Pub Date : 2020-02-26DOI: 10.1093/obo/9780190922467-0036
Akiko Walley
In present Japanese periodization, the Kofun to Nara periods are bookended by the emergence of monumental tumuli across the Japanese archipelago in the 4th century and the abandonment of the short-lived “permanent” capital, Nagaoka-kyō, to the newly established Heian-kyō (present day Kyoto) in 794. The period generally corresponds to the rise of the Yamato polity in the 4th and 5th centuries. The “Great Kings” of Yamato amassed allies and campaigned to subjugate the “barbarians” to the north and south of the archipelago, while organizing diplomatic missions to the kingdoms and dynasties on the Korean peninsula and China. In 663, it dispatched the first organized military expedition across the sea to fight alongside Baekje against the combined forces of Silla and Tang, suffering a monumental loss. Since then, Yamato spearheaded active adoption and implementation of Chinese-style polity, eventually succeeding in establishing a planned city and administrative structure in Heijō-kyō (710–784). Through the latter half of the 7th into early 8th centuries, the educated elites increasingly gained proficiency in the Chinese writing system, as the first phonetic system of representing Japanese developed. The period was also when Buddhism was embraced and disseminated, and the mythological origins of the Great Kings (later “emperors”) and their powerful allies were established, providing new philosophical foundations that defined and legitimized their political authority. In short, Kofun-Nara was a dynamic incipient period of state formation, which required massive construction projects from tombs, temples, and shrines, to gridded cities. What remains still standing, however, are just a handful of examples. The scholarship on architectural history of this period, thus, inevitably overlaps with archaeology. Due to ongoing robust excavation projects and advancement in scientific technology, any study of this period is now quickly surpassed by new research. Unfortunately, there are not enough scholars working in this field outside of Japan to keep up with the rate of new discoveries published each year in Japanese. Ancient Japanese art and architectural history remains one of the fields with the greatest gap between what research is available in Japanese and any Western language. The intent of this list is to introduce a selection of foundational studies in English (with few accessible Japanese works to supplement), which can serve as a springboard for future research in other languages for interested students and scholars.
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780190922467-0033
Shiben Banerji
The garden city is notoriously difficult to define. The sheer variety of forms, social goals, and institutional arrangements associated with the garden city since its inception at the close of the 19th century invalidate any attempt to fix its physical attributes, class character, or political meanings. The proliferation of terms such as garden suburb, garden village, Faubourg-jardin, Gartensiedlung, tuinstadt, and den-entoshi further complicates the subject. The uses and meanings of these terms are integral to the history of the transnational routes of the garden city. The heterogeneity of the garden city cannot be explained away as the inevitable evolution of an idea as it came to be applied in different societies. Instead, each invocation, incarnation, and translation of the garden city should be analyzed as a distinct act of inscribing new spatial, social, economic, and political relations. Although this vein of criticism is gaining currency, notably in recent histories of the garden city in the ex-colonial world, earlier scholarship tends to presuppose the existence of a unitary garden city movement. Attending to the garden city as if it were a text would allow for careful analysis of the different meanings of the garden city among real estate developers, architects, planners, organized labor, and New Age religious movements. Recovering the texture of garden city projects would reveal their work in producing new economic and political contexts. It would also uncover the place of the garden city as a physical and discursive site for delineating cultural difference within and across societies. Approaching the garden city as if it were a text would recuperate the pivotal role of books and journals in the transnational formation of the garden city. Conceptually and etymologically, a text is a weaving of different strands that is always susceptible to coming undone in its encounter with a reader. Moving beyond the stated intention of garden city pioneers and tracking the often-fraught encounter between competing ideas animating urban design and planning projects is essential for recovering the entanglement of the garden city in the globalization of capital, people, and ideas in the first half of the 20th century.
