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This collection is a sampling of some of the works by Robert Benjamin Stacy-Judd, an architect flourishing in Southern California from the 1920s through the 1960s. These samplings include a letter, a newspaper article, an announcement for a lecture series and a book "Kabah : adventures in the jungles of Yucatan." The items reflect Stacy-Judd's endorsement of Maya Art and Architecture as an ideal theme to base an American architecture. Stacy-Judd's non-Mayan works are also referenced in this collection, in the form of photographs, hand-painted postcards, charcoal drawings, pen and ink-sketches and a portfolio book that has a colorful architectural rendering of the La Jolla Beach and Yacht Club (1927). A book, "The Mayan Revival Style, by Marjorie I. Ingle is also included in this collection.
Architect Stacy-Judd created a sensation in the 1920s and 1930s when be brought Mayan and Aztec motifs into the architecture of southern California. His life and work are examined here, with numerous examples of his color renderings and photos of many of his buildings. Annotation copyright by Book News, Inc., Portland, OR
Stacy-Judd, a California architect, believed that within the Yucatan jungle lie the stupendous works of the civilization that was descended from the lost continent of Atlantis. He attempts to reconstruct the Maya family tree, find evidence of their relationship to Atlantis, and show that the Maya civilization arrived in Central America fully developed.
An illuminating look at the myriad communities who have engaged with the ancient Maya over the centuries. This book reveals how the ancient Maya—and their buildings, ideas, objects, and identities—have been perceived, portrayed, and exploited over five hundred years in the Americas, Europe, and beyond. Engaging in interdisciplinary analysis, the book summarizes ancient Maya art and history from the preclassical period to the Spanish invasion, as well as the history of outside engagement with the ancient Maya, from Spanish invaders in the sixteenth century to later explorers and archaeologists, taking in scientific literature, visual arts, architecture, world’s fairs, and Indigenous activism. It also looks at the decipherment of Maya inscriptions, Maya museum exhibitions and artists’ responses, and contemporary Maya people’s engagements with their ancestral past. Featuring the latest research, this book will interest scholars as well as general readers who wish to know more about this ancient, fascinating culture.
From the time when archaeologists first began to discover the civilization's spectacular ruins, Mexico's Mayan past has been a boundless source of inspiration, ideas, and iconography for the modernist imagination. This study examines the ways artists, architects, filmmakers, photographers, and other producers of visual culture in Mexico, the United States, Europe, and beyond have mined Mayan history and imagery. Beginning his study in the mid-nineteenth century, with the first mechanically reproduced and mass distributed images of the Mayan ruins, and ending with recent works that address this history of representation, Lerner argues that Maya modernism is the product of an ongoing pan-American modernism characterized by a continuing series of reinterpretations, collaborations, and exchanges in which Yucatecans, Mexicans and foreigners, mestizos, Mayas, and others all participate and are free to endorse, misunderstand, reinterpret, or reject each other's ideas.
Art Deco made its formal appearance in Paris at the 1925 L'Exposition Internationale des Arts Dâecoratifs et Industriels Modernes, a showcase for art, architecture, and design that promoted progress, modernity, and the present. The greatest export from this exhibition was a style that has since been recognized as one of the great design movements of the 20th century. Art Deco's growing recognition coincided with the growth of Los Angeles as the entertainment capital. Between the world wars, the city's architecture sprouted characteristic signs of Art Deco: the interplay of vertical and horizontal features, geometric shapes, use of exotic and modern materials, as well as simplified streamlined forms. This volume's collection of images celebrates Los Angeles's Art Deco heritage, showcasing such structures as Bullock's Wilshire, Sunset Tower, the Oviatt Penthouse, the Wiltern and Pantages Theatres, and many more.--From publisher description.
Oceano is a California beach town between San Francisco and Los Angeles. Originally part of the Rancho El Pismo Mexican land grant of 1840, Oceano first appeared as a place name on a map in 1893 and was promoted as a beach resort soon after the Southern Pacific Railroad arrived in 1895. While most of these promotions failed during the Great Depression, the railroad depot continued as a shipping point for the area's agriculture. During this time, Oceano became a point of entry for the "Dunites," a group of artists, writers, and poets who once lived in the sand dunes south of town. Today Oceano is still the primary access and gateway to its state park beach and large sand dune complex. Many people come to enjoy the experience of driving on the beach, camping there, and venturing into the dunes on foot or by vehicle.
Have you ever wondered what the difference is between Gothic and Gothic Revival, or how to distinguish between Baroque and Neoclassical? This guide makes extensive use of photographs to identify and explain the characteristic features of nearly 300 buildings. The result is a clear and easy-to-navigate guide to identifying the key styles of western architecture from the classical age to the present day.
"Was there a advanced prehistoric civilization in ancient Egypt? Who were the people who built the great pyramids and carved the Great Sphinx? Did the pyramids serve as energy devices and not as tombs for kings? Independent Egyptologist Stephen S. Mehler has spent over 30 years researching the answers to these questions and believes the answers are "Yes!" An indigenous oral tradition still exists in Egypt, and Mehler has been able to uncover and study it with the help of a living master of this tradition, Abd1El Hakim Awyan. He has also been given permission to share these teachings—presented heretofore in fragments by other researchers—to the Western World, teachings that unfold a whole new understanding of ancient Egypt"--Publisher's description.