An “immensely valuable” dual biography of the iconic American architect and the city that transformed his career in the early twentieth century (Francis Morrone, New Criterion). Frank Lloyd Wright took his first major trip to New York in 1909, fleeing a failed marriage and artistic stagnation. He returned a decade later, his personal life and architectural career again in crisis. Booming 1920s New York served as a refuge, but it also challenged him and resurrected his career. The city connected Wright with important clients and commissions that would harness his creative energy and define his role in modern architecture, even as the stock market crash took its toll on his benefactors. Anthony Alofsin has broken new ground by mining the Wright archives held by Columbia University and the Museum of Modern Art. His foundational research provides a crucial and innovative understanding of Wright’s life, his career, and the conditions that enabled his success. The result is at once a stunning biography and a glittering portrait of early twentieth-century Manhattan.

'Frank Lloyd wright in New York: The Plaza Years, 1954-1959', examines the momentous five-year period when one of the world's greatest architects and one of the world's greatest cities coexisted. Authors Jane Hession and Debra Prickel bring each of these unequalled characters to life, exploring the fascinating contradiction between Wright's often-voiced disdain of New York and his pride and pleasure of living in one of the city's greatest landmarks: the Plaza Hotel. From his suite, or 'Taliesin the Third', as it became known, Wright supervised construction of the Guggenheim, sparred with the New York press, and received many famous vistitors such as Marilyn Monroe and Arthur Miller. home...;Michael Carroll, a renowned astronomical and paleo artist for more than twenty years, has done work for NASA and the Jet Propulsion Laboratory. His art has appeared in many magazines, including 'Time', 'National Geographic', 'Sky & Telescope', and ' Asimov's Science Fiction'. One of his paintings flew aboard MIR; another is resting at the bottom of the Atlantic, aboard Russia's ill-fated Mars 96 spacecraft. nd development without constraining

Usonia, New York is the story of a group of idealistic men and women who, following WWII, enlisted Frank Lloyd Wright to design and help them build a cooperative utopian community near Pleasantville, NY. Through both historic memorabilia and contemporary color photos, this book reveals the still-thriving community based on concepts Wright advocated in his Broadacre City proposals. Over the years, thousands of architects, scholars, planners, and students have visited the community, but no book has yet appeared on this remarkable site. Reisley, one of the original members of Usonia (and still a resident), has written the first full account to illuminate the events, problems, and passions of a democratic group of people developing a designed environment an hour from New York City and the ups and downs of working with America's most famous -and most famously volatile-architect.

NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST • The Pulitzer Prize-winning author of The Looming Tower—and a Texas native—takes us on a journey through the most controversial state in America. • “Beautifully written…. Essential reading [for] anyone who wants to understand how one state changed the trajectory of the country.” —NPR Texas is a red state, but the cities are blue and among the most diverse in the nation. Oil is still king, but Texas now leads California in technology exports. Low taxes and minimal regulation have produced extraordinary growth, but also striking income disparities. Texas looks a lot like the America that Donald Trump wants to create. Bringing together the historical and the contemporary, the political and the personal, Texas native Lawrence Wright gives us a colorful, wide-ranging portrait of a state that not only reflects our country as it is, but as it may become—and shows how the battle for Texas’s soul encompasses us all.

Presents a pictorial look at the history, structure, and restoration of Frank Lloyd Wright's Fallingwater.

In architectural terms, the twentieth century can be largely summed up with two names: Frank Lloyd Wright and Philip Johnson. Wright (1867–1959) began it with his romantic prairie style; Johnson (1906–2005) brought down the curtain with his spare postmodernist experiments. Between them, they built some of the most admired and discussed buildings in American history. Differing radically in their views on architecture, Wright and Johnson shared a restless creativity, enormous charisma, and an outspokenness that made each man irresistible to the media. Often publicly at odds, they were the twentieth century's flint and steel; their repeated encounters consistently set off sparks. Yet as acclaimed historian Hugh Howard shows, their rivalry was also a fruitful artistic conversation, one that yielded new directions for both men. It was not despite but rather because of their contentious--and not always admiring--relationship that they were able so powerfully to influence history. In Architecture's Odd Couple, Howard deftly traces the historical threads connecting the two men and offers readers a distinct perspective on the era they so enlivened with their designs. Featuring many of the structures that defined modern space--from Fallingwater to the Guggenheim, from the Glass House to the Seagram Building--this book presents an arresting portrait of modern architecture's odd couple and how they shaped the American landscape by shaping each other.

