In this sumptuous global tour of modern gardens, intrepid plant expert Christopher Woods spotlights 50 gardens that push boundaries and define natural beauty in significant ways. Featuring both private and public gardens, this journey makes its way from the Americas and Europe to Australia and New Zealand, with stops in Asia, Africa, and the Arabian Peninsula. Along the way, you'll learn about the people, plants, and stories that make these iconic gardens so lust-worthy. As inspiring as it is insightful, Gardenlust will delight your passion for garden inspiration—and the many places it grows.

    With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man with the Golden Arm and Anatomy of a Murder. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick's Spartacus in the early 1960s to Martin Scorsese's Cape Fear and Casino in the 1990s. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century.

    All in the name of innovation.But this endless worrying, wriggling, and trend watching only alienates companies from whatever it is they really do best. In the midst of the headlong rush to think "outside the box," the full engagement responsible for true innovation is lost. New consultants, new packaging, new marketing schemes, or even new CEOs are no substitute for the evolution of our own expertise as individuals and as businesses.Indeed, for all their talk about innovation, most companies today are still scared to death of it.To Douglas Rushkoff, this disconnect is not only predictable but welcome. It marks the happy end of a business cycle that began as long ago as the Renaissance, and ended with the renaissance in creativity and collaboration we're going through today.The age of mass production, mass media, and mass marketing may be over, but so, too, is the alienation it engendered between producers and consumers, managers and employees, executives and shareholders, and, worst of all, businesses and their own core values and competencies.American enterprise, in particular, is at a crossroads. Having for too long replaced innovation with acquisitions, tactics, efficiencies, and ad campaigns, many businesses have dangerously lost touch with the process -- and fun -- of discovery."American companies are obsessed with window dressing," Rushkoff writes, "because they're reluctant, no, afraid to look at whatever it is they really do and evaluate it from the inside out. When things are down, CEOs look to consultants and marketers to rethink, rebrand, or repackage whatever it is they are selling, when they should be getting back on the factory floor, into the stores, or out to the research labs where their product is actually made, sold, or conceived."Rushkoff backs up his arguments with a myriad of intriguing historical examples as well as familiar gut checks -- from the dumbwaiter and open source to Volkswagen and The Gap -- in this accessible, thought-provoking, and immediately applicable set of insights. Here's all the help innovators of this era need to reconnect with their own core competencies as well as the passion fueling them.

    They worked tirelessly in the field – their lives constantly at risk, but throughout they showed courage, spirit and even humour. Among tales of fear and heartbreak, there are also many moments of compassion and hope.The inspiring nursing sisters worked in the most dangerous places of action during World War Two - including Dunkirk, Malta, Hong Kong and El Alamein. They encountered death and disease on an unprecedented scale, suffered harsh imprisonment by the Japanese, and were bombed while on board hospital ships and trains. But wherever they found themselves, the sisters continued to carry out their duties with professionalism and a plucky determination.First published to great success and acclaim in 1959 as Grey Touched with Scarlet, this book has been written based on the first-hand accounts of the army nursing sisters.Jean Bowden also writes as Tessa Barclay. Her popular family saga trilogy, The Wine Widow, is now also available from Amazon.

    Whether clutched securely in little arms each night or dragged gamely through the playground each day, these fiercely loved companions universally ease the uncertainties and loneliness of childhood. DIRTY WOW WOW AND OTHER LOVE STORIES celebrates the lives of fifty transitional love objects: a sweetly poignant collection of stuffies, blankies, lovies, and dolls who inspired and comforted their owners. Bundles of love and warmth fashioned from fluff and fur, these cherished friends have a lifetime of stories sewn up in their tattered bodies--a trip to Paris smushed in a suitcase, a secret hiding spot behind the family liquor cabinet, an interminable wait in the lost-and-found bin before a joyousreunion at home. With stunning photographs that reveal the personalities within, this thoughtful tribute is at once funny and oddly soothing-like a certain shabby buddy who'¬?s tucked away but never forgotten. Hear the NPR Weekend Edition interview with the authors of Dirty Wow Wow Reviews"This charming book would be a perfect gift for collectors and also an offbeat surprise for new parents."-Minneapolis Star Tribune"Dirty Wow Wow'¬?s striking photographs and brief narratives stir up vivid memories of . . . long-lost companions."-Southwest Spirit Magazine"This clever work, peppered with sumptuous snapshots of raggedy dolls, pays tribute to the beloved companions of childhood."-Entertainment Weekly'¬?s "Must List" View the gallery of entries from the Show Us your Dirty Wow Wow Contest

