Book Description
Architect Preston Scott Cohen combines the use of the most advanced digital modeling technologies with a fascination for 17th century descriptive geometry. He uses familiar forms distorted by oblique projections and similar devices to create complex designs that challenge our preconceptions about the nature of order in architecture.?
Contested Symmetries and Other Predicaments in Architecture features Cohen's intricate abstract geometries and lucidly describes both the mechanics and the theory behind their application. A wealth of projects, including the widely acclaimed Torus House, are represented through drawings, models, and computer-generated images.
Customer Reviews:
WONDERFUL TECHNIQUE BOOK!.......2007-02-19
Each page shows a demonstration of how Mr Caddell takes a painting and totally improves it with instructions to the reader as how to do it. He uses all his experience to show you how to improve on color, contrast, edges, value and much more. I love my copy and you need this color 1996 edition instead of the older version with black and white paintings.
A very good book.......2006-06-24
This is a revised and edited reprint of Caddell's 1976 Landscape Painting Book. The 50 keys in this book contain many of those from the original, but some have been replaced and others shifted in order. Sections of the book have been removed and others added or rewritten. All told, I think this is by far the better book of the two. A very definite plus for this book - the vast majority of the illustrations are color where the majority were b&w in the original. If you own the original and wish the images were in color... many of those same ones are in color in this edition and it's worth having both.
Book Description
Landscapes are the most popular subject areas among artists of all levels of ability. This invaluable handbook takes a practical problem-and-solution approach to drawing and painting popular landscape subjects, showing common mistakes and how to rectify them.
* Incorporating both drawing and watercolor media, the author:
* Leads readers through a series of examples and exercises that introduce them to the equipment and techniques needed for landscapes
* Examines a series of landscape-based themes in detail, showing the problems that can be encountered, and offering ingenious solutions to each
* Follows the highly attractive and accessible layout as the other two books in the series--problem-and-solution spreads, clear annotation, and step-by-step demonstrations
Each theme starts by demonstrating the basic marks and brushstrokes required for that subject, then sets out a series of problem-and-solution pages that are packed with useful tips on how to paint those subjects and avoid the common pitfalls. Each of these themes concludes with a step-by-step demonstration in a chosen medium to pull all the points covered in the theme together in practice.
Customer Reviews:
Landscape Problems & Solutions.......2007-02-20
Any book by Trudy Friend is great. It is both informative and easy to use.
Book Description
Written by two leading experts, this practical tool offers detailed advice on defining, analyzing, and solving today’s most common turf problems. Presented in a distinguished case-based approach, it features solutions for environmental, cultural, and pest and pesticide turf problems; coverage of human resources issues; and accessible methods for evaluation, analysis, and synthesis.
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The GARDEN PROBLEM SOLVER: 101 SOLUTIONS TO COMMON LANDSCAPING PROBLEMS
Catriona T. Erler
Manufacturer: Simon & Schuster
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ASIN: 0671798049 |
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Landscapes Problems and Solutions
Trudy Friend
Manufacturer: David & Charles
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ASIN: 0715316478 |
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Scenic Parks and Landscape Values (Environment - Problems and Solutions)
Ellen Huening Makowski
Manufacturer: Taylor & Francis
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ASIN: 0824004701 |
Book Description
This digital document is a journal article from Biological Conservation, published by Elsevier in 2006. The article is delivered in HTML format and is available in your Amazon.com Media Library immediately after purchase. You can view it with any web browser.
