It avoids the traditional style-spotting approach and instead gives us an idea of what it is about buildings that moves us, and what it is that makes them important artistically and culturally. The book begins by looking at how architecture acquires meaning through tradition, and concludes with the exoticism of the recent avant-garde period. Illustrations of particular buildings help to anchor the general points with specific examples, from ancient Egypt to the present day.

    Kerr turns what we thought we knew about Kyoto inside-out, revealing the inner ideas behind simple things like walls, floors, and sliding doors. After this book, one can never walk through a Zen gate in the same way again.

    The sense of private mystery that fills these photographs--mostly taken during Koudelka's many years of wandering through Europe and Great Britain since leaving his native Czechoslovakia in 1968--speaks of passion and reserve, of his rage to see. Solitary, moving, deeply felt and strangely disturbing, the images in Exiles suggest alienation, disconnection and love. Exiles evokes some of the most compelling and troubling themes of the twentieth century, while resonating with equal force in this current moment of profound migrations and transience.Josef Koudelka (born 1938) has published ten books of photographs, many of which focus on the relationship between man and the landscape, including Gypsies (1975; revised and enlarged edition in 2011), Exiles (1988), Black Triangle (1994), Invasion 68: Prague (2008) and Wall (2013). Significant exhibitions of his work have been held at The Museum of Modern Art and the International Center of Photography, both in New York; Hayward Gallery, London; and Palais de Tokyo, Paris. Koudelka is the recipient of the Medal of Merit awarded by the Czech Republic (2002) and numerous other awards. In 2012, he was named Commandeur de l'Ordre des Arts et des Lettres by the French Ministry of Culture. He is based in Paris and Prague.

    Studioilse, the award-winning design studio founded by Ilse Crawford, bridges the worlds of interior design, architecture, and product design with the philosophy of putting the human being at the center. Fascinated by what drives us and makes us feel alive, Crawford says: "When I look at making spaces, I don’t just look at the visual. I’m much more interested in the sensory thing, in thinking about it from the human context, the primal perspective, the thing that touches you." Featuring Studioilse’s work to date, from private residences to hotels, restaurants, and retail projects, this book illustrates the effectiveness of design grounded in human needs and desires. Layering materials and textures, combined with her understanding of human behavior, Crawford’s designs are sensual and accessible. A forerunner of the holistic design movement a decade ago, her humanistic approach has now become the norm. This volume illustrates why Crawford’s design philosophy is so seminal—her work has influenced not only a generation of Dutch and European designers, but also Americans due to her acclaimed Soho House New York. With new photography and essays by Crawford and design critic Edwin Heatcote, this inspirational volume is sure to be one of the most important design books of the year.

    Every building contains clues embedded in its design that identify not only its architectural style but also the story of who designed it, who it was built for, and why. Organized by architectural element (roofs, doors, windows, columns, domes, towers, arches, etc.), the book is roughly chronological within each section, examining the elements across history, through different architectural styles, and by geographical distribution. Additional chapters offer overviews of how architecture has been affected by geography, history, and religion, along with an illustrated timeline of architectural elements. Also included is a chapter on applied ornament and a handy introduction to naming each part of a building. All entries are accompanied by examples in the forms of period engravings, line drawings, and pictures. The extended captions make the book invaluable for anyone who has ever pondered the meaning or importance of a hipped roof, rounded doorway, or classical pediment.

    Architecture 101 cuts out the boring explanations, and instead provides a hands-on lesson that keeps you engaged as you explore the world's greatest structures.Featuring only the most important facts, building styles, and architects, you'll enjoy uncovering the remarkable world of architecture with this book. Inside, you'll also find fascinating elements like:Illustrations of popular building styles, such as Georgian and Greek RevivalDrawings of the essential parts of different buildingsUnique profiles of the most inspirational figures in architectureFrom Norman Foster and Frank Lloyd Wright to the Beauvais Cathedral and the Empire State Building, Architecture 101 is packed with hundreds of entertaining architecture tidbits that you can't get anywhere else!

    From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries.From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world.From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870.As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France.Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.

    Chihuly: 365 Days is a richly illustrated photo survey of his entire four-decade career, with more than 500 pictures showing all facets of his work—from intimate smaller pieces to the tremendous outdoor installations that have thrilled millions of visitors. There are also personal photos of the artist; of “Team chihuly” at the Boathouse, his studio in Seattle, Washington; and of his marvelous drawings—all selected by the artist himself. Most of the photographs have never before been published.Quotations from and about Chihuly, as well as descriptions of his various types of works and short texts on his most prominent series pieces, accompany the images. The captions also act as a chronology of his life and work.

