to be useful and practical.

In 1962, Harwell Hamilton Harris moved to Raleigh to practice and teach at the School of Design. Harris, like Matsumoto, was a native Californian, renowned for his residential architecture. Arguably his finest North Carolina building was St. Giles Presbyterian Church, built from 1967 to 1988. Harris convinced the church building committee to build a family of low-slung, wood shingled buildings around a pine grove. "Did you ever hear of anyone having a revelation indoors?" he asked. The buildings have wide porches and deep eaves that foster outdoor rambles and contemplation. St. Giles is unmistakably modern, and it brought a whiff of California to a piney hillside of Carolina, but it is also in keeping with an older, native tradition of building close to the land.

Although all three 20th century architects were non-native, it is possible to discern a common thread that bound them to their clients: a belief in a practical kind of architecture, without pretense or opulence, that was as plain-spoken as it was confident. In 1952 Harris wrote that, "A region's most important resources are its free minds, its imagination, its stake in the future, its energy and, last of all, its climate, its topography and the particular kinds of sticks and stones it has to build with." His words could describe the cigar-smoking farmers who approved Dorton Arena, the small landowners who lived in houses designed by George Matsumoto, the Deacons of St. Giles Presbyterian Church, and the generations of anonymous barn-builders and cottage dwellers who preceded them.

My reference to older buildings in North Carolina in no way means that we should go back to building such dwellings. Rather it illustrates how the accumulated wisdom of our past can enable us to build in the present. As the English Arts and Craft architect W. R. Lethaby said, "No art which is one man deep is worth much -- it should be a thousand men deep. We cannot forget the knowledge of our historic origins, and we would not want to forget it, even if we could."

In the future, our society will be judged by how we build today. Arguably the most important issue facing architecture today is sustainability. What is the best way to build in equilibrium with this particular place? A balanced architecture rises up from the land it is built on, its hills, streams, weather and its people, their connections, ideas and stake in the future. Today we have the opportunity to return North Carolina to its former balance with nature. And as we do that, we must remember that we are not a land apart: the rock we live on was once part of South America, the wind that blows across our fields originated in the tropics, and the rain that washes over us comes largely from the Pacific Ocean and the Gulf of Mexico. The forces that shape our buildings are much older than building.

Award-winning architect Frank Harmon is the founder and principal of Frank Harmon Architect PA in Raleigh, NC, and a Professor in Practice at the North Carolina State University College of Design. He has written extensively on the subject of modern, sustainable, regionally appropriate architecture and a frequent speaker on the subject at architecture conferences, conventions and university programs across the United States. His work has been featured in numerous journals, magazines and books on the subject, including Architectural Record, Architect, Residential Architect, Dwell and the New York Times. He is a Fellow of the American Institute of Architects.