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  1. #31

    Default "Island at the Center of The World"

    If you want to dive into the deep end of New York's history pool,get "Island at the Center of The World" ,by Russell Shorto.

    It's about the Dutch,the original settlers of Manhattan,who through the efforts of Henreich Hudson,"discovered" the perfect port in the New World and proceeded to create the City we are all so proud of today.

    It's a book dense with the history of the early settlement of NY.

  2. #32

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    quotable New York by Gregg Stebben is a great book with quotes of people from NYC about NYC like: Rudolph Giuliani, Ed Koch, Jerry Seinfeld, Donald Trump, Brooke Astor and many more

  3. #33

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    McSorley's Wonderful Saloon, by Joseph Mitchell.

    A collection of short stories, most of them about New York City in the 1930's and 40's.

    A number of very amusing tales about old time NY, and characters such as Professor Sea Gull (Joe Gould) and street preacher the Reverend Mr. James Jefferson Davis Hall.
    Last edited by brianac; March 9th, 2008 at 06:10 AM.

  4. #34

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    Reading New York

    Witness to the Poor, and a Grand Ship Undone

    By SAM ROBERTS
    Published: March 9, 2008

    EVERY generation needs to rediscover Jacob Riis for itself. Born with a preacher’s passion, building on decades of prodigious research by scholars and fellow reformers and empowered by the emerging potency of photography, Riis transformed himself from a penniless Danish immigrant into the conscience of New York and a confidant of Theodore Roosevelt’s.


    Jacob A. Riis Collection
    A scrub woman in 1892, from “Rediscovering Jacob Riis.”

    In companion essays in “Rediscovering Jacob Riis: Exposure Journalism and Photography in Turn-of-the-Century New York” (The New Press, $35), Bonnie Yochelson, a former curator at the Museum of the City of New York, and Daniel Czitrom, a history professor at Mount Holyoke College, assess Riis’s immediate and enduring impact without overlooking his weaknesses and prejudices.

    “How the Other Half Lives,” the title of the work with which Riis remains most closely associated, was an understatement. The poor he chronicled probably accounted for more like three-quarters of New York’s population. An earlier version of the title was more to the point: “How the Other Half Lives and Dies.”

    The authors trace Riis’s evolving reputation in the universe of fellow social activists. In the late 19th century, Riis was first and foremost an advocate for housing reform. Later, he was pigeonholed by progressives for his old-fashioned faith in Christian charity and his distrust of government. Finally, he was rediscovered as an inspiration for the New Deal.

    “I had no special genius, no special ability,” Riis wrote. “I had endurance, and I reached at last the heart of men; that is all I can claim.”
    “Although his innovations quickly became commonplace,” the authors write, “Riis posed a series of urgent, often implicit, questions to himself and his readers, which remain surprisingly apt today: What is the structural relationship between persistent poverty and new immigrants? If different ‘races’ and nationalities possess inherent moral and cultural characteristics, how can that be reconciled with the American creed of individualism? How does environment shape ‘character’? What are the proper roles of government, public philanthropy, and religion in reform efforts? How important is spectacle and entertainment in rousing the public conscience?”

    The text is sometimes too technical and the images repetitive (though this is, after all, a book about imagery). But ultimately “Rediscovering Jacob Riis” is an evocative and valuable reminder both of one unrelenting individual’s ability to make a difference and of the relevance of his revelations to the painfully familiar problems we face today.



    The painting on the cover of John Maxtone-Graham’s “Normandie: France’s Legendary Art Deco Ocean Liner” (W. W. Norton, $100) depicts the fabled liner’s maiden arrival in New York in 1935. It was the beginning of a storied romance that included the ship, its crew and passengers and its host city. Seven years later, the romance ended tragically and somewhat mysteriously on the West Side of Manhattan.

    Mr. Maxtone-Graham, a New Yorker whose two dozen books on the great liners of the past include “The Only Way to Cross,” describes in riveting detail the ship’s exuberant life and its agonizing death throes.

    On Aug. 28, 1939, passengers from Europe disembarked at Pier 88 from the Normandie for the last time. The ship was scheduled to return to France two days later, but the voyage was aborted. That same day, the Bremen sailed home to Germany from New York. Less than a week later, the world was at war.

    For more than two years, the Normandie hibernated off Manhattan, its rugs preserved with four tons of mothballs and the vessel staffed by a skeleton crew of 114. Seized by the United States and rechristened the U.S.S. Lafayette, it was being converted into a troop ship when it caught fire and capsized. Six investigations later, the liner was refloated, towed to Brooklyn and sold for scrap.

