McKim Mead & White Archive
Though many critics of F. Scott Fitzgerald’s The Great Gatsby have commented on the crucial importance of the buildings in the novel, none has given full and specific attention to those buildings’ particular architectural styles.1 This is surprising, since, following a tradition in American fiction that reaches as far back as Irving, Poe and Hawthorne,
EVEN in Cuba they know it’s a waiting game, waiting for the Castros to exit the stage, and for Cuba to open up. When Americans finally do arrive in quantity, New Yorkers will notice something familiar about Havana, for a string of New York architects found it fertile ground a century ago.
Irving Underhill (1872-1960), a successful photographer who also took pictures to be rendered as colored postcards or "souvenir cards".
Most accounts of Western architecture in the first half of the twentieth century have concentrated on European functionalism and expressionism. Le Corbusier, Gropius and Mies van der Rohe have claimed the
limelight, although the genius of Frank Lloyd Wright has also been acknowledged. In this rather restricted context, relatively few office buildings of the period 1900
THE continuing banking debacle presents some parallels with the sad case of Charles Tracy Barney, who in the Panic of 1907 lost control of the Knickerbocker Trust Company, which shut down to his disgrace. And just as Mr. Barney’s tragedy was playing out, the seeds were sown for the mutilation of his superb 1903 bank