A rich, fascinating saga of the most influential, far-reaching architectural firm of their time and of the dazzling triumvirate—Charles McKim, William Mead, and Stanford White—who came together, bound by the notion that architecture could help shape a nation in transition. They helped to refine America’s idea of beauty, elevated its architectural practice, and set the standard on the world’s stage. Their world and times were those of Edith Wharton and Henry James, though both writers and their society shunned the architects as being much too much about new money. They brought together the titans of their age with a vibrant and new American artistic community and helped to forge the arts of America’s Gilded Age, informed by the heritage of European culture. McKim, Mead & White built houses for America’s greatest financiers and magnates: the Astors, Joseph Pulitzer, the Vanderbilts, Henry Villard, and J. P. Morgan, among others . . . They designed and built churches—Trinity Church in Boston, Judson Memorial Baptist Church in New York, and the Lovely Lane Methodist Church in Baltimore . . . They built libraries—the Boston Public Library—and the social clubs for gentlemen, among them, the Freundschaft, the Algonquin of Boston, the Players club of New York, the Century Association, the University and Metropolitan clubs. . . . They built railroad terminals—the original Pennsylvania Station in New York City—and the first Roman arch in America for Washington Square (it put the world on notice that New York was now a major city on a par with Rome, Paris, and Berlin). They designed and built Columbia University, with Low Memorial Library at the centerpiece of its four-block campus, and New York University, and they built, as well, the old Madison Square Garden whose landmark tower marked its presence on the city’s skyline . . . Mosette Broderick’s Triumvirate is a book about America in its industrial transition; about money and power, about the education of an unsophisticated young country, and about the coming of artists as an accepted class in American society. Broderick, a renowned architectural and social historian, brilliantly weaves together the strands of biography, architecture, and history to tell the story of the houses and buildings Charles McKim, William Mead, and Stanford White designed. She writes of the firm’s clients, many of whom were establishing their names and places in upper-class society as they built and grabbed railroads, headed law firms and brokerage houses, owned newspapers, developed iron empires, and carved out a new direction for America’s modern age.

This volume charts the architectural trajectory of Columbia University in New York City and celebrates the centennial of architect Charles Follen McKim's enduring vision of a spatially unified, architecturally integrated urban university.

Stand, Columbia! Alma Mater Through the storms of Time abide Stand, Columbia! Alma Mater Through the storms of Time abide. "Stand, Columbia!" by Gilbert Oakley Ward, Columbia College 1902 (1904) Marking the 250th anniversary of one of America's oldest and most formidable educational institutions, this comprehensive history of Columbia University extends from the earliest discussions in 1704 about New York City being "a fit Place for a colledge" to the recent inauguration of president Lee Bollinger, the nineteenth, on Morningside Heights. One of the original "Colonial Nine" schools, Columbia's distinctive history has been intertwined with the history of New York City. Located first in lower Manhattan, then in midtown, and now in Morningside Heights, Columbia's national and international stature have been inextricably identified with its urban setting. Columbia was the first of America's "multiversities," moving beyond its original character as a college dedicated to undergraduate instruction to offer a comprehensive program in professional and graduate studies. Medicine, law, architecture, and journalism have all looked to the graduates and faculty of Columbia's schools to provide for their ongoing leadership and vitality. In 2003, a sampling of Columbia alumni include one member of the United States Supreme Court, three United States senators, three congressmen, three governors (New York, New Jersey, and California), a chief justice of the New York Court of Appeals, and a president of the New York City Board of Education. But it is perhaps as a contributor of ideas and voices to the broad discourse of American intellectual life that Columbia has most distinguished itself. From The Federalist Papers, written by Columbians John Jay and Alexander Hamilton, to Charles Beard's An Economic Interpretation of the Constitution and Jack Kerouac's On the Road to Edward Said's Orientalism, Columbia and its graduates have greatly influenced American intellectual and public life. Stand, Columbia also examines the experiences of immigrants, women, Jews, African Americans, and other groups as it takes critical measure of the University's efforts to become more inclusive and more reflective of the diverse city that it calls home.

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women’s colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that the material infrastructures of the modern university—the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans—reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason.

In 1927, a group of advisors of King Alfonso XIII of Spain set off a journey to the United States. Their aim was to study the American University as a model for the design of the new University City in Madrid. Using the reconstruction of this cultural event as a guiding thread metaphor, the purpose of the Research Project is to study the roots and historical transformations that the University Space has experimented since its origins, under the impulse of Utopia, making special emphasis in its relation to the City. It will focus on the evolution of essential architectural models, beginning from its medieval germ in Europe: the exodus of the 'seed' of its embodied soul (the quadrangle) to the New World, the birth and diversification of the new model (campus) and, finally, in the early twentieth century, the 'return trip' to Europe of the modern idea, and the prolific heritage that it has generated in the contemporary University since then, from the point of view of the cultural connection between the Unites States and Europe.

Novelists, artists, architects, curators, film-makers, historians, and gourmets reveal their favourite discoveries in the ultimate insider's guide to New York City

Widely regarded as one of the most significant prophets of modern architecture, Adolf Loos was a celebrity in his own day. His work was emblematic of the turn-of-the-century generation that was torn between the traditional culture of the nineteenth century and the innovative modernism of the twentieth. His essay 'Ornament and Crime' equated superfluous ornament and 'decorative arts' with tattooing in an attempt to tell modern Europeans that they should know better. But the negation of ornament was supposed to reveal, not negate, good style; and an incorrigible ironist has been taken too literally in denying architecture as a fine art. Without normalizing his edgy radicality, Masheck argues that Loos' masterful "astylistic architecture" was an appreciation of tradition and utility and not, as most architectural historians have argued, a mere repudiation of the florid style of the Vienna Secession. Masheck reads Loos as a witty, ironic rhetorician who has all too often been taken at face value. Far from being the anti-architect of the modern era, Masheck's Loos is 'an unruly yet integrally canonical artist-architect'. He believed in culture, comfort, intimacy and privacy and advocated the evolution of artful architecture. This is a brilliantly written revisionist reading of a perennially popular architect.