3D Most Weirdest Looking Animals In The World Hd About Corncribs and the Unpainted Aristocracy: Contemporary Architecture in North Carolina

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

It is possible to discuss the current state of architecture in North Carolina by referring to a geologic event that occurred between 150 and 200 million years ago: a large geologic uplift, known as the Cape Fear Arch, pushed what is North Carolina is now in the upper hundreds. sin. The box also raised the sea floor, which had once joined South America, and the waves created by this change created the Outer Banks, a chain of barrier islands farther from the coast than in any other part. another in the Atlantic Ocean. As a result, North Carolina has shallow rivers and only one major port at the mouth of the Cape Fear River, which is choked by offshore shoals. The change in river patterns caused by the Cape Fear Arch, which continues to rise, removes the top land thus giving North Carolina poorer housing than surrounding areas. Lack of rivers for transportation, inaccessible camps and poor buildings meant that early settlements in North Carolina were modest. For much of its history, North Carolina was a land of small landowners, its inhabitants scattered across a vast landscape.

Although we have become the 10th largest state in the country, the disorganized structure remains to this day. And the disbandment had created an independent spirit among North Carolinians that was individualistic, self-centered, energetic, and proud. If we have less wealth, we will not pretend less. A long history of living separately can also make people wary of their neighbors, self-righteous, and sometimes impulsive. I believe that all of these qualities can be found in the architecture of North Carolina, not only in the past but in the present.

Today, the town spans nearly 200 miles along the Cape Fear Arch along Interstate 85, from Charlotte to Raleigh, a banana farm town where, as any proud Carolinian will tell you, chardonnay is on every table, NPR has it all car, and enough digital progress to make, if not Silicon Valley, Piedmont mine. Parallel to this strip, which is about eight miles wide, there is an old North Carolina, a quiet place where thousands of small frame houses, vegetable gardens and barns rest in the countryside. In these places it is possible to see the architecture of living made by hard working people who are not against wealth but are not happy with exploitation either. I believe there is a rare beauty here, shown 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. There are six distinct geographic regions in the state, from the subtropical climates of the coast to the Proto-Canadian climate of the high mountains east of the Mississippi. Today architectural trends tend towards a convergence across the tapestry of plants and climate, but not always so. To an extent that seems surprising now, North Carolina’s early settlement history tells a human story of ordinary buildings close to the land, just like the hills and coastal plains on which they stood.

The first homes in North Carolina are sustainable to their roots: made of local materials, embedded in the earth, and exposed to the sun and wind. They were built by Native Americans, not Europeans, in the eastern part of our state. In 1585 the English explorer and artist John White documented them in paintings that show native people relaxing in nature. For millennia this local adaptation trend would continue throughout the state.

For example, on the mountains, farmers build their houses on the slopes where the wind faces south, next to a spring or a river. They plant peas and morning glories to shade their porches in the summer. They built their houses on places made of stone to make the rock smooth, so that the water on the side of the mountain would flow down. The crops and animals that are grown differ from the upper valley to the lower river, depending on how high the land is and how the sun reaches the mountain. Their barns differ from one valley to another for the same reasons.

Strewn across the Piedmont mountains of North Carolina are flue-cured tobacco barns, built to dry what was, for over twenty years, the state’s dominant cash crop. Sixteen to twenty-four feet square and usually the same height, they are sized to fit racks of tobacco leaves that are hung in to dry in heat that can reach 180°F. With thatched roofs, these humble barns reminded me of Greek temples. The land is occupied by the army, yet no two are the same because the farmers modify each barn with fields to suit the microclimate of the land. In order for the farmer to know where to build a house on his tobacco barn, he must know where the sun rises and sets, where the good wind comes from, where the bad weather comes from. and when it comes. You design your home as a precaution because your children’s lives depend on your knowledge. The philosopher Wendell Berry has written that in such attention to evil lies the hope of the world. Ordinary people who have no idea that they are architects designed and built these amazing barns and farmhouses across North Carolina. Those who taught them are anonymous, yet they have the wisdom of generations that follow.

A unique group of rustic cottages at Nags Head on the Outer Banks was also built on the instinct for space – not for farming, but for summers at the beach. The cottages of Nags Head date from the period 1910-1940, and for almost a century were the first objects to be hit by hurricanes coming in from the Atlantic. Although they were made of wood, those who built them made them strong enough to resist danger, yet light enough to welcome the sun and air, each small house was raised on wooden planks to avoid flooding. and provide a view of the sea. Porches on the east and south ensure a dry porch in any weather, but there are no porches on the north side where bad weather reaches the beach. 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 “colorless aristocracy.” Today they seem native to their place as sand dunes.

