. . a perfect introduction to the architecture of the Italian Renaissance."--Richard Stapleford, Cooper Union School of ArchitectureA classic guide to one of the most pivotal periods in art and architectural history, The Architecture of the Italian Renaissance remains the most lucid and comprehensive volume available.  From Leonardo, Raphael, Michelangelo, Palladio, and Brunelleschi to St. Peter's in Rome, the palaces of Venice, and the Medici Chapel in Florence, Peter Murray's lavishly illustrated book tells readers everything they need to know about the architectural life of Italy from the thirteenth through the sixteenth centuries.

    A brief examination of the theory and practice of Renaissance architecture that draws attention to the values underlying this style

    Beginning with the classical origins of Western architecture and coming right up to the new millennium, the book discusses every major milestone in the development of Western architecture in probing detail. Features of the revised edition include expanded chapters on Mesopotamian and Egyptian architecture, made possible by important recent archeological findings; and urban planning sections added throughout the book. The latter will be of special value to the growing numbers of readers who take an active interest in the relationship between a city’s buildings and the community residents who live and work in them.

    Paul. Now, in Once There Were Castles, he offers a richly illustrated look at another world of ghosts in our midst: the lost mansions and estates of the Twin Cities.Nobody can say for sure how many lost mansions haunt the Twin Cities, but at least five hundred can be accounted for in public records and archives. In Minneapolis and St. Paul, entire neighborhoods of luxurious homes have disappeared, virtually without a trace. Many grand estates that once spread out over hundreds of acres along the shores of Lake Minnetonka are also gone. The greatest of these lost houses often had astonishingly short lives: the lavish Charles Gates mansion in Minneapolis survived only nineteen years, and Norman Kittson’s sprawling castle on the site of the St. Paul Cathedral stood for barely more than two decades. Railroad and freeway building, commercial and institutional expansion, fires, and financial disasters all claimed their share of mansions; others succumbed to their own extravagance, becoming too costly to maintain once their original owners died.The stories of these grand houses are, above all else, the stories of those who built and lived in them—from the fantastic saga of Marion Savage to the continent-spanning conquests of James J. Hill, to the all-but-forgotten tragedy of Olaf Searle, a poor immigrant turned millionaire who found and lost a dream in the middle of Lake Minnetonka. These and many other mansion builders poured all their dreams, desires, and obsessions into extravagant homes designed to display wealth and solidify social status in a culture of ever-fluctuating class distinctions.The first book to take an in-depth look at the history of the Twin Cities’ mansions, Once There Were Castles presents ninety lost mansions and estates, organized by neighborhood and illustrated with photographs and drawings. An absorbing read for Twin Cities residents and a crucial addition to the body of work on the region’s history, Once There Were Castles brings these “ghost mansions” back to life.

    It presents some of the behavioral aspects of construction management along with some difficulties a project manager may encounter.

    It also provides an overview of different security topics such as identifying, categorizing and protecting your assets on AWS, managing access to AWS resources using accounts, users and groups and suggesting ways you can secure your data, your operating systems and applications and overall infrastructure in the cloud.

    Now comes the most complete design tool yet--the completely updated and expanded Tenth Edition. You'll find a wealth of information, complete with 10,000 drawings.

    And as one of Pinterest's top influencers with over 2.4 million followers, people are taking note.Praised by design star Jonathan Adler as "a true talent with a keen eye," Will guides you through making the most of the cornerstone of your life – where you live. He starts by giving you jumping-off points for considering how to use color. Next, he arms you with the know-how needed to replicate the looks through using ten color cocktails, from soft and delicate pastel hues to bright and bold color statements.Each color scheme begins with Will sharing his personal photographs and the memories that inspired each palette. He then goes on to show how these inspirations can be used in real-life decorating via easy-to-translate examples, complete with color checklists, swatch scrapbooks, illuminating room analyses and nuggets of Will's color secrets.More than 350 brand new color photographs invite you into homes both big and small across the world. Bright Bazaar's take on color is packed with personality and heart, playful but informative, and brimming with useful decorating ideas to make any home more beautiful.

    It is rather Kenya Haras attempt to explore the essence of White, which he sees as being closely related to the origin of Japanese aesthetics – symbolising simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one's opinion onto the opponent. Kenya Hara compares this form of communication with an “empty container”. In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which – like an “empty container” – permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness.

