Book Description
Clear, concise, and persuasive, Atheist Universe details exactly why God is unnecessary to explain the universe and life's diversity, organization, and beauty. The author thoroughly rebuts every argument that claims to "prove" God's existence — arguments based on logic, common sense, philosophy, ethics, history and science.
Atheist Universe avoids the esoteric language and logic used by philosophers and presents its scientific evidence in simple lay terms, making it a richly entertaining and easy-to-read introduction to atheism. A comprehensive primer, it addresses all the historical and scientific questions, including: Is there proof that God does not exist? What evidence is there of Jesus's resurrection? Can creation science reconcile scripture with the latest scientific discoveries?
Atheist Universe also answers ethical issues such as: What is the meaning of life without God? It's a spellbinding inquiry that ultimately arrives at a controversial and well-documented conclusion.
Customer Reviews:
Not terribly interesting or informative..........2007-10-12
I picked this book up as a christian who is interested in maintaining a well-rounded viewpoint. I was hoping to encounter some interesting arguments or data to challenge specific points of the christian religion, but I can't say I really did. Ultimately, I feel like the author spent a lot of time dismissing Intelligent Design, which I can understand since it isn't hard science, but also ended up doing a lot of handwaving over his points of contention in general. Maybe I expected too much, I don't know. I think it's a worthwhile read since it's one of the highest ranking books on the subject, but that doesn't speak too well of the genre in general it seems. I appreciate the author's civil style and friendly tone, but ultimately I just wasn't persuaded to even reconsider anything, and that may make his attempt a failure.
Don't Waste Time, Read Dawkins.......2007-10-04
Don't waste your time reading this drivel. This book is so centered on the "dramatic" life of the author. None of his arguments are new or that well presented. Dawkins is more comprehensive, Dennett has more interesting insights and compelling arguments (belief in belief), and Hitchens will make you laugh and remind you that being an atheist doesn't mean you hitch your wagon to the crazy nuts on the left!
Very informational.......2007-10-03
I thought the information was so important I ordered a second copy for a friend who lives in the bible belt. Just the reference to the Treaty of Tripoli makes the purchase well worth the money.
Great overview.......2007-09-26
Mills has written a terrific and nearly comprehensive overview of why atheism makes more sense than religiosity. He builds his case -- argument by argument, point by point -- in a casual, conversant style of writing that anyone should be able to follow and appreciate. Highly recommended.
Buy IT Now! .......2007-09-18
Mills has done an exceptional job of comprising a multitude of philosophical and scientific perspectives as to why a god does not exist. While some would retort that I am biased, for being atheist myself, I would rebut that it does not affect it either way. If I were a Fundamentalist it would be very hard to deny the truth of what he has gathered.
He uses perfect analogies to explain what he is trying to get across to you right when you feel lost and confused.
I would recommend this book to anyone, especially Fundamentalists.
He has sparked an interest in me to research further astrology, the impeding of technology by Christians, the inquisitions, evolution, religion and its evolution and philosophy.
BUY IT NOW!
Average customer rating:
- disappointing
- American Business Embraces Modernism
- Streamline meets Atomic on Main
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Shop America: Midcentury Storefront Design 1938-1950
Steven Heller
Manufacturer: Taschen
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Leisure Architecture of Wayne McAllister
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ASIN: 3822842699 |
Book Description
Window shopping
In postwar America, everything pointed to a bright, shiny future. Sheer optimism and opulence informed everything from automobile design to architecture, infusing design with larger-than-life planes and curves. Storefront design of the era is particularly indicative of this phenomenon, incarnated here in an extensive collection of hand-illustrated shop window designs from 1938 to 1950. These spectacular, often grandiose plans for grocery stores, shoe shops, beauty salons, bakeries, and more are reminders of a time when stores were sacred shrines for the congregation of American shoppers--impressive and even slightly intimidating, just like the future itself. Collected for this unique book, the designs viewed in retrospect reveal the mindset of a unique period in history. In addition to an extensive selection of drawings are historical black and white photographs of actual shops built in a similar style. Shop America offers a rare look at mid-century commercial America as it pictured itself.
Customer Reviews:
disappointing.......2007-06-16
I was disappointed in this book. The best picture is the one on the cover. Inside, each selection is pretty much the same. "Style suggestion for a florist shop," "Style suggestion for a shoe store," etc. Has diagrams and font types, window measurements, etc. All tech stuff that's not really interesting to me. I would have returned it, but didn't want to mess with the shipping. Sigh.