    Lebrecht compellingly demonstrates that classical recording has reached its end point, but this is not simply an expos? of decline and fall. It is, for the first time, the full story of a minor art form, analyzing the cultural revolution wrought by Schnabel, Toscanini, Callas, Rattle, the Three Tenors, and Charlotte Church. It is the story of how stars were made and broken by the record business; how a war criminal conspired with a concentration-camp victim to create a record empire; and how advancing technology, boardroom wars, public credulity and unscrupulous exploitation shaped the musical backdrop to our modern lives. The book ends with a suitable shrine to classical recording: the author's critical selection of the 100 most important recordings, and the 20 most appalling.Filled with memorable incidents and unforgettable personalities, from Goddard Lieberson, legendary head of CBS Masterworks who signed his letters as God; to Georg Solti, who turned the Chicago Symphony into the loudest symphony on earth - this is at once the captivating story of the life and death of classical recording and an opinionated, insider's guide to appreciating the genre, now and for years to come.

    He lived in the same street as its fictional 'razor king', Johnnie Stark, and subsequently realised that a lot of the old characters represented in the book were still around as late as the 1960s. Men still wore bunnets and played pitch and toss; women still treated the steamie as their social club. The razor gangs were running amok once again, and filth, violence, crime, rats, poverty and drunkenness abounded, just like they did in No Mean City.MacFarlane witnessed the last days of the old Gorbals as a major regeneration programme, begun in 1961, was implemented, and, as a street boy, he had a unique insight into a once great community in rapid decline. In this engrossing book, MacFarlane reveals what it was really like to live in the old Gorbals.

    The recent technological revolutions in video recording, editing, and distribution are more akin to the development of movable type than any other such revolution in the last five hundred years. And yet we are not popularly cognizant of or conversant with visual storytelling's grammar, the coded messages of its style, and the practical components of its production. We are largely, in a word, illiterate. But this is not a gloomy diagnosis of the collapse of civilization; rather, it is a celebration of the progress we've made and an exhortation and a plan to seize the potential we're poised to enjoy. The rules that define effective visual storytelling—much like the rules that define written language—do in fact exist, and Stephen Apkon has long experience in deploying them, teaching them, and witnessing their power in the classroom and beyond. In The Age of the Image, drawing on the history of literacy—from scroll to codex, scribes to printing presses, SMS to social media—on the science of how various forms of storytelling work on the human brain, and on the practical value of literacy in real-world situations, Apkon convincingly argues that now is the time to transform the way we teach, create, and communicate so that we can all step forward together into a rich and stimulating future.

    Never before had the functional requirements and expressive capacities of architecture been tested so thoroughly and with such diversity of invention. Bergdoll traces this experimentation in a broad range of contexts, focusing in particular on the relation of architectural design to new theories of history, new categories of scientific inquiry, and the broadening audience for architecture in this period of transformation. Unlike traditional surveys with long lists of buildings and architects, the themes are elucidated by in-depth coverage of key buildings which in turn are situated in both their local and European context.

    Each category includes a short introduction, with expanded captions providing information on who the symbol was designed for, who designed it, when, and where appropriate, what the symbol stands for. These sections are interspersed with short case studies on both classic examples of symbols still in use, and exceptional examples of recently designed symbols.

