With the birth of the steel-frame skyscraper in the late nineteenth century came a new breed of man, as bold and untamed as any this country had ever known. These "cowboys of the skies," as one journalist called them, were the structural ironworkers who walked steel beams -- no wider, often, than the face of a hardcover book -- hundreds of feet above ground, to raise the soaring towers and vaulting bridges that so abruptly transformed America in the twentieth century.
Many early ironworkers were former sailors, new Americans of Irish and Scandinavian descent accustomed to climbing tall ships' masts and schooled in the arts of rigging. Others came from a small Mohawk Indian reservation on the banks of the St. Lawrence River or from a constellation of seaside towns in Newfoundland. What all had in common were fortitude, courage, and a short life expectancy. "We do not die," went an early ironworkers' motto. "We are killed."
High Steel is the stirring epic of these men and of the icons they built -- and are building still. Shifting between past and present, Jim Rasenberger travels back to the earliest iron bridges and buildings of the nineteenth century; to the triumph of the Brooklyn Bridge and the 1907 tragedy of the Quebec Bridge, where seventy-five ironworkers, including thirty-three Mohawks, lost their lives in an instant; through New York's skyscraper boom of the late 1920s, when ironworkers were hailed as "industrial age heroes." All the while, Rasenberger documents the lives of several contempor-ary ironworkers raising steel on a twenty-first-century skyscraper, the Time Warner building in New York City.
This is a fast-paced, bare-knuckled portrait of vivid personalities, containing episodes of startling violence (as when ironworkers dynamited the Los Angeles Times building in 1910) and exhilarating adventure. In the end, High Steel is also a moving account of brotherhood and family. Many of those working in the trade today descend from multigenerational dynasties of ironworkers. As they walk steel, they follow in the footsteps of their fathers, grandfathers, and great-grandfathers.
We've all had the experience of looking at a par-ticularly awe-inspiring bridge or building and wondering, How did they do that? Jim Rasenberger asks -- and answers -- the question behind the question: What sort of person would willingly scale such heights, take such chances, face such danger? The result is a depiction of the American working class as it has seldom appeared in literature: strong, proud, autonomous, enduring, and utterly compelling.
Marina Bay Sands, a $5 billion, high-density, mixed-use integrated resort that brings together a 2560 room hotel, convention center, shopping and dining, theaters, museum, and a casino across the water from Singapore's Central Business District, opened to the public on June 23, 2010.Designed by Boston-based, internationally renowned architect Moshe Safdie for the Las Vegas Sands Corporation, the 929,000 meter (10 million square-foot) urban district anchors the Singapore waterfront, creates a gateway to Singapore, and provides a dynamic setting for a vibrant public life. This new urban place integrates the waterfront promenade, a 74,000 square meter (800,000 square-foot), multi level arcade, and the iconic Museum of Art Science on the promontory. Located along the network of Public paths are also two theaters with a combined 4000 seats, a casino, a 9000 square meter (96,000 square-foot) convention center, and a hydraulically adjustable public event plaza of 5000 square meters (54,000 square-foot). Combining indoor and outdoor spaces and providing a platform for a wide array of activities, this vibrant, 21rst century cardo maximus, or grand arcade, also connects to the subway and other transportation.
Hargreaves Associates has been at the forefront of landscape architectural practice since its founding in 1983, creating a narrative approach to landscape architecture that layers history, ecology, and environmental phenomena. Whether reductive or rich, highly programmed or passive, culturally interpretive or teeming with the phenomena of nature's own systems, the built landscapes of Hargreaves Associates emphasize the power of connection to our day-to-day lives.This volume presents projects from throughout the 25 year history of the firm, and highlights Hargreaves Associates' role in advancing the re-occupation of post-industrial sites, including the reclamation of waterfronts within the US, Europe and Australia. The book also shows how the firm works with cultural landscapes, urban parks, smaller plazas and gardens. Included in the volume are details on innovative entries in recent landscape architectural competitions.
Using historical accounts, desk and personal diaries, and contemporary guidebooks, "The Castle" weaves the Smithsonian Building's nearly 150-year architectural history with the lore and stories of the people who have worked and lived in this striking medieval revival structure. The book also discusses the design of the 19th-century building.