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780190922467-0032
Mari Hvattum
In its most general sense, historicism refers to a new historical consciousness emerging in late-18th- and early-19th-century Europe. This novel “historical-mindedness,” as the cultural historian Stephen Bann has called it, sprung from a recognition that human knowledge and human making are historically conditioned and must be understood within particular historical contexts. Historicism inspired new interest in the origin and development of cultural phenomena, not least art and architecture. When used in relation to architecture, historicism usually refers to the 19th-century notion that architecture is a historically dynamic and relative phenomenon, changing with time and circumstance. This in contrast to 18th-century classicism which tended to uphold the classical tradition as a universal ideal and a timeless standard. Historicism in architecture often entails Revivals of various kinds, i.e., the reference to or use of historical styles and motifs. The term is related to concepts such as eclecticism, revivalism, and relativism. In architectural history, an early anticipation of a historicist way of thinking is Johann Joachim Winckelmann’s History of the Art of Antiquity (1764). While still idealizing Greek art, Winckelmann also analyzed Egyptian, Etruscan, Phoenician, and Persian art and architecture, paying close attention to the historical conditions in which each of these cultures emerged. This new attentiveness to the relationship between cultural conditions and artistic expression lies at the heart of historicism, as does the related idea that architecture has the capacity to represent an epoch or a nation, forming a veritable index of cultural development. There is a strong organicist aspect to historicism, i.e., a tendency to think about cultural phenomena as organic wholes that evolve according to laws.
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780190922467-0013
Nancy Wu
The Notre-Dame Cathedral of Reims is one of the most important masterpieces in the history of architecture. Considered a paradigm of the French Gothic style, it is an immense structure designed with a sophisticated vision and constructed with innovative techniques. Traditionally believed to have begun in 1211, a year after a documented fire destroyed the previous cathedral (these dates have been challenged recently, see Prache 2005, cited under the 13th-Century Structure), the building is known for its stylistic uniformity and spacious compactness. Four architects, whose names are famously inscribed in the now-destroyed labyrinth (itself now serves as the logo of the monuments historiques), guided the construction through the 1290s. Views of the cathedral, still under construction, were included in Villard de Honnecourt’s drawings. A number of architectural elements associated with the French Gothic originated at Reims (bar tracery and wall passages), and the cathedral’s imposing west facade is decorated with such iconic images as the Visitation Group and the Smiling Angel. The mid-1230s work stoppage caused by civil unrest forced the workshops to seek employment elsewhere, thereby dispersing the rémois sculptural style especially in German-speaking lands. Much of the 13th-century stained glass on the upper levels has survived, decorated with complex ecclesiastical and royal iconography; similar narratives also appear in sculptures. The cathedral stands at the center of an elaborate archiepiscopal complex, with the archbishop’s palace (now the museum Palais du Tau) to its south and the claustral complex (demolished) to its north and east. In 496, according to Gregory of Tours, the Merovingian king Clovis was baptized by bishop Remi at the cathedral, an event that would lead to the privilege bestowed exclusively on archbishops of Reims to anoint and crown French kings. The historical and political significance of Reims Cathedral, especially its association with French identity both as a quintessential French Gothic building and as the coronation cathedral, was held hostage during World War I when German bombardment caused serious, often irreparable damage. Repair beginning at the end of World War I accidentally exposed foundations of earlier, pre-13th-century structures. The ensuing excavation and restoration work, meticulously documented, uncovered hitherto unknown archaeological information about pre-13th-century cathedrals. More than a century after the start of World War I, gestures of Franco-German reconciliation continue to unfold at Reims.
