Beaux-Arts design principles derived from the É cole des Beaux Arts in Paris dominated American architecture education at the turn of the twentieth century. These principles drew heavily on prototypical architectural and spatial elements derived from French Baroque planning, employing formal compositional rules and devices such as axiality and symmetry, and accommodating a variety of largely classicist styles of architecture. Student projects ranged from measured drawings of classical architectural details to elaborate designs for buildings and group plans, depicted with watercolor washes and other advanced rendering techniques. |
 1/2/3 William J.Harrold, X’11, [unidentified] for "Atelier Carnegie," ca. 1910. |
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4 Russel P. Bullinger, A’28 [Composite/Corinthian order], ca. 1925. |
5 Luigi Avolio, A’20, [measured drawing: doorway to Palazzo Farnese?], 1915?. |
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11 Luigi Avolio, A’20, “ Private Museum ,” 1917. |
12 James Metheny, A’17, [museum?], ca. 1915. |
6 Vincent J. Schoeneman, I’21, “Semi-Circular Portico (Anal[y]tique),” ca. 1920. 
7 Thomas J. Raguerre, A’13, [unidentified], n.d.
8/9 Thomas J. Raguerre, A’13, “Paris Prize” sketches, 1913.
10 Thomas J. Raguerre, A’13, [unidentified], n.d.
