From "Bartleby the Scrivener" to The Office, from the steno pool to the open-plan cubicle farm, Cubed is a fascinating, often funny, and sometimes disturbing anatomy of the white-collar world and how it came to be the way it is—and what it might become.In the mid-nineteenth century clerks worked in small, dank spaces called “counting-houses.” These were all-male enclaves, where work was just paperwork. Most Americans considered clerks to be questionable dandies, who didn’t do “real work.” But the joke was on them: as the great historical shifts from agricultural to industrial economies took place, and then from industrial to information economies, the organization of the workplace evolved along with them—and the clerks took over. Offices became rationalized, designed for both greater efficiency in the accomplishments of clerical work and the enhancement of worker productivity. Women entered the office by the millions, and revolutionized the social world from within. Skyscrapers filled with office space came to tower over cities everywhere. Cubed opens our eyes to what is a truly "secret history" of changes so obvious and ubiquitous that we've hardly noticed them. From the wood-paneled executive suite to the advent of the cubicles where 60% of Americans now work (and 93% of them dislike it) to a not-too-distant future where we might work anywhere at any time (and perhaps all the time), Cubed excavates from popular books, movies, comic strips (Dilbert!), and a vast amount of management literature and business history, the reasons why our workplaces are the way they are—and how they might be better.

     But rather an essential tool for direction, motivation and innovation. No, No, No, No, No, Yes is the perfect inspirational Christmas gift for that someone in your life embarking on a great new challenge. Whether they just graduated from college, are changing careers, have set out to achieve something in the arts or the business realm, or just aspire to do something seemingly impossible, No, No, No, No, No, Yes will help them see that the “no’s” they will confront are simply directions on the map to “yes”. No. It is a word that every CEO, entrepreneur and creative professional has confronted. It is a word that both novices and seasoned professionals dread. It is a word that can easily seem like death to a dream. And yet it is also a word that can point in the right direction. It is a word that motivates us to do something differently, try something else, get better, innovate, keep going. No is a word that looms over every business person's, innovator's, and artist's life. And yet the word is universally met with trepidation and fear because the value of being told No is so little understood. ˃˃˃ No is a facilitator In No, No, No, No, No, Yes. Insights From A Creative Journey, award winning creator of visionary ad campaigns (Cannes Lions, Clios); ad exec (the Shalmor Avnon Amichay/Y&R agency); cartoonist (The New Yorker); speaker (TEDx); and teacher (School of Visual Arts) Gideon Amichay demonstrates that No is not a barrier to success it s a facilitator. No is not the end, but rather an essential tool for direction, motivation and innovation. Based on Amichay s best-selling book in Israel (published by Gordon Books in 2011) and 2013 TEDx talk of the same name, No, No, No, No, No, Yes takes the reader on an illustrated journey of the author's own lifetime confrontation, negotiation and relationship with No . Walking the reader through critical No s in his own 25 year career pitching cartoons to the New Yorker, risky ad campaign concepts as head of one of Israel s biggest ad agencies, impossible outdoor ad installations -- Amichay reveals the wisdom that No rarely ends with an exclamation point. ˃˃˃ No ends with a comma Rather, Amichay demonstrates that No usually ends with a comma: No comma, we don't have the time. No comma, we don't have the budget. No comma, can we see another option? By discovering which No comma he was confronting, Amichay shows how No s in fact led him to eventual Yes s -- including the waiting, the rejections, and the revisions and demonstrates that No, forces us to reexamine, to explore, to rethink, to change directions, to get better. ˃˃˃ No can be the best answer to get In No, No, No, No, No, Yes Amichay shares the essential revelation that sometimes No can be the best answer to get. Through illuminating anecdotes from his own illustrious career running the gamut between business and the arts, Gideon Amichay demonstrates unequivocally that No's, whether from colleagues, from clients, from life, or from within have great power, and are simply directions on the map to Yes. Authoritative, funny, whimsical, wise, and pragmatic, No, No, No, No, No, Yes. Insights From A Creative Journey. is the essential companion for every executive, innovator and artist to navigate the unavoidable odyssey of No in order to find the eventual Yes. Scroll up and grab a copy today.

