Acknowledgments

Alofsin, Anthony

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Acknowledgments

Anthony Alofsin

Wright and New York: The Making of America’s Architect

This book benefited from the kindness of friends. Michael V. Carlisle, my literary agent at InkWell Management, believed in the project from the outset. The MacDowell Colony offered refuge and support when I worked on the prospectus and initial chapters of this book. Pat Cloherty supplied her guest cottage in Garrison, New York, when I began writing its final...

Author

Anthony Alofsin

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-32257

Acknowledgments

This book benefited from the kindness of friends. Michael V. Carlisle, my literary agent at InkWell Management, believed in the project from the outset. The MacDowell Colony offered refuge and support when I worked on the prospectus and initial chapters of this book. Pat Cloherty supplied her guest cottage in Garrison, New York, when I began writing its final chapters. Katherine Boller, my editor at Yale University Press, saw the book’s potential and encouraged its publication.

I owe a debt to the University of Texas at Austin for its ongoing support of this book and my work in general. The endowment of the Roland Gommel Roessner Professorship of Architecture in the School of Architecture helped fund research, writing, and obtaining illustrations. I was fortunate to have a series of brilliant research assistants at different stages of the project: Katherine Nye, Willa Granger, and Hannah Simonson. I learned much from each of them.

The staff at several archives provided access and permissions to use their materials. My foremost thanks go to Margo Stipe, Director and Curator of Collections, Frank Lloyd Wright Foundation. Bruce Brooks Pfeiffer, Oskar Munoz, and Indira Berndtson offered generous assistance over the years. The archivists of the Avery Fine Art and Architecture Library, Columbia University, facilitated my many visits to their collections. Without the assistance of Shelley Hayreh, Nicole L. Richard, Margaret Smithglass, and Janet Parks, this book would not have achieved its final form. Jessica Suarez, Curator of Manuscripts and Archives, and Frances O’Donnell, former curator, opened the William Norman Guthrie papers at the Andover-Harvard Theological Library, Harvard University. Lauren Robinson helped in tapping the rich photographic collections at the Museum of the City of New York. Mari Nakahara, Barbara Natanson, and their staff colleagues of the Prints and Photographs Division of the Library of Congress facilitated research. Generous archivists answered queries and their institutions provided illustrations: House Beautiful and the Hearst Corporation, Milwaukee Public Library, Monmouth University, National Bahá’í Archives, New-York Historical Society, New York Public Library, and New York City Municipal Archives.

The thorough observations of two insightful anonymous readers assisted in clarifying the text. Thomas Mellens shared his insights after reading the final draft as part of our ongoing dialogue about the varieties of modern architecture in New York City. Heidi Downey, Sarah Henry, and Raychel Rapazza at Yale University Press moved the project from a manuscript to a book.

Several colleagues and scholars helped answer my questions and shared their insights and their own research. I owe special thanks to Joseph Siry, the pioneering and generous scholar whose research on Wright and Guthrie underpinned my own work. Steven Mansbach has always enthusiastically encouraged my scholarship. Others helped in diverse ways: Donald Albrecht, Gideon Bosker, David De Long, Kelly Dyson, R. Scott Gill, Dixie Guerrero, Mary Jane Hamilton, Guy Haskell, Jack Holzheuter, Wendy S. Israel, Christopher Long, Ron McCrae, Eric O’Malley, Francesco Passanti, Debra Pickrel, Monica Penick, Cathryn Jakobson Ramin, Witold Rybczynski, Robbi Siegel, Patti Smith, William Allin Storrer, and Paul V. Turner.

Lastly, I thank my wife, Patricia, for her love and support.

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