Object - Fabric "Incompatible Infill"

Postcard of Lincoln Institute

As my case study for compatible (or incompatible) infill I chose to study the quadrangle at Lincoln University, a historically black college in Jefferson City, Missouri. This was the first school named for President Abraham Lincoln and was created from the donations of black and white Civil War soldiers. The only institution in America founded by black American Civil War veterans. The school was founded in 1866; however, the buildings that form the nucleus of the campus were not built until the 1920’s and 1930’s after the institute became a university in 1921. The university is located just to the south of Highway 50 at the corner of Lafayette Street and Dunklin Street. The Lincoln University Hilltop Campus presents a remarkably unified appearance. The Georgian style buildings were designed and built over a period of a quarter of a century. Built in 1895, historic Memorial Hall was one of the most widely recognized buildings on the Jefferson City landscape. It was designed by Charles Opel, a self-taught local architect. Throughout the first half of the twentieth century, historic Memorial Hall was the dominant academic building on the Lincoln campus. I housed both classrooms and faculty offices. Arguably, the most distinguishing feature of Memorial Hall was an auditorium named for Inman E. Page, the Lincoln president under whose administration the building was erected. Page Auditorium contained a ‘perspective’ stage. Perspective stages were “raked”, or slanted downward toward the audience rather than being flat like contemporary stages. The raked stage emerged during the middle ages but was rare by the beginning of the twentieth century. Distinguished speakers to appear in the auditorium were the great historian W.E.B. DuBois, and writer Carl Sandburg. The building fell into a state of disrepair in the 1960’s and was condemned in 1969. Despite efforts by faculty, students and alumni to save it, Memorial Hall was razed in August of 1972.

Stamper Hall

Schweich Hall

Stamper, Schweich and Foster Halls

Foster Hall

Historic Memorial Hall, razed 1972

New Memorial Hall

Founders Hall

Site Plan

Sketches

Diagrams

Building Location/Alignments

Historic vs Non-Historic

Massing

Fenestration/Style

Questions of Perception & Maeght Foundation

The phenomenology of architecture allows us to begin to experience architecture in a broader sense. Not only do we see, feel and hear as we experience architecture but we also begin to touch, embrace and caress it. I have always felt that architecture is a result of ideas and ideals that manifest themselves from within. When I see structures that are of the ‘design/build’ variety, it saddens me. It’s as if the designer responsible for this structure has no spirit, hence the structure has no spirit. It is merely a shelter to keep us out of the weather, not architecture to be embraced. During my reading of “Questions of Perception Phenomenology of Architecture” Holl states, “ As our technology means multiply, are we growing – or becoming stunted – perceptually?” This leads us to ask “Does technology help us or hurt us in our philosophical approach to architecture?” If we interpret our technological advances at face value they will most likely hurt us in this respect. However, if we reflect inward, through our solitude we can begin to discover how our technological advances can help us. I am in total agreement with Holl that architecture should stimulate our inner and outer perceptions. It should satisfy our physical experience while elevating us spiritually to a higher level.

The second reading by Birksted ties in with the philosophy of phenomenal architecture. It was intriguing how elements and spaces were in contrast with each other. Designed to relate to several artists’ concept of space and materials. Sirt used interior and exterior spaces to develop pockets of spatial and physical experiences to enlighten our spirits. His use of different materials and fenestration techniques help to strengthen his intent to bring us to spiritual enlightenment. He uses these contrasting techniques (i.e. design features, materials) to create distinct areas of purity and harmony, or divine places.