New technologies have the power to augment many aspects of society, including public spaces and art. The impact of smart technology on urban design is vast and filled with opportunity and has profound implications on the everyday urban environment. Only by starting new conversations can we develop further contemporary insights that will affect how we move through the world. Reconstructing Urban Ambiance in Smart Public Places is a pivotal reference source that provides contemporary insights into a comprehensive interpretation of urban ambiances in smart places as it relates to the development of cities or to various levels of intervention in extant urban environments. The book also examines the impact of architectural design on the creation of urban ambience in artworks and how to reflect this technique in the fields of professional architectural practice. While covering a wide range of topics including wellbeing, quality-related artistry, and atmosphere, this publication combines smart technological innovation with creative design principles. This book is ideally designed for civil engineers, urban designers, architects, entrepreneurs, policymakers, researchers, academicians, and students.

"I know of no study quite like Kim Hartswick's treatment of the Horti Sallustiani, although I hope that it will soon stand as a model for other scholars.... The wealth of factual knowledge that has gone into this study is immense.... This is a marvelous piece of truly new scholarship." -- Ingrid D. Rowland, Getty Research Institute, author of The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome "In several aspects this book will be a standard for the next decades." -- Bryn Mawr Classical Review

Pleasure gardens, or horti, offered elite citizens of ancient Rome a retreat from the noise and grime of the city, where they could take their leisure and even conduct business amid lovely landscaping, architecture, and sculpture. One of the most important and beautiful of these gardens was the horti Sallustiani, originally developed by the Roman historian Sallust at the end of the first century B.C. and later possessed and perfected by a series of Roman emperors. Though now irrevocably altered by two millennia of human history, the Gardens of Sallust endure as a memory of beauty and as a significant archaeological site, where fragments of sculpture and ruins of architecture are still being discovered.

In this ambitious work, Kim Hartswick undertakes the first comprehensive history of the Gardens of Sallust from Roman times to the present, as well as its influence on generations of scholars, intellectuals, and archaeologists. He draws from an astonishing array of sources to reconstruct the original dimensions and appearance of the gardens and the changes they have undergone at specific points in history. Hartswick thoroughly discusses thearchitectural features of the garden and analyzes their remains. He also studies the sculptures excavated from the gardens and discusses the subjects and uses of many outstanding examples.

A series of meditations and prayers focusing on the spiritual history of 22 cathedrals around the UK.

With a foreword by Julian Fellowes, creator of Downton Abbey who concludes that: `This is the world that Ruth Binney has brought so wonderfully to life in her book'. Inside the country house, what exactly were the duties of the master's valet and the lady's maid? How did these fit into the daily routine? And what were the protocols for visitors? The answers to these, and many more questions, are revealed in this entertaining and intimate guide to the self-contained world of the country house. Here you'll learn the rules of etiquette essential both upstairs and down -for both residents and visitors -marvel at the intricacies of housekeeping, and enter a bygone age of hunts, house parties and grand balls. All these aspects of country house life, and many more, are introduced here through the contemporary maxims used to instruct the members of the household and their guests, from running a large kitchen to entertaining royalty. Each is brought to life with both practical detail and direct, compelling quotes and illustrations from period manuals and advice books, giving every entry a totally authentic feel and `voice'. Rounding off the book is an informative list of houses to visit, stressing the features that relate directly to the descriptions included in the book.

Memory Landscapes of the Inka Carved Outcrops: From Past to Present presents a comprehensive analysis of the carved rocks the Inka created in the Andean highlands during the fifteenth and early sixteenth centuries. It provides an overview of Inka history, a detailed analysis of the techniques and styles of carving, and five comprehensive case studies. It opens in the Inka capital, Cusco, one of the two locations where the geometric style of Inka carving was authored by the ninth ruler Pachakuti Inka Yupanki. The following chapters move to the origin places on the Island of the Sun in Lake Titicaca and at Pumaurqu, southwest of Cusco, where the Inka constructed the emergence of the first members of their dynasty from sacred rock outcrops. The final case studies focus upon the royal estates of Machu Picchu and Chinchero. Machu Picchu is the second site where Pachakuti appears to have authored the geometric style. Chinchero was built by his son, Thupa Inka Yupanki, who adopted his father's strategy of rock carving and associated political messages. The methodology used in this book reconstructs relational networks between the sculpted outcrops, the land and people and examines how such networks have changed over time. The primary focus documents the specific political context of Inka carved rocks expanded into the performance of a stone ideology, which set Inka stone cults decidedly apart from earlier and later agricultural as well as ritual uses of empowered stones. When the Inka state formed in the mid-fifteenth century, carved rocks were used to mark local territories in and around Cusco. In the process of imperial expansion, selected outcrops were sculpted in peripheral regions to map Inka presence and showcase the cultivated and ordered geography of the state.