2 comments about Everyday America: Cultural Landscape Studies after J. B. Jackson.

1. J. B. Jackson's legacy lives on in geographers, historic preservationists and others, and is alive and well. This book is a great introduction to Jackson's lifelong study of the American landscape, including the modern, vernacular everyday things that many scholars ignore or criticize.
   
   A variety of authors tell Jackson's story, and about how his influence has impacted their lives and careers. A must-read for cultural landscape students, historic preservationists, architectural historians, or anyone who appreciates a good road trip on the roads of the U.S... the ones travelled before the construction of the interstate highway system...



2. A collection of reflections on how to see, interpret, and appreciate the American cultural landscape. After reading this book the term "the middle of nowhere" will never leave your mouth or enter your thoughts. The front porch of the local house will be as interesting as Time's Square. Read this book and understand your ordinary environment. Not just for cultural geographers, but everyone with eyes or a heart for how we live and organize our spaces and places.

1 comments about Palaces of Venice.

1. I bought this book some months ago in anticipation of a trip to Venice - which I have just returned from . I only glanced at the pictures before I left , with a view to savouring them and reading the text when I returned home.
   
   When I actually started to read the text I discovered that the English translation is like something out of "Monty Python" ... the sketch with the obscene English/Hungarian phrase book . The line "my hovercraft is full of eels" would not be out of place in this book. It is a bizarre, pseudo architectural, English - Italian mangle of words, tenses, concepts & jargon. The dust jacket blurb even manages to insult the photographer (referring to his other works -"... among these volumes , some are worthy of value").
   
   Some phrases ..."prevelaently ligneous", "architectonical experimentation", "autarchic economy" etc etc - and that's just the introduction !
   
   Almost none of the complete sentences in the book make any sense whatsoever.
   
   The photos are nice though - hence the 2 stars.
   
   It'll look good on your coffee table, as long as you don't attempt to read it !

4 comments about Domesticating History: The Political Origins of America's House Museums.

1. Domesticating History contains a lot of dubious, theoretical musings about the "cult of domesticity" and such written in fashionable academese. The interstices provide worthwhile information about the creation of Mount Vernon, Orchard House (the home of Louisa May Alcott), Monticello, and the Booker T. Washington National Monument. One problem with West's interpretation is that she isn't critical enough of her sources. If they argue for something that's not politically correct today, she pounces on them and takes them literally. Some of the author's own pronouncements follow this sort of literalistic logic: "The fact that `the most beloved house in America' was `falling to ruin' tapped into the fear that traditional home life itself was under siege." (67)



2. The main problem with Domesticating History is that it claims to show that the historic houses "reflect less the lives and times of their famous inhabitants than the political pressures of the eras during whih they transformed in museums" -- but then barely discusses the museums themselves and the messages they conveyed. We get a lot of detail about the other political efforts of the people who tried to found these museums, but we have no way of knowing to what extent those other political beliefs manifested themselves in what visitors saw, because we never really learn *what* they saw. That many of the organizations that sprouted up to restore and maintain these homes had deep ideological divisions makes this omission even more glaring, because the reader has no way of knowing which agenda, if any, eventually won out. There is interesting and informative material here, but what argument there is, is poorly presented.



3. Patricia West's interesting book, Domesticating History, explores the idea and origination of the house museum industry. She counters the idea that "house museums were founded strictly to memorialize a glorious past separable from politics" (xii). House museums reflect the social and political context in which they were developed and that to truly understand a museum, one must understand the historic context in which it was developed. As West states, "house museums are documents of political history, particularly of women's relationship to the public sphere" (159). As such, West takes her reader through the development of house museums and women's active political stance in this industry by siting four examples from the first hundred years of America's history in this area. She uses the homes of Mount Vernon, Orchard House, Monticello, and Booker T. Washington National Monument to "tell us about the crucial issues of gender and social diversity" (xi). Thus West challenges her readers to re-examine interpretations of house museums within their political, social, and historic context. West brings her expertise to the area of house museums in her new book, Domesticating History. She is currently curator of the Martin Van Buren National Historic Site in Kinderhook, New York, and has been involved in different aspects of museum work since as early as 1978. She lectures at various universities on the East Coast and at the Smithsonian. She obtained her Ph.D. at SUNY in Binghamton, 1992, in American History with minor fields in Women's and Public History. She has served as a consultant for the Eleanor Roosevelt National Historic Site, the Saratoga National Battlefield project, Friendship Hill National Historic Site, and the Chapman and Roberson museums. She continues to teach as an Adjunct Professor in the Public History Graduate Program at SUNY in Albany while holding her position as curator. Substantial notes at the end of her book and numerous articles indicate her extensive research into this field and thus offers us an interesting look into the political involvement of women in the development of house museums. West states that "although this is not a book about house museum interpretations, there are implications to the history of historic house museums for interpretive and curratorial planning" (162). I enjoyed the book and find it useful in many ways. First, it serves as a history text of women's involvement and political roles in the development of house museums. Second, it is a great introduction into the field of house museums and preservation from historic, political, and social viewpoints. And third, it serves as a catalyst for revisiting interpretation of house museums in the context of social and political atmospheres that existed at the time of preservation. West's book, thus, is an excellent history of the museum house movement using fine examples from different periods that represent main eras of the museum history movement. West brings up interesting questions of what has been preserved and why. Perhaps we should re-exam historic artifacts in light of new information and within the context of the political and social construct of the day.



