Richard Guy Wilson

The Mount, Edith Wharton’s country place in the Berkshires, is truly an autobiographical house. There Wharton wrote some of her best-known and successful novels, including Ethan Frome and House of Mirth. The house itself, completed in 1902, embodies principles set forth in Wharton's famous book The Decoration of Houses, and the surrounding landscape displays her deep knowledge of Italian gardens. Wandering the grounds of this historic home, one can see the influence of Wharton’s inimitable spirit in its architecture and design, just as one can sense the Mount’s impact on the extraordinary life of Edith Wharton herself. The Mount sits in the rolling landscape of the Berkshire Hills, with views overlooking Laurel Lake and all the way out to the mountains. At the turn of the century, Lenox and Stockbridge were thriving summer resort communities, home to Vanderbilts, Sloanes, and other prominent families of the Gilded Age. At once a leader and a recorder of this glamorous society, Edith Wharton stands at the pinnacle of turn of the twentieth-century American literature and social history. The Mount was crucial to her success, and the story of her life there is filled with gatherings of literary figures and artists. Edith Wharton at Home presents Wharton’s life at The Mount in vivid detail with authoritative text by Richard Guy Wilson and archival images, as well as new color photography of the restoration of The Mount and its spectacular gardens. "The Mount was to give me country cares and joys, long happy rides and drives through the wooded lanes of that loveliest region, the companionship of dear friends, and the freedom from trivial obligations, which was necessary if I was to go on with my writing. The Mount was my first real home . . . its blessed influence still lives in me." —Edith Wharton, 1934

Life at the Mount

Edith Wharton at Home

Art Institute of Chicago

David Adler

Pauline C. Metcalf

Kisho Kurokawa Gallery of Architecture

Ghenete Zelleke

A collection of photocopied articles published about the David Adler exhibition held at the Art Institute of Chicago, December 6, 2002 to May 18, 2003.

The Elements of Style

David Adler, Architect

Shaun Eyring

Ethan Carr

This diverse new collection of essays, written by scholars, practitioners, and public-land managers, considers the history of public park design, as well as the parks themselves as repositories of cultural values. In exploring the role design has played in these public spaces, the contributors look not only at noticeably planned, often urban, landscapes such as Central Park or Boston’s Back Bay Fens but also at parks such as Yosemite with naturally occurring scenic qualities, which require less development. The essays present design as encompassing not simply a park’s appearance—its buildings and landscape features—but also its functions, how it delivers a culturally significant experience to visitors. Much park design has been fed into or organized by systems promoting preservation (the National Park Service being only the most obvious example), and many of this book’s contributors stress park design’s relationship to preservation, as Americans have become aware of a natural heritage they identify with strongly and want to experience. Other essays treat such engaging topics as European influences on early American parks, the peculiar nature of U.S. regional parks, the effect of the automobile on the outdoor recreational experience, and—in an international context—parks and national identity. ContributorsTal Alon-Mozes, Israel Institute of Technology * Catherin Bull, University of Melbourne * Theodore Catton, University of Montana * Esther da Costa Meyer, Princeton University * Timothy Davis, U.S. National Park Service * Elizabeth Flint Engle, Western Center for Historic Preservation, Grand Teton National Park * Christine Madrid French, independent scholar * Heidi Hohmann, Iowa State University * John Dixon Hunt, University of Pennsylvania * Brian Katen, Virginia Tech * Richard Longstreth, George Washington University * Neil M. Maher, New Jersey Institute of Technology * Catharina Nolin, Stockholm University * Nicole Porter, University of Nottingham * Elizabeth Barlow Rogers, Foundation for Landscape Studies * Katherine Solomonson, University of Minnesota * Lucienne Thys-enocak, Koç University, Istanbul

Scenery, History, and Park Design

Public Nature

Commonwealth Professor of Architectural History Richard Guy Wilson

Kenny Marotta

Although individually and collectively Americans have many histories, the dominant view of our national past focuses on the colonial era. The reasons for this are many and complex, touching on stories of the country's origins and of the founding fathers, the privileged position in history granted the thirteen original colonies, and the ways in which the nation has adjusted to change and modernity. But no matter the cause, the result is obvious: images and forms derived from and related to America's colonial past are the single most popular form of cultural expression. Often conceived solely in architectural terms, from the red-brick and white-trimmed buildings that recall eighteenth-century James River estates to the clapboarded saltboxes that recall early New England, Colonial Revival is in fact better understood as a process of remembering. In Re-creating the American Past, architectural historian Richard Guy Wilson and a host of other scholars examine how and why Colonial Revival has persisted in modern times. The volume contains essays that explore Colonial Revival expressions in architecture, landscape architecture, historic preservation, decorative arts, and painting and sculpture, as well as the social, intellectual, and cultural background of the phenomena. Based on the University of Virginia's landmark 2000 conference "The Colonial Revival in America," Re-creating the American Past is a comprehensive and handsome volume that recovers the origins, characteristics, diversity, and significance of the Colonial Revival, situating it within the broader history of American design, culture, and society.

Essays on the Colonial Revival

Re-creating the American Past

Calder Loth

Charles E. Brownell

William Meade Stith Rasmussen

The long tradition of architecture in Virginia begins with the earliest structures at the Jamestown settlement in 1607, and continues today with some of the most advanced buildings yet completed anywhere. In its legendary landmarks -- Mount Vernon, Monticello, the Virginia Capitol building in Richmond, the James River plantation mansions, the Reynolds Metals headquarters building in Richmond, Washington National Airport, and Dulles International Airport -- as well as in homes, churches, stories, and office buildings across the state, Virginia's architecture is a mirror of the many expressions of America's built environments. This book invites the readers on a journey through the eye and mind of the architect, from the very drawings that give shape and form to the idea, through the tracks and traces found in long lost letters, office records, and other primary sources. You will never see the buildings around you, anywhere, in the same way again. -- From publisher's description.

The Making of Virginia Architecture

Alexander Lee Nyerges

Photographs by Thomas Schiff

Virginia 360°

Richard Guy Wilson

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