Writer and angler David DiBenedetto followed this great migration -- the fall run -- for three months in the autumn of 2001.On the Run offers vivid portrayals of the zany and obsessive characters DiBenedetto met on his travels -- including the country's most daring fisherman, an underwater videographer who chucked his corporate job in favor of filming striped bass, and the reclusive angler who claims that catching the world-record striper in 1982 sent his life into a tailspin. Along his route, DiBenedetto also delves into the natural history and biology of this great game fish, and depicts the colorful cultures of the seaside communities where the striped bass reigns supreme.

     The skyscraper is perhaps the most recognizable icon of the modern urban landscape. Providing offices, homes, restaurants, and shopping to thousands of inhabitants, modern skyscrapers function as small cities- with infrastructure not unlike that hidden beneath our streets. Clean water is provided to floors thousands of feet in the sky; elevators move people swiftly and safely throughout the building; and telecom networks allow virtual meetings with people on other continents. How are these services-considered essential, but largely taken for granted- possible in such a complex structure? What does it really take to sustain human life at such enormous heights? Exploring the interconnected systems that make life livable in the sky is the task of Kate Ascher's stunningly illustrated The Heights: Anatomy of a Skyscraper. Ascher examines skyscrapers from around the world to learn how these incredible structures operate. Just how do skyscrapers sway in the wind, and why exactly is that a good idea? How can a modern elevator be as fast as an airplane? Why are skyscrapers in Asia safer than those in the United States? Have new safeguards been designed to protect skyscrapers from terrorism? What happens when the power goes out in a building so tall? Why are all modern skyscrapers seemingly made of glass, and how can that be safe? How do skyscrapers age, and how can they be maintained over decades of habitation? No detail is too small, no difficulty too big to escape Ascher's encyclopedic eye. Along the way, The Heights introduces the reader to every type of person involved in designing, building, and maintaining a skyscraper: the designers who calculate how weight and weather will affect their structures, the workers who dig the foundations and raise the lightning rods, the crews who clean the windows and maintain the air ducts, and the firefighters-whose special equipment allows blazes to be fought at unprecedented heights. More than a technical survey, Ascher's work is a triumphant ode to the most monumental aspect of modern civilization. Saturated with vivid illustrations and unforgettable anecdotes, The Heights is the ultimate guide to the way things work in the skyscraper.

     Making Things Right is the simple yet captivating story of a loft renovation, from the moment master carpenter and contractor Ole Thorstensen submits an estimate for the job to when the space is ready for occupation. As the project unfolds, we see the construction through Ole's eyes: the meticulous detail, the pesky splinters, the problem solving, patience, and teamwork required for its completion. Yet Ole's narrative encompasses more than just the fine mechanics of his craft. His labor and passion drive him toward deeper reflections on the nature of work, the academy versus the trades, identity, and life itself.Rich with descriptions of carpentry and process, Making Things Right is a warm and humorous portrayal of a tightknit working community, a story about the blood, sweat, and frustration involved in doing a job well and the joys in seeing a vision take shape.

    We need not walk far, because paradise is right around the corner." --Hundertwasser Friedrich Stowasser, born in Vienna in 1928, called himself Friedensreich Hundertwasser Regentag Dunkelbunt. True to the colorful variety of his names, he has pursued many activities as a painter, architect, and ecologist, and as "one who awakens identities." This presentation of Hundertwasser's work in all of its different facets is guided by the artist's own view of himself and his purpose. And, because his work is, by nature, virtually inseparable from his biography, his artistic and political actions, and equally so from the "stories" of his (ostensibly) private life, a vivid portrait of the artist takes shape before the reader's eyes. Excerpts from conversations between the author and the artist lend a sense of immediacy and authenticity to the narration.

    Changing the function of a word, or a room, can produce surprise and meaning. In How to Architect, Patt--an architect and the creator of a series of wildly popular online videos about architecture--presents the basics of architecture in A-Z form, starting with A is for Asymmetry (as seen in Chartres Cathedral and Frank Gehry), detouring through N is for Narrative, and ending with Z is for Zeal (a quality that successful architects tend to have, even in fiction--see The Fountainhead's architect-hero Howard Roark.)How to Architect is a book to guide you on the road to architecture. If you are just starting on that journey or thinking about becoming an architect, it is a place to begin. If you are already an architect and want to remind yourself of what drew you to the profession, it is a book of affirmation. And if you are just curious about what goes into the design and construction of buildings, this book tells you how architects think. Patt introduces each entry with a hand-drawn letter, and accompanies the text with illustrations that illuminate the concept discussed: a fallen Humpty Dumpty illustrates the perils of fragile egos; photographs of an X-Acto knife and other hand tools remind us of architecture's nondigital origins.How to Architect offers encouragement to aspiring architects but also mounts a defense of architecture as a profession--by calling out a defiant verb: architect!