4. Patricia West's "Domesticating History" serves a useful dual function in the study of history and museums. The book looks at four museum homes in the United States. The choice of homes allows for diversity in geography, temporality, race and gender. What is most immediately striking about the book is that it is not about the homes, the interpretation that occurs within the homes or the time period in which their famous residents occupied them. Rather the book is about what went into making the home a museum, and more specifically, the political motivations and confrontations that surrounded the acquisition and development of the house museum. The house museum, being an important part of material culture, allows us to study the process through which history becomes preserved, interpreted, and emphasized for future generations. From the perspective of museum studies (a growing field in which how we interpret the interpretation is as important as how we interpret the history) the book plays an important role in allowing the reader into the world of the acquisition of some well known national landmarks. The process and difficulties through which these locations were acquired makes for an important understanding of just how difficult it can be to appropriate physical space into national myth. West states in her conclusion that "As inheritors of the material legacy of the house museum founders, we now see the proper functions of a museum as the presentation of historically accurate interpretations of the American past." Through understanding the historical context in which the properties were acquired we see the process through which figures from history are debated and placed into the historical imagination where they then become part of the national iconography. I do not use the words myth or iconography lightly and I believe that West would agree that there is in many instances a sense of the creation of or addition to the national civil religion. She makes clear reference to these aspects in the first chapter citing both the idea of domestic religion (Colleen McDannell) and Civil religion (Robert Bellah) in he study of Mount Vernon. Throughout he book, and especially in the chapter on Book T. Washington there is clear reference to the importance of religion in the make up of everyday life in American history. Her discussion of the Monticello campaign is an excellent example of her detailed accounting of the historical growth of the property as museum. She does not dwell on the intricacies of the house or the items displayed in the mansion. Rather takes the reader on a journey through the fund raising campaign to purchase the house, including the appropriation of Jefferson as democratic model for the party in the 1920s and 30s, to the establishment of a curator for the house. She clearly shows in her explorations that the appropriation of both the property and the historical inhabitants reflects in large part the political climate of time. For example her discussion the Booker T. Washington birthplace, is filled with descriptions of the desegregation movements in which the events were couched. The George Washington Carver birthplace she seems to say would not have been appropriated had I not been the result of the need to acquire an African American location in order to pacify African Americans in the 1940s. In these descriptions she pays great attention to details about the historical context of which she speaks. Occasionally I believe she may have paid too much attention, leaving the intended subjects in order to emphasis the political fervor of the time. A god example might be the beginning of Chapter 4. The section is titled "The Bricks of Compromise settle into place: Booker T Washington's Birthplace and the Civil Rights Movement." The first subsection of the chapter however is a discussion of the growth of house museums under New Deal politics. The section is extremely illuminating as to the history and expansion of house museums in the 1930s yet it has little directly to do with the chapter heading. That is not to say however that she does not provide further insight into areas that might previously have been glossed over in survey course on such subjects as the civil rights movement and gender studies in the United States. West highlights the importance that women played in the acquisition, development and promotion of these house museums. Further she approaches although does not fully develop the exploration of the transition from women as curator to men in the "professionalizing" of the filed. I think I was disappointed that the text was not more focused on the untold stories of the domestics and of women in these houses, but upon further reflection I suppose West never promised that in her title. The text is extremely useful, not only as history of the house museum movement but also in its exploration of race, gender and general history. How the Booker T. Washington birthplace became a landmark or when Monticello was dedicated as a house museum gives great insight in to the attitudes and political leanings of the country at times in history. There is a great deal of information in the book that relates to theories of consumer culture. West is only able to briefly mention these items in her book. I believe that her text could be a useful starting point for those interested in pursuing this line of thought as an exploration of consumer culture in twentieth century United States. Through the exploration of the political environment in which these homes became museums West illustrates well the power of the museum to be used as not only a center for learning and cataloguing the past but also of influencing the present and the future. As she states in her conclusion "early house museum founders knew the power of historical imagination to inform perceptions of current problems, energize social action, and legitimate authority and principles."

