Contributors:

Nicholas BatsonEric BeckerPeter FotiAndrew KoudlaiJesse PringleGabrielle PrintzKurt StavdalDirk Tempelman

curated and edited by: Gabrielle Printz

faculty advisor: kenneth mackay

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contributor: eric becker

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contributor: Andrew Koudlai

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contributor: Peter Foti

contributor: Kurt Stavdal

West Elevation

West Elevation

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contributor: Jesse Pringle

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contributor: Dirk Tempelman

Kelp House, 1882-1883 Zinzendorf Hotel, Winston-Salem, 1891

Head Hall, South Boston, 1894

Larz Anderson Auto Museum, Boston,

Jordan Hall, 1903

Horticulture Hall, Boston, 1901

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contributor: Gabrielle Printz

Bruce Price was born in Cumberland, Maryland. Before making his way to New York in 1877, he practiced in baltimore with E. Francis Baldwin, and briefly in Wilksbarre, where he opened his own firm after a period of study in Europe. He gained much acclaim in New York, particularly due to his early work in the ex-urban residential project he undertook with Tobacco magnate Pierre Lorilliard, Tuxedo Park, the height of his "exuberant" contribution to the Shingle Style. A new "darling" of the New York scene, he was awarded commissions for large-scale urban projects in New York, including The American Surety Company Building and the International Bank. His projects seemed to grow in both prestige and scale in his later career, where the spatial and formal innovations of his Shingle Style work gave way to Neo-Georgian excess.

early works

Practicing in Baltimore and Wilkesbarre early in his career, Price took up in these works a simplified richardsonian vocabulary, borrowing from the still-popular gothic revival. His Chase Street building in Baltimore demonstrates his use of masonry, an application developed through his career.

shingle style work

Price's work during the Shingle Style Period was encapsulated in an ex-urban planning project with tobacco magnate Pierre Lorrillard in Tuxedo Park, Ney York. There, Price designed thirteen shingle style homes, including the three below, as well as the community's clubhouse and stone entrance gate. The houses all demonstrate a neo-palladian interest in the roof (the almost platonic form of the gable), rear-facing assymmetries, and a floating roof mass, expressed by inset terraces. Scully alligns his work during this time with what will be seen in the early work of Frank Lloyd Right, both in respect to roof form and the opening of the interior in plan.

later works

In New York, Price produced urban, large scale works including banks, educational buildings and railstations. his domestic projects reflected this change in scale, from the small country cottage to the chateau, with commissions like Montreal's Grand Hotel Frontenac and George Gould's neo-Georgian mansion

fig 1: 12-16 East Chase Street, Baltimore, 1870

fig 2: William Kent Cotttage, 1885 fig 3: Pierre Lorillard Residence, 1885

fig 4: W. Chandler House, 1885-6

fig 5: Hotel Frontenac, Montreal, 1893

BRUCE PRICE (1845-1903)

fig 6: georgian court, new jersey, 1896

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contributor: Nicholas Batson