My name is Jennifer Rodgers and the new alumni Historian at the Alumni Association and the director living history program. And it's my honor, today introduce Dr. Craig to Yup. Hey, Professor Craig is Professor Emeritus and the College of Design here at Georgia Tech. After 13 bucks, nearly 14, including several illustrated studies. Evelyn that architecture, It's an architectural historian and published photographer. Is born in St. Louis, received his PhD from Cornell from 681870, served in the US Navy by the carrier us as intrepid EBS 11. During the Vietnam War. He served as secretary of the society of architectural historians, president of the 19th century Studies Association, president of the South Eastern American Society for 18th Century Studies, founding member and past president and long-term treasure of the 12th state southeast regional chapter, the society of architectural historians, Who's Board of Directors. He has served for 28 years. The number of vernacular Georgia Society for commercial archaeology and a former editor, board member at the Southeastern college AT conference is tied at Georgia Tech. And the College of Design since 1973, is author and coauthor, authored and contribute essays to books on architecture to the new Georgia encyclopedia. Additionally, he has presented at over a 160, 160 papers, That's LRE conferences. Incredibly impressive. And we are honored to have him here. This quite warm day in November to talk about his book, Georgia Tech campus architecture and also his upcoming book does have a title. Yes, campus walks out, okay, blogs actually. Alright, So welcome. Thank you. That's it. Thank you very much for being here and those who are online for taking time to bear the rear work and writing books. I've put a tentative title on this, which is yes, on still on the screen of writing books. Random thoughts about a busy life of a Georgia Tech professor, but was conflicting with writing books and what I was engaged in in my professional career here, deb, the sponsors tonight asked me to do several things to review my career at Georgia Tech because I'm now Professor Emeritus. I retired in 2011, but I taught here for 38 years. So for some of you are probably was here before or I think in many cases, it seems like the Middle Ages when I first came in 1973, the architect of this building hired me. It was one of Paul heparins last hires this before he retired. I had the opportunity a couple years later to hire him back when I went to Paris and needed a design critic. So it was kind of interesting relationship I had during the end of his life. I was also asked to describe my various scholarly publications and the various writing activities, both while I was on the faculty and since that time, since I've retired, perhaps see if there's a contrast between what one is able to do when you're busy with students and what you're able to do when you don't have that task. And there's a little bit of a theme about all of this. And certainly for students, it may be of interest to suggest. Is a career something you plan? Or is it full of serendipity? Various things that you may not anticipate, but you want to take advantage of. And in my case, since this is all about writing books, I'd like to talk a little bit about how one book leads to another and how one effort may be in an academic paper or in a class lecture, or participation in a scholarly organization would interact and helped to shape publications. The theme of RPA idiom of seize the day, as to do with taking advantage of those opportunities that come forward? My dad always used to tell me that it was our easier to say yes. Was to take a lot of time explaining why you couldn't do something. So just go for it. There were opportunities and there always are opportunities to serve the discipline, in my case, architecture, art, history, to contribute to the growth of knowledge and to share ideas and lecture halls and in books. I came to Georgia Tech with an unusual background for Georgia Tech, my undergraduate degree was in history. And education. I had a double-major and I was actually credentialed state of Illinois to teach. It's interesting to know how many people Georgia Tech gradually credential to teach that this just go off. Like I've lost my garage. I'm a good site. And then my master's degree was in history. It wasn't until I went for a PhD that I got involved in the history of architecture, went to the School of Architecture at Cornell University. Then pretty soon after that came to Georgia Tech. In fact, virtually immediately after that, I got my degree in August and I was down here in September of that first year and I've stayed here ever since. The Georgia Tech period was full of all kinds of conflicting things that made it difficult to get books out, even though there is this kind of publish or perish attitude. And all universities in one feels it and knows that it's important to do that. The first seven years is all about making sure that you've got something built up for tenure and everybody who's a professor knows that task and that challenge. So in 1973 to 80, that's what I was involved in trying to get some publication at whatever scale and groups of publications out. It right in the middle of that, I was asked, partly because I'd taken a little bit of French and just speak a little bit of French. Administer the program that the architecture school had in Paris. It ran over 30 years. But the year that I was involved was the second year of its running. We had a smaller group because a lot of people signed up for the first year and we had a wonderful time. And as I say, Paul heparin and it was hired to join us in Paris. He's the one the established the Paris program just before he retired. We spent a lot of time there from 1976 to 77 for my wife Carolyn. I there was a honeymoon. We had just got married in December of 1975. So we had this wonderful seven month period in, in Paris. In the mid-80s, I was involved in editing the Sikh Act review. This is a scholarly article. It's now called Art inquiries, and I'll make a comment about that a little bit later. But that's a very busy tasks because this is way before we were dealing with digital layouts and digital submissions, everything was done virtually by hand. We literally took scotch tape and cut out the layout, the galleys. And that was a kind of a one man show with Carol helping me a lot with that. And when we got to those deadlines in 1983, I had an opportunity to take a study trip to China. It was partially sponsored through Georgia Tech's China Association of technology art that's in technology