1 comments about Pamphlet Architecture 25.

1. About time! This is a great way to introduce to students that architecture can be something much much more.

No comments about 306090 03: Urban Education.

4 comments about Liang and Lin: Partners in Exploring China's Architectural Past.

1. Wilma Fairbank catched my nurves of impression this time,when I found out there is a book described Liang and Lin's acheivement in English,the only one,an expensive one,but it worthes it.I decided to continually followed Lin's way,to do some research of classical Chinese architecture.I'd never said no to those difficulties since the obstancles always mislead my mind.There is one thing I hopefully didn't lost,a resoluted heart,nothing can move it.I don't care make more money or not,at least I mostly convinced myself to be a person have a pursuit of dreams.You could call me a freak,and I am still on the way to success.Lin and liang are the partners worked together to reach a goal.Unfortunatelly,I am an indepandent loner also emerged in the amazement of exploring a lost world.Thanks for Wilma's book,I could come trough the tunnel of history again.



2. Lin & Liang are forrunners of contemporary Chinese architecture. Like most idealistic intellectuals of the period, they went out to learn from the west and returned back home to contribute what they had learned.

   This is an important trend in modern Chinese history. The long list of intellectuals includes Sun Yat Sen, Liang Qi Chao(the father of Liang)Chao Yuan Ren, Zhou En Lai, Tang Xiao Ping,.... It was a traumatic period for modern China. It was a time of possibilities, opportunities and frustrations.

   One could not imagine the archievement and contributions of modern China to the world without these intellectuals.

   The stories as told by Madame Wilma Fairbank is descriptive, touching and informative at the same time. Mrs. Fairbank(wife of John Fairbank) is a poet and historian at the same time. The book (text and images)is western journalism at its best.

   The most difficult period for Lin & Liang is not Sino-Japanese War period. Although physically, Lin suffered from fleeing around and illness, but their spirit were high and friends were always around.

   The most difficult period was after the liberation. Lin & Liang were destined to work with Chairman Mao, the founder of PRC. Based on their fruitful research and intellectual mind, they come up with the conclusion and dedicated their lives to the preservation of Chinese artefacts, and in most cases, Chinese architectural heritage.

   As detailed descripted and well put by Madame Fairbank in the book, Lin & Liang travelled all over China and had produced hundreds and thousands of research papers with surveyed plans and photos. Wilma should have known, she joined and lived with them more than once. The Liangs' ideal and proposals to preserve holistically the ancient city of Beijing must had been in conflict with Chairman Mao's ideas. As the founder of PRC, Mao of course, would have his own plans. He believes, to me wrongly, that "Man would defeat Nature". He would like to see factories and other new buildings rising on the horizons of Beijing, Nanjing and everywhere in China.

   This should be a matter of opinion. But as we all know, for a long period of time in contemporary China, a different opinion with Mao would be interpreted as a revisionist liner against the Communist Party! That's why Liang suffered so much and Lin died too young to suffer with him.

   This is an important historic lesson that we, as a human being should all learn and study. Through the process of modernization, how should we deal with our heritage and nature? Liang proposed to preserve Old Beijing holistically. Beijing, as observed by Liang rightly, is the most complete form of an ancient city in the world! He is not an old man keeping only the 'Olive Tree'. Lin and Liang are genuine Chinese Architects. They proposed to preserve the old city walls and towers so that they could become civi open spaces and landscapes. People can enjoy history and live in history walking through.

   Liang's second wife, Madame Lin Zhu said recently,"In the civic society, Liang is respected by many." Well put Madame Lin. (Lin Zhu's piece is included in the book also very moving.)

   The problem is, it takes a few thousand years to build a civi society and a civiization, only takes a few second to destroy them. Should we not give deep thoughts to it.




