1088 Résultats
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Cities participate in the production of meaning by providing places populated with objects for words to refer to. Inscriptions on these objects (labels, billboards, newspapers, graffiti) provide another layer of meaning. And today, the flow of digital information - from one device to another in the urban scene - creates a digital network that also exists in physical(...)
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Cities participate in the production of meaning by providing places populated with objects for words to refer to. Inscriptions on these objects (labels, billboards, newspapers, graffiti) provide another layer of meaning. And today, the flow of digital information - from one device to another in the urban scene - creates a digital network that also exists in physical(...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
janvier 1900, Cambridge, Mass.
janvier 1900, Cambridge, Mass.
Titre:
Placing words : symbols, space and the city
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Cities participate in the production of meaning by providing places populated with objects for words to refer to. Inscriptions on these objects (labels, billboards, newspapers, graffiti) provide another layer of meaning. And today, the flow of digital information - from one device to another in the urban scene - creates a digital network that also exists in physical space. "Placing Words" examines this emerging system of spaces, flows, and practices in a series of short essays - snapshots of the city in the twenty-first century. Mitchell questions the necessity of flashy downtown office towers in an age of corporate web sites. He casts the shocked-and-awed Baghdad as a contemporary Guernica. He describes architectural makeovers throughout history, listing Le Corbusier's Fab Five Points of difference between new and old architecture, and he discusses the architecture of Manolo Blahniks. He pens an open letter to the Secretary of Defense recommending architectural features to include in torture chambers. He compares Baudelaire, the Parisian flaneur, to Spiderman, the Manhattan traceur. He describes the iPod-like galleries of the renovated MoMA and he recognizes the camera phone as the latest step in a process of image mobilization that began when artists stopped painting on walls and began making pictures on small pieces of wood, canvas, or paper. The endless flow of information, he makes clear, is not only more pervasive and efficient than ever, it is also generating new cultural complexities.
Placing words : symbols, space and the city
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$22.00
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Cities participate in the production of meaning by providing places populated with objects for words to refer to. Inscriptions on these objects (labels, billboards, newspapers, graffiti) provide another layer of meaning. And today, the flow of digital information - from one device to another in the urban scene - creates a digital network that also exists in physical space. "Placing Words" examines this emerging system of spaces, flows, and practices in a series of short essays - snapshots of the city in the twenty-first century. Mitchell questions the necessity of flashy downtown office towers in an age of corporate web sites. He casts the shocked-and-awed Baghdad as a contemporary Guernica. He describes architectural makeovers throughout history, listing Le Corbusier's Fab Five Points of difference between new and old architecture, and he discusses the architecture of Manolo Blahniks. He pens an open letter to the Secretary of Defense recommending architectural features to include in torture chambers. He compares Baudelaire, the Parisian flaneur, to Spiderman, the Manhattan traceur. He describes the iPod-like galleries of the renovated MoMA and he recognizes the camera phone as the latest step in a process of image mobilization that began when artists stopped painting on walls and began making pictures on small pieces of wood, canvas, or paper. The endless flow of information, he makes clear, is not only more pervasive and efficient than ever, it is also generating new cultural complexities.
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livres
Publication:
janvier 1900, Cambridge, Mass.
janvier 1900, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
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This volume contains work, both built and unbuilt, both large-scale and small, designed in the 1990s by the firm of Philip Johnson/Alan Ritchie Architects. Alan Ritchie has worked with Johnson since 1969; the firm was established in 1994. The projects shown may be divided into two groups. Johnson’s interest in the past decade in sculptural form - or the way in which(...)
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This volume contains work, both built and unbuilt, both large-scale and small, designed in the 1990s by the firm of Philip Johnson/Alan Ritchie Architects. Alan Ritchie has worked with Johnson since 1969; the firm was established in 1994. The projects shown may be divided into two groups. Johnson’s interest in the past decade in sculptural form - or the way in which(...)
