The American suburban dream house-a single-family, detached dwelling, frequently clustered in tight rows and cul-de-sacs-has been attacked for some time as homogeneous and barren, yet the suburbs are home to half of the American population. Architectural historian John Archer suggests the endurance of the ideal house is deeply rooted in the notions of privacy, property, and selfhood that were introduced in late seventeenth-century England and became the foundation of the American nation and identity.

Spanning four centuries, Architecture and Suburbia explores phenomena ranging from household furnishings and routines to the proliferation of the dream house in parallel with Cold War politics. Beginning with John Locke, whose Enlightenment philosophy imagined individuals capable of self-fulfillment, Archer examines the eighteenth-century British bourgeois villa and the earliest London suburbs. He recounts how early American homeowners used houses to establish social status and how twentieth-century Americans continued to flock to single-family houses in the suburbs, encouraged by patriotism, fueled by consumerism, and resisting disdain by disaffected youths, designers, and intellectuals. Finally, he recognizes “hybridized” or increasingly diverse American suburbs as the dynamic basis for a strengthened social fabric.

From Enlightenment philosophy to rap lyrics, from the rise of a mercantile economy to discussions over neighborhoods, sprawl, and gated communities, Archer addresses the past, present, and future of the American dream house.

John Archer is professor of cultural studies and comparative literature at the University of Minnesota. His book The Literature of British Domestic Architecture, 1715-1842, is the standard reference on the subject, and he also contributed to the Encyclopedia of Urban America and the Encyclopedia of Twentieth-Century Architecture.

Salt Lake City’s oldest residential historic district is a neighborhood known as the Avenues. During the late nineteenth century this area was home to many of the most influential citizens of Salt Lake City. Built from 1860 until 1930, it contains a mix of middle and upper middle class homes of varying architectural styles. This architectural diversity makes the Avenues unique among Utah's historic districts. For the past thirty years, as citizens have rediscovered the value of living in historic properties near downtown and the University of Utah, preservation efforts have soared in the area.

In 1980, the Avenues was established as a historic district and the Utah Historical Society published The Avenues of Salt Lake City. That book’s authors, Karl T. Haglund and Philip F. Notarianni, gleaned much about the area’s history by using information found on the historic district applications. This newly revised edition of The Avenues of Salt Lake City by Cevan J. LeSieur updates the original with a greatly expanded section on the historic homes in the neighborhood, including more than 600 new photos, and additional material covering the history of the Avenues since 1980.

The book is designed so that readers can take it along as a guide when exploring the neighborhoods. All the pictures of Avenues homes are accompanied with architectural information and brief histories of the properties. This volume makes a valuable resource for those interested in the history of the Avenues and its diverse architecture, and for anyone interested in Utah history, Utah architecture, and historic preservation.
 

Copublished with the Utah State Historical Society. Affiliated with the Utah Division of State History, Utah Department of Heritage & Arts.

Stories of the ordinary people who helped build Salt Lake City emerge from a study of their often humble adobe houses. Rather than focusing on men and women in positions of power and influence, the emphasis here is on the lives of people who built their sturdy, simple homes from mud.
     A Modest Homestead provides architectural descriptions of ninety-four extant adobe houses. These homes are for the most part unremarkable, except for their perhaps unexpected construction material. They are as basic as the people who built them—small tradesmen and farmers, laborers and domestics. Author Laurie Bryant discusses the neighborhoods in Salt Lake City where adobe houses have survived, often much renovated and disguised, and she showcases the houses not just as they appear today but as they were originally built. Almost all the houses now have additions and improvements, and without some dissection, they are not always recognizable. They now appear both comfortable and pleasant, which was not always the case in the nineteenth century. What emerges through closer examination and Bryant’s research is a fuller picture of the roughhewn life of many early Utahns. 

Finalist for the Utah State Historical Society Best Book Award.

Honored with the 1990 American Institute of Architects Gold Medal for a lifetime of outstanding achievement, Fay Jones is an Arkansas original. In receiving the medal from Prince Charles of Great Britain, Jones was hailed as a “powerful and special genius who embodies nearly all the qualities we admire in an architect” and as an artist who used his vision to craft “mysterious and magical places” not only in Arkansas but all over the world.

This book accompanied a special museum exhibit of Jones’s life and work at the Old State House in Little Rock. It traces Jones’s development from his early years as a student of Frank Lloyd Wright and Bruce Goff, to the culmination of his ability in such arresting structures as Pinecote Pavilion in Picayune, Mississippi; Thorncrown Chapel in Eureka Springs, Arkansas; and Chapman University Chapel in Orange, California. Through the black-and-white photographs of the homes, chapels, and other buildings that Jones has created and the accompanying captions and interviews of the architect, the reader is allowed a view into this man’s remarkable talent.

Designing structures that fuse architecture and landscape, the organic and the man-made, Jones has created special places which touch their viewers with the power and subtlety of poetry. Herein we learn why.

From the Foreword by Robert Adams Ivy Jr.:

“Fay Jones’s architecture begins in order and ends in mystery. . . . His role can perhaps best be understood as mediator, a human consciousness that has arisen from the Arkansas soil and scoured the cosmos, then spoken through the voices of stone and wood, steel and glass. Art, philosophy, craft, and human aspiration coalesce in his masterworks, transformed from acts of will into harmonies: Jones lets space sing.”