3. Anyone who want to know more about Liang Si-chen and Lin Hui-yin and their firends should read this book.

   To be honest, I feel what make this book so interesting is the life story of Lin and Liang and their friendship with friends, especially the Fairbanks. The Architecture contents are good too, but the life stories of Lin and Liang, two most important pioneers in Ancent Chinese Architecture studies, make the book very charming and worth of reading.

   You will know more about the history of 20th century China, before, during and after WWII. You will see how communists grab power in this used-to-be-great country and gradually turn these respectible scholars' life upside down. How they were changed from eager supporter of Chairman Mao's so called 'New China' into losing the minimal hope to live on. This is a great book, written by John F Fairbank's wife, to memorize their true friendship with Liang and Lin.

   This is not just another book about architecture. This is a book written with life.




4. when two people decide to join hands and make something happen,that kind of unity becomes so powerful. i think that's what makes Liang and Lin memorable. and Mrs. Fairbank's close relationship with them made their life story vivid to the readers. a great book and great people in it.

No comments about Frank Lloyd Wright's Larkin Building: Myth and Fact.

No comments about Chandigarh's Le Corbusier: The Struggle for Modernity in Postcolonial India (Studies in Modernity and National Identity).

No comments about On Site.

5 comments about 50 Favorite Houses By Frank Lloyd Wright.

1. Along with facing page column of info on the 50 different buildings. Virtually every photo is an exterior shot mostly giving you a feeling of the building in the context of its setting. One of the only large FLW photo books with no black and white photos, the one photo of him being in color which is pretty rare. The book does leave ya feeling that you want more. At 128 pages it's not thin like some of the under 100 page big FLW books but it's not hefty either, that's for sure. It's nicely done. I see that trees are prominent in almost each picture. It is nice to also have a book of just his homes. When presented together in one book without the churches, public or corporate buildings you get a feeling of a tone he set for homes. The homes photographed in the midst of their settings gives you a real sense of how it looks to come up to each of these homes, some in snow, and how they belong in their environment. This is not a masterpiece but it isn't bad either. I think I'd give it 3 1/2 stars. chrisbct@hotmail.com



2. While I learned some things from this book, I was a bit disappointed in the presentation. The photography left a lot to be desired...in some photos, one could not even get a sense of the structure of the building. Also, being a Wright afficionado, I wanted more from the text.

   What could be learned from this book, by someone not familiar with Wright, were the stages of his career (Early Homes, Prairie Houses, Houses of the 20s and 30s, and Usonian Houses).

   The Early Houses were of many different styles, usually dictated by the owner, since Wright did not yet have enough of a reputation to insist on HIS style.

   Prairie Houses (1901 and later) were characterized by art glass, roofs providing shade, bands of windows, open interiors, a ground-hugging form, prominent hearths, and custom (often built-in) furniture.

   In Wright's homes of the 1920s and 30s, he found new ways of using old materials, often making concrete into textured blocks. His most famous residential design, Fallingwater, was built during this time.

   His Usonian Houses were simpler homes, built more economically, with combined living and dining rooms separate from the bedroom zone. These houses were private on the street side with windows in the back and were usually one-story with a low roof.

   No matter what the period of his design, Wright thought that decorations should be limited to one fine item and no bric-a- brac. He thought draperies were unsanitary and believed in "going to nature" for colors used on the inside and outside of his houses. His walls were either punctuated by windows or alcoves or some built-in feature, making it very difficult to hang art. I suppose that Wright felt that his house was all the art an owner needed!

   Not a bad book, but just not very complete.




3. I still don't understand what the scope of this book is.
   50 houses in 61 pictures? FLW's architecture is very rich in details and interesting interior solutions, obviously this can't be shown in 1 (mostly exterior) picture per house. Some of them are from a terrace, a garden or some detail and some are taken at night or at a distance with little to be seen... There are NO plans, NO drawings and little if any information on the design process. Only one paragraph for each house? It lacks substance as it lacks everything. The book itself contains little more information than the index does. If you are interested in FLW's architecture look somewhere else, because you are NOT going to find it here. I am very disappointed with my purchase and still looking for a nice FLW book.



4. Either I like a book, or I don't, so I liked this one, so I gave it 5 stars. Some people give books 2 and a half, which dosnt make since, either they like it or they don't! But anyway, this book was good, I read it for school. I think I will read Diane maddex's other books as well. This book is a good buy!



5. "Special Order" on this book means, I learned after buying it, that you'll get it within 4-6 weeks. You won't see that spelled out in any easy place to find.