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T_MacWood

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #225 on: May 11, 2005, 06:31:09 PM »
TE
What architectural philosophy or prinicples did the Philadelphia School architects follow? Did they share a similar style or aesthetic?

Who were the architects and who collaborated with who? How many projects were collaborative efforts?
« Last Edit: May 11, 2005, 07:48:39 PM by Tom MacWood »

wsmorrison

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #226 on: May 11, 2005, 07:51:00 PM »
"What architectural philosophy or prinicples did the Philadelphia School architects follow? "

Isn't it obvious they followed their beloved leader Hutchinson; the Godfather of Golf?  I'm sure you have digital scans of all of their subscriptions to "Country Life Magazine."  

"Did they share a similar style?"

Of course they did; they shared the style of Arts and Crafts Architecture.

"Who were the architects and who collaborated with who(m)?"

Crump, Wilson, Fownes, Thomas, Tillinghast and Flynn.  They collaborated with Flynn, Tillinghast, Thomas, Fownes, Wilson and Crump.  

"How many projects were collaborative efforts?"

More than one, less than one hundred.  How about for a start:

Pine Valley:  Crump, Tillinghast, Wilson, Fownes, Thomas and Flynn
Merion: Wilson and Flynn
Marble Hall:  Wilson and Flynn
Kittansett:  Wilson and Flynn
Sunnehanna:  Tillinghast and Flynn
Philadelphia Cricket Club:  Tillinghast and Flynn
likely Seaview Bay:  Wilson and Flynn
likely Phoenixville:  Wilson and Flynn
likely Whitemarsh Valley:  Thomas and Flynn

T_MacWood

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #227 on: May 11, 2005, 08:10:47 PM »
Wayne
That's pretty funny. What architectural philosophy or prinicples did the Philadelphia School architects follow? Did they share a similar style or aesthetic?

I wonder if the folks in Pittsburgh will be surprised with Fownes inclusion in the Philadelphia School. What did Fownes contribute architecturally to PV?

What are the requirements to be included in the Philadlephia School--why aren't Ross and Findlay included?

Six is quite a bit less than one-hundred. What did Flynn and Tillinghast do at Sunnehanna and Philadelphia Cricket?

wsmorrison

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #228 on: May 11, 2005, 09:25:48 PM »
I was hoping you'd take it in that manner.  Fownes's membership and position at PV was instrumental on his inclusion...though a bit more distant relationship.  By the way, I don't think many of the folks in Pittsburgh care too much about things like this.  

I think the depth at which we discuss and analyze would amaze most of the classic architects.  To a man I think they would think we are wasting  a lot of time.  Sometimes I would have to agree.

I would rather share some of the information you request offline, if you don't mind.

As far as architectural philosophies and principles as well as style and aesthetics, I think there are a number of attributes that can be compared and contrasted.

There isn't a real Philadelphia School so there cannot be entrance requirements.  Ross and Findlay, as far as I know were not on the same terms with one another as were the other fellows.  Did they work with any of the six on any projects?  Did they communicate and spend time with the others?

As for what Flynn at Tillinghast's Sunnehanna and Philadelphia Cricket, I think we've talked about that on here before.  The book will clear those matters up.  Suffice it to say that Flynn did major redesigns at each, apparently with Tillinghast's knowledge and approval.  The conclusive proof does not exist but there are items that make it seem likely.  You'll see...in time.

« Last Edit: May 11, 2005, 09:31:28 PM by Wayne Morrison »

TEPaul

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #229 on: May 11, 2005, 09:41:21 PM »
"TE
What architectural philosophy or prinicples did the Philadelphia School architects follow? Did they share a similar style or aesthetic?"

Tom MacW:

I guess someone, perhaps DavidM, or perhap you, might want to discuss and debate what the exact definition of "style" or "aesthetic" is but in my opinion the "Philly School" architects didn't exactly have a similar or consistent style or aesthetic. I believe they were all very much in-tune with quality golf architecture but the differences in the things they each did stylistically or whatever are as interesting as the things they adopted from one another, in my opinion.

There're a couple of very interesting architectural ideas that Flynn borrowed from PVGC that are totally obvious and there're a few things that Crump borrowed from Tillinghast that are quite well documented in PV's archives.

