Arkansas Listings in the National Register of Historic Places

E. A. James
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Abstract

Edward Durrell Stone Buildings IN 1916, A FAYETTEVILLE LUMBER COMPANY challenged local boys to design birdhouses. The prestigious competition had the president of the University of Arkansas as one of its judges. Fourteen-year-old Edward Durrell Stone won first prize: $2.50. To create a bluebird house, he sheeted a wooden box in sassafras branches cut in half to look like logs. In his autobiography, he described the small cash prize and local recognition as his "undoing," immediately hooking him on a career in design. He followed in the footsteps of his older brother, Hicks, a practicing architect in Boston. Today, Edward Durrell Stone is widely regarded as one of the greatest American architects of the mid-twentieth century. He left Arkansas early in his career but returned intermittently and even had a satellite office in northwest Arkansas from 1955 to 1959 to help him execute commissions in the state. Stone attended the art school at the University of Arkansas from 1920 until 1923 before heading to Boston to join his brother and begin his formal training in architecture. He started at the Boston Architectural Club, then went to Harvard after winning a 1926 competition that awarded him a year's tuition. He later transferred to Massachusetts Institute of Technology because a professor there, Jacques Carlu, was experimenting with modern designs that interested Stone. In 1927, Stone won a prestigious Rotch award to travel to Europe for two years. In the course of his travels, he became more enamored of modern design after having seen and studied the works of modernist innovators Ee Corbusier and Eudwig Mies van der Rohe. Returning to the United States in 1929, Stone began his professional career. He did his earliest work as a paid architect in the employ of larger architectural firms. He worked on the Waldorf-Astoria hotel and Radio City Music Hall in New York but did not fully display his talents until receiving and designing his first private commission, the Mandel House in Westchester County, New York, in 1933. With the Mandel House, Stone made a name for himself for having designed and built one of the earliest International-style residences in the United States. While the work of Rudolf Schindler and Richard Neutra had appeared in the Los Angeles area as early as 1928, the Mandel House helped introduce the style to the East Coast, where it became increasingly popular in the 1930s. Stone's work in the International style was well received, and he built many houses in the northeast. However, as public opinion became more favorable toward the style in the late 1940s, Stone began to pull himself away from it. Edward Durrell Stone visited Frank Eloyd Wright's Taliesin in Wisconsin in the 1940s. His encounters with Wright's work began to alter his design philosophies. He began to feel that buildings executed in the International style left something to be desired. They were "too sparse, too arid, too cold." Wright had found something that the International-styIe designers had missed. Stone deeply appreciated Wright' s integration of nature into his designs and his use of indigenous materials. After two decades of helping to lead the International-style movement in the United States, Stone reinvented himself and developed an individual style based more upon the work of Frank Eloyd Wright. It was in this latter part of his career that Stone designed most of the buildings in Arkansas with which he is credited. Two of the five private residences Stone completed in Arkansas, the Willis Noll House in Fayetteville (1950) and the Jay Eewis Residence in McGehee (1955), have been placed on the National Register, as has his Pine Bluff Civic Center (1963-1968). These three buildings are fine expressions of Stone's ideology during this stage of his career. The Willis Noll House in Fayetteville illustrates well the changes that Wright's influence had wrought. In the late 1940s, Stone was working on several different projects in northwest Arkansas when he was approached by a local grocer, Willis Noll, to design a home on Mount Sequoyah. …
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阿肯色州国家历史遗迹名录
1916年,费耶特维尔的一家木材公司向当地男孩挑战设计鸟屋。这项久负盛名的比赛有阿肯色大学校长作为评委之一。14岁的爱德华·杜雷尔·斯通赢得了第一名:2.5美元。为了建造一座蓝鸟屋,他在一个木箱上铺上了黄樟树枝,这些树枝被切成两半,看起来像原木。在他的自传中,他把小额现金奖和当地的认可描述为他的“毁灭”,这让他立即投身于设计事业。他追随哥哥希克斯的脚步,希克斯是波士顿的一名执业建筑师。今天,爱德华·杜雷尔·斯通被广泛认为是二十世纪中叶最伟大的美国建筑师之一。他在职业生涯的早期就离开了阿肯色州,但断断续续地回来,甚至从1955年到1959年在阿肯色州西北部有一个卫星办公室,帮助他在该州执行任务。从1920年到1923年,斯通就读于阿肯色大学的艺术学院,然后前往波士顿与他的兄弟一起开始他的正式建筑训练。他从波士顿建筑俱乐部(Boston Architectural Club)开始,在1926年的一次竞赛中获胜,获得了一年的学费,然后去了哈佛大学(Harvard)。后来,他转到麻省理工学院(Massachusetts Institute of Technology),因为那里的一位教授雅克·卡尔卢(Jacques Carlu)正在试验他感兴趣的现代设计。1927年,斯通获得了久负盛名的罗契奖,前往欧洲旅行了两年。在旅行过程中,他看到并研究了现代主义创新者柯布西耶(Ee Corbusier)和密斯·凡·德罗(Eudwig Mies van der Rohe)的作品后,对现代设计更加着迷。1929年,斯通回到美国,开始了他的职业生涯。他最早的工作是在大型建筑公司担任付费建筑师。他在纽约的华尔道夫-阿斯托利亚酒店和无线电城音乐厅工作,但直到1933年接受并设计了他的第一个私人委托,即纽约韦斯特切斯特县的曼德尔之家,他才充分展示了自己的才能。凭借曼德尔之家,斯通因设计和建造了美国最早的国际风格住宅之一而声名鹊起。鲁道夫·辛德勒(Rudolf Schindler)和理查德·纽特拉(Richard Neutra)的作品早在1928年就出现在洛杉矶地区,曼德尔之家帮助将这种风格引入了东海岸,并在20世纪30年代变得越来越流行。斯通的国际风格的作品很受欢迎,他在东北建造了许多房子。然而,随着公众舆论在20世纪40年代后期对这种风格越来越青睐,斯通开始远离这种风格。20世纪40年代,爱德华·达雷尔·斯通参观了弗兰克·劳埃德·赖特在威斯康星州的塔利耶森。他与赖特作品的接触开始改变他的设计理念。他开始觉得以国际风格建造的建筑还有不足之处。它们“太稀疏、太干旱、太寒冷”。赖特发现了一些国际风格设计师错过的东西。斯通非常欣赏赖特将自然融入他的设计和他对本土材料的使用。在帮助领导美国的国际风格运动20年后,斯通重塑了自己,并在弗兰克·劳埃德·赖特(Frank lloyd Wright)的作品基础上发展了一种个人风格。正是在他职业生涯的后半段,斯通设计了阿肯色州的大部分建筑,这些建筑都是他的功劳。斯通在阿肯色州完成的五个私人住宅中的两个,费耶特维尔的威利斯·诺尔住宅(1950年)和麦吉的杰伊·伊维斯住宅(1955年),以及他的松树崖公民中心(1963-1968年)都被列入国家名录。这三座建筑是斯通这一阶段思想的完美表达。费耶特维尔的威利斯·诺尔故居很好地说明了赖特的影响所造成的变化。20世纪40年代末,斯通正在阿肯色州西北部从事几个不同的项目,当时当地的杂货商威利斯·诺尔(Willis Noll)找到他,让他在塞科亚山(Mount Sequoyah)设计一座住宅。…
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