Work
She opened her own office in 1928 after working with well-known architect Henry Atherton Frost for several years. Raymond was drawn to the simple vernacular structures expressive of rural American life, avoiding the grand facades and the exclusively modern styles that were popular with her contemporaries. In 1931, after five years of work, Raymond published Early Domestic Architecture of Pennsylvania, in which she explored what she called the, “unstudied directness in fitting form to function” of very early American architecture. The book was one of the first systematic inventories of vernacular American architecture and defined Raymond’s career. Raymond became known for primarily residential designs that took cues from early American architecture, as well as for her restoration and remodeling work, which approached modern-day adaptive reuse. Raymond always worked within the “three fields” of a house—the exterior, interior, and landscape—and maintained that the architect must always know how the client will use the house. Much of her work was commissioned by women from her social group in Boston and Cambridge, although the two properties featured here were not. One client called her “an architect who combines a respect for tradition with a disrespect for its limitations.”
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Famous quotes containing the word work:
“Nearly all our powerful men in this age of the world are unbelievers; the best of them in doubt and misery; the worst of them in reckless defiance; the plurality in plodding hesitation, doing, as well as they can, what practical work lies ready to their hands.”
—John Ruskin (1819–1900)
“Art should exhilarate, and throw down the walls of circumstance on every side, awakening in the beholder the same sense of universal relation and power which the work evinced in the artist, and its highest effect is to make new artists.”
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“It is fair to assume that when women in the past have achieved even a second or third place in the ranks of genius they have shown far more native ability than men have needed to reach the same eminence. Not excused from the more general duties that constitute the cement of society, most women of talent have had but one hand free with which to work out their ideal conceptions.”
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