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Art and Architecture > Architecture
In The Classical Gardens of Shanghai, Shelly Bryant looks at five of Shanghai’s remaining classical gardens through their origins, changing fortunes, restorations, and links to a wider Chinese aesthetic. Shanghai’s classical gardens are as much text as space; they exist in art, poetry, and literature as much as in stone, rock, and earth. But these gardens have not remained static entities. Rather, they have been remodelled constantly since their inception. This book reflects this process within the constancy of traditional Chinese horticulture and reveals Shanghai’s remaining classical gardens as places representing wealth and social status, social and dynastic shifts, through falling family fortunes and political revolutions to search for a recovery of China’s ancient culture in the modern day. ‘Like a classical Chinese garden, this admirable and beautifully balanced book conjures up wider landscapes from within a small compass. It can be savoured on many levels: poetic and aesthetic no less than scholarly and intellectual. It is the next best thing to being guided through such gardens by Shelly Bryant herself.’ —Lynn Pan, author of When True Love Came to China and Shanghai Style
Architectural Photographs of a Preservation Pioneer
"Clay Lancaster was infected by a love of architecture at an early age, a gentle madness from which he never cared to recover." -- From the Foreword, by Roger W. Moss
It is easy to take for granted the visual environment that we inhabit. Familiarity with routes of travel and places of work or leisure leads to indifference, and we fail to notice incremental changes. When a dilapidated building is eliminated by new development, it is forgotten as soon as its replacement becomes a part of our daily landscape. When an addition is grafted onto the shell of a house fallen out of fashion or function, onlookers might notice at first, but the memory of its original form is eventually lost. Also forgotten is the use a building once served. From historic homes to livestock barns, each structure holds a place in the community and can tell us as much about its citizens as their portraits and memoirs. Such is the vital yet intangible role that architecture plays in our collective memory.
Clay Lancaster (1917-2000) began during the Great Depression to document and to encourage the preservation of America's architectural patrimony. He was a pioneer of American historic preservation before the movement had a name. Although he established himself as an expert on Brooklyn brownstones and California bungalows, the nationally known architectural historian also spent four decades photographing architecture in his native Kentucky. Lancaster did not consider himself a photographer. His equipment consisted of nothing more complex than a handheld camera, and his images were only meant for his own personal use in documenting memorable and endangered structures. He had the eye of an artist, however, and recognized the importance of vernacular architecture.
The more than 150 duotone photographs in Clay Lancaster's Kentucky preserve the beauty of commonplace buildings as well as historic mansions and monuments. With insightful commentary by James D. Birchfield about the photographs and about Lancaster's work in Kentucky, the book documents the many buildings and architectural treasures -- both existing and long gone -- whose images and stories remain a valuable part of the state's heritage.
The Genesis and Meaning of a Roman Imperial Monument
In THE COLUMN OF MARCUS AURELIUS, Beckmann offers a study of the form, content, and meaning of the Column and its sculpture. He also provides full documentation of the Column and its sculpture in the form of complete drawings of the frieze (by the author) and full photographic coverage (using the incomparable German photos of 1896, taken before the worst ravages of modern pollution). No modern drawing of the frieze exists anywhere in any form. The 1896 photographs are extremely rare today, and the author has secured permission to include some of these images in this book.
Challenges for the New South Africa
When the past is painful, as riddled with violence and injustice as it is in postapartheid South Africa, remembrance presents a problem at once practical and ethical: how much of the past to preserve and recollect and how much to erase and forget if the new nation is to ever unify and move forward? The new South Africa’s confrontation of this dilemma is Martin J. Murray’s subject in Commemorating and Forgetting. More broadly, this book explores how collective memory works—how framing events, persons, and places worthy of recognition and honor entails a selective appropriation of the past, not a mastery of history.
How is the historical past made to appear in the present? In addressing these questions, Murray reveals how collective memory is stored and disseminated in architecture, statuary, monuments and memorials, literature, and art—“landscapes of remembrance” that selectively recall and even fabricate history in the service of nation-building. He examines such vehicles of memory in postapartheid South Africa and parses the stories they tell—stories by turn sanitized, distorted, embellished, and compressed. In this analysis, Commemorating and Forgetting marks a critical move toward recognizing how the legacies and impositions of white minority rule, far from being truly past, remain embedded in, intertwined with, and imprinted on the new nation’s here and now.