    Hatch charts, fly pattern recommendations, and important fishing strategies from Paul Weamer. This is the ideal reference for those just starting out or for those that want to have a more comprehensive view of the important insects.Understanding aquatic insect hatches is like being able to cast an entire fly line. Do you need to cast that far to catch fish? Of course not. But will being able to cast a long distance inhibit your ability to catch fish? Never. Knowing where, and how, insects live and emerge gives anglers yet another piece of the puzzle. I’ve never heard a fly fisherman exclaim, “I probably would have caught those rising fish if I just didn’t know so much about trout stream insects.”You still need to cast. You still need to present flies in such a manner that fish will accept them. But though no one has ever failed to catch a trout because they knew too much about aquatic insects, plenty of anglers have not caught as big a fish, or as many fish as they could have caught, because they failed to understand the importance of matching a hatch. This is particularly true when fishing for large, wild, selective trout—the ones we all really want to catch.In this book, I try to relieve some of the reticence about trout stream insects that makes many anglers feel inadequate and uneasy. Many excellent books provide very detailed information about specific hatches. But that’s not this book’s goal. This book is written for new anglers who want a basic understanding of aquatic insects or more seasoned fly fishers who want to take their skills to the next level; those who want to know not only if their flies will work but why they’ll work as well. I remember when I was first learning to fly fish, and I read about complicated Latin names or confusing stages of aquatic insect development. I was lost. It was as if the whole fly fishing world was born knowing about these things, and I was left out. This book’s aim is to provide basic aquatic insect knowledge that will not only help you to understand more about trout stream insects, but it will also help you catch more trout on your next fishing trip. It will help you to understand why you should tie one fly to your leader rather than another to imitate the hatches you encounter.Paul Weamer is a Fly Fisherman magazine contributing editor and the author or co-author of several fly fishing books. He is an accomplished photographer, specializing in aquatic insect macro photography, and has contributed photos to Fly Fisherman, The Catskill Regional Guide, and The Drake, as well as his own and several other writer’s books. Paul is a former licensed guide, working the Upper Delaware and Beaverkill Rivers for trout and smallmouth bass, and Cattaraugus, Elk, and Walnut Creeks for steelhead. He has owned or managed three highly regarded fly shops in New York and Pennsylvania and has been a production tier for numerous guides and shops, including the legendary Dette fly shop in Roscoe, New York. Paul is a contract fly designer for the Montana Fly Company and the inventor of the Weamer’s Truform, Comparachute, Alewife, Bucktail Body, and the Weamer Streamer series of flies.Paul is one of the founders of the Friends of the Upper Delaware River (FUDR), and is a current member of the Outdoor Writers Association of America. He was the 2009 co-winner of FUDR’s Upper Delaware “One Bug” tournament and winner of the 2011 Upper Delaware Council’s Recreation Award for his book about the river. Paul is a Simms Guide Ambassador and member of the product development staff for Simms and Orvis.

    17th century to the present. Book was reprinted in 2006

    In entirely new photographs taken especially for this book by two leading architectural photographers under the direction of co-editor David Larkin, such internationally famous buildings as the Solomon R. Guggenheim Museum and Fallingwater and Wright's homes Taliesin, Taliesin West, and the Oak Park Home and Studio are seen afresh, benefiting from the photographers' special access. Several lesser-known residences, such as Auldbrass Plantation in South Carolina, an array of wooden buildings that is Wright's American alternative to antebellum architecture, the William H. Winslow house in River Forest, Illinois, one of the architect's earliest and most surprisingly decorative houses, and the Kenneth Laurent house in Rockford, Illinois, a masterful curvilinear design, are seen in full color and demonstrate dimensions of Wright's work less often seen before. Public buildings, such as the dramatic concrete, glass, and steel Marin County Civic Center and Beth Sholom Synagogue show Wright as engineering virtuoso as well as creative architect. In addition to these existing masterworks, only the most famous of which are open to the public, the book covers buildings that have been demolished, notably the Larkin Company Administration Building, Midway Gardens, and the Imperial Hotel, which are represented here by drawings and rich archival photographs. Each of the buildings is presented from conceptual sketch, plan, or drawing to finished masterwork, andeach is accompanied by an in-depth essay detailing the development of the work. Extensive quotes from Wright's writings, unpublished talks, and private letters to the clients give valuable insight into the architect's own thinking about each commission. Never before has Wright's architecture been presented so elaborately in one volume.

    Handwriting may be slower than typing—but this gives your brain more time to process information, and stimulates neurological connections that aid in memory, focus, and composition. The process of handwriting can also have a soothing, calming effect and can even serve as a great form of meditation. And of course, it’s a great way of expressing your individuality and personal style. The Lost Art of Handwriting explores the history of writing longhand, and reintroduces proper stroke sequences, letter forms, and techniques for evaluating and improving your handwriting. You will discover how the amazing variety of letter forms provide endless opportunities for making these alphabets your own, and how to choose alternatives that fit your preferences while keeping your writing neat, consistent, and unique to you. You’ll learn how to connect letters in cursive writing to help you write more smoothly, and with practice, more efficiently. Learn how easy it is to apply what you’ve learned into your everyday life with tips for integrating handwriting practice into already jam-packed schedules. Soon, you’ll notice a steady increase in the relaxation, value, and joy that handwriting offers to everyone who persists in putting the pen or pencil to paper.

