Building the Gilded Age

[...]in its use of local materials and ground-hugging form, it was the first style to have an organic relationship to the American landscape. [...]McKim, Mead & White did not see a building as a vessel of personal expression. Because of the thumping pace of work, in which a dozen or so buildings...

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Published inThe New Criterion Vol. 29; no. 2; p. 1
Main Author Lewis, Michael J
Format Trade Publication Article
LanguageEnglish
Published New York Foundation for Cultural Review 01.10.2010
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Abstract [...]in its use of local materials and ground-hugging form, it was the first style to have an organic relationship to the American landscape. [...]McKim, Mead & White did not see a building as a vessel of personal expression. Because of the thumping pace of work, in which a dozen or so buildings might simultaneously be in the course of design, this was hardly possible. [...]much is based on negative evidence- she takes the destruction of many letters by White's son as conclusive proof of something disgraceful. [...]Broderick has given us a book that is finished in some parts and roughly blocked out in others, an incomplete torso that barely does justice to its extraordinary subjects.
AbstractList [...]in its use of local materials and ground-hugging form, it was the first style to have an organic relationship to the American landscape. [...]McKim, Mead & White did not see a building as a vessel of personal expression. Because of the thumping pace of work, in which a dozen or so buildings might simultaneously be in the course of design, this was hardly possible. [...]much is based on negative evidence- she takes the destruction of many letters by White's son as conclusive proof of something disgraceful. [...]Broderick has given us a book that is finished in some parts and roughly blocked out in others, an incomplete torso that barely does justice to its extraordinary subjects.
Author Lewis, Michael J
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