兰斯圣母院是建筑史上最重要的杰作之一。它被认为是法国哥特式风格的典范，它是一个巨大的结构，以复杂的视觉设计和创新的技术建造。传统上认为它始建于1211年，也就是之前的大教堂被一场大火烧毁的一年之后(这些日期最近受到质疑，参见普拉切2005年引用的《13世纪的结构》)，这座建筑以其风格的统一和宽敞紧凑而闻名。在12世纪90年代，四位建筑师指导了这座建筑，他们的名字被刻在了现在被摧毁的迷宫上(迷宫本身现在是历史纪念碑的标志)。这座仍在建设中的大教堂的景色被包括在维拉德·德·洪内库尔的画作中。许多与法国哥特式相关的建筑元素起源于兰斯(酒吧的窗饰和墙壁通道)，大教堂雄伟的西立面装饰着诸如探访团和微笑天使等标志性图像。12世纪30年代中期，由于内乱造成的停工迫使车间到其他地方寻找工作，从而分散了rsammois雕塑风格，特别是在德语国家。楼上大部分13世纪的彩色玻璃都保存了下来，上面装饰着复杂的教会和王室肖像;类似的叙事也出现在雕塑中。大教堂坐落在一个精心设计的大主教建筑群的中心，大主教的宫殿(现在的博物馆Palais du Tau)在它的南面，修道院建筑群(已被拆除)在它的北面和东面。据图尔的格列高利记载，公元496年，墨洛温国王克洛维在大教堂接受雷米主教的洗礼，这一事件将导致兰斯大主教获得特权，可以为法国国王施膏并加冕。兰斯大教堂的历史和政治意义，特别是它与法国身份的联系，作为一个典型的法国哥特式建筑和加冕大教堂，在第一次世界大战期间被绑架，当时德国的轰炸造成了严重的，往往是无法弥补的破坏。第一次世界大战结束后开始的修复工作意外地暴露了更早的13世纪前建筑的地基。随后的挖掘和修复工作，精心记录，发现了迄今为止未知的关于13世纪前大教堂的考古信息。第一次世界大战爆发一个多世纪后，法德和解的姿态继续在兰斯展开。
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780190922467-0012
Maureen Meister
The Arts and Crafts movement emerged in 19th-century England in response to the hardships imposed on workers under a growing factory system. Critics denounced the degrading conditions that labor endured as well as the shoddy quality of goods flooding the market. Calling for a revival of handicraft, the movement’s leaders argued that handcrafted wares were morally superior because of the way they were created and also more beautiful. Inspired by the Middle Ages, Arts and Crafts architects embraced the Gothic revival, joining craftsmen, often in guilds, to ornament and furnish churches, houses, and other buildings. Over time, leaders in the movement encouraged revivals of national and regional traditions, the use of local materials, and simple designs. Preservation of historic buildings also was championed. The Arts and Crafts movement has spawned hundreds of books, some academic and many directed to the popular market. To confuse matters for the serious researcher, more than a few coffee table books have been written by experts and should be consulted. Another challenge is the fact that many publications on the Arts and Crafts movement integrate studies of architecture, interior design, and the decorative arts. These studies are worth exploring as many Arts and Crafts architects were engaged in many manifestations of design, ranging from tile and stained glass to pottery and printing. Yet another challenge is the lack of clarity about what is considered Arts and Crafts architecture. The views promulgated by England’s William Morris and his circle form an accepted basis for the movement. Its flowering in Great Britain is central to the literature, while the transmission of Arts and Crafts ideas to the United States has long been recognized. The influence of Arts and Crafts concepts to movements on the Continent, such as the Viennese Secession and Art Nouveau, is examined in some studies; however, architectural historians usually treat these developments as distinctive and do not position them directly under the Arts and Crafts umbrella. Most authors on American Arts and Crafts architecture have examined particular regions and specific architects. Others have written about various Arts and Crafts styles that took hold at the turn of the 20th century. A few writers have documented the craftsmen who collaborated with the Arts and Crafts architects while others have explored Arts and Crafts themes in garden design.
