Emery Roth (18 results)

Pictorial Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. First Edition. A bright, clean, tight copy sans flecks, tears, stains, and discoloration with all text and illustrations clean/unmarked. "In this ode to Connecticut's Naugatuck River Valley, vibrant photos and moving poetry relate the region's legendary industrial history and ponder its legacy." PROFUSELY ILLUTRATED in full-color photography (most full-page) with accompanying descriptive captions and write-ups. 240 pages. FRB4.…

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: As New. Dust Jacket Condition: As New. NEW Fresh tight bright strong fresh tight jacket boards text. No remainder mark. Inscribed by author? on free end. No other markings. Gift worthy. GREAT photography. Connecticut Industrial Ruins. Illlustrated with Photographs (illustrator).…

Condition: New.

Hardback. Condition: New. In this ode to Connecticut's Naugatuck River Valley, vibrant photos and moving poetry relate the region's legendary industrial history and ponder its legacy. The story begins in 1802, when two metalworking families joined forces to manufacture brass. Business soared during the War of 1812 with the demand for buttons, and soon brass parts became essential in the age of steam and electricity. As large-scale brass manufacturing grew across what became known as Brass Valley, mill towns along the river, such as Torrington and Waterbury, developed into thriving cultural centers. This continued until 2014, when the last plant closed, and the tradition of soot-covered workers charging generations-old furnaces came to an end. This poignant elegy captures the glowing metal flying through the air at the Ansonia foundry in its final days, as well as abandoned opera houses and train tracks, the vestiges of a dying infrastructure and American way of life.…

Hardcover. Condition: New. In this ode to Connecticut s Naugatuck River Valley, vibrant photos and moving poetry relate the region s legendary industrial history and ponder its legacy. The story begins in 1802, when two metalworking families joined forces to manufacture brass. Business soared during the War of 1812 with the demand for buttons, and soon brass parts became essential in the age of steam and electricity. As large-scale brass manufacturing grew across what became known as Brass Valley, mill towns along the river, such as Torrington and Waterbury, developed into thriving cultural centers. This continued until 2014, when the last plant closed, and the tradition of soot-covered workers charging generations-old furnaces came to an end. This poignant elegy captures the glowing metal flying through the air at the Ansonia foundry in its final days, as well as abandoned opera houses and train tracks, the vestiges of a dying infrastructure and American way of life.'.…

Condition: New. Num Pages: 240 pages, 236 colour photos. BIC Classification: 1KBBEC; AJCR; HBJK; HBTK. Category: (G) General (US: Trade). Dimension: 228 x 304. Weight in Grams: 1778. . 2015. 1st Edition. Hardcover. . . . .

Hardback. Condition: New. In this ode to Connecticut's Naugatuck River Valley, vibrant photos and moving poetry relate the region's legendary industrial history and ponder its legacy. The story begins in 1802, when two metalworking families joined forces to manufacture brass. Business soared during the War of 1812 with the demand for buttons, and soon brass parts became essential in the age of steam and electricity. As large-scale brass manufacturing grew across what became known as Brass Valley, mill towns along the river, such as Torrington and Waterbury, developed into thriving cultural centers. This continued until 2014, when the last plant closed, and the tradition of soot-covered workers charging generations-old furnaces came to an end. This poignant elegy captures the glowing metal flying through the air at the Ansonia foundry in its final days, as well as abandoned opera houses and train tracks, the vestiges of a dying infrastructure and American way of life.…

Condition: New. Num Pages: 240 pages, 236 colour photos. BIC Classification: 1KBBEC; AJCR; HBJK; HBTK. Category: (G) General (US: Trade). Dimension: 228 x 304. Weight in Grams: 1778. . 2015. 1st Edition. Hardcover. . . . . Books ship from the US and Ireland.

Hardcover. Condition: Brand New. 1st edition. 240 pages. 9.25x12.00x1.25 inches. In Stock.

Condition: New. KlappentextrnrnIn this ode to Connecticut&aposs Naugatuck River Valley, vibrant photos and moving poetry relate the region&aposs legendary industrial history and ponder its legacy. The story begins in 1802, when two metalworking families joine.

Hardback. Condition: New. In this ode to Connecticut's Naugatuck River Valley, vibrant photos and moving poetry relate the region's legendary industrial history and ponder its legacy. The story begins in 1802, when two metalworking families joined forces to manufacture brass. Business soared during the War of 1812 with the demand for buttons, and soon brass parts became essential in the age of steam and electricity. As large-scale brass manufacturing grew across what became known as Brass Valley, mill towns along the river, such as Torrington and Waterbury, developed into thriving cultural centers. This continued until 2014, when the last plant closed, and the tradition of soot-covered workers charging generations-old furnaces came to an end. This poignant elegy captures the glowing metal flying through the air at the Ansonia foundry in its final days, as well as abandoned opera houses and train tracks, the vestiges of a dying infrastructure and American way of life.…

Condition: New.