Description:
Ecosystems produce goods and services that are essential for the wellbeing of humans and other organisms. The earth's expanding human population is altering both pattern and process in ecosystems, and hence is impacting the provision of ecosystem goods and services at a variety of scales. Food production and other ecosystem services, such as the many benefits provided by forests, are not exclusive of one another at a regional scale. Although it is becoming obvious that uncoordinated local management is inadequate to address regional ecosystem changes in the face of regional drivers of change, few regional governments have addressed the need for holistic landscape management of regional ecosystem services. We compare and contrast two regional programs, the agricultural agenda of integrated pest management (IPM) and an as-yet hypothetical, fragmentation-oriented conservation agenda that we term 'Regional Fragmentation Management' (RFM). IPM has a strong practical foundation but is weak on theory. RFM has a stronger theoretical base, but is weak on practice and has mainly focused on protected areas. Both programs address only a small subset of the larger question of how to effectively maintain regional production of regional ecosystem services. Some of the successes of IPM practitioners in building institutions and achieving societal acceptance for their program, particularly in relation to regionally coordinated ('areawide') pest management, suggest that regional ecosystem management is plausible. IPM offers some ingredients of an institutional role model for a broader, more ambitious program that seeks to manage regional ecosystem services and processes in a sustainable manner. As the looming crisis of global climate change brings a potential window of opportunity for the introduction of novel approaches for managing deforestation, closer synergies between conservation and agriculture at regional scales seem not only possible, but essential.
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- A Beautifully Printed Book!!!
- Eugene Smith... what can I say!
- Staff Photographer, Seattle Times, Seattle, Washington
- Review of Smith book from an old friend
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W. Eugene Smith Photographs 1934-1975
Gilles Mora
Manufacturer: Harry N. Abrams
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Friedlander
ASIN: 0810941910 |
Customer Reviews:
A Beautifully Printed Book!!!.......2005-09-18
Ugly cover design, but beautiful tonal range in the printing of this beautiful collection of Eugene Smith's work. A very comprehensive book of Smith's photojournalistic art.
Eugene Smith... what can I say!.......2002-01-20
Superb. I am a professional photographer, and i really admire Smiths work. This book is a great collection of some of his images.
The publishers did a good job reproducing the photographs, nice detail and tone. Definitely worth the price.
Staff Photographer, Seattle Times, Seattle, Washington.......2000-07-17
An excellent display and text of one of one of the world's great photojournalists. I would recomend this book highly to any fan of E. Eugne Smith
Review of Smith book from an old friend.......1999-01-08
SMITH BOOK REVIEW
Having risked hernia to browse the impressive new book of an old friend and neighbor, ( W. Eugene Smith; Photographs 1934-1975 John T. Hill/Gilles Mora) what first grabs is the space, air and light enveloping these intense images with almost a loving caress, a sense of freshness and sunlight never possible in our dim, dingy-dusty claustrophobic Sixth Avenue loft building, where, just outside my studio door, were piled stacks upon stacks of his work mounted on black 16x20 dogeared mats, just waiting to be stolen, but which were, in fact, attributed by many visitors to some magical drugstore, and could I, please, arrange to have their wedding pictures made there, too? Gene couldn't sell one print for even twenty-five bucks in those days. Every night when I came home to sleep there was the despairing Clement Attlee staring upward at the bare light bulb over my doorway.
That was forty years ago, and twenty since Gene went to that great blast of ferrocyanide in the sky, and much ado about him has taken place in the interim. New York fifties mindset was Freudian psychoanalysis; everyone went to a shrink. Any prominent individualistic tendencies were often condemned to one definition of neurosis or another, and in the rather small and specious world of photography , Gene's maverick determination stood out in high relief. Businessmen photographers-- like the young Lee Friedlander, himself awash in Freudophilia, considered Gene a `spoiler', pretentious-precious, and went instead to sit at the feet of the polymorphous Walker Evans; yes, "pomposity" was pretty much the legend that Gene's exit from LIFE brought down around his head. Not a team player at all; tsk tsk. And in his brave repudiation of corporate moloch, Gene valiantly pratfalled himself right into the lap of utter poverty.
