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Treasures of Taliesin: Seventy-Six Unbuilt Designs
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Treasures of Taliesin: Seventy-Six Unbuilt Designs

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    Artikelzustand
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    Buch, das gelesen wurde, sich aber in einem guten Zustand befindet. Der Einband weist nur sehr geringfügige Beschädigungen auf, wie z.B. kleinere Schrammen, er hat aber weder Löcher, noch ist er eingerissen. Bei gebundenen Büchern ist der Schutzumschlag möglicherweise nicht mehr vorhanden. Die Bindung weist geringfügige Gebrauchsspuren auf. Die Mehrzahl der Seiten ist unbeschädigt, das heißt, es gibt kaum Knitter oder Einrisse, es wurden nur in geringem Maße Bleistiftunterstreichungen im Text vorgenommen, es gibt keine Textmarkierungen und die Randbereiche sind nicht beschrieben. Alle Seiten sind vollständig vorhanden. Genauere Einzelheiten sowie eine Beschreibung eventueller Mängel entnehmen Sie bitte dem Angebot des Verkäufers. Alle Zustandsdefinitionen ansehenwird in neuem Fenster oder Tab geöffnet
    Hinweise des Verkäufers
    “lh”
    ISBN
    9780809312351
    Kategorie

    Über dieses Produkt

    Product Identifiers

    Publisher
    Southern Illinois University Press
    ISBN-10
    0809312352
    ISBN-13
    9780809312351
    eBay Product ID (ePID)
    5201195

    Product Key Features

    Book Title
    Treasures of Taliesin : Seventy-Six Unbuilt Designs
    Number of Pages
    80 Pages
    Language
    English
    Topic
    Design, Drafting, Drawing & Presentation, Individual Architects & Firms / General
    Publication Year
    1985
    Illustrator
    Yes
    Genre
    Architecture
    Author
    Bruce Brooks Pfeiffer
    Format
    Hardcover

    Dimensions

    Item Height
    0.8 in
    Item Weight
    23.5 Oz
    Item Length
    10 in
    Item Width
    13 in

    Additional Product Features

    Intended Audience
    Trade
    LCCN
    85-002360
    Dewey Edition
    19
    Dewey Decimal
    720/.22/2
    Synopsis
    Frank Lloyd Wright believed that his un­built designs were the most interesting of his works. Here are 106 color plates of his drawings for 76 unexecuted designs. Twenty-nine of the drawings have never been published. Pfeiffer has created a visual history of the development of Wright's work that extends in time from 1895 to 1959and in architectural interest from his admonition to Franklin Watkins to "use cad­mium plated screws with an electrical screwdriver" to secure the cypress siding of his studio-residence to a description of the 26-foot drawing for The Mile High Building that was exhibited on Septem­ber 17, 1956. Wright argued then that "This is the future of the tall building in the Ameri­can city. Level Manhattan to one large green, like Central Park, and erect a few of these well spaced apart and you have the congregation desired by city work and city life, but surrounded with trees, fields, parks and streams." Pfeiffer draws on his long association with Wright to describe the circum­stances surrounding the germination of each project, characterize the person­alities involved, and explain what went wrong and why. The stories include po­litical intrigue and assassination, as well as intimate glimpses of personalities such as Mike Todd and Ayn Rand, and a poignant recollection of Marilyn Mon­roe, who wanted an entire floor of her planned home with Arthur Miller for their children. There is even a residence for a mysterious client whose identity was known only by Wright., Frank Lloyd Wright believed that his un­built designs were the most interesting of his works. Here are 106 color plates of his drawings for 76 unexecuted designs. Twenty-nine of the drawings have never been published. Pfeiffer has created a visual history of the development of Wright's work that extends in time from 1895 to 1959 and in architectural interest from his admonition to Franklin Watkins to "use cad­mium plated screws with an electrical screwdriver" to secure the cypress siding of his studio-residence to a description of the 26-foot drawing for The Mile High Building that was exhibited on Septem­ber 17, 1956. Wright argued then that "This is the future of the tall building in the Ameri­can city. Level Manhattan to one large green, like Central Park, and erect a few of these well spaced apart and you have the congregation desired by city work and city life, but surrounded with trees, fields, parks and streams." Pfeiffer draws on his long association with Wright to describe the circum­stances surrounding the germination of each project, characterize the person­alities involved, and explain what went wrong and why. The stories include po­litical intrigue and assassination, as well as intimate glimpses of personalities such as Mike Todd and Ayn Rand, and a poignant recollection of Marilyn Mon­roe, who wanted an entire floor of her planned home with Arthur Miller for their children. There is even a residence for a mysterious client whose identity was known only by Wright., Frank Lloyd Wright believed that his unbuilt designs were the most interesting of his works. Here are 106 color plates of his drawings for 76 unexecuted designs. Twenty-nine of the drawings have never been published.Pfeiffer has created a visual history of the development of Wright s work that extends in time from 1895 to 1959 and in architectural interest from his admonition to Franklin Watkins to use cadmium plated screws with an electrical screwdriver to secure the cypress siding of his studio-residence to a description of the 26-foot drawing for The Mile High Building that was exhibited on September 17, 1956.Wright argued then that This is the future of the tall building in the American city. Level Manhattan to one large green, like Central Park, and erect a few of these well spaced apart and you have the congregation desired by city work and city life, but surrounded with trees, fields, parks and streams. Pfeiffer draws on his long association with Wright to describe the circumstances surrounding the germination of each project, characterize the personalities involved, and explain what went wrong and why. The stories include political intrigue and assassination, as well as intimate glimpses of personalities such as Mike Todd and Ayn Rand, and a poignant recollection of Marilyn Monroe, who wanted an entire floor of her planned home with Arthur Miller for their children. There is even a residence for a mysterious client whose identity was known only by Wright."
    LC Classification Number
    NA2707.W74P44 1985

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