    But before achieving fame as an author, Carroll was a prolific and sophisticated photographer, acutely engaged in the art world of Victorian England. This illustrated volume examines Carroll's photographs not as the sideline of a celebrated writer, but as the creations of a serious photographic artist, and demonstrates their importance to the history of photography. Douglas Nickel traces the evolution in thought about Carroll's photography in the period since his death, demonstrating the ways it has been viewed largely through the filter of his literary reputation. Key to this have been certain preconceptions built up around Carroll's attitudes toward children, especially Alice Liddell, the inspiration for his first book and the subject of a number of his photographs. Nickel demonstrates how, by overturning the modern myths that have attached themselves to Carroll's photography, the works themselves can be seen again as they were by their original Victorian viewers. This analysis is designed to reveal not only Carroll's signal achievement in the medium, but also a new understanding of Victorian art photography in general.

    Taken from a Dutch collection, this exuberant selection traverses the evolution of the printed letter in all its various incarnations via exquisitely designed catalogs displaying not only type specimens in roman, italic, bold, semi-bold, narrow, and broad, but also characters, borders, ornaments, initial letters and decorations as well as often spectacular examples of the use of the letters. The Victorian fonts, sumptuous and sometimes unbelievably outrageous, are accorded a prominent place in this book. In addition to lead letters, examples from lithography and letters by window-dressers, inscription carvers, and calligraphers are also displayed and described. Featuring works by type designers including: William Caslon, Fritz Helmuth Ehmcke, Peter Behrens, Rudolf Koch, Eric Gill, Jan van Krimpen, Paul Renner, Jan Tschichold, A. M. Cassandre, Aldo Novarese, Adrian FrutigerIn order to include a vast amount of material, we have divided this text into two volumes. The first volume displays pre 20th Century type specimens, and the second covers the period from 1900 to the middle of the century. In the first volume, editor Cees de Jong and collector Jan Tholenaar write about single specimens and types; in the second, Alston Purvis outlines the history of types.

    Declared unfit for human habitation, the Zones of Exclusion includes the towns of Pripyat (established in the 1970s to house workers) and Chernobyl. In May 2001, Robert Polidori photographed what was left behind in the this dead zone. His richly detailed images move from the burned-out control room of Reactor 4, where technicians staged the experiment that caused the disaster, to the unfinished apartment complexes, ransacked schools and abandoned nurseries that remain as evidence of those who once called Pripyat home. Nearby, trucks and tanks used in the cleanup efforts rest in an auto graveyard, some covered in lead shrouds and others robbed of parts. Houseboats and barges rust in the contaminated waters of the Pripyat River. Foliage grows over the sidewalks and hides the modest homes of Chernobyl. In his large-scale photographs, Polidori captures the faded colors and desolate atmosphere of these two towns, producing haunting documents that present the reader with a rare view of not just a disastrous event, but a place and the people who lived there.

    It also features the tale of Scandinavian kings of the Middle Ages who diced for islands.

    For over 200 years, the route of the Vladimirka Road has been at the centre of the nation's history, having witnessed everything from the first human footsteps to the rise of Putin and his oil-rich oligarchy. Tsars, wars, famine and wealth: all have crossed and travelled this road, but no-one has ever told its story. In pursuit of the sights, sounds and voices both past and present, Jeremy Poolman travels the Vladimirka. Both epic and intimate, The Road of Bones is a record of his travels - but much more. It looks into the hearts and reveals the histories of those whose lives have been changed by what is known by many as simply The Greatest of Roads. This is a book about life and about death and about the strength of will it takes to celebrate the former while living in the shadow of the latter. Anecdotal and epic, The Road of Bones follows the author's journey along this road, into the past and back again. The book takes as its compass both the voices of history and those of today and draws a map of the cities and steppes of the Russian people's battered but ultimately indefatigable spirit.