San Francisco is known and loved around the world for its iconic man-made structures, such as the Golden Gate Bridge, cable cars, and Transamerica Pyramid. Yet its Civic Center, with the grandest collection of monumental municipal buildings in the United States, is often overlooked, drawing less global and local interest, despite its being an urban planning marvel featuring thirteen government office and cultural buildings. In The San Francisco Civic Center, James Haas tells the complete story of San Francisco’s Civic Center and how it became one of the most complete developments envisioned by any American city. Originally planned and designed by John Galen Howard in 1912, the San Francisco Civic Center is considered in both design and materials one of the finest achievements of the American reformist City Beautiful movement, an urban design movement that began more than a century ago. Haas meticulously unravels the Civic Center’s story of perseverance and dysfunction, providing an understanding and appreciation of this local and national treasure. He discusses why the Civic Center was built, how it became central to the urban planning initiatives of San Francisco in the early twentieth century, and how the site held onto its founders’ vision despite heated public debates about its function and achievement. He also delves into the vision for the future and related national trends in city planning and the architectural and art movements that influenced those trends. Riddled with inspiration and leadership as well as controversy, The San Francisco Civic Center, much like the complex itself, is a stunning manifestation of the confident spirit of one of America’s most dynamic and creative cities.
Accompanying CD-ROM contains ... "138 richly colorful paintings and drawings of costumes, models, and set designs and in situ photos of exhibited designs plus 27 color and black-and-white photos of the designers. The CD[-ROM] also includes the full text of the book with links to all the art and to the designers' biographies."--Dust jacket.
That the topic ofdesign review is somehow trou My biases are clearfrom the start: I am among blesome is probably one thing all readers can those who believe that, despite all signals to the contrary, the physical structure of our environ agree on. Beyond this, however, I suspect pros pects of consensus are dim. Differing opinions ment can be managed, and that controlling it is on the subject likely range from those desiring the key to the ameliorationofnumerous problems control tothosedesiringfreedom. Saysonecamp: confronting society today. I believe that design our physical and natural environments are going can solve a host ofproblems, and that the design to hell in a hand basket. Says the other: design of the physical environment does influence be review boards are only as good as their members; havior. more often than not their interventions produce Clearly, this is a perspective that encompasses mediocre architecture. more than one building at a time and demands As a town planner and architect, I am sympa that each building understand its place in a larger thetic to the full range of sentiment. Perhaps a context-the city. Indeed, anyone proposing discussion of these two concepts-control and physical solutions to urban problems is designing freedom-and their differences would now be or, as may seem more often the case, destroying useful. But let me instead suggest that both posi the city.
Modern Playhouses is the first detailed study of the major programme of theatre-building which took place in Britain between the 1950s and the 1980s. Drawing on a vast range of archival material - much of which had never previously been studied by historians - it sets architecture in a wide social and cultural context, presenting the history of post-war theatre buildings as a history of ideas relating not only to performance but also to culture, citizenship, and the modern city. During this period, more than sixty major new theatres were constructed in locations from Plymouth to Inverness, Aberystwyth to Ipswich. The most prominent example was the National Theatre in London, but the National was only the tip of the iceberg. Supported in many cases by public subsidies, these buildings represented a new kind of theatre, conceived as a public service. Theatre was ascribed a transformative role, serving as a form of 'productive' recreation at a time of increasing affluence and leisure. New theatres also contributed to debates about civic pride, urbanity, and community. Ultimately, theatre could be understood as a vehicle for the creation of modern citizens in a consciously modernizing Britain. Yet while recognizing, as contemporaries did, that the new theatres of the post war decades represented change, Modern Playhouses also asks how radically different these buildings really were, and what their 'mainstream' architecture reveals of the history of modern British architecture, and of post-war Britain.