Sujet:
Architecture, monographies
Architecture, monographies
Publication:
janvier 2003, New York
janvier 2003, New York
Titre:
Philip Johnson / Alan Ritchie architects
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This volume contains work, both built and unbuilt, both large-scale and small, designed in the 1990s by the firm of Philip Johnson/Alan Ritchie Architects. Alan Ritchie has worked with Johnson since 1969; the firm was established in 1994. The projects shown may be divided into two groups. Johnson’s interest in the past decade in sculptural form - or the way in which sculptural form translates into architectural presence - has led to designs that involve both new kinds of shapes and new ways of using classic architectural form to make entirely new works of architecture. Such sculptural works, for the most part small in scale, include Da Monsta, the new visitors pavilion at Johnson’s famed Glass House in New Canaan, Connecticut, and a spectacular folly consisting of four pyramids made of chain-link fencing at an estate in New York State. Simultaneously, the firm has continued its ongoing work with larger projects, such as a 27-story apartment tower for Tribeca, in lower Manhattan; the Cathedral of Hope in Dallas; an addition to the Amon Carter Museum, originally designed by Johnson in 1961, in Forth Worth, Texas; and a proposal for the architecture school at Texas A University in College Station. Also included are a pair of proposals for La Défense in Paris; three large houses; a new china design for the Four Seasons restaurant in New York; and a new public clock, sponsored by Movado, for Lincoln Center. Introduction by Paul Goldberger.
Philip Johnson / Alan Ritchie architects
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This volume contains work, both built and unbuilt, both large-scale and small, designed in the 1990s by the firm of Philip Johnson/Alan Ritchie Architects. Alan Ritchie has worked with Johnson since 1969; the firm was established in 1994. The projects shown may be divided into two groups. Johnson’s interest in the past decade in sculptural form - or the way in which sculptural form translates into architectural presence - has led to designs that involve both new kinds of shapes and new ways of using classic architectural form to make entirely new works of architecture. Such sculptural works, for the most part small in scale, include Da Monsta, the new visitors pavilion at Johnson’s famed Glass House in New Canaan, Connecticut, and a spectacular folly consisting of four pyramids made of chain-link fencing at an estate in New York State. Simultaneously, the firm has continued its ongoing work with larger projects, such as a 27-story apartment tower for Tribeca, in lower Manhattan; the Cathedral of Hope in Dallas; an addition to the Amon Carter Museum, originally designed by Johnson in 1961, in Forth Worth, Texas; and a proposal for the architecture school at Texas A University in College Station. Also included are a pair of proposals for La Défense in Paris; three large houses; a new china design for the Four Seasons restaurant in New York; and a new public clock, sponsored by Movado, for Lincoln Center. Introduction by Paul Goldberger.
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livres
livres
Publication:
janvier 2003, New York
janvier 2003, New York
Sujet:
Architecture, monographies
Architecture, monographies
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livres
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$32.95
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Bay by the turn of the century. But in 1912, backed by some of the country’s leading financiers and industrialists, MIT officials purchased an undeveloped tract of land in Cambridge, launching a long and complex review of proposals for a new quadrangle. Based largely on the recommendation of John D. Rockefeller Jr., the commission was awarded to MIT and the École des(...)
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Bay by the turn of the century. But in 1912, backed by some of the country’s leading financiers and industrialists, MIT officials purchased an undeveloped tract of land in Cambridge, launching a long and complex review of proposals for a new quadrangle. Based largely on the recommendation of John D. Rockefeller Jr., the commission was awarded to MIT and the École des(...)