In my opinion. the theme of the "Philly School" isn't exactly anything other than early friendly architectural collaboration between 5-6 guys who played golf together and who probably had no real idea where their architecture was going to put their names on the map the way it has. Crump, a one-course amateur with what turned out to be the #1 golf course in the world!! Wilson the insurance-man architecture amateur who struggled with agronomy experimentation and changes until his early death with what turned into the famous Merion East. Tillinghast, the writer, natural talent and thinker--Fownes, the US Amateur, wealthy, opinionated one course architect of the totally unique Oakmont, Flynn the transplanted Bostonian who plied his young way in that aristocratic "Philly School" world and then George Thomas, perhaps the greatest raw genius in all of golf and golf architecture who gave it all up for his real love---roses!

The real interesting point about four out of six of the "Philly Schoo"l architects is they never took a nickel for anything they ever did in golf course architecture---and just look at the courses those four created.

What did Fownes do at PV? I guess you never read his opinionated point by point letter to the Alison hole by hole recommendation report to the PV 1921 Advisory Committee, huh? William Fownes had some very definite architectural ideas. He may've been the ultimate "championship course" theorist.
« Last Edit: May 11, 2005, 09:49:58 PM by TEPaul »

T_MacWood

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #230 on: May 11, 2005, 10:04:06 PM »
Wayne

Why off line?

"As far as architectural philosophies and principles as well as style and aesthetics, I think there are a number of attributes that can be compared and contrasted."

What are the common philosphies and principles of the Philadelphia School?

"There isn't a real Philadelphia School so there cannot be entrance requirements.  Ross and Findlay, as far as I know were not on the same terms with one another as were the other fellows."  

You said the Philadelphia School was made up of Crump, Wilson, Fownes, Thomas, Tillinghast and Flynn. Why those six and not the others? What do you mean, not on the same terms. Weren't Ross and Tilly friendly? Ross and Thomas?

"As for what Flynn at Tillinghast's Sunnehanna and Philadelphia Cricket, I think we've talked about that on here before.  The book will clear those matters up.  Suffice it to say that Flynn did major redesigns at each, apparently with Tillinghast's knowledge and approval. "

A later redesign of an architect's work is considered a collaboration?

If you take away Wilson and Flynn's partnership, how much collaboration do we have beyond Pine Valley?
« Last Edit: May 11, 2005, 10:05:36 PM by Tom MacWood »

T_MacWood

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #231 on: May 11, 2005, 10:23:33 PM »
TE

"in my opinion the "Philly School" architects didn't exactly have a similar or consistent style or aesthetic. I believe they were all very much in-tune with quality golf architecture but the differences in the things they each did stylistically or whatever are as interesting as the things they adopted from one another, in my opinion."

There have been a number of famous Schools, the Prairie School, the Dutch School and so on. They all shared an obvious stylistic or aesthetic similarity. Shouldn't that be the case with the Philadelphia School?

"There're a couple of very interesting architectural ideas that Flynn borrowed from PVGC that are totally obvious and there're a few things that Crump borrowed from Tillinghast that are quite well documented in PV's archives."

What were they?

"The real interesting point about four out of six of the "Philly Schoo"l architects is they never took a nickel for anything they ever did in golf course architecture---and just look at the courses those four created."

Did Fownes and Crump offer their services beyond their own clubs? Wilson and Thomas were remarkable in that way. I don't hold anything against Flynn or Tilly for being super successful.

"did Fownes do at PV? I guess you never read his opinionated point by point letter to the Alison hole by hole recommendation report to the PV 1921 Advisory Committee, huh? "

Beyond interpreting Crump's ideas what did Fownes do architecturally to PV?

When did the Philadelphia School begin?
« Last Edit: May 11, 2005, 10:54:22 PM by Tom MacWood »

wsmorrison

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #232 on: May 12, 2005, 12:23:13 AM »
"You said the Philadelphia School was made up of Crump, Wilson, Fownes, Thomas, Tillinghast and Flynn. Why those six and not the others? What do you mean, not on the same terms. Weren't Ross and Tilly friendly? Ross and Thomas?"

I didn't say the terms were friendship.  I don't know who Ross was friendly with.

Consider within the Philadelphia School, if you will, the philosophy of designing for shot testing and the way the courses can play  for better players?  There are many areas to compare and contrast.  Why don't you tell me what you think some of the commonalities and differences are?

