4 comments about Visual Thinking.

1. The author's writing style is as if he simply sat down and typed this out after having built up years of experience. Why it fails is because he seems to be writing strictly from memory without checking his notes along the way. The writing isn't so much inaccurate as it just meanders from topic to topic. It has a nice flow, but keeps leaving me feeling like, even when his points are good, one doesn't follow from what preceded it. Also, many of the points he makes don't seem to matter.
   
   A lot of the book is hopelessly dated. The terminology is dated and he doesn't reflect knowledge and awareness of contemporary science or politics or much of anything else. It might work well for people studying period pieces, but as for gaining a good understanding of "visual thinking," by contemporary standards, forget it!



2. The above phrase is the conclusion I came to after reading this book at the library. I am not in art education, but there are many things I wanted to underline and think about in application to the theory of creativity, use of technology in education, visual literacy. I think different people would find different things to think about in this book. Arnheim wrote a masterpiece that catalyzed a paradigm shift in his area (just like Freud or Simon & Newell).
   The book is written pretty clear, I would not say it is difficult to read (English is my third language).



3. The book is fairly complex, and definitely needs reflexion for every sentence. The author explains some psychological and philosophical theories. This is personally not what I expected. I would have liked more examples and applications.



4. Arnheim always sheds some new light on his subjects, and this book might be his most enlightening. Whether you care about art, education, perception, or simply living a full human life, this book will make you think about the subject in a new way. Grounded in careful analysis of specific objects and experiences, Arnheim nonetheless manages to convey the importance of his ideas to the wider subject of human consciousness.

4 comments about The Nature of Design: Ecology, Culture, and Human Intention.

1. Orr's book is a fantastic illustration of the current state of the world in terms of the relationship between technology, ecology, design and economy from a theoretical-philosophical perspective. He does not brush anything "under the carpet" and provides a very broad and deep understanding of our incompetence as a society saturated with consumption to deal with the consequences of our modern way of life. The best thing about this book, in comparison with other books in the subject, is first of all that it provides a highly engaging read, and second of all that it offers a very clear solution to our social and environmental problems - to live within and according to nature's limits. Orr's argument is convincing, not only because it is supported by many beautiful references, but mainly because it provides a very practical and honest pathway to the future.



2. I didn't think I'd like this book as much as I actually did. It was informative, questioning, and thought provoking. Great for someone who knows little about ecological literacy but wants to know more. A good beginner's book for someone starting to realize the intrinsic value in nature.



3. One needn't read the blurb to know that DO is a professor. The writing style, the subject chosen and the way it has been treated, the examples given... all point towards a very advanced mind! The power of this book lies in the relentless power of the ideology and the prose to raise questions in the mind of the reader, and forcing the reader to reconsider some of his/her own beliefs and viewpoints.

   The professor makes this journey even more enjoyable through his deliciously witty sarcasms and digs at the capitalistic society of today and its spin-doctors of advertising. Through numerous examples and penetrating questions, the writer clearly supports his point of view that humanity today is rushing headlong into the future, with a blind reliance on science and technology/forms of government/economic theories... and this faith he claims, seems to mirror an almost religious fervor. The writer clearly illustrates how humanity is increasingly trading its unknown future for short term gains of a few in positions of power to exploit those gains.

   The book deals with the subject of designing the future with Nature in mind, and speaks of the nature of design. Quite a heavy book in terms of the ideas, though the writing is wonderfully simple and straightforward. But aren't the clearest minds with the most elegant and terse prose, the hardest to comprehend? Simply a brilliant book that is a must read, and replete with a wonderfully diverse reference list at the end.