    “Lafayette was upended, demeaned and undignified, like a dowager who, slipping on a wintry sidewalk, falls with upraised skirt, helpless prey for voyeurs,” Mr. Maxtone-Graham writes in one of his many eloquent passages. “Thirty thousand of them showed up that first morning alone.”



    Washington Irving’s name may not roll off the lips of Knicks fans, whose team drew its name from the author’s most memorable creation. But as Brian Jay Jones writes in his charming biography “Washington Irving: An American Original” (Arcade Publishing, $29.99), Irving ranked as one of America’s greatest writers, bon vivants and literary showmen.

    It was Irving who not only wrote a “History of New York From the Beginning of the World to the End of the Dutch Dynasty” but also invented its author, Diedrich Knickerbocker, that mythological chronicler of Dutch New York, and perpetrated a literary marketing campaign that Madison Avenue might envy.

    Irving, described by Mr. Jones as “the first American to earn a living by his pen,” was named after the first president (the village of Irvington, in Westchester County, was named after him), and he died not long after completing the final volume of Washington’s biography.

    He left no formal epitaph beyond a literary legacy that included Knickerbocker, Rip Van Winkle and Ichabod Crane, along with the modest hope that while his writings “may appear light and trifling in our country of philosophers and politicians,” if they “possess merit in the class of literature to which they belong, it is all to which I aspire in the work.”

    Copyright 2008 The New York Times Company.
    Last edited by brianac; March 9th, 2008 at 06:05 AM.

  5. #35
    http://tinyurl.com/2ag28z Front_Porch's Avatar
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    Shameless plug: Diary of a Real Estate Rookie is a memoir and about half of it takes place in Manhattan, in both swanky multi-million-dollar condos and the little studio near Lincoln Center where I'm writing this now.

    Less shameless plugs: There are some great New York novels -- Washington Square, A Hazard of New Fortunes, and Manhattan Transfer come to mind. Time and Again by Jack Finney is not as literary, but it is a pretty wonderful window into the New York City of yesteryear.

    ali r.
    {downtown broker, and, er, author, of Diary of a Real Estate Rookie}

  6. #36
    NYC Aficionado from Oz Merry's Avatar
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    Quote Originally Posted by Front_Porch View Post
    Shameless plug: Diary of a Real Estate Rookie is a memoir and about half of it takes place in Manhattan, in both swanky multi-million-dollar condos and the little studio near Lincoln Center where I'm writing this now.

    Less shameless plugs: There are some great New York novels -- Washington Square, A Hazard of New Fortunes, and Manhattan Transfer come to mind. Time and Again by Jack Finney is not as literary, but it is a pretty wonderful window into the New York City of yesteryear.

    ali r.
    {downtown broker, and, er, author, of Diary of a Real Estate Rookie}
    Not shameless at all, perfectly relevant to this thread!

    I really loved Finney's Time and Again too and also the sequel From Time to Time (with an eerie twist at the end).

  7. #37
    NYC Aficionado from Oz Merry's Avatar
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    Purely a feast for the eyes, just gorgeous photos and captions, Manhattan New York, by Gerrit Engel.

  8. #38

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    July 25, 2008, 9:34 am

    A New History for an Old Skyscraper

    By Sewell Chan


    The Woolworth Building, known for its height when it opened in 1913, is being extensively renovated. (Photo: Marilynn K. Yee/The New York Times)

    Updated, 12:38 p.m. |

    On the evening of April 24, 1913, President Woodrow Wilson pressed a tiny button inside the White House, lighting up the Woolworth Building in Manhattan. It was “the tallest structure in the world, with the one exception of the Eiffel Tower in Paris,” The New York Times reported, and it was a marvel of architecture and engineering.

    Of course, the Woolworth Building has been surpassed in height — by the Chrysler Building in 1930 and by the Empire State Building in 1931 — and it has at times seemed to recede into the fabric of Lower Manhattan. The building’s owners at one point considered converting the building into luxury apartments, but now the structure is being refurbished as top-end offices.


    “The Skyscraper and the City: The Woolworth Building and the Making of Modern New York.”

    “The Skyscraper and the City: The Woolworth Building and the Making of Modern New York,” a book scheduled to be released next week by the University of Chicago Press, offers a new examination of the building and its significance in New York’s history.

