It presents a broad spectrum of subjects and designs, with practical experience and evaluation of the use of these buildings serving as a leitmotif. This immensely successful book has gone through many reprints and has also been published in Japanese, German, Italian, Portuguese, Taiwanese, Dutch, Greek, Chinese, French, Polish and Persian. More than 750 illustrations give a broad insight into Hertzberger's 'library' and a stimulating impression of the influences and sources of inspiration of one of the Netherlands' major postwar architects.

    

    Discusses the causes, symptoms, and treatment of attention-deficit Disorder (ADD).

    If the conscious mind—the part you consider you—accounts for only a tiny fraction of the brain’s function, what is all the rest doing? This is the question that David Eagleman—renowned neuroscientist and acclaimed author of Sum—answers in a book as accessible and entertaining as it is deeply informed by startling, up-to-the-minute research.

    Together the three books offer an introduction to the workings of architecture providing for the three aspects of learning: theory, examples and practice. Twenty-Five Buildings focusses on analysing examples using the methodology offered by Analysing Architecture, which operates primarily through the medium of drawing.In this second edition five further buildings have been added to the original twenty from an even wider geographical area, which now includes the USA, France, Italy, Mexico, Switzerland, Spain, Finland, Germany, Australia, Norway, Sweden, India and Japan.　The underlying theme of Twenty-Five Buildings Every Architect Should Understand is the relationship of architecture to the human being, how it frames our lives and orchestrates our experiences; how it can help us make sense of the world and contribute to our senses of identity and place. Exploring these dimensions through a wide range of case studies that illustrate the rich diversity of twentieth and twenty-first century architecture, this book is essential reading for every architect.

    They were discussed, annotated, cited, collected, and translated—the three issues of Artforum in which they appeared have become nearly impossible to obtain. Having Brian O'Doherty's provocative essays available again is a signal event for the art world. This edition also includes "The Gallery as Gesture," a critically important piece published ten years after the others. O'Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system. These essays are essential reading for anyone interested in the history and issues of postwar art in Europe and the United States. Teeming with ideas, relentless in their pursuit of contradiction and paradox, they exhibit both the understanding of the artist (Patrick Ireland) and the precision of the scholar. With an introduction by Thomas McEvilley and a brilliantly cogent afterword by its author, Brian O'Doherty once again leads us on the perilous journey to center to the art world: Inside the White Cube.

    Through computers, the Internet, the media, and even our daily newspapers, we are awash in a seemingly endless stream of charts, maps, infographics, diagrams, and data. Visual Explanations is a navigational guide through this turbulent sea of information. The book is an essential reference for anyone involved in graphic, web, or multimedia design, as well as for educators and lecturers who use graphics in presentations or classes.Jacket design: Dmitry Krasny.Other artwork by Bonnie Scranton, Dmitry Krasny, and Weilin Wu.

    As hunters, they would have been constantly scanning their environment, looking for food or threats (distractibility); they’d have to act without hesitation (impulsivity); and they’d have to love the high-stimulation and risk-filled environment of the hunting field. With our structured public schools, office workplaces, and factories those who inherit a surplus of “hunter skills” are often left frustrated in a world that doesn’t understand or support them. As Hartmann shows, by reframing our view of ADHD, we can begin to see it not as a disorder, but as simply a difference and, in some ways, an advantage. He reveals how some of the world’s most successful people can be labeled as ADHD hunters and offers concrete non-drug methods and practices to help hunters--and their parents, teachers, and managers--embrace their differences, nurture creativity, and find success in school, at work, and at home. Providing a supportive “survival” guide to help fine tune your natural skill set, rather than suppress it, Hartmann shows that each mind--whether hunter, farmer, or somewhere in between--has value and great potential waiting to be tapped.

