Architecture of Kansas City - Original Kansas City Architecture

Original Kansas City Architecture

Kansas City's most profound influence on national architecture is the Kansas City-style of stadium that first originated with the Kivett & Myers 1967 design for the Truman Sports Complex for the Kansas City Chiefs and Kansas City Royals. In an era when new stadiums were huge multiuse arenas, Kivett & Myers proposed baseball and football have their own arenas with dimensions most favorable to their sports and then covered with a rolling roof. Virtually all major league ballparks and stadiums since then have followed that model and most have been designed by one of two Kansas City architect firms that trace their stadium business roots to Kivett -- Populous and HNTB. The firms' headquarters are a few blocks apart in downtown Kansas City.

The most distinctive feature of any modern Kansas City building is its use of fountains. Kansas City calls itself the City of Fountains and has more than 200 fountains (with the claim that only Rome, Italy has more fountains). Probably the most famous is the J.C. Nichols Fountain on the Country Club Plaza. It's also the most photographed. Sculpted by France's Henri Greber in 1910, the fountain's mounted figures were originally planned for a Long Island estate. Each of the equestrian figures represents one of four great rivers of the world: Mississippi, Volga, Rhine and Seine.

Read more about this topic:  Architecture Of Kansas City

Famous quotes containing the words original, kansas, city and/or architecture:

    How coyote got his
    ratty old fur coat
    bits of old fur
    the sparrows stuck on him
    with dabs of pitch.
    That was after he lost his proud original one in a poker game.
    Leslie Marmon Silko (b. 1948)

    Toto, I’ve a feeling we’re not in Kansas anymore.... Now I know we’re not in Kansas.
    Noel Langley (1898–1981)

    There was never a revolution to equal it, and never a city more glorious than Petrograd, and for all that period of my life I lived another and braved the ice of winter and the summer flies in Vyborg while across my adopted country of the past, winds of the revolution blew their flame, and all of us suffered hunger while we drank at the wine of equality.
    Norman Mailer (b. 1923)

    The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.
    Federico García Lorca (1898–1936)