    The 400-page book is the culmination of more than 15 years of research by Gail Fenske, a professor of architecture at Roger Williams University in Bristol, R.I., who began the project as a doctoral dissertation at the Massachusetts Institute of Technology.

    The book provides a new perspective on some of the most notable aspects of the Woolworth Building, like its eclectic design — Beaux-Arts with Gothic ornamentation, over steel-frame engineering. The building has been seen as “a throwback, a historicist building, not truly a modern building,” Professor Fenske said in an interview, adding that she instead sees the building as “in a sense emblematic of modernity,” capturing both “the excitement of the new — the breaking of technological barriers — and also, on the other hand, a discomfort with it.”

    Designed by Cass Gilbert, the building, at 233 Broadway, between Park Place and Barclay Street, was commissioned by the retail magnate Frank W. Woolworth and constructed between 1910 and 1913. Woolworth famously financed the building without loans or help from developers. “He financed it on his own,” Professor Fenske said. “It was unnerving to speculators, because he could do whatever he wanted.”

    The book contains numerous illustrations, including one showing a 1929 advertisement for the building, calling it a “Cathedral of Commerce” — a name that has stuck — and lauding its height (792 feet), number of floors (60), weight (206 million pounds), floor area (15 acres), exterior windows (3,000), tons of steel (24,000), bricks (17 million) and tons of terra cotta (7,500).

    In the interview, Professor Fenske said she initially disliked the moniker “Cathedral of Commerce,” finding it glib and simplistic. But as she studied the context in which the tower rose, she said, she began to see the name as appropriate. Its Gothic gestures suggested comfort, “moralizing evocations” of the old world from which many of Woolworth’s customers had come. (Although Woolworth, the 5- and 10-cent emporium, was in some ways the Wal-Mart of its era, it also differed from today’s big-box retailers. For instance, Woolworth’s carried finely crafted products imported from Europe that would be particularly familiar — and appealing — to immigrant customers.) By turning to Beaux-Arts design, Professor Fenske writes, Gilbert and Woolworth “resisted the forces of sensationalism and spectacle” associated with advertising and mass culture.

    The book places the Woolworth Building in the context of its time and place: the booming commercial culture of early 20th century New York; the often unsettling experience of modernization; advances in technology and communications; and a new phenomenon of “urban spectatorship” that made skyscrapers sources of public wonder and admiration.

    Many innovations set the Woolworth Building apart. It contained a shopping arcade, health club, barber shop, restaurant, social club and even an observatory. Its use of technology — including an innovative water supply system, a electrical generating plan, high-speed electric elevators providing both local and express service and what Professor Fenske calls “the first prominent use of architectural floodlighting in the world” — also set it apart. So did the construction process, run by the builder Louis Horowitz of the Thompson-Starrett Company, who managed to avoid labor conflict, rationalize the building process and set a record for speed — paving the way for the famously rapid completion of the Empire State Building nearly 20 years later.

    The building has survived the Woolworth Corporation itself. The company announced in 1997 that it would close its remaining discount stores. The company was renamed the Venator Group, began focusing on athletic wear, and since 2001 has done business under the Foot Locker name.

    Although there are no longer Woolworth’s stores in the United States, the Woolworths Group, a former subsidiary of the American company, continues to operate hundreds of retail stores in Britain.

    Summarizing the legacy of the Woolworth Building, Professor Fenske writes:
    The question of whether the Woolworth Building is, indeed, a great work of architecture may still be open to debate. Yet Woolworth and Gilbert’s project represented in the eyes of contemporaries more than a vulgar contraption for producing a profit, and more than a dubious expression of corporate power, egregious advertising, or an aggressive assault on New York’s new signature skyline.
    As the building approaches its centennial, she argues, New Yorkers should recognize not only its “aesthetic distinction” but also how “it reflected and refracted the many dreams and obsessions of the urban society that produced it.”

    http://cityroom.blogs.nytimes.com/20...comment-403684

    Copyright 2008 The New York Times Company

  9. #39

    Default “The End of the Innocence: The 1964-65 New York World’s Fair”

    “The End of the Innocence: The 1964-65 New York World’s Fair”

    NOT long ago, I wrote that New York’s last World’s Fair, in 1964-65, paled in comparison with the 1939 version, but at least “did expose
    Michelangelo’s ‘Pietà’ to millions and popularized the Belgian waffle.” In his new book, “The End of the Innocence: The 1964-65 New York World’s Fair” (Syracuse University Press, $29.95), Lawrence R. Samuel rejects similar swipes as “dismissive thinking.” Instead, he delivers an overdue and well-deserved encomium to a largely denigrated chapter in the city’s history.