but hosted as well. The Chinese Association. It was an effort to develop an area in professional work that was not what I taught regularly. And because so much technology was going to China, the President thought some of it should be coming back, some knowledge should be coming back. So I went over there to study Chinese gardens. Then came back and gave a lecture series at Georgia Tech on Chinese gardens and the 19 sixties developing that was also to some degree getting in the way of writing books. Because I was busy with those kinds of things. I then learn that the lecture program at the College of Architecture was virtually zip for the next two or three years. It was at budgetary a period in the middle of the 1980s. And so I started and founded a Georgia Tech faculty symposium program. We ran symposiums that the scholarly papers that different faculty members mostly InDesign would give to take the place of the fact that we could not fun to lecture program. And then we also, when Alan Balfour was in charge of the architecture program, he came back later to Georgia Tech and became Dean of the College of Architecture. But early on he was the director of the program. And he was very keen to establish masters thesis work for the MArch program that was not just design-oriented, but with actually have it written EECS and of course that involve those of us in humanities. Big time, we suddenly had all these masters thesis students in addition to our normal teaching loads. And that was again, getting a little bit difficult to write books, which is what I was hoping to spend more time on. I then in the 990s got involved in doing a whole series of lectures for holder hostile programs in Atlanta. I was asked and 990 three to be a speaker at the second world art deco Congress and earth Australia of all places. So I went to the other end of the world week to get involved in that. The travel and programs internally and various other academic involvements was keeping me pretty busy. Because I was teaching in the visual field. I was very interested in photography, and I started photographing buildings. And in the Georgia Tech campus architecture built in there is about a 5050 cut between archival materials that we have relied on very heavily from the board sec library archives or Kendra sent was very, extremely helpful. And all of that in John whole come with the space family planning field on campus. And the other half are not historic photographs because there are more recent buildings. They are my photographs, including the cover photograph and some of those that are in some of the other books that are cover photographs, all in all. Between 980 and the present. I've attributed photographs to over 40 separate books, encyclopedias, an academic major, times cover photographs for those books. And that's been a real joy as a sideline. That's an aspect of when I was doing that. Georgia Tech knew very little about. But nevertheless, it was keeping me busy and I wasn't able to dedicate a lot of time writing. But I did write a series of essays for encyclopedias, architecture, art of gardens and a furniture throughout that same period of time, including which was mentioned 27 different essays for the new Georgia encyclopedia. If you don't know that source, It's a really wonderful website which has topics in history and architecture and preservation and all kinds of her beams online with scholars from all over the state, really all over the country who are contributing to the new Georgia encyclopedia. It's part of the University of Georgia Press. All of that added up to just before I retired. I being asked to be the architecture editor or the Grove Dictionary of art. It was a five volume massive dictionary of all subjects, all fields, all world art and architecture. They gave me the task of coordinating all the architecture parts. So that was a real honor, but that was, again, not a book with my name on it. It was a kind of a an added service activity. And then in 2011, I retire. Some of the academic societies were mentioned and I just want to kind of give you an idea of several of them because interestingly enough, two or three of them were actually founded here at Georgia Tech. There well established professional academic societies all over the country, if not all over the world are participating in them. Some of them are decades old and they were born right here. And a lot of times people may not even be aware. One of them is has the unfortunate acronym of C6. It saw it stands for SES AS ECS. It's the American Southeast American Society for 18th Century Studies. It was established in 1973. One of the leading figures in that society was Annabel Jenkins, who taught English here for a very long time in what became the Ivan Allen College and Annabel talk knee and the joint that very early about the fifth or sixth year of the society. And I've been involved in it ever since. Third, for a period as its president. And interestingly enough, at 1 scholar from all burn came up to me and said, You know, that's the side. He's old enough now that we really ought to have an academic journal, a professional scholarly journal. And I looked at her and I said, I'm President, Don will do it. She said I'd like to be editor. I said done, we'll do it. And so literally before I left, we had established new journal which was called Roman numeral X B, III, which is 18. And it was called new perspectives the 18th century. And that academic journal has now been running something like 18 years with scholars from all over the country participating in it. Though, there's a long standing, I believe C6 Archive, maybe an arc archive here as well. So we've kept that connection. And it's interesting that this year It's not out yet. But there are scholars from all over the country who have just completed a Festus drift, which is a book in honor of Annabel jenkins of the English department at Georgia Tech. It is mostly about theater and culture because that was her interest in 18th century theater. It will be called Elizabeth inch balls, world essays on literature, culture, and theater and the long 18th century. For years I had been telling the C6 people that I was a bit of an interlope or that I was really a 19th and 20th century person that I wasn't that involved with eighteenth-century. But every time a conference would come up, there'd be something on 18th century Britain I'm interested in. They sometimes garden, sometimes country houses. So they asked me to be one of the scholars to participate in that book, which will be out next year. And I'm sure that the archive will be