Titre:
Designing MIT: Bosworth's new tech
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Bay by the turn of the century. But in 1912, backed by some of the country’s leading financiers and industrialists, MIT officials purchased an undeveloped tract of land in Cambridge, launching a long and complex review of proposals for a new quadrangle. Based largely on the recommendation of John D. Rockefeller Jr., the commission was awarded to MIT and the École des Beaux-Arts-trained architect William Welles Bosworth, known for his AT Building in Manhattan, and Kykuit, the Rockefeller mansion in Tarrytown, New York. Designing MIT is the first book to detail Bosworth’s challenges in the planning and construction of the Institute’s unique Cambridge campus. Beginning with an examination of the competing project proposals—from Steven Child, an emerging landscape designer and student of Frederick Law Olmstead; Desiré Despradelle, Chairman of the Department of Architecture at MIT and a leading Beaux-Arts stylist; Ralph Adams Cram, noted for his gothic West Point campus; and John Freeman, one of the country’s leading civil engineers—Mark M. Jarzombek provides a captivating cross-section of the architectural debates of the time. Though Bosworth’s considerable social and political finesse enabled him to land the commission and balance varied competing interests, he found his classically oriented vision challenged by engineer John Freeman, proponent of Frederick W. Taylor’s new principle of Scientific Management. However strained, the conflict ultimately resulted in a far more innovative design than either individual approach, employing new European concepts of industrialism, efficiency, and aesthetics in academic structures.
Designing MIT: Bosworth's new tech
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Bay by the turn of the century. But in 1912, backed by some of the country’s leading financiers and industrialists, MIT officials purchased an undeveloped tract of land in Cambridge, launching a long and complex review of proposals for a new quadrangle. Based largely on the recommendation of John D. Rockefeller Jr., the commission was awarded to MIT and the École des Beaux-Arts-trained architect William Welles Bosworth, known for his AT Building in Manhattan, and Kykuit, the Rockefeller mansion in Tarrytown, New York. Designing MIT is the first book to detail Bosworth’s challenges in the planning and construction of the Institute’s unique Cambridge campus. Beginning with an examination of the competing project proposals—from Steven Child, an emerging landscape designer and student of Frederick Law Olmstead; Desiré Despradelle, Chairman of the Department of Architecture at MIT and a leading Beaux-Arts stylist; Ralph Adams Cram, noted for his gothic West Point campus; and John Freeman, one of the country’s leading civil engineers—Mark M. Jarzombek provides a captivating cross-section of the architectural debates of the time. Though Bosworth’s considerable social and political finesse enabled him to land the commission and balance varied competing interests, he found his classically oriented vision challenged by engineer John Freeman, proponent of Frederick W. Taylor’s new principle of Scientific Management. However strained, the conflict ultimately resulted in a far more innovative design than either individual approach, employing new European concepts of industrialism, efficiency, and aesthetics in academic structures.
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livres
livres
Publication:
novembre 2004
novembre 2004
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Description:
279 pages : illustrations ; 24 cm
Description:
279 pages : illustrations ; 24 cm
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New York : Princeton Architectural Press, ©1998.
New York : Princeton Architectural Press, ©1998.
Titre:
Sidewalk critic : Lewis Mumford's writings on New York / edited by Robert Wojtowicz.
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Description:
279 pages : illustrations ; 24 cm
Sidewalk critic : Lewis Mumford's writings on New York / edited by Robert Wojtowicz.
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279 pages : illustrations ; 24 cm
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New York : Princeton Architectural Press, ©1998.
New York : Princeton Architectural Press, ©1998.
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livres
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AIA guide to New York City
AIA guide to New York City
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The AIA Guide to New York City, Fourth Edition New York Chapter, American Institute of Architects Norval White and Elliot Willensky Architecture | Times Books | Trade Paperback | June 2000 | $35.00 | 0-8129-3107-6 (...)
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The AIA Guide to New York City, Fourth Edition New York Chapter, American Institute of Architects Norval White and Elliot Willensky Architecture | Times Books | Trade Paperback | June 2000 | $35.00 | 0-8129-3107-6 (...)
