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California, Wallace Stegner observed, is like the rest of the United States, only more so. Indeed, the Golden State has always seemed to be a place where the hopes and fears of the American dream have been played out in a bigger and bolder way. And no one has done more to capture this epic story than Kevin Starr, in his acclaimed series of gripping social and cultural histories. Now Starr carries his account into the 1930s, when the political extremes that threatened so much of the Depression-ravaged world--fascism and communism--loomed large across the California landscape. In Endangered Dreams, Starr paints a portrait that is both detailed and panoramic, offering a vivid look at the personalities and events that shaped a decade of explosive tension. He begins with the rise of radicalism on the Pacific Coast, which erupted when the Great Depression swept over California in the 1930s. Starr captures the triumphs and tumult of the great agricultural strikes in the Imperial Valley, the San Joaquin Valley, Stockton, and Salinas, identifying the crucial role played by Communist organizers; he also shows how, after some successes, the Communists disbanded their unions on direct orders of the Comintern in 1935. The highpoint of social conflict, however, was 1934, the year of the coastwide maritime strike, and here Starr's narrative talents are at their best, as he brings to life the astonishing general strike that took control of San Francisco, where workers led by charismatic longshoreman Harry Bridges mounted the barricades to stand off National Guardsmen. That same year socialist Upton Sinclair won the Democratic nomination for governor, and he launched his dramatic End Poverty in California (EPIC) campaign. In the end, however, these challenges galvanized the Right in a corporate, legal, and vigilante counterattack that crushed both organized labor and Sinclair. And yet, the Depression also brought out the finest in Californians: state Democrats fought for a local New Deal; California natives helped care for more than a million impoverished migrants through public and private programs; artists movingly documented the impact of the Depression; and an unprecedented program of public works (capped by the Golden Gate Bridge) made the California we know today possible. In capturing the powerful forces that swept the state during the 1930s--radicalism, repression, construction, and artistic expression--Starr weaves an insightful analysis into his narrative fabric. Out of a shattered decade of economic and social dislocation, he constructs a coherent whole and a mirror for understanding our own time.
Established in 1918, as a new state the First Czechoslovak Republic was keen to project a distinct image. Participation in World Fairs offered the perfect opportunity-. In this comprehensive account of Czechoslovak participation in international exhibitions of the interwar period Marta Filipová looks beyond the sleek façade of the modernist pavilions to examine the intersections of architecture, art and design with commercial interests, state agendas, individual action and the public, offering a complex insight into the production and reception of national displays. The rich collection of images – mainly photographs – provides a close look at the Czechoslovak pavilions. The design, content and context of the displays convey an idealized narrative that was created for the fairs and the myths on which the Czechoslovak nation and state were built. Heavy machinery, modern art, tourist destinations, and food and drink were presented as Czechoslovak, while many aspects of social life – particularly women or ethnic minorities – were strikingly underrepresented or absent. The book argues that the objects and ideas that the pavilion organizers put on display legitimized and validated the existence of the new state through the inclusion and exclusion of exhibits, people, and ideas. While Marta Filipová primarily focuses on Czechoslovakia, she also offers insights into how other emerging nations projected and sustained their image during this historical period and how interwar world’s fairs accommodated them.
Published on the occasion of the expo's 75th anniversary, Into the Void Pacific is the first architectural history of the 1939 San Francisco WorldÕs Fair. While fairs of the 1930's turned to the future as a foil to the Great Depression, the Golden Gate International Exposition conjured up geographical conceits to explore the nature of the city's place in what organizers called "Pacific Civilization." Andrew Shanken adopts D.H. LawrenceÕs suggestive description of California as a way of thinking about the architecture of the Golden Gate International Exposition, using the phrase Òvoid PacificÓ to suggest the isolation and novelty of California and its habit of looking West rather than back over its shoulder to the institutions of the East Coast and Europe. The fair proposed this vision of the Pacific as an antidote to the troubled Atlantic world, then descending into chaos for the second time in a generation. Architects took up the theme and projected the regionalist sensibilities of Northern California onto Asian and Latin American architecture. Their eclectic, referential buildings drew widely on the cultural traditions of ancient Cambodia, China, and Mexico, as well as the International Style, Art Deco, and the Bay Region Tradition. The book explores how buildings supported the cultural and political work of the fair and fashioned a second, parallel world in a moment of economic depression and international turmoil. Yet it is also a tale of architectural compromise, contingency, and symbolism gone awry. With chapters organized around the creation of Treasure Island and the key areas and pavilions of the fair, this study takes a cut through the work of William Wurster, Bernard Maybeck, Timothy Pflueger, and Arthur Brown, Jr., among others. Shanken also looks closely at buildings as buildings, analyzing them in light of local circumstances, regionalist sensibilities, and national and international movements at that crucial moment when modernism and the Beaux-Arts intersected dynamically.
The Great Depression was a terrible blow for the Bay Area's thriving art community. A few private art projects kept a small number of sculptors working, but for the majority, prospects of finding new commissions were grim. By the mid-1930s, Pres. Franklin D. Roosevelt's New Deal program had gathered steam, and assistance was provided to the nation's art community. Salvation came from the Works Progress Administration (WPA), which employed thousands of artists to produce sculpture for public venues. The Bay Area art community subsequently benefitted from the need to fill the then-forthcoming Golden Gate International Exposition (GGIE) with sculpture of all shapes and sizes. As bad as the Depression was, its legacy more than 80 years on is one of beauty. The Bay Area is dotted with sculpture from this era, the majority of it on public display. Depression-Era Sculpture of the Bay Area is a visual tour of this artistic bounty.