interested in finding that when it gets it's published. The 19th century Studies Association is more to my normal interests. It was founded by people associate, I believe with Emory but also with Morehouse, one of the leading and longtime members is still at Morehouse. Also. Georgia Tech Sarah put cell, who was in the English Department here at Georgia Tech, was one of the founders. I joined it after about three years. It became known as the Southeast 19th century. Association went national in 995, but it dates all the way back to 980. Though it is getting on to be what, 40 years old or more, that it started publishing in 1986, a, a journal called 19th century studies and that has been contributed to over the last 35 years, scholars from all over the world. What is most. But my heart, because I'm a founding member is seesaw, the Southeast chapter of the Society of architectural historians. It effectively, it was founded in room 258 of the architecture West Building in 1983. It started almost immediately in 1986 to publish a scholarly art journal that initially attracted, and it was really aimed at having not just a local chapter, even though it was called the Southeast chapter of the Society of architectural historians, most local chapters are connected with a specific city or maybe a region within one state. But we invited six states dollars to come to that opening meeting and 258 from Georgia from the five states that immediately touch Georgia, North and South Carolina, Tennessee, Florida, and Alabama. And we are now 12 states with everybody from scholars from Texas to Virginia, Arkansas, Louisiana, and Florida, involved in the Southeast chapter of the Society of artists historians. I was one of the founding, was effectively the founding president to establish the board of directors. And then in order to kind of keep the fiscal responsibility of the society and tack became the treasure and left that 24 years later. I don't recommend anybody be a treasurer for 24 years, their suspect you're going to be off to preview to some goods. But nevertheless, it was able to establish that, that society and good financial situation. And next year it will celebrate its 40th anniversary. That seems to be quite amazing. I just seems like yesterday that we put that together and in room 258, I also was the introduction mentioned STI catch, the Southeast college art conference, which I was editor of their review for short period of time in the eighties, about five or six years. It is a branch of the College Art Association and its members are art historians, practicing artists of every discipline you can imagine at a visual resource curators, libraries who deal with visual records and the like. And see cash has been along around longer than seesaw. In fact, when we found a see-saw, we modeled it on CCC, CAC. I knew people that were in leadership, that group, and I knew that worked very well. And we've structured our society in that particular way. It is a branch of CAA to a certain degree or certainly affiliated with the College Art Association. Just as seesaw is affiliated with the Society of our acceptance, involvement with the National Society of Architects historians is even more long standing. And all of this. As a graduate student at Cornell, I gave my first academic paper in San Francisco on Bernard may back, which my major book on Bernard may Beck is over there. California architect. And later, thanks to Tom Galloway who supported the travel for this, I was able to accept the role their board of directors and stayed on the board for 14 years. 10 of those years I was the national secretary, which meant I was also on the executive board and it was a very good experience, but involve a lot of travel. Again, trying to fit in books in between, all of that became somewhat problematic. There were some second, I really shouldn't say secondary societies, but less well known societies that do some really interesting work as well. The Society for commercial archaeology studies those low art building that seem to be ignored by the people who were interested. And Michelangelo and Palladio and the great high art artists and architects of history. Society for commercial archaeology rights, architectural histories of gas stations and motels and drive-in theaters and roadside diners, and as occasionally sponsored their own books, two of which I was able to participate in, so they're co-authored in a way but adding a chapter, one called Roadside America, the automobile and design and culture in which I describe and tried to define the streamline Moderna. And it's something different from Art Deco. And showed things like the downtown greyhound dust IPO and the varsity here in Atlanta as a way to define the Moderne as opposed to the Deco style. And secondly, their book called looking beyond the highway, was all about the Dixie Highway. That highway stretched 20s and 30s from Michigan to Miami Beach. And my essay, and that is a sort of tongue in cheek comparison of that road to paradise where all the winter rows and people in the North go down to Miami Beach by this interconnected Dixie Highway. And it was compared with the pilgrimage route to Santiago in the Middle Ages out of tongue and cheek piece that we want to best essay award actually the year that it came out. And then these vernacular architecture forms are also about low art. That is, buildings that are not. Known architects, but just everyday buildings all over the country. The vernacular architectural form isn't it? There is a vernacular Georgia here in Georgia that is a, a subset of that. So all of that kept this professor very busy. And yet the tags of but one would be able to devote to writing books, which is our topic tonight, was increasingly eroded. And while, if you'll change the slide while all that was going on, my wife and I spent 30 years restoring a great Victorian house in it. I like the ad and his family. That's when it started. It doesn't look much different now other than it's all nice, sparkly, clean, and habitable on the interior, but it involved a huge amount of time. It is dates from 1883. We bought it when it was a 100 years old and spent 30 plus years renovating. It took a long, long time, keeping me busy. And in addition to all of that, also as a historic preservationist, we got involved in restoring first purchasing old run-down houses and art, are restoring them and then ultimately selling them. But over the course of 44 years, we've calculated, we've provided housing for about 400 Georgia Tech over the years who live in home park and have occupied one or the other of these