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The Architects: Raymond Hood
Raymond Hood came onto the American architectural scene later in life than his contemporaries, but his contributions over the span of his twelve-year career continue to evoke praise and appreciation. Hood’s design of much of Rockefeller Center shines as a prime example of his creative genius. Here, in this essay by architecture critic Carter Wiseman, is Hood’s story.
Raymond Hood, Architect
A fascinating study of the man who did much to change the form of the modern skyscraper. Hood's functionalism and artistic sense and his psychological and technical tactics as an innovator are spotlighted. The book reveals Hood's method of working on actual projects, such as the Rockefeller Centre and the Daily News Building, with the personalities and business politics, as well as structural details, materials and use of space.
Raymond M. Hood
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Supreme City
An award-winning historian surveys the astonishing cast of characters who helped turn Manhattan into the world capital of commerce, communication and entertainment --
American Architecture: 1860-1976
The second volume of a guide comprehensive guide to American Architecture, covering developments between the years 1860 and 1976.
The Portfolio and the Diagram
A history of modern architecture as a discursive practice.
Designs on Democracy
Designs on Democracy examines a pivotal period in the formation of the modern profession of architecture in Britain. It shows how architects sought to meet the newly articulated demands of a mass democracy in the wake of the First World War. It does so by providing a vivid picture of architectural culture in interwar London, the Imperial metropolis, drawing on histories of design, practice, professionalism, and representation. Most accounts of this period tend to deal exclusively with the emergence of Modernism; this study takes a different approach, encompassing a much broader perspective on the liberal professional consensus that held sway, including architecture's mainstream and its so-ca...
Draft Environmental Impact Statement, U.S Mission to the United Nations, 799 United Nations Plaza, New York, NY 10017
This statement presents the local environmental impact of the proposed action involving the demolition of the Federal building currently housing the U.S Mission to the United Nations (located on the corner of First Avenue and 45th Street, directly across from the U.N.) and the subsequent construction of a new facility on the same site.
Diego Rivera
In 1931, Diego Rivera was the subject of The Museum of Modern Art's second monographic exhibition, which set attendance records in its five-week run. The Museum brought Rivera to NewYork six weeks before the opening and provided him a studio space in the building. There he produced five 'portable murals' - large blocks of frescoed plaster, slaked lime and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, taking on NewYork subjects through monumental images of the urban working class. Published in conjunction with an exhibition that brings together key works from Rivera's 1931 show and related material, this vividly illustrated catalogue casts the artist as a highly cosmopolitan figure who moved between Russia, Mexico and the United States and examines the intersection of art-making and radical politics in the 1930s.