An eyewitness to profound change affecting marine environments on the Newfoundland coast, Antony Adler argues that the history of our relationship with the ocean lies as much in what we imagine as in what we discover. We have long been fascinated with the oceans, seeking “to pierce the profundity” of their depths. In studying the history of marine science, we also learn about ourselves. Neptune’s Laboratory explores the ways in which scientists, politicians, and the public have invoked ocean environments in imagining the fate of humanity and of the planet—conjuring ideal-world fantasies alongside fears of our species’ weakness and ultimate demise. Oceans gained new prominence in the public imagination in the early nineteenth century as scientists plumbed the depths and marine fisheries were industrialized. Concerns that fish stocks could be exhausted soon emerged. In Europe these fears gave rise to internationalist aspirations, as scientists sought to conduct research on an oceanwide scale and nations worked together to protect their fisheries. The internationalist program for marine research waned during World War I, only to be revived in the interwar period and again in the 1960s. During the Cold War, oceans were variously recast as battlefields, post-apocalyptic living spaces, and utopian frontiers. The ocean today has become a site of continuous observation and experiment, as probes ride the ocean currents and autonomous and remotely operated vehicles peer into the abyss. Embracing our fears, fantasies, and scientific investigations, Antony Adler tells the story of our relationship with the seas.
Traces the life and career of Ansel Adams, including his childhood in San Francisco, his marriage and affairs, his relationship with the Native Americans of Yosemite, and the influences on his photography and painting of western landscapes.
As the march of boots echoes from overseas, all nations that border the Pacific and beyond are invited to build pavilions on Treasure Island at the Golden Gate International Exposition, an event dedicated to the pursuit of world peace and brotherhood. Meanwhile, Lily Nordby, smart, strong-willed, and feisty, lands a job at the Examiner and is given a once-in-a-lifetime assignment covering the Exposition. There she meets Tokido Okamura, the host of the Japanese Pavilion—and despite being highly suspicious of his true purpose on the island, she’s swept up in a whirlwind of powerful emotions that lead her into unknown territory. Brilliant and enigmatic Woodrow Packard, a Mayan art scholar at the Expo, prefers remaining aloof and alone. But his infatuation and deepening relationship with Lily thrusts him into the limelight. He asks himself, could someone as smart and beautiful as she return the love of a man who is a dwarf? In an attempt to prevent Lily from spiraling into danger, Woodrow intercedes to help her uncover her family’s past—but when fate intervenes, they are both pulled into a destiny they could never have imagined. Mixing fact and fiction with a dash of noir, Beautiful Illusion is a story of love and deception that explores what happens when human hearts collide as the world is plotting war.
It's 1938 and the exclusive Oriental nightclub in San Francisco's Forbidden City is holding auditions for showgirls. In the dark, scandalous glamour of the club, three girls from very different backgrounds stumble into each other lives. All the girls have secrets. Grace, an American-born Chinese girl, has fled the Midwest and an abusive father. Helen is from a Chinese family which has deep roots in San Francisco's Chinatown. And, as both her friends know, Ruby is Japanese passing as Chinese. Then, in a heartbeat, everything changes. The Japanese attack Pearl Harbor and paranoia, suspicion, and a shocking act of betrayal, threaten to destroy their lives.
When it was built in 1937, Treasure Island was considered to be one of the largest man-made islands in the world. Located in the middle of San Francisco Bay, the 400-acre island was constructed out of dredged bay mud in a remarkable feat of Depression-era civil engineering by the US Army Corps of Engineers. Its alluring name is an allusion to the fabled remnants of the California Gold Rush found in the ocean sediment that formed the island. This collection of essays tells the story of San Francisco’s Treasure Island—an artificial, disconnected island that has paradoxically been central to the city’s urban ambitions. Conceived as a site for San Francisco’s first airport in an age of automobile and air transport, Treasure Island hosted the Golden Gate International Exposition (GGIE) in 1939 and 1940, celebrating the completion of the Golden Gate and the San Francisco–Oakland Bay Bridges. With particular focus on Asia and Latin America, the GGIE promoted peace, harmony, and commerce in the Pacific. Treasure Island’s planned use as an airport was scuttled when World War II abruptly reversed the exposition’s message of Pacific unity, and the US government developed Treasure Island and the adjacent Yerba Buena Island into a naval training and transfer station, which processed 4,500,000 military personnel on their way to the Pacific theater. In the midst of a twenty-first-century high-tech boom and in one of the most expensive real-estate markets in the world, the city of San Francisco and its developers have proposed an ambitious model of military base reuse and green urbanism—a new eco-city of about 19,000 residents on Treasure Island and Yerba Buena Island. The project is synonymous with a growing global trend toward large-scale, capital-intensive land developments envisioned around ideas of sustainability and spectacular place making. Seen against the successive history of development, future visions for Treasure Island are part of a process of building and erasure that Horiuchi and Sankalia call urban reinventions. This is a process of radical change in which artificial, detached, and delimited sites such as Treasure Island provide an ideal plane for tabula rasa planning driven by property, capital, and state control. With essays by contributors well known for their interdisciplinary work, Urban Reinventions demonstrates how a single site may be interpreted in multiple ways: as an artificial island, world’s fair site, military installation, a semi-derelict relic of past lives, a toxic site of nuclear waste, and a future eco-city and major real estate development. The volume offers a wide spectrum of critiques of race, imperialism, gendered Orientalism, military land use, property capital exchange, new eco-cities, sustainability, and waste as a byproduct of development. The book will be of interest to general readers as well as teachers, scholars, and practitioners in the fields of geography, architecture, city planning, urban design, history, environmental studies, American studies, Asian studies, and military history, among others.