    Williams any rock used as building material can tell a fascinating story. All he has to do is look at building stone in any urban center to find a range of rocks equal to any assembled by plate tectonics. In Stories in Stone, he takes you on his explorations to find 3.5-billion-year-old rock that looks like swirled pink and black taffy, a gas station made of petrified wood, and a Florida fort that has withstood 300 years of attacks and hurricanes, despite being made of a stone that has the consistency of a granola bar.In Stories in Stone, Williams also weaves in the cultural history of stone. He shows why a white, fossil-rich limestone from Indiana became the only building stone to be used in all 50 states; how in 1825, the construction of the Bunker Hill Monument led to America's first commercial railroad; and why when the same kind of marble used by Michelangelo was used on a Chicago skyscraper it warped so much after 19 years that all 44,000 panels of the stone had to be replaced. A love letter to building stone, from New England brownstone and Morton Gneiss of Minnsota to the limestone of Salem, Indiana; from granite and travertine to Carrara marble, David Willilams brings to life the stones you will see in the structures of every city, large and small. After reading his book, you will forever look at stone buildings with new eyes.

    Whyte published the findings from his revolutionary Street Life Project in The Social Life of Small Urban Spaces. Both the book and the accompanying film were instantly labeled classics, and launched a mini-revolution in the planning and study of public spaces. They have since become standard texts, and appear on syllabi and reading lists in urban planning, sociology, environmental design, and architecture departments around the world.Project for Public Spaces, which grew out of Holly's Street Life Project and continues his work around the world, has acquired the reprint rights to Social Life, with the intent of making it available to the widest possible audience and ensuring that the Whyte family receive their fair share of Holly's legacy.From the forward: For more than 30 years, Project for Public Spaces has been using observations, surveys, interviews and workshops to study and transform public spaces around the world into community places. Every week we give presentations about why some public spaces work and why others don't, using the techniques, ideas, and memorable phrases from William H. "Holly" Whyte's The Social Life of Small Urban Spaces.Holly Whyte was both our mentor and our friend. Perhaps his most important gift was the ability to show us how to discover for ourselves why some public spaces work and others don't. With the publication of The Social Life of Small Urban Spaces and its companion film in 1980, the world could see that through the basic tools of observation and interviews, we can learn an immense amount about how to make our cities more livable. In doing so, Holly Whyte laid the groundwork for a major movement to change the way public spaces are built and planned. It is our pleasure to offer this important book back to the world it is helping to transform.

    D. C. Beard explains how to construct a variety of worry-free shelters appropriate to a natural environment that is by turns both friendly and foreboding. Included are a sod house for the lawn, a treetop house, over-water camps, and an American log cabin. Fully recognizing that the Outdoorsman builds a shelter with the intention of inhabiting it, Beard explains how to build hearths and chimneys, notched log ladders, and even how to rig secret locks. Illustrated throughout with instructional line drawings, "Shelters, Shacks and Shanties" harkens back to the can-do spirit of the American frontier and belongs in the knapsack of every modern scout, young and old alike.

    A century ago, the telegraph and the mechanical tabulator were used to tame cities of millions. Today, cellular networks and cloud computing tie together the complex choreography of mega-regions of tens of millions of people.In response, cities worldwide are deploying technology to address both the timeless challenges of government and the mounting problems posed by human settlements of previously unimaginable size and complexity. In Chicago, GPS sensors on snow plows feed a real-time "plow tracker" map that everyone can access. In Zaragoza, Spain, a "citizen card" can get you on the free city-wide Wi-Fi network, unlock a bike share, check a book out of the library, and pay for your bus ride home. In New York, a guerrilla group of citizen-scientists installed sensors in local sewers to alert you when stormwater runoff overwhelms the system, dumping waste into local waterways.As technology barons, entrepreneurs, mayors, and an emerging vanguard of civic hackers are trying to shape this new frontier, Smart Cities considers the motivations, aspirations, and shortcomings of them all while offering a new civics to guide our efforts as we build the future together, one click at a time.

    This invasion of the world by what Marc Auge calls ‘non-space’ results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Auge uses the concept of ‘supermodernity’ to describe the logic of these late-capitalist phenomena—a logic of excessive information and excessive space. In this fascinating and lucid essay he seeks to establish and intellectual armature for an anthropology of supermodernity. Starting with an attempt to disentangle anthropology from history, Auge goes on to map the distinction between place, encrusted with historical monuments and creative social life, and non-place, to which individuals are connected in a uniform manner and where no organic social life is possible.Unlike Baudelairean modernity, where old and new are interwoven, supermodernity is self-contained: from the motorway or aircraft, local or exotic particularities are presented two-dimensionally as a sort of theme-park spectacle. Auge does not suggest that supermodernity is all-encompassing: place still exist outside non-place and tend to reconstitute themselves inside it. But he argues powerfully that we are in transit through non-place for more and more of our time, as if between immense parentheses, and concludes that this new form of solitude should become the subject of an anthropology of its own.

    Gropius traces the rise of the New Architecture and the work of the now famous Bauhaus and, with splendid clarity, calls for a new artist and architect educated to new materials and techniques and directly confronting the requirements of the age.