"When did the Philadelphia School begin?"

Why don't you ask Geoff?  When do you think it began?  I suspect you don't think there is a Philadelphia School.  Maybe it is just a collection of creative and talented friends that worked together sometimes, shared ideas at times, had some commonalities and differences and did it during the same time period.

"There're a couple of very interesting architectural ideas that Flynn borrowed from PVGC that are totally obvious and there're a few things that Crump borrowed from Tillinghast that are quite well documented in PV's archives."

What were they?""

There are many and they should be obvious.  Why don't you start with the holes that Flynn helped construct and look for similarities.  They should be evident.  Here's some clues:  Think about interrupted fairways, island greens, undulating sandy waste areas among others.

Here's an example of a hole that Flynn didn't have a part in but was inspired by:  The 17th at Boca Raton South is conceptually  related to the 7th at Pine Valley.  There are many more, look at holes 12-15.
« Last Edit: May 12, 2005, 12:24:58 AM by Wayne Morrison »

T_MacWood

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #233 on: May 12, 2005, 06:19:29 AM »
Wayne

"Consider within the Philadelphia School, if you will, the philosophy of designing for shot testing and the way the courses can play  for better players? "

Shot testing is the underlying philosophy of the Philadelphia School? Was there shot testing at Whitemarsh Valley? Philadelphia Cricket? Did Alex Findlay shot test?  

"When did the Philadelphia School begin?"

"Why don't you ask Geoff? "

I'm asking you, afterall you and TE have written the definitive article on the School and I assume are including it within your book. And I know the rigorous standard of proof you require.

When did it begin?

"There're a couple of very interesting architectural ideas that Flynn borrowed from PVGC that are totally obvious and there're a few things that Crump borrowed from Tillinghast that are quite well documented in PV's archives."

I assume you are referring to the sahara like feature used by Tilly and Flynn. Did all the members of Philadelphia School use this idea? I know Travis did....should we include him within the Philadelphia School?

Why isn't JB McGovern included in the Philadelphia School?

« Last Edit: May 12, 2005, 06:22:29 AM by Tom MacWood »

Mike_Young

  • Karma: +0/-0
Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #234 on: May 12, 2005, 06:46:47 AM »
How many pages of post can one compile on this subject.  No one knew there was an arts and craft movement until it was done.  Almost like saying " did the arts and craft movement affect how we screw in a light bulb".  I can't read this stuff anymore.
"just standing on a corner in Winslow Arizona"

wsmorrison

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #235 on: May 12, 2005, 07:26:13 AM »
Tom MacWood,

Why don't you just get to the point?  Let me explain some of your faults in evaluating my comments.  It may serve you to understand how you fall into the same traps in analyzing other materials.

"Consider within the Philadelphia School, if you will, the philosophy of designing for shot testing and the way the courses can play  for better players? "

"Shot testing is the underlying philosophy of the Philadelphia School?"

Where did I say that shot testing was the underlying philosophy of of the Philadelphia School?  It exists among others.  I did not say it was THE underlying philosophy but rather  I indicated that you should consider it as one commonality.

"Was there shot testing at Whitemarsh Valley? Philadelphia Cricket? Did Alex Findlay shot test? "

If it is a commonality, must it be found universal?  Not every club chose to be of championship (we'll use the term loosely here) design.  Did Flynn design Marble Hall the same way he did Rolling Green?

By the way, there was some shot testing at Philadelphia Cricket Club, especially the Flynn holes that were changed.  Some of those changes were reversed many years later so you may not recognize it as readily.  Some of the materials to consider this are now on the clubhouse wall after Tom and I (with the consideration of MH, CL and DG) met with them and shared information.  I suggest that you go there and look.   While you're at it, why don't you walk out on the golf course and take a look around.


"When did the Philadelphia School begin?"

"Why don't you ask Geoff? "

"I'm asking you, afterall you and TE have written the definitive article on the School and I assume are including it within your book. And I know the rigorous standard of proof you require."

And I'm telling you to ask Geoff or maybe you can ask Rand.  You trust their opinions more than ours.  I don't recall saying we wrote the definitive article on the Philadelphia School.  My name isn't even on the article, so get the facts straight.