American Business Embraces Modernism.......2007-04-29
In the midst of the Great Depression, American Business adopted an American form of modernism that heralded a new age of technology and progress. This period of design history is sometimes called, "Machine Age", "Streamline Modern" or "Midcentury Modern." This belief in the spirit of progress can be seen in almost all American design of this period.
"Shop America" adds to our understanding of the time by focusing on store front design. American glass companies produced beautifully illustrated catalogs that promoted the use of glass and modern building materials. These catalogs inspired architects and small business owners to create store fronts that embraced the progressive spirit of modernism.
When many of us think of the 1940's and 1950's, we think of a conformist age best understood by old television shows like Ozzie and Harriet and Father Knows Best. However, a book like "Shop America" also demonstrates that American business and consumers of the time were willing to adopt a bold modernist vision. Although the designs in these books are 50-60 years old, they are still very fresh and exciting.
This book was produced by the German Publisher, Taschen. Like all Taschen books it is a very good value. It is a large format book with very high production values. This book is a must purchase for all enthusiasts of the period as well as for contemporary architects and designers. Highly recommended.
Streamline meets Atomic on Main.......2007-03-18
Turn the pages of this fascinating book and you're window shopping on Main Street in the late forties, plenty of consumer goods are just a touch away thanks to large glass windows. The essence of the book is more than ninety ideas for storefronts created by the Pittsburgh Plate Glass Company. Each has an artists rendering, sometimes a technical detail or floor plan and technical information about the glass used.
It is the exuberant artwork that makes the book come alive. They capture a mid-century of elegant shoppers seduced by Carrara glass and Aluminum. Virtually every store has an overall streamline design frequently mixing atomic motifs and the final individual touch is the name in a modern sans type or a casual script for a ladies retail unit. Strangely there is no actual reference to the Pittsburgh PGC or the artists though E A Lundberg has his signature on many of the illustrations.
This is a large book (handsomely designed and printed) that fortunately makes all the wonderful renderings large too. In the first few pages Steve Heller contributes an overview of storefront design illustrated with black and white photos of real stores in large American cities. Predictably few of them are as flamboyant as the concept artwork in the glass-makers sales material.
*** FOR AN INSIDE LOOK click 'customer images' under the cover.
Book Description
Theory for Art History provides a concise and clear introduction to key contemporary theorists, including their lives, major works, and ideas. Written both for the student in need of a quick introduction or for the scholar brushing up on details, this new volume in the theory4 series provides key information on the major theoretical thinkers of the past century. From Marx to Foucault, from Badiou and Agamben -- through their particular relevance to art history.
Theory for Art History is designed for easy use by both students and more advanced scholars in both art and visual studies.
Customer Reviews:
A valuable introductory guide.......2006-02-07
Reviews are intended to let us know whether to read a book, visit a gallery, or attent a show, among other things. It was my reading of Robert Sommers'Amazon.com review of Emerling's "Theory for Art History' that enticed me to purchase the book. I was not disappointed and in particular would recommend the book's 'Afterword' to any student of contemporary critical writing as its applies to the visual arts. While I remain unconvinced of the merits of many of Emerling's theoreticians (and only time will finally arbitrate on that)they are not to be avoided at present, and Emerling provides concise and sometimes lucid summaries of their various ideas. Perhaps the best an introductory book can hope for is to entice students to turn to the primary literature. With this book beside them, that literature, at least as it applies to art history, will be much more accessible.
Gifts to Art Histories.......2005-10-18
Why more theory and art history books now? (One may ask, as one person did at the Border's I was at.) And, what, or which, (critical and/or art) theory and what, or which, art history, or, to be more precise, which (critical and/or art) theories and which art histories--for there is nothing singular, nothing truly monolithic, about these fields of study, about the fields of critical theory, art theory, and art history and criticism in general and specific. They are, and have been, always-already plural. In what ways does the collecting, the archiving of, "key" theorists, those in or out of vogue, eliminate other theorists--ones who could, and have, vastly re-directed and re-networked the field over the past 200-ish-year-old discipline we have been calling art history? What does Jae Emerling's biography/resource text/unravelings, in other words, what does _Theory for Art History_ give "us" that the shelves of similar texts DO NOT give us, and I do mean "give"--as in the giving of a gift as articulated by Catholic theorist Jean-Luc Marion has articulated--"us"? How does Robert Williams' _Art Theory: An Historical Introduction_ re-configure that way "art theory" is, or was, supposedly scripted and staged? How about the same question for _A Companion to Art Theory_, which is edited by Paul Smith and Carolyn Wilde. What does it mean to "companion" or "accompany" a reader, a undergrad or graduate student, an academic, a professor, or adjunct faculty member in the field of art history? Again, why more theory and art history books now?