    “There were,” writes Mr. Samuel, the author of several books of social history, “really two fairs in Queens in 1964 and 1965, or at least two constructions of its past. The first,” among the last gasps of the master builder Robert Moses, “is steeped in its official memory, the business enterprise that lost money, overcharged exhibitors, offended the intellectual and aesthetic elite. The other can be found in its popular memory — the experience that most visitors found thoroughly enjoyable, if not enthralling, that sparked imaginations and reshaped people’s vision of the world.”

    Mr. Samuel, like the fair itself, may sometimes overstate his case. But his book is a thoroughly enjoyable, if not always enthralling, reconstruction of both a largely forgotten era and of a society on the cusp of upheaval. No wonder, as he writes, the fair’s organizers bypassed “the uninviting near future” for a distant utopian vision.

    I have my own recollections of the fair. I was 15, and my parents wouldn’t let me go on opening day because of fears that threatened civil rights demonstrations might turn violent, fears that, Mr. Lawrence writes, signaled America’s emergence from a “postwar cocoon.”

    My own loss of innocence, though, was probably more attributable to the good times I enjoyed with various high school and college girlfriends during what must have been a dozen visits to Flushing Meadows over the next two years. These visits exposed me to, among other things, color television, the Ford Mustang, the Pietà and, yes, Belgian waffles.

    For all of Moses’ faults, Mr. Lawrence reminds us, the legacy of his fair includes a mountain of magical individual reminiscences, along with the transformation of the part of Queens that F. Scott Fitzgerald once described as a “valley of ashes” into a great park where, even today, new memories are being made.

    http://www.nytimes.com/2008/07/27/ny...ml?ref=thecity

    Copyright 2008 The New York Times Company

  10. #40

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    GRATUITOUS PLUG FOR SOMEONE ELSE'S COOL THING


    The Brooklyn Historical Society was also at the Frolic today, hot off the presses with their latest publication, a Flatbush Neighborhood History Guide. (It's not yet up on their website to order, but surely will be soon.) Skimming it, I already found a nice tidbit combining two of my favorite things, Prospect Park and the Irish:
    Last edited by brianac; September 15th, 2008 at 11:36 AM.

  11. #41

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    Reading New York

    Apocalypse Forever, a Sharp-Eyed Insider and a Pointed Pen

    By SAM ROBERTS
    Published: October 17, 2008

    NOW that the latest anniversary of 9/11 is behind us, with Wall Street rescued by Washington and New Yorkers sleeping easier because Mayor Bloomberg has decided to run again, you can safely read “The City’s End” (Yale University Press, $37.50).Otherwise, it might be just a little bit too creepy, even tasteless, to wade into what the subtitle describes as “Two Centuries of Fantasies, Fears and Premonitions of New York’s Destruction.”


    Harperweek.com


    The New Yorker Collection 1997 Danny Shanahan, via Cartoonbank.com

    But rather than celebrate the city’s mostly mythical apocalypses, though, Max Page, an associate professor of architecture and history at the University of Massachusetts in Amherst, examines why these events have been repeatedly invoked as a cultural device by, among others, W. E. B. Du Bois, Upton Sinclair and Collier’s magazine in a 1950 cover that envisioned an atomic blast over Manhattan.

    In this erudite but lavishly illustrated volume, Professor Page, who also wrote “The Creative Destruction of Manhattan,” points out that so much of our real and imagined havoc was selfinflicted (from 19th-century overdevelopment that would sink the island to 21st-century climate change that would inundate it) by residents who had no time for history.

    You can argue with some of the author’s sweeping conclusions, but his premise is provocative: “Embracing these fantasies of the city’s destruction is a reaffirmation of New York’s greatness.”

    “We destroy New York on film and paper,” he writes, “by telling stories of clear and present dangers, with causes and effects, villains and heroes, to make our world more comprehensible than it has become.”

    For leavening, Professor Page includes the New Yorker cartoon of King Kong and Godzilla nonchalantly strolling past urban mayhem as pedestrians flee before them. “Let’s face it,” the scaly monster says cheerfully to his furry friend, “the city’s in our blood.”



    You don’t have to know Richard M. Rosenbaum to thoroughly enjoy his charming memoir and political primer, “No Room for Democracy: The Triumph of Ego Over Common Sense” (RIT Press, $27.95). You don’t even have to like him, although nearly everyone does.