    This history begins in the slum clearances of the late nineteenth century and the aspirations of those who would build anew. John Boughton looks at how and why the state's duty to house its people decently became central to our politics. Traversing the UK, Boughton offers an architectural tour of some of the best and most remarkable of our housing estates, as well as many accounted ordinary; he asks us to understand better their complex story and to rethink our prejudices. His accounts include extraordinary planners and architects who wished to elevate working men and women through design and the politicians, high and low, who shaped their work, the competing ideologies which have promoted state housing and condemned it, the economics which has always constrained our housing ideals, the crisis wrought by Right to Buy, and the evolving controversies around regeneration. He shows how the loss of the dream of good housing for all is a danger for the whole of society - as was seen in the fire in Grenfell Tower.

    This anthology brings together writings on Delhi by residents, refugees, travellers and invaders who have engaged with the city at various movements in its long history. Edited by Khushwant Singh, this is a collection as varied and lively - sometimes serious, sometimes richly humorous - as Delhi itself.

    They built a fleet of turbine cars--automobiles with jet engines--and loaned them out to members of the public. The fleet logged over a million miles; the exercise was a raging success.            These turbine engines would run on any flammable liquid--tequila, heating oil, Chanel #5, diesel, alcohol, kerosene. If the cars had been mass produced, we might have cars today that do not require petroleum-derived fuels. The engine was also much simpler than the piston engine--it contained one-fifth the number of moving parts and required much less maintenance. The cars had no radiators or fan belts and never needed oil changes.             Yet Chrysler crushed and burned most of the cars two years later; the jet car's brief glory was over. Where did it all go wrong? Controversy still follows the program, and questions about how and why it was killed have never been satisfactorily answered.            Steve Lehto has interviewed all the surviving members of the turbine car program--from the metallurgist who created the exotic metals for the interior of the engine to the test driver who drove it at Chrysler’s proving grounds for days on end. Lehto takes these first-hand accounts and weaves them into a great story about the coolest car Detroit ever produced.

    The story of how it came to be is a remarkable one: two young citizens with no prior experience in planning and development collaborated with their neighbors, elected officials, artists, local business owners, and leaders of burgeoning movements in horticulture and landscape architecture to create a park celebrated worldwide as a model for creatively designed, socially vibrant, ecologically sound public space.Joshua David and Robert Hammond met in 1999 at a community board meeting to consider the fate of the High Line. Built in the 1930s, it carried freight trains to the West Side when the area was defined by factories and warehouses. But when trains were replaced by truck transport, the High Line became obsolete. By century's end it was a rusty, forbidding ruin. Plants grew between the tracks, giving it a wild and striking beauty.David and Hammond loved the ruin and saw in it an opportunity to create a new way to experience their city. Over ten years, they did so. In this candid and inspiring book— lavishly illustrated—they tell how they relied on skill, luck, and good timing: a crucial court ruling, an inspiring design contest, the enthusiasm of Mayor Bloomberg, the concern for urban planning issues following 9/11. Now the High Line—a half-mile expanse of plants, paths, staircases, and framed vistas—runs through a transformed West Side and reminds us that extraordinary things are possible when creative people work together for the common good.

    The book covers the essentials of leadership, talent acquisition and operations, while outlining the creative strategies that propelled a small business into one of the largest and most admired in its industry. This guidebook is full of well-tested ideas that are applicable to someone running a small, medium or large a professional firm—or running any project where people, profit and customers matter.

    It also: * Applies the latest passive energy and lighting design research * Organizes information by architectural elements at three scales: * building groups, individual buildings, and building parts * Brings design strategies to life with examples and practical design tools * Features: * 109 analysis techniques and design strategies * More than 750 illustrations, sizing graphs, and tables * Both inch-pound and metric units

    Darkly humorous architectural guide to the decrepit new Britain that neoliberalism built.