An obvious answer to one of my aforementioned questions is that there is no obvious or set answer-no single answer, just as there is no art history, art theory, or critical theory and philosophy; rather, these have always-already been plural. There is always the need for smart and sophisticated texts such as Emerling's in the multifarious field of art history--art histories.
Towards the end of the Twentieth-Century and the beginning/s of the Twenty-first-Century, there has been a veritable explosion of "art history" and "art theory" anthologies and resource texts that range from Eric Fernie's _Art History and Its Methods: A Critical Anthology_ (1995), Donald Preziosi's important _The Art of Art History_ (1998), and Vernon Hyde Minor's _Art History's History_ (1994, 2001) to Jae Emerling's _Theory for Art History_ (2005), his recent and inspired contribution to art history and theory anthologies and resource texts.
Emerling's text is extremely, important, and different-as well as an intervention into the traditionalists' and neoconservatives' celebratory calls, chants, and shouts for the "end of theory" in art history, which (re)surfaced after 9/11 for theory in general and "postmodern" and "poststructuralist" theories in specific, and then they gained momentum after the death of one of the 21st Century's greatest philosophers: Jacques Derrida--as Emerling discusses in his brilliantly written and absolutely inspiring conclusion titled "A Relation of Immanence: The Afterlife of Art History and Critical Theory". Furthermore, this "conclusion" marks this text--as a whole, from beginning to end and back again--as a much-needed one--not to mention a breath of fresh air amid the stench of authoritative, masculinist, and monolithic art history and theory texts, which are more often than not written by the "October Group" and their "offspring." Thus, in this (rather contorted) review, which functions as a compassionate and impassioned critique, I would like to jump around as a "fetishistic" and "hysteric" reader, as Roland Barthes would call it, and which Emerling states "Most readers will not read it from cover to cover" but rather move, jump, skip, and restart their readings of the plethora of philosophers and theorists in _Theory for Art History_ (xiv).
A Step Back ... But a Step Forward
In the "Introduction" Emerling's offers "his" text up as a producer text--some thing to be used and re-used--and in ways most likely not imagined by the author of _Theory for Art History_. In other words, there is no fixed or linear way to go through the text (isn't this true for any text though? Yes, but in this text it is more obvious and encouraged): one may start at Agamben or Spivak. Emerling's approach is truly an instantiation of a performative work(-ing). And, his placement of "Predecessors" (Freud, Marks, Nietzsche, and Saussure) is an invaluable resource to see how later theorists formed their ideas in relation to other, earlier theories and theorists, BUT i do wish Emerling had "Proto-Predecessors" (?) (e.g., Winckelmann, Hegel, Kant, Herder, et al.), but Emerling does give a reason for this blatant omission: the text is more for "critical theory's" entrance into art history after WWII and beyond. (I have always thought it interesting that when NYC [or the USA] "stole" modern art, Europe "stole" theory, which during the late 70s to the late 80s and early 90s was sometimes more important than any artwork or artists--indeed, the rise of the academic and intellectual Superstar--a la Andy Warhol.)
_Theory for Art_, after the "Predecessors," has various influential theorists that are placed in alphabetical order: from Theodor W Adorno to Gayatri Chakravorty Spivak. Using this "queer" strategy, I argue, Emerling blasts the hierarchy of theorists and makes a rhizome: what connects these theorists are their studies of art-without being a trained art historian, and what connects them is (ironically?) their disconnection; this bring us to the beautiful Outside of the overwhelming mass of "similar" texts that I mentioned at the beginning of this (quick) review. My only critique here is that Emerling does not mention some important theorists such as Helene Cixous, Maurice Blanchot, and others, and he does not give the importance that feminism and LGBT and (later) queer theory have played a crucial role in art history and (critical) theory--but these are my biases ... we all haven them.
.
I should note that Emerling, by alphabetizing the various theorists by her or his last name, seemed trite when I first saw it, but after reading it (in bits and pieces, and then as a whole, and then just the intro and conclusion) functions as a way to, as I stated above, level out--in a powerfully productive way, without obliterating, the theorists and their respective theories. In short, the alphabatizing of theorists is a highly imaginative maneuver in this day-and-age when certain quarters privilege this or that theorist or theory over and against others. By alphabetizing, the authors, this encourages the reader, in a rather blatant way, to make their own connections and a mixing and matching of theories and theorists, which, for some, would be too perverse, but, as I stated, art history is (among other things) "queer".