    In addition to providing realistic expectations for the hard work needed to regain everyday capabilities, Meyerson focuses on the less frequently documented emotional journey in recovery. Virtually every survivor is haunted by questions like: “Who am I now?” and “How do I rebuild a meaningful and rewarding life?” after losing so much of what they had before—capabilities, careers and jobs, relationships, and more. This is a book full of hope for survivors—from stroke or other injuries—as well as their families and support networks.Debra Meyerson and her husband, Steve Zuckerman, have created Stroke Onward (strokeonward.org), a non-profit initiative of the Social Good Fund, to provide stroke survivors, families and caregivers with more resources to help them navigate the emotional journey to rebuild their identities and rewarding lives.”Winner of the 2019 Silver Nautilus Book Award, Identity Theft centers on Debra’s experience: her stroke, her extraordinary efforts to recover, and her journey to redefine herself. But she also draws on her skills as a social scientist, sharing stories from several dozen fellow survivors, family members, friends, colleagues, therapists, and doctors she has met and interviewed. By sharing this diversity of experiences, Debra highlights how every person is different, every stroke is different, and every recovery is different. She provides a valuable look at the broad possibilities for successfully navigating the challenging physical recovery—and the equally difficult emotional journey toward rebuilding one’s identity and a rewarding life after a trauma like stroke.

    His structural thinking differs from that of others in his field, in its completely innovative conception of the engineer's contribution to architecture. The plasticity of architectural plans is enhanced through a decisive promotion of their structural designs. The borderline between structure and architecture thus becomes increasingly blurred. This process is explained in detail in "Informal" by reference to eight seminal projects. Balmond elucidates the theoretical basis of his engineering and architectural solutions, and his sketches transcend purely technical illustration - they are key to his approach. "Informal" invites readers to rethink their understanding of the relationships between architecture, design and engineering.

    From the mid-nineteenth century to the early twentieth, over 250 institutions for the insane were built throughout the United States; by 1948, they housed more than a half million patients. The blueprint for these hospitals was set by Pennsylvania hospital superintendent Thomas Story Kirkbride: a central administration building flanked symmetrically by pavilions and surrounded by lavish grounds with pastoral vistas. Kirkbride and others believed that well-designed buildings and grounds, a peaceful environment, a regimen of fresh air, and places for work, exercise, and cultural activities would heal mental illness. But in the second half of the twentieth century, after the introduction of psychotropic drugs and policy shifts toward community-based care, patient populations declined dramatically, leaving many of these beautiful, massive buildings--and the patients who lived in them--neglected and abandoned. Architect and photographer Christopher Payne spent six years documenting the decay of state mental hospitals like these, visiting seventy institutions in thirty states. Through his lens we see splendid, palatial exteriors (some designed by such prominent architects as H. H. Richardson and Samuel Sloan) and crumbling interiors--chairs stacked against walls with peeling paint in a grand hallway; brightly colored toothbrushes still hanging on a rack; stacks of suitcases, never packed for the trip home. Accompanying Payne's striking and powerful photographs is an essay by Oliver Sacks (who described his own experience working at a state mental hospital in his book Awakenings). Sacks pays tribute to Payne's photographs and to the lives once lived in these places, "where one could be both mad and safe."

    the idea that space is not something static and neutral, a frozen entity, but is something intertwined with time and thus ever changing - also when we are not occupying it. Doreen's descriptions of her journey through England for example are clear and precise accounts of this idea, and she very sharply characterizes the attempts not to recognize this idea as utopian and nostalgic." - Olafur EliassonIn this book, Doreen Massey makes an impassioned argument for revitalising our imagination of space. She takes on some well-established assumptions from philosophy, and some familiar ways of characterising the twenty-first century world, and shows how they restrain our understanding of both the challenge and the potential of space.The way we think about space matters. It inflects our understandings of the world, our attitudes to others, our politics. It affects, for instance, the way we understand globalisation, the way we approach cities, the way we develop, and practice, a sense of place. If time is the dimension of change then space is the dimension of the social: the contemporaneous co-existence of others. That is its challenge, and one that has been persistently evaded. For Space pursues its argument through philosophical and theoretical engagement, and through telling personal and political reflection. Doreen Massey asks questions such as how best to characterise these so-called spatial times, how it is that implicit spatial assumptions inflect our politics, and how we might develop a responsibility for place beyond place.This book is "for space" in that it argues for a reinvigoration of the spatiality of our implicit cosmologies. For Space is essential reading for anyone interested in space and the spatial turn in the social sciences and humanities. Serious, and sometimes irreverent, it is a compelling manifesto: for re-imagining spaces for these times and facing up to their challenge.