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AIA guide to New York City
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The AIA Guide to New York City, Fourth Edition New York Chapter, American Institute of Architects Norval White and Elliot Willensky Architecture | Times Books | Trade Paperback | June 2000 | $35.00 | 0-8129-3107-6 Since the "AIA Guide to New York City" was first published in 1967, it has been recognized as the ultimate guide to the metropolis's buildings, in all five boroughs -- Manhattan, Brooklyn, Queens, the Bronx, and Staten Island -- from nineteenth-century brownstones and tenements to modern high-rise apartments and museums. The latest edition of this urban classic takes a fresh look at the architectural treasures that define New York -- from its most characteristic landmarks to its less famous local favorites. To prepare this edition -- the first revision since 1987 -- Norval White has visited and revisited more than 5,000 buildings, making this by far the most complete guide of its kind. This generously illustrated handbook presents the structures of the New York City--from the magnificent to the obscure -- in over 3,000 new photographs, more than 130 new maps, and hundreds of revised and new entries. Beyond the skyscrapers and historical buildings, the guide also leads the way to the city's bridges, parks, and public monuments. From the tip of the Empire State Building to the brownstones in Brooklyn, the AIA Guide to New York City reveals how the city's spirit, fortitude, and character are captured and expressed in its architecture. Thoughtful and humorous descriptions include bits of local information that bring the city's history to life, telling the stories behind the bricks and mortar. Together, the maps, photographs, and critiques invite you to tour of the city at your own pace.
AIA guide to New York City
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The AIA Guide to New York City, Fourth Edition New York Chapter, American Institute of Architects Norval White and Elliot Willensky Architecture | Times Books | Trade Paperback | June 2000 | $35.00 | 0-8129-3107-6 Since the "AIA Guide to New York City" was first published in 1967, it has been recognized as the ultimate guide to the metropolis's buildings, in all five boroughs -- Manhattan, Brooklyn, Queens, the Bronx, and Staten Island -- from nineteenth-century brownstones and tenements to modern high-rise apartments and museums. The latest edition of this urban classic takes a fresh look at the architectural treasures that define New York -- from its most characteristic landmarks to its less famous local favorites. To prepare this edition -- the first revision since 1987 -- Norval White has visited and revisited more than 5,000 buildings, making this by far the most complete guide of its kind. This generously illustrated handbook presents the structures of the New York City--from the magnificent to the obscure -- in over 3,000 new photographs, more than 130 new maps, and hundreds of revised and new entries. Beyond the skyscrapers and historical buildings, the guide also leads the way to the city's bridges, parks, and public monuments. From the tip of the Empire State Building to the brownstones in Brooklyn, the AIA Guide to New York City reveals how the city's spirit, fortitude, and character are captured and expressed in its architecture. Thoughtful and humorous descriptions include bits of local information that bring the city's history to life, telling the stories behind the bricks and mortar. Together, the maps, photographs, and critiques invite you to tour of the city at your own pace.
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livres
livres
Publication:
avril 2000, New York
avril 2000, New York
Sujet:
Guides des villes
Guides des villes
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112 Greene Street, The Kitchen, Artists Space, The Clocktower, P.S.1, Franklin Furnace, ou Fashion Moda : ces lieux nés durant la décennie 1970, et parfois toujours en activité, ont laissé une empreinte durable sur la scène artistique new-yorkaise. « Espaces alternatifs », d'abord installés dans ces quartiers industriels du sud de Manhattan qui deviendront SoHo et(...)
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112 Greene Street, The Kitchen, Artists Space, The Clocktower, P.S.1, Franklin Furnace, ou Fashion Moda : ces lieux nés durant la décennie 1970, et parfois toujours en activité, ont laissé une empreinte durable sur la scène artistique new-yorkaise. « Espaces alternatifs », d'abord installés dans ces quartiers industriels du sud de Manhattan qui deviendront SoHo et(...)