4. Orr expands on some of the themes brought to the forefront in his last two books (Ecological Literacy and Earth in Mind). However, he highlights aspects critical to a sustaining culture that lie outside the boundaries of convential educational thought, and even outside the previous bounds of Orr's comprehensive vision of education.
   He explains and argues for a continually expanded vision of 'education' again, and embeds this process in the larger processes of life; tirelessy showing that there are no boundaries between the two - and what this means for our place in the living world.
   Chapters such as "Architecture as Pedagogy" represent some of his past work refined.
   It is in the first half dozen chapters, however, that I feel he gets closest to the heart of the matter. In chapters such as "Slow Knowledge" and "Verbicide" he brings forth such elements as time, information, the speed at which we unite (or disjoint) them, and our relationship between such daily elements. I have been on a constant search for commentary on the implications of our relationship with time as it concerns sustainability. (Some of the best writing on it, that I've found is in The Sabbath by A.J Heschel and Spell of the Sensuous by David Abram). There is little written directly about this in the general literature, much of it not embedded in the concept of sustainability. The majority of it is also somewhat hidden in studies of religion, symbolism, and philosophy. Orr brings these relationships into the open and connects our perception and the design of our use of time directly to the ground. He never loses sight of the how such processes impact our prospects for a livable future.
   He also contextualizes this relationship in the ever widening definition (largely thanks to Orr himself) of DESIGN - specifically ecological design.
   These aspects are only part of this commentary however; other areas focus on the idea of wilderness, political economy, vocation, technology and human development.
   David Orr's ability to connect such topics and contextualize them within the qualities of 'usefulness' is needed fundamentally.
   He uncompromisingly subjects dominant current (and lesser-discussed, but possible) beliefs, paradigms, technologies and techniques, to the questions:
   "What good is it, are they? How does it/do they influence us? How does it/do they inform our actions? Does this further our best intentions? How does this influence the prospects of life now and in the future?"

   Never before has such scrutiny been so necessary, and I have found no more enlightening and pragmatic commentary than that offered by David Orr. This book should raise the bar for others in the many fields of sustainability to broaden, deepen and connect these concepts further, and soon.

5 comments about The Elements of Style: An Encyclopedia of Domestic Architectural Detail.

1. This book is a wonderful reference guide that includes everything from architectural elements to interior decor. As a theatrical scenic designer, this is invaluable as it not only has hundreds, if not thousands of high-quality color photos, but has many elements in the form of line drawings.



2. This book is an invaluable resource for restoration work and new construction, where clients want something that 'authentic' to a particular era.



3. This book contains many beautiful pictures, which are key to defining period style furniture adn architecture. The chapters are clearly defined and arranged in a logical, easy to use manner. It is a must for anyone seeking a career in Historical Preservation.



4. i am taking this oppurtunity to let you know that i never recieved this book. i have emailed amazon several times but have heard nothing back, maybe you can help me
   thank you
   
   john robinson



5. Great historical reference book detailing period styles of everything from windows to fireplace mantels. Lots of photos - many of them in color. Also includes useful drawings. I found this book to be EXTREMELY helpful, and I reference it often; worth every penny!

5 comments about Basic Flower Painting Techniques in Watercolor (Basic Techniques Series).

1. This book is for someone who has already gotten a grounding in watercolor. That was not my situation when I bought it, and that plus the misleading writeup is why I gave it four stars rather than five. It does have a lot of nice illustrations and plenty of information on tricky stuff like how to underpaint shadows, make realistic-looking dewdrops, etc. Once I get some experience in the basics of watercolor painting it will be a great resource.



2. This floral painting book is excellent. Instead of a one-technique collection from a singular artist, this compilation from several fine watercolorists provides a treasure chest of techniques. From basic watercolor daisies to crinkled masa paper pansies, this book gives clear demonstrations and inspiration. There were simple projects that were provided quick success, and more challenging techniques that required some practice.
   
   Some prior basic watercolor experience is necessary. The instructions assume basic level skills such as charging, negative painting, glazing and use of liquid masking. Successful composition suggestions are covered, as well.