To large extent, Gene's persona seemed to require a struggle against impossible odds; it focused and sharpened him to the high standards he demanded from himself , and he was no slouch when it came to grandstanding, often with tears, his anti-Goliath position. He built his own Myth of Smith, his self-invented public (relations?) image, fine when LIFE was footing the bill, but now, inside our firetrap former whorehouse , there was real rent to pay, real electric bills, bona fide empty refrigerators. That is about when we began to get acquainted--- I never really bought the Myth; for me he was just the strangely interesting guy downstairs who became a great pal.
Outside the loft, Gene was quick to acquire the packagable cliche of the garret-starved self-destructive artist. Compared to Van Gogh, he earned some residue of American Puritan contempt; this man whose great humanity was most evident in his work was treated most inhumanely by his peers.
Inside the loft, for many years the two of us were in daily contact, working and trying to exist under extremely difficult economic circumstances, and we often had one helluva good time!! I found him to be a genial, generous, courageous---often outrageous-- warm wildly witty man, always humble, sensitive, shy and hard-working, sharing a great interest in art, with a remarkable philosophical perspective. We jabbered of Welles and Chaplin , wide angle lenses, witches, Goya, Haiti, Satchmo, Stravinsky, O'Casey, Joyce, Kazan, war, suicide, politics, cock-fought over girls, guzzled cheap scotch, and swung with the jazz that regularly took place in my studio , as if great mind trips could avert the cold fact of the necessity to eat. I remember one hot summer day, making cream cheese and molasses sandwiches for us on cinamon bread. Gene argued that we didn't have to buy the molasses because we could get the iron from our rusty tap water. As a rule, his antic humor and punning sense managed always to keep things slightly off-balance; this man who had such a profoundly dramatic instinct and attraction for the tragic had also a capricious spirit of the absurd in the way he conducted his daily life; Van Gogh with a manic dash of Robin Williams.
And astonishingly productive. Yet always the gloomy impassioned chairoscuro came out of the darkroom-- prints blacker than black, then mounted on black, dense, intense, often in layout strangulation, making sure; I , W. Eugene Smith , won't let you go gently into that unferrocyanided good night. Sans assignments, now more artist than journalist, for years on end Gene shuffled his prints, made and remade PITTSBURG, photographed our jazz and our personal La Boheme, tried a failed book, a failed magazine, and finally luck brought him The Jewish Museum show and then his crescendo, Minimata.
One night in Bradley's in 1975, Gene said, "Well, Dave, I finally got there at last. I've got ten thousand dollars in the bank for the first time. Of course, it's only going to be there about a week."
Jump cut posthumous; an icon, passed away amongst us, is now suddenly acknowledged. Many who jeered him, refused him recognition, now come out to sycophant, to pedestal, to celebrate his life-- including LIFE itself. Gee, we're SO sorry; but let's exploit!
Those twenty-five dollar prints buckled the registers at auctions, and giant profits were made; yes, the same old art-woe story--- just at the time Vinnie the Gogh himself was pulling down millions in Sotheby sales. The dark side of Gene, finally, surely, took care of his children and at least one of his wives.
We get a brilliant and sensitive biography by Jim Hughes, a soso documentary, worldwide traveling shows. And then it seemed over. "There's no money left around for Gene Smith anymore" comments executor John Morris in the late eighties, handing his stewardship over to Gene's bastard son.
Now, surprise! comes this current coffee table dominatrix which gives Gene's babies, his pictures, the opportunity to have a life of their own in renewal. SNAP!! Of course one can argue anew the merits of the individual essays and which choices are the best, etc., but for myself-- having gone to bed amidst these images for many years, there's something new about them now; suddenly welcome. There is a spank-spank/no-no here; not all of what we see are Gene's own prints, very much against the artist's wishes, but the damage is by no means on the level of, say, Clement Greenberg's sanding off the paint on David Smith's sculptures after his death. And most of these choices help illuminate Gene's way of seeing and working. There are also textual inaccuracies; Hall Overton did not own the loft bldg. I had rented three floors, and Hall rented originally from me, and my friend Sid Grossman sent over Harold Feinstein to share Hall's floor. When Harold left, he brought in Gene.
