Gwendolyn Wright Alma mater, and, Awards Fellowship in the Humanities from the, 1979-80 Nina Sutton Weeks Fellowship from the, 1982-83 Elected a fellow in the in 1985 Fellowship from the Institute for the Humanities, 1991 Getty Fellowship from the, 1992-93, 2004-5 Architecture Foundation Fellowship, 2005-6 Fellowship, 2006 Scientific career Fields Institutions Gwendolyn Wright is an award-winning, author, and co-host of the series. She is a professor of at, also holding appointments in both its departments of and.

1. History Detectives

Required Texts and Reader: The two texts are available at the PSU Bookstore. Building the Dream: A Social History of Housing in America by Gwendolyn Wright (Cambridge: MIT Press. From Tenements to the Taylor Homes: In Search of an Urban Housing Policy in Twentieth-Century America.

Besides 'History Detectives', Dr. Wright’s specialties are and from after the to the present. She also writes about the exchange across national boundaries of architectural styles, influences, and techniques, particularly examining the and attributes of both and. Contents. Biography Gwendolyn Wright attended, and in 1969 received a in history and art history. She did her graduate work at the, and was awarded her in 1974 and her in Architecture in 1978.

She published her first book in 1980. Wright was hired by Columbia University in 1983, two years later becoming the first female to gain tenure in its prestigious. She succeeded founder as director of the, serving in that capacity from 1988 to 1992. In 2002, she was hired by television producers to be part of what would ultimately become the new TV series '.

Back then the working title for the show was “American Attic”, and the initial concept was to tell stories of history through a focus on houses, hence their interest in adding an experienced architectural historian like Wright. The concept has evolved into solving historical puzzles that use a wide variety of tangible objects to show how historians piece together various kinds of knowledge—and conflicting evidence and diverse perspectives—about what happened, how and why. The show has become one of the most popular and successful programs on PBS.

Wright has remained one of the five hosts in front of the camera from its initial broadcast season in 2003 to the present. In the show’s publicity, she is held up as the team member most likely to suggest how to proceed when the rest are stymied. She has authored four books, edited two others, and written numerous articles, reviews, and essays. Gwendolyn Wright has been recognized for her achievements on numerous occasions, including a Fellowship, 2004-5, a Fellowship in the Humanities from the, 1979–80; a Nina Sutton Weeks Fellowship from the, 1982–83; a Fellowship from the Institute for the Humanities, 1991; a Getty Fellowship from the, 1992–93; a Architecture Foundation Fellowship, 2005-6; and a Fellowship, 2006. She was elected a fellow in the in 1985, honoring literary quality in historical writing.

Wright is divorced. She has a daughter Sophia Bender Koning and a stepson, David Bender. Bibliography Moralism and the Model Home: Domestic Architecture and Cultural Conflict in Chicago, 1873-1913.

1980 (1985 paperback) University of Chicago Press. Chicago residential architectural history in the context of competing economic and cultural forces during the pivotal years 1873-1913. Building the Dream: A Social History of Housing in America. 1981 (1983 paperback). New York: Pantheon (MIT Press paperback).

(648 paperback). US residential architectural history in the context of other developments since the late 1600s. The History of History in American Schools of Architecture, 1865-1975.

(edited with Janet Parks) 1990 (1996 paperback). New York: Princeton Architectural Press. Examination of the role of and changes in the teaching of history within US schools of architecture, including the relationship of architectural history to architectural theory and learning. The Politics of Design in French Colonial Urbanism. University Of Chicago Press. Morocco, Indochina, and Madagascar architectural history during the French colonial administration.

The Formation of National Collections of Art and Archaeology. CASVA/National Gallery of Art. Examination of the architecture and contents of museums and their role in depicting and shaping national identities and aspirations. USA: Modern Architectures in History. Reaktion Press/University of Chicago.

US architectural history survey emphasizing Modernism as a response to changing economic and cultural conditions since 1865. See also. References. PBS History Detectives. Arlington, Virginia: PBS. Retrieved March 15, 2010. Gwendolyn Wright.

History Detectives

Retrieved March 15, 2010. Gwendolyn Wright. Retrieved March 15, 2010. Archived from on June 23, 2010. Retrieved March 15, 2010.

Molaro, Mark (November 9, 2009). New York, NY. PBS History Detectives. Arlington, Virginia: PBS. Retrieved March 15, 2010.

Gwendolyn Wright. Retrieved March 15, 2010. PBS History Detectives.

Arlington, Virginia: PBS. Retrieved March 15, 2010. External links., page on PBS 'History Detectives' website., YouTube interview by Mark Molaro on The Alcove., Wright's own website.

This article explores the ideology behind the contemporary “New Urbanist” movement alongside two key twentieth-century American utopian urban plans for the city of the future, Democracity and Futurama. Both Democracity and Futurama were displays at the 1939 New York World's Fair, and like many contemporary New Urbanist projects, both were totalizing visions—holistic attempts to remake the entire American landscape and in so doing link art and life in the name of democracy. It is the author's argument that many New Urbanist planners suffer from what she calls historical amnesia rooted in a myopic form of nostalgia, since, as she demonstrates in the article, the plans for Democracity and Futurama contain both the closest precursors and the root of many of the problems that proponents of New Urbanism are attempting to rectify. By exploring these two historical models within the context of contemporary urban community building, the author calls for the eradication of historical amnesia in further planning for the city of the future and the development of a new model of American urbanism that appropriates nostalgia for more radical ends and grounds it in the present and its problems.

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