In recent years, integral bridges have become increasingly popular in the UK. The Highways Agency standard now requires, where possible, that all new bridges with a length of less than sixty metres should be of integral form. In addition, it has been found that, due especially to the problems and costs associated with failed expansion joints, integral bridges are not only cost effective but also have a longer lifespan. Integral Bridges was commissioned by the Highways Agency to produce guidance for bridge designers by addressing the thermally induced soil/structure interaction problem created by environmental changes of temperature and the associated cyclical displacements imposed on the granular backfill to the bridge abutments. It develops a better theoretical understanding of the cyclic performance, in particular the strain racheting in the backfill soil when in contact with a stiff structure. It also identifies the governing soil parameters and examines their influence in the interaction problem, develops numerical modelling procedures to predict interactive soil behaviour, and identifies and quantifies the controlling features of bridge structures relevant to the interaction problem.

"Fair Park Deco" is a fascinating tour of the 1936 Texas Centennial Exposition. Like every American exposition in the 1930s, it began in economic depression. Although its economy had been buoyed by major oil discoveries in the early '30s, Texas agriculture was hard hit by the Great Depression. By the middle of the decade, state officials had set their sights on a great centennial celebration to help stimulate the economy and attract tourist dollars. "If during the next six months the people of the state could become filled with the idea of holding a big celebration on the one hundredth anniversary of the establishment of Texas independence," the state's centennial commission speculated in July, 1934, "it would have the effect of creating a general forward-looking spirit through the state. It would be more stimulating than anything we can think of, and this effect would be immediate."

This book focuses specifically on the Art Deco art and architecture of Fair Park--the public spaces, buildings, sculptures and murals that were designed for the 1936 exposition. Most of the chapters in the book represent different areas of Fair Park, with buildings and artwork effectively arranged in the same order that a visitor to the Texas Centennial Exposition might have seen them. The art and architecture are featured in original photography by Jim Parsons and David Bush as well as in historic photographs.

Fair Park is one of the finest collections of Deco architecture in the country, but it is so much more: the embodiment of Texan swagger, it is a testament to the Texanic task of creating a dazzling spectacle in the darkest days of the Depression.

Institutions pervade social life. They express community goals and values by defining the limits of socially acceptable behavior. Institutions are often vested with the resources, authority, and power to enforce the orthodoxy of their time. But institutions are also arenas in which both orthodoxies and authority can be contested. Between power and opposition lies the individual experience of the institutionalized. Whether in a boarding school, hospital, prison, almshouse, commune, or asylum, their experiences can reflect the positive impact of an institution or its greatest failings. This interplay of orthodoxy, authority, opposition, and individual experience are all expressed in the materiality of institutions and are eminently subject to archaeological investigation. A few archaeological and historical publications, in widely scattered venues, have examined individual institutional sites. Each work focused on the development of a specific establishment within its narrowly defined historical context; e.g., a fort and its role in a particular war, a schoolhouse viewed in terms of the educational history of its region, an asylum or prison seen as an expression of the prevailing attitudes toward the mentally ill and sociopaths. In contrast, this volume brings together twelve contributors whose research on a broad range of social institutions taken in tandem now illuminates the experience of these institutions. Rather than a culmination of research on institutions, it is a landmark work that will instigate vigorous and wide-ranging discussions on institutions in Western life, and the power of material culture to both enforce and negate cultural norms.

Vivid imagery and original research are the hallmarks of DFW Deco: Modernistic Architecture of North Texas, the latest in Jim Parsons and David Bush's series of books documenting Art Deco and Art Moderne design in the Lone Star State. DFW Deco examines a vibrant architectural heritage that spans legendary eras in American history, from the Roaring Twenties through the Great Depression to World War II. DFW Deco explores the full range of modernistic building styles and some of the uniquely Texan influences that shaped the growing cities of North Texas. Classic zigzag skyscrapers promoted by Fort Worth boosters and Dallas businessmen, Art Deco storefronts in the booming towns of the great East Texas oilfield, and streamlined facilities inspired by innovations in transportation and communications all have a place in this book. DFW Deco looks not only at whole buildings, but also at their finely crafted details, ranging from vibrant tile murals depicting the scope of Texas history on Fort Worth's monumental Will Rogers Memorial Center to stylized gold-leaf pinecones and cotton bolls in the ornate People's National Bank Building in Tyler. Using a mix of original and historical photographs, this lavishly illustrated book promotes an appreciation of Main Street movie theaters, innovative suburban homes, and even a surprising collection of modernistic soft drink bottling plants. DFW Deco also documents the federal programs that helped build exceptional courthouses, schools, and post offices from small towns to big cities. The book ends with a chapter of short biographies of the architects and artists who created these landmarks. By illustrating the broad reach of modernistic design in North Texas, the authors hope to advance the preservation of significant buildings and encourage readers to explore the region themselves and discover their own Art Deco treasures.

Using a host of vibrant images, David Bush and Jim Parsons' "Hill Country Deco: Modernistic Architecture of Central Texas" captures the essence of the Art Deco style of architecture as represented in the Hill Country of Texas. "Hill Country Deco" explores how the rich history of these structures collides with progressive notions of historic preservation for remodeling buildings and restoring facades. This collection of historical and modern photographs will encourage a newfound appreciation for Art Deco as seen in Central Texas.
The Art Deco style covers a range of buildings, from commercial to residential. The sweeping curves of the Alameda Theater in San Antonio exhibit typical Art Moderne style. The Austin U. S. courthouse brings WPA Deco up to date from the 1940s, and the San Antonio Express-News Building showcases the classic style of what most people today think of as Art Deco.
Not only does this book of photography embrace the history of Art Deco, it takes a series of edifices and recognizes the artistic elements and economic purposes of each one. The authors offer insight on architectural preservation while providing an appreciative view of sometimes overlooked corners of Central Texas. Some buildings are obscure and hardly recognizable as what they once were; others were fortunate enough to have their Deco style maintained over the span of decades. Bush and Parsons have made it a personal mission to ensure that the readers of "Hill Country Deco" will, upon viewing these beautiful buildings, yearn for a road trip to some of these sites to discover Art Deco history for themselves.