A Harvard Design Magazine Reader
Framed with a provocative introduction by Kenneth Frampton, the contributions to Commodification and Spectacle in Architecture stake out a variety of positions in the debate over the extent to which it is possible—or desirable—to escape from, resist, or suggest plausible alternatives to the dominant culture of consumer capitalism. Rejecting any dreamy nostalgia for an idealized present or past in which design is completely divorced from commerce—and, in some cases, celebrating the pleasures of spectacle—the individual essays range from indictments of particular architects and critiques of the profession to broader concerns about what the phenomenon of commodification means for the practice of democracy and the health of society.
Bringing together an impressive and varied group of critics and practitioners, Commodification and Spectacle in Architecture will help to sharpen the discussion of how design can respond to our hypercommodified culture.
Contributors: Michael Benedikt, Luis Fernández-Galiano, Thomas Frank, Kevin Ervin Kelley, Daniel Naegele, Rick Poynor, Michael Sorkin, Wouter Vanstiphout.
William S. Saunders is editor of Harvard Design Magazine and assistant dean for external relations at the Harvard Design School. He is the author of Modern Architecture: Photographs by Ezra Stoller.
Kenneth Frampton is Ware Professor of Architecture at Columbia University Graduate School of Architecture, Planning, and Preservation and author of many books, including Labour, Work, and Architecture.
The Life and Vision of Clarence S. Stein
Clarence S. Stein (1882–1975) was an architect, housing visionary, regionalist, policymaker, and colleague of some of the most influential public figures of the early to mid-twentieth century, including Lewis Mumford and Benton MacKaye. Kristin E. Larsen's biography of Stein comprehensively examines his built and unbuilt projects and his intellectual legacy as a proponent of the "garden city" for a modern age. This examination of Stein’s life and legacy focuses on four critical themes: his collaborative ethic in envisioning policy, design, and development solutions; promotion and implementation of “investment housing;” his revolutionary approach to community design, as epitomized in the Radburn Idea; and his advocacy of communitarian regionalism. His cutting-edge projects such as Sunnyside Gardens in New York City; Baldwin Hills Village in Los Angeles; and Radburn, New Jersey, his “town for the motor age,” continue to inspire community designers and planners in the United States and around the world.
Stein was among the first architects to integrate new design solutions and support facilities into large-scale projects intended primarily to house working-class people, and he was a cofounder of the Regional Planning Association of America. As a planner, designer, and, at times, financier of new housing developments, Stein wrestled with the challenges of creating what today we would term “livable,” “walkable,” and “green” communities during the ascendency of the automobile. He managed these challenges by partnering private capital with government funding, as well as by collaborating with colleagues in planning, architecture, real estate, and politics.
The Olmsted Firm and the Development of Brookline, Massachusetts
In 1883, Frederick Law Olmsted Sr. moved from New York City to Brookline, Massachusetts, a Boston suburb that annointed itself the “richest town in the world.” For the next half century, until his son Frederick Law Olmsted Jr. relocated to California in 1936, the Olmsted firm received over 150 local commissions, serving as the dominant force in the planned development of this community. From Fairsted, the Olmsteds’ Brookline home and office, the firm collaborated with an impressive galaxy of suburban neighbors who were among the regional and national leaders in the fields of architecture and horticulture, among them Henry Hobson Richardson and Charles Sprague Sargent. Through plans for boulevards and parkways, residential subdivisions, institutional commissions, and private gardens, the Olmsted firm carefully guided the development of the town, as they designed cities and suburbs across America. While Olmsted Sr. used landscape architecture as his vehicle for development, his son and namesake saw Brookline as grounds for experiment in the new profession of city and regional planning, a field that he was helping to define and lead. Little has been published on the importance of Brookline as a laboratory and model for the Olmsted firm’s work. This beautifully illustrated book provides important new perspective on the history of planning in the United States and illuminates an aspect of the Olmsted office that has not been well understood.
