892 Book Reviews TECHNOLOGYAND CULTURE Organization.” Other smaller categories include forty-three entries under “Reproductive Technology,” the aforementioned survey of women and technology in developing nations, and a curious emphasis on women airplane pilots. To begin each category, Bindocci has chosen a number of marvelous archival photographs, mosdy of American women in the interwar period. Compiling a substantial bibliography such as this one can be a thankless task. Therefore those of us who work on subjects relating to women and technology owe Cynthia Bindocci a debt ofgratitude for the time and effort she has spent to aid our scholarship. Arwen Mohun Dr. Mohun is assistant professor of history at the University of Delaware. The Staircase, vol. 1: History and Theories; vol. 2: Studies ofHazards, Falls, and SaferDesign. Byjohn Templer. Cambridge, Mass.: MIT Press, 1992. Pp. xiv+185; xvi+200; illustrations, tables, glossary, appendix, bibliog raphy, index. $27.50; $32.50; $55.00 the set. As the understated main title of this two-volume set suggests, The Staircasejoins that emerging family of exhaustive studies devoted to all possible aspects, historical and technological, of a single object type. So far we have seen The Pencil (Henry Petroski, 1989), TheAmerican Railroad Passenger Car (John H. White, 1982) and Freight Car (White, 1993), and Zipper (Robert Friedel, 1994). By their nature, such worthy studies court the danger of being labeled (usually incorrectly) as narrow exercises in connoisseurship, or worse, antiquarianism, with all the overtones of noncontextual wallowing in one’s favorite obsession. Collector groups have long produced great tomes on duck decoys, orange-crate labels, motorcycles, plumb bobs, and wrenches, happily excluding all other life forms and forces. This monophasism, however, pays considerable divi dends for the larger society when such specificity is allied with a broader understanding and treatment of human interactions that may or may not occur around the object ofattention. HereJohn Templer rises to the challenge, with a unified social and technical study of steps, those stationary but highly interactive rectangles of wood, metal, and stone that connect all levels of the built environment. As in Robin Evans’s Fabrication of Virtue: English Prison Architecture, 1750-1840 (Cambridge, 1982), Templer looks both at how a structural system has evolved over the centuries and at the various impacts of this system on its users, a pair of goals well beyond the scope of Cleo Baldon and lb Melchior’s pretty but shallow Steps and Stairways (New York, 1989). Steps, climbing poles, ladders, ramps, handrails, companionways, and great sweeping staircases in all their dogleg and helical variations come before Templer’s gaze. As a senior professor of architecture at Georgia Institute of Technology, Templer adopts the mantles of archi TECHNOLOGYAND CULTURE Book Reviews 893 tectural engineer and social scientist in deconstructing every square inch ofa stair’s working surfaces, preferably a well-worn stair that reveals patterns of habitual use. At the heart ofTempler’s study is the realization that stairs historically have been mistaken (largely by architects and builders) as architectural elements like columns or pediments, when they actually are architec tonic, functional pieces of hardware that also happen to work visually with the surrounding structure. Elevators and escalators tend to be designed by mechanical engineers rather than architects. Templer shows throughout this pair of books that stairs deserve no less consid eration simply because they appear to be static and aesthetic. The first volume, History and Theories, gives us Templer the globe trotting stairway climber, seeking out stairs of all ages, primarily in Europe and South America. His black-and-white snapshots are often small and fuzzy, but they capture the full sweep of this universal means of ascent and descent: the careworn stone steps to religious shrines of the ancient world, regal risers in the palaces of France and Italy, sword-scarred turret spirals inside cashes of feudal England, all furnish ing indisputable evidence of stair behavior over time. “The staircase,” Templer declares, “ is art object, structural idea, manifestation of pomp and manners, behaviorial setting, controller of our gait, political icon, legal prescription, poetic fancy, or the locus of an epidemic of cruel and injurious falls” (p. x). From Vitruvius to Venturi, Templer charts the work of the great architects...
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