eight houses that we fixed up and renovated. And then by the way, just to make it even more complicated, we took on even more challenging, big job in restoring a huge commercial building. When we bought it, it was in such bad condition that the before pictures with literally show 3.5 brick walls, dirt and sky. And then we worked with an architect here on campus that taught at the design last design college, Bill Russell to help with the structural side and we rebuilt the building. It is now, if some of you may know it is now, the sweet Auburn barbecue over on North Highlands. We no longer own it, but we did the major renovation. Well, that was keeping things rather preoccupied. And so to kind of fit in books, we come to the books that you're, we're interested in, which is the recent ones that literally have come out immediately this year. Toward sex campus architecture has a little bit of a bank history. And the other book, which literally I've included as well because it's in the same images of America series. Atlanta's public art is all about public statues and sculpture and murals all over town. When I started working on the public art book, I came to realize there are over 100 thousand murals on buildings, just area. So it's a huge inventory of which to select around different themes. And I obviously for prejudicial reasons, as you'll see in a moment, selected Portman last major work with sculpture, which is right here on campus, or the cover shot of that book, the Georgia Tech campus architecture book in some way is rooted on my early involvement in campus design. A dissertation at Cornell was on the creation of a College, a small liberal arts college in Illinois called Principia College. And Bernhard made Beck's work on that over a course of 15 years. So I kind of establish this interest and campus design and college buildings from the very beginning as a doctoral candidate and ultimately was looking to publish that work, but that took a long time to come about as well. Then, maybe 15 or 20 years ago when I was at one of the society of architectural historians meetings. In fact, this happened two or three years in a row. I was engaged in conversation with Princeton Architectural Press. They were doing a major campus architecture series, book series of all the peer institutions of Georgia Tech and all the Ivy League schools. And they had this wonderful series of books and they really wanted to do one or detect. And I said, Well, I, I've been developing some material on Georgia Tech, I can do that. And we worked very hard toward that book and had it pretty well ready to go, but it involved a huge involvement with Georgia Tech, a suspension that would have a whole series of pre-sales and various things. And tech wasn't willing to back it and that way. So that material sat on the shelf for several years. It was very disappointing, but I thought it's not going to get lost because there's much that one knows about the campus. And so in one sense, that book evolved into two books. One of which is now out, which is the one you've come to learn a little bit about tonight, which is Georgia Tech's campus architecture in the Arcadia publishing theories. They're series is all about older archival views of the subject matter, postcards and archival photographs like this. The fact both these books start a kind of idea which I hope they'll pick up and do another places which is doing a series on campus architecture through the same series that they are involved, where they publish for 100 books a year. They're very active. They're the biggest publisher of local history on the country. Headquartered out of Charleston. And also the notion that somebody could do Charleston or let's say Los Angeles is public art or new York's public art of Chicago Public Art. Same subjects, sculpture and murals. They're all over the place, all over the country, but focusing on other cities. Though, I'm hopeful that both those books will kick-start series or a kick-start some other work elsewhere around the country. It's certainly has the potential for doing that, not by me, but by other people that would know that work. The second book is a case of several of the books that I've been involved in, which I've started with an Arcadia book and there's series, but realize that the template for those books involves photographs and captions and very limited text. You, you're given a template of so many words for each caption and very short chapters. And there's just a lot of narrative content that they're just simply is not room. So I include and because I had done this much more extensive study of Georgia Tech's College campus. I went back to one of my earlier publishers, suggested that I do a second book on Georgia Tech's campus architecture, which will be out next year or early 2022 and will be called Campus walks. An architect, history, a history of Georgia Tech's architecture. It has the opportunity of much more information about each building. A like number of photographs, mostly different photographs, and an extensive capacity sometimes to critique the buildings, to talk about traditions at Georgia Tech that are somehow related to those buildings and who they're named for and all kinds of other things. So there's much more in this book to come in and 2022. But my perception as I was going through my time as a professor here at Georgia Tech those 38 years was it I really didn't have a lot of time to be producing books and it was a little frustrating. I had stuff that kept stacking up on the shelves and I kept saying I'll get to that one of these days, I'll pull that off and finish that off. And that became problematic. So we can sort of switch and look at the bottom of this. The scorecard was that during the 38 years I was at Tech, I was able to produce five books. But in the 11 years since I left Tech, I've produced nine books now that says something I think that I'll much involved you are with students and how much your time has competed, how hard professors really work here to get those lectures put together and they get the various activities and classwork engaged. And at the bottom I quote My wife, she says all the times that I thought you were retired as I'm still there at the computer working on another book in my retirement years. But what was interesting in another aspect of the challenge at Georgia Tech for somebody like me who came out of history and was a historian of art. Architecture. Was the, the general climate at a research institution that's filled with scientists and engineers. I was pressured or a good deal here to write grant proposals. Because