Interdisciplinarity
It should go without say, or maybe not, that art history has always (already) been interdisciplinary (AND theoretical, as Emerling stats "art history is already a theory"), but this is suppressed by those who desire that art history-as well as the art object-remain a field, an object, unto its own, unto itself; thus, unblemished, untouched, pure, and pristine ... a discipline that will not gain anything by drawing from other disciplines within the Humanities and Social Sciences, or so they (so often) proclaim. But, art history always already moved in and out of its disciplinary borders, leaking into other disciplines as they have also leaked into art history.
Is it so easily forgotten that JJ Winckelmann-a German, Protestant-turned-Catholic "homosexual"-drew on various theories and practices in order to develop his project: art history-a development of the Enlightenment itself. Is it so easily forgotten (read: suppressed) that Winckelmann fetishsized (which isn't a "bad" act-just a perverse one-a beautifully perverse act, if you ask me) and wrote veritable love letters, beautiful ones at that, to the dead (Greek boys), and who was eventually killed, post-coitus--after leaking everywhere and everywhere surrounded by images and statues of the Ancient past--by an Italian rent-boy? Indeed, how easily it is forgotten, suppressed, that the art history of, say, for example, HW Janson-as well as many other magisterial and authoritative art historians and their "panoptic" art-historical dooms-day books, to cite Donald Preziosi in _Rethinking Art History, was and is always already interdisciplinary, theoretical, and, in many ways, "queer"-in all of its senses, definitions, and anti-definitions. And it is vastly important due to the gift of feminists, queers, the working class in the academy, and people/queers of color who commenced multiple theories in "art history." It is important because what we, feminists, queers, and people of color, were given a gift that is also a promise, and as with all promises, this promise must be kept in order to keep art history as democratic, anti-colonialist, anti-racists and classist, feminist, anti-heterosexist as possible--if not for everybody, but at least then for those whom these issues are important--worth the fight to keep some of the roads open.
It is always a pleasure to find new anthologies texts in/for art history, so "finding" Emerling's text was a joy, and in a sense a gift already given to "me" and "art history".
-robt
Book Description
Similar in format to Phaidon's Contemporary WorldArchitecture, Contemporary World Interiors is a thorough surveyof the current state of international interior design.This is acomprehensive survey of notable currents in interior architecture anddesign over the past 25 years, describing historical precedents andanalyzing future directions.Contemporary World Interiors isexhaustive in scope, presenting some 450 projects on six continents incountries as diverse as China, Russia, the Czech Republic, Brail, Israel,Botswana, and South Korea, in addition to Japan, Western Europe, and theUnited States.More than 400 architects and designers are featured, fromworld-renowned figures such as John Pawson, Philippe Starck, Peter Marino,Marcel Wanders, and Zaha Hadid to rising stars such as the CampanaBrothers, LOT-EK, Lindy Roy, Italy's UdA, and Japanese firms such as SANAAand Atelier Bow-Wow.Organized by category into 11 chapters, the book goesfar beyond the traditional emphasis on residences and commercial spaces,including religious interiors, performance halls and cultural centers,civic spaces, restaurants, hospitals, and therapeutic spaces, among others. Each chapter is heavily illustrated with color photographs and plans -over 1,000 total - all reproduced in a generous size.In its variety andscope, the book depicts the expanding vision and impact of the interiordesigner, product designer, decorator, and, of course, architect. Contemporary World Interiors illustrates the public's growingfascination with, and investment in, the designed interior.
Customer Reviews:
Great Buy!.......2007-08-27
This book has many different photos with designs from around the world. First of its kind that has such a variety in designs.It is put together in an organized way and easy to read.
I really enjoyed reading it and looking thru thousands of very tastefully chosen photos.
I will recommend this book to anyone , not only designers.
Amazon.com
Robert Smithson's Spiral Jetty is the poster child for the antiformalist Earth Art movement of the 1960s and 1970s. A coil of earth, salt, and stone that Smithson built into Great Salt Lake, Utah, the piece is a tribute to the movement's scale and engineering as well as to its visionary union of art and nature. Smithson's questioning of the conventional attitudes of art and culture did not stop with the creation of objects and images; he was committed to exploring of attitudes and ideas as a critical component of his work. A revised and expanded version of The Writings of Robert Smithson, this book is a charged combination of articles and images in which the author demystifies the distinction between theory and practice.