Titre:
Une histoire des espaces alternatifs à New York: de SoHo au South Bronx,1969-1985
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112 Greene Street, The Kitchen, Artists Space, The Clocktower, P.S.1, Franklin Furnace, ou Fashion Moda : ces lieux nés durant la décennie 1970, et parfois toujours en activité, ont laissé une empreinte durable sur la scène artistique new-yorkaise. « Espaces alternatifs », d'abord installés dans ces quartiers industriels du sud de Manhattan qui deviendront SoHo et TriBeCa, puis dans l'East Village, le Queens, Brooklyn, ou encore le sud du Bronx, ces lieux d'exposition, de création et de sociabilité établis en marge des institutions muséales et des galeries commerciales ont favorisé l'épanouissement de nouvelles pratiques : art processuel, danse postmoderne, art vidéo, performance. C'est une enquête historique et un parcours géographique que propose l'ouvrage, mettant en lumière l'articulation entre ces pratiques et les phénomènes institutionnels, sociaux, économiques et urbains dont elles ne peuvent être dissociées. Si les installations dans les espaces bruts du 112 Greene Street ou l'exposition inaugurale de P.S.1 révèlent un engouement pour le matériau urbain, c'est aussi la place des artistes dans la ville de New York qui est alors constamment interrogée, depuis la légalisation des premiers lofts jusqu'aux critiques virulentes de la gentrification qui émanent de la communauté artistique elle-même. Alors qu'au début des années 1970 ces lieux alternatifs profitent d'un contexte économique favorable et du soutien d'une nouvelle politique culturelle fédérale et locale, le milieu des années 1980 sonne le glas d'un mouvement. « The Fun is gone » arbore la Fun Gallery à sa fermeture dans l'East Village en 1985. La scène alternative s'essouffle sous la présidence Reagan, non sans avoir nourri sa propre histoire et contribué à la constitution d'une mythologie et d'un héritage dont l'ambivalence persiste aujourd'hui.
Une histoire des espaces alternatifs à New York: de SoHo au South Bronx,1969-1985
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112 Greene Street, The Kitchen, Artists Space, The Clocktower, P.S.1, Franklin Furnace, ou Fashion Moda : ces lieux nés durant la décennie 1970, et parfois toujours en activité, ont laissé une empreinte durable sur la scène artistique new-yorkaise. « Espaces alternatifs », d'abord installés dans ces quartiers industriels du sud de Manhattan qui deviendront SoHo et TriBeCa, puis dans l'East Village, le Queens, Brooklyn, ou encore le sud du Bronx, ces lieux d'exposition, de création et de sociabilité établis en marge des institutions muséales et des galeries commerciales ont favorisé l'épanouissement de nouvelles pratiques : art processuel, danse postmoderne, art vidéo, performance. C'est une enquête historique et un parcours géographique que propose l'ouvrage, mettant en lumière l'articulation entre ces pratiques et les phénomènes institutionnels, sociaux, économiques et urbains dont elles ne peuvent être dissociées. Si les installations dans les espaces bruts du 112 Greene Street ou l'exposition inaugurale de P.S.1 révèlent un engouement pour le matériau urbain, c'est aussi la place des artistes dans la ville de New York qui est alors constamment interrogée, depuis la légalisation des premiers lofts jusqu'aux critiques virulentes de la gentrification qui émanent de la communauté artistique elle-même. Alors qu'au début des années 1970 ces lieux alternatifs profitent d'un contexte économique favorable et du soutien d'une nouvelle politique culturelle fédérale et locale, le milieu des années 1980 sonne le glas d'un mouvement. « The Fun is gone » arbore la Fun Gallery à sa fermeture dans l'East Village en 1985. La scène alternative s'essouffle sous la présidence Reagan, non sans avoir nourri sa propre histoire et contribué à la constitution d'une mythologie et d'un héritage dont l'ambivalence persiste aujourd'hui.
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livres
livres
Publication:
juillet 2017
juillet 2017
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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OMA NY: Search term
OMA NY: Search term
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Well into its fourth decade, the Office for Metropolitan Architecture (OMA), founded by Rem Koolhaas in 1975, remains one of the most influential and successful practices of its kind. OMA describes itself as ''a firm operating within the traditional boundaries of architecture and urbanism that applies architectural thinking to domains beyond.'' OMA New York, has grown(...)
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Well into its fourth decade, the Office for Metropolitan Architecture (OMA), founded by Rem Koolhaas in 1975, remains one of the most influential and successful practices of its kind. OMA describes itself as ''a firm operating within the traditional boundaries of architecture and urbanism that applies architectural thinking to domains beyond.'' OMA New York, has grown(...)