Buch. Condition: Neu. Neuware - In this ode to Connecticut's Naugatuck River Valley, vibrant photos and moving poetry relate the region's legendary industrial history and ponder its legacy. The story begins in 1802, when two metalworking families joined forces to manufacture brass. Business soared during the War of 1812 with the demand for buttons, and soon brass parts became essential in the age of steam and electricity. As large-scale brass manufacturing grew across what became known as Brass Valley, mill towns along the river, such as Torrington and Waterbury, developed into thriving cultural centers. This continued until 2014, when the last plant closed, and the tradition of soot-covered workers charging generations-old furnaces came to an end. This poignant elegy captures the glowing metal flying through the air at the Ansonia foundry in its final days, as well as abandoned opera houses and train tracks, the vestiges of a dying infrastructure and American way of life.…

Hardback. Condition: New. In this ode to Connecticut's Naugatuck River Valley, vibrant photos and moving poetry relate the region's legendary industrial history and ponder its legacy. The story begins in 1802, when two metalworking families joined forces to manufacture brass. Business soared during the War of 1812 with the demand for buttons, and soon brass parts became essential in the age of steam and electricity. As large-scale brass manufacturing grew across what became known as Brass Valley, mill towns along the river, such as Torrington and Waterbury, developed into thriving cultural centers. This continued until 2014, when the last plant closed, and the tradition of soot-covered workers charging generations-old furnaces came to an end. This poignant elegy captures the glowing metal flying through the air at the Ansonia foundry in its final days, as well as abandoned opera houses and train tracks, the vestiges of a dying infrastructure and American way of life.…

HARDCOVER. Condition: As New. Dust Jacket Condition: As New. 1st Edition. Heavy 4to. in black cloth, silver lettering to spine. 223pp, numerous plans and photo illustrations in text, index etc . [CONDITION: An extremely well preserved AS NEW very clean and bright unread and unmarked copy (top edge of page block faintly dusty) in an an AS NEW complete Dust Jacket. An excellent copy ] . __To see more of our books on Architecture type DbbARCH in the Keywords search box . . NOTE: Depending on destination this item may require an extra payment for insurance. If so, orders made by card will be completed only after you have approved any such extra cost . We always ship in STRONG PROTECTIVE CARD PARCELS.…

Wrapper title and 244 leaves (numbered 1-324 with unassigned numbers and gaps in sequence as issued and as listed on the Schedule of Drawings), all being photocopies of an original set of blueprints. Oblong folio, 18 1/4 x 25 3/4 inches. "Incidentally, if you're going to build a great project, you should build the world's tallest building." Lee K. Jaffe's 1960 memo contained the seed of what became, for a while, not just the world's tallest building, but, even now, possibly the world's most famous building. Officially opened on April 4, 1973, The World Trade Center was a complex of seven buildings designed by Minoru Yamasaki and Emery Roth & Sons. The four folios of blueprints in this collection date from the breaking of ground through to the arrival of the first tenants, i.e. the most important period of construction. The idea of a World Trade Center in lower Manhattan was first floated in 1945 by the former governor of Florida, David Scholz. Though initially dismissed by New York Governor Dewey as primarily a real estate operation, and vetoed by the Board of Estimate in 1949, the idea continued to be examined by the executive director of the Port Authority Austin Tobin and PA Director of Port Development, Roger H. Gilman. The Port Authority was the only organization with the expertise, remit and ability to generate the funds required to complete a project of this scale. Established in 1921 as a joint fiat of New York and New Jersey, it was the nation's first regional planning authority. It assumed responsibility for the regional planning and development of the entire port district which encompassed terminals in both states, 17 counties and 108 towns. The Port Authority was the "sole institution capable of leveraging a project on the massive scale of the World Trade Center" (Darton). In 1931, the PA's charter was rewritten so as to allow it to use funds generated through pro table projects in order to support unprofitable ones. This revision was instrumental in paving the way for the building of the World Trade Center. The scale of the project was influenced by many different factors, some of which were incorporated into the legislation. One requirement was that at least 75 per cent of tenants should be involved in international business or servicing it. That a project of this scale was also supposed to generate revenue, meant that many of those behind it at the Port Authority staked their careers on it. Guy Tolozzi, the director of world trade stated bluntly, "I came to the conclusion, with Austin, that the only way to achieve that was to build the world's biggest project" (Gillespie p46). As the scale of the project was settled, Tolozzi engaged the Detroit-based architect Minoru Yamasaki to design the buildings. He ordered no strict plan beyond a requisite square footage of office space, hospitality, retail outlets and parking space. The appearance of the building was left entirely up to Yamasaki. Yamasaki (1912-1986) was a Japanese-American architect. Born in Seattle, he studied architecture at the University of Washington and later New York University. He worked for Shreve, Lamb and Harmon in New York and then Smith, Hinchman and Grylls in Detroit before setting up his own firm in 1949. Tolozzi was instrumental in pushing the architects; he flew to Detroit every fortnight to see how things were progressing. The idea of twin towers came to Yamasaki relatively early in the piece as one way of satisfying the required office space. Tolozzi was impressed with the initial drawings which included twin towers of 80 storeys. They were, however, roughly two million square feet short of what Tolozzi had asked for. Tolozzi told Yamasaki to revise the towers beyond the 80 floors. He told the architect: "Yama, President Kennedy is going to put a man on the moon. I want you to build me the tallest buildings in the world." The New York firm Emery Roth and Sons were also hired to work with Yamasaki on the World Trade Center. They had built more post-war office buildings in New York than any other architects and had come to prominence as a leading exponent of Art Deco and Beaux-Arts styles which were incorporated into many of the hotels and apartment buildings in the 1920s and 30s. Their portfolio included landmarks such as the Ritz Tower Hotel, the St. Moritz Hotel, the Pfizer Building and the Sperry Rand Building. At this stage, Emery Roth had retired and the business was being run by his two sons, Julian and Richard. Julian was educated at Columbia University and, having joined the firm as specifications writer, oversaw the business side of the operation. Richard attended MIT, where he received a bachelor's degree in architecture. At the time of this project, he was the chief designer. Although the project was met with several delays and much criticism over an ever-expanding budget, a significant boost came when US Customs became the first tenants to sign a lease - the plans for their designated building are included in this set. The first tenants to move in (on December 15, 1970) were Irving R. Boody and Company and Export-Import Services. At this stage, construction was still underway and they had to contend with the sounds of drilling, varying temperatures, and often had to use different entrances and exits depending on the work being completed. Nevertheless, Boody received its first order (for spices sold from Sri Lanka to Colombia) within an hour of opening and life in the World Trade Center began its thirty-year reign as the symbol of New York City. This contemporary photocopy of the plans for Tower A belonged to [ADD MORE HERE] REFERENCE: Darton, E. Divided We Stand: A Biography of the World Trade Center. NY, 2011; Gillespie, A.K. Twin Towers: The Life of New York City's World Trade Center. NJ, Rutgers University Press, 2001. Edgebound with three screws at left margin. Signed by Goldberg in green ink at the lower right of the title Wrapper title and 244 leaves (numbered 1-324 with unassigne.…