3. After purchasing many watercolor books on flowers and realizing they just didn't fit my needs, I was hesitant to purchase another one. But after seing Basic Flower Painting, I succumbed and am thrilled with the instructions and the step by step demos that are the most helpful of all. The price is so reasonable for what is provided in the content, and the colors are as vibrant as in a much more expensive book. I couldn't ask for anything more. I recommend it to any level artist whether beginner or advanced. There's something for everyone in it.



4. Caveat: this title may attract the novice, but "Basic" shouldn't be confused with "Beginning." If you are have a limited palette and are not yet conversant with terms like "charging color," "thirsty brush," and "modeling," the demonstrations may be frustrating.

   That being said, the book is a joyful compendium of fine work by accomplished artists. Many examples are featured in the _Splash_ series. Demonstrations are varied, detailed, and challenging (although the section on special effects with cotton swabs is a bit long).

   As a reference or idea-generator, the book is excellent. The editor has thoughtfully included sketches for constructing single blossoms, composite flowers, stems, leaves, weeds, and wild grasses. For the adventurous, she also includes articles on techniques with crumpled paper, compositions, acetate, acrylic, and airbrush.

   I would recommend this book highly for an advanced beginner who is interested in exploring florals in more depth, or for the more accomplished artist who seeks a comprehensive overview of the subject.




5. If you really want to learn about flower painting, This is one book you simply cannot do without ! This book REALLY teaches you the basics step-by-step. It is beautifully illustrated and will give you the necessary knowledge in learning how to paint flowers with the help of different artists. There are very few books on flower painting that will give you this much demonstration, tips & techniques plus beautifully painted flowers that are painted so realistically that you can almost smell them.

4 comments about Vintage Greeting Cards with MaryJo McGraw.

1. This book has excellent ideas for vintage scrapbooking/cards/ etc. Mary Jo is very creative and knows how to use different mediums for great effects. She definitely thinks out of the box. I thought if I saw one more book with bears and soccor balls I'd scream! I love this book!! Thank you Mary Jo!



2. Mary Jo McGraw always makes a good technique book and this is no exception. There are lots of good techniques for using walnut ink in here. I had always just used it to stain paper by spraying in on with a spray bottle but here she shows other ways to apply it (like using a brush) and get different antique effects. All the techniques are broken down into easy to understand steps, each with a picture showing exactly what to do. In addition to the walnut ink there are techniques using beeswax, stamping on mica, using napkins, alcohol ink, omni gel transfer techniques, etc. She does all these with copies of antique photos and boy they are just so cool and so easy. So many techniques to play with - this book will keep you busy and learning for a long time. I've had it for a few months now and keep picking it up to try new things. An absolute must have if you like that antique look.



3. I found this gem of a book in the library and now I am going to buy a copy. Why? because it is so full of ideas I don't want to forget a one! Mary Jo's ideas range from modest to WOW! She uses materials in ways I never would have thought of. Inspriring me to use my own vintage pictures on fresh new ways. I can not wait to try the rubber stamping on copper and the photo transfer onto metal. One of my grandfather's was a tinsmith and I am looking forward to doing a picture of him on that metal. I recomend this book to anyone who is looking for new ways to enjoy card making and scrapbooking.



4. I purchased this book for a friend of mine for her birthday...This book is so full of ideas and helpful hints that I was sorely tempted to keep it and bring her flowers instead!!!...If you enjoy great quality pictures, well written instructions and inspiring artsy examples, you want this book in your collection. Trust me, I'm hoping someone gets the 'bright' idea to get me one for MY birthday.

2 comments about Sketch Plan Build: World Class Architects Show How It's Done.

1. This book should be on the desk of any Architecture student. Learning to develop your own design process can be a very daunting task for a student, but this books collection of processes from true masters can be a great tool for discovering your own design method.
   
   
   Great gift idea for any architecture student



2. If you are an architect, interior designer or a student this book is a must. It is an amazing book to have and add to your collection.

5 comments about Theoretical Anxiety and Design Strategies in the Work of Eight Contemporary Architects.