Mountain houses, Piedmont barns, and sea cottages suggest that there is a basic, straightforward way of building that, left to themselves, most non-architects, non-designers would explore. I can see this design ethics in corn cribs and clothing, in peanut barns and in the way the early settlers dovetailed wood to make a tent. These features are to shape what the words are to the poem. I see this technique in the way a farmer takes care of his corn because a corn is easier and quieter than many things that are built today but it is not useful because of its simplicity.

I think that the same trend exists in the mind of people who want houses today, because it shows in features that are not distinguished by style, culture, appearance boards, or advertising. In countless DOT bridges, soybean elevators, and mechanic workshops across North Carolina, I understand the practical mindset of this state.

Good housing was 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. JS Dorton, wanted to build a new cattle ranch that would make “the NC State Fairgrounds the most modern ranch in the world.” Its photographer was Matthew Nowicki, a brilliant young Polish artist who had arrived in North Carolina in 1948 to study at the newly created School of Design at North Carolina State University.

Inspiring yet strange, Nowicki has a carefree and ethical attitude towards writing and clients. He needed it, because he suggested that he break two concrete pillars into the sky, fasten them at an angle to the ground, and roll the three-inch-thick roof over the iron bars between the pillars, in making it one of the most effective. roof pan ever made. Strange as it may seem, Dorton Arena’s practicality makes sense to his tobacco-chewing, country boy customers the way a tobacco barn or a John Deere tractor would. When it was finished, the News and Observer said it was “a great architectural wonder that seemed to lasso the sky.” It is today North Carolina’s most famous building outside the state.

At the same time that Dorton Arena was rising, young architect George Matsumoto came to North Carolina from his native California to practice and study at the School of Design. Matsumoto quickly established himself as one of the most gifted design talents of the post-war generation. Matsumoto’s main buildings are small houses for small business owners and assistant professors. Working with landscape architect Gil Thurlow, Matsumoto sited his buildings to enhance the landscape, blending well with the site. Instead, he used small trees to cover the houses in the summer and to let the sun warm them in the winter. Normally its buildings are oriented to receive the prevailing summer winds, and to protect their inhabitants from the winter winds.

Matsumoto’s understanding of the process and craft of construction revolved around wood, metal, stone and brick. His Gregory Poole facility in Raleigh (1956) is a rational and well-constructed structure that contrasts the delicate steel and glass enclosure with the large D8 caterpillars displayed inside. Modern though his buildings are, Matsumoto has gained acceptance because of his designs in the directness of a corn bed: they are seen as practical and useful.

In 1962, Harwell Hamilton Harris moved to Raleigh to practice and teach at the School of Design. Harris, like Matsumoto, is a Californian, famous for his residential architecture. Arguably his best home in North Carolina is St. Giles Presbyterian Church, built from 1967 to 1988. Harris convinced the church board to build a family of small, wood shingled houses around a pine tree. “Have you heard of anyone having a show in the house?” he asked. The buildings have large porches and deep eaves that encourage outdoor rambles and meditation. St. Giles is unmistakably modern, and it brings a whiff of California to a piney hillside of Carolina, but it is also in accordance with an older, native tradition of building off the land.

Although all three 20th century architects are not natives, it is possible to discern a common thread that binds them to their clients: the belief in a practical architecture, without sarcasm or opulence, that is a matter that it was obvious how confident he was. . In 1952 Harris wrote, “The most important resources of a community are its free minds, its imagination, its share in the future, its energy and, last of all, its climate, its atmosphere and species the trees and the special stones you have to build with.” His words could describe the smoking farmers who filled Dorton Arena, the small farmers who lived in houses designed by George Matsumoto, the deacons of St.

My reference to older homes in North Carolina in no way means that we should go back to building such homes. Rather, it illustrates how the accumulated wisdom of the past can make us proud in the present. As the British artist, WR Lethaby said, “No work of art that is one person deep is worth much – it should be a thousand people deep.” even if we can.”

In the future, our society will be judged by how we write today. Arguably the most important issue facing architecture today is sustainability. What is the best way to build balance with this important point? The balancing act arises from the land we build on, its mountains, streams, weather and its people, their connections, ideas and destiny in the future. Today we have an opportunity to return North Carolina to its former balance with nature. And as we do so, we must remember that we are not an isolated land: the rock we live on was once part of South America, the wind that blows across our fields has begun from the tropics, and the rain that washes over us is coming in abundance. from the Pacific Ocean and the Gulf of Mexico. The forces that shape our buildings grow far beyond construction.

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