    Volume 1 features all new and original stories from authors Joe R. Lansdale, John Skipp, Cody Goodfellow, Jeff Strand, J. F. Gonzalez, Stephen Mark Rainey, Nate Southard, Shane McKenzie and (in deluxe hardcover retail editions only) William Meikle. Each story is preceded by a full page/full bleed color illustration by artist Zach McCain. Table of Contents “Santa Explains” by Joe R. Lansdale “The Endless Black of Friday” by Nate Southard “Red Rage” by Stephen Mark Rainey “Pointy Canes” by Jeff Strand “Naughty” by Shane McKenzie “Krampusnacht in Cell Block J” by Cody Goodfellow “The Shittiest Guy in the World (A Christmas Fable)” by John Skipp “Belsnickel” by J. F. Gonzalez “The Color That Stole Christmas” by William Meikle (Deluxe Hardcover Editions Only)

    Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field.If you enjoyed Design as Art, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics.'One of the most influential designers of the twentieth century ... Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness'International Herald Tribune

    Luckily, twenty-seven-year-old decorating prodigy Kyle Schuneman knows that a paper-thin wallet and four plain walls don’t have to stand in your way, and the ten amazing, real apartments in this book show it.From coast to coast, these fabulous first homes are the perfect balance between cool design and comfort, and they offer plenty of practical ideas for making your apartment feel open, organized, and inviting. Examples include:■ Multifunctional studios■ A loft that was sectioned into livable areas■ Cookie-cutter apartments with one-of-a-kind personality■ Shared spaces that accommodate different decorating tastes■ Fantastic examples of how to display collections, hide unsightly stuff, and manage picky landlordsKyle’s creative solutions reveal how you can make your space feel much larger than it really is—and how it can reflect your passions, your travels, and your location. He will inspire you to use your surroundings for decorating ideas (think taxi-cab-yellow accents in New York or graffiti-like dip-dye curtains in Seattle). Short on time and long on style, the thirty DIY projects here include no-sew pillows and a dresser update using a little glue and decorative paper. Full of bold, vibrant photos, an extensive resource section, and hundreds of big ideas for small spaces, this book proves that there are no limits on how spacious and how cool your first apartment can feel.

    The quick brushstrokes of the Impressionists suited his temperament, as did his heavy use of impasto. This helpful volume shows many of van Gogh's best loved works, including the famous self-portrait with a Bandaged Ear, painted after he had cut off part of his ear in a fit of madness, Sunflowers, which were to him a symbol of power and beneficence, and The Starry Night, a painting which clearly expresses intensity and mental turbulence.

    But what did it mean to those who constructed it in the twelfth and thirteenth centuries? And why, during this period, did Europeans begin to build churches in a new style, at such immense height and with such glorious play of light, in the soaring manner we now call Gothic?Universe of Stone shows that the Gothic cathedrals encode a far-reaching shift in the way medieval thinkers perceived their relationship with their world. For the first time, they began to believe in an orderly, rational world that could be investigated and understood. This change marked the beginning of Western science and also the start of a long and, indeed, unfinished struggle to reconcile faith and reason.By embedding the cathedral in the culture of the twelfth century—its schools of philosophy and science, its trades and technologies, its politics and religious debates—Philip Ball makes sense of the visual and emotional power of Chartres. Beautifully illustrated and written, filled with astonishing insight, Universe of Stone argues that Chartres is a sublime expression of the originality and vitality of a true "first renaissance," one that occurred long before the birth of Leonardo da Vinci, Michelangelo, or Francis Bacon.

    Contains all the corrections of the 2nd edition ebooks as well as a pronunciation guide. Gen was a bard's apprentice, his nimble hands meant for the lute and his voice for a song. Then the half-mad and completely bored Shadan Khairn invaded Gen's village to winter there and start a war. He shoved a sword in Gen's hands and tormented his body, shaping a bard into a warrior to be killed for sport. As the days of torture pile up like the snow, Gen's searches for death. But the day is at hand when the shattered shards of the world will knit together again and the world’s slain god be reborn. The mighty Ha'Ulrich will be the father, the mysterious Chalaine the mother. In dangerous times, the holy couple doesn't need a bard. They need a warrior. And Gen needs a reason to live.

    But this is no bard’s song. All of this was because of the dragon stone necklace I scavenged from that dead mage. I knew it was magic when I saw it. Well, it was and it wasn’t. Dragon stone they call it, but what it actually is, is a dragon’s egg. When I touched it, I felt the need to put it around my neck for safekeeping. When I did, the necklace embedded itself inside my skin, making me the new dragon’s envoy. It has since been my duty to protect the egg until she’s ready to hatch. How do I know the egg is a she? Easy, she talks to me and is helping me to bring out my natural magic talents. Sometimes I’d rather it was a bard’s song, as it can be tiring. Although I must admit, having a dragon inside you comes in handy when people are trying to kill you.