Created in 1811 by a three-man commission featuring headstrong Founding Father Gouverneur Morris, the plan called for a dozen parallel avenues crossing at right angles with many dozens of parallel streets in an unbroken grid. Hills and valleys, streams and ponds, forests and swamps were invisible to the grid; so too were country villages, roads, farms, and estates and generations of property lines. All would disappear as the crosshatch fabric of the grid overspread the island: a heavy greatcoat on the land, the dense undergarment of the future city.No other grid in Western civilization was so large and uniform as the one ordained in 1811. Not without reason. When the grid plan was announced, New York was just under two hundred years old, an overgrown town at the southern tip of Manhattan, a notorious jumble of streets laid at the whim of landowners. To bring order beyond the chaos-and good real estate to market-the street planning commission came up with a monolithic grid for the rest of the island. Mannahatta-the native "island of hills"-became a place of rectangles, in thousands of blocks on the flattened landscape, and many more thousands of right-angled buildings rising in vertical mimicry.The Manhattan grid has been called "a disaster" of urban planning and "the most courageous act of prediction in Western civilization." However one feels about it, the most famous urban design of a living city defines its daily life. This is its story.

    But ambition quickly took wing. The house swelled to 225 rooms and became - until 2012 when it was topped by the home of a billionaire in Mumbai, India – the world’s largest residence ever built for a private citizen. Here’s the story of the house that Vanderbilt built - from the gardens by Frederick Law Olmsted to the John Singer Sargent portraits that adorn its walls.

    As cities across America experience a remarkable renaissance, and more and more young, diverse families choose to live, work, and play in historic neighborhoods, the promise and potential of using our older and historic buildings to revitalize our cities is stronger than ever.   This urban resurgence is a national phenomenon, boosting cities from Cleveland to Buffalo and Portland to Pittsburgh. Experts offer a range of theories on what is driving the return to the city—from the impact of the recent housing crisis to a desire to be socially engaged, live near work, and reduce automobile use. But there’s also more to it. Time and again, when asked why they moved to the city, people talk about the desire to live somewhere distinctive, to be some place rather than no place. Often these distinguishing urban landmarks are exciting neighborhoods—Miami boasts its Art Deco district, New Orleans the French Quarter. Sometimes, as in the case of Baltimore’s historic rowhouses, the most distinguishing feature is the urban fabric itself. While many aspects of this urban resurgence are a cause for celebration, the changes have also brought to the forefront issues of access, affordable housing, inequality, sustainability, and how we should commemorate difficult history. This book speaks directly to all of these issues.   In The Past and Future City, Stephanie Meeks, the president of the National Trust for Historic Preservation, describes in detail, and with unique empirical research, the many ways that saving and restoring historic fabric can help a city create thriving neighborhoods, good jobs, and a vibrant economy. She explains the critical importance of preservation for all our communities, the ways the historic preservation field has evolved to embrace the challenges of the twenty-first century, and the innovative work being done in the preservation space now.   This book is for anyone who cares about cities, places, and saving America’s diverse stories, in a way that will bring us together and help us better understand our past, present, and future.

    In the process they made computer history.

    While there has been considerable attention by practitioners and academics to development in urban cores and new neighborhoods on the periphery of cities, there has been little attention to the redesign and redevelopment of existing suburbs. The authors, both architects and noted experts on the subject, show how development in existing suburbs can absorb new growth and evolve in relation to changed demographic, technological, and economic conditions. Retrofitting Suburbia was named winner in the Architecture & Urban Planning category of the 2009 American Publishers Awards for Professional and Scholarly Excellence (The PROSE Awards) awarded by The Professional and Scholarly Publishing (PSP) Division of the Association of American Publishers

    Ransacking the urban planning of the grand imperial past, it set out to transform everyday life, its sweeping boulevards, epic high-rise and vast housing estates an emphatic declaration of a non-capitalist idea. Now, the regimes that built them are dead and long gone, but from Warsaw to Berlin, Moscow to post-Revolution Kiev, the buildings, their most obvious legacy, remain, populated by people whose lives were scattered and jeopardized by the collapse of communism and the introduction of capitalism.Landscapes of Communism is an intimate history of twentieth-century communist Europe told through its buildings; it is, too, a book about power, and what power does in cities. In exploring what that power was, Hatherley shows how much we can understand from surfaces - especially states as obsessed with surface as the Soviets were. Walking through these landscapes today, Hatherley discovers how, in contrast to the common dismissal of 'monolithic' Soviet architecture, these cities reflect with disconcerting transparency the development of an idea over the decades, with its sharp, sudden zigzags of official style: from modernism to classicism and back; to the superstitious despotic rococo of high Stalinism, with its jingoistic memorials, palaces and secret policemen's castles; East Germany's obsession with prefabricated concrete panels; and the metro systems of Moscow and Prague, a spectacular vindication of public space that went further than any avant garde ever dared.But most of all, Landscapes of Communism is a revelatory journey of discovery, plunging us into the maelstrom of socialist architecture. As we submerge into the metros, walk the massive, multi-lane magistrale and pause at milk bars in the microrayons, who knows what we might find?

