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Chronicles a rich and little-known array of architecture on the island, a hotbed of modernism from the thirties on. An essential reference for architecture buffs, historians, and everyone who lives on or visits Long Island today, this unique resource—the first illustrated history of Long Island’s modern architecture—is based on a survey conducted for the Society for the Preservation of Long Island Antiquities (SPLIA). It highlights the work within Suffolk and Nassau counties of a roster of twenty-five internationally renowned architects—among them Wallace Harrison, Frank Lloyd Wright, Marcel Breuer, Edward Durell Stone, Richard Neutra, William Lescaze, Gordon Chadwick for George Nelson, Ludwig Mies van der Rohe, Philip Johnson, Paul Rudolph, and Richard Meier. Caroline Rob Zaleski’s research on the work of key figures in twentieth-century architecture; the relatively unknown aspects of their production; and their associations with clients, artists, and politicians is complemented by more than three hundred striking archival photographs, specially commissioned new photography, and plans. Zaleski documents the development of exurbia and the rise of visionary structures: residences for commuters and weekenders, public housing, houses of worship, universities, shopping centers, and office complexes. In this part architectural, part social history, she explains why modernism was embraced by Long Island’s civic, cultural, and business leaders—as well as by those who wanted to settle away from the city—during an epoch when open space was prime for development. An inventory of important architects, with their Long Island commissions by date and location, complements the main text.
The Hamptons are hot. Gordon, who grew up there, traces the invention of the idea of the Hamptons as a resort for the elite of New York City and shows how various forces, including artists, real estate developers, and media professionals transformed what had been a quiet rural place into a modern and worldwide phenomenon. 175 illustrations.
The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.
This volume examines the unprecedented growth of several cities in Latin America from 1830 to 1930, observing how sociopolitical changes and upheavals created the conditions for the birth of the metropolis. In the century between 1830 and 1930, following independence from Spain and Portugal, major cities in Latin America experienced large-scale growth, with the development of a new urban bourgeois elite interested in projects of modernization and rapid industrialization. At the same time, the lower classes were eradicated from old city districts and deported to the outskirts. The Metropolis in Latin America, 1830–1930 surveys this expansion, focusing on six capital cities—Havana, Mexico City, Rio de Janeiro, Buenos Aires, Santiago de Chile, and Lima—as it examines sociopolitical histories, town planning, art and architecture, photography, and film in relation to the metropolis. Drawing from the Getty Research Institute’s vast collection of books, prints, and photographs from this period, largely unpublished until now, this volume reveals the cities’ changes through urban panoramas, plans depicting new neighborhoods, and photographs of novel transportation systems, public amenities, civic spaces, and more. It illustrates the transformation of colonial cities into the monumental modern metropolises that, by the end of the 1920s, provided fertile ground for the emergence of today’s Latin American megalopolis.
'Exquisite Corpse' was a game played by the surrealists in which someone drew on a piece of paper, folded it and passed it to the next person to draw on until, finally, the sheet was opened to reveal a calculated yet random composition. In this entertaining and provocative book, Michael Sorkin suggests that cities are similarly assembled by many players acting with varying autonomy in a complicit framework. An unfolding terrain of invention, the city is also a means of accommodating disparity, of contextualizing sometimes startling juxtapositions. Sorkin's aim is to widen the debate about the creation of buildings beyond the immediate issues of technology and design. He discusses the politics and culture of architecture with daring, often devastating, observations about the institutions and personalities who have dominated the profession over the past decade. Their preoccupation with the empty style of 'beach houses and Disneyland' has consistently trivialized the full constructive scope of contemporary architecture's possibilities. Sorkin's interventions range from the development scandals of New York where 'skyscrapers stand at the intersection between grid and greed', through the deconstructivist architectural culture of Los Angeles, to the work and ideas of architects, developers and critics such as Alvar Aalto, Norman Foster, Paul Goldberger, Michael Graves, Coop Himmelblau, Philip Johnson, Leon Krier, Frank Lloyd Wright, Richard Rogers, Carlo Scarpa, James Stirling, Donald Trump, Tom Wolfe and Lebbeus Woods. Throughout Sorkin combines stinging polemic with a powerful call for a rebirth of architecture that is visionary and experimental--a recuperated 'dreamy science'
