Historical photographs, plans, and elevations document the cultural and artistic flowering in New York.

Highly esteemed by architects and New York history enthusiasts, 'New York 1930' focuses on the development of many of the landmark structures and the built environment of New York, including the parks, highways, and entertainment districts.

This is the fourth volume in architect and historian Robert A. M. Stern's monumental series of documentary studies of New York City architecture and urbanism. The three previous books in the series, New York 1900, New York 1930, and New York 1960, have comprehensively covered the architects and urban planners who defined New York over the course of the twentieth century. In this volume, Stern turns back to 1880 -- the end of the Civil War, the beginning of European modernism -- to trace the earlier history of the city. This dynamic era saw the technological advances and acts of civic and private will that formed the identity of New York City as we know it today. The installation of water, telephone, and electricity infrastructures as well as the advent of electric lighting, the elevator, and mass transit allowed the city to grow both out and up. The office building and apartment house types were envisioned and defined, changing the ways that New Yorkers worked and lived. Such massive public projects as the Brooklyn Bridge and Central Park became realities, along with such private efforts as Grand Central Station. Like the other three volumes, New York 1880 is an in-depth presentation of the buildings and plans that transformed New York from a harbor town into a world-class metropolis. A broad range of primary sources -- critics and writers, architects, planners, city officials -- brings the time period to life and allows the city to tell its own complex story. The book is generously illustrated with over 1,200 archival photographs, which show the city as it was, and as some parts of it still are.

Touted by Publisher's Weekly as "an unprecedented record," the new book in the New York series, New York 2000, is indeed an exceptional survey of this great city's architectural heritage. As the world's financial and cultural capital, New York demands the best in architectural design and balances the constant pressure to build with the need to preserve its historic fabric. Author Robert A. M. Stern and his colleagues trace the rise and fall of the real estate market, the impact of the designation of historic districts and new zoning on development, and the emergence of new commercial and residential centers. The survey is organized geographically, moving north from Lower Manhattan and covering the Bronx, Queens, Brooklyn, and Staten Island as well. New York 2000 documents milestones in the city's architectural history over the past forty years—the development of Battery Park City, the rebirth of Harlem and Times Square, the creation of the cultural precinct around the new MoMA, and the reclaiming of the waterfront along the East and Hudson Rivers as recreational parkland—and celebrates the achievements of internationally recognized architects such as Sir Norman Foster, Cesar Pelli, Richard Meier, and Renzo Piano.

By creating a snapshot of the Ghent community during its Bicentennial year, this collection of portraits provides a record for the future. Digital and smartphone technologies have enabled us to capture billions of fleeting moments yet, only a tiny fraction are intended to have lasting impact or to be printed and archived in any way. Photographs from the nineteenth and twentieth centuries are more readily to-hand, often serving as our only tactile document of history. "All of Us: Portraits of an American Bicentennial " is Richard Beaven's response to: a 'box of prints in the basement' from today which can be rediscovered and held by the community of tomorrow. Beaven's aim was to reflect a broad narrative of our town through those who live and work here. For nearly a year, he sought out and connected with possible subjects most of who were strangers beforehand. He photographed as diverse a representation of the community as he could find portraying each person in a similar way and describing each by name and their time connected with Ghent. He resisted any additional categorization ensuring an equal platform for all. The viewer is left to imagine and question for themselves what makes each subject unique or familiar based only on gesture, expression and setting. This was a humbling and deeply insightful journey for Beaven's. He would like to thank his Ghent neighbors for their time, support and the gift of understanding that we truly have more in common than that which separates us.