I liked John Hill's technical essay at the closure. I was with Gene the night MAD EYES burnt out all the surrounding background, with ritual Clan MacGregor celebration, for neither of us-- one painter, one photographer-- gave a whit about `objectivity'.
This spacious book-bomb adds honor and light to these master photographs, allowing them their own life and breathing room not usually available. Gene's insistence on control force-gilded his lilies, giving barely any space in his layouts to let the eye feel free to wander on its own volition. Now one can look afresh with impunity, and they look a bit different--even better.
In any event, Gene, now busily groping angels, can no longer argue in his own defense, no longer joke, weep, holler, cajole, rage, pun. And he doesn't need to.
You know? This fellow really had one goddamned great eye and sense of when.
David X Young
Oct 22 1998
Book Description
The New York Times said that Mary Cantwell, in telling the story of her life, "Makes you discover yourself." Now, gathered in a single volume, are her three beautifully etched, unflinchingly honest memoirs. Cantwell's first book, American Girl, evoked the delights of her youth in a small New England town; her second, Manhattan, When I Was Young, told of her blossoming career in New York, her marriage and her children, and that marriage's decline. Speaking with Strangers finds Cantwell alone, a single mother struggling in the big city, bereft of her husband but bolstered by friends, thriving in her career yet personally troubled. With a sensibility as distinct as the city she calls home, Cantwell's autobiographical trilogy brilliantly captures her struggle to forge a life with one foot in her past and the other, warily, in her present.
"Cantwell writes with breathless intensity." --People
"As in the best of memoirs, the place is a character in the play, and Cantwell's courage as a wife and working mother also has a life and inspiration of its own."--Los Angeles Times
Customer Reviews:
A Classic Memoir.......2005-04-27
Mary Cantwell's Manhattan Memoir is three books in one but you will never tell the difference. The stories flow together as Cantwell's memoir's cover her life. Cantwell takes you through a stroll in Manhattan. The good times, the struggles. The best memoir I have read. This is that book you will tell all of your friends about. Cantwell is a fantastic story teller.
Wonderful prose and a fascinating story.......2002-02-25
The other reviews told what the book was about. I just wanted to add to their comments by saying that I couldn't put the book down and was sad when it ended. Her words flowed so beautifully.
Delightful, Engaging and Unflinchingly Honest.......2002-02-06
Mary Cantwell bares her triumphs and joys as well as her shortcomings and insecurities in this collection of three memoirs that span her childhood, early adulthood, and middle- to late-adulthood respectively. Cantwell lead a wonderful, if unremarkable, childhood in an enviably Rockwell-esque seaside town - her depiction of her life through high-school is a real joy to read. Upon graduation from college, Cantwell hits the "Big City" appears to have forgotten some of the lessons learned in her idyllic childhood, however, she still manages to snag a plumb job with Mademoiselle Magazine and occasionally interacts with literary legends with her ambitious young husband. In her later life she is given interesting writing assignments and carves out a life for herself in Lower Manhattan, however, I found it discouraging that she wallows in the collapse of her marriage (which never appeared to be very strong), often to the detriment of her two daughters. I kept wondering how a woman with such a strong background could have allowed herself to sink to the depths Cantwell periodically allowed herself to hit. Regardless, she is not ashamed to remember less-than-glamorous moments in her life (which also include being jeered by fellow classmates as an elementary school student and suffering from paralyzing fits of self-doubt as a young career woman) - these are the events that have made her what she is.
It must have been incredibly therapeutic for Cantwell to write these memoirs. All three books can be seen as a view of the author's life from within her own head. Her message is simple: accept me for what I am. "Manhattan Memoir," in addition to being the story of Mary Cantwell's life, it also about trying to be true to oneself when one isn't always sure what that means. By writing her story, Cantwell examines her life and tries to learn from her experiences - and it can make the reader start to think about his/her own life as well.