research was defined as external funded research, whereas I defined research or scholarship, and it may not have had sponsors or an ability to have it paid for. You just kinda got an API because you are trying to advance Advanced Learning. And it reminded me, and I've brought this into my classroom many times of this wonderful essay. It was a lecture actually, buy CP Snow, given in the early 1950s. Call and published sense. It was given at Cambridge University in England, published sense as the two cultures. And in that essay, CP Snow said, talking about the mid-twentieth century, that increasingly today as he put it, the intellectual world is divided into two opposing camps. One are the scientists and engineers, and the other are the literati, the humanists, the artists, those who are from a liberal arts tradition, arts and humanities, but are not. What kind of strange bedfellows if they find themselves together with the science engineering, what CP Snow said as a philosopher of the day, was it between these two camps a, a huge gap of mutual incomprehension exists. And that essentially it's very difficult for the scientists and the engineer to talk to the artist and the humanities and vice versa. Force of late, certainly in the last 20 years, president cliff and others have promoted this, this notion of interdisciplinarity and the effort to get these dialogues started to actually designed in the buildings themselves, which is characteristic of so many of those recent buildings. But I felt it to the degree that I was arts and humanities guy and I was surrounded by engineers and architects. Though. The, the history of my writing books, which is the topic today, started relatively innocently. And I want to go through again how one can lead to the other and how sometimes these very small opportunities become bigger opportunities and they're really important, insignificant as they were in my case. Though, for the very beginning, I started out with a series of projects which Local magazines asked me to write some essays on individual houses in Atlanta. The magazines were southern accents and Southern homes. They both were modeled on Architectural Digest, which is a much more familiar magazine perhaps to you, and they would have features on individual houses. I was asked to the right on a series. I don't know how many I did, five or six, maybe, maybe more. One of them. How Harvard was John Portland's house on Northside Drive, what he called entelechy one, which is a very early project in his career and his home here in Atlanta. Those projects came to another series which was interesting, the Southern Homes as a magazine because they realized that in 1987, Atlanta was going to celebrate it's Cisco centennial. Atlanta was found that a 137, so 150 year anniversary was 1987. And still in honor of that, a published a book called plantation to Peachtree Street, a century and a half of classic Atlanta homes. This is long been out of print, but it involves to Georgia Tech Professors, Elizabeth Dowling, my colleague at the College of Design. And I wrote about the 20th century that it was interesting. She said, I'll write about shuts, you write about everybody else. And then the two other scholars, William Mitchell, who was an independent scholar and Elizabeth stand field, state, wrote about the 19th and very early 20th century buildings. And that was a big picture book and handsome star, but it was a co-author ship and that sort of book one. But the connection both and including important in that book and also having written that article, and Southern Homes opened up other opportunities if we can twitch. And there are three books by and with John Portman, which I've had a wonderful series of opportunities with in 990. Publisher in Milan, Italy came to this department and said We're doing a monograph series on important contemporary architects around the world. And we would like to do a, publish a book on on your work up to 990. And his department contacted me and he said, I like what you wrote about my house. My data. Will you allow us to include that or slightly rewritten version of that in the book. We're going to take Paul Goldberger essay on the second entelechy, what he called until we get to which had just been finished on Sea Island, It's orphans, famous CAL and beach house. With that at the end of the book and in between these two bookends, as he called it, those two essays would be the body of work, mostly photographs of what he had been doing in in-between, which was just his career up to that point. It was an oversize and very beautifully produce monograph on MIS department. And I said to myself, John Portman is great company, Paul Goldberger, great company because he is the architectural critic of the New York Times. And here's little old me doing the other part of this though. Yes, I'll do it. And I go to beat down the door to to tell him this is fine. Well, that then lead to a return query from the same publisher in Milan who said, We now have a second series that we'd like to do, which is a individual building by major contemporary architects, a landmark piece of architecture around the world. And we selected your beach house for a whole book that we want to do just on the beach out. And so I get another call from department office and I thought, well, this is kind of fun, but I'm really surprised they want me to write, as he said, the critical essay on the sea island beach house for this new book to be published in Italian and in English in Milan. Well, there were a couple of things that immediately came to my mind. First off, I wanted to know why he wasn't asking Paul Goldberger, the architectural critic, because he's the one that wrote the essay on the same house initially. And I thought, I'm not going to ask you that. I think that's probably not wise to to query. He might change his mind. I'd like to do this. This is a great opportunity. And the second was that I really probably should sit out on MIS department and talk to him about the house. So I have some more information on which to write the essay. And he said something very AFC said, Oh no, not going to say a word about beauty. As you to write what you see, I want you to have a complete independent thought about this. You write the essay. This is your opportunity to analyze it. That was a real challenge because I was sort of mid-career, but it was at the time to do it. So I said Yes, I'll do it. He said We'll we'll we'll send you down and you can spend the weekend at the beach house. And I sought with the sun coming up at dawn. I saw it on the sunset at the end of