Anthony W. Robins Bücher

Of all the world's great cities, perhaps none is so defined by its Art Deco architecture as New York. Lively and informative, New York Art Deco leads readers step-by-step past the monuments of the 1920s and 30s that recast New York as the world's modern metropolis. Anthony W. Robins, New York's best-known Art Deco guide, includes an introductory essay describing the Art Deco phenomenon, followed by eleven walking tour itineraries in Manhattan each accompanied by a map designed by legendary New York cartographer John Tauranac and a survey of Deco sites across the four other boroughs. Also included is a photo gallery of sixteen color plates by nationally acclaimed Art Deco photographer Randy Juster. Robins has distilled thirty years' worth of experience into a guidebook for all to enjoy at their own pace

Originally published in 1987 while the Twin Towers still stood - brash and controversial, a new symbol of the city and the country - this book offered the first serious consideration of the planning and design of the World Trade Center. It benefited from interviews with figures still on the scene, and archival documents still available for study. Many of those interviewed, and many of the documents, are gone. But even if they remained available today, it would be impossible now to write this book from the same perspective. Too much has happened here. In this, the tenth anniversary year of the disaster, a new World Trade Center is rising on the site. We can finally begin to imagine life returning, with thousands of people streaming into the new buildings to work or conduct business, and thousands more, from all over the world, coming to visit the new memorial. It is only natural, then, that we will find ourselves thinking about what life was like in the original Center. This new edition of the book - expanded to include copies of some of the documents upon which the text was based - is offered as a memory of the World Trade Center as it once was. It is also offered as a reminder of a more innocent time, when the Center stood as a symbol, certainly, of hubris, wealth and power, but also of the conviction that in New York City, Americans could do anything to which they set their minds.