    The controversial book linking intelligence to class and race in modern society, and what public policy can do to mitigate socioeconomic differences in IQ, birth rate, crime, fertility, welfare, and poverty.

    Its greatest detriment to the world has been its unfettered desire to play with and alter them: science for science's sake, as if it offered the only path to knowledge.According to Lehrer, when it comes to the human brain, the world of art unraveled such mysteries long before the neuroscientists: "This book is about artists who anticipated the discoveries of science who discovered truths about the human mind that science is only now discovering." 'Proust Was a Neuroscientist' is a dazzling inquiry into the nature of the mind and of the truths harvested by its first explorers: artists like Walt Whitman, George Eliot, Auguste Escoffier, Marcel Proust, Paul Cozanne, Igor Stravinsky, Gertrude Stein, and Virginia Woolf. What they understood intuitively and expressed through their respective art forms -- the fallibility of memory, the malleability of the brain, the subtleties of vision, and the deep structure of language -- science has only now begun to measure and confirm. Blending biography, criticism, and science writing, Lehrer offers a lucid examination of eight artistic thinkers who lit the path toward a greater understanding of the human mind and a deeper appreciation of the ineffable mystery of life.

    

    From "Bartleby the Scrivener" to The Office, from the steno pool to the open-plan cubicle farm, Cubed is a fascinating, often funny, and sometimes disturbing anatomy of the white-collar world and how it came to be the way it is—and what it might become.In the mid-nineteenth century clerks worked in small, dank spaces called “counting-houses.” These were all-male enclaves, where work was just paperwork. Most Americans considered clerks to be questionable dandies, who didn’t do “real work.” But the joke was on them: as the great historical shifts from agricultural to industrial economies took place, and then from industrial to information economies, the organization of the workplace evolved along with them—and the clerks took over. Offices became rationalized, designed for both greater efficiency in the accomplishments of clerical work and the enhancement of worker productivity. Women entered the office by the millions, and revolutionized the social world from within. Skyscrapers filled with office space came to tower over cities everywhere. Cubed opens our eyes to what is a truly "secret history" of changes so obvious and ubiquitous that we've hardly noticed them. From the wood-paneled executive suite to the advent of the cubicles where 60% of Americans now work (and 93% of them dislike it) to a not-too-distant future where we might work anywhere at any time (and perhaps all the time), Cubed excavates from popular books, movies, comic strips (Dilbert!), and a vast amount of management literature and business history, the reasons why our workplaces are the way they are—and how they might be better.

    Its cast includes actors, writers, musicians and composers, producers and directors, racketeers and labor leaders, journalists and politicians in the turbulent decade from World War II to Korea.

    I explain how and possibly why.” These are the words that began the detailed essay now known as “The Pixar Theory,” which came out way back in 2013. It collected over 10 million views on Jon’s blog alone, and was syndicated on Buzzfeed, Mashable, Huffpost, Entertainment Weekly, and more – generating over 100 million impressions and now translated into a dozen languages. Now, these thoughts and ideas first written by Jon Negroni have been fully realized inside this book, aptly named The Pixar Theory. In this book, you’ll find an analysis of every single Pixar movie to date and how it tells a hidden story lurking behind these classic movies. You’ll learn about how the toys of Toy Story secretly owe their existence to the events of The Incredibles. You’ll learn about what truly happened to the civilization of cars from Cars before the events of WALL-E. And of course, you’ll find out the possible truth for why “Boo” of Monsters Inc. is the most important Pixar character yet. Welcome to the Pixar Theory. Don’t forget to fasten your imagination.

    Written both for veteran train travelers and those considering their first rail journey, it will make any trip smoother and more enjoyable with its insightful travel trips and information about how railroads operate. With trains attracting new riders in record numbers because of the economy, the price of gasoline, and the delays and crowding that are now the norm when traveling by air, the time is perfect for a new edition of All Aboard. Here you can learn how and why the first railroads came about, the building of America's trans-continental railroad, and how individual trains are operated. The author also offers advice that can only come from a veteran traveler: booking trips, finding the lowest fares, avoiding pitfalls, packing for an overnight trip, what to do on board, whom to tip and how much. All Aboard is the ultimate guide to American train travel and its unique history and culture.

    Here, in an unprecedented collection of thirty-two essays, artists and writers ranging from Ann Patchett to Chris Ware consider the deeper truths of Peanuts, its influence on their lives and on the culture more broadly, and the lessons it can teach us about disappointment, melancholy, and those fleeting moments of warm-puppy happiness. The contributors reflect on the experience of discovering Peanuts as a child, their identification with its characters and predicaments, and, for the artists in the book, the momentous effects of their encounters with the strip on their later careers. Taken together, the essays and comics of The Peanuts Papers enrich our understanding of the Peanuts gang and its world, with contributions not only about Charlie Brown and Snoopy but also Linus, Sally, Pigpen, and Peppermint Patty. The Peanuts Papers is an enchanting, poignant gathering of responses to the greatest American comic strip, enabling us to see it anew in fresh and revealing ways.

    This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)