the day. I saw it all through the day. I saw a light change the forms and the space is all through the day. I saw it was full of apartments, paintings and John important sculpture and other art that he collected from people they admired. There was just a storehouse of information there that was just there visually. Free one of the place for the weekend. And with my camera and I could take visual notes and come back. And I went up to Maryland and my beach cottage and I wrote the essay and just Senate. So he seem to like, and then it went right in the book and it came out as a book called John Portman, an island on an island published in Italy. I was so grateful for that opportunity that I wrote a thank you note to MIS department from my beach and I was writing a little bit of poetry and the 990s, and I decided to write a poem about the beach house, which I entitled temple renewal. It was the place where Portman would escape his office at the end of the day on Friday, it come back on Monday morning people say is it's been, uh, to painting weekend or one sculpture weekend. What did you create this weekend and important new that in a weekend, you could create a work of art much faster than you create a building. And he just had all kinds of ideas, just eager to get out. And so on the smaller scale projects, he could produce them over and over again and get these ideas brought to fruition. So that's why it was his temple of renewal. So I wrote this poem, Senate the MIS department with a little thank you note. And then thought enough about it. When the book came out, he'd published the poem. Well, how about that? I'm now up not only a published poet, but I'm an International. He published poet because this book came out Milan, so that was a kickstart as well and kind of fun. Then finally, all of that led to a third book that was involved with this, which is John Portman, art and architecture. It was published by the University of Georgia Press and was the catalog for the retrospective exhibit that the High Museum held on this departments life were very much toward the end, the MIS departments life. It was just a few years ago. I think I've got a date on your 2009. That book has had, has an article by Paul Goldberger pick from New York Times on Ms. Architecture. I didn't know that this book was even going to come out. When I heard about the planned exhibition, I went to the High Museum and I found through the curator wasn't. I said, you really ought to publish a catalog about this man's work while you're doing that? Because I knew this was coming up really quickly. The exhibit was I months off or something. And they said, Well, we actually have one in process. We're having Mr. Goldberger write an essay on is architecture the mature a Museum of Art. What about his paintings? What about his sculpture? But about his furniture design, there's going to be a lot of that and the exhibit, I know that for sure. He said, Well, we don't know who can do that. We don't have anybody lined up and there's no time. And I thought A-ha, serendipity. Two years before that I had given a paper at an academic conference on John Portland's paintings, culture, and his furniture. And I said, I've got one you can read tomorrow if you want to see it and we can expand it. We can color it to the exact objects of the exhibit. And before I left, we had committed that. That was going to be the second major essays. So Paul Goldberger and I again share the authorship of this massive catalog for the retrospective a John Portman. The High Museum then asked me to give the lecture that kicked off the exhibit. And the book won the best exhibition catalog of the year from the Southeast college art conference, though it had a lot of really good attention. And it was nice to have Georgia Tech's name in that. Again. Finally, a couple other books dealing with the Lambda architecture. This is still in print. I was very interested in art deco and the work of the 20s, 30s, 40s era here in the city. And so I propose the book series with the pelican publishing company out of New Orleans. Based on a book series that they had already published on New Orleans architecture was organized around neighborhoods. And I said I'd rather do a whole series of books on Atlanta architecture, but by historic period. And the first one that's pretty well already is one that deals with 920 night 1959. And it defines four styles of modern architecture, art deco, mom and classic, streamline, modern and modern. While the publishers, for whatever reason, decided to cut the book in half, they only publish the first two with the idea that it would follow up with a series of other books, looting what would be the Chapter 3 and 4 for the, for the rest of it. Then what happens serendipitously, and this is more on the negative side, was that the, there was huge fire at the publishing house and all my second book got burned up. It was all in paper form. I had copies of the paper narrative in my head. But in those days you were sending actually black and white glossy photographs, not digital images and all that material was destroyed. So that second follow up got delayed, but the first one was out. And in 995. Interestingly enough, the Arcadia of that is published. Several of these other books now owns pelican, and so they've got that same relationship all through this whole time. I kept thinking, I've got to get my dissertation out in book form. So I've contacted Gibson. Who was an arts and crafts architectural publisher. But out of Utah and did beautiful books there. Their mission was to create beautiful books to the betterment of mankind. That's their mission statement. And give Smith turns out really like ME back and I said, I gave, I wrote my dissertation years ago. I've been trying to get this material out, get it in book form. I didn't tell him this, but actually right after I left and right when I came to Georgia Tech, I sent that dissertation as a manuscript asking what was then called paragraphs Smith, It's the same publisher to publish it and they did not accept it. They were doing a whole lot of graph and this was a study of one commission. The last great work of payback apex work is mostly in California. People didn't know that much about his work outside of California. But for 15 years he designed and then executed the work of Principia College. It's his last and biggest architectural commission of his career. So it was an important study, but because they were doing a monograph, they didn't want to do the other. And it was a good thing. I was felt terrible time, but it really was a good thing because