Buffalo's rich architectural and planning heritage has attracted the attention of several prominent historians, whose work here is accompanied by over 250 illustrations and photographs. For its size, the city of Buffalo, New York, possesses a remarkable number and variety of architectural masterpieces from the late nineteenth and early twentieth centuries: Adler and Sullivan's Prudential building, H. H. Richardson's massive Buffalo State Hospital, Richard Upjohn's Sr. Paul's Episcopal Cathedral, five prairie houses by Frank Lloyd Wright, and building by Daniel Burnham, Albert Kahn, and the firms of McKim, Mead, and White, and Lockwood, Green and Company, among others. These structures by prominent "outsiders" served to spur the efforts of local architects, builders, and craftsmen, and all of them built within the context of the city-wide park and parkway system designed by Frederick Law Olmsted. In addition, the city and its environs exhibit representative works by more recent architects, among them Eero and Eliel Saarinen, Walther Gropius, Marcel Breuer, Paul Rudloph, Minoru Yamasaki, and the firm of Skidmore, Owings, and Merrill. Buffalo's rich architectural and planning heritage has attracted the attention of several prominent historians, capable of the challenge of evaluating its significance. Reyner Banham is one of the world's leading authorities on the theory and practice of architecture, and he has written extensively on design in the industrial age (and Buffalo's innovative manufacturing plants and grain elevators are important exemplars of such design). Charles Beveridge, whose essay covers the park and parkway system, is editor of the Olmsted papers at The American University. And Henry Russell Hitchcock is the dean of American architectural historians, and the organizer of a 1940 exhibition on Buffalo's built environment. Their essays are followed by seven sections that delineate the city's neighborhoods, each provided with a map, neighborhood history, and a full complement of photographs with descriptive building captions. An eighth section, "Lost Buffalo," describes demolished buildings, chief among them Wright's great Larkin administration building, while the remaining sections venture out of town, exploring Erie and Niagara Counties, other parts of Western New York, and southern Ontario.

This stunning hardcover book pays tribute to Buffalo's architectural heritage. Striking full-color photographs by Andy Olenick and an engaging text by Richard O. Reisem make this a keepsake for admirers of outstanding buildings and landscapes. Represented in this attractive coffee-table book are dozens of prominent commercial public buildings, churches, educational institutions, clubs and private residences. Included are dramatic interior and exterior photographs that capture the buildings' architectural splendor.

Buffalo at the Crossroads is a diverse set of cutting-edge essays. Twelve authors highlight the outsized importance of Buffalo, New York, within the story of American urbanism. Across the collection, they consider the history of Buffalo's built environment in light of contemporary developments and in relationship to the evolving interplay between nature, industry, and architecture. The essays examine Buffalo's architectural heritage in rich context: the Second Industrial Revolution; the City Beautiful movement; world's fairs; grain, railroad, and shipping industries; urban renewal and so-called white flight; and the larger networks of labor and production that set the city's economic fate. The contributors pay attention to currents that connect contemporary architectural work in Buffalo to the legacies established by its esteemed architectural founders: Richardson, Olmsted, Adler, Sullivan, Bethune, Wright, Saarinen, and others. Buffalo at the Crossroads is a compelling introduction to Buffalo's architecture and developed landscape that will frame discussion about the city for years to come. Contributors: Marta Cieslak, University of Arkansas - Little Rock; Francis R. Kowsky; Erkin Özay, University at Buffalo; Jack Quinan, University at Buffalo; A. Joan Saab, University of Rochester; Annie Schentag, KTA Preservation Specialists; Hadas Steiner, University at Buffalo; Julia Tulke, University of Rochester; Stewart Weaver, University of Rochester; Mary N. Woods, Cornell University; Claire Zimmerman, University of Michigan