This is clearly a pattern of yours.  When you are questioned about something such as your study and conclusions about the Arts and Crafts influence on golf course architecture--you deflect by attacking elsewhere.  You think that shooting down other premises will show that you must be right.  Knock it off.  It is not a proper response.  Not only that, but it proves something you do not intend.

"There're a couple of very interesting architectural ideas that Flynn borrowed from PVGC that are totally obvious and there're a few things that Crump borrowed from Tillinghast that are quite well documented in PV's archives."

"I assume you are referring to the sahara like feature used by Tilly and Flynn. Did all the members of Philadelphia School use this idea? I know Travis did....should we include him within the Philadelphia School?"

You can assume whatever you want.    Did they all use it all the time?  No, and that is of no importance.  Did other people use some of the features some of the time?  Yes and this too is of no importance.  You look for absolutes.  Why?  If Travis did one thing like members of the Philadelphia School (and I'm not saying that is all he did) why would this be enough to include him within the gang of 5 or 6?

"Why isn't JB McGovern included in the Philadelphia School?"

Because Flynn couldn't stand him!  He would've sat him in the corner of the schoolhouse with a dunce cap on his head.  There's also the small matter that he never worked with any of them nor is there evidence that he shared ideas with them.  Did McGovern or Travis?

Try to remember, Tom, the Philadelphia School was a loose association, they happened to be friends who informally shared ideas and worked together.  Merion and Pine Valley were common ground to many of them, in the sense that they belonged/worked/conversed about them.

I guess you're going to revise the notion of the Philadelphia School by proving it never existed.  It may not have existed in your mind to your standards, but that is little concern of mine.  But the world at large will be all ears (you should've done an EF Hutton commercial) a the discoverer of the A/C influence on golf course architecture proclaims his new findings.
« Last Edit: May 12, 2005, 11:05:50 AM by Wayne Morrison »

T_MacWood

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #236 on: May 12, 2005, 08:40:14 AM »
Wayne

”Where did I say that shot testing is an underlying philosophy of the Philadelphia School.  I indicated that you should consider it as one commonality.”

You said to me: "As far as architectural philosophies and principles as well as style and aesthetics, I think there are a number of attributes that can be compared and contrasted."

I then asked: “What are the common philosophies and principles of the Philadelphia School?”

You then answered: “Consider within the Philadelphia School, if you will, the philosophy of designing for shot testing and the way the courses can play  for better players? “

I later asked: "Was there shot testing at Whitemarsh Valley? Philadelphia Cricket? Did Alex Findlay shot test? "

Can I assume your answer to this question is no, no and I don’t know?

”If it is a commonality, must it be found universal?  Not every club chose to be of championship (we'll use the term loosely here) design.  Did Flynn design Marble Hall the same way he did Rolling Green?”

Not necessarily. But If you have a school of design, one would hope you would have some universal principles or characteristics. Are there any?  

”By the way, there was some shot testing at Philadelphia Cricket Club, especially the Flynn holes that were changed”

It is a given that a redesigned existing golf course is ‘shot tested’.  

”And I'm telling you to ask Geoff or maybe you can ask Rand.  You trust their opinions more than ours.  I don't recall saying we wrote the definitive article on the Philadelphia School.  My name isn't even on the article, so get the facts straight.”

I assume the Philadelphia School is going to be in your book. If you don’t know the answer perhaps TE knows. Is this a sensitive question?

”This is clearly a pattern of yours.  When you are questioned about something such as your study and conclusions about the Arts and Crafts influence on golf course architecture--you deflect by attacking elsewhere.  You think that shooting down other premises will show that you must be right.  Knock it off.  It is not a proper response.  Not only that, but it proves something you do not intend.”

A few pages ago you spoke of the kind of proof you required…I assume the same standard applies to your work or the work of your colleagues.

”Because Flynn couldn't stand him[McGovern]!  He would've sat him in the corner of the schoolhouse with a dunce cap on his head.  There's also the small matter that he never worked with any of them nor is there evidence that he shared ideas with them.”

Is this the one universal requirement for the Philadelphia School…that Flynn had to like and respect you? Do you think personal issues are a legitimate factor in school of design (are you aware of any other school of design where that was the case)? I suppose if there is nothing else to hang you hat on. McGovern never worked with Tillinghast?