they would have an all black and white photographs if there had been a JSON. What gives Smith did was create this absolutely lavish, beautiful publication which spoiled me rotten for everything else. It won the best book, the Southeast society Marx has historians at one of the best book for the Seacat group and at one and honorable mention among publishers all over the country and what they call the publishes choice. So it was extremely well received and a bookseller in Chicago said this is the most comprehensive study of an architectural commission for our campus, but even just any architecture prohibition ever read. And what was for me so interesting was the mission was in Illinois and St. Louis area, and the architect was in California and they had to write letters back and forth. And the college kept every piece of that correspondence. Though, every time the client had a question, the architect would answer it and both letters were on file, and so it was a treasure trove for a dissertation and also for my own, my own work. So there's the recap for those five years and I was here on the faculty. You change the yeah. One more. I don't have time to talk about that one little piece in red. If I do afterwards, I will recap, has these five books in the order that they appeared. And am I in the middle of all that? I was asked by an architecture in town, engage in another project that has a Georgia Tech connection. And that is henry Howard Smith, who was an architect in his own right. But what the son of a very prominent architect in the twenties up through the 19 early 60s. Francis Palmer Smith said, I would like you if you would, to write a monograph on my father's work. I have kept his materials, a lot of his drawings, a lot of the correspondence. Would you do this? Well, I was not only in the middle of the work with Portman, but I was also in the middle of trying to finalize the made that book into the to the published version of it. And I said, You've gotta get in line effectively, but I will do. I started going around all through the south and photographing every single building. I could find this long catalog resume that, that we developed on Francis Palmer Smith's work in the Southeast, mostly in Atlanta. Why is he important? He founded the Georgia Tech architecture. But when the students here at Georgia Tech, we're interested in studying architecture. The original charter at Georgia Tech had approved architecture as a field of study, but in the early years everybody got a mechanical engineering degree. Let me introduce chemical engineering then they introduce electrical engineering, but they had no architecture program, even though it was authorized to be one of the programs that they can have, a group of students. And around 19071908, aimed at administration, said, Will you start an architecture program? And they said, yes, if you can get so many students to gather, the number varies as to who you talk to. But they gathered enough and they began the program and they hired this man, the head up the program. He was the only faculty member and architecture and they had this handful of maybe 10 or 15 students to study architecture. And then after a year, the man who was the head of architecture decided I didn't want to do it anymore. And he moved to Florida that start an artistic practice. And suddenly there was a brand new architecture program. Students, fellow teachers. And so Georgia Tech contact that the best architecture school in this country, which was the University of Pennsylvania, that to the head of the program, do you have a recent grad that you could recommend that come down to run our architecture program. And they said Francis polymers. We tried to keep him here on the faculty. He's that good. But he couldn't stay, wouldn't stay here because our program was more an architectural and hearing. So tech took the notion, well, we better not advertise our engineering side. We will say, you can teach design. This will be effectively, no, it won't be named that it'll be effectively a design school. And so. Accepted that, and his students built Atlanta in the 19 twenties and thirties. His best-known students, Philip shot see, who is the designer Swan House and buildings all over the city. But IV and crook and burgeoned statements and a whole host of these people were the early students of Francis almost, yeah. It was just a couple of years older than his students when he was head of architecture and full professor. From 1909 to about 1920 to 920. To me, it was something like 38 years old and he retires. And he decides he's going to start practicing architecture because twenties was a great time to practice. He joins with Pringle and the firm of Pringle and Smith, started building works all over the city. Art Deco skyscraper is houses in through hills and bucket churches all over the city. And his last major work dates from 1960 to 62, which is the Cathedral of St. Philip in Buckhead. Major, major work all over the city and places from Miami to Tennessee in height as well. So yes, this was a treasure trove of material and I was able to put this together. But unfortunately, like the maid back book, which took 31 years to go to print, from the time a lot of the original research was done, or Henry had to wait 70 years before he actually saw the book. I was able to get him a book and hand it to him two or three years before he passed away. And he in the meantime, was contemplating where he would leave all those materials and they comprise now the Francis Palmer Smith collection in the Georgia Tech archives. We have the drawings, the materials, the course of the various things that were made up into that book. And this to one, several Book Awards and we've got copies there if you want to take a look at them. Unusual for what my notion was at this point, I was getting close to the time of retirement. In fact, the year I retired, 2011, went to my 50th high school reunion. I getting that old. And so I went up to St. Louis and a colleague of mine who was at the school way back 50 years ago said that they understand who were in the military and I, you know, in the Navy before you've got your doctorate. And so as I and number of other people we went to school with, why don't we get together at the reunion? Anybody who was Yvette and it was a very small school. So I'm going to be a whole lot of people and share, see stories is the way he put it. I said, well that's an idea. So let's do that because I didn't know a lot of these people who had been in the service necessarily, but also what they did and which service and the like. Well, that meeting took place and everybody started sharing and he's really interested in experiences they had had. Before the meeting was over, somebody came up with the idea, why don't we try to get a book out of this? I was the one who volunteer in the military. Everybody else steps backwards and you're still standing there in the front. So you volunteer to be the editor this. But I was the only one that had any kind of experience with publication. So I said I will add it to this and we'll just see what we get. We have no idea what will come of this, but we'll put a call out. A number of them also wanted to Principia College, which was my Alma mater I know at there, but I wrote about Amazon history and we'll see what happens. So the first email I get is from Berlin, Germany. And the email says, you've described that you're trying to get people that were in school from 960 to 75. 