The Role of Architecture in Eighteenth- and Nineteenth-Century Fiction
In the Western world the period from the mid-eighteenth through the nineteenth century was a time of expanding historical consciousness, a period that saw the birth of modern historiography, a profusion of historical novels and paintings, and the widespread production of historical plays. Historical buildings, in themselves already of intense interest to people of the day, also found their way into the multiplying cultural forms as concrete presences anchoring a novelist’s, poet’s, painter’s, or, eventually, filmmaker’s vision of the past. In recent years a number of blockbuster films have used historically significant buildings as filming locations because buildings can concretely bring a former era or fictional world closer to contemporary viewers. Conjuring the Real traces the genealogy of this representational role of architecture, going back through the history of film and then further in literature, art, and theater. The contributors examine the ways in which authors, artists, and stage managers used complex depictions of buildings to feed and shape the audience’s historical imagination. How can we understand the significance of architecture, not through its original design and construction but through the ways in which the public experiences, perceives, and understands it? The contributors pursue this question through the ideas of secondary portrayers of historical buildings, such as writers and artists, and then through the responses of those who read and view these creations.
Architecture and Civil Society in Cuba, 1933-1959
How does architecture make its appearance in civil society? Constitutional Modernism pursues this challenging question by exploring architecture, planning, and law as cultural forces. Analyzing the complex entanglements between these disciplines in the Cuban Republic, Timothy Hyde reveals how architects joined with other professionals and intellectuals in efforts to establish a stable civil society, from the promulgation of a new Cuban Constitution in 1940 up until the Cuban Revolution.
By arguing that constitutionalism was elaborated through architectural principles and practices as well as legal ones, Hyde offers a new view of architectural modernism as a political and social instrument. He contends that constitutionalism produced a decisive confluence of law and architecture, a means for planning the future of Cuba. The importance of architecture in this process is laid bare by Hyde’s thorough scrutiny of a variety of textual, graphical, and physical artifacts. He examines constitutional articles, exhibitions, interviews, master plans, monuments, and other primary materials as acts of design.
Read from the perspective of architectural history, Constitutional Modernism demonstrates how the modernist concepts that developed as an international discourse before the Second World War evolved through interactions with other disciplines into a civil urbanism in Cuba. And read from the perspective of Cuban history, the book explains how not only material products such as buildings and monuments but also the immaterial methods of architecture as a cultural practice produced ideas that had consequential effects on the political circumstances of the nation.
A History of Crop Art and Dairy Sculpture
Teddy Roosevelt’s head sculpted from butter. The Liberty Bell replicated in oranges. The Sioux City Corn Palace of 1891 encased with corn, grains, and grasses and stretching for two city blocks—with a trolley line running down its center. Between 1870 and 1930, from county and state fairs to the world’s fairs, large exhibition buildings were covered with grains, fruits, and vegetables to declare in no uncertain terms the rich agricultural abundance of the United States. At the same fairs—but on a more intimate level—ice-cooled cases enticed fairgoers to marvel at an array of butter sculpture models including cows, buildings, flowers, and politicians, all proclaiming the rich bounty and unending promise held by the region.
Often viewed as mere humorous novelties—fun and folksy, but not worthy of serious consideration—these lively forms of American art are described by Pamela H. Simpson in a fascinating and comprehensive history. From the pioneering cereal architecture of Henry Worrall at the Philadelphia Centennial Exposition to the vast corn palaces displayed in Sioux City, Iowa, and elsewhere between 1877 and 1891, Simpson brings to life these dazzling large-scale displays in turn-of-the-century American fairs and festivals. She guides readers through the fascinating forms of crop art and butter sculpture, as they grew from state and regional fairs to a significant place at the major international exhibitions. The Minnesota State Fair’s Princess Kay of the Milky Way contest, Lillian Colton’s famed pictorial seed art, and the work of Iowa’s “butter cow lady,” Norma “Duffy” Lyon, are modern versions of this tradition.
Beautifully illustrated with a bounty of never-before-seen archival images, Corn Palaces and Butter Queens is an accessible history of one of America’s most unique and beguiling Midwestern art forms—an amusing and peculiar phenomenon that profoundly affected the way Americans saw themselves and their country’s potential during times of drought and great depression.