”Try to remember, Tom, the Philadelphia School was a loose association, they happened to be friends who informally shared ideas and worked together.  Merion and Pine Valley were common ground to many of them, in the sense that they belonged/worked/conversed about them. “

Did any of the members of the Philadelphia School ever mention they were part of an association…loose or not?
« Last Edit: May 12, 2005, 08:45:16 AM by Tom MacWood »

wsmorrison

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #237 on: May 12, 2005, 10:21:15 AM »
Tom MacWood,

Again, get to the point.  What is the point of this?  In nearly every case, when you analyze something you do a poor job of it.  You look too hard to create universals out of specifics.

Common philosophies and principals among the group of friends referred to as the Philadelphia School exist but so do many contrasts.  Do you understand this basic notion?

"When I said that one commonality is the use of designs with specific shot testing why do you extrapolate that and look for everywhere?  Can't this be true even if it is not found at Whitemarsh Valley, Philadelphia Cricket or other courses?  

I later asked: "Was there shot testing at Whitemarsh Valley? Philadelphia Cricket? Did Alex Findlay shot test? "

Can I assume your answer to this question is no, no and I don’t know?"

You are really getting irritating.  I said there was evidence of shot testing at Philadelphia Cricket Club but it may not be obvious today.  I even told you where to look for it.  So the answer would not be no.

I don't know Whitemarsh Valley well enough to analyze the nature of shot testing on specific holes.  When I do, I may get back to you on it.

As for Alex Findlay, I don't know nor do I care.  Shot testing in of itslef is not a requirement for anything that I know of.  You tell me if he designed with shot testing in mind.  If he did, that has no bearing at all on the Phila School.  Their acts do not have to be original to them in order to be common.

"But If you have a school of design, one would hope you would have some universal principles or characteristics. Are there any?"

When I said "ask Geoff,"  what part of that do you not get?  He came up with the term in his Golden Age Book.  I think it works.  Again, you should ask him.  While you're at it, ask him if there was a Golden Age and what universal principles or characteristics there are.

"By the way, there was some shot testing at Philadelphia Cricket Club, especially the Flynn holes that were changed”

"It is a given that a redesigned existing golf course is ‘shot tested’. "

Hard to believe, but this might be the single dumbest thing you've ever said.  How do you draw such a ridiculous conclusion?  Why should a golf course that is redesigned by shot tested?  Isn't it some of the designs that might be shot tested.  Not all of them nor at times even some of them.  In Flynn's case, there are times he did redesign work where he added shot tests.  It depends on the course, what he was asked to do and what he could do.  Your comprehension skills are definitely lacking with evidence such as this.


”Because Flynn couldn't stand him[McGovern]!  He would've sat him in the corner of the schoolhouse with a dunce cap on his head.  There's also the small matter that he never worked with any of them nor is there evidence that he shared ideas with them.”

"Is this the one universal requirement for the Philadelphia School…that Flynn had to like and respect you? Do you think personal issues are a legitimate factor in school of design (are you aware of any other school of design where that was the case)? I suppose if there is nothing else to hang you hat on. McGovern never worked with Tillinghast?"

Flynn disliked McGovern.  However, I was joking about that having anything at all to do with the Philadelphia School.    The mere fact that you would seriously question brings up a serious question about you.

"A few pages ago you spoke of the kind of proof you required…I assume the same standard applies to your work or the work of your colleagues. "

I criticized a completed work of yours that I read.  You are criticizing a work of mine that is not complete and that you have not seen.  You are completely uniformed yet you raise these issues.  I guess this is a deflection tactic; at least that is the only thing that makes any sense, and very little at that.

"McGovern never worked with Tillinghast?"

I suppose he must have.  In what way?  Was he involved in drawings or construction oversight?  Was he involved in design interplays and decision making on a Tillinghast course?  Why would the single requirement for consideration of a Philadelphia School member be that they worked with someone.  Don't you think there should be a bit more involved?

"Did any of the members of the Philadelphia School ever mention they were part of an association…loose or not?"

Not that I know of.  Just like it doesn't matter in an A/C context, it does not matter in this either.

Here is a question for you.  Please answer it.  If Willie Park, Jr. wrote about his thoughts on some of his inland works before Hutchinson wrote on golf and before Country Life was published, might those statements be construed not to be influenced by Hutchinson and Country Life?