Book Description
This fully illustrated 248-page book accompanies the first comprehensive American retrospective of Robert Smithson's (1938-1973) complex and highly influential career. Straddling the movements of minimalism and land art, Smithson, who died in a plane crash at the age of 35, had a profound impact on the cultural landscape that resonates to this day. Robert Smithson presents essays by top Smithson scholars alongside both archival imagery and specially commissioned photography of the artist's works; it considers the interrelationship of Smithson's complete artistic output, from the earliest figurative work up to his famed earthworks. Smithson's revolutionary ideas positioned art as existing beyond the walls of the museum in media such as writing and film, and even in the landscape itself. This volume and the exhibition it accompanies explore Smithson's work within the context of the artistic climate of the late 1960s as well as ensuing decades.
Perhaps most renowned as the creator of Spiral Jetty (1970), a fifteen-hundred-foot rock coil dramatically situated in the Great Salt Lake, Smithson also broke new ground with his films, photographs, writing, drawings, and collages. Eugenie Tsai provides a curatorial overview of the exhibition, which includes early writings, drawings, and other work with religious, erotic, and pop culture motifs that deepen our understanding of Smithson's diverse practice. Other contributions to the volume are a previously unpublished interview with Smithson by Moira Roth; a substantive historical and critical essay by Thomas Crow; an essay by MOCA curator Cornelia Butler discussing Smithson's lineage and his influence on contemporary artists; and a series of texts focusing on key works from Smithson's oeuvre, including Incidents of Mirror Travel in the Yucatan by Suzaan Boettger, Enantiomorphic Chambers by Ann Reynolds, Airport Terminal Project by Mark Linder, Spiral Jetty by Jennifer Roberts, Heap of Language by Richard Sieburth, Proposal for Monument at Antartica [sic] by Robert Sobieszek. The book also features the complete Library List--a posthumously compiled list of publications in Smithson's personal library--with an introduction by Alexander Alberro, as well as an exhibition checklist and annotated exhibition chronology.
Customer Reviews:
---------.......2003-01-14
The interviews are what stand out more than anything. The conversation between Smithson and Kaprow is really worth checking out. Anyone who will be having a show of their own should at the very least flip through this book. Also sheds some light into Smithson's early work (some text based things and a few paintings and so forth). Who would have thought that it would be a fun read too?
This is the kind of collection you can return to again and again.
His writings printed on archival paper!.......1999-10-11
Bought this book for research, a lot to read, all photos are black and white.
Book Description
"Richly illustrated...brings to life the work of many lesser-known artists throughout the continent." —Choice
This comprehensive survey introduces an exceptionally rich, fascinating, and complex art that has gained great popularity in recent years. Edward Lucie-Smith discusses all the major subjects and issues: magic realism, expressionism, and other concepts shared with Latin American literature; the great muralists Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco; the interaction of politics, society, and art; the continuing interest in folk art; and the dialogue between avant-garde European and North American movements and "indigenist" thinking in the work of artists such as Wifredo Lam, Matta, Rufino Tamayo, and Frida Kahlo. Many other artists from the 1900s to the present day are included in this compelling look at a great body of brilliantly original and imaginative art.
For the second edition, the text has been updated and a new final section introduces some of Latin America's leading contemporary artists: José Bedia (Cuba/USA), Doris Salcedo (Colombia), Rubén Ortiz Torres (Mexico), Miguel Calderón (Mexico), Ernesto Neto (Brazil), Diana Domingues (Brazil), and Beatriz Milhazes (Brazil). Several of these artists make use of the latest in modern technology, including interactive installations, photographs, and video art. 178 illustrations, 45 in color.
Book Description
By the mid-sixties in America, Pop Art was establishing an approach to the making of art that represented a significant shift from the prevailing orthodoxy. Alongside Pop, Minimalism investigated other possible forms and meanings of art, an investigation that was continued and developed during the later sixties and early seventies in a wide range of works from Conceptualism, Performance, and other movements. Throughout Europe, too, these years saw a variety of work that questioned assumptions about art, a process that has continued up to the present day.This exciting new survey looks at the extraordinary diversity of work produced since the early sixties. As the author ably demonstrates, contemporary events, social issues, feminism, and the articulation of Postmodernism form not only a backdrop to this art but also a stimulus to it and a resource for its form and content. Intelligently argued and profusely illustrated, here is everything one needs to know about developments, facts, issues, strategies, and responses in art for the past thirty-five years.
