Banister Fletcher has been the standard one volume architectural history for over 100 years and continues to give a concise and factual account of world architecture from the earliest times.In this twentieth and centenary edition, edited by Dan Cruickshank with three consultant editors and fourteen new contributors, chapters have been recast and expanded and a third of the text is new. * There are new chapters on the twentieth-century architecture of the Middle East (including Israel), South-east Asia, Hong Kong, Japan and Korea, the Indian subcontinent, Russia and the Soviet Union, Eastern Europe and Latin America. * The chapter on traditional architecture of India has been rewritten and the section on traditional Chinese architecture has been expanded, both with new specially commissioned drawings* The architecture of the Americas before 1900 has been enlarged to include, for the first time, detailed coverage of Latin America and the Caribbean* The book's scope has been widened to include more architecture from outside Europe* The bibliography has been expanded into a separate section and is a key source of information on every period of world architecture* The coverage of the 20th century architecture of North America has been divided into two chapters to allow fuller coverage of contemporary works* 20th century architecture of Western Europe has been radically recast* For the first time the architecture of the twentieth century is considered as a whole and assessed in an historical perspective* Coverage has been extended to include buildings completed during the last ten years* The coverage of Islamic architecture has been increased and re-organised to form a self contained sectionThis unique reference book places buildings in their social, cultural and historical settings to describe the main patterns of architectural development, from Prehistoric to the International Style. Again in the words of Sir Banister Fletcher, this book shows that 'Architecture ... provides a key to the habits, thoughts and aspirations of the people, and without a knowledge of this art the history of any period lacks that human interest with which it should be invested.'

    Working effectively to combat unconscious bias across differences such as gender, culture, generational, race, and sexual orientation not only leads to a more productive, innovative corporate culture but also to a better engagement with customers and clients. The Inclusion Dividend provides a framework to tap the bottom-line impact that results from an inclusive culture. Most leaders have the intent to be inclusive, however translating that intent into a truly inclusive outcome with employees, customers, and other stakeholders requires a focused change effort. The authors explain that challenge and provide straightforward advice on how to achieve the kind of meritocracy that will result in a tangible dividend and move companies ahead of their competition.

    Full facsimile of the original edition, not reproduced with Optical Recognition Software. Camillo Sitte (1843-1903) was a noted Austrian architect, painter and theoretician who exercised great influence on the development of urban planning in Europe and the United States. The publication at Vienna in May 1889 of "Der Stadtebau nach seinen k�nstlerischen Grundsatzen" ("The Art of Building Cities") began a new era in Germanic city planning. Sitte strongly criticized the current emphasis on broad, straight boulevards, public squares arranged primarily for the convenience of traffic, and efforts to strip major public or religious landmarks of adjoining smaller structures regarded as encumbering such monuments of the past. Sitte proposed instead to follow what he believed to be the design objectives of those whose streets and buildings shaped medieval cities. He advocated curving or irregular street alignments to provide ever-changing vistas. He called for T-intersections to reduce the number of possible conflicts among streams of moving traffic. He pointed out the advantages of what came to be know as "turbine squares"--civic spaces served by streets entering in such a way as to resemble a pin-wheel in plan. His teachings became widely accepted in Austria, Germany, and Scandinavia, and in less than a decade his style of urban design came to be accepted as the norm in those countries.

    Weizman traces the development of these ideas, from the influence of archaeology on urban planning, Ariel Sharon’s reconceptualization of military defense during the 1973 war, through the planning and architecture of the settlements, to contemporary Israeli discourse and practice of urban warfare and airborne targeted assassinations.In exploring Israel’s methods to transform the landscape and the built environment themselves into tools of domination and control, Hollow Land lays bare the political system at the heart of this complex and terrifying project of late-modern colonial occupation.

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

    We see a network of walls, columns, cables, pipes and tunnels required to satisfy the basic needs of a city's inhabitants.

    Indianapolis. Charleston. Des Moines. What do these cities have in common? They are cities of modest size but outsized accomplishment, powered by a can-do spirit, valuing compromise over confrontation and progress over political victory. These are the cities leading America . . . and they're not waiting for Washington's help.As mayor of one of America's most improved cities, Cornett used a bold, creative, and personal approach to orchestrate his city's renaissance. Once regarded as a forgettable city in flyover country, Oklahoma City has become one of our nation's most dynamic places-and it is not alone. In this book, Cornett translates his city's success-and the success of cities like his-into a vision for the future of our country.The Next American City is a story of civic engagement, inventive public policy, and smart urban design. It is a study of the changes re-shaping American urban life-and a blueprint for those to come.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    It means more than the arrival of trendy shops, much-maligned hipsters, and expensive lattes. The very future of American cities as vibrant, equitable spaces hangs in the balance.Peter Moskowitz's How to Kill a City takes readers from the kitchen tables of hurting families who can no longer afford their homes to the corporate boardrooms and political backrooms where destructive housing policies are devised. Along the way, Moskowitz uncovers the massive, systemic forces behind gentrification in New Orleans, Detroit, San Francisco, and New York. The deceptively simple question of who can and cannot afford to pay the rent goes to the heart of America's crises of race and inequality. In the fight for economic opportunity and racial justice, nothing could be more important than housing.A vigorous, hard-hitting expose, How to Kill a City reveals who holds power in our cities-and how we can get it back