T_MacWood

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #238 on: May 12, 2005, 01:53:20 PM »
Wayne
Let's review where we are so far:

No universal or untifying principles.

No style or aesthetic.

One of the members (Fownes) is not from Philadelphia, and doesn't appear to have done anything architecturally in Philadelphia.

Beyond the partnership of Wilson and Flynn, and Pine Valley, there is little collaboration.

None of the members of the school appear to have been aware they were part of school or a loose knit association.

For whatever reason, you are unable to determine when it began.

And three of the more prolific architects in the area are excluded for no apparent good reason....except one of the members didn't like one of these three.

Have I missed anything so far?

"I criticized a completed work of yours that I read.  You are criticizing a work of mine that is not complete and that you have not seen."

Asking questions is criticisms? That is a somewhat defensive response.

"If Willie Park, Jr. wrote about his thoughts on some of his inland works before Hutchinson wrote on golf and before Country Life was published, might those statements be construed not to be influenced by Hutchinson and Country Life?"

Park wrote about his ideas of good design in 1896. In the book he recommended the straight out and straight back method of routing, if possible avoiding crossing holes, and the symbol of Victorian design..the good old cop bunker.

Have you ever asked yourself why Sunningdale and Huntercombe were considered revolutionary in 1900?

wsmorrison

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #239 on: May 12, 2005, 02:32:35 PM »
Have you missed anything so far?  Yes, you've missed quite a lot.  I don't feel it is my job to hold your hand and walk you through this any further.  Let us stop the this now.  There is no need to review where we are so far.  You are characterizing where you are.  Where I am has nothing at all to do with you.  

So I would rather not continue with this, not due to a weakness in my argument but because of your inability to converse in a reasonable manner.  

Just what do you think you are trying to do talking about and trying to shoot holes in the Philadelphia School on an Arts and Crafts thread?  Nice sleight of hand, but I won't fall for it.  I have answered some of your questions but you don't seem to listen.  Now I choose not to address any more, even though there are answers to all of them.  

If you don't think there's a Philadelphia School, be content.  But why don't you ask Geoff why he thinks there is one?  Perhaps you should get a copy of Tom's article in Philadelphia Golfer and the one I helped him with in the US Amateur program.  

When you read our book, you might end up with the answers you seek and which elude you even with your supreme intellect and research skills.  But then again, you may want to wait for the Cliff Notes.

T_MacWood

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #240 on: May 12, 2005, 04:52:29 PM »
"Just what do you think you are trying to do talking about and trying to shoot holes in the Philadelphia School on an Arts and Crafts thread?  Nice sleight of hand, but I won't fall for it.  I have answered some of your questions but you don't seem to listen.  Now I choose not to address any more, even though there are answers to all of them."

Wayne
As you know I've never dodged any questions on my A&C essay. There are about 10 or 11 pages of recent thread to prove (actually three threads). I didn't request to take any questions off line either.

Some agree with my conslusions of my essay, some do not. I expected that. I expected it more four years ago than today, but that's what you get when you say your doing an essay on George Crump. I'm glad it was brought back up, I'm sure many on GCA had never read it. Hell, I hadn't read it a long time.

The purpose of the latest line of questions was to see if you opperated by a double standard.

Sorry if I was unreasonable.


TEPaul

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #241 on: May 12, 2005, 04:57:40 PM »
Tom MacWood said:

"I assume the Philadelphia School is going to be in your book. If you don’t know the answer perhaps TE knows. Is this a sensitive question?"

Tom:

Why would the subject of the Philadelphia School be a sensitve subject?

Mike_Cirba

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #242 on: May 12, 2005, 05:07:57 PM »
Hey, how about that Rees Jones*!  ;)   ;D

*Shamelessly satirical attempt to see if this thread can exceed 1000 posts ;)

TEPaul

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #243 on: May 12, 2005, 05:32:35 PM »
"Some agree with my conslusions of my essay, some do not. I expected that. I expected it more four years ago than today, but that's what you get when you say your doing an essay on George Crump. I'm glad it was brought back up, I'm sure many on GCA had never read it. Hell, I hadn't read it a long time."

That's what you get when you do an article on George Crump??????

