Printbegrænsninger: Der kan printes 10 sider ad gangen og max. 40 sider pr. session

Why does one talented individual win lasting recognition in a particular field, while another equally talented person does not? While there are many possible reasons, one obvious answer is that something more than talent is requisite to produce fame. The "something more" in the field of architecture, asserts Roxanne Williamson, is the association with a "famous" architect at the moment he or she first receives major publicity or designs the building for which he or she will eventually be celebrated. In this study of more than six hundred American architects who have achieved a place in architectural histories, Williamson finds that only a small minority do not fit the "right person–right time" pattern. She traces the apprenticeship connection in case studies of Louis Sullivan, Frank Lloyd Wright, Henry Hobson Richardson, the firm of McKim, Mead & White, Latrobe and his descendants, the Bulfinch and Renwick Lines, the European immigrant masters, and Louis Kahn. Although she acknowledges and discusses the importance of family connections, the right schools, self-promotion, scholarships, design competition awards, and promotion by important journals, Williamson maintains that the apprenticeship connection is the single most important predictor of architectural fame. She offers the intriguing hypothesis that what is transferred in the relationship is not a particular style or approach but rather the courage and self-confidence to be true to one's own vision. Perhaps, she says, this is the case in all the arts. American Architects and the Mechanics of Fame is sure to provoke thought and comment in architecture and other creative fields.

A dual portrait of America’s first great architect, Henry Hobson Richardson, and her finest landscape designer, Frederick Law Olmsted—and their immense impact on America As the nation recovered from a cataclysmic war, two titans of design profoundly influenced how Americans came to interact with the built and natural world around them through their pioneering work in architecture and landscape design. Frederick Law Olmsted is widely revered as America’s first and finest parkmaker and environmentalist, the force behind Manhattan’s Central Park, Brooklyn’s Prospect Park, Biltmore’s parkland in Asheville, dozens of parks across the country, and the preservation of Yosemite and Niagara Falls. Yet his close friend and sometime collaborator, Henry Hobson Richardson, has been almost entirely forgotten today, despite his outsized influence on American architecture—from Boston’s iconic Trinity Church to Chicago’s Marshall Field Wholesale Store to the Shingle Style and the wildly popular “open plan” he conceived for family homes. Individually they created much-beloved buildings and public spaces. Together they married natural landscapes with built structures in train stations and public libraries that helped drive the shift in American life from congested cities to developing suburbs across the country. The small, reserved Olmsted and the passionate, Falstaffian Richardson could not have been more different in character, but their sensibilities were closely aligned. In chronicling their intersecting lives and work in the context of the nation’s post-war renewal, Hugh Howard reveals how these two men created original all-American idioms in architecture and landscape that influence how we enjoy our public and private spaces to this day.

This book examines a period which is far more than a prelude to the age of steel and concrete. The first half-century culminated in the bold iron and glass of the Crystal Palace. There follows the creation of the modern styles of the era based on traditions of the past, and finally, in the 20th century, Art Nouveau and the modern architects in their generations - Perret, Wright, Gropius, Corbusier, Mies van der Rohe and others in many parts of the world.

The Hudson River Valley was the first iconic American landscape. Beginning as early as the 1820s, artists and writers found new ways of thinking about the human relationship with the natural world along the Hudson. Here, amid the most dramatic river and mountain scenery in the eastern United States, Washington Irving and James Fenimore Cooper created a distinctly American literature, grounded in folklore and history, that contributed to the emergence of a sense of place in the valley. Painters, led by Thomas Cole, founded the Hudson River School, widely recognized as the first truly national style of art. As the century advanced and as landscape and history became increasingly intertwined in the national consciousness, an aesthetic identity took shape in the region through literature, art, memory, and folklore—even gardens and domestic architecture. In Sanctified Landscape, David Schuyler recounts this story of America's idealization of the Hudson Valley during the nineteenth and early twentieth centuries.Schuyler's story unfolds during a time of great change in American history. At the very moment when artists and writers were exploring the aesthetic potential of the Hudson Valley, the transportation revolution and the rise of industrial capitalism were transforming the region. The first generation of American tourists traveled from New York City to Cozzens Hotel and the Catskill Mountain House in search of the picturesque. Those who could afford to live some distance from jobs in the city built suburban homes or country estates. Given these momentous changes, it is not surprising that historic preservation emerged in the Hudson Valley: the first building in the United States preserved for its historic significance is Washington's Headquarters in Newburgh. Schuyler also finds the seeds of the modern environmental movement in the transformation of the Hudson Valley landscape.Richly illustrated and compellingly written, Sanctified Landscape makes for rewarding reading. Schuyler expertly ties local history to national developments, revealing why the Hudson River Valley was so important to nineteenth-century Americans—and why it is still beloved today.

With over 6,000 entries, this is the most authoritative dictionary of architectural history available.