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OMA NY: Search term
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$170.00
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Well into its fourth decade, the Office for Metropolitan Architecture (OMA), founded by Rem Koolhaas in 1975, remains one of the most influential and successful practices of its kind. OMA describes itself as ''a firm operating within the traditional boundaries of architecture and urbanism that applies architectural thinking to domains beyond.'' OMA New York, has grown from an American outpost to a full-fledged operation with its own attitudes, contributing to the evolution of the globally acclaimed office. Through a diversity of projects, the firm has transformed our understanding of the city and our evolving relationship with art, fashion, food, sustainability, and other quintessentially twenty-first-century preoccupations. The works presented here elaborate on OMA’s philosophy even as they expand its portfolio geographically. Featured projects include residential skyscrapers in New York, Miami, and San Francisco, mixed-use developments in cities from Tokyo to Houston, and projects like 11th Street Bridge Park in the public realm, alongside more intimate spaces such as the studio for renowned Chinese artist Cai Guo-Qiang. Permanent structures, such as Milstein Hall at Cornell University, the new galleries of Quebec’s Musée National des Beaux-Arts, a cultural forum and neighborhood for Faena in Miami, and the expansion of museums such as the Albright-Knox Art Gallery in Buffalo and the New Museum in Manhattan, contrast vividly with temporary interventions such as the Manus x Machina exhibition at the Met Costume Institute and the sculptural installation of soaring concrete columns for An Occupation of Loss. In between projects are dialogues with leading policy makers, museum directors, artists, fashion designers, musicians, chefs, and curators—Christopher Hawthorne, Lisa Phillips and Massimiliano Gioni, Taryn Simon, Iris van Herpen, Virgil Abloh, David Byrne, Alice Waters, and Cecilia Alemani—who provide insight onto areas of the firm’s interests and preoccupations beyond the realm of architecture.
OMA NY: Search term
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Well into its fourth decade, the Office for Metropolitan Architecture (OMA), founded by Rem Koolhaas in 1975, remains one of the most influential and successful practices of its kind. OMA describes itself as ''a firm operating within the traditional boundaries of architecture and urbanism that applies architectural thinking to domains beyond.'' OMA New York, has grown from an American outpost to a full-fledged operation with its own attitudes, contributing to the evolution of the globally acclaimed office. Through a diversity of projects, the firm has transformed our understanding of the city and our evolving relationship with art, fashion, food, sustainability, and other quintessentially twenty-first-century preoccupations. The works presented here elaborate on OMA’s philosophy even as they expand its portfolio geographically. Featured projects include residential skyscrapers in New York, Miami, and San Francisco, mixed-use developments in cities from Tokyo to Houston, and projects like 11th Street Bridge Park in the public realm, alongside more intimate spaces such as the studio for renowned Chinese artist Cai Guo-Qiang. Permanent structures, such as Milstein Hall at Cornell University, the new galleries of Quebec’s Musée National des Beaux-Arts, a cultural forum and neighborhood for Faena in Miami, and the expansion of museums such as the Albright-Knox Art Gallery in Buffalo and the New Museum in Manhattan, contrast vividly with temporary interventions such as the Manus x Machina exhibition at the Met Costume Institute and the sculptural installation of soaring concrete columns for An Occupation of Loss. In between projects are dialogues with leading policy makers, museum directors, artists, fashion designers, musicians, chefs, and curators—Christopher Hawthorne, Lisa Phillips and Massimiliano Gioni, Taryn Simon, Iris van Herpen, Virgil Abloh, David Byrne, Alice Waters, and Cecilia Alemani—who provide insight onto areas of the firm’s interests and preoccupations beyond the realm of architecture.
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livres
livres
Publication:
novembre 2021
novembre 2021
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$99.95
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For decades Frederick Law Olmsted (1822–1903) designed parks and park systems across the United States, leaving an enduring legacy of designed public space that is enjoyed, studied, and protected today. His plans and professional correspondence offer a rich source for understanding his remarkable contribution to the quality of urban life in this country and the(...)