975 is the fall of Saigon. And these people from 960, the sixties was the terrible Vietnam era. That's your sort of window that you've made this crisis. I'm a little older than that. Graduated from the college and 950 six, I think. She said and she said I never was the military and I'm a woman. And I thought Why is she writing me? This is a book of Vietnam military that's, she said, Well, I'll tell you what. I was an international journalist. I was Station in Saigon and I got captured by the come on Rouge in Cambodia. Do you want my story? I said Yes, I do. And so I wrote my friend and Oregon, I said, Well, we've got your story and I scoring, We've got one heck of a third story sort. Within a year two, we had 50 stories from 34 different that some set a poem and a story of one or two. I solicited the guy that was a swift boat operator. Pecan dealt. I wanted him to write up his experience. A few people I knew. And this came out as Red Rivers and a yellow field, memoirs of the Vietnam era. The Red Rivers refers to the three major rivers Vietnam, one of which is the Red River. Hello field makes reference to the South Vietnamese flag, which is a yellow flag with three red pipes that represent the three rivers of it. And so it also by the way, is if you ever served in Vietnam, the ribbon that you get on your uniform or the metal is a yellow feel with three red stripes, which connects to that flag. Also connects to the, the whole history of Vietnam. So this memoirs was published in 19185 years after I retired. Fluids two or three stories and for me as well, but many, many other Vietnam That's today's Veterans Day. So I wanted to let you know very quickly. Two more books on the ocean City Beach patrol. These are lifeguards that's on the next group are the first one was Arcadia, the second one was the book I wanted to write, which is about saving lives, the same thing with much more narrative. Then if we can switch again to other books which are not history so much, although the oyster shell alleys is a book of semi autobiographical short stories, growing up in the 1950s, is a book that is coupled effectively with ARMA. See, Herman's seed is a book of poetry. And those two are a little bit more personal. They came out just literally this, this year. Then finally, Georgia Tech campus architecture back. This is one of four books that have 2020 one day dawn. This is what I was doing during COVID. I couldn't go anywhere, so I might as well sit there and write books. And these four came out. But here is the book that many of you are interested in, the Georgia Tech campus architecture. It starts with the historic district, which is on the national register. Those buildings that up predate Francis Smith coming here is to start the architecture program. And there's a chapter on Francis Smith and his immediate successor John Llewellyn Skinner, who was only here for three years. And then the long-term. And these are the deans of the architect dual that directors the architectures you will herald Bush Brown who built Britain Hall and all those dormitories around it. And a lot of the Guggenheim build in a lot of the buildings along Cherry Street. And then Paul reference academic buildings of the modern era, the early, what he called the functionalists Academic Village. 946 to 61, starting with Hinman, that now lost textile engineering, but the architecture building and the price Gilbert Library right out there as heparin best interior space and Atlanta, which is the reading room for price Gilbert. And then it follows with the time when the architecture program at Georgia Tech was a school of architecture. It was initially part of the College of Engineering. When I first came here, it became a school of architecture than a College of Architecture. And so that period of the sixties through the 90s has a chapter of its own and that of course, loved Wayne cloth. And a man who added over a billion dollars of capital improvements to the campus during his nine years or maybe nine years, very short presidency anyway, Master improvements of the campus work, and then a chapter. The word since is departure he he left tech and became the executive director of the Smithsonian. Then a special chapter on the architecture of athletics, and then a very short piece on fraternities and sororities. Now, probably that same structure is going to govern campus walks, but have much more room to talk much more about those buildings. This is a good start. That's a companion book. I hope you'll enjoy reading that. And as it came out, virtually at the same time, if we could switch to the second one of the public art book by the same series. These came out within two or three months of each other. In fact, public art book is three weeks old. It was it was published October 23rd. It's hot off the press. And I as MIS departments work on the cover which is just out and in the square, just beyond us here. So finally, what's next? Is the projection worth playing around with what might be on the cover of that? I haven't really got it covered designed yet, but of campus walks, the history of Georgia Tech architecture, which is due out in 2022. Slide. And we're the book signing or any questions that you might indeed have about all of that. But those are the 13 going on 14 books of the writing activity. And I've enjoyed the variety of all of that. It stretches from architectural history, do history and memoirs, two short stories and poetry. And, and clearly art history as well, which is a sidebar of mine as well. Public art is dedicated to the man who was first introduced me to our history. And the architecture of Georgia Tech is dedicated to the architecture faculty here. Thank you so much for joining us today.