While Cantwell's life is not particularly fascinating or different in itself, her writing style and manner of portraying her experiences are magical and riveting. She describes the joyous and painful events of her life in an easy, engaging manner - it is as if she is talking about the past with old friends. She manages to make the mundane fascinating. She also has a real gift for engaging the reader. I wasn't sure if I liked her writing style at first - Cantwell writes almost as one speaks - but within pages of beginning the book I became used to her rambling style and truly enjoyed it.
This book provides an added plus for those from or familiar with Rhode Island and/or New York City. It was fun for me to recognize the addresses of Cantwell's Manhattan apartments and know that the places she frequented, I often go to today.
A delightful walk through time.......2000-07-23
The late Mary Cantwell charmingly recounts, in this 3 books in one volume paperback, her years growing up in a small New England seaport town and her youthful foray into the 'glamourous' magazine world of New York City in the 'fities. Sane, sensible and warm nostalgia--without being saccharine. Beautifully written. A must for the literate and for New York lovers-- especially those who remember the days!
A delightful walk through time.......2000-07-23
The late Mary Cantwell charmingly recounts, in this 3 books in one volume paperback, her years growing up in a small New England seaport town and her youthful foray into the 'glamourous' magazine world of New York City in the 'fities. Sane, sensible and warm nostalgia--without being saccharine. Beautifully written. A must for the literate and for New York lovers-- especially those who remember the days!
Average customer rating:
- Cantwell's memoir ,honest,or a conversation with a stranger?
- Still flawed but human
- Overrated; good for limited audience only; rating = 6
- Everything good that you're read about it is true
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Speaking With Strangers
Mary Cantwell
Manufacturer: Houghton Mifflin Company
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ASIN: 0395827515 |
Amazon.com
In her first memoir, An American Girl , Mary Cantwell recounts how as a young woman growing up in the 1930s and 1940s she longed to escape her small town and experience something more exciting. She found her escape by moving to New York and building a successful career in the modeling industry. Her second memoir, Manhattan, When I Was Young, is a sparkling account of those New York days and nights. In her third memoir, Speaking with Strangers, Cantwell has come full circle and again longs to escape and experience something new. The breakdown of her marriage and her father's death left Cantwell feeling isolated and disconnected, craving new intimacies to compensate for the ones she had lost. Traveling on photographic assignments gave Cantwell the opportunity to refresh her psyche and forge new bonds. Through a series of minitravel vignettes, Cantwell constructs colorful characterizations of the eclectic gathering of characters she encounters from all corners of the world. From Australian sheep ranchers and Russian soldiers to novelists and ministers, strangers enter and exit Cantwell's life absorbing her into conversations. Yet Cantwell realizes that traveling provides a "peculiar intimacy of people who will never see each other again," and we are left feeling that she will never find the intimacy for which she longs. This is Cantwell's most revealing memoir yet, in which she provides extremely personal reflections on family, friends, and her inner-self.
Book Description
From the author of American Girl and Manhattan When I Was Young, a searingly honest portrait of single motherhood, loneliness, and finding one's way home.
The concluding volume in Mary Cantwell's autobiographical trilogy finds her newly divorced and ready to escape life in New York and the demands of single parenthood. Traveling on assignment to some of the remotest and least glamorous corners of the globe, Cantwell is scared, lonely, and depressed--and she vows never to leave her children again if God will just get her out of this latest hellhole. Yet the farther she rambles, the more solace she finds in the company of strangers. She also finds deep, if passing, happiness in a relationship with "the balding man," a famous writer, and warmth and hilarity in her friendship with the legendary novelist Frederick Exley. Imbued with a sensibility as distinct as the city Cantwell calls home, this strikingly candid memoir offers readers another fascinating glimpse into the life of a woman with one foot in the past and the other, warily, in her present.
