From an adorable raccoon calling someone a -cumstain- to a -Cunt-A-Saurus Rex-, you'll love these filthy cuties! If you love to swear and love all things cute, you'll adore this book. The book has 30 different single sided pages to cover. Fucking Adorable-er, the sequel to this book, is now available!! Find it here! https: //www.amazon.com/Fucking-Adorable-er-Cr...

    We need to move away from the definition of function as utility, she argues, to align it with how function is defined in mathematics, biology or music. Form, on the other hand, should be considered not only in the way buildings are produced, but also how they perform sensorially. Function and form, considered together in architecture, stand in opposition to the dualism which defined our approach to the built environment throughout the twentieth century. This book provides a thought-provoking account of the challenges facing the 21st century built environment, and an enlivened awareness of the wider possibilities of architectural form.

    

    You'll never see the city the same way again.At the core of A Burglar's Guide to the City is an unexpected and thrilling insight: how any building transforms when seen through the eyes of someone hoping to break into it. Studying architecture the way a burglar would, Geoff Manaugh takes readers through walls, down elevator shafts, into panic rooms, up to the buried vaults of banks, and out across the rooftops of an unsuspecting city.With the help of FBI Special Agents, reformed bank robbers, private security consultants, the L.A.P.D. Air Support Division, and architects past and present, the book dissects the built environment from both sides of the law. Whether picking padlocks or climbing the walls of high-rise apartments, finding gaps in a museum's surveillance routine or discussing home invasions in ancient Rome, A Burglar's Guide to the City has the tools, the tales, and the x-ray vision you need to see architecture as nothing more than an obstacle that can be outwitted and undercut.Full of real-life heists-both spectacular and absurd-A Burglar's Guide to the City ensures readers will never enter a bank again without imagining how to loot the vault or walk down the street without planning the perfect getaway.

    The Architecture of Happiness starts from the idea that where we are heavily influences who we can be, and it argues that it is architecture's task to stand as an eloquent reminder of our full potential.Whereas many architects are wary of openly discussing the word beauty, this book has at its center the large and naïve question: What is a beautiful building? It is a tour through the philosophy and psychology of architecture that aims to change the way we think about our homes, our streets and ourselves.

    Its architectural treasures crumble—foundations shift, marble ornaments fall—even as efforts to preserve them are underway. The City of Falling Angels opens on the evening of January 29, 1996, when a dramatic fire destroys the historic Fenice opera house. The loss of the Fenice, where five of Verdi's operas premiered, is a catastrophe for Venetians. Arriving in Venice three days after the fire, Berendt becomes a kind of detective—inquiring into the nature of life in this remarkable museum-city—while gradually revealing the truth about the fire.In the course of his investigations, Berendt introduces us to a rich cast of characters: a prominent Venetian poet whose shocking "suicide" prompts his skeptical friends to pursue a murder suspect on their own; the first family of American expatriates that loses possession of the family palace after four generations of ownership; an organization of high-society, partygoing Americans who raise money to preserve the art and architecture of Venice, while quarreling in public among themselves, questioning one another's motives and drawing startled Venetians into the fray; a contemporary Venetian surrealist painter and outrageous provocateur; the master glassblower of Venice; and numerous others-stool pigeons, scapegoats, hustlers, sleepwalkers, believers in Martians, the Plant Man, the Rat Man, and Henry James.Berendt tells a tale full of atmosphere and surprise as the stories build, one after the other, ultimately coming together to reveal a world as finely drawn as a still-life painting. The fire and its aftermath serve as a leitmotif that runs throughout, adding the elements of chaos, corruption, and crime and contributing to the ever-mounting suspense of this brilliant book.