225 pp. total, including cover. Oblong folio, 460 x 630 mm. "Incidentally, if you're going to build a great project, you should build the world's tallest building." Lee K. Jaffe's 1960 memo contained the seed of what became, for a while, not just the world's tallest building, but, even now, possibly the world's most famous building. A complete set of the 1967 blueprints for Tower A of the former World Trade Center, previously owned by Walter Buser, a team leader for the Port of New York Authority Trains and Rail division, which was tasked with designing the five levels of transporation terminals in the complex; each team leader was given their own set of plans to work from. The Port Authority was the only organization with the expertise, remit, and ability to generate the funds required to complete a project of this scale. Established in 1921 as a joint fiat of New York and New Jersey, it was the nation's first regional planning authority, and was deemed the "sole institution capable of leveraging a project on the massive scale of the World Trade Center" (Darton, E. Divided We Stand: A Biography of the World Trade Center. NY, 2011). In 1931, the PA's charter was rewritten so as to allow it to use funds generated through pro table projects in order to support unprofitable ones. This revision was instrumental in paving the way for the building of the World Trade Center. The blueprints show all aspects of the towers - from the smallest details of doorknob design and the hidden workings of electric, drainage, and ventilation schematics to the epic record-setting scale of the buildings seen in their full profile. From the outset, the World Trade Center complex was criticized for its bland aesthetics and extravagant cost; yet it grew to be the preeminent symbol of New York's financial and cultural power, giving shape to the city's famous silhouette. The destruction of the World Trade Center on September 11, 2001, was a defining moment of the present era. All sheets are dated in-print July 31, 1967, with no additional revisions; a full collation list is below.Five of the more iconic sheets from the blueprints have been framed separately and are included with the bound set: -Full South/North Elevations of Tower A (East/West, Tower B) (Sheet A.A. 301) -Full East/West Elevations of Tower A (North/South, Tower B) (Sheet A.A. 302) -Typical Tower Elevation, showing details at ground level and top (Sheet A.A. 303) -Ground Level Elevations, North/East, Tower A (West/North, Tower B) (Sheet A.A. 305) -Ground Level Elevations, West/South, Tower A (South/East, Tower B) (Sheet A.A. 306) COLLATION: (Pages absent chronologically - 7, 35-36, 61-62, 119-120, 167-168, 236-237, 259-260 - were "Unassigned" in the drawing schedules) 225 leaves total, including cover page, all with "A?A" page preface -Pages 1-6: Plan and finish schedules -Pages 7-176: sub-level and service level floor and core plans, stair plans and sections, core and floor plans for levels 1-110 and the roof, mechanical and equipment room plans, restaurant plans, elevator machine room and escalator sections, bulkhead roof and coping plans, stair details; includes plan 20A as listed -Pages 201-239: tower cross sections, stair details, beam fireproofing details, toilet plans and elevations, core ceiling plans, ceiling details, elevator cab plans and elevations, Skylobby ceiling and corridor plans -Pages 301-324: Main lobby and concourse plans, main lobby elevations and elevator details, facade elevations, interior elevations. Folio blueprints, rectos only; all pages slightly worn at edges, corners bumped, otherwise very good; bound at left margin with two brass fasteners 225 pp. total, including cover. Oblong folio, 460 x 630 mm.…