"Profoundly moving, unforgettable . . . Cantwell makes you discover yourself." --The New York Times
"Writing in a style as crisp and fresh as clean white sheets, Cantwell's voice remains true throughout: amusing, prickly, sometimes reticent, never boring." --Mirabella
Customer Reviews:
Cantwell's memoir ,honest,or a conversation with a stranger?.......1999-10-02
Mary Cantwells memoir Speaking with Strangers is written with what seems to be stark honesty. As Cantwell describes the "wake" that she holds for husband from whom she is recently divorced the reader listens to decribe how her greif drives her to escape her reality and replace her important relationships with conversation in strange places with strangers. In her struggle to redefine herself she is unable to ground her identity in the role of "wife" and thereofore she indirectly renounces her role of "mother" damaging her two young daughters. She losses her narative reliabiltity not in the retelling of the events of her story but in her inability to see the consequeces of her actions for both herself and for daughters. Cantwell clearly does not have the narative distance that she claims in her asumption that what she has written can be deemed a memoir. She is able to realize and transcribe in vivid detail the pain that she experienced. In these sincere confessions we begin to believe that she is a reliable narrator, as she confess that writing was her only method for survival. "To return to my children and to sight and sound and speech, I had to go far away and become aquainted with the only companion I have ever been able to rely on. As long as I had a pencil and paper and notes to make for my insignifigant little articels I was not alone." It would be dificult for the reader not to feel sympathy for Cantwell as trapped in her isolation as she confesses to be. It is exaclty the fact that she has becomes trapped within herself and has no perspective that I find her an unreliable narator. She uses writing to plow through isolation, confusion, and greif, not necessarily getting any clearer as the page gets full. Why is this memoir any diferent? She falls in love with a man that she had,"always believed could do anything but love anyone very much." She listens to her childs psychiatrist ask her to "just be a mother" to her child and has no ephifany. She prays to God to be delivered from perilious situations, back home with her family, and when arives home safely she repeats the cycle. My distrust of the ahenticity of the text as a memoir can be seen in the last lines. She is speaking to strangers, the readers, and she tells us that,"That day was the day I married New York." I want to know when a day will come when Cantwell will fall in love with and marry, herself.
Still flawed but human.......1998-06-24
The frustrating thing about Mary Cantwell's recent memoir, Speaking With Strangers, is her inability to lean from her past. Cantwell, a former editor and travel writer at Mademoiselle and Vogue, jumps at every travel assignment to Turkey, Siberia and other distant lands in order to escape her broken marriage and two unhappy daughters. Once abroad, alone in oftentimes unfriendly territory, she promises God she'll never leave her akids again if only He'll return her home safely. Back in New York, though, confronting the stresses of single motherhood, she quickly abandons her girls again to "speak with strangers."
With these strangers, Cantwell seems most authentically herself. Though she calls New York her "true bridegroom," it is when she is alone in foreign territory that she loses an oftentimes paralyzing insecurity and girlish dependence on her married lover, known only as "the balding man."
Cantwell's insecurity is revealed in her first two books, American Girl, about growing up in Bristol, Rhode Island in the '30s and '40s, and Manhattan, When I Was Young. The death of her beloved father when she was 20 and her marriage soon after to a paternal and hypercritical man left her unable to rely on her own judgment. Her young husband chooses her clothing, her reading material and her friends. (After their divorce, where Speaking With Strangers picks up, she safely rebels against her ex by choosing a best friend of whom he would surely disapprove.) Instead of learning from her experiences, however, Cantwell later takes up with the balding man, a seflish, alcoholic writer who eventually leaves Mary for one of his students.
Still, her long-term affair does allow Mary glimpses of self-knowledge. Of strict Catholic upbringing, Mary is surprised to find herself a willing partner not only in adultery but also in sexual role play and fantasy. "For the balding man," she writes, "I became a teller of tales of Great Danes and girls' reform schools and female war! ders and whippings and frightened virgins on all fours...Once I would have felt degraded by my nasty, nimble tongue, but not now. Telling stories to him so that he could make love didn't seem all that different from telling stories to my chidlren so that they could sleep." Like the thrill of travel, the excitement of her affair substitutes for deeper satisfactions.