Average customer rating:
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Home and the World: Architectural Sculpture by Two Contemporary African Artists : Aboudramane and Bodys Isek Kingelez (Focus on African Art)
Celeste Olalquiaga , and
N. Y.) Museum for African Art (New York
Manufacturer: Museum for African Art
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ASIN: 3791313266 |
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Contemporary Asian American artists––with a strong sense of being American and an acute critical consciousness of world matters––grapple with issues of identity in a way that sets them apart from their predecessors. Whereas many Asian American artists of a previous generation directly referred to an Asian sense of self in their works, it can be argued that younger Asian American artists only sometimes make reference to it or omit it entirely.
This creatively designed book focuses on recent works by seventeen Asian American artists born in the late 1960s and 1970s––including Patty Chang, Kaz Oshiro, and Jean Shin––to explore this pivotal generation of artists, the prevalent themes in their art, and the different ways they configure identity in their work. One Way or Another features examples of painting, sculpture, and video and installation art––many previously unpublished––and includes essays that discuss the shifting meaning of Asian America over the last decade and address the issues of mixed heritage and the emergence of an evolving Asian American identity in an increasingly globalized society.
Average customer rating:
- A bit low on content
- Mexican Contemporary--"sequel" to Casa Mexicana
- Just magnificent!
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Mexican Contemporary (World Design Series)
Herbert Ypma
Manufacturer: Stewart, Tabori, & Chang
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ASIN: 1556705573 |
Customer Reviews:
A bit low on content.......2001-07-15
While this is a nice enough book, there isn't a whole lot here. Photos are lovely, but they don't show a lot. I should explain that, as a designer, I use books constantly to spur my own inspiration, so I prefer to see more images, more details, more graphics showing how spaces work and flow together.
While the color reproduction is excellent, and in fact the photos are beautiful, as an inspirational tool I would have to put it way behind many other books on the subject. "Mexican Color" and "Mexicolor" are both better, and showcase equally excellent photography and reproduction but with more images and more ideas. The best books I have ever seen on old and new Mexican architecture and gardens are in a series by Patricia O'Gorman ( I own two, "Patios & Gardens of Mexico, and "Tradition of Craftsmanship in Mexican Homes", but there are more in the series). These are great design source books, stuffed with ideas. Photography is black and white, though, so you miss out on the wonderful colors.
I find "Mexican Contemporary" a pretty book but rather a pretentious and superficial one; mostly the reader is given only vignette photos, close ups, highly mannered interior set ups, squeaky clean views into the homes of some of Mexico's super-wealthy. There are some contexural shots: a palm tree against a blue wall, black and white details of pyramics, a 2 page spread of sunflowers and bougainvillea, and a few nice photos of traditional azuelos.
For me, there's just not enough content here.
Mexican Contemporary--"sequel" to Casa Mexicana.......1997-09-30
Another stunning pictorial of Mexican architecture, in the tradition of Casa Mexicana by Tim Street-Porter. The photography throughout this book is stunning, an inspirational source book of Mexican spaces, forms, colors and workmanship. Focusing on contemporary classics by Yturbe and Mestre, among others, Mexican Contemporary expands upon the contemporary chapters of Casa Mexicana. The only downside to this book is the repetition of much material already so well presented in Casa Mexicana (though the additional photographic glimpses into Mexican architecture are always welcome).
Just magnificent!.......1997-09-11
Never have I seen such incredible collection of unique architecture in Mexico. Not only was I inspired by the color, but it also provided me with a much better understanding of how significant the influence of Luis Barragan has been far reaching in today's modern world. Simply inspirational..
Books:
- Bali Houses: New Wave Asian Architecture and Design
- Barcelona Tile Designs (Agile Rabbit Editions)
- Billy Baldwin Decorates
- Casa California: Spanish-Style Houses From Santa Barbara to San Clemente
- Classic English Design and Antiques: Period Styles and Furniture
- Clear Your Clutter With Feng Shui
- Co-Active Coaching, 2nd Edition: New Skills for Coaching People Toward Success in Work and, Life
- Color Drawing: Design Drawing Skills and Techniques for Architects, Landscape Architects and Interior Designers
- Computer Applications, Volume 2, Queueing Systems
- Concrete Countertops: Design, Form, and Finishes for the New Kitchen and Bath
Books Index
Books Home
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Letter to a Christian Nation
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