    It will enable making a design for almost any kind of building, or any part of the built environment. ‘Patterns,’ the units of this language, are answers to design problems: how high should a window sill be?; how many stories should a building have?; how much space in a neighborhood should be devoted to grass and trees?More than 250 of the patterns in this language are outlined, each consisting of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seems likely that they will be a part of human nature and human action as much in five hundred years as they are today.A Pattern Language is related to Alexander’s other works in the Center for Environmental Structure series: The Timeless Way of Building (introductory volume) and The Oregon Experiment.

    From this foundation, Goldhagen presents a powerful case that societies must use this knowledge to rethink what and how they build: the world needs better-designed, healthier environments that address the complex range of human individual and social needs.By 2050 America’s population is projected to increase by nearly seventy million people. This will necessitate a vast amount of new construction—almost all in urban areas—that will dramatically transform our existing landscapes, infrastructure, and urban areas. Going forward, we must do everything we can to prevent the construction of exhausting, overstimulating environments and enervating, understimulating ones. Buildings, landscapes, and cities must both contain and spark associations of natural light, greenery, and other ways of being in landscapes that humans have evolved to need and expect. Fancy exteriors and dramatic forms are never enough, and may not even be necessary; authentic textures and surfaces, and careful, well-executed construction details are just as important.Erudite, wise, lucidly written, and beautifully illustrated with more than one hundred color photographs, Welcome to Your World is a vital, eye-opening guide to the spaces we inhabit, physically and mentally, and a clarion call to design for human experience.

    Then he discovered the mountains. Making up for lost time, Bullock soon became one of Britain's best climbers, learning his trade in Scotland and Wales, before travelling from Pakistan to Peru.

    But Witold Rybczynski disagrees, and in The Look of Architecture, he makes a compelling case for the importance of style to the mother of the arts. This is a book brimming with sharp observations--that form does not follow function; that the best architecture is not timeless but precisely of its time; that details do not merely complement the architecture--details are the architecture. But the heart of the book illuminates the connection between architecture, interior decoration, and fashion. Style is the language of architecture, Rybczynski writes, and fashion represents the wide and swirling cultural currents that shape and direct that language. The two--style and fashion--are intimately linked; indeed, architecture cannot escape fashion. To set these ideas in sharp relief, he shows us how style and fashion have been expressed in the work of major architects including Frank Gehry, Mies van der Rohe, Charles McKim, Allan Greenberg, Robert Venturi, Enrique Norten, and many others. He helps us see their works anew and ultimately to look afresh at our surroundings. Style is one of the enduring--and endearing--aspects of architecture, Rybczynski concludes. Furthermore, an architecture that recognizes the importance of style would not be as introspective and self-referential as are so many contemporary buildings. It would be part of the world: Not architecture for architects, but for the rest of us.

    If you were fat your doc said: "You eat too much." Calorie consumption hit an all-time low. A 25” waist was a clothing size 10. High fructose corn syrup consumed: None.Today: Women of all ages are, on average, overweight. Obesity is now a “disease.” Calorie consumption is at an all-time high. A 25” waist is closer to a clothing size “zero." High fructose corn syrup consumed: 76% of corn sweeteners.Is it really true that American women didn’t get fat in the 1950s? Detailed gender-specific data wasn’t published during the 50s, but an early 1960s government sponsored survey revealed that women aged 20 - 29 were, on average, a little over thirty-four pounds lighter than women in the same age bracket today! Women aged 30 - 39 were about thirty pounds lighter! It's true that women are taller today than the 50s, but not enough to explain the gain. In 1960 the average American woman was 63.1." Today she is 63.8."What did women know or practice back then that kept them immune from an obesity epidemic? Could it be a matter of simply not consuming high fructose corn syrup or fast food? Not so fast. The root of the problem is far more expansive!In this ebook you will be given access to many of the 50s slimming secrets women knew. It reveals pre-BMI medical metrics for healthy weight and eating which were far more stringent and based upon medical studies instead of comparing people to a norm. Also included are vintage US government food recommendations and an examination of the psychological climate and marketing practices to women in the 50s. You’ll find suggestions for integrating “outdated” healthy practices and attitudes into your diet to combat and replace the toxic practices and processed foods prevalent today often mistaken for “progress.” This heavily researched ebook contains over seventy linked citations and scans of vintage source materials."Diet" literally means "the kinds of food that a person, animal, or community habitually eats," and by applying the 1950s diet to her own life author Averyl Hill lost sixteen pounds and four inches around her waist and has kept it off years later. She didn’t join a gym or spend money on branded, pre-packaged diet foods or pills, nor did she start wearing a string of pearls and heels while dusting her home. Going backwards can mean forward thinking!Please note that this book does not contain recipes, nor is it a specific, prescribed diet plan. It gives you tools to help facilitate healthy choices about how you eat, move and think about food, weight-loss and overall fitness. Unlike fad weight loss diets today that haven't made us any slimmer, the 1950s diet worked for millions of American women-- a decade of hard evidence is hard to dispute-- and we can learn to adopt it again today!

    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.