Although she worked with famous authors and designers for decades in New York City (she is now on the editorial board of the New York Times), Cantwell is, thankfully, not a name dropper. In addition, to disguising her lover and her two daughters by calling them "Snow White" and "Rose Red," Cantwell's anecdotes of the late novelist Frederick Exley and eccentric critic Lillian Roxon are not mere decorations; they depict close attachments that had a deep impact on the author's life.
Of Exley she writes, "he attracted friends for much the same reason a burning building attracts spectators. We were mesmerized by the flames and falling rafters and buckling walls...But Fred's house was never totally consumed, and I, who was always frozen, had become used to warming my hands at its heat."
By its title, Speaking With Strangers promises the "peculiar intimacy of people who will never see each other again." And a few strangers do stay with us: the dancing Russian soldiers in Tashkent who share their vodka and horsemeat shishkebab; the Turkish tour guide with whom Mary squats, laughing and holding her nose, in an ancient latrine. But it is the homefront struggles of a lonely, working mother that are most compelling.
At times one wants to shake Mary for cabbing it uptown for another humiliating evening with the balding man, or for passively watching her young daughters' tears fall as she heads again for JFK. But in the end, her expressions of loss and success are everywoman's. And while we don't for a second buy her final sentence-that New York is her "true bridegroom"-we can forgive her. Like mo! st of us, she is still working it all out.
Overrated; good for limited audience only; rating = 6.......1998-06-14
Generally good, but overrated. Perhaps I would have enjoyed the book more if I had read the previous two (Manhattan When I was Young etc.). Did not think there was much flow throughout and Mary Cantwell certainly didn't inspire or go straight to my heart such as Lindbergh's "Gift From the Sea". Good if you've got nothing else to read.
Everything good that you're read about it is true.......1998-06-06
Unsentimental, searingly honest, wryly funny, and very, very smart. Memoirists (and would-be memoirists) should study this book. Cantwell writes her life (this is the third volume) with a jaundiced eagle eye. She's been throught a lot of psychic pain, and describes it and much more. The particulars are interesting, the players - family, friends, an ex-husband, lovers - drawn sparely and precisely, and the message clear. A really great story, told by a terrific writer.
Average customer rating:
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African Diary: The Day-By-Day Account of an Incredible Adventure
Naka Pillman
Manufacturer: Quail Ridge Press
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ASIN: 0937552313 |
Books:
- Cottages by the Sea, The Handmade Homes of Carmel, America's First Artist Community
- Crisp: Wake Up Your Creative Genius (Quick Read Series)
- Design Noir: The Secret Life of Electronic Objects
- Design With Japanese Obi
- Designers on Designers : The Inspiration Behind Great Interiors
- Designing Small Parks: A Manual for Addressing Social and Ecological Concerns
- Developing with Manufactured Homes
- Dot to Dot Count to 10
- Drawing Shortcuts: Developing Quick Drawing Skills Using Today's Technology
- Dreams of the Rarebit Fiend
Books Index
Books Home
Recommended Books
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- Dark Force Rising
- Comprehensive Molecular Insect Science, Seven-Volume Set, Volume 1-7
- Felice Varini: Point of View
- Evolution for Everyone: How Darwin's Theory Can Change the Way We Think About Our Lives
- Dealing with Difficult People: How to Deal with Nasty Customers, Demanding Bosses and Annoying Co-wo
- Dead in Vineyard Sand: A Martha's Vineyard Mystery
- Dream Floors: Hundreds of Design Ideas for Every Kind of Floor
- Color, Environment, & Human Response
- Darcy & Elizabeth: Nights and Days at Pemberley
The Projective Cast: Architecture and Its Three Geometries
Tooling (Pamphlet Architecture)
Atlas of Novel Tectonics
Phylogenesis foa's ark: foreign office architects
Catalytic Formations
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