Search results for ""Author David Schuyler""

In Embattled River, David Schuyler describes the efforts to reverse the pollution and bleak future of the Hudson River that became evident in the 1950s. Through his investigative narrative, Schuyler uncovers the critical role of this iconic American waterway in the emergence of modern environmentalism in the United States. Writing fifty-five years after Consolidated Edison announced plans to construct a pumped storage power plant at Storm King Mountain, Schuyler recounts how a loose coalition of activists took on corporate capitalism and defended the river. As Schuyler shows, the environmental victories on the Hudson had broad impact. In the state at the heart of the story, the immediate result was the creation in 1970 of the New York State Department of Environmental Conservation to monitor, investigate, and litigate cases of pollution. At the national level, the environmental ferment in the Hudson Valley that Schuyler so richly describes contributed directly to the creation of the Environmental Protection Agency in 1970, the passage of the Clean Water Act in 1972, and the creation of the Superfund in 1980 to fund the cleanup of toxic-dumping sites. With these legal and regulatory means, the contest between environmental advocates and corporate power has continued well into the twenty-first century. Indeed, as Embattled River shows, the past is prologue. The struggle to control the uses and maintain the ecological health of the Hudson River persists and the stories of the pioneering advocates told by Schuyler provide lessons, reminders, and inspiration for today's activists.

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In Embattled River, David Schuyler describes the efforts to reverse the pollution and bleak future of the Hudson River that became evident in the 1950s. Through his investigative narrative, Schuyler uncovers the critical role of this iconic American waterway in the emergence of modern environmentalism in the United States. Writing fifty-five years after Consolidated Edison announced plans to construct a pumped storage power plant at Storm King Mountain, Schuyler recounts how a loose coalition of activists took on corporate capitalism and defended the river. As Schuyler shows, the environmental victories on the Hudson had broad impact. In the state at the heart of the story, the immediate result was the creation in 1970 of the New York State Department of Environmental Conservation to monitor, investigate, and litigate cases of pollution. At the national level, the environmental ferment in the Hudson Valley that Schuyler so richly describes contributed directly to the creation of the Environmental Protection Agency in 1970, the passage of the Clean Water Act in 1972, and the creation of the Superfund in 1980 to fund the cleanup of toxic-dumping sites. With these legal and regulatory means, the contest between environmental advocates and corporate power has continued well into the twenty-first century. Indeed, as Embattled River shows, the past is prologue. The struggle to control the uses and maintain the ecological health of the Hudson River persists and the stories of the pioneering advocates told by Schuyler provide lessons, reminders, and inspiration for today's activists.

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In "one of the best books available on the changing physical form of the nineteenth-century city in America (Arnold R. Alanen, University of Wisconsin, Madison), Schuyler analyzes efforts by the civic leaders of that time to define a new urban culture by creating open recreational and residential areas for growing cities.

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The Hudson River Valley was the first iconic American landscape. Beginning as early as the 1820s, artists and writers found new ways of thinking about the human relationship with the natural world along the Hudson. Here, amid the most dramatic river and mountain scenery in the eastern United States, Washington Irving and James Fenimore Cooper created a distinctly American literature, grounded in folklore and history, that contributed to the emergence of a sense of place in the valley. Painters, led by Thomas Cole, founded the Hudson River School, widely recognized as the first truly national style of art. As the century advanced and as landscape and history became increasingly intertwined in the national consciousness, an aesthetic identity took shape in the region through literature, art, memory, and folklore—even gardens and domestic architecture. In Sanctified Landscape, David Schuyler recounts this story of America’s idealization of the Hudson Valley during the nineteenth and early twentieth centuries. Schuyler’s story unfolds during a time of great change in American history. At the very moment when artists and writers were exploring the aesthetic potential of the Hudson Valley, the transportation revolution and the rise of industrial capitalism were transforming the region. The first generation of American tourists traveled from New York City to Cozzens Hotel and the Catskill Mountain House in search of the picturesque. Those who could afford to live some distance from jobs in the city built suburban homes or country estates. Given these momentous changes, it is not surprising that historic preservation emerged in the Hudson Valley: the first building in the United States preserved for its historic significance is Washington’s Headquarters in Newburgh. Schuyler also finds the seeds of the modern environmental movement in the transformation of the Hudson Valley landscape. Richly illustrated and compellingly written, Sanctified Landscape makes for rewarding reading. Schuyler expertly ties local history to national developments, revealing why the Hudson River Valley was so important to nineteenth-century Americans—and why it is still beloved today.

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In 1890, Frederick Law Olmsted, then nearly sixty-eight years old, had risen to the pinnacle of his career. Together with his partners, stepson John Charles Olmsted and protege Henry Sargent Codman, he was involved in a number of major ongoing projects, including the Boston, Buffalo, and Rochester park systems, the campus plan for Stanford University, and numerous private estates. In July, he reported that the firm had "twenty works of considerable importance" underway, including nine large parks and six estates that he believed were "matters of public interest." Before the summer ended, the firm's commitments would expand dramatically as Olmsted and his partners were appointed landscape architects for the World's Columbian Exposition in Chicago. As commissions for new park systems, residential communities, grounds for educational institutions, and private homes increased, Olmsted feared that their commitments would exceed the partners' ability to do their best work. Despite these fears, Olmsted's work in the final six years of his professional career would only enhance his considerable reputation, as the ninth and final volume of The Papers of Frederick Law Olmsted reveals. With its impressive waterways, monumental buildings, and verdant islands and shores, the Chicago fair proved to be one of the firm's crowning achievements. The early 1890s also saw the culmination of Olmsted's wide-ranging work on one of his other great projects: the design of the grounds of George W. Vanderbilt's massive estate, Biltmore, near Asheville, North Carolina. In planning the estate's thousands of acres, Olmsted outlined new approaches to landscape design, promoted the creation of the first scientific forestry operation in the United States, designed a model residential subdivision, and proposed an arboretum that would have been the most ambitious in the nation. The Last Great Projects, 1890-1895, chronicles the history of one of the world's greatest landscape design firms while offering a fascinating retrospective on Frederick Law Olmsted's productive final years. The volume also gathers together the important documents of this last triumphant era. As Olmsted neared the end of his career, he wrote some of his most reflective letters and reports, summarizing the legacy of his involvement with the U.S. Sanitary Commission, the quality of landscape design in England and France, the biographical circumstances that proved most important to his development as an artist, and his hopes and fears for the future of his profession.

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