    Workmanship is key to today's visual arts, when high ‘production values' are becoming increasingly commonplace. Yet craft's centrality to contemporary art has received little serious attention from critics and historians. Dispensing with clichéd arguments that craft is art, Adamson persuasively makes a case for defining craft in a more nuanced fashion. The interesting thing about craft, he argues, is that it is perceived to be 'inferior' to art. The book consists of an overview of various aspects of this second-class identity - supplementarity, sensuality, skill, the pastoral, and the amateur. It also provides historical case studies analysing craft's role in a variety of disciplines, including architecture, design, contemporary art, and the crafts themselves. Thinking Through Craft will be essential reading for anyone interested in craft or the broader visual arts.

    His revolutionary new book shows, for the first time, how the amazing process of neuroplastic healing really works. It describes natural, non-invasive avenues into the brain provided by the forms of energy around us—light, sound, vibration, movement—which pass through our senses and our bodies to awaken the brain’s own healing capacities without producing unpleasant side effects. Doidge explores cases where patients alleviated years of chronic pain or recovered from debilitating strokes or accidents; children on the autistic spectrum or with learning disorders normalizing; symptoms of multiple sclerosis, Parkinson’s disease, and cerebral palsy radically improved, and other near-miracle recoveries. And we learn how to vastly reduce the risk of dementia with simple approaches anyone can use. For centuries it was believed that the brain’s complexity prevented recovery from damage or disease. The Brain’s Way of Healing shows that this very sophistication is the source of a unique kind of healing. As he did so lucidly in The Brain That Changes Itself, Doidge uses stories to present cutting-edge science with practical real-world applications, and principles that everyone can apply to improve their brain’s performance and health.

    & if you are froward, you shall see who is stronger, a gentle little girl who doesn't eat enough or a big wild man who has cocaine in his body. In my last severe depression I took coca again & a small dose lifted me to the heights." This lurid encomium to cocaine wasn't penned by an immature drug addict. It was written by Sigmund Freud, father of psychoanalysis, to his fiancee Martha Bernays. He frequently got kicks from cocaine. But as is clear from his newly compiled Cocaine Papers, his interest in the drug was scientific, not sensual. He sought for a miracle drug to benefit patients & make his reputation. He thought he'd found it in cocaine. Freud's study of cocaine has been shrouded in myths, half-truths & speculation. Cocaine Papers sets the facts straight. Annotated by his daughter Anna, it presents the complete authoritative versions of his own writings on the drug, including several pieces never before published, along with the work of other early experimenters. He's revealed as not only a driven &, ultimately, tragic seeker for a panacea, but also as one of the pioneers of psychopharmacology, the science of using drugs to treat mental illness. In 1884, before beginning studies leading to the development of psychoanalysis, Freud was 28, a fledgling physician with a fiancee but without funds to wed. He'd been searching for a way to establish himself & gain the respect of colleagues. A paper by German physician Theodor Aschenbrandt seemed to provide the way. Conquistadores had noted the stimulant effect of coca leaves on Andean Indians. Aschenbrandt tried the drug on Bavarian soldiers & reported that it suppressed their hunger while increasing mental powers & capacity to endure strain. Aschenbrandt's paper triggered Freud's studies. He obtained samples & tried it. It gave him an emotional lift, producing what he described as "normal euphoria." After that he used cocaine frequently with the same results. He coolly summarized his experiences in his notes: "You perceive an increase of self-control, possess more vitality & capacity for work. This result is enjoyed without any of the unpleasant aftermaths which accompany exhilaration thru alcoholic means." Freud continued to study cocaine's effects on himself & patients. He found it not only useful in overcoming depression but effective against some purely physiological complaints. He used it to treat stomach disorders & persistent coughing. He didn't administer it indiscriminately. Tho he initially believed it wasn't habit-forming, he found its effects on patients too unpredictable to justify widespread use. Tho he & some American physicians reported initial successes in treating morphine addicts, fellow physician Adolf Albrecht Erlenmeyer warned that cocaine was itself addictive, the "3rd scourge of mankind"—after morphine & alcohol. Freud realized Erlenmeyer was correct. His friend & patient, Ernst von Fleischl-Marxow, became the 1st morphine addict in Europe to be cured by cocaine. He was also one of the 1st to become dependent on it. This development dampened Freud's interest & helped turn his attention to the psychological theories that eventually won him fame. Freud's studies are considered basic to psychopharmacology. But they didn't lead to the discovery of its most effective clinical use. He abandoned his interest in cocaine just after he suggested that a colleague, Karl "Coca" Roller, experiment with its use in easing the pain of eye surgery. It was Koller & not Freud who invented local anesthesia.--Time (edited)