    Mr. Rosenbaum, a former State Supreme Court justice, was New York’s gregarious Republican state chairman and a national committee member during the governorship and vice presidency of Nelson Rockefeller, as well as a gubernatorial candidate himself.

    He’s at his best recounting the nuts and bolts (there were plenty of both) of local politics. His advice includes “If you want to get into politics, make sure you can count” and “There is no room for democracy in politics.”

    But the discerning reader is left wanting even more detail on matters like why Mr. Rockefeller disliked Jacob Javits, the state’s senior senator (ego over common sense); which political insider was the middleman in a possible bribery scheme; and the risks of crossing the Rockefeller family and the power that family wielded.

    Mr. Rosenbaum recalls flying over South Dakota on Mr. Rockefeller’s private jet in 1974, eager to see Mount Rushmore, but disappointed when the plane arrived after dark. Mr. Rockefeller left his seat briefly, and by the time he returned, the monument was bathed in floodlights. “One of the most powerful men in the country,” Mr. Rosenbaum remembered, “had just worked a miracle of sorts for my pleasure.”

    Although the presidency was one miracle that remained elusive to Mr. Rockefeller, Mr. Rosenbaum did help him become vice president. And Mr. Rosenbaum shares Mr. Rockefeller’s thinking on the merits of that office.

    “I have known well all the vice presidents since Henry Wallace,” Mr. Rockefeller wrote to Mr. Rosenbaum in 1979, “and I think it is fair to say that all of them were frustrated.”



    “I don’t care a straw for your newspaper articles,” William Marcy Tweed said in 1870. “My constituents don’t know how to read, but they can’t help seeing them damned pictures.”

    Before there was YouTube and “Saturday Night Live,” there was Thomas Nast, whose devastating caricatures in Harper’s Weekly helped produce Boss Tweed’s ignominious downfall. And in “Doomed by Cartoon: How Cartoonist Thomas Nast and The New-York Times Brought Down Boss Tweed and His Ring of Thieves” (Morgan James,$19.95), John Adler, a self-described amateur historian, along with Draper Hill (himself a political cartoonist), present Nast’s work in serialized comic book form.

    Nast’s drawings are fleshed out by an informative and engaging narrative that credits his impact without overlooking his political incorrectness. The caricatures are a vivid reminder that both campaigns and political commentary have, for the most part, gotten tamer.



    Peter Golenbock, the sportswriter who compiled a memorable oral history of the Brooklyn Dodgers, returns to the borough and the genre with “In the Country of Brooklyn: Inspiration to the World” (William Morrow, $32.95).

    “This is a recounting of the importance of immigrants to this land, with the spotlight on those who escaped war, hunger and deprivation to come to Brooklyn,” Mr. Golenbock writes. “It is also the story of those whose bigotry and narrow-mindedness caused them to fight to keep out those who were different from them.”

    The book was born in a question that Mr. Golenbock asked himself one day in the shower: Why was Jackie Robinson beloved in Brooklyn, but hated just about everywhere else?

    Through his interviews with an eclectic group of Brooklynites — Marvin Miller, Ira Glasser, Pete Hamill, Neil Sedaka, Bruce Morrow, John Hope Franklin, Charles Barron and Victor Robles, along with many others — Mr. Golenbock largely accomplishes his mission of letting Brooklynites, through their own stories, reveal the history of a borough that inspired the world and to which, according to some estimates, as many as one in seven Americans can trace their roots.

    As he sums up his mission: “My goal was to try to do for Brooklyn what John Dos Passos did for America.”

    http://www.nytimes.com/2008/10/19/ny...ml?ref=thecity

    Copyright 2008 The New York Times Company

  12. #42

    Default On Architecture:

    Ushering in the Avant-Garde

    A venerable critic collects 40 years of writing on architecture

    by Damian Da Costa
    October 29, 2008

    This article was published in the November 3, 2008, edition of The New York Observer.



    On Architecture: Collected Reflections on a Century of Chang
    By Ada Louise Huxtable
    Walker & Co., 496 pages, $35

    The question of the day is about public taste, and whether there can any longer be such a thing. When I asked a few of my friends who are young architects what they thought of Ada Louise Huxtable, venerable critic most recently for The Wall Street Journal and for whom The New York Times invented the job of newspaper architecture critic, the response ranged from blank to neutral. One told me her parents had mailed to her clippings of Ms. Huxtable’s Journal pieces when she was studying at the Harvard Graduate School of Design, the way parents do when trying earnestly to relate to kids launched far into the realms of professional sophistication. “It’s cute when they do that,” she said.