The first survey of the classic twentieth-century houses that defined American Midwestern modernism. Famed as the birthplace of that icon of twentieth-century architecture, the skyscraper, Chicago also cultivated a more humble but no less consequential form of modernism--the private residence. Modern in the Middle: Chicago Houses 1929-75 explores the substantial yet overlooked role that Chicago and its suburbs played in the development of the modern single-family house in the twentieth century. In a city often associated with the outsize reputations of Frank Lloyd Wright and Ludwig Mies van der Rohe, the examples discussed in this generously illustrated book expand and enrich the story of the region's built environment. Authors Susan Benjamin and Michelangelo Sabatino survey dozens of influential houses by architects whose contributions are ripe for reappraisal, such as Paul Schweikher, Harry Weese, Keck & Keck, and William Pereira. From the bold, early example of the "Battledeck House" by Henry Dubin (1930) to John Vinci and Lawrence Kenny's gem the Freeark House (1975), the generation-spanning residences discussed here reveal how these architects contended with climate and natural setting while negotiating the dominant influences of Wright and Mies. They also reveal how residential clients--typically middle-class professionals, progressive in their thinking--helped to trailblaze modern architecture in America. Though reflecting different approaches to site, space, structure, and materials, the examples in Modern in the Middle reveal an abundance of astonishing houses that have never been collected into one study--until now.
The fully expanded, updated, and freshly designed second edition of the most comprehensive and widely acclaimed guide to domestic architecture: in print since its original publication in 1984, and acknowledged everywhere as the unmatched, essential guide to American houses. This revised edition includes a section on neighborhoods; expanded and completely new categories of house styles with photos and descriptions of each; an appendix on "Approaches to Construction in the 20th and 21st Centuries"; an expanded bibliography; and 600 new photographs and line drawings.
Deep Green's appeal derives from the extensive use of the authors real-life experiences in time, place, and knowledge of Hawaii. Stone's innate curiosity for experiencing life beneath the surface injected his writing with a sense of authority and authenticity. You won't be exposed to violence, torrid sex, or offensive profanity but will, instead, have a brief glimpse into the lives of what the islands' first discoverers might have seen and experienced and then accompany Kensington Stone as he rescues a drowning young geology student. You'll journey across the islands of Oahu and the big island of Hawaii as Stone struggles to extricate his new friend, Viane Koa, from repeated attempts on her life and eventual kidnapping. Journeying through Deep Green, you will experience the terrifying void of light deep in the bowels of a lava tube and be left to drown with Viane as she desperately clings to life miles from shore, fighting against the merciless energy of the ocean. Deep Green's adventure, humor, and romance will lure you on through page after page. Ancient antiquities are at play as black marketers attempt to steal a part of Hawaii's heritage in the wake of an indifference that proves to be Stone and Viane's true nemeses.
In 1896, Otto Wagner's "Modern Architecture" shocked the European architectural community with its impassioned plea for an end to eclecticism and for a "modern" style suited to contemporary needs and ideals, utilizing the nascent constructional technologies and materials. Through the combined forces of his polemical, pedagogical, and professional efforts, this determined, newly appointed professor at the Vienna Academy of Fine Arts emerged in the late 1890s - along with such contemporaries as Charles Rennie Mackintosh in Glasgow and Louis Sullivan in Chicago - as one of the leaders of the revolution soon to be identified as the "Modern Movement." Wagner's historic manifesto is now presented in a new English translation - the first in almost ninety years - based on the expanded 1902 text and noting emendations made to the 1896, 1898, and 1914 editions. In his introduction, Dr. Harry Mallgrave examines Wagner's tract against the backdrop of nineteenth-century theory, critically exploring the affinities of Wagner's revolutionary élan with the German eclectic debate of the 1840s, the materialistic tendencies of the 1870s and 1880s, and the emerging cultural ideology of modernity. Modern Architecture is one of those rare works in the literature of architecture that not only proclaimed the dawning of a new era, but also perspicaciously and cogently shaped the issues and the course of its development; it defined less the personal aspirations of one individual and more the collective hopes and dreams of a generation facing the sanguine promise of a new century