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780190922467-0007
J. Nicoletta
Arriving in the colony of New York in 1774 from England, Ann Lee and her eight followers set about creating a model communal society in what would become the United States. Officially known as the United Society of Believers in Christ’s Second Appearing, the Shakers believed in Christ’s imminent return. Their support of pacifism, near equality between the sexes that allowed women to take on leadership roles, and perfectionism set them apart from most Americans. Within a decade, they had begun creating a Kingdom of Heaven on Earth through their worship, work ethic, and construction of orderly villages with buildings and furniture meant to reinforce religious belief and shape and control behavior. From humble beginnings, the sect created a total of twenty-two communities beginning in the 1780s, spreading from Maine to Indiana and as far south as Georgia and Florida, though these latter two sites and the one in Indiana were short lived. During periods of religious revivalism in the United States in the late 18th and early19th centuries, the Shakers attracted hundreds of converts who gave up their worldly possessions to live celibate, communal lives. After a peak population of over three thousand in the1840s, the Shakers have dwindled to just three members inhabiting the only surviving living community of Sabbathday Lake, near New Gloucester, Maine. The Shakers’ demographic and economic success over several decades left a legacy of buildings at numerous locations throughout the eastern United States. Some of these villages have become museum sites, most notably Hancock, Massachusetts; Mount Lebanon, New York; Canterbury, New Hampshire; and Pleasant Hill and South Union, both in Kentucky. Other Shaker buildings remain as private residences and parts of retirement communities and state prisons. In many ways, Shaker architecture reflects contemporary regional vernacular building practices, such as the closely spaced anchor bents in the framing of the earliest meetinghouses in Connecticut, New Hampshire, Maine, Massachusetts, and eastern New York State, and the rather grand masonry structures of the dwelling houses and trustees’ offices in Kentucky. The linear arrangement of buildings, their large size, and separate entrances for men and women distinguished Shaker buildings from those of the outside world, though stylistically they appeared much like non-Shaker buildings. The Shakers organized building interiors to use space efficiently with many built-in cabinets and drawers, installed pegboards on walls for storage and to help keep floors clear for cleaning, and included separate staircases to demarcate men’s and women’s areas. The buildings, especially the meetinghouses and dwelling houses, reminded Shakers of their commitment to their faith and to their distinctive way of living and encouraged them to “put their hands to work and their hearts to God,” a saying attributed to Ann Lee. Nevertheless, the Shakers were not immune from influences from the o
{"title":"Shakers","authors":"J. Nicoletta","doi":"10.1093/obo/9780190922467-0007","DOIUrl":"https://doi.org/10.1093/obo/9780190922467-0007","url":null,"abstract":"Arriving in the colony of New York in 1774 from England, Ann Lee and her eight followers set about creating a model communal society in what would become the United States. Officially known as the United Society of Believers in Christ’s Second Appearing, the Shakers believed in Christ’s imminent return. Their support of pacifism, near equality between the sexes that allowed women to take on leadership roles, and perfectionism set them apart from most Americans. Within a decade, they had begun creating a Kingdom of Heaven on Earth through their worship, work ethic, and construction of orderly villages with buildings and furniture meant to reinforce religious belief and shape and control behavior. From humble beginnings, the sect created a total of twenty-two communities beginning in the 1780s, spreading from Maine to Indiana and as far south as Georgia and Florida, though these latter two sites and the one in Indiana were short lived. During periods of religious revivalism in the United States in the late 18th and early19th centuries, the Shakers attracted hundreds of converts who gave up their worldly possessions to live celibate, communal lives. After a peak population of over three thousand in the1840s, the Shakers have dwindled to just three members inhabiting the only surviving living community of Sabbathday Lake, near New Gloucester, Maine. The Shakers’ demographic and economic success over several decades left a legacy of buildings at numerous locations throughout the eastern United States. Some of these villages have become museum sites, most notably Hancock, Massachusetts; Mount Lebanon, New York; Canterbury, New Hampshire; and Pleasant Hill and South Union, both in Kentucky. Other Shaker buildings remain as private residences and parts of retirement communities and state prisons. In many ways, Shaker architecture reflects contemporary regional vernacular building practices, such as the closely spaced anchor bents in the framing of the earliest meetinghouses in Connecticut, New Hampshire, Maine, Massachusetts, and eastern New York State, and the rather grand masonry structures of the dwelling houses and trustees’ offices in Kentucky. The linear arrangement of buildings, their large size, and separate entrances for men and women distinguished Shaker buildings from those of the outside world, though stylistically they appeared much like non-Shaker buildings. The Shakers organized building interiors to use space efficiently with many built-in cabinets and drawers, installed pegboards on walls for storage and to help keep floors clear for cleaning, and included separate staircases to demarcate men’s and women’s areas. The buildings, especially the meetinghouses and dwelling houses, reminded Shakers of their commitment to their faith and to their distinctive way of living and encouraged them to “put their hands to work and their hearts to God,” a saying attributed to Ann Lee. Nevertheless, the Shakers were not immune from influences from the o","PeriodicalId":381256,"journal":{"name":"Architecture, Planning, and Preservation","volume":"197 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133181121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-26DOI: 10.1093/obo/9780190922467-0019