    The late-night passing of a beloved aunt summons a childhood bully who shows up minutes later, after twenty-five years, to be forgiven and to heal a broken doctor. This ER doctor finds God's opposite in: a battered child's bruises covered over by make-up, a dying patient whose son finally shows up at the end to reclaim the man's high-top sneakers, the rich or celebrity patients loaded with prescription drugs from doctor friends who end up addicted. But, his real outrage is directed at our cavalier treatment of the elderly, If you put a G-tube in your 80-year-old mother with Alzheimer's because she's no longer eating, you will probably have a fast track to hell.

    His name is Tadao Ando, and he is one of the world's greatest living architects. Combining influences from Japanese tradition with the best of Modernism, Ando has developed a completely unique building aesthetic that makes use of concrete, wood, water, light, space, and nature in a way that has never been witnessed elsewhere in architecture. This book provides the perfect introduction to Ando's work, including private homes, churches, museums, apartment complexes, and cultural spaces throughout Japan, and in France, Italy, Spain, and the USA.

    Considering the urban landscape not from the abstract perspective of an urban planner but from the viewpoint of an attentive observer, Urban Code offers 100 "lessons"--maxims, observations, and bite-size truths, followed by short essays--that teach us how to read the city. This is a user's guide to the city, a primer of urban literacy, at the pedestrian level. The reader (like the observant city stroller) can move from "People walk in the sunshine" (lesson 1) to "Street vendors are positioned according to the path of the sun" (lesson 2); consider possible connections between the fact that "Locals and tourists use the streets at different times" (lesson 41) and "Tourists stand still when they're looking at something" (lesson 68); and weigh the apparent contradiction of lesson 73, "Nightlife hotspots increase pedestrian traffic" and lesson 74, "People are afraid of the dark."A lesson may seem self-evident ("Grocery stores are important local destinations"--of course they are!) but considered in the context of other lessons, it becomes part of a natural logic. With Urban Code, we learn what to notice if we want to understand the city. We learn to detect patterns in the relationships between people and the urban environment. Each lesson is accompanied by an icon-like image; in addition to these 100 drawings, thirty photographs of street scenes illustrate the text. The photographs are stills from films shot in the Manhattan neighborhood of SoHo; the lessons are inspired by the authors' observations of SoHo, but hold true for any cityscape.

    This extended work is the culmination of forty years' research and shows the belief that we all can, and do, design, and that we can learn to design better. The creative mind continues to have the power to surprise and this book aims to nurture and extend this creativity. Neither the earlier editions, nor this book, are intended as authoritative prescriptions of how designers should think but provide helpful advice on how to develop an understanding of design.In this fourth edition, Bryan Lawson continues to try and understand how designers think, to explore how they might be better educated and to develop techniques to assist them in their task. Some chapters have been revised and three completely new chapters added. The book is now intended to be read in conjunction with What Designers Know which is a companion volume. Some of the ideas previously discussed in the third edition of How Designers Think are now explored more thoroughly in What Designers Know. For the first time this fourth edition works towards a model of designing and the skills that collectively constitute the design process.

    Today, the Hebrew city of Tel Aviv glitters white, its Bauhaus-influenced modernist architecture betraying few traces of the city which once stood where it now stands: the Arab city of Jaffa. In this book, Sharon Rotbard blows apart this palimpsest in a clear, fluent and challenging style, which promises to force the reality of what so many have praised as 'progress' into the mainstream discourse. A book that works on many levels, White City, Black City is, all at once, an angry uncovering of a vanished history, a book mourning the loss of an architectural heritage, a careful study in urban design and a beautifully written narrative history. It is in all senses a political book, but one that expands beyond the typical. This book promises to become the central text on Tel Aviv - its publication in Hebrew was hailed as 'path-breaking' and a 'masterpiece'.

    His elegantly clear visual language not only defined product design for decades, but also our fundamental understanding of what design is and what it can and should do. Dieter Rams created ten rules of design more than twenty years ago. Sometimes referred to as the ten commandments, they are just as relevant today: Good design is innovative. Good design makes a product useful. Good design is aesthetic. Good design helps a product to be understood. Good design is unobtrusive. Good design is honest. Good design is durable. Good design is consistent to the last detail. Good design is environmentally friendly. Good design is as little design as possible. Less and More elucidates the design philosophy of Dieter Rams. The book contains images of hundreds of Rams's products as well as his sketches and models from Braun stereo systems and electric shavers to the chairs and shelving systems that he created for Vitsoe and his own company sdr+. In addition to the rich visual presentation of his designs, the book contains new texts by international design experts that explain how the work was created, describe its timeless quality, and put it into current context. In this way, the work of Dieter Rams is given a contemporary reevaluation that is especially useful in light of the rediscovery of functionalism and rationalism in today s design. Less and More shows us the possibilities that design opens for both the manufacturer and the consumer as a means of making our lives better through attractive, functional solutions that also save resources. "