    Nearly every important development in the modern architectural movement began with the proclamation of these convictions in the form of a program or manifesto. The most influential of these are collected here in chronological order from 1903 to 1963. Taken together, they constitute a subjective history of modern architecture; compared with one another, their great diversity of style reveals in many cases the basic differences of attitude and temperament that produced a corresponding divergence in architectural style. In point of view, the book covers the aesthetic spectrum from right to left; from programs that rigidly generate designs down to the smallest detail to revolutionary manifestoes that call for anarchy in building form and town plan. The documents, placed in context by the editor, are also international in their range: among them are the seminal and prophetic statements of Henry van de Velde, Adolf Loos, and Bruno Taut from the early years of the century; Frank Lloyd Wright's 1910 annunciation of Organic Architecture; Gropius's original program for the Bauhaus, founded in Weimar in 1919; Towards a New Architecture, Guiding Principles by Le Corbusier; the formulation by Naum Gabo and Antoine Pevsner of the basic principles of Constructivism; and articles by R. Buckminster Fuller on universal architecture and the architect as world planner. Other pronouncements, some in flamboyant style, including those of Erich Mendelsohn, Hannes Meyer, Theo van Doesburg, Oskar Schlemmer, Ludwig Mies van der Rohe, El Lissitzky, and Louis I. Kahn. There are also a number of collective or group statements, issued in the name of movements such as CIAM, De Stijl, ABC, the Situationists, and GEAM.Since the dramatic effectiveness of the manifesto form is usually heightened by brevity and conciseness, it has been possible to reproduce most of the documents in their entirety; only a few have been excerpted.

    A photographic exploration of Japanese architecture and design in size-constricted areas explores imaginative, ingenious, and revolutionary solutions to space-compromised living.

    The images are of stunning bedrooms, living rooms, dining rooms, kitchens, and bathrooms; and insightful text complements them to reveal the methods used to make the minimalist rooms so eye-catching and desirable. The text includes a wealth of both big-picture and more focused ideas. It covers subjects such as walls (if and when to use them), doors, and partitions; flooring, lighting, furniture, and staircases; and explores color, patterns, materials, and texture.The houses featured in this extraordinary volume were developed by distinguished international designers at the forefront of the minimalist movement. The result is a guide that offers both inspiration and practical, easy-to follow advice for creating maximum beauty using minimal elements.

    Banister Fletcher has been the standard one volume architectural history for over 100 years and continues to give a concise and factual account of world architecture from the earliest times.In this twentieth and centenary edition, edited by Dan Cruickshank with three consultant editors and fourteen new contributors, chapters have been recast and expanded and a third of the text is new. * There are new chapters on the twentieth-century architecture of the Middle East (including Israel), South-east Asia, Hong Kong, Japan and Korea, the Indian subcontinent, Russia and the Soviet Union, Eastern Europe and Latin America. * The chapter on traditional architecture of India has been rewritten and the section on traditional Chinese architecture has been expanded, both with new specially commissioned drawings* The architecture of the Americas before 1900 has been enlarged to include, for the first time, detailed coverage of Latin America and the Caribbean* The book's scope has been widened to include more architecture from outside Europe* The bibliography has been expanded into a separate section and is a key source of information on every period of world architecture* The coverage of the 20th century architecture of North America has been divided into two chapters to allow fuller coverage of contemporary works* 20th century architecture of Western Europe has been radically recast* For the first time the architecture of the twentieth century is considered as a whole and assessed in an historical perspective* Coverage has been extended to include buildings completed during the last ten years* The coverage of Islamic architecture has been increased and re-organised to form a self contained sectionThis unique reference book places buildings in their social, cultural and historical settings to describe the main patterns of architectural development, from Prehistoric to the International Style. Again in the words of Sir Banister Fletcher, this book shows that 'Architecture ... provides a key to the habits, thoughts and aspirations of the people, and without a knowledge of this art the history of any period lacks that human interest with which it should be invested.'

    Many of these small details are so obvious as to be invisible.

    Often deceptively simple, the task of a logo is hardly ever an easy one--via extreme reduction it needs to radically and perfectly distill an image or message into a simple, easily recognizable icon.Assembling the works of designers from around the globe this substantial volume contains an incredible wealth of pictorial representations, providing a broad overview of contemporary logo design of cutting edge designers.