J. Ochsner
Henry Hobson Richardson (b. 1838–d. 1886) is considered one of the most important American architects the 19th century. His achievements were celebrated during his lifetime and publications addressing his life and work have appeared almost continuously since his death. The second American architect to attend the Ecole des Beaux Arts, his early designs show the influence of the contemporary Gothic Revival and Second Empire styles, but about 1870, he began moving in an independent direction creating a free interpretation of Romanesque precedents. Trinity Church, Boston, a Romanesque Revival design completed in 1877, brought Richardson national recognition and shaped his career as it led him to move from New York to Brookline, a suburb of Boston. Although most of his work is in New England and New York, as his fame grew he received commissions in Washington, Pittsburgh, Cincinnati, Chicago, St. Louis, and Wyoming. In his later projects he often reduced historical references, emphasized the qualities of materials, and moved toward simplification of form, to produce masterpieces such as the Allegheny County Courthouse and Jail in Pittsburg and the Marshall Field Wholesale Store in Chicago. His projects also included emerging building types such as small railroad passenger stations and free public libraries. His country houses catalyzed the development of the shingle style. Richardson was not a solitary genius. He was personally engaging with a wide circle of friends and clients. In his last years, his office grew to a staff of approximately twenty. Following his early death, his leading apprentices continued the practice as Shepley, Rutan and Coolidge. Richardson’s contemporaries understood his achievement in different ways, so his influence led in multiple directions. Unlike other leading architects, Richardson rarely wrote about his intentions, so scholars have presented his work through varying interpretive frameworks.
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780190922467-0042
C. van Eck
In this article ornament is defined as a decorative feature of objects and buildings, whereas decoration is used in the sense of the deployment of such forms, features, or shapes. Since ornament as it developed in Europe rests on a very particular set of definitions about its nature, and on the relation between the ornament and what is decorated by it, which are certainly not universal, this entry does not consider varieties of ornament developed in other parts of the world. Nevertheless, it does include scholarship on European ornament that originated in studies of ornament from other parts of the world, in particular from Islamic art history. The entry does not aim to give a historical overview of the development of ornament designs; rather, it treats theories of ornament and its historical development. Hence, the comparatively large space devoted to the 19th century, as this is the period in which the study of ornament took off on an unprecedented scale, partly as a result of the arrival of artifacts from all over the world in Europe, the development of global systems of classification in linguistics and anthropology, and the use of ornament in design disciplines as a marker of style and identity.
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780190922467-0011
Judith Sheine
R. M. Schindler (b. 1887–d. 1953) was born in Vienna, Austria, and received architecture degrees from the Vienna Polytechnic University (Technische Hochschule) in 1911 and the Academy of Fine Arts (Akademie der bildenden Kunste) in 1913. While influenced by the Viennese architects Otto Wagner and Adolf Loos, Schindler was exposed to the work of the American architect Frank Lloyd Wright through his Wasmuth portfolio and was inspired to go to the United States in March 1914, shortly before the outbreak of World War I. In the United States, he found work in February 1918 with Wright, who sent him to Southern California in December 1920 to work on a project for his client, Aline Barnsdall. Schindler began his independent practice there, designing and building his own house and studio in 1921–1922. He had intended to return to Vienna, however, due to the difficult postwar economic conditions in Europe, he settled for the rest of his life in Southern California, with its mild climate, promising economic future, and openness to experimentation. Throughout his career Schindler wrote articles on architectural theory, designed over 500 projects—more than 150 of which were built, almost entirely in Southern California—and acted as his own contractor on the vast majority of his commissions. He has been identified as the first modern architect in Southern California, introducing innovative ideas and construction techniques, along with his contemporary and fellow Viennese architect Richard Neutra, who came to Southern California at Schindler’s invitation in January 1925. Schindler distinguished his own individual approach to architecture from that of the so-called International Style, proclaiming that architecture should be about “space” rather than focusing on any particular style or material. Throughout his career, Schindler experimented with a wide variety of materials and building techniques, resulting in buildings that, while they looked very different, retained their focus on a consistent set of spatial principles along with specificity to their site, climate, and client. In part due to his unorthodox approach to modern architecture, while his early projects were published with some frequency, the later works were published increasingly less and Schindler did not receive the large commissions for which he had hoped. After his death, with the postmodern reevaluation of the direction of architecture starting in the mid-1960s, Schindler’s work began to receive renewed critical attention, with books and exhibits devoted to his career, and recognition continues to grow in the present day.