In designing a theater, an architect must design a hub for the activities of actors, dancers, and musicians of every genre, and appease directors, producers, and the all-important public. This successful title has proved its practicality as a guide to building the modern theater, concert hall and cultural center designed for academic, civic and private use. Now in its first reprint edition, it has also been published in Chinese, and has proved a valuable resource for both architects and commissioning agents. The expertise of Hardy Holzman and Pfeiffer Associates (HHPA) is demonstrated time and again throughout this book, with color photography, and essays by performers, curators, artistic directors, actors, lighting designers, academic musicians, playwrights, and dancers amongst others. This book showcases their work through new buildings, old theater renovations and older building refitted as theaters.
Includes miscellaneous newsletters (Music at Michigan, Michigan Muse), bulletins, catalogs, programs, brochures, articles, calendars, histories, and posters.
Metropolitan Indigenous Cultural Centres have become a focal point for making Indigenous histories and contemporary cultures public in settler-colonial societies over the past three decades. While there are extraordinary success stories, there are equally stories that cause concern: award-winning architecturally designed Indigenous cultural centres that have been abandoned; centres that serve the interests of tourists but fail to nourish the cultural interests of Indigenous stakeholders; and places for vibrant community gathering that fail to garner the economic and politic support to remain viable. Indigenous cultural centres are rarely static. They are places of ‘emergence’, assembled and re-assembled along a range of vectors that usually lie beyond the gaze of architecture. How might the traditional concerns of architecture – site, space, form, function, materialities, tectonics – be reconfigured to express the complex and varied social identities of contemporary Indigenous peoples in colonised nations? This book, documents a range of Indigenous Cultural Centres across the globe and the processes that led to their development. It explores the possibilities for the social and political project of the Cultural Centre that architecture both inhibits and affords. Whose idea of architecture counts when designing Indigenous Cultural Centres? How does architectural history and contemporary practice territorialise spaces of Indigenous occupation? What is architecture for Indigenous cultures and how is it recognised? This ambitious and provocative study pursues a new architecture for colonised Indigenous cultures that takes the politics of recognition to its heart. It advocates an ethics of mutual engagement as a crucial condition for architectural projects that design across cultural difference. The book’s structure, method, and arguments are dialogically assembled around narratives told by Indigenous people of their pursuit of public recognition, spatial justice, and architectural presence in settler dominated societies. Possibilities for decolonising architecture emerge through these accounts.
Unbuilt Victoria celebrates the city that is, and laments the city that could have been. For most people, resident and visitor alike, Victoria, British Columbia, is a time capsule of Victorian and Edwardian buildings. From a modest fur-trading post of the Hudson’s Bay Company it grew to be the province’s major trading centre. Then the selection of Vancouver as the terminus of the transcontinental railway in the 1880s, followed by a smallpox epidemic that closed the port in the 1890s, resulted in decline. Victoria succeeded in reinventing itself as a tourist destination, based on the concept of nostalgia for all things English, stunning scenery, and investment opportunities. In the modernizing boom after the Second World War attempts were made to move the city’s built environment into the mainstream, but the prospect of Victoria’s becoming like any other North American city did not win public approval. Unbuilt Victoria examines some of the architectural plans that were proposed but rejected. That some of them were ever dreamed of will probably amaze, that others never made it might well be a matter of regret.
Comprehensive, lavishly illustrated reference work provides biographical/career data for major designers (Adrian, Jean Louis, Edith Head, more). Updated to 1988, with over 400 new film credits. 177 illustrations. Index of 6,000 films.
Time Out Los Angeles is a VIP pass beyond the velvet rope and into the heart of one of the most fascinating cities in the United States. The capital of the West Coast, a sprawling megalopolis that is home to more stars than the night sky, Los Angeles continues to enthrall all those who visit it. Whether visitors are looking for tips on the hottest bets or hot springs, this is the must-have travel guide — it covers the newest clubs, restaurants, and shopping, as well as day-trip suggestions in every direction.
This series of essays outlines a number of case studies from Europe, North America, Australia and Asia and provides first hand accounts of the experiences that planners, architects and politicians have had in reshaping cities. These insights provide a pragmatic assessment of the challenges and constraints posed by changing patterns of urban growth in a broad spectrum of urban environments. The reader will discover, through these multiple voices and views, the diverse forms of global cities, and will have a grasp of where the debate on urban design stands today, and where it may be going in the future.