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At the forefront of the postwar phenomenon known as tropical modernism, Vladimir Ossipoff (1907-1998) won recognition as the "master of Hawaiian architecture.” Although he practiced at a time of rapid growth and social change in Hawaii, Ossipoff criticized large-scale development and advocated environmentally sensitive designs, developing a distinctive form of architecture appropriate to the lush topography, light, and microclimates of the Hawaiian islands. This book is the first to focus on Ossipoff’s career, presenting significant new material on the architect and situating him within the tropical modernist movement and the cultural context of the Pacific region. The authors discuss how Ossipoff synthesized Eastern and Western influences, including Japanese building techniques and modern architectural principles. In particular, they demonstrate that he drew inspiration from the interplay of indoor and outdoor space as advocated by such architects as Frank Lloyd Wright, applying these to the concerns and vernacular traditions of the tropics. The result was a vibrant and glamorous architectural style, captured vividly in archival images and new photography. As the corporate projects and private residences that Ossipoff created for such clients as IBM, Punahou School, Linus Pauling, Jr., and Clare Boothe Luce surpass their fiftieth anniversaries, critical assessment of these structures, offered here by distinguished scholars in the field, will illuminate Ossipoff’s contribution to the universal challenge of making architecture that is delightfully particular to its place and durable over time.
Between 1800 and 1920, an extraordinary cast of bold innovators and entrepreneurs—individuals such as Cyrus McCormick, Brigham Young, Henry Wells and James Fargo, Fred Harvey, Levi Strauss, Adolph Coors, J. P. Morgan, and Buffalo Bill Cody—helped lay the groundwork for what we now call the American West. They were people of imagination and courage, adept at maneuvering the rapids of change, alert to opportunity, persistent in their missions. They had big ideas they were not afraid to test. They stitched the country together with the first transcontinental railroad, invented the Model A and built the roads it traveled on, raised cities and supplied them with water and electricity, established banks for immigrant populations, entertained the world with film and showmanship, and created a new form of western hospitality for early travelers. Not all were ideal role models. Most, however, once they had made their fortunes, shared them in the form of cultural institutions, charities, libraries, parks, and other amenities that continue to enrich lives in the West today. Out Where the West Begins profiles some fifty of these individuals, tracing the arcs of their lives, exploring their backgrounds and motivations, identifying their contributions, and analyzing the strategies they developed to succeed in their chosen fields.
For forty years, A Colorado History has provided a comprehensive and accessible panoramic history of the Centennial State. From the arrival of the Paleo-Indians to contemporary times, this enlarged edition leads readers on an extraordinary exploration of a remarkable place.
High Country Summers considers the emergence of the “summer home” in Colorado’s Rocky Mountains as both an architectural and a cultural phenomenon. It offers a welcome new perspective on an often-overlooked dwelling and lifestyle. Writing with affection and insight, Melanie Shellenbarger shows that Colorado’s early summer homes were not only enjoyed by the privileged and wealthy but crossed boundaries of class, race, and gender. They offered their inhabitants recreational and leisure experiences as well as opportunities for individual re-invention—and they helped shape both the cultural landscapes of the American West and our ideas about it. Shellenbarger focuses on four areas along the Front Range: Rocky Mountain National Park and its easterly gateway town, Estes Park; “recreation residences” in lands managed by the US Forest Service; Lincoln Hills, one of only a few African-American summer home resorts in the United States; and the foothills west of Denver that drew Front Range urbanites, including Denver’s social elite. From cottages to manor houses, the summer dwellings she examines were home to governors and government clerks; extended families and single women; business magnates and Methodist ministers; African-American building contractors and innkeepers; shop owners and tradespeople. By returning annually, Shellenbarger shows, they created communities characterized by distinctive forms of kinship. High Country Summers goes beyond history and architecture to examine the importance of these early summer homes as meaningful sanctuaries in the lives of their owners and residents. These homes, which embody both the dwelling (the house itself) and dwelling (the act of summering there), resonate across time and place, harkening back to ancient villas and forward to the present day.