Humble or grand, wood or marble, churches have given physical shape to humanity's highest spiritual and artistic aspirations over the past twenty centuries. These structures not only stand as monuments to God, they also offer revealing testimony to humanity's immense potential and constant effort to understand, express, and honor the Divine.
Churches is a work of art that reflects the grandeur of its subject matter. In this compelling book, Judith DuprE, bestselling author of Skyscrapers and Bridges, presents an architectural tour of fifty-nine of the world's most enduring Christian churches, from such celebrated landmarks as St. Peter's Basilica in Vatican City, Frank Lloyd Wright's Unity Temple in Oak Park, Illinois., and Le Corbusier's Chapel at Notre-Dame-du-Haut in Ronchamp, France, to lesser-known masterpieces, including Huialoha Congregational Church on Maui and the Church on the Water in Hokkaido, Japan. Special theme essays cover the earliest Christian churches, the construction of Gothic cathedrals, the evolution of the baptismal font, churches designed by contemporary artists, and the revival of meditative labyrinth walking. With stunning imagery, fascinating essays, and an innovative design, this book is rich with factual detail and beautiful photography presented in an inviting, browsable format. Ms. DuprE offers a nuanced portrait of each structure, blending its architectural history with a deep appreciation for art and a reverence for religious traditions. Encompassing houses of worship from six major Christian denominations and all corners of the earth, Churches is a powerful chronology of faith and achievement that will inspire anyone interested in architecture, art, travel, religion, or photography.
Tschumi Parc de la Villette is the first publication to document comprehensively Bernard Tschumi's first, and arguably still most celebrated project. With new and republished writing including a text by Bernard Tschumi and Anthony Vidler's "Trick-Track" originally published in 1986, alongside a newly-commissioned essay assesing the Parc from a contemporary and historical perspective, this book documents Parc de la Villette from its conception, through the 30 years of its existence, to the present.
Tschumi Parc de la Villette includes drawings, concept sketches, models and photographs showing the development of the Parc over three decades, brought together in a single volume for the first time since the 1980s.
One of the "Grands Projets" commissioned by the French Government in the 1980s, Parc de la Villette set a benchmark for urban parks in the latter part of the twentieth century and into the twenty-first. Tschumi constructed a series of follies across the site, creating what he called "the largest discontinuous building in the world". Published to coincide with the 30th anniversary of the Parc, Tschumi Parc de la Villette broadly celebrates the project, and articularly the way in which it has been embraced by generations of Parisians and a diverse international public.
Inside the North Carolina Museum of Art (NCMA), the light of day and lush surrounding fields have a presence unusual in institutional galleries for art. Overhead, hundreds of elliptical oculi in long parallel vaults bathe the museum interior in even, full-spectrum daylight, modulated by layers that filter out damaging rays. In this gently luminous setting, against pure white walls, the art--including a masterful Giotto altarpiece--takes on heightened immediacy and vividness. A departure from traditional hierarchies, the museum is, in some respects, a single 65,000-square-foot room. Within this spatial continuum, a succession of wall planes, many freestanding without reaching the ceiling, delineate separate galleries. Instead of fully enclosed rooms, each gallery has at least one open corner, inviting fluid movement.
The city is the point of departure and arrival for the "architectural experience." It is, therefore, a palpable, external fact as well as a product of the mind, an abstraction. This book attempts to recreate this trajectory and to describe this exchange between the mind and the world through the traces it has produced. Two separate moments lie at the heart of this book's very structure and shape: one when the city is the site of an experience and of reflection and the other, when architects modify this site through a new project. The white notebooks contain writings, reflections, and observations collected over a ten-year period about our urban experiences. In fact, they hold the names of the cities that gave rise to them. These notes were often written during our travels, on the occasion of conferences or projects. Very importantly, though, they do not aspire to certainty; rather, they are a collection of questions and hypotheses. The black notebooks instead seek to delineate the scope of our research and to describe architecture as we practice it, namely as a collaborative effort, where each person's ideas and experiences form part of our shared vision and designs.