1. In this deceptively thick volume, Moneo presents a compilation of lectures he gave during the early 90's while at Harvard's GSD. Digging into his archives, he reassembles slides and text specific to the work of eight individuals that Moneo believes to be among the most influential contemporary architects of the late 20th century.
   
   Don't let the title intimidate you. Moneo is simply referring to the mechanisms, operational strategies, formal devices and procedures that architects utilize in their design process and their unwillingness to reveal those systematic theories of design. Rather, he believes that the current architectural discourse assumes a more reflective or critical posture rather than revolving around the process of design.
   
   Moneo manages to reveal to varying extents the working process of each architect by analyzing a body of work over the course of their career, identifying key changes in strategies. As an architect, learning the working process of such significant architectural figures is quite useful, allowing one to locate themselves (or others) within the greater architectural sphere. Here, connections begin to reveal themselves and linkages to architects past and present become evident.
   
   The project images are often a bit too small to be incredibly useful especially since Moneo often refers to specific features within the drawings and photos to explain his thoughts. However, this remains an excellent and recommended read.



2. In architecture, everyone at one point fantasizes about becoming a well known architect. Rafael Moneo challenges the current leaders method of praticing. He investigates each architect individually, delivering insight to their logic in practicing. Moneo constantly refers back to each architect he discusses and compares the diversity of architecture logic in practice. Although I believe he was attempting to expose the potential failures or faults in most successful architects, whom we usually appraciate but hardly challenge.



3. I purchased this book because I was interested in only
   two architects. One was Siza and the other H+Dm. Going over again
   Stirling/ Venturi/ Rossi was just too much and I wasn't interested in the rest of three architects. But thanks to Moneo's great writing, I was able to read all of the architects with great interest and enthusiasm. Reading Siza was like reading a poetry. Moneo constructs that mood by comparing Siza with a Poet Pesoa. Due to their contemporaneity, analysis on H+Dm is still on going. But Moneo explains well on the foundation of H+dM's work. Like the comparison of Siza to Pesoa, it is interesting to read H+Dm's relationship/influence with conceptual artists such as Joseph Beuys. In terms of Venturi and Rossi, unlike crash courses in architectural history, Moneo delves into more on their individual projects than on the theoretical manifestos of their books. I gained most reading Koolhaas and Eisenman. I never liked their writings (one being too sarcastically light and the other being too narcissistically heavy) and I hated their buildings. Moneo actually helps overcome these misreading. Overall, the book really stimulates thinking in that every line in architecture has a meaning. Moreover, it helps to see the landscape of contemporary architecture. As the title suggests, the book really is a theoretical anxieties. And like all anxieties do, I guarantee that this book will stir the stagnation of your spirit; as it did mine.



4. There are Architects who write eloquently about Architecture, but whose built works disappoint, then there are those whose buildings inspire and yet seem unable to communicate clearly about their ideas, but Rafael Moneo is the rare architect who appears in easy command of both realms. A colleague who studied under him said that Moneo could look at a project and tell exactly how it was designed, and this book seems to substantiate this ability to understand both method and reason behind the work of some of the most important Architects of the last third or the 20th century. Moneo's prose is informal, yet studied, and this book serves as a once in a lifetime conversation with a master Architect.
   His ideas seem better defined when dealing with James Stirling and Aldo Rossi, and more speculative when dealing with relative newcomers like Koolhaas, and Herzhogg+DeMeuron, but the book is always insightful. Moneo comes across as someone who loves his profession and who, despite earning international renown, approaches the work of his colleagues with the same fascination of a brilliant student. This fascination is contagious, and the book is a worthy addition to the library of anyone who loves contemporary architecture.



5. This collection of essays on contemporary architects reminds me of why I love great contemporary architecture, and why I will continue to work as an architect. The text demonstrates the wonderful diversity of the times we live in and the recent history which has formed these times. Read these essays and you will recognize the lineage of form and theory which has led to any building built or published today, from any suburban house to the Freedom Tower.
   
