This research project focuses on the cultural significance of the Colorado Street Bridge. The bridge was built in 1913 to assist transportation and accommodation in the disadvantageous landscapes of the Eagle Rock Pass. Due to its infrastructural significance, the bridge became an important cultural site, annually serving as a place of social gatherings since its construction. Construction of the bridge marked an event integral to the formation of the local communities of Pasadena city, linking and uniting individuals residing in a harsh topographical context. Additionally, the bridge stands out as a work of art, drawing inspiration from the architectural tradition of beaux-arts, thus serving as an example of remediation typical to Western societies. The bridge is operating to this day, serving as a historical and architectural heritage site that attracts hundreds of people to witness its magnificence and intricate design.
Numerous academic and historical accounts help to facilitate the understanding of the Colorado Street Bridge’s cultural significance. The bridge’s recreative attractiveness is evident from the influx of tourists intending to witness the beauty of the landscape and the construction itself. As indicated by Wang (2020), the bridge has been a famous landmark since early 1909. The bridge’s cultural significance can be attributed to its historical role in forming Pasadena city’s community. In the past, the bridge considerably reduced the topographical disadvantages experienced by travelers. The landscape of the Eagle Rock Pass brought difficulties to the builders as well, forcing the designers to employ creative solutions to construction issues. Moreover, Winter (2009) argues that the bridge’s inception is commonly attributed to local efforts. The community of Pasadena city contributed immensely to the construction of the site, employing locally accumulated knowledge and experience.
It can be argued that the artistic inspiration behind the creation of the Colorado Street Bridge stems from European architectural traditions. The bridge is done in the beaux-arts style, a French interpretation of the classic Roman design. Similarly to French enthusiasts of the 17th century, American architects of from 1900’s borrowed stylistic features from other cultures. However, some authors disdain the concept of beaux-arts, arguing that it is an unfaithful derivative of the classic tradition that fails to live up to the original’s potential. For instance, Viollet-le-Duc considered the beaux-arts system inferior to classic Roman architectural entries (Bloch, 2011). Despite Viollet-le-Duc’s genius, his ideas of classical superiority find little resonance with the proponents of beaux-art. Still, the intent to revitalize the traditions of old serves as the reason for Viollet-le-Duc’s rhetoric as much as it does for the beaux-arts school. Indeed, the homage to the 17th century’s French influence that is the Colorado Street Bridge inspires interest in other architectural arts, such as the Gothic style.
Colorado Street Bridge transcends its primary infrastructural functions by representing the local culture, historical heritage, brilliance of civil engineering, and Western tendency to borrow from foreign traditions. Although referenced extensively in academia, the communal significance of this construction is a rich and largely undiscussed artifact for research. In order to facilitate the study of this landmark, it is necessary to conduct a deeper historical inquiry. The following research project will employ historical insights from academic literature, information from engineering associations, and other relevant sources. The project plan will also be constructed, consisting of thorough literary and practical examination. The project will focus on the Colorado Street Bridge’s economic, cultural, and political aspects through an analysis of the history and artistic influence behind its construction, as well as the primary purposes it was to serve.
References
Wang, S. (2020). Archiving for reckoning: Chiura Obata’s wartime work. Archives of American Art Journal, 59(2), 46-65.
Winter, R. (2009). Pasadena, 1900-1910: The Birth of Its Culture. Southern California Quarterly, 91(3), 295–317. Web.
Bloch, R. H. (2011). Viollet-le-Duc’s “Republic of Architectural Art”: The Greco-Gothic Revival and the Building of Modern France. Perspecta, 44, 12–195. Web.