Goddess, Heroine, Beast: Anna Hyatt Huntington's New York Sculpture, 1902-1936 Multiple Occupancy Common Love, Aesthetics of Becoming Social Forces Visualized: Photography and Scientific Charity, 1900-1920 Edward Koren: The Capricious Line Pictures for Books: Photographs by Thomas Roma Modernism and Iraq The New Acropolis Museum Treasures Rediscovered: Chinese Stone Sculpture from the Sackler Collections at Columbia University Revolutions: A Century of Makonde Masquerade in Mozambique Robert Moses and the Modern City: The Transformation of New York Architecture in Print: Design and Debate in the Soviet Union 1919–1935, Selections from the Collection of Stephen Garmey Guide to Phlamoudhi "Please, teach me..." Rainer Ganahl and the Politics of Learning Restoring Byzantium: The Kariye Camii in Istanbul & the Byzantine Institute Restoration The Troubled Search: The Work of Max Abramovitz Moscow: City, Spectacle, Capital of Photography Reflection: Seven Years in Print—The LeRoy Neiman Center for Print Studies Jean Fautrier, 1898–1964 Paris as Gameboard: Man Ray's Atgets Arte Povera: Selections from the Sonnabend Collection Architect of Dreams: The Theatrical Vision of Joseph Urban Percival Goodman: Architect, Planner, Teacher, Painter Experiments in the Everyday: Allan Kaprow and Robert Watts—Events, Objects, Documents Brushed Voices: Calligraphy in Contemporary China Mastering McKim's Plan: Columbia's First Century on Morningside Heights Robert Motherwell on Paper Apostles in England: Sir James Thornhill and the Legacy of Raphael's Tapestry Cartoons The Old World Builds the New: The Guastavino Company and the Technology of the Catalan Vault, 1885–1962 The Post-Pre-Raphaelite Print: Etching, Illustration, Reproductive Engraving, & Photography in England in and around the 1860s Unfaded Pageant: Edwin Austin Abbey's Shakespearean Subjects Robert Smithson Unearthed: Drawings, Collages, Writings Victorian Pleasures: American Board and Table Games of the Nineteenth Century from the Liman Collection Impossible Picturesqueness Sexual Difference: Both Sides of the Camera
Mastering McKims Plan: Columbias First Century on Morningside Heights

Mastering McKim's Plan
Columbia's First Century on Morningside Heights

Barry Bergdoll, Hollee Haswell, and Janet Parks
Wallach Art Gallery, 1997
Distributed by Columbia University Press
8 1/2 x 11", 249 pp., 171 illus., 17 in color
ISBN I-884919-05-7, Cloth, $50
ISBN I-884919-04-9, Paper, $35

Perched on Morningside Heights on the Upper West Side of Manhattan, Columbia University is one of the world's most distinguished centers of learning. It is also one of New York City's leading architectural attractions, not only representing a strong relationship between an institution and a neighborhood where the campus intertwines with the daily life of the city—but also reflecting the creativity and diversity, the competitiveness and toughness, of its setting.

Drawing on an abundance of materials from Columbia's Avery Architectural and Fine Arts Library, this book charts the architectural trajectory of this famed institution and celebrates the centennial of architect Charles Follen McKim's enduring vision of a spatially unified, architecturally integrated urban university.

The brilliant architectural master plan of Columbia University was commissioned in 1894 during a time of changing architectural, educational, and urban trends. The move of the campus from lower Manhattan to Midtown, and eventually to Morningside Heights, offered McKim the opportunity to integrate his sense of the monumental importance of a great university with the civic responsibility of such an institution. The genesis and eventual implementation of a master plan are rare in the history of American campus design, and Columbia's architecture is unique in that it continued to be governed by a unified vision that helped shape its identity for a full century.

At once a lavishly illustrated history of a university's architecture and a dialogue about the changing debates in American architecture, Mastering McKim's Plan will be cherished by architectural historians and historians of New York City as well as by general readers.