A timely and important search for architecture's missing women For a century and a half, women have been proving their passion and talent for building and, in recent decades, their enrollment in architecture schools has soared. Yet the number of women working as architects remains stubbornly low, and the higher one looks in the profession, the scarcer women become. Law and medicine, two equally demanding and traditionally male professions, have been much more successful in retaining and integrating women. So why do women still struggle to keep a toehold in architecture? Where Are the Women Architects? tells the story of women's stagnating numbers in a profession that remains a male citadel, and explores how a new generation of activists is fighting back, grabbing headlines, and building coalitions that promise to bring about change. Despina Stratigakos's provocative examination of the past, current, and potential future roles of women in the profession begins with the backstory, revealing how the field has dodged the question of women's absence since the nineteenth century. It then turns to the status of women in architecture today, and the serious, entrenched hurdles they face. But the story isn't without hope, and the book documents the rise of new advocates who are challenging the profession's boys' club, from its male-dominated elite prizes to the erasure of women architects from Wikipedia. These advocates include Stratigakos herself and here she also tells the story of her involvement in the controversial creation of Architect Barbie. Accessible, frank, and lively, Where Are the Women Architects? will be a revelation for readers far beyond the world of architecture.

Buffalo, New York owes much of its fame to the Erie Canal, which ushered in unprecedented growth and prestige to what was at its peak the nation's eighth largest city. Burgeoning railroads and grain, coal, and lumber exports dominated this industrial giant through the dawn of the twentieth century, culminating in the city's crowning moment of glory, the Pan American Exposition of 1901. As industry declined and residents fled to the suburbs, perceptive citizens recognized Buffalo's vast architectural treasures and rescued many landmarks with the intention of preserving the community's heritage.

Buffalo is literally a walkable encyclopedia of amazing --architecture, told through the works of internationally renowned masters such as Frank Lloyd Wright; Louis Sullivan; H. H. Richardson; Daniel Burnham; McKim, Mead, & White; Eliel and Eero Saarinen; and dozens of great local architects, including E.B. Green and Louise Blanchard Bethune. Buffalo also contains many buildings designed by modern architects, including Minoru Yamasaki, Toshiko Mori, Max Abramovitz, Gordon Bunshaft, and Mehrdad Yazdani of CannonDesign. These masterworks are framed by the radial street plan designed by Joseph Ellicott and a series of parks and parkways implemented by Frederick Law Olmsted and his partner Calvert Vaux. This result is a legacy of stately, beautiful, and innovative architecture that's delightful in both form and function. It's a rich inheritance for a city rediscovering its past and redefining its future.

Buffalo, New York is known for its remarkable architecture. Masterpieces by world-renowned architects dot the city. From the ground, these structures are impressive. From the sky, they are breathtaking. Soar high over the Queen City via beautiful drone photography and see the city like you've never seen it before. From the sweeping grandeur of the Albright-Knox Art Gallery to the immense scalloped walls of Temple Beth Zion, discover Buffalo from A to Z.

Over a quarter of a century, Frank Lloyd Wright provided the city of Buffalo with a series of remarkable designs. These houses, commercial buildings, and unbuilt projects, devised between 1903 and 1929, link the architect's early Prairie period to his magnificent reaction to Modernism, exemplified by Fallingwater and the Johnson Wax Building. To convey this story, author Jack Quinan introduces a cast of characters linked by their association with the Larkin Company, the client that first drew Wright to New York State. Not long after sketches for a Larkin Administration Building had arrived in Buffalo, commissions for grand houses were whistling from Buffalo to Wright's studio in Oak Park, Illinois. An intimate bond united the architect and Darwin D. Martin, Wright's most fervent supporter at the Larkin Company. A reliable patron and close friend, Martin steered crucial jobs Wright's way and afforded him generous loans. The Buffalo venture extended beyond the city limits, as clients from Buffalo moved, expanded their domestic vision to summer homes, or took on farflung projects. When the fortunes of the Larkin Company and its executives ebbed, Wright focused on new fields, in Arizona, California, and farther from home. But the traces of the Buffalo years may be seen in much of his subsequent work. Drawing on materials from archives in California, Arizona, Washington, D.C., and New York, interviews conducted over several decades, and previous studies, State University of New York at Buffalo distinguished service professor Jack Quinan brings to light one of the most significant periods of Wright's long career. With more than 125 historical and contemporary photographs and architectural plans and drawings, "Frank Lloyd Wright's Buffalo Venture" chronicles a little appreciated chapter in architectural history.