Architect Drawings : A Selection of Sketches by World Famous Architects Through History
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White, Stanford (1853–1906)<br />
Freehand sketches <strong>of</strong> large estates, Avery <strong>Architect</strong>ural and Fine Arts Library, White DR 35,<br />
SW46:19, 4.74 7 in., Graphite on paper<br />
An American architect with an eclectic style, Stanford White was a partner in the successful firm <strong>of</strong><br />
McKim, Mead and White. White was originally intending to study painting, but was counseled to<br />
consider architecture. In 1872, after receiving a degree from New York University, he found work<br />
with the architectural practice <strong>of</strong> H. H. Richardson in Boston. Richardson had attended the Ecole<br />
des Beaux-Arts and his design process reflected that education. As an apprentice, White was exposed<br />
to Richardson’s Romanesque since Trinity Church was being constructed during his tenure in the<br />
firm. It was in Richardson’s <strong>of</strong>fice that he met his future partner, Charles Follon McKim. In 1878,<br />
White traveled to Europe for a period <strong>of</strong> almost a year. Upon returning from Europe he joined<br />
McKim and Mead as a third partner, replacing the retiring William Bigelow. In a scandal that almost<br />
overshadowed his prolific architectural career, he was fatally shot at the age <strong>of</strong> fifty-three.<br />
The following are a few <strong>of</strong> the projects for which he was the partner responsible; the Methodist<br />
Episcopal Church in Baltimore, 1887, the New York Life Insurance Building, Omaha, Nebraska,<br />
1890, Judson Memorial Church, Washington Square, 1888–1893, the Metropolitan Club built between<br />
1892 and 1894, and Tiffany and Company in New York City, 1903–1906. <strong>Through</strong>out his career,<br />
White designed numerous shingle style homes for the rich and famous. The precedent for his neoclassical<br />
architecture employed elements from the past, arbitrarily including Châteauesque, French provincial,<br />
Venetian, French and German Renaissance, in unique combinations and variations.<br />
This example <strong>of</strong> a sketch <strong>by</strong> Stanford White is remarkably playful (Figure 4.3). Johann Huizinga<br />
and Hans-Georg Gadamer outline the philosophical aspects <strong>of</strong> play as having boundaries to sketch<br />
against, being representational, an all absorbing endeavor, conveying a method <strong>of</strong> learning and displaying<br />
a give and take <strong>of</strong> dialogue. Considering a definition <strong>of</strong> play, White found intelligibility in<br />
this image. He was quickly sketching the building’s form conceived in his mind’s eye while learning<br />
about the building in the process. As it emerged on the paper, he could visualize its potential. Play<br />
also involves representation as White was imagining this project, he was seeing the building rather than<br />
the paper as a substitute (Wollheim, 1971). He was consciously accepting boundaries, never sketching<br />
anything other than the building, providing a ground plane and a sense <strong>of</strong> perspective. The verticals as<br />
possible columns on the porch have been sketched so quickly they have transformed from columns to<br />
resemble n’s and m’s. These lines seem to skip <strong>of</strong>f the page in some instances and in other cases they<br />
appear continuous. This implies he could not stop long enough to lift the pencil <strong>of</strong>f the page. As<br />
another aspect <strong>of</strong> play, White was engrossed in the action <strong>of</strong> the play, the dialogue <strong>of</strong> the ‘give and<br />
take.’ He could draw one line and it responded with another as his mind interacted with the image.<br />
The sketch facilitating discourse shows a s<strong>of</strong>ter pencil lead over a first general outline. The latter<br />
demonstrative ro<strong>of</strong> and balustrade are more forceful in an effort to obliterate the original ro<strong>of</strong> expression.<br />
It is possible to surmise the areas <strong>of</strong> the design that most concerned him at the moment.<br />
In a catalogue <strong>of</strong> projects <strong>by</strong> McKim, Mead and White, Leland Roth includes a project coordinated<br />
<strong>by</strong> White, the A. A. Pope Residence in Farmington, Connecticut. The building with its strong<br />
eave balustrade and taller central portion seems to strongly resemble this sketch <strong>by</strong> White. Roth indicates<br />
that the project was influenced <strong>by</strong> the Pope’s daughter Theodate who had architectural education<br />
and participated with the design. With this in mind, White’s sketch may also represent a mode<br />
<strong>of</strong> communication and discussion between two architects.<br />
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