What in the world is that all about? When you do an article on George Crump that inspires me or others to question you on your A/C article?? Is that what you really think? Wow! I always thought your were a bit defensive and concerned that anyone who questioned your opinion on something, particularly someone from Philadelphia (as you've seemed to be so prone to suspecting all kinds of Philadelphia conspiracies in architecture against Colt and God knows who else) was into some personal attack on you or some conspiracy----but now I know.

This isn't exactly the type of website where you can just respond to questions about your opinions by saying you've done more research than anyone in history, or where you can respond by telling someone who questions you that they should read everything ever written on some subject before they have the right to question you and expect that answer to satisfy anyone. This site just isn't that way and I doubt it ever will be.

wsmorrison

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #244 on: May 12, 2005, 07:37:35 PM »
"The purpose of the latest line of questions was to see if you opperated by a double standard. "

Well, I hope you are satisfied with whatever conclusion you draw from the interplay.  I'd hate to see your curiosity still aroused and be forced to continue to field your questioning any further.

Here's a suggestion for your next essay.  A Conspiracy Theory:  Why Philadelphia refused to admit Ross, McGovern and Findlay to their School of Architecture.  
 

Kyle Harris

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #245 on: May 12, 2005, 09:21:48 PM »
As far as I know, the "Philadelphia School" was named as such after the fact. Simply describes a time period and group of architects that came from similar backgrounds, were congenial and colloborative (either formally or informally), played golf together and developed an appreciation for a certain style of architecture.

The name works because the five primary members were from Philadelphia (or moved there, in the case of Flynn) and did a preponderance of design work in the area. Flynn, Tillinghast, Crump, Thomas, and Wilson all played together. They all came from prestigious clubs and had a very intimate knowledge of the game.

It happened that all these motivations gelled into one defined style of architecture.

Ross came from Scotland and learned the game at Dornoch. Different inspiration.

Findlay was really, really early in Philadelphia and then faded into obscurity.

McGovern....

Wayne, pull out his butchering of Huntingdon Valley and show the buckeye why McGovern belongs in the Ross camp.

« Last Edit: May 12, 2005, 09:22:21 PM by Kyle Harris »

wsmorrison

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #246 on: May 12, 2005, 09:28:54 PM »
I just got off the phone with the grandson of the dean of admissions to the Philadelphia School of Golf Architecture.  According to him, it seems that neither Ross, McGovern or Findlay scored high enough on the entrance exam for admittance.  They applied to the Ohio School of Golf Architecture and were immediately enrolled  ;)

Kyle Harris

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #247 on: May 12, 2005, 09:31:28 PM »
...as much as I like where this thread is going...

The ensuing OSU/PSU debate is wayyyy O/T

TEPaul

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #248 on: May 12, 2005, 10:27:58 PM »
"I just got off the phone with the grandson of the dean of admissions to the Philadelphia School of Golf Architecture."

Wayne:

Did you really? I didn't know you knew Chuckie Bubblehead Macdonald. I used to party with that wildman back in the old days in Southampton. We all got indicted for swinging on chandeliers at Fernanda Wanamaker Wetherill's deb party back in '63. I hope you remembered me to him. Did he know that little known fact that only that expert researcher from Ohio seems to know that his grandfather routed and designed Merion East one Sunday afternoon in April 1911?

TEPaul

Re:Did the Arts and Crafts Movement really influence GCA?
« Reply #249 on: May 21, 2005, 05:49:48 PM »
Tom MacWood said;

“The purpose of the latest line of questions (on the Philadelphia School of Architecture) was to see if you opperated by a double standard.”

Tom MacW;

What double standard?

Tom MacWood says he never dodged questions (on the A/C Movement) ;)

Tom:

You sure never answered these questions of mine.

“Tom:
Why would you suggest the subject of the Philadelphia School would be a sensitive subject to us?”
 
You also said;
‘That's what you get when you do an article on George Crump.”

I asked you;

“What in the world is that all about?”

Who do you suppose it was who may’ve first coined the term “Philadelphia School of Architecture”, Tom? And I can’t wait to respond to your post #238 on this thread. I think it’s an excellent example of why I believe you have a very odd and inaccurate way of looking at golf course architecture, its evolution and history.
« Last Edit: May 21, 2005, 07:15:35 PM by TEPaul »