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The book will also include a general overview of the origins and development of the Price Tower; the migration of the skyscraper from city to country in Wright's work (this building was originally conceived for St. Mark's-in-the-Bowery in New York in the 1920s); the Price family as patrons of Wright; and the relationship of the decorative arts to the building and its geometries.","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":49942723494161,"sku":"CIN0847827542G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0847827542.jpg?v=1751171128"},{"product_id":"struggle-for-modernism-book-anthony-alofsin-phd-9780393730487","title":"The Struggle for Modernism","description":"This remarkable volume tells the unique history of modernism as reflected in the teaching of architecture, landscape architecture, and city planning at Harvard University's Graduate School of Design. Tracing developments at the GSD, which was home from 1937 to 1952 of Bauhaus founder Walter Gropius, Anthony Alofsin reveals that America had initiated its own modern agenda before the arrival of the European modernist ideology. Filled with archival photographs and plans that have never been published before, this book will be of great interest to students and professionals in the fields of art, architecture, and design, as well as to architectural historians.","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":50173852320017,"sku":"CIN0393730484G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0393730484.jpg?v=1750845380"},{"product_id":"wright-and-new-york-book-anthony-alofsin-9780300256949","title":"Wright and New York","description":"\u003cb\u003eA dazzling dual portrait of Frank Lloyd Wright and early twentieth-century New York, revealing the city's role in establishing the career of America's most famous architect\u003c\/b\u003e \u003cp\u003e\u003c\/p\u003e\u003cb\u003eTraces the transitive relationship of the architect and the city, as well as the genesis of the bohemian culture of the East Village.--Patti Smith, \u003c\/b\u003e\u003ci\u003e\u003cb\u003eNew York Times\u003c\/b\u003e\u003c\/i\u003e \u003cp\u003e\u003c\/p\u003e Frank Lloyd Wright (1867-1959) 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. \u003cp\u003e\u003c\/p\u003e Wright denounced New York as an unlivable prison even as he reveled in its culture. The city became an urban foil for Wright's work in the desert and in the organic architecture he promoted as an alternative to American Art Deco and the International Style. New York became a major protagonist at the end of Wright's life, as he spent his final years at the Plaza Hotel working on the Guggenheim Museum, the building that would cement his legacy. \u003cp\u003e\u003c\/p\u003e Anthony Alofsin has broken new ground by mining the recently opened 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. 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Just as matter decays according to its own physical half life, these accounts are bound together by themes of loss, but they also reverberate with creation and delight. The metaphor of halflife, the measure of physical decay, weaves in and out of the stories. The soothing of loss is found in the observation of life around us. The journey unwinds in five chapters that describe mountains, desert, Villa Trice (a mysterious estate in Texas), Aquidneck Island, and Memphis, Tenessee. The writing is crisp and elegant. The author is an artist, architect, and historian. 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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.     Wright denounced New York as an “unlivable prison” even as he reveled in its culture. The city became an urban foil for Wright’s work in the desert and in the “organic architecture” he promoted as an alternative to American Art Deco and the International Style. New York became a major protagonist at the end of Wright’s life, as he spent his final years at the Plaza Hotel working on the Guggenheim Museum, the building that would cement his legacy.     Anthony Alofsin has broken new ground by mining the recently opened Wright archives held by Columbia University and the Museum of Modern Art. 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