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For decades Frederick Law Olmsted (1822–1903) designed parks and park systems across the United States, leaving an enduring legacy of designed public space that is enjoyed, studied, and protected today. His plans and professional correspondence offer a rich source for understanding his remarkable contribution to the quality of urban life in this country and the(...)
Publication:
octobre 2006, Baltimore
octobre 2006, Baltimore
Titre:
The papers of Frederick Law Olmsted : volume VII, parks, politics, and patronage 1874-1882
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For decades Frederick Law Olmsted (1822–1903) designed parks and park systems across the United States, leaving an enduring legacy of designed public space that is enjoyed, studied, and protected today. His plans and professional correspondence offer a rich source for understanding his remarkable contribution to the quality of urban life in this country and the development of the profession of landscape architecture. Olmsted's writings also provide a unique record of society and politics in post–Civil War America. Historians, landscape architects, conservationists, city planners, and citizens’ groups continue to turn to Olmsted for inspiration in their planning and protection of public open space in our cities. This latest and seventh volume of the Papers of Frederick Law Olmsted presents the record of his last years of residence in New York City. It includes reports on the design of Riverside and Morningside parks and Tompkins Square in Manhattan, as well as his comprehensive plan for the street system and rapid transit routes of the Bronx. It records his continuing work on Central Park and presents his final retrospective statement, “The Spoils of the Park.” In addition, volume seven contains an annotated version of the journal in which Olmsted recorded instances of political maneuvering and patronage politics in the years before his dismissal from the New York parks department in 1878. Later documents chronicle the early stages of his planning of the Boston park system—the Back Bay Fens, Arnold Arboretum, and Riverway. Other major commissions, each with its own political complications, were the grounds of the U.S. Capitol, the completion of the new state capitol in Albany, the designing of a park on Mount Royal in Montreal, and construction of the park system of Buffalo, New York. The volume also presents Olmsted’s commentary on issues of the times including federal Reconstruction policy and civil-service reform. The Olmsted Papers project is supported by the National Endowment for the Humanities, the National Historical Publications and Records Commission, the National Trust for the Humanities, the National Association for Olmsted Parks, as well as private foundations and individuals.
The papers of Frederick Law Olmsted : volume VII, parks, politics, and patronage 1874-1882
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Résumé:
For decades Frederick Law Olmsted (1822–1903) designed parks and park systems across the United States, leaving an enduring legacy of designed public space that is enjoyed, studied, and protected today. His plans and professional correspondence offer a rich source for understanding his remarkable contribution to the quality of urban life in this country and the development of the profession of landscape architecture. Olmsted's writings also provide a unique record of society and politics in post–Civil War America. Historians, landscape architects, conservationists, city planners, and citizens’ groups continue to turn to Olmsted for inspiration in their planning and protection of public open space in our cities. This latest and seventh volume of the Papers of Frederick Law Olmsted presents the record of his last years of residence in New York City. It includes reports on the design of Riverside and Morningside parks and Tompkins Square in Manhattan, as well as his comprehensive plan for the street system and rapid transit routes of the Bronx. It records his continuing work on Central Park and presents his final retrospective statement, “The Spoils of the Park.” In addition, volume seven contains an annotated version of the journal in which Olmsted recorded instances of political maneuvering and patronage politics in the years before his dismissal from the New York parks department in 1878. Later documents chronicle the early stages of his planning of the Boston park system—the Back Bay Fens, Arnold Arboretum, and Riverway. Other major commissions, each with its own political complications, were the grounds of the U.S. Capitol, the completion of the new state capitol in Albany, the designing of a park on Mount Royal in Montreal, and construction of the park system of Buffalo, New York. The volume also presents Olmsted’s commentary on issues of the times including federal Reconstruction policy and civil-service reform. The Olmsted Papers project is supported by the National Endowment for the Humanities, the National Historical Publications and Records Commission, the National Trust for the Humanities, the National Association for Olmsted Parks, as well as private foundations and individuals.
Classification:
livres
livres
Publication:
octobre 2006, Baltimore
octobre 2006, Baltimore