    It is also a very funny account of looking after an adored yet maddening parent and a piercing portrait of the grief that followed his death.Shelley Klein grew up in the Scottish Borders, in a house designed on a modernist open-plan grid; with colourful glass panels set against a forest of trees, it was like living in a work of art.Shelley’s father, Bernat Klein, was a textile designer whose pioneering colours and textures were a major contribution to 1960s and 70s style. As a child, Shelley and her siblings adored both the house and the fashion shows that took place there, but as she grew older Shelley also began to rebel against her father’s excessive design principles.Thirty years on, Shelley moves back home to care for her father, now in his eighties: the house has not changed and neither has his uncompromising vision. As Shelley installs her pots of herbs on the kitchen windowsill, he insists she take them into her bedroom to ensure they don’t ‘spoil the line of the house’.Threaded through Shelley’s book is her father’s own story: an Orthodox Jewish childhood in Yugoslavia; his rejection of rabbinical studies to pursue a life of art; his arrival in post-war Britain and his imagining of a house filled with light and colour as interpreted by the architect Peter Womersley.A book about the search for belonging and the pain of letting go, The See-Through House is a moving memoir of one man's distinctive way of looking at the world, told with tenderness and humour and a daughter’s love.

    Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    The story behind its construction is a largely untold and intriguing piece of American history, which acclaimed historian John Steele Gordon relates with verve, connecting it to the colorful saga of the ancient obelisks of Egypt.Nobody knows how many obelisks were crafted in ancient Egypt, or even exactly how they were created and erected since they are made out of hard granite and few known tools of the time were strong enough to work granite. Generally placed in pairs at the entrances to temples, they have in modern times been ingeniously transported around the world to Istanbul, Paris, London, New York, and many other locations. Their stories illuminate that of the Washington Monument, once again open to the public following earthquake damage, and offer a new appreciation for perhaps the most iconic memorial in the country.

    I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed. Through my work I explore technology and a poetry of existence. These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach.--Robert ParkeHarrison

    Now, at last, he's opening up the Stan Winston Studio to collaborate on the first-ever book to reveal all the behind-the-scenes secrets of his groundbreaking and hugely influential artistry and effects work. Featuring an extensive array of sketches, production art, and photographs straight from the studio archives, this is the book his fans have been waiting for!

    With over ninety illustrations, this book traces the history of the chair as we know it from its crudest beginnings up through the modern office variety. Drawing on anecdotes, literary references, and famous designs, Galen Cranz documents our ongoing love affair with the chair and how its evolution has been governed not by a quest for comfort or practicality, but by the designation of status.Relating much of the modern era's rampant back pain to an increasingly sedentary lifestyle spent in traditional seating, Cranz goes beyond traditional ergonomic theory to formulate new design principles that challenge the way we think and live. A farsighted and innovative approach to our most intimate habitat, this book offers guidelines that will assist readers in choosing a chair-and designing a lifestyle-that truly suits our bodies. Praise for The Chair:  "[A] concise, multidisciplinary gem."—Publishers Weekly "Cranz is no sedentary historian. The Chair is a call to action."—Jonathan Levi, Los Angeles Times "Galen Cranz has written a provocative book. Pull up a comfortable chair-if you can find one-and read it."—Witold Rybczynski

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    By reading the guide you'll understand the steps that will need to be taken and know where and how to start building your own tiny house.

    Palladio elevated the architecture of the private house into an art form, and he not only designed and built, he wrote. His late-sixteenth-century architectural treatises were read and studied by great thinkers as diverse as Thomas Jefferson and Inigo Jones, profoundly influencing the design of Monticello, the tidewater plantation houses of Virginia, and the White House. All across America today, Palladio's influence is evident in ample porches and columned porticoes, in grand ceiling heights and front-door pediments.In The Perfect House, Witold Rybczysnki, whose books on domestic and landscape architecture have transformed our understanding of parks and buildings, looks at Palladio's famous villas, not with the eye of an art historian but with the eye of an architect. He wanted to know why a handful of houses in an obscure corner of the Venetian Republic should have made their presence felt hundreds of years later and halfway across the globe.More than just a study of one of history's seminal architectural figures, "The Perfect House" reflects Rybczynski's intimacy with and enthusiasm for his subject. He not only reveals why the villas were so architecturally and culturally influential, he also imparts his enormous affection and admiration for the man who designed them. Embracing the elements of Rybczynski's most successful books on domestic architecture, Home and The Most Beautiful House in the World, this charming, revelatory meditation explores the dawn of domestic architecture and provides a new way of looking at everybuilding we inhabit or visit today.