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Pub Date : 2020-02-26DOI: 10.1093/gao/9781884446054.article.t052891
Richard G. Wilson
The New York partnership of Charles Follen McKim (b. 1847–d. 1909), William R. Mead (b. 1846–d. 1928), and Stanford White (b. 1853–d. 1906) became one of the most important architectural firms in the United States from the late 1870s to the 1920s, producing more than one thousand buildings. McKim and White were the principal designers and Mead ran the office crew, which at times numbered more than 200 employees. They helped to introduce into the United States an interest in early American architecture and were instrumental in creating what came to be known as the Colonial Revival style with houses in resorts such as Newport, Rhode Island and the New Jersey seashore as well as in New York and Boston. Their early work was picturesque, frequently covered with wooden shingles, but in the mid-1880s they moved toward a more formal approach as seen in the Georgian for houses. Classicism based upon European precedents became dominant by the mid-1880s with works such as the Villard houses in New York and the Boston Public Library, which became one of the most celebrated buildings in the United States. Very involved in the World’s Columbian Exposition in Chicago in 1893 they helped in establishing classicism derived from the teachings of the École des Beaux-Arts in Paris, which McKim attended in the later 1860s. Their work grew in scale with the design of the new campus of Columbia University and New York University in the Bronx, along with other major projects such as Pennsylvania Station. McKim directed the renovations of the White House and also served as a member of the McMillan Commission for the renewal of Washington, DC, which served a major influence on the Civic Art, or City Beautiful, Movement. All three of the partners were close friends with leading artists and sculptors and they designed the bases for major monuments. Following the deaths of White and McKim and Mead’s retirement in 1916, the firm continued for many years under the leadership of several men who had worked closely the partners, such as William Mitchell Kendall, Burt Leslie Fenner, and William S. Richardson. The last building designed under the firm’s name was the American History Museum (1955–1964) of the Smithsonian Institution in Washington, DC.
查尔斯·福伦·麦金(生于1847年至1847年)在纽约的合伙企业。William R. Mead(生于1846-d)。1928年)和斯坦福·怀特(生于1853年)。从19世纪70年代末到20世纪20年代，它成为美国最重要的建筑公司之一，建造了1000多座建筑。麦金姆和怀特是首席设计师，米德负责管理办公室的工作人员，团队人数有时超过200人。他们帮助将对早期美国建筑的兴趣引入美国，并在创造被称为殖民复兴风格的房屋方面发挥了重要作用，这些房屋在纽波特、罗德岛、新泽西海岸以及纽约和波士顿等度假胜地都有。他们早期的作品是风景如画的，经常覆盖着木瓦，但在19世纪80年代中期，他们转向了一种更正式的方法，就像在格鲁吉亚的房子中看到的那样。以欧洲先例为基础的古典主义在19世纪80年代中期占据主导地位，如纽约的维拉德住宅和波士顿公共图书馆，后者成为美国最著名的建筑之一。他们参与了1893年在芝加哥举行的世界哥伦比亚博览会，帮助建立了源自巴黎École des Beaux-Arts教学的古典主义，McKim在19世纪60年代后期参加了该展览。随着哥伦比亚大学和纽约大学在布朗克斯的新校区的设计，以及宾夕法尼亚车站等其他主要项目，他们的工作规模不断扩大。McKim指导了白宫的翻新工作，同时也是麦克米伦委员会的成员，负责华盛顿特区的重建工作，该委员会对公民艺术或城市美丽运动产生了重大影响。这三位合伙人都是著名艺术家和雕塑家的好朋友，他们设计了主要纪念碑的基座。1916年，怀特和麦金姆去世，米德退休后，事务所在几位与合伙人关系密切的人的领导下继续经营了多年，这些人包括威廉·米切尔·肯德尔、伯特·莱斯利·芬纳和威廉·s·理查森。最后一个以该公司的名义设计的建筑是华盛顿特区史密森学会的美国历史博物馆(1955-1964)。
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