    Older architects certainly know Ms. Huxtable, and not just because they used to read newspapers. She began her career in the 1950s at Philip Johnson’s side as he helped found the Museum of Modern Art’s department of architecture and design. That early experience says it all about Mr. Huxtable’s eye for buildings: She’s been an avid explainer of architecture’s avant-garde, ushering each new trend (usefully embodied by gods like Louis Kahn and stars like Rem Koolhaas) safely into public understanding, all the while keeping a reporter’s eye on the real estate developers, whose ascendancy Ms. Huxtable, in her new collection of architectural journalism selected from a career spanning 40 years, describes with almost eerie equanimity:

    “If the modern skyscraper has resolved any of architecture’s intrinsic ambiguities, it has done so in a thoroughly unexpected and unsettling way. Today’s big building is a masterpiece of economic manipulation, a monument to the marketplace and entrepreneurial skills. These are skills that command the kind of reverence and awe reserved for theological, moral, and aesthetic issues in earlier societies.”

    On Architecture contains any number of similar remarks—expressions of disdain for the corruption of humane artistic values by the forces of profit, in a style compressed by the rush of daily journalism into simple statements of value and truth. No manifestos nor shrillness nor, most importantly for the critic, any hint of dogma. As she puts it in the book’s introduction, her authority derives simply from having been there—as a chronicler of the 20th century’s revolution in architecture, Ms. Huxtable never had the luxury of deciding whether a building or style or architect was worth thinking about. She processed it all, in real time, and the result is prose as self-assured as it is unadorned with the peacock feathers of architectural theory. “Deconstruction, building as ‘text’ or ‘narrative,’ contextualism, chaos theory, all have had their day and devotees,” she wrote in a 1995 New York Review of Books essay. “A few notable examples of work driven by theory become transient landmarks or textbook illustrations; the rest make it to the New York Times style pages, where styles go to die.”

    If there’s one piece in this collection that distills Ms. Huxtable’s sensibility, it’s “The Way It Never Was,” her assault on the prefab mallification of America’s public spaces. South Street Seaport in New York, Faneuil Hall Marketplace in Boston, Disneyland and Colonial Williamsburg—all create theme-park versions of history divorced from any honest relationship with the past. Ms. Huxtable writes

    “They deny imperfections, alterations and accommodations; they wipe out all the incidents of life and change. The worn stone, the chafed corner, the threshold low and uneven from many feet, the marks on walls and windows that carry the presence and message of remembered eyes and hands. … There is nothing left of the journey from there to here, nothing that palpably joins the past to the present, that makes direct physical and emotional contact with the viewer, the bittersweet link with those who have been there before.”

    Like any good critic, Ms. Huxtable guards that bittersweet link with tenacity and eloquence, and it’s a principle that has filtered down to her successors at The New York Times. When Nicolai Ouroussoff recently complimented the New York Public Library for its choice of British architect Norman Foster to design its new, underground circulating library, it was pure Huxtable: “The project’s potential,” he wrote, “lies in the delicious tension that could be created between old and new.”

    In fact, Ada Louise Huxtable’s standard of judgment is available to everyone, regardless of their expertise in the history and theory of architecture. It’s everywhere implicit in her decades of criticism: She urges us to ask the building if it’s telling the truth.

    Damian Da Costa is on the staff of The Observer. He can be reached at ddacosta@observer.com

    http://www.observer.com/2008/o2/book...ng-avant-garde

    © 2008 Observer Media Group

  13. #43

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    I'm reading "Gotham" by Mike Wallace and I think it is very interesting. Isn't it a Nobel-prize winner?

  14. #44

  15. #45
    NYC Aficionado from Oz Merry's Avatar
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    As for books specifically about NYC neighbourhoods, I highly recommend:

    Neighborhoods of Queens

    Neighborhoods of Brooklyn

    This series will eventually include books on the other boroughs as well. The one on The Bronx was meant to be published in February this year, but the publisher informed me that publication has been delayed until November 2009 .

    Also these:

    Brooklyn: People and Places, Past and Present

    Greenwich Village and How It Got That Way

    Manhattan's Turtle Bay: Story of a Midtown Neighborhood


    From the excellent historical series "Images of America":

    Bedford-Stuyvesant

    South Bronx

    Washington Heights, Inwood, and Marble Hill


    And:

    South Bronx Rising: The Rise, Fall, and Resurrection of an American City

    Harlem Lost and Found

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