A revised and updated edition of this comprehensive volume dedicated to Wright's only plantation design. Although Frank Lloyd Wright designed more than 1,000 projects during his long and prolific career, Auldbrass Plantation, in Yemassee, South Carolina, is the only plantation he ever designed. It is also one of the largest and most complex projects he ever undertook. Wright had an unusually intense commitment to Auldbrass, and worked on it, off and on, for more than twenty years, from 1938 until his death in 1959. Because Auldbrass was private and because it fell into disrepair in the 1960s after the owners' death, it was rarely photographed or studied, and as a consequence little has been known about this major work. With a recently completed restoration and new photography, this book affords a rare opportunity to see one of Wright's greatest works, as the master himself originally envisioned it. Through photos, plans, and drawings, we see what Wright planned, and how it has finally all been either restored or realized for the first time. In 1986, film producer Joel Silver (Die Hard, Lethal Weapon, 48 Hours, Predator, Romeo Must Die, The Matrix, and over forty other films) bought Auldbrass. He had earlier bought and meticulously restored Wright's famous 1923 Storer House in Hollywood. Now he has again collaborated with Wright's grandson, architect Eric Lloyd Wright, who restored the Storer House, to restore the Auldbrass Plantation.

New definition to the little-known work Wright produced during this period, which he describes as Wright's primitivist phase. He traces this influence in his art through Wright's explorations of primitivist sources, innovations in sculpture, and an intensification of the architect's use of ornament. Less tangible, but as important, was Wright's view of himself, his art, and society, and Alofsin uncovers the European impact on the architect's image of himself as a.

Published in conjunction with a major exhibition at The Museum of Modern Art, this catalogue reveals new perspectives on the work of Frank Lloyd Wright, a designer so prolific and familiar as to nearly preclude critical reexamination. Structured as a series of inquiries into the Frank Lloyd Wright Foundation Archives, the book is a collection of scholarly explorations rather than an attempt to construct a master narrative. Each chapter centers on a key object from the archive that an invited author has "unpacked"-interpreting and contextualizing it, tracing its meanings and connections, and juxtaposing it with other works from the archive, from MoMA, or from outside collections. The publication aims to open up Wright's work to questions, interrogations, and debates, and to highlight interpretations by contemporary scholars, both established Wright experts and others considering this iconic figure from new and illuminating perspectives.

Following on the success of Never Built Los Angeles (Metropolis Books, 2013), authors Greg Goldin and Sam Lubell now turn their eye to New York City. New York towers among world capitals, but the city we know might have reached even more stellar heights, or burrowed into more destructive depths, had the ideas pictured in the minds of its greatest dreamers progressed beyond the drawing board and taken form in stone, steel, and glass. What is wonderfully elegant and grand might easily have been ingloriously grandiose; what is blandly unremarkable, equally, might have become delightfully provocative or humanely inspiring. The ambitious schemes gathered here tell the story of a different skyline and a different sidewalk alike. Nearly 200 ambitious proposals spanning 200 years encompass bridges, skyscrapers, master plans, parks, transit schemes, amusements, airports, plans to fill in rivers and extend Manhattan, and much, much more. Included are alternate visions for such landmarks as Central Park, Columbus Circle, Lincoln Center, MoMA, the U.N., Grand Central Station and the World Trade Centre site, among many others sites. Fact-filled and entertaining texts, as well as sketches, renderings, prints, and models drawn from archives all across the New York metropolitan region tell stories of a new New York, one that surely would have changed the way we inhabit and move through the city.