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The Washington Monument is one of the most easily recognized structures in America, if not the world, yet the long and tortuous history of its construction is much less well known. Beginning with its sponsorship by the Washington National Monument Society and the grudging support of a largely indifferent Congress, the Monument's 1848 groundbreaking led only to a truncated obelisk, beset by attacks by the Know Nothing Party and lack of secured funding and, from the mid-1850s, to a twenty-year interregnum. It was only 1n 1876 that a Joint Commission of Congress revived the Monument and entrusted its completion to the U.S. Army Corps of Engineers.In "To the Immortal Name and Memory of George Washington": The United States Corps of Engineers and the Construction of the Washington Monument, historian Louis Torres tells the fascinating story of the Monument, with a particular focus on the efforts of Lieutenant Colonel Thomas Lincoln Casey, Captain George W. Davis, and civilian Corps employee Bernard Richardson Green and the details of how they completed the construction of this great American landmark. The book also includes a discussion and images of the various designs, some of them incredibly elaborate compared to the austere simplicity of the original, and an account of Corps stewardship of the Monument up to its takeover by the National Park Service in 1933. First published in 1985. 148 pages, ill.
Building in China is about striking an architectural balance between the pull of monumental tradition and the push of technological novelty. Centering on the dynamic period of post-imperial and pre-Communist China, the book focuses on the building and city planning initiatives of Henry Murphy, a little-known American architect who initially ventured to China in 1914 to design a campus for the Yale-in-China programme, but who then found himself captivated by a professional and cultural challenge that lasted two decades: how to preserve China's rich architectural traditions while also designing new buildings using up-to-date Western technologies. Murphy's buildings were compromises — " wine in old bottles" as he once called them — and the book uses those "tles" as lenses through which to understand not only Murphy's quest to find a middle ground for his architecture in China, but also to gaze at a tumultuous society facing an uncertain future. Murphy's buildings were more than vessels for either aesthetic visions or technical expertise; inadvertently they became political emblems, as Chinese rulers such as Chiang Kai-shek and Sun Yat-sen's son called on Murphy for city planning advice to complement their hopes for urban reconstruction. There are few serious studies of Western architects in the twentieth century who practiced in non-Western contexts, and those scant studies that have been published concentrate largely on British, French or Dutch examples in colonial settings. Hence, the book makes significant contributions to the fields of both American and Chinese architectural history.