   A reflection on 50 years of history, this book could only have come together now. Moneo's observations of his peers are dead on and written with the clarity of a historical text while still managing to to provide the insight of a work of architectural criticism. This is the book I wish I had as a student in the 1980's but know that in the throes of theoretical debate at the time that the history was too fresh for hindsight. As a direct result of the debate around "modernism", more than at any other time in history we are able to recognize how theory affects our design strategies. In collecting these transcripts of lectures and essays on these architects Moneo codifies what we know we knew about how we got here, but had not yet put all together.
   
   I only wish I could have been there to hear his lectures. At times the text seems to stradle the grammatical form of essay and transcript of a discussion on a particular slide. But perhaps it is that sometimes awkward format which energizes and saves the book from becoming "text"book. To actually see slides and drawings rather than the somewhat small and at times poor black and white images that dot the text would be of great benefit. As a result this is probably not a book for the casual reader of architecture not familiar with the work of these architects and who does not have the time to look for better images. Mr. Moneo has in this book nthe raw material for what could be a very powerful multimedia publication, either CD or web based.
   
   I recommend that every student of architecture today read this book. It offers the critical tools to recognize where from what you do comes and in doing so opens the possibilities of where you can take your work.

5 comments about The Mansions of Long Island's Gold Coast: Revised and Expanded.

1. This was a great book. The pictures and written information were even better than I expected.



2. This book presents a unique photographic material of some still existing as well as buildings that has now been torn down. As other has written before me the printing quality in this book is not what it could have been. The colors in some images are really bad. The artistic value of the photographs could also be questioned (most of the images are not taken by a professional photographer). In spite of all this the book succeds in describing "a lost world" and leaves the reader with a feeling of emptiness and with many questions: How could all this disappear? The buildings and their architecture are in most cases of local interest, but combined with the description of the people and the money that built the "Gold Coast" Monica Randall depicts a history that are of common interest in more senses than one.



3. It is a shame that the publisher decided to save some money and have this book printed in China. The quality of the photos is horrible. Some are blurred, some are dark. It makes the book cheap and cheesy. Anything to save a buck. When will American businessmen learn ? We get tainted food from China, shoes and clothes that don't fit and fall apart, and now badly produced books. Once again, Americans have lowered their standards just to make a buck.........go figure....



4. This is an intimate and thorough glimpse into the mansions of America's Gold Coast, a region of Long Island where such wealth and extravaganze accumulated in the late 1800's-mid 1900s as to boggle the modern mind. In an era before government taxes became a hindrance to such spending by the wealthy, the Gold Coast mansions rival even the most exquisite mansions, chateaux, castles and estates of Europe.
   I purchased this book because I had just finshed reading "Gold Coast" by Nelson Demille, a modern day "Great Gatsby"-esque look at the decline of the Gold Coast culture. This book was phenomenal (and I highly recommend it), but I had trouble picturing the locales discussed in the book, because the scale and scope of grandeur is almost beyond imagination.
   Mansion's of Long Island's Gold Coast has hundreds of pictures, some old some new. With well written descriptions on each locale, it carefully reconstructs a visual aid to understanding that region. Some of the photos are not as modern as you might want, but that is a product of photos being used of mansions before they were torn down, as have many, many of these glorious homes.
   This book is a must read for anyone interested in the architecture, culture, and social mores of a bygone era. You could also use it as a reading aid to "Great Gatsby", as there are pictures of the mansions that Fitzgerald used as inspirations for Gatsby's estate, among others. Fascinating!



5. As a admirer of historical older homes across Amrica, and a recent returnee to college at age 49 for a second career in interior architecture, this book is a welcome site. I have a collection of architectual books of Mansions in every grouping or by an architect or designer. The one minor flaw that I and other reviewers have had is that while the original black & white photos of the manisions with update written information on the current condition is great, we never see photos (if possible) of the homes as they look today. This one actually shows on occasion a current photo of the house as possible. Example is of Zog Ruins just off of Highway 106. Zog was abandoned by its owner in the early 1950's and the gatekeeper left it in 1959. The house was vandilized in the 60's. The photos of the house are as the house as it sat in ruins during the 60's and the last photo is dated 1968.
   The books photos are not done in the slick style other books on mansions are done, but rather in a personal photo scrap book sort of way. One can actually feel the way M. Randall felt as she assemblied this book. Ms. Randall pours her heart into her personal scrap with love and care and it is seen thru out the marvelious book. Photos are in B&W and color.....while the color ones appear to be Poloariod style, it is refreshing to see them presented this way. Text is simple and straight forward. This would be a great learning tool in architecture and interior design schools as a reference or teaching book on preservation & restoration.
   
   This book is a must for lovers of Long Island, New York or great mansions of anykind.

2 comments about The Farmhouse Book.

1. I love this book, the photos and stories within are charming. It demonstrates how the North American farmhouse came to be. There is a fictionalized account of a day in the life of a farmhouse of the late 1860s, when the pace of progress was fast; it may seem almost idyllic, even enviable. The follows a heavily illustrated section on how farmhouses took shape, how they developed, how they operated, and what it is like to live in them. This section leads to how people can adapt to living in farmhouses today, in hopes that some of the character of these buildings will remain unchanged and their redundant parts (turned into workrooms, studios, bathrooms, and so on) will retain their proportions and history. If you're looking for information about the historic architecture of farmhouses, this is the book.



2. I love books about design of all types and from all over the world. This one, however, details such old and rudimentary buildings that it's just not "stylish" enough for me. I like to imagine myself living in these places and I wouldn't want to live in any of these. No offense to the author. It just wasn't a book for me.

2 comments about The Gothic Cathedral: The Architecture of the Great Church 1130-1530.

1. Christoper Wilson's "The Gothic Cathedral: The Architecture of the Great Church, 1130-1530" is a superb survey of cathedrals and large European churches constructed across four centuries, not only filled with an incisive text but also wonderfully illustrated with hundreds of diagrams and exquisite photographs. It is true that the photos are only black-and-white so the reader cannot wholly grasp the glory of stained glass windows, but the photographs nonetheless render the Gothic architectural features and details with great clarity. This combination of excellent text and superb illustrations makes Wilson's book ideal for either close, intensive study or simple joyful browsing. I cannot imagine that anyone who appreciates glorious Gothic architecture would not find Wilson's "The Gothic Cathedral" not only a valuable but also a necessary addition to his or her library.



2. How I ended up being the first to review this book is beyond me. I would've guessed that many a learned architectural scholar would've long since sung the praises of this wonderful book. I, however, am just a layman with a lifelong passion for Gothic cathedral architecture, which started in the Washington National Cathedral and became educated, at least partiallly, in this book.

   I consider Wilson's "The Gothic Cathedral", a 'must own' for anyone who has ever felt a yearning to know more about the soaring arches, brilliant glasswork, and impossibly high, vaulted ceilings of these magnificent medieval structures. This book, details the development of this unique form of architectural artistry; beginning with it's modest antecedents in Romanesque architecture and the groin-vaulted churches of Normandy and England and continuing through even the most elaborate and extravagant versions of late-Gothic throughout Europe. Mr. Wilson moves the reader, comfortably and comprehensibly through the chronological development of Gothic architecture, while neatly detailing the differences in coincidental development in several diverse geographic regions. Even I, with no formal architectural education, can now explain most of the finer points of Norman Romanesque, French High Gothic, and the Rayonnant styles of architecture, as well as explaining the odd metamorphisis of the English Decorated style into the very uniquely English, Perpendicular style.

   The text is brilliantly cross-referenced with the illustrations, diagrams and photographs, which are both descriptive and beautiful, despite being all black and white. Finally, the glossary, index, and bibliography are complete and very helpful. If you think you MIGHT like this book... you will. Buy it.