Page d`accueil / 0.0 "San Francisco in the Victorian Style"
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Page d`accueil / 0.0 "San Francisco in the Victorian Style"
Page Titre 1er niveau Titre 2nd niveau Textes Images Légendes des images Recommandations importantes: Les photos peuvent être recadrées, redimensionnées et manipulées à votre gré. C'est même une obligation parfois. Voir le dossier "autres_images" pour des photos et documents complémentaires à intégrer éventuellement. Pensez aux fonctionnalités web 2.0 - elles ne figurent pas à cet inventaire. Le choix des polices est libre Page d'accueil / 0.0 Contenu principal SAN FRANCISCO VICTORIAN HOUSES, ROWS, AND NEIGHBORHOODS: "San Francisco in the Victorian Style" A SPLASHY ENTRANCE San Francisco's Victorian houses face the street with great panache. The 1897 Eastlake-style porch of 725 Castro Street sports builder Fernando Nelson's signature columns of turned redwood. About 48,000 houses in the Victorian and Edwardian styles were built in San Francisco between 1849 and 1915 A VICTORIAN WEDDING GIFT The house at 1818 California Street, in Pacific Heights, was built in 1876 in the Italianate sfrjjg. Bay windows, which became a San Francisco trademark, are seen here in the form of slant-sided bays. The commodious residence was a wedding gift from businessman Louis Sloss to his daughter and her-husband. Today it is a bed-and-breakfast inn. During World War I and World War II, many of these houses were battleship gray with war-surplus Navy paint AN EASTLAKE HIGH POINT The Vollmer house at 1735-37 Webster Street, in the Western Addition, was designed by the prolific firm of Samuel and Joseph Cather Newsom in 1885. It is the most elaborate surviving Eastlake-style Victorian row house in San Francisco. When its original Turk Street site was needed for more intensive development in 1975, the house was jacked up, put on wheels, and towed a dozen blocks west to its present Webster Street location. A garage was unobtrusively inserted underneath it, its interior was modernized, and its facade was carefully restored. Hittell's Guide of 1888 observed that "the superior facility for shaping wood, and the abundance of machinery for planing and molding, has led to the adoption of more architectural ornament here than in any other city'i "The visitor from the East," he dryly added, "is at once impressed by the rarity of plain exteriors in the dwellings of the wealthy." Slanted bay house on Oak Street THE VICTORIAN CITYSCAPE: HOUSES AND PARKS The panorama south from Alta Plaza, looking out over the Victorian-rich Western Addition, is punctuated by the dark green islands of Alamo Square (center left), Buena Vista Park, and eucalyptus-clad Mount Davidson (far right). The generous four-block-square parks on the hilltops and in the valley of the Western Addition were reserved by the city for the public in 1855. These houses near Alamo Square were built between 1892 and 1896 by developer Matthew Kavanaugh Along the 2700 block of Clay Street, in the foreground, are (left) three peaked-roof Queen Anne houses designed in 1900 by Maxwell G. BugbSe, (center) a tall, white, bay-windowed, seven-unit apartment house built by Henry Feige in 1905, and (right) a group of flat-roofed houses built by David F. McGraw in 1890. FRAMED BY GREENERY San Francisco's nineteenth-century parks are as man-made as her houses are. Here Lafayette Park, in Pacific Heights, frames two great Queen Anne-style houses. To the left is 2004 Gough Street, designed by J. C. Matthews and Son in 1889; on the right is 2000 Gough Street, at Clay, designed by an unknown architect in 1885. The Haight Ashbury seen from Buena Vista Park Navigation par quartiers DIVIDING THE LAND MUNICIPAL AND PRIVATE LAND SURVEYS IN VICTORIAN SAN FRANCISCO San Francisco's complex street plan is the result of various municipal and private land surveys. The city surveyors laid out the even pattern of rectangular blocks in the northeastern areas (the downtown, South of Market, and Western Addition) and the far western neighborhoods, or Outside Lands (the Richmond and Sunset). The subsequent Anglo owners of the one-time Mexican ranchos in the center of the peninsula (Twin Peaks's San Miguel Rancho), the southeastern corner (Outer Mission and Bayview), and the southwestern section of the city (Lake Merced) laid out a patchwork of unrelated grids when those large holdings were subdivided over time. This informative map was published in 1888 as part ofLangley's San Francisco Directory. The various (arbitrary) colors identify the earliest city surveys and private land- holdings. Every block was given a number by the city or the private sub- divider. The large rectangular park is Golden Gate Park. Langley's San Francisco Directory, 1888. VICTORIAN DISTRICTS Hayes Valley Hayes Valley is a fashionable neighborhood in San Francisco, California, between the historical districts of Alamo Square and Civic Center. Victorian, Queen Anne, and Edwardian townhouses rub shoulders with boutiques, restaurants, and public housing complexes. Pacific Heights Pacific Heights is located in one of the most scenic and park-like settings in Northern California, offering panoramic views of the Golden Gate Bridge, the San Francisco Bay, Alcatraz and the Presidio. Its idyllic location provides a temperate micro-climate that is clearer, but not always warmer, than many other areas in San Francisco. The Western Addition The Western Addition is sandwiched between Van Ness Avenue, Golden Gate Park, the Upper and Lower Haight neighborhoods, and Pacific Heights. Important: Cette fonctionnalité devra être disponible aussi au niveau des pages de contenu, mais sans les descriptifs Historically, it was an addition to the city west of Van Ness Avenue (hence, "Western Addition"). The area was first developed around the turn of the 20th century as a middle-class suburb served by cable cars. It survived the 1906 San Francisco earthquake with its Victorian-style buildings largely intact. Images à placement aléatoire ou à utiliser pour des liens de naivgation croisée Contenu complémentaire RESOURCES Liste de professionnels (artistes, artisans, historioens) à intégrer directement dans la page d'accueil Haight Ashbury Haight-Ashbury is a district of San Francisco, California, named for the intersection of Haight and Ashbury streets. It is also called The Haight and The Upper Haight. The Mission District The Mission District, also commonly called "The Mission", is a neighborhood in San Francisco, California, USA, originally known as "the Mission lands"[2] meaning the lands belonging to the sixth Alta California mission, Mission San Francisco de Asis. This mission, San Francisco's oldest standing building, is located in the neighborhood. Noe Valley & Eureka Valley Noe Valley's borders are generally considered to be 22nd Street to the north, Randall Street to the south, Dolores Street to the east, and Grand View Avenue to the west. These borders are understood to be somewhat flexible, particularly by real estate agents. The Castro (Eureka Valley) is directly to Noe Valley's north, although the border is not well defined and can stretch into Noe Valley, and The Mission is to its east. ITALIANTE QUEEN ANN CF. accueil_ressources_liste_artisans.txt SAN FRANCISCO STICK GOTHIC REVIVAL Page Titre 1er niveau Titre 2nd niveau Textes Images Légendes des images Page de contenu / 1.1.1 Page du style "Italianante" dans la rubrique des styles This two-story Italianate-style row house at 1825 Sutter Street, in the Western Addition near today's Japan- town, was built in 1878for Captain and Mrs. John Cavarly. It displays all the essential elements of the Italian- ate style as it was adapted for the San Francisco row house: an emphasis on verticality with high ceilings and tall, narrow, double-hung windows; an entrance porch with Corinthian columns capped by a balustrade with urn-shaped ornaments; classically enframed windows; slant-sided bay windows with pipestem colonnettes; quoins to reinforce visually the building's corners; a heavily bracketed cornice; and a flat or low-pitched roof In 1983 the imaginative boxwood- grid front garden was planted, and sculptor James Nestor's black steel Streetlight was installed, making this house a happy blend of the historical and the modern, the typical and the singular. In 1963, San Francisco artist Butch Kardum began combining intense blues and greens on the exterior of his Italianate-style Victorian House FLAT-FRONT ITALIANATE ROW Speculative builders erected pairs or I small dusters of identical houses, California first tract houses. The fat-front Italianate row of six houses it 2115 to 2125 Bush Street, in the Western Addition, was built by The Real Estate Associates, headed by Iowa-bom William Hollis, in 1875. Mass production helped keep costs down and carpenters employed. The Real Estate Associates built some one thousand houses and sold them on the installment plan, with one fifth to one half the purchase price down. The balance was paid in monthly installments over one to twelve years; interest ran 8 to 10 percent a year. These Victorian italianate houses are in the Haight-Ashbury neighborhood THE ITALIANATE ROW HOUSE The Italianate style was adapted to the row houses that proliferated on San Francisco's long, narrow lots. Popular from the late 1860s to about 1880, these houses were either flat fronted or bay windowed, such as the one pictured here. Built of redwood milled and painted to look like stone, the structures quickly achieved a standard plan. Italianate ornament and building parts were mass-produced in the city's woodworking mills south of Market Street. This drawing appeared in The California Architect and Building News, the West's first architecture journal, in January 1880. A one level Italianate house in the Mission district Doorways An entrance may be spindled or bracketed. It may open in columned formality or welcome you with a casual yawn. Hundreds of kinds of doors were listed in millshop catalogues all over the country, and their designs were changed often to keep pace with new fashions in house plans. The Niehaus Brothers in Berkeley, California, offered many varieties, as shown in text illustration 31. Some doors came in double sets; the outer pair swings inward to form | a decorative vestibule. Contenu principal THE ITALIANATE STYLE INTRODUCTION de la page "Italianate" Contenu complémentaire de la page "Italianate" IN DETAILS… Victorians who bought tract houses were often given a choice of front doors. From Fernando Nelson, who is described in the text section, you might choose the 'plain' door for ¿(1.25 or splurge on a 'fancy' one for $5. One year Nelson's $5 door looked like the ones shown here which have six round buttons in the middle and a sunburst on the bottom panel Many front doors still have panes of stained or colored glass. When the sun shines through, their hallways glow! Windows Windows and their surrounding decorations were also a target for a wide variety of millwork combinations. In the 1870's and early 1880's, many windows were topped by hoods of different shapes, such as the triangular pediment, the 'squeezed' pediment, or the hood which was a 'segment' of an arc. Sometimes the windows and door treatments matched; other times the builders and architects mixed shapes freely. The window panes themselves were often shaped, sometimes to echo the squeezed, arched, flat, or segmented hoods. Some main clear panels were edged with small colored ones. Red with yellow and blue with green were frequent combinations. Later in the era, builders chose flatter, more geometric millwork to outline their windows, as ornament and fashion kept pace with new machinery for the manufacture of embellishment. Square Bays TL square bay succeeded the slanted one in the 1880's, as house plans began to emphasize a more massive vertical home laden with wooden products of the millwork machine age. The houses have other characteristic details besides the square bays. Many had false gables, like a triangular version of the false front, shown in the cluster above. Other homes were topped by a 'Mansard,' or French, roof cap. Most square bayed homes originally had either false gables or French caps, but many have been removed by overzealous modern izers. Some houses with square bays were built in identical rows; other builders made slight variations within clusters. The two shown at the right are next-door neighbors. Notice how the false gable and its crowning finial make the house above look different from its virtually identical neighbor. Columns Victorian house part catalogues offered columns of "any size or shape," and they were used in abundance. Look for columns in entryways, in verandas, cut in half as pilasters and, in miniature, as colonnettes to outline bay windows. The column shaft might be of solid or hollow wood, or it might be made of cast metal. Some columns have decorative capitals which echo earlier classical motifs: the acanthus leaves of the Corinthian capital, the spiraled Ionic capital, or the two combined into a Composite. The shaft may be beaded, fluted, or plain. The column base may be the bulbous tulip shown above, or the chaste incised pattern shown on the right. Millwrights of the era soon moved past these classical themes and began to construct their own versions of columns. Some borrowed from the Egyptian, some were geometric, and others were composed of four columns flanked by a pair of pilasters which frame the door. Newel Posts Indoors and out, the newel post forms a staunch ending to a flight of stairs, with its balusters and its handrail swooping up to a door or a landing. Newels occupied many pages in Victorian mill catalogues; turn to text illustration 31 to see some of the newels offered by a local shop. Newel posts are made in different ways and carry varied embellishments. Look at the photograph above. The post on the left is intact, but the one on the right has been sawn in half, perhaps by an angry neighbor. This fortuitous bisection lets us look directly into the heart of the newel to see how it was made Extraordinary Details The house which leads this section is noteworthy for its owls, who keep a watchful eye on passing neighbors. Yet these owls are but one example of the imaginative freedom expressed in the exuberant embellishment of the Victorian era. The old houses are appealing because they, like ourselves, possess both masculine and feminine characteristics. Look closely at the floral decoratives, finials, pendants, columns, newel posts, and other sawn and turned parts. You will notice many details which are highly suggestive of human anatomy. The often-used button, applied freely to gables, newels, windows and almost every other available bare surface, looks much like a navel. The examples shown here are not unusual; something similar can be discovered on almost every Victorian house. Whether these details sprang from repressed desires or from a robust sense of life is neither our task nor our intent to decide. It is important simply to realize that the parts are there and that they contribute in a subtle way to the personal nature of the homes. We offer this section on extraordinary details as an invitation to become aware and appreciative of how the essence of Victorian architecture mirrors human nature in its attempt to attract, please and delight. Vidéo Diaporama à intégrer dans la page de contenu Remplacer le son par la chanson de Scott McKenzie "San Francisco" Page Images Légende Commentaires (ne pas intégrer) Sur toutes les pages Largest Bookstore dealing in the Visual Arts in Lien vers le site de la librairie d'architecture et de design Hennessey and Ingalls North America. With books covering, Art, Architecture,Photography, Landscaping,Gardening and much more… We are local volunteers who love the City, its Lien vers le site de l'association City Guides history, lore and legends...and we're ready to share it all with you. Start by reading our Frequently Asked Questions. Then see our current schedule of tours or select a tour by neighborhood. The California Palace of the Legion of Honor Lien vers le site du Museum of the Legion of Honour (often abbreviated to simply Legion of Honor by locals) is a fine art museum in San Francisco, California. The name is used both for the museum collection and for the building in which it is housed. Richard Sexton has authored and coau- thored several books, including Chronicle Books' The Cottage Book, Parallel Utopias: The Quest for Community, and, with Randolph Delehanty, New Orleans: Elegance and Decadence. Randolph Delehanty is the author of eight books, including San Francisco: The Ultimate Guide and New